Creem, February 1987: Difference between revisions
(formatting / default sorting) |
(reduce over-linking) |
||
Line 19: | Line 19: | ||
If you prefer, this is business as usual. And I usually enjoy Costello's business. So why is ''Blood And Chocolate'' a trifle disappointing? | If you prefer, this is business as usual. And I usually enjoy Costello's business. So why is ''Blood And Chocolate'' a trifle disappointing? | ||
Well, you've got to view the LP within the context of his career. Infinitely superior to '' | Well, you've got to view the LP within the context of his career. Infinitely superior to ''Punch The Clock'' and the dreadful ''Goodbye Cruel World'', I'd be calling ''B&C'' a return to grace if ''King Of America'' hadn't fallen in the middle. With its ''Grievious Angel'' inspired narrative, ''King'' was Costello's risky modern-folk/rock/pop masterpiece — and it woke him out of a slumber. ''Blood And Chocolate'' feels like a holding action. | ||
The differences between the two albums lead to a direct comparison between their two respective centerpieces, " | The differences between the two albums lead to a direct comparison between their two respective centerpieces, "Sleep Of The Just" and "[[I Want You]]." Both deal with terror and sexual disharmony, but the former is quietly chilling — a stunning artistic statement while the latter is so smarty-pants with its "T.B. Sheets" nod and gutsy Dylan-derived title (Dylan's song cuts it to ribbons), Costello barely manages not to fall flat on his face. And he would if the song didn't tap so suddenly and so well into our fears. | ||
Soundwise, ''B&C'' is an under-produced '' | Soundwise, ''B&C'' is an under-produced ''Imperial Bedroom'', mixed with the sort of brawny rock 'n' roll the Attractions haven't managed to pull off since ''This Year's Model''. I've always found the Attractions a thoroughly competent back-up band, and while "[[Blue Chair]]" could've used the Confederates (Cos's hired hands on ''King Of America''), nobody could've improved on their "Tokyo Storm Warning." Costello himself will never have a great voice, but he's become a great singer, and every song here rings with conviction. And his guitar break on "Tokyo Storm Warning," with its zingy ''Revolver''-era Harrison steals, is solid as, ahem, concrete. | ||
Down to specifics: I'll give ''Blood And Chocolate'' the entire first side and half of the second. Also, "[[I Hope You're Happy Now]]" is my very fave song in the world today, and I want to listen to it forever. | Down to specifics: I'll give ''Blood And Chocolate'' the entire first side and half of the second. Also, "[[I Hope You're Happy Now]]" is my very fave song in the world today, and I want to listen to it forever. |
Revision as of 22:24, 19 January 2016
|