Winnipeg Free Press, November 14, 1981: Difference between revisions
(start page) |
(formatting / fix scan errors) |
||
Line 12: | Line 12: | ||
''Almost Blue'' (Columbia) is a dream come true for Elvis Costello. One of the great things about rock stardom is that you get to indulge yourself. For Costello, a die-hard country music freak, that entailed a trip to Nashville to record a bunch of pure country hits with legendary producer Billy Sherrill. | ''Almost Blue'' (Columbia) is a dream come true for Elvis Costello. One of the great things about rock stardom is that you get to indulge yourself. For Costello, a die-hard country music freak, that entailed a trip to Nashville to record a bunch of pure country hits with legendary producer Billy Sherrill. | ||
Costello's choice of material and the versions he has put to vinyl indicate that this country side trip is no faddish or whimsical notion. | Costello's choice of material and the versions he has put to vinyl indicate that this country side trip is no faddish or whimsical notion. He works his way through Hank Williams' Why Don't You Love Me (Like You Used To Do), Merle Haggard's "Tonight The Bottle Let Me Down," Charlie Rich's "Sittin' and Thinkin'," the Joe Turner song recorded by Jerry Lee Lewis, "Honey Hush," and the Gram Parsons/Chris Ethridge lament "Hot Burrito Number One," retitled "I'm Your Toy." These are all pieces of music tried and true to a certain definition of country music. The words detail with crystal clarity the emotions of love and loss. They zero in on events with an economy of phrasing, an eye for detail and a sense of lyrical device that is awesome when it works. | ||
These very elements have always been the hallmark of Costello's rock. He's made a lot of mournful, reflective songs that deal with his own pain. He has also carved a writing style based on the same kind of succinct imagery and turns of phrase found in this set. His own Stranger in The House would not be out of place in this context. | These very elements have always been the hallmark of Costello's rock. He's made a lot of mournful, reflective songs that deal with his own pain. He has also carved a writing style based on the same kind of succinct imagery and turns of phrase found in this set. His own Stranger in The House would not be out of place in this context. | ||
Line 33: | Line 33: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1981-11-14 Winnipeg Free Press clipping 01.jpg|360px]] | [[image:1981-11-14 Winnipeg Free Press clipping 01.jpg|360px|border]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
[[image:1981-11-14 Winnipeg Free Press page 35.jpg|x120px]] | [[image:1981-11-14 Winnipeg Free Press page 35.jpg|x120px|border]] | ||
<br><small>Page scan.</small> | <br><small>Page scan.</small> | ||
Revision as of 04:50, 26 February 2014
|