Wright State University Guardian, March 10, 1981: Difference between revisions
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<center><h3> Emotional Elvis Costello warrants | <center><h3> Emotional Elvis Costello warrants 'Trust' </h3></center> | ||
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<center> Dennis McCurdy </center> | <center> Dennis McCurdy </center> | ||
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'''Elvis Costello and the Attractions <br> | |||
Trust | |||
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This is Elvis' most accessible album since 1978's ''Armed Forces'', and it's not coincidental that it's also his best since that record. | This is Elvis' most accessible album since 1978's ''Armed Forces'', and it's not coincidental that it's also his best since that record. | ||
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But it shared a common problem with its predecessor, ''Get Happy!'': too many diverse styles, too many musical ideas, and especially too many short songs crammed onto two sides. | But it shared a common problem with its predecessor, ''Get Happy!'': too many diverse styles, too many musical ideas, and especially too many short songs crammed onto two sides. | ||
It seems odd to protest because an artist is giving you too much for your money. But the fact is that you had to have the attention span of Zippy the pinhead to really enjoy those albums. | It seems odd to protest because an artist is giving you too much for your money. But the fact is that you had to have the attention span of Zippy the pinhead to really enjoy those albums. | ||
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On ''Trust'' Elvis is back to a more manageable seven songs per side, and several of them actually go over the three-minute mark. They're still loaded with ideas and variety, but they're given room to stretch a bit and breathe. | On ''Trust'' Elvis is back to a more manageable seven songs per side, and several of them actually go over the three-minute mark. They're still loaded with ideas and variety, but they're given room to stretch a bit and breathe. | ||
Probably the most impressive song here — the only one that really breaks new ground for Costello — is "Shot With His Own Gun." The cascading, dramatic piano that dominates this song, and its abrupt shifts in dynamics, evokes suggestions of Jacques Brel or Kurt Weill. | Probably the most impressive song here — the only one that really breaks new ground for Costello — is "Shot With His Own Gun." The cascading, dramatic piano that dominates this song, and its abrupt shifts in dynamics, evokes suggestions of Jacques Brel or Kurt Weill. | ||
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''Trust'' is an enjoyable album of consistently good songs. Other highlights include the syncopated rhythm of "You'll Never Be A Man," the catchy refrain of "Strict Time," a straight country and western number, "Different Finger," and the album's closer. "Big Sister's Clothes." | ''Trust'' is an enjoyable album of consistently good songs. Other highlights include the syncopated rhythm of "You'll Never Be A Man," the catchy refrain of "Strict Time," a straight country and western number, "Different Finger," and the album's closer. "Big Sister's Clothes." | ||
This last song returns to Costello's favorite theme: the artificiality, dehumanization, and trivializing of emotions in the modern world. | This last song returns to Costello's favorite theme: the artificiality, dehumanization, and trivializing of emotions in the modern world. | ||
"Emotional fascism | "Emotional fascism," as he aptly characterized the syndrome an ''Armed Forces'', is pretty neatly summed up in these lines from the song: ''"Well it's easier to say I love you / than yours sincerely, I suppose."'' | ||
It's nice to know that there's still someone in the music business who ''can'' say things with sincerity — someone you can trust. Welcome back. Elvis. | It's nice to know that there's still someone in the music business who ''can'' say things with sincerity — someone you can trust. Welcome back. Elvis. | ||
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<small>Page scan.</small><br> | |||
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Revision as of 22:58, 18 August 2021
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