Stereo Review, August 1993: Difference between revisions

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{{:Magazine index}}
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<center>Popular Music</center>
<center><h3> Now Ain't The Time For Your Tears</h3></center>
<center><h3> Wendy James </h3></center>
<center>''' Wendy James  </center>
<center>''' ''Now Ain't The Time For Your Tears'' ''' </center>
<center>DGC 24507 (38 min) </center>
<center>'''Performance: Pop-punk redux </center>
<center>'''Recording: Ragged but right</center>
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<center> Parke Puterbaugh </center>
<center> Parke Puterbaugh </center>
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What a strange collection; Elvis Costello writes the tunes, then conveys them to [[Wendy James]] (with no apparent face to face meeting), the former voice of Transvision Vamp. The songs are the kind of short, sweet, pop-punk nuggets Costello can't or won't sing at this point in his career--he's far too dense and complex for that now--so he's put them in the hands of a singer whose sense of irony and intellect are far less developed. The songs have the wit, succinctness, and drive that have been missing from Costello's own records of late, and James, hovering vocally somewhere between Debbie Harry's pop diva and Wendy O. Williams's porn-punk tramp, does them justice. [[This Is A Test|This Is a Test]], clocking in under 2 minutes. and [[Puppet Girl]], with its Who-like stutter ("cut-cut-cut-cut your strings"), are instant standouts, but [[London's Brilliant]] has got the best line: Making reference to "digging up the bones of Strummer and Jones." it's a Clash-back to 1977 that will put a smile on the face of anyone who nightclubbed and pogo'ed through punk's heyday.
What a strange collection; Elvis Costello writes the tunes, then conveys them to Wendy James (with no apparent face to face meeting), the former voice of Transvision Vamp. The songs are the kind of short, sweet, pop-punk nuggets Costello can't or won't sing at this point in his career — he's far too dense and complex for that now — so he's put them in the hands of a singer whose sense of irony and intellect are far less developed. The songs have the wit, succinctness, and drive that have been missing from Costello's own records of late, and James, hovering vocally somewhere between Debbie Harry's pop diva and Wendy O. Williams's porn-punk tramp, does them justice. "This Is a Test," clocking in under 2 minutes, and "Puppet Girl," with its Who-like stutter (''"cut-cut-cut-cut your strings"''), are instant standouts, but "London's Brilliant" has got the best line: Making reference to ''"digging up the bones of Strummer and Jones,"'' it's a Clash-back to 1977 that will put a smile on the face of anyone who nightclubbed and pogo'ed through punk's heyday.
 
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'''Performance: Pop-punk redux <br>
'''Recording: Ragged but right


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'''Stereo Review, August 1993
'''Stereo Review, August 1993
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[[Parke Puterbaugh]] reviews ''[[Now Ain't The Time For Your Tears]]''.
[[Parke Puterbaugh]] reviews Wendy James' ''[[Now Ain't The Time For Your Tears]]''.


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[[image:1993-08-00 Stereo Review page 84 clipping.jpg|x400px|border|clipping]]<br>
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<br><small>Clipping.</small>
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[[image:1993-08-00 Stereo Review page 84.jpg|x400px|border|page 84]]<br>
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<br><small>Page scan.</small>
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<br><small>Cover and page scan.</small>
 
[[image:1993-08-00 Stereo Review cover.jpg|x120px]]
<br><small>Cover.</small>


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Revision as of 18:51, 25 April 2018

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Now Ain't The Time For Your Tears

Wendy James
Parke Puterbaugh

What a strange collection; Elvis Costello writes the tunes, then conveys them to Wendy James (with no apparent face to face meeting), the former voice of Transvision Vamp. The songs are the kind of short, sweet, pop-punk nuggets Costello can't or won't sing at this point in his career — he's far too dense and complex for that now — so he's put them in the hands of a singer whose sense of irony and intellect are far less developed. The songs have the wit, succinctness, and drive that have been missing from Costello's own records of late, and James, hovering vocally somewhere between Debbie Harry's pop diva and Wendy O. Williams's porn-punk tramp, does them justice. "This Is a Test," clocking in under 2 minutes, and "Puppet Girl," with its Who-like stutter ("cut-cut-cut-cut your strings"), are instant standouts, but "London's Brilliant" has got the best line: Making reference to "digging up the bones of Strummer and Jones," it's a Clash-back to 1977 that will put a smile on the face of anyone who nightclubbed and pogo'ed through punk's heyday.

Performance: Pop-punk redux
Recording: Ragged but right

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Stereo Review, August 1993

Parke Puterbaugh reviews Wendy James' Now Ain't The Time For Your Tears.

Images

1993-08-00 Stereo Review page 84 clipping.jpg
Clipping.

1993-08-00 Stereo Review cover.jpg 1993-08-00 Stereo Review page 84.jpg
Cover and page scan.

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