Sounds, February 11, 1989: Difference between revisions
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Those looking for instant gratification have long since given up on Costello, of course. But ''Spike'' rewards the faithful with a diversity of range that defies easy categorisation and a lyrical prowess that puts him just about out of sight of the competition. | Those looking for instant gratification have long since given up on Costello, of course. But ''Spike'' rewards the faithful with a diversity of range that defies easy categorisation and a lyrical prowess that puts him just about out of sight of the competition. | ||
Occasionally, he's still prepared to take shelter under pop's umbrella; like on the superficially carefree "Veronica" which is co-written with Paul McCartney, as is "Pads, Paws And Claws," a snarling shuffle of bedroom games. For the rest, he wears whatever hat takes his fancy. | Occasionally, he's still prepared to take shelter under pop's umbrella; like on the superficially carefree "Veronica" which is co-written with [[Paul McCartney]], as is "Pads, Paws And Claws," a snarling shuffle of bedroom games. For the rest, he wears whatever hat takes his fancy. | ||
On "Baby Plays Around," wounds are opened up for public inspection with just an acoustic guitar and very distant organ. "Deep Dark Truthful Mirror" has some of that old Allen Toussaint rolling piano. It also features The Dirty Dozen Brass Band who make a number of appearances, not least on the instrumental "Stalin Malone," done in an authentically Tom Waits broken bar-stool style. | On "Baby Plays Around," wounds are opened up for public inspection with just an acoustic guitar and very distant organ. "Deep Dark Truthful Mirror" has some of that old [[Allen Toussaint]] rolling piano. It also features [[The Dirty Dozen Brass Band]] who make a number of appearances, not least on the instrumental "Stalin Malone," done in an authentically Tom Waits broken bar-stool style. | ||
"Any King's Shilling," perhaps the record's best song features the piteous beauty of Davy Spillane's Uilleann pipes in the sharpest of contrasts. | "Any King's Shilling," perhaps the record's best song features the piteous beauty of [[Davy Spillane]]'s Uilleann pipes in the sharpest of contrasts. | ||
Costello's subject matter is no less varied. There's mail order brides ("Chewing Gum"); one in the neck for bring-back-the-noose lobbyists ("Let Him Dangle"); and the usual laments for this nation of ours, or rather what remains after most of it has been given away. "Last Boat Leaving" is the little man being resigned to his fate while "Tramp The Dirt Down" comes out screaming and fighting despite its traditional sounding, folkish air. You don't have to make a noise just to get yourself heard. | Costello's subject matter is no less varied. There's mail order brides ("Chewing Gum"); one in the neck for bring-back-the-noose lobbyists ("Let Him Dangle"); and the usual laments for this nation of ours, or rather what remains after most of it has been given away. "Last Boat Leaving" is the little man being resigned to his fate while "Tramp The Dirt Down" comes out screaming and fighting despite its traditional sounding, folkish air. You don't have to make a noise just to get yourself heard. | ||
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[[image:1989-02-11 Sounds photo 01.jpg|280px|border]] | [[image:1989-02-11 Sounds photo 01.jpg|280px|border]] | ||
<br><small>Photo.</small><br> | <br><small>Photo.</small><br> | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 01:11, 8 July 2013
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