Record Mirror, September 21, 1985: Difference between revisions
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{{:Record Mirror index}} | {{:Record Mirror index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> | <center><h3> Costellography </h3></center> | ||
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<center> Paul Sexton </center> | <center> Paul Sexton </center> | ||
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'''Elvis Costello — reluctant star, savage lyricist, smartass songwriter, man of true aim — this is your vinyl career. | '''Elvis Costello — reluctant star, savage lyricist, smartass songwriter, man of true aim — this is your vinyl career. | ||
{{Bibliography text}} | {{Bibliography text}} | ||
Warning! | "Warning! This... may produce radical reaction in narrow-minded people." The label applied to Elvis Costello And The Attractions' Nashville album ''Almost Blue'' — but the warning could as easily apply to everything Costello has ever done, 11 albums on from his 1977 emergence as the vitriolic young pop icon. In those eight years he's travelled from the forefront of the new wave movement via Stax, Nashville and the Royal Philharmonic Orchestra to a Telstar greatest hits album. | ||
But even if ''The Best Of Elvis Costello — The Man'' and the creative marketing of a multi-format "Green Shirt" release are out of line, bear in mind that they weren't his ideas and realise that he's stayed remarkably true to his standards. Anyone who can bite the hand that feeds by scoring an airplay smash with probably the most savage attack on pop music radio ever recorded ("Radio Radio") and can point an accusing finger at other society institutions without them even knowing ("Shipbuilding," "Pills And Soap") and still be an albeit reluctant star in that society is more than smart. | But even if ''The Best Of Elvis Costello — The Man'' and the creative marketing of a multi-format "Green Shirt" release are out of line, bear in mind that they weren't his ideas and realise that he's stayed remarkably true to his standards. Anyone who can bite the hand that feeds by scoring an airplay smash with probably the most savage attack on pop music radio ever recorded ("Radio Radio") and can point an accusing finger at other society institutions without them even knowing ("Shipbuilding," "Pills And Soap") and still be an albeit reluctant star in that society is more than smart. | ||
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For every spiky, obstreperous hookline there was another side of the writer to compensate, never more so than on his most melodically and lyrically attractive single ever, "New Amsterdam" in 1980. So attractive, in fact, that it missed the Top 30. | For every spiky, obstreperous hookline there was another side of the writer to compensate, never more so than on his most melodically and lyrically attractive single ever, "New Amsterdam" in 1980. So attractive, in fact, that it missed the Top 30. | ||
He once referred to the (at the time) nascent F-Beat as "the Stax to 2-Tone's Motown" and by 1980 the Stax factor was easy to hear in his music. "I Can't Stand Up For Falling Down," a Homer Banks/Alan Jones composition, had last been seen malingering in the bargain bins in its version by Sam and Dave; "Getting Mighty Crowded" was a 1964 side by Betty Everett; and "High Fidelity" and "Clubland" were perfect reconstructions of the some mood. | He once referred to the (at the time) nascent F-Beat as "the Stax to 2-Tone's Motown" and by 1980 the Stax factor was easy to hear in his music. "I Can't Stand Up For Falling Down," a Homer Banks/Alan Jones composition, had last been seen malingering in the bargain bins in its version by Sam and Dave; "Getting Mighty Crowded" was a 1964 side by Betty Everett; and "High Fidelity" and "Clubland" were perfect reconstructions of the some mood. | ||
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Revision as of 17:14, 2 December 2016
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