Q, unknown date, 1993: Difference between revisions
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{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Q magazine index}} | {{:Q magazine index}} | ||
{{: | {{:UK & Ireland magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Spike </h3></center> | <center><h3> Spike </h3></center> | ||
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<center> David Cavanagh </center> | <center> David Cavanagh </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
For the belated follow-up to the punchy, Attractions-driven ''Blood & Chocolate'', Elvis Costello delivered an album as far-reaching as ''Swordfishtrombones'', ''Hounds Of Love'' and his own ''Imperial Bedroom'', except that by abandoning each palette as soon as he'd picked it up, ''Spike'' (1989) could only bewilder. It's a vast record, 64 minutes long, and in using 33 musicians, only two songs are played by the same line-up. The Dirty Dozen Brass Band are central, but then again so are Waits's guitarist Marc Ribot, Paul McCartney (who co-wrote the scintillating "Veronica") and the Irish contingent of fiddles and pipes. If "Let Him Dangle," his inspired defence of Derek Bentley (complete with the odd agonising rhyme), became the most famous track, it's only because the bizarre arrangements of "This Town," "God's Comic" and "Pads, Paws & Claws" proved too much. From rhythmic electric cacophonies to funereal New Orleans marches, from Byrdsy Rickenbacker pop to the streets of Arklow, ''Spike'' is far too ambitious to make perfect sense of, even four and a half years down the line. | For the belated follow-up to the punchy, Attractions-driven ''Blood & Chocolate'', Elvis Costello delivered an album as far-reaching as ''Swordfishtrombones'', ''Hounds Of Love'' and his own ''Imperial Bedroom'', except that by abandoning each palette as soon as he'd picked it up, ''Spike'' (1989) could only bewilder. It's a vast record, 64 minutes long, and in using 33 musicians, only two songs are played by the same line-up. The Dirty Dozen Brass Band are central, but then again so are Waits's guitarist Marc Ribot, Paul McCartney (who co-wrote the scintillating "Veronica") and the Irish contingent of fiddles and pipes. If "Let Him Dangle," his inspired defence of Derek Bentley (complete with the odd agonising rhyme), became the most famous track, it's only because the bizarre arrangements of "This Town," "God's Comic" and "Pads, Paws & Claws" proved too much. From rhythmic electric cacophonies to funereal New Orleans marches, from Byrdsy Rickenbacker pop to the streets of Arklow, ''Spike'' is far too ambitious to make perfect sense of, even four and a half years down the line. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | {{Bibliography next | ||
|prev = Q, | |prev = Q, April 1993 | ||
|next = Q, November 1993 | |next = Q, November 1993 | ||
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[[David Cavanagh]] reviews a re-release of ''[[Spike]]''. | [[David Cavanagh]] reviews a re-release of ''[[Spike]]''. | ||
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[[image:1993-0x-00 Q clipping 02.jpg|x320px|border]] | [[image:1993-0x-00 Q clipping 02.jpg|x320px|border]] | ||
<br><small>Photo by [[Jill Furmanovsky]].</small> | <br><small>Photo by [[Jill Furmanovsky]].</small> | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |