St. Petersburg Times, March 9, 1986: Difference between revisions
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<center><h3> Elvis Costello: warm and intimate sound </h3></center> | <center><h3> Elvis Costello: warm and intimate sound </h3></center> | ||
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<center> Malcolm Jones </center> | <center> Malcolm Jones </center> | ||
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''' The Costello Show, featuring Elvis Costello <br> King Of America | |||
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This is the quietest, most deliberate record Elvis Costello has made yet, and the most articulate: both in terms of what he says and how he says it. The instrumental configuration varies a little from song to song, but it's primarily the sort of line-up you'd find in a small jazz band or an early rock 'n' roll combo — guitars, bass, drums, organ, piano — and those instruments are likely as not to be acoustic, with brushes on the drums. The result is a warm, intimate sound, buoyed especially by the bass playing, which in every instance but two is provided by the excellent Jerry Scheff and otherwise by the great Ray Brown. | This is the quietest, most deliberate record Elvis Costello has made yet, and the most articulate: both in terms of what he says and how he says it. The instrumental configuration varies a little from song to song, but it's primarily the sort of line-up you'd find in a small jazz band or an early rock 'n' roll combo — guitars, bass, drums, organ, piano — and those instruments are likely as not to be acoustic, with brushes on the drums. The result is a warm, intimate sound, buoyed especially by the bass playing, which in every instance but two is provided by the excellent Jerry Scheff and otherwise by the great Ray Brown. | ||
Listening to the roughly hour's worth of music on ''King of America'', one realizes what has been lost in rock and pop as the music has become more and more electrified. There is an intimacy, a liveliness here not found in almost any other pop record of recent memory. By taking the sophistication back to about where the first rockabilly musicians first began plugging in, Costello and his producer, T | Listening to the roughly hour's worth of music on ''King of America'', one realizes what has been lost in rock and pop as the music has become more and more electrified. There is an intimacy, a liveliness here not found in almost any other pop record of recent memory. By taking the sophistication back to about where the first rockabilly musicians first began plugging in, Costello and his producer, T{{nb}}Bone Burnett, quickly recapture a lot of the spark and the suppleness that characterized those earlier records. | ||
It is not, however, "roots" rock, a la Dave Edmunds or the Blasters, nor is it a tribute to a genre, the sort of thing Costello himself aimed for with ''Almost Blue'', his country record. Rather, it seems like nothing more or less than an effort to strip music down to its essential parts, to explore the strengths in playing it straight. | It is not, however, "roots" rock, a la Dave Edmunds or the Blasters, nor is it a tribute to a genre, the sort of thing Costello himself aimed for with ''Almost Blue'', his country record. Rather, it seems like nothing more or less than an effort to strip music down to its essential parts, to explore the strengths in playing it straight. | ||
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Latest revision as of 05:04, 29 January 2021
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