Stanford Daily, February 12, 1981: Difference between revisions
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<center><h3> Trust: Elvis Costello cuts hair | <center><h3> Trust: Elvis Costello cuts hair and returns{{nb}}to{{nb}}audience </h3></center> | ||
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<center> Chris Butchko </center> | <center> Chris Butchko </center> | ||
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''"Don't say a word / Don't say anything / Don't say a word / I'm not even listening" | ''"Don't say a word / Don't say anything / Don't say a word / I'm not even listening" | ||
Despite that indication | Despite that indication, Elvis Costello is finally trying to come to terms with his audience on his new album, ''Trust''. From a look at the album cover, one can see that he has regained two things that were pretty much put aside after his first album: his crewcut and his sense of humour. On the cover, the newly-shorn Elvis seems about to respond to someone who has just asked him if he really was the rock star Donny Osmond. The inner sleeves have the same kind of self-parodying humour as the cover and the title. One side shows Elvis reclining in a frame chair wearing a slouch hat and overcoat, trying very hard to look like Humphrey Bogart, and the other has Elvis playing in front of a massive, Buddy Holly-style orchestra. Despite the lighter touch shown on this album, however, the content of Elvis' songs hasn't really changed. On his first album he told us he ''"used to be disgusted, but now I try to be amused."'' Whatever it says about the world now, he's certainly amused. | ||
After ''Get Happy!!'' where the music was pared down as much as possible, and two of the three new songs on ''Taking Liberties'', which sounded as though they had been recorded during a fire drill and had been backed by an anvil chorus, Elvis's style seemed to be moving away from the mainstream towards a "less-is-best" feeling. ''Trust'', however, is a definite return to full instrumentation, without any loss of inspiration. | After ''Get Happy!!'' where the music was pared down as much as possible, and two of the three new songs on ''Taking Liberties'', which sounded as though they had been recorded during a fire drill and had been backed by an anvil chorus, Elvis's style seemed to be moving away from the mainstream towards a "less-is-best" feeling. ''Trust'', however, is a definite return to full instrumentation, without any loss of inspiration. | ||
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Before the album ends, Elvis gives shows of both good humour and old-time disgust. In "Fish and Chip Paper" he says ''"The Sunday morning dandruff turns out to be confetti / and the cost of living in sin would make a poor man of Paul Getty."'' The song follows the life of sin through all its facets, and the chorus pops up to urge it on: ''"You better speak up now, it won't mean a thing later / yesterday's news is tomorrow's fish and chip paper."'' | Before the album ends, Elvis gives shows of both good humour and old-time disgust. In "Fish and Chip Paper" he says ''"The Sunday morning dandruff turns out to be confetti / and the cost of living in sin would make a poor man of Paul Getty."'' The song follows the life of sin through all its facets, and the chorus pops up to urge it on: ''"You better speak up now, it won't mean a thing later / yesterday's news is tomorrow's fish and chip paper."'' | ||
"Big Sister s Clothes," the last song is produced by Elvis (instead of Nick Lowe, who produced the rest of the album) and shows Elvis's touch both in the production, in which strange and out of place noises drift through the background, and most certainly in the lyrics. ''"Sheep to the slaughter,"'' it starts, ''"Oh, I thought this must be love!"'' In a sad, resigned voice, he tells of all the phoniness and pretense that goes on in a romance. Wryly, he points out the important things in love: ''"With a hammer for the 'slap and tickle' / And the girls with their comments / With all the style and finesse / And the purchase of armaments."'' In the end, Elvis admits that ''"It's easier to say I love you / than yours sincerely, I suppose / All little sisters / Like to try on big sister's clothes."'' | "Big Sister s Clothes," the last song is produced by Elvis (instead of Nick Lowe, who produced the rest of the album) and shows Elvis's touch both in the production, in which strange and out of place noises drift through the background, and most certainly in the lyrics. ''"Sheep to the slaughter,"'' it starts, ''"Oh, I thought this must be love!"'' In a sad, resigned voice, he tells of all the phoniness and pretense that goes on in a romance. Wryly, he points out the important things in love: ''"With a hammer for the 'slap and tickle' / And the girls with their comments / With all the style and finesse / And the purchase of armaments."'' In the end, Elvis admits that ''"It's easier to say 'I love you' / than 'yours sincerely,' I suppose / All little sisters / Like to try on big sister's clothes."'' | ||
Elvis Costello has made a long step back towards his audience, and he has done it without compromising his views. The "new" Elvis, a little more calm, a little less angry, a little more witty, and a lot more experienced, is making the best music of his career. If he could only learn to hold his liquor ... | Elvis Costello has made a long step back towards his audience, and he has done it without compromising his views. The "new" Elvis, a little more calm, a little less angry, a little more witty, and a lot more experienced, is making the best music of his career. If he could only learn to hold his liquor ... | ||
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Latest revision as of 08:20, 25 July 2020
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