Rolling Stone, June 15, 2006: Difference between revisions
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{{:Rolling Stone index}} | {{:Rolling Stone index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> The River In Reverse </h3></center> | <center><h3> ''The River In Reverse'' </h3></center> | ||
<center>''' Elvis Costello & Allen Toussaint </center> | <center>''' Elvis Costello & Allen Toussaint </center> | ||
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The Allen Toussaint oldies Costello covers avoid the overfamiliar, and his delivery has a way of adding a post-disaster historical context to Toussaint's intended meaning — not just with socially conscious material like "On Your Way Down" and "Freedom for the Stallion" ("They've made money, God") but with love songs such as "Nearer to You" (where the "you" could be his city) or "Tears, Tears and More Tears" (with its lost, well-remembered "walk in the park"). Although Elvis' title tune and the four co-written new songs are less winning, "Broken Promise Land" bites the hand that doesn't feed it with sarcastic gusto, and "International Echo" captures and holds the joy both men take in the record-making process it portrays. Costello's Imposters negotiate Toussaint's tricky rhythms jauntily enough, and the Crescent City Horns add warming coloration. But it's the master's steady, rollicking piano that elevates the music — and keeps the ever-elusive Costello honest. | The Allen Toussaint oldies Costello covers avoid the overfamiliar, and his delivery has a way of adding a post-disaster historical context to Toussaint's intended meaning — not just with socially conscious material like "On Your Way Down" and "Freedom for the Stallion" ("They've made money, God") but with love songs such as "Nearer to You" (where the "you" could be his city) or "Tears, Tears and More Tears" (with its lost, well-remembered "walk in the park"). Although Elvis' title tune and the four co-written new songs are less winning, "Broken Promise Land" bites the hand that doesn't feed it with sarcastic gusto, and "International Echo" captures and holds the joy both men take in the record-making process it portrays. Costello's Imposters negotiate Toussaint's tricky rhythms jauntily enough, and the Crescent City Horns add warming coloration. But it's the master's steady, rollicking piano that elevates the music — and keeps the ever-elusive Costello honest. | ||
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{{tags}}[[The River In Reverse]] {{-}} [[Allen Toussaint]] {{-}} [[Burt Bacharach]] {{-}} [[Hal David]] {{-}} [[On Your Way Down]] {{-}} [[Freedom For The Stallion]] {{-}} [[Nearer To You]] {{-}} [[Tears, Tears And More Tears]] {{-}} [[Broken Promise Land]] {{-}} [[International Echo]] {{-}} [[The Imposters]] {{-}} [[The Crescent City Horns]] | |||
{{cx}} | {{cx}} | ||
{{Bibliography notes header}} | {{Bibliography notes header}} | ||
{{Bibliography notes}} | |||
{{Bibliography next | {{Bibliography next | ||
|prev = Rolling Stone, | |prev = Rolling Stone, February 9, 2006 | ||
|next = Rolling Stone, | |next = Rolling Stone, July 12, 2006 | ||
}} | }} | ||
'''Rolling Stone, No. 1002, June 15, 2006 | '''Rolling Stone, No. 1002, June 15, 2006 | ||
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