Plattsburgh Press-Republican, May 24, 1979: Difference between revisions
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Going through a pile of late 1977 Columbia album releases, I had stumbled onto “''[[My Aim Is True]]''," Costello’s first album On the | |||
cover he looked like a cross between Buddy Holly and computer programmer. (In fact. Costello had been a computer programmer) | |||
Also, [[Elvis Presley]] had just died, and anyone thrusting himself into popular music at that time using the name “Elvis" seemed fairly | |||
presumptuous. | |||
So, without a listen, Costello was put back in the pile. | |||
But then I read a highly favorable review, went back and listened to the music instead of looking at the cover, and within days was telling everyone I could about Elvis Costello. We had lost one Elvis, but we had gained another, whose snarl and style rang true for the late 70s. | |||
On that first album, Costello came out sounding like no one else, from ‘[[Watching The Detectives|Watching the Detectives]]’ with its strange mixture of reggae and secret agent soundtrack-style themes, to “[[Alison]],” a surprisingly tender song later covered by [[Linda Ronstadt]], to ‘[[Mystery Dance]],’ a short yet immortal rocker. | |||
“''[[This Year's Model]]''” came out only a few months later and featured a harder-rocking Costello, now playing with a group called the Attractions. | |||
Now Costello and [[the Attractions]] have released "''[[Armed Forces]]'',” which was actually nominated for a Grammy. | |||
While “''My Aim Is True''” served as a powerful sampler, and "''This Year’s Model''” extended Costello’s rocking sneer “''Armed Forces''” | |||
showcases his songwriting talents. There are 11 songs on the album none of them over 3 minutes and 33 seconds, which itself seems a | |||
conscious reaction on Costello’s part to the longer, wandering cuts that have characterized 70s rock. | |||
Costello’s lyrics deal mostly with personal relationships. He eyes his subjects, including himself with a cold, steady eye and | |||
successfully conveys his insights with a practiced lack of unnecessary emotion. | |||
His melodies are strong, unusual and fresh. not unlike [[Steely Dan]]’s. But while Steely Dan's music move’s smoothly with a jazz | |||
feel. Costello’s melodies and lyrics are underlaid with a jerking rythym that bring to mind a windup toy. While you don't boogie to | |||
Costello. he does give you something to which you can listen. | |||
Expect the unexpected with this man. Effects from the 50s rock style, especially the stretching of a single syllable into four or five, occur regularly through the album. Yet other parts of his music come out of nowhere, dividing each two- or three-minute song into distinct movements in a style reminiscent of the Doors. | |||
The listener is struck by the Beach Boys-style harmony at the end of "[[Busy Bodies]]" and how a drum crack flies through the void on that song: the English music hall-style piano on "[[Oliver's Army]]", the surging bass line on "[[Goon Squad]]": and the harpsichord introduction and final organ swell on "[[Green Shirt]]." | |||
"[[(What's So Funny 'Bout) Peace, Love And Understanding?|Peace, Love and Understanding]]," the final song and the only tune not written by Costello (rather being written by his producer [[Nick Lowe]]) comes across as the only "conventional" rock song on the album. A good old 4-4 beat and wall-of-sound guitars push through straightforward verses and bridges as Costello sneeringly asks "What's so funny 'bout peace, love and understanding" | |||
How about that? The creep cares. | |||
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[[Category:Album reviews]] | [[Category:Album reviews]] | ||
[[Category:Armed Forces reviews]] | [[Category:Armed Forces reviews]] | ||
Revision as of 09:19, 8 April 2015
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