Sounds, October 4, 1980: Difference between revisions
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I was trying to think of alternative titles for this album, but I couldn’t better the one provided. Is this Jake Riviera taking liberties with the terms of El’s American Deal? Taking liberties with the fans? It may well be both or neither, but two things should be duly noted about this collection.<br> 1) There ain’t many artists who have twenty odds, sods and B sides lying around of sufficient quality to compose an album even halfway as snazz as “T''aking Liberties''”. <br> 2) It’s sure as hell a lot more fun than The Attractions’ LP. | I was trying to think of alternative titles for this album, but I couldn’t better the one provided. Is this Jake Riviera taking liberties with the terms of El’s American Deal? Taking liberties with the fans? It may well be both or neither, but two things should be duly noted about this collection.<br> 1) There ain’t many artists who have twenty odds, sods and B sides lying around of sufficient quality to compose an album even halfway as snazz as “T''aking Liberties''”. <br> 2) It’s sure as hell a lot more fun than The Attractions’ LP. | ||
A similarly structured tape configuration to “''Taking Liberties''” | A similarly structured tape configuration to “''Taking Liberties''” will be issued by F-Beat in November, with suitable alterations to fit the Brit market. F’rinstance “[[(I Don't Want To Go To) Chelsea|(I Don’t Want To Go To) Chelsea]]” and “[[Night Rally]]” are two slabs of hardened El and Attractions vitriol included here because the Yank’s didn’t get ‘em on “''This Year’s Model''” (USA version), but these re-emergings shouldn’t put you off purchase of the greasily sleeve noted 12 inch treat at hand. For a start, there’re three previously unreleased anywhere, as far as my own scholarship can detect, works on show. That’s a short, frantic, “[[Clean Money]]”, boosted by soaring [[Dave Edmunds]] backing throatations, a new version of ‘’''Get Happy!!''’s [[Black And White World]]” (a rather bumpy attempt at sophistication), and the intriguing “[[Hoover Factory]]”, where EC waxes lyrical with a maddeningly undetectable (or at least untraceable) melodic lift from somebody else’s breathy epic about the weird beauty of the establishment in the title. “It’s not a matter of life or death”, he croons, “But what is, what is?” | ||