Musician, July 1996: Difference between revisions

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{{magazine index}}
{{magazine index}}
{{Bibliography article header}}
{{Bibliography article header}}
<h3>Elvis Costello<br>
<center> <h3>Elvis Costello <br> All This Useless Beauty </h3> </center>
All This Useless Beauty</h3>
<center> (Warner Bros.) </center>
(Warner Bros.)
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<center> Dave DiMartino </center>
<center> Dave DiMartino </center>
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{{Bibliography text}}
{{Bibliography text}}


It's easy to get lost within the sheer bulk of Elvis Costello's  
It's easy to get lost within the sheer bulk of Elvis Costello's work — particularly since most of it, from 1977's ''[[My Aim Is True]]'' through 1986's ''[[Blood & Chocolate]]'', has been reissued by Rykodisc, bearing bonus tracks galore and directly competing with his new material. Of which, of course, there's been lots.
work—particularly since most of it, from 1977's MAIT through 1986's
B&C, has been reissued by Rykodisc, bearing bonus tracks galore and  
directly competing with his new material. Of which, of course, there's  
been lots.


In that context, ATUB sounds surprisingly good. Since TJL, his  
In that context, ''[[All This Useless Beauty]]'' sounds surprisingly good. Since ''[[The Juliet Letters]]'', his disappointing 1993 collaboration with [[the Brodsky Quartet]] — "disappointing" because whatever it attempted to do, it didn't — Costello has seemed to be struggling, making albums that have "angles," often at the expense of individual songs. 1994's ''[[Brutal Youth]]'': Elvis reunites with [[the Attractions]]. 1995's ''[[Kojak Variety]]'': Elvis does oldies. ''All This Useless Beauty''? Elvis reunites with the Attractions and does oldies, sort of.
disappointing 1993 collaboration with the Brodsky  
Quartet—"disappointing" because whatever it attempted to do, it  
didn't—Costello has seemed to be struggling, making albums that have  
"angles," often at the expense of individual songs. 1994's BY: Elvis  
reunites with the Attractions. 1995's KV: Elvis does oldies. ATUB?
Elvis reunites with the Attractions and does oldies, sort of.


In fact, the new record puts Costello and the Attractions back on  
In fact, the new record puts Costello and the Attractions back on track, making music that often sounds like it might've come from their best work, 1992's ''[[Imperial Bedroom]]''. Partial credit here surely stems from co-producer [[Geoff Emerick]], who likewise shaped ''Bedroom''; unlike [[Kevin Killen]] or [[Mitchell Froom]], Costello's most recent co-producers, he's a Brit, and the sound here reveals as much. [[Steve Nieve]]'s piano has as much reverbed twinkle as it did 15 years ago, and it's a very welcome sound.
track, making music that often sounds like it might've come from their  
best work, 1992's IB. Partial credit here surely stems from co-producer  
Geoff Emerick, who likewise shaped Bedroom; unlike Kevin Killen or  
Mitchell Froom, Costello's most recent co-producers, he's a Brit, and  
the sound here reveals as much. Steve Nieve's piano has as much  
reverbed twinkle as it did 15 years ago, and it's a very welcome sound.


In a sense, this album clears the decks: There are six songs here  
In a sense, this album clears the decks: There are six songs here Costello has written for or with others but never recorded himself, including the opener "[[The Other End (Of The Telescope)|Other End (Of The Telescope)]]" (co-written with [[Aimee Mann]] and previously sung by [['Til Tuesday]]), "[[You Bowed Down]]" (written for [[Roger McGuinn]]'s 1991 comeback set ''[[Roger McGuinn: Back From Rio|Back From Rio]]''), and "[[Shallow Grave]]" (from the [[Paul McCartney]] collaborations), among others. Those songs are fine but the newer material is more satisfying and sounds less written-for-hire and more written-from-the-heart.
Costello has written for or with others but never recorded himself,  
including the opener "Other End (Of The Telescope)" (co-written with  
Aimee Mann and previously sung by 'Til Tuesday), "You Bowed Down"  
(written for Roger McGuinn's 1991 comeback set Back From Rio), and  
"Shallow Grave" (from the Paul McCartney collaborations), among others.  
Those songs are fine but the newer material is more satisfying and  
sounds less written-for-hire and more written-from-the-heart.


Once, long ago, Costello sang Dusty Springfield's "I Just Don't  
Once, long ago, Costello sang [[Dusty Springfield]]'s "[[I Just Don't Know What To Do With Myself]]." Later, on the liner notes to ''Kojak Variety'', he raved about her classic 1969 album ''Dusty in Memphis''. It's not difficult to imagine Dusty singing "[[Distorted Angel]]," one of ''Beauty'''s better tunes. Nor would "[[It's Time]]" sound out of place had Sandie Shaw covered it 30 years ago. This is no small compliment. ''All This Useless Beauty'' sounds like the sort of great pop music Elvis Costello was supposed to be making, if, I don't know, he'd only been paying attention or something. Now he is — and we should be, too.
Know What To Do With Myself." Later, on the liner notes to KV, he raved  
about her classic 1969 album Dusty in Memphis. It's not difficult to  
imagine Dusty singing "Distorted Angel," one of Beauty's better tunes.  
Nor would "It's Time" sound out of place had Sandie Shaw covered it 30  
years ago. This is no small compliment. ATUB sounds like the sort of  
great pop music Elvis Costello was supposed to be making, if, I don't  
know, he'd only been paying attention or something. Now he is—and we  
should be, too.


{{cx}}
{{cx}}
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{{Bibliography notes}}
{{Bibliography notes}}
'''Musician, October 1983'''
'''Musician, October 1983
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[[Dave DiMartino]] reviews ''[[All This Useless Beauty]]''.
[[Dave DiMartino]] reviews ''[[All This Useless Beauty]]''.
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*[http://en.wikipedia.org/wiki/Musician_(magazine) Wikipedia: Musician magazine]
*[http://en.wikipedia.org/wiki/Musician_(magazine) Wikipedia: Musician magazine]
*[http://www.elviscostello.info/articles/m/musician.960701a.txt elviscostello.info]
*[http://www.elviscostello.info/articles/m/musician.960701a.txt elviscostello.info]
*[http://www.rocksbackpages.com/Library/Article/elvis-costello-iall-this-useless-beauty-iwarner-bros rocksbackpages.com]


[[Category:Bibliography|Musician 1996-07-00]]
[[Category:Bibliography|Musician 1996-07-00]]

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Elvis Costello
All This Useless Beauty

(Warner Bros.)
Dave DiMartino

It's easy to get lost within the sheer bulk of Elvis Costello's work — particularly since most of it, from 1977's My Aim Is True through 1986's Blood & Chocolate, has been reissued by Rykodisc, bearing bonus tracks galore and directly competing with his new material. Of which, of course, there's been lots.

In that context, All This Useless Beauty sounds surprisingly good. Since The Juliet Letters, his disappointing 1993 collaboration with the Brodsky Quartet — "disappointing" because whatever it attempted to do, it didn't — Costello has seemed to be struggling, making albums that have "angles," often at the expense of individual songs. 1994's Brutal Youth: Elvis reunites with the Attractions. 1995's Kojak Variety: Elvis does oldies. All This Useless Beauty? Elvis reunites with the Attractions and does oldies, sort of.

In fact, the new record puts Costello and the Attractions back on track, making music that often sounds like it might've come from their best work, 1992's Imperial Bedroom. Partial credit here surely stems from co-producer Geoff Emerick, who likewise shaped Bedroom; unlike Kevin Killen or Mitchell Froom, Costello's most recent co-producers, he's a Brit, and the sound here reveals as much. Steve Nieve's piano has as much reverbed twinkle as it did 15 years ago, and it's a very welcome sound.

In a sense, this album clears the decks: There are six songs here Costello has written for or with others but never recorded himself, including the opener "Other End (Of The Telescope)" (co-written with Aimee Mann and previously sung by 'Til Tuesday), "You Bowed Down" (written for Roger McGuinn's 1991 comeback set Back From Rio), and "Shallow Grave" (from the Paul McCartney collaborations), among others. Those songs are fine but the newer material is more satisfying and sounds less written-for-hire and more written-from-the-heart.

Once, long ago, Costello sang Dusty Springfield's "I Just Don't Know What To Do With Myself." Later, on the liner notes to Kojak Variety, he raved about her classic 1969 album Dusty in Memphis. It's not difficult to imagine Dusty singing "Distorted Angel," one of Beauty's better tunes. Nor would "It's Time" sound out of place had Sandie Shaw covered it 30 years ago. This is no small compliment. All This Useless Beauty sounds like the sort of great pop music Elvis Costello was supposed to be making, if, I don't know, he'd only been paying attention or something. Now he is — and we should be, too.

-

Musician, October 1983

Dave DiMartino reviews All This Useless Beauty.


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