ICE, July 2001: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
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<center><h3> Elvis Costello | <center><h3> Elvis Costello stops to take stock </h3></center> | ||
<center>''' Rhino overhauls his catalog with sundry bonus tracks </center> | <center>''' Rhino overhauls his catalog with sundry bonus tracks </center> | ||
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Despite the snarling cynicism that earned Elvis Costello his reputation as a new-wave icon and "angry young man," the 45-year-old singer-songwriter has always worn his affection for everything from Memphis soul to Tin Pan Alley on his record sleeves. And that's the under-appreciated side of Costello that Rhino Records hopes to emphasize with its new expanded and remastered reissues of his Columbia and Warner Bros. catalog. | Despite the snarling cynicism that earned Elvis Costello his reputation as a new-wave icon and "angry young man," the 45-year-old singer-songwriter has always worn his affection for everything from Memphis soul to Tin Pan Alley on his record sleeves. And that's the under-appreciated side of Costello that Rhino Records hopes to emphasize with its new expanded and remastered reissues of his Columbia and Warner Bros. catalog. | ||
Parceled into batches of three, the campaign launches on August 21 with 1977's ''[[My Aim Is True]]'', 1989's ''[[Spike]]'' and 1996's ''[[All This Useless Beauty]]'', with each album carrying an additional CD of bonus tracks from the time period. The first three titles represent what Rhino senior VP of A&R Gary Stewart describes to ICE as the early, middle and most recent examples of Costello's "more eclectic, nuanced solo side." The first batch also establishes Rhino's thematic approach that eschews chronological order in an attempt to cast Costello's albums in a more revealing light. | Parceled into batches of three, the campaign launches on August 21 with 1977's ''[[My Aim Is True]]'', 1989's ''[[Spike]]'' and 1996's ''[[All This Useless Beauty]]'', with each album carrying an additional CD of bonus tracks from the time period. The first three titles represent what Rhino senior VP of A&R Gary Stewart describes to ''ICE'' as the early, middle and most recent examples of Costello's "more eclectic, nuanced solo side." The first batch also establishes Rhino's thematic approach that eschews chronological order in an attempt to cast Costello's albums in a more revealing light. | ||
We're not going to stuff and mount them for history," Stewart explains. "We're going to deepen them and make them relevant. Elvis is being rediscovered by people who are opening up their ears and viewing him as more than just this new-wave guy.... Over 25 years, he has accumulated this incredibly diverse musical vocabulary, and we want to release the records in a way that shows that off." | We're not going to stuff and mount them for history," Stewart explains. "We're going to deepen them and make them relevant. Elvis is being rediscovered by people who are opening up their ears and viewing him as more than just this new-wave guy.... Over 25 years, he has accumulated this incredibly diverse musical vocabulary, and we want to release the records in a way that shows that off." | ||
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Other previously unreleased demos are: a stunning gospel-soul arrangement of "It's Time" that dates back to ''Mighty Like a Rose''; "Mistress and Maid," co-written with McCartney and originally appearing on the latter's 1993 CD Off the Ground; an acoustic but aggressively rendered "Distorted Angel"; "Why Can't a Man Stand Alone?," delivered in a higher key in dashed hopes of landing a place in Sam Moore's repertoire; a post-Goodbye Cruel World revision of "Only Flame in Town" with a different second verse, slowed to its original tempo with Aaron Neville in mind; the radical reconstruction of "The Comedians" featured on Roy Orbison's Mystery Girl; and "The Days Take Care of Everything," a rejected Orbison offering that uses lyrics later recycled on "Other End of the Telescope." | Other previously unreleased demos are: a stunning gospel-soul arrangement of "It's Time" that dates back to ''Mighty Like a Rose''; "Mistress and Maid," co-written with McCartney and originally appearing on the latter's 1993 CD Off the Ground; an acoustic but aggressively rendered "Distorted Angel"; "Why Can't a Man Stand Alone?," delivered in a higher key in dashed hopes of landing a place in Sam Moore's repertoire; a post-Goodbye Cruel World revision of "Only Flame in Town" with a different second verse, slowed to its original tempo with Aaron Neville in mind; the radical reconstruction of "The Comedians" featured on Roy Orbison's Mystery Girl; and "The Days Take Care of Everything," a rejected Orbison offering that uses lyrics later recycled on "Other End of the Telescope." | ||
The bonus disc is then filled out with the B-side "Almost Ideal Eyes," a jazzy Useless Beauty outtake that Costello once said was intended for David Crosby; a cover of British alt-pop band Sleeper's "What Do I Do Now" (Elvis invited Sleeper to cover "Other End of the Telescope" on a limited-edition single, and to open for him in 1996); "My Dark Life," his collaboration with Brian Eno from the ''Songs in the Key of X'' soundtrack; a duet with The Fairfield Four on "That Day Is Done," a McCartney co-write from Fairfield's 1997 CD I Couldn't Hear Nobody Pray; a haunting remix of "Distorted Angel" commissioned from Tricky for a British B-side; and "The Bridge I Burned," from the ''Extreme Honey'' compilation. | The bonus disc is then filled out with the B-side "Almost Ideal Eyes," a jazzy Useless Beauty outtake that Costello once said was intended for David Crosby; a cover of British alt-pop band Sleeper's "What Do I Do Now" (Elvis invited Sleeper to cover "Other End of the Telescope" on a limited-edition single, and to open for him in 1996); "My Dark Life," his collaboration with Brian Eno from the ''Songs in the Key of X'' soundtrack; a duet with The Fairfield Four on "That Day Is Done," a McCartney co-write from Fairfield's 1997 CD ''I Couldn't Hear Nobody Pray''; a haunting remix of "Distorted Angel" commissioned from Tricky for a British B-side; and "The Bridge I Burned," from the ''Extreme Honey'' compilation. | ||
Rhino's current plans call for the above initial batch to be followed on October 16 by ''This Year's Model'', ''Blood and Chocolate'' and ''Brutal Youth'' (representing "the archetypal, aggressive Attractions sound," Stewart says); ''Armed Forces'', ''Imperial Bedroom'' and ''Mighty Like a Rose'' ("the more elegant pop side") in January 2002; ''Get Happy'', ''Trust'' and ''Punch the Clock'' ("these show you the Attractions evolving right before your eyes)" in April 2002; and ''Almost Blue'', ''King of America'' and ''Kojak Variety'' ("his American roots-influenced records") in July 2002. Still to be scheduled are ''Goodbye Cruel World'' and ''The Juliet Letters''. Stewart notes that outside of North America, the Columbia-era titles will be released via Demon Records, the U.K. label cofounded by Costello. | Rhino's current plans call for the above initial batch to be followed on October 16 by ''This Year's Model'', ''Blood and Chocolate'' and ''Brutal Youth'' (representing "the archetypal, aggressive Attractions sound," Stewart says); ''Armed Forces'', ''Imperial Bedroom'' and ''Mighty Like a Rose'' ("the more elegant pop side") in January 2002; ''Get Happy'', ''Trust'' and ''Punch the Clock'' ("these show you the Attractions evolving right before your eyes)" in April 2002; and ''Almost Blue'', ''King of America'' and ''Kojak Variety'' ("his American roots-influenced records") in July 2002. Still to be scheduled are ''Goodbye Cruel World'' and ''The Juliet Letters''. Stewart notes that outside of North America, the Columbia-era titles will be released via Demon Records, the U.K. label cofounded by Costello. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
''' | '''ICE, No. 172, July 2001 | ||
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[[David Okamoto]] reviews the Rhino re-issues of ''[[My Aim Is True]]'', ''[[Spike]]'' and ''[[All This Useless Beauty]]''. | [[David Okamoto]] reviews the Rhino re-issues of ''[[My Aim Is True]]'', ''[[Spike]]'' and ''[[All This Useless Beauty]]''. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2001-07-00 | [[image:2001-07-00 ICE cover.jpg|360px]] | ||
<br><small>Cover.</small> | <br><small>Cover.</small> | ||
[[image:2001-07-00 | [[image:2001-07-00 ICE clipping 01.jpg|360px|border]] | ||
<br><small>Photo.</small> | <br><small>Clipping.</small> | ||
[[image:2001-07-00 ICE photo 01.jpg|360px]] | |||
<br><small>Photo by [[Tim Kent]].</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.elviscostello.info/articles/h-l/ice.010701a.html elviscostello.info] | *[http://www.elviscostello.info/articles/h-l/ice.010701a.html elviscostello.info] | ||
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[[Category:Bibliography 2001 | [[Category:Bibliography]] | ||
[[Category: | [[Category:Bibliography 2001]] | ||
[[Category:Magazine articles | [[Category:ICE| ICE 2001-07-00]] | ||
[[Category:Album reviews | [[Category:Magazine articles]] | ||
[[Category:My Aim Is True reviews | [[Category:Album reviews]] | ||
[[Category:Spike reviews | [[Category:My Aim Is True reviews]] | ||
[[Category:All This Useless Beauty reviews | [[Category:Spike reviews]] | ||
[[Category:All This Useless Beauty reviews]] |
Latest revision as of 02:54, 30 June 2018
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