Penn State Capitol Campus Reader, April 6, 1978: Difference between revisions
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Rebirth. I sat listening to the hum in my headphones. Awestruck. Dumbfounded. Elvis Costello's new album had finished playing ten minutes ago, yet I could not rationalize the sense of Revelation, the refreshing bursts of enthusiasm, the feeling I had found something just minutes ago that had been lost for years. Ironic his name should be Elvis, for I see him now as, alongside Springsteen, The Great White Hope of Rock n' Roll. | Rebirth. I sat listening to the hum in my headphones. Awestruck. Dumbfounded. Elvis Costello's new album had finished playing ten minutes ago, yet I could not rationalize the sense of Revelation, the refreshing bursts of enthusiasm, the feeling I had found something just minutes ago that had been lost for years. Ironic his name should be Elvis, for I see him now as, alongside Springsteen, The Great White Hope of Rock n' Roll. | ||
The songs, "This Year's Girl" | The songs, "This Year's Girl," "No Action," "Living In Paradise," "Little Triggers," "Radio, Radio'," The urgent melodies, the gripping rhythm, the electric guitar, the harmonies, the toughness and the intelligence. The production by Nick Lowe is crisp and perfect to enhance the vitality and presence of the performance. Elvis is out front, and his three-piece band has been stripped down to the essence of Form — the guitar plus bass, drums, and Farfisa organ. | ||
Elvis Costello's minimalist philosophy could spark an architectural restoration of musical form, much the same as removing an Art-Deco facade from a Victorian building. Costello borrows from submerged styles, taking what appeals to his art and discarding the rest. Yet, he is not an imitator. What comes out is very much original, inventive, and multi-dimensional. In his music, Costello pays homage to, and in some places even worships his obvious influences in much the same sense that the Beatles owed a debt to Elvis (Presley) as a groundbreaker and originator of ideas. | Elvis Costello's minimalist philosophy could spark an architectural restoration of musical form, much the same as removing an Art-Deco facade from a Victorian building. Costello borrows from submerged styles, taking what appeals to his art and discarding the rest. Yet, he is not an imitator. What comes out is very much original, inventive, and multi-dimensional. In his music, Costello pays homage to, and in some places even worships his obvious influences in much the same sense that the Beatles owed a debt to Elvis (Presley) as a groundbreaker and originator of ideas. |
Revision as of 13:08, 9 September 2015
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