Poughkeepsie Journal, April 10, 1981: Difference between revisions
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<center><h3> Costello's singular vision backed by insight </h3></center> | <center><h3> Costello's singular vision backed by insight </h3></center> | ||
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<center> Marshall Fine / Gannett News Service </center> | <center> Marshall Fine / Gannett News Service </center> | ||
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'''Elvis Costello ''' / Trust | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Elvis Costello has become one of the most influential and prolific rock artists around, in his never-ending quest to hunt down and pin-point emotional fascism. | Elvis Costello has become one of the most influential and prolific rock artists around, in his never-ending quest to hunt down and pin-point emotional fascism. | ||
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His third album in the past year — and his sixth overall — is ''Trust'', an ironically titled effort of 14 songs that shows Costello expanding his style, refining his lyrics and refusing to sit still for anyone. | His third album in the past year — and his sixth overall — is ''Trust'', an ironically titled effort of 14 songs that shows Costello expanding his style, refining his lyrics and refusing to sit still for anyone. | ||
Once again, Costello's focus is the tyranny of love, from both sides. Costello, whose attempt to name his third album | Once again, Costello's focus is the tyranny of love, from both sides. Costello, whose attempt to name his third album ''Emotional Fascism'' instead of ''Armed Forces'' was nixed by his record company, remains a master of wordplay and insight into the romantic wars. He concentrates here on the binds and confines in which lovers find themselves. | ||
In "Pretty Words," he apologizes for indiscretions by noting that while, ''"Pretty words don't mean much anymore,"'' he also doesn't ''"mean to be mean much anymore."'' In the same song he observes that love can be ''"more like a booby trap than a booby prize."'' | In "Pretty Words," he apologizes for indiscretions by noting that while, ''"Pretty words don't mean much anymore,"'' he also doesn't ''"mean to be mean much anymore."'' In the same song he observes that love can be ''"more like a booby trap than a booby prize."'' | ||
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Love is a dangerous quantity for all involved in Costello's tunes: ''"Be on caution where lovers walk,"'' he warns in "Lovers Walk." The passions love incites run the gamut ''"from a whisper to a scream,"'' in the song of the same name. | Love is a dangerous quantity for all involved in Costello's tunes: ''"Be on caution where lovers walk,"'' he warns in "Lovers Walk." The passions love incites run the gamut ''"from a whisper to a scream,"'' in the song of the same name. | ||
Costello's musical persona varies from the abuser to the abused. In "Shot With His Own Gun," Costello chronicles a wife's revenge on a husband who is ''"losing his touch with each caress."'' "White Knuckles" is a violently casual | Costello's musical persona varies from the abuser to the abused. In "Shot With His Own Gun," Costello chronicles a wife's revenge on a husband who is ''"losing his touch with each caress."'' "White Knuckles" is a violently casual song of wife-battering (''"White knuckles on black and blue skin. Didn't mean to hit her but she kept on laughin'"''). In "Strict Time," Costello depicts himself as the unwilling marionette, saying that ''"There's a hand on the wire that leads to my mouth"'' but maintaining that ''"I don't want to be a puppet."'' | ||
The ambivalence of Costello's lyrics is complemented by his refusal to be pigeonholed into a particular musical setting. Working with producer Nick Lowe, Costello proves himself once more to be a true eclectic when it comes to instrumentation. | The ambivalence of Costello's lyrics is complemented by his refusal to be pigeonholed into a particular musical setting. Working with producer Nick Lowe, Costello proves himself once more to be a true eclectic when it comes to instrumentation. | ||
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Latest revision as of 09:10, 30 December 2021
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