Baltimore Sun, March 5, 1989: Difference between revisions
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Even more appealing was the revved-up sound generated by Costello and his band, the Attractions. As adept at C&W or the clipped cadences of white R&B as at punk and garage rock, the Attractions were in many ways the perfect new wave rhythm section, able to deliver in pure music what other bands only promised as attitude. | Even more appealing was the revved-up sound generated by Costello and his band, the Attractions. As adept at C&W or the clipped cadences of white R&B as at punk and garage rock, the Attractions were in many ways the perfect new wave rhythm section, able to deliver in pure music what other bands only promised as attitude. | ||
But the Attractions' sound was ultimately as limiting as Costello's original image, and attempts to push past those limits — whether through the ill-intentioned pop of ''Goodbye, Cruel World'' in '84 or the brash impressionism of ''Blood | But the Attractions' sound was ultimately as limiting as Costello's original image, and attempts to push past those limits — whether through the ill-intentioned pop of ''Goodbye, Cruel World'' in '84 or the brash impressionism of ''Blood & Chocolate'' two years later — invariably came up short. Elvis and the Attractions were beginning to verge on self-parody, and that seemed to pain no one so much as the singer himself. | ||
So with ''Spike'', Costello exercises his only real option, and starts virtually from scratch. Gone are the Attractions, having been replaced by a revolving and astonishingly eclectic cast of supporting musicians; gone too are Costello's romantic recriminations, with real-life politics taking the place of the "emotional fascism" that fueled his early output. On the whole, it sounds like a whole new Elvis for this album. | So with ''Spike'', Costello exercises his only real option, and starts virtually from scratch. Gone are the Attractions, having been replaced by a revolving and astonishingly eclectic cast of supporting musicians; gone too are Costello's romantic recriminations, with real-life politics taking the place of the "emotional fascism" that fueled his early output. On the whole, it sounds like a whole new Elvis for this album. | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Baltimore Sun, September 26, 1986 | |||
|next = Baltimore Sun, August 21, 1989 | |||
}} | |||
'''The Sun, March 5, 1989 | '''The Sun, March 5, 1989 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1989-03-05 Baltimore Sun page 1E clipping 01.jpg| | [[image:1989-03-05 Baltimore Sun page 1E clipping 01.jpg|260px]] | ||
<br><small>Clippings.</small> | <br><small>Clippings.</small> | ||
[[image:1989-03-05 Baltimore Sun page 9E clipping 01.jpg| | [[image:1989-03-05 Baltimore Sun page 9E clipping 01.jpg|260px]] | ||
Latest revision as of 02:44, 16 August 2020
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