Steve Madden Blonde Belles Fall 2013 Lookbook

Steve Madden Blonde Belles Fall 2013 Lookbook

Critical Eye
Costello chides again…the Dickinson deception…and a dangerous liaison. By Aaron Gell
MUSIC | At last, Elvis Costello rewards the patience of his loyal fans who have smiled indulgently at his experiments in jazz, country and classical music with a terrifically caustic (but secretly hopeful) new rock record, WHEN I WAS CRUEL (Island).
Coming amid Rhino’s comprehensive rerelease of the entire Costello back catalog, the new album heralds the return of the good Elvis the angry young man (okay, youngish) with the skinny ties and the mouthy attitude. In 15 fiercely wrought tracks, Costello taps into the same mix of pop songcraft, lyrical erudition and mordant punk ferocity that in 1977 first brought him, a 23-year-old former computer tech for Elizabeth Arden cosmetics, to international attention.

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On When I Was Cruel, he excoriates phoniness in all its guises, aiming his elegantly crafted vitriol at sleazy producers, groupies and other backstage poseurs as well as more powerful villains, like girlfriends (“Episode of Blonde”) and corrupt bureaucrats (“Soul for Hire”).

But he doesn’t spare himself On the autobiographical “45, ” the artist formerly known as Declan MacManus sings, “So don’t you weep and shed. Just change your name instead. What do you lose when it all goes to your head? ? Plenty, apparendy It’s nice to see he’s somehow got it back Also this month: Dave Brubeck, Earl Hines, Gerry Mulligan and numerous other jazz greats pay their respects on DUKE ELLINGTON 1969: ALL-STAR WHITE HOUSE TRIBUTE (Blue Note), a priceless document of the Duke’s 70th-birthday party, but word is pianist Richard Nixon’s interpretation of the standard “Happy Birthday” didn’t swing enough to make the final cut.

Croaky crooner Tom Waits unveils a pair of gorgeous new albums, ALICE and BLOOD MONEY (Anti/Epitaph), filled with heartsick bar-stool ballads and bleak cabaret chansons that won’t actually cure a hangover but are guaranteed to give it focus. And after a 10-year hiatus, The Breeders offer up a loose-limbed soporific new album, actually called TITLE TK (Elektra), full of guitar-driven dirges that apart from the chillingly intimate “Off Yju” sound like they can’t be bothered to drag themselves off the couch, stand up straight and become songs.

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