If I have to think about a "solid" Costellian masterpiece, that time cannot swept away, and that has objective substantial features, then "Lipstick Vogue" is probably the one that I would chose (at least from the early period). It has a unbeatable hysterical neurotic franticness developed in a parossistic way in the "only instruments" section.Mr. Average wrote:Lipstick Vogue may very well be my absolute favorite. My least favorite: selections from the Juliet letters.
Oh uh uh uh, yeah, here I am: The Juliet Letters is one of the finest Costello achievement (thanks to the collaboration with the Brodsky Quartet), splendid, elegant, humorous, sensitive - "and those who don't appareciate it aren't able to tell a pudding from a shit!". Oh, did I say too much? Oh my.strangerinthehouse wrote:first of all, I can't stand Plaboy to a Man, most of GCW. I like the demo versions of PTC better than the album. Chewing Gum and Pads,Paws and Claws are forgetable in Spike. I never really liked Moods for Moderns.
Now I can't believe nobody has yet come out in defense of The Juliet Letters, that album is just beautiful. i have to admit that when i got it i didn't quite know what to think of it and it has never been one of my favorites but i was just listening to it a couple days ago and i just found it amazing. I know EC's voice in it can sound coarse at times and even downright annoying but the strings alone are what make this album worth to listen to. Pardon me for a lack of classical music jargon but i just love the crescendos and breakdowns in each song. in fact i think elvis is simply accompanying the brodsky quartet as opposed to the other way around and without him it would have been a great classical album that i never would have purchased.
