Uncut, July 2006

Bibliography   72 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 UK & Ireland weeklies UK & Ireland magazines UK & Ireland newspapers US newspapers US rock magazines US music magazines US magazines US alternative weeklies European magazines European newspapers Canada  •  Mexico  •  Asia Australia  •  New Zealand South America  •  Africa Blogs  •  Fanzines  •  Books Online publications Uncut   1997 June 1998 July 1998 November 1999 January 1999 June 1999 November 2001 January 2001 February 2001 June 2001 November 2002 April 2002 May 2002 July 2002 August 2002 November 2003 January 2003 May 2003 October 2003 November 2004 June 2004 September 2004 November 2004 December 2005 March 2005 May 2005 June 2005 July 2005 September 2006 July 2007 February 2007 September 2007 November 2008 May 2008 October 2008 November 2009 May 2009 July 2009 December 2010 November 2011 April  2011 June 2011 November 2012 January 2013 July 2013 October 2013 December 2014 December 2015 October  2015 December 2016 January 2016 February  2016 March 2016 May 2018 November 2019 January 2020 May 2020 December 2022 February 2022 May 31  2022 August 2023 January 2023 February  2023 March 23 2023 June Ultimate Music Guide 2022 April Magazines  Concerto Details Entertainment Weekly Esquire Forbes Il giornale della musica GQ Interview magazine Life Music Maker The Nation New Yorker Newsweek Nöjesguiden Opera News People Spy Time Total Guitar Uncut Vanity Fair Village Voice Vox The Word — Dublin: October 1988 Stop me if you've heard the one about Elvis Costello, Bono and Paul McCartney... Andy Gill << >> Uncut, No. 110, July 2006 Allan Jones recalls a 1988 piece on Elvis Costello. Andy Gill reviews The River In Reverse. Images Photo by Chris Clunn. The River In Reverse Elvis Costello And Allen Toussaint After his ballet and big-band projects, The Imposter turns to N’awlinz R&B, with much better results. Andy Gill By far the most appealing of Elvis Costello's recent batch of spin-off projects, The River In Reverse came about as a result of his and Allen Toussaint's involvement in Hurricane Katrina benefit concerts in New York. Understandably, the disaster underpins some of the songs here, most notably the title track and "Broken Promise Land," both of which are imbued with bitterness about how, but for aha'porth of tar, the floods could have been avoided. Steve Nieve's burring Hammond organ and Tonssaint's horns mark the rumbustious verses, before the sad chorus brings their enthusiasm up short, like voters suddenly disabused of illusions about leaders whose concerns are more, "How high shall we build this wall? / How tight can we shut that door?" Built on a similar rhythm chassis to Toussaint's classic "Hercules," "The River In Reverse" likewise takes a jaundiced view of the affair: "Wake me up with a slap or a kiss / There must be something better than this / 'cos I don't see how it can get much worse / What can we do to send the river in reverse?" The river, of course, being not just the Mississippi, but a metaphor for the rightward drift of American politics. It's not all flood-related gloom here, though. There are seven choice items from the Toussaint songbook given a fresh make over, including the uplifting civil rights anthem "Freedom For The Stallion," the gospel-styled "Nearer To You" and the classic "On The Way Down". With Toussaint leading the crack band of Attractions and New Orleans session men from the piano, Costello takes lead vocals on most tracks, singing with the enthusiasm and fun of a true fan. The exception is the rolling funk groove "Who's Gonna Help Brother," where Toussaint brings an assured momentum to the hook: "What happened to the Liberty Bell? / Did it ding-dong? / It didn't ding long." The highlight in probably "International Echo," a new co-written track about the liberating effect of rock 'n' roll on kids thousands of miles distant, with characteristic Toussaint piano flourishes and horn figures, and a message worth sending: "Thought I heard a signal coming through / In a language that I never knew / I felt the pulse in a drum tattoo / Even though I knew it was taboo." Me too, and you, I'd warrant. Cover.

External links

• Uncut.co.uk
• Wikipedia: Uncut
• ChrisClunn.com