Casa Grande Dispatch, March 18, 1994: Difference between revisions
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Well, it's like this ... Elvis, since arriving on the music scene with ''My Aim is True'' in 1977, has worked extensively with his backing band, The Attractions. And it was great. He built a massive group of devout fans with his versatile style of energetic and angry pop music Which he expressed in a few different styles — punk, rock, country, blues and a few unmentionables. | Well, it's like this... Elvis, since arriving on the music scene with ''My Aim is True'' in 1977, has worked extensively with his backing band, The Attractions. And it was great. He built a massive group of devout fans with his versatile style of energetic and angry pop music Which he expressed in a few different styles — punk, rock, country, blues and a few unmentionables. | ||
But after a dozen or so records, the last being the brilliant ''Blood and Chocolate'' in 1986, Elvis and the Attractions parted ways. | But after a dozen or so records, the last being the brilliant ''Blood and Chocolate'' in 1986, Elvis and the Attractions parted ways. | ||
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It turns out he wasn't. Elvis and the Attractions have struck back with a host of "classic" songs on ''Brutal Youth'' which closely enough resemble the early angst-filled days to raise a wry smile. | It turns out he wasn't. Elvis and the Attractions have struck back with a host of "classic" songs on ''Brutal Youth'' which closely enough resemble the early angst-filled days to raise a wry smile. | ||
"Kinder Murder," "13 Steps Lead Down," (maybe the bit from this record ... like "Veronica" was from ''Spike'') and "Just About Glad" are exactly what Elvis needed to do after the last eight years. | "Kinder Murder," "13 Steps Lead Down," (maybe the bit from this record... like "Veronica" was from ''Spike'') and "Just About Glad" are exactly what Elvis needed to do after the last eight years. | ||
It doesn't sound as if there was any extended thought on ''Brutal Youth'' or any extra tinkering with the arrangements — all you'll find are | It doesn't sound as if there was any extended thought on ''Brutal Youth'' or any extra tinkering with the arrangements — all you'll find are straightforward pop tunes twinged with that anger and passion that creates the difference between Elvis C. and Elvis P. | ||
''Brutal Youth'' also features some somber moments — moments which have always seemed to be a Perfect venue for Elvis' spite. "This is Hell," "You Tripped at Every Step," and "Still Too Soon to Know" are slow and sound pretty but are quite scathing in reality. | ''Brutal Youth'' also features some somber moments — moments which have always seemed to be a Perfect venue for Elvis' spite. "This is Hell," "You Tripped at Every Step," and "Still Too Soon to Know" are slow and sound pretty but are quite scathing in reality. | ||
The lone stinker — and this is a real stinker — is "Sulky Girl," (great title, weak tune) a song barely worthy of Sade. In fact, it sounds as if Sade wrote the darn thing. Remember Sade? OK ... stop remembering. | The lone stinker — and this is a real stinker — is "Sulky Girl," (great title, weak tune) a song barely worthy of Sade. In fact, it sounds as if Sade wrote the darn thing. Remember Sade? OK... stop remembering. | ||
A neat chorus nearly saves this one, but every time it threatens to get interesting, Elvis slips back into the Sade thing. Oh dear. | A neat chorus nearly saves this one, but every time it threatens to get interesting, Elvis slips back into the Sade thing. Oh dear. |
Revision as of 03:24, 13 November 2013
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