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Luxury cars are symbols of excess, though, and Elvis is no stranger to that.Still, artistic excess -- a chameleon’s repertoire, a penchant for genre hopping and collaboration -- doesn’t equal automotive excess, not matter how good the sound system.I yelled the first time I saw that Elvis Costello Lexus ad on television. Our man sits in the back seat of the luxury sedan air-conducting a symphony like a teenage band geek. Since then, that commercial has weighed on my mind. His artistic curiosity spills over into my fandom, making me curious about Charles Mingus, Nick Lowe, Allen Toussaint. I am not interested, however, in owning a Lexus, no matter how good Elvis, his wife Diana Krall, or John Legend says the sound system is. ” Then, it was back to my regularly scheduled program.Though the songs are all quite nice, the performances do little to rise above their staged nature. Unlike the live performance, the lip-synced studio performances are watered down, softening the impact of the songs.The performances, each designed to be a simple music video for the song, are all nearly the same, with only the lighting and the group’s attire (street clothes in one scene, formal wear in the next) changing. More could have been done to create a larger world for the songs, and their stories, to inhabit.premiered, Jean Renoir and his collaborator Jacques Prevert were riding the wave of enthusiasm surrounding the advent of the Popular Front, which had just that year swept Léon Blum into power as the first socialist Prime Minister of France (not to mention the first Jew to hold that office—a mere 30 years after the conclusion of the Dreyfus Affair) surrounded by a government composed of a coalition of leftists.

has been one of fall's tightest albums, and "Need Your Love" is undoubtedly its centerpiece: an old-school jam that showcases Harding's powerful voice and some catchy grooves.

(2000) had truly begun the comic book film explosion that was sweeping through Hollywood.

That film had been a success at the box office, but had gained even more fans on home video since then, leading to higher expectations for the sequel.

Besides, as an artist who’s almost never taken the easy way to success (without failing; just listen to Goodbye Cruel World), who can blame the man?

Releasing an album of music recorded with just his voice and a string quartet, hot on the heels of his best-selling stateside album (Spike), isn’t exactly a one-way ticket to the Top of the Pops.

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