Philadelphia Inquirer, March 8, 1994: Difference between revisions
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<center><h3> Elvis Costello looks back | <center><h3> Elvis Costello looks back </h3></center> | ||
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<center> Tom Moon </center> | <center> Tom Moon </center> | ||
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"You don't really want it to be like putting on old shoes and walking the same route," he cautions. "With the Attractions, it's always been, you put on the old shoes and the shoes walk off with you in them." | "You don't really want it to be like putting on old shoes and walking the same route," he cautions. "With the Attractions, it's always been, you put on the old shoes and the shoes walk off with you in them." | ||
Longtime Elvis watchers may be amazed that those shoes were willing to move in the same direction. The band did not part on good terms after 1986's ''Blood | Longtime Elvis watchers may be amazed that those shoes were willing to move in the same direction. The band did not part on good terms after 1986's ''Blood & Chocolate''. There were screaming matches, and volleys of ill-will lofted in the press — particularly between Costello and Attractions bassist Bruce Thomas. | ||
When he began ''Brutal Youth'', Costello planned to work with just Pete Thomas, the Attractions' drummer. | When he began ''Brutal Youth'', Costello planned to work with just Pete Thomas, the Attractions' drummer. | ||
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Known for his playwright's sense of detail, he's less concerned about he- said-she-said dialogue than before: "Pony St.," one of the album's highlights, is a frantic exchange between an ex-hippie mother and her ultra- conservative daughter that takes a few spins to determine who's saying what. | Known for his playwright's sense of detail, he's less concerned about he- said-she-said dialogue than before: "Pony St.," one of the album's highlights, is a frantic exchange between an ex-hippie mother and her ultra- conservative daughter that takes a few spins to determine who's saying what. | ||
Though he insists that "not every song has to be a puzzle," Costello hasn't completely abandoned the tricky turns and unusual song-forms that mark ''The Juliet Letters'', which he considers one of his most overlooked successes. <i>Brutal Youth</i>'s "London's Brilliant Parade," "You Tripped at Every Step," | Though he insists that "not every song has to be a puzzle," Costello hasn't completely abandoned the tricky turns and unusual song-forms that mark ''The Juliet Letters'', which he considers one of his most overlooked successes. <i>Brutal Youth</i>'s "London's Brilliant Parade," "You Tripped at Every Step," "This Is Hell" and "Favourite Hour" extend conventional verse-chorus- bridge structure and are the logical outgrowth, he says, of his working with the Brodsky Quartet on ''Juliet''. | ||
"You don't just leave something like that behind," says Costello, who worked with the quartet for a year and recently completed a song for a Brodsky classical album. "It was incredibly fruitful even apart from the music we made. I discovered that I could work more effectively with them if I wrote things down, so I taught myself how to notate music and read notation." | "You don't just leave something like that behind," says Costello, who worked with the quartet for a year and recently completed a song for a Brodsky classical album. "It was incredibly fruitful even apart from the music we made. I discovered that I could work more effectively with them if I wrote things down, so I taught myself how to notate music and read notation." | ||
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He chuckles derisively and wonders aloud, "Are we really to the point where you can't have a hit unless you have a colorful childhood to discuss?" | He chuckles derisively and wonders aloud, "Are we really to the point where you can't have a hit unless you have a colorful childhood to discuss?" | ||
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{{tags}}[[Brutal Youth]] {{-}} [[The Attractions]] {{-}} [[The Juliet Letters]] {{-}} [[William Shakespeare|Shakespeare]] {{-}} [[Blood & Chocolate]] {{-}} [[Bruce Thomas]] {{-}} [[Pete Thomas]] {{-}} [[Mitchell Froom]] {{-}} [[Steve Nieve]] {{-}} [[Nick Lowe]] {{-}} [[Sulky Girl]] {{-}} [[Rocking Horse Road]] {{-}} [[Otis Redding]] {{-}} [[Wild Thing]] {{-}} [[Curtis Mayfield]] {{-}} [[2½ Years]] {{-}} [[King Of America]] {{-}} [[Pony St.]] {{-}} [[London's Brilliant Parade]] {{-}} [[You Tripped At Every Step]] {{-}} [[This Is Hell]] {{-}} [[Favourite Hour]] {{-}} [[The Brodsky Quartet]] {{-}} [[Henry Purcell]] {{-}} [[Wendy James]] {{-}} [[The Pogues]] {{-}} [[Cait O'Riordan]] {{-}} [[Dublin]] {{-}} [[Just About Glad]] {{-}} [[Rod Stewart]] {{-}} [[Spike]] {{-}} [[Mighty Like A Rose]] {{-}} [[Tom Moon]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Philadelphia Inquirer, April 20, 1993 | |||
|next = Philadelphia Inquirer, June 3, 1994 | |||
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'''Philadelphia Inquirer, March 8, 1994 | '''Philadelphia Inquirer, March 8, 1994 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
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{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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==External links== | ==External links== | ||
*[http://articles.philly.com/1994-03-08/entertainment/25851008_1_brutal-youth-steve-nieve-elvis-costello Philly.com] | *[https://www.inquirer.com/ Inquirer.com] | ||
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*[http://en.wikipedia.org/wiki/The_Philadelphia_Inquirer Wikipedia: Philadelphia Inquirer] | *[http://en.wikipedia.org/wiki/The_Philadelphia_Inquirer Wikipedia: Philadelphia Inquirer] | ||
Latest revision as of 20:45, 30 October 2019
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