Rolling Stone, March 9, 1989: Difference between revisions
(formatting +US rock magazines index) |
(formatting) |
||
Line 23: | Line 23: | ||
''Spike'' — a scattershot, genre-bending work — solves this problem, at least for the moment. In the fabulously malevolent "[[Let Him Dangle]]," Costello tells a frightening tale of crime and punishment with a rhythmically complex arrangement that recalls the herky-jerky, grungy style of Tom Waits's recent work. The instrumental "[[Stalin Malone]]" is an infectious piece of funk jazz played with considerable animation by the Dirty Dozen Brass Band. "[[Veronica]]," a delicate pop-rocker co-written with McCartney, and the dramatic "[[Miss Macbeth]]" are reminiscent of the ornate, Beatles-inspired material on Costello's ''Imperial Bedroom''; "Miss Macbeth" features the additional sonic boost of fiddle, uillean pipes, and bouzoukis. "[[Chewing Gum]]" is a fine, complex bit of Brit funk, and "[[Deep Dark Truthful Mirror]]" is a soulful ethics lesson that suggests somebody has been spending a few hours listening to Van Morrison CDs. And on the exquisite, spare "[[Baby Plays Around]]", written by Costello and his wife, [[Cait O'Riordan]], he proves again that he's one hell of a torch singer. | ''Spike'' — a scattershot, genre-bending work — solves this problem, at least for the moment. In the fabulously malevolent "[[Let Him Dangle]]," Costello tells a frightening tale of crime and punishment with a rhythmically complex arrangement that recalls the herky-jerky, grungy style of Tom Waits's recent work. The instrumental "[[Stalin Malone]]" is an infectious piece of funk jazz played with considerable animation by the Dirty Dozen Brass Band. "[[Veronica]]," a delicate pop-rocker co-written with McCartney, and the dramatic "[[Miss Macbeth]]" are reminiscent of the ornate, Beatles-inspired material on Costello's ''Imperial Bedroom''; "Miss Macbeth" features the additional sonic boost of fiddle, uillean pipes, and bouzoukis. "[[Chewing Gum]]" is a fine, complex bit of Brit funk, and "[[Deep Dark Truthful Mirror]]" is a soulful ethics lesson that suggests somebody has been spending a few hours listening to Van Morrison CDs. And on the exquisite, spare "[[Baby Plays Around]]", written by Costello and his wife, [[Cait O'Riordan]], he proves again that he's one hell of a torch singer. | ||
''Spike'' is at least as interesting for what Costello says as how he says it. "[[Tramp The Dirt Down|Tramp the Dirt Down]]" is a vicious swipe at Margaret Thatcher and her betrayal of England's less fortunate. ''"When England was the whore of the world,"'' Costello sings, ''"Margaret was her madam."'' In "[[Satellite]]", Costello and backup vocalist Chrissie Hynde capture the sleazy heartbreak of an illicit high-tech love affair, to a delicate melody that features a bit of the Odd Couple theme. And in the haunting "[[God's Comic]]" — a song that Kurt Weill and Bertolt Brecht would be proud to call their own — Costello assumes the role of the Big Guy's fool. In the song, the comic meets God, who's sipping soda while lying on his waterbed, listening to Requiem, by Andrew Lloyd Webber, composer of ''Jesus Christ Superstar''. ''"He said, before it had really begun,"'' Costello sings, "''I prefer the one about my son."'' | ''Spike'' is at least as interesting for what Costello says as how he says it. "[[Tramp The Dirt Down|Tramp the Dirt Down]]" is a vicious swipe at Margaret Thatcher and her betrayal of England's less fortunate. ''"When England was the whore of the world,"'' Costello sings, ''"Margaret was her madam."'' In "[[Satellite]]", Costello and backup vocalist Chrissie Hynde capture the sleazy heartbreak of an illicit high-tech love affair, to a delicate melody that features a bit of the Odd Couple theme. And in the haunting "[[God's Comic]]" — a song that Kurt Weill and Bertolt Brecht would be proud to call their own — Costello assumes the role of the Big Guy's fool. In the song, the comic meets God, who's sipping soda while lying on his waterbed, listening to ''Requiem'', by Andrew Lloyd Webber, composer of ''Jesus Christ Superstar''. ''"He said, before it had really begun,"'' Costello sings, "''I prefer the one about my son."'' | ||
Costello has said that ''Spike'' — named partly in tribute to the popular musical comedian Spike Jones — is his first comedy record. But the comedy that Costello seems most interested in is the human comedy. ''Spike'' is a serious piece of work by any standard, a troubling masterpiece by a man who knows full well that clowntime is over. | Costello has said that ''Spike'' — named partly in tribute to the popular musical comedian Spike Jones — is his first comedy record. But the comedy that Costello seems most interested in is the human comedy. ''Spike'' is a serious piece of work by any standard, a troubling masterpiece by a man who knows full well that clowntime is over. |
Revision as of 23:55, 26 March 2018
|