Word: albums
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...THERE WERE such a thing as a death wish for albums, this one would have it--it is a record that fairly thumbs its nose at the Intelligent Rock Listener, inside and out. The cover art, for one thing, is nightmarish--bright red lettering, a black-and-white checkerboard pattern spelling out "Elvis is King," and Costello himself feering out from a lurid yellow background. He clutches a Fender menacingly, and leans forward in that half-aggressive pigeon-toed stance so dear to the hearts of '50s rockers; his eyes are genuinely loony, wild and dangerous-looking, behind huge Buddy...
...initial impression almost has to put the listener off. But the only way to appreciate what a really good record this is is to look past all the misanthropic window-dressing. The key to this album is, indeed, its misanthropy. This is certainly the biggest lyric theme; unfortunately, it's also possibly the biggest problem people will have in accepting...
This perspective comes across strongly in Costello's lyrics. "Welcome to the Working Week," the album's opening track, is at 1:22 its shortest cut and an introduction to what's to come. A driving middle-tempo rocker with drums mixed way up and biting guitar riffs, it's an ironic salute to a friend's new success. The message is clear--"Deal with it if you can." Blame It On Cain" shows a strong persecution complex ("Blame it on Cain, don't blame it on me..."); "Sneaky Feelings" is a bouncy, silly tune about paranoia and screwed...
...hard, obviously, to see where Costello's coming from. The only problem with such a direct and insistent attack is that the listener may well find himself sated with the singer's cynicism before long. In this case, that would be a real shame--there's more to this album than the crazed rumblings of an embittered anachronism. There are three cuts, especially, that deserve a careful second listening. They're not only the record's most interesting expressions of Costello's viewpoint--they point up strengths, both lyric and musical, obscured elsewhere...
...this cut--and on the other nine songs on Reckless Abandon--it is ultimately Bromberg's personality and showmanship that pull it through and make it work so well. Yes, the arrangements are almost flawlessly tight, and yes, the soloing and general musicianship is superb throughout the album. But that's not it. Bromberg brings to his music a rare blend of talent, technique and energy that makes him a highly charismatic entertainer. And that's what Reckless Abandon is really all about: good entertainment...