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EC has always been a fine interpreter of American soul music as his much maligned but dependable and surprisingly durable and jumpy set Get Happy proves. Though only two songs were not written by Costello ("I Can't Stand Up For Falling Down" and "I Stand Accused") much of the album feels American-sourced, whether country ("Motel Matches") or ghetto. By the way, try to find a UK F-Beat original. Even though it packs 10 short songs per side, it still sounds more dynamic and punchy than Rhino's last CD version and it wallops the flaccid American Columbia LP original. The "ringwear" on the jacket is part of the artwork, though some twit at Columbia removed it fearing you'd be too stupid to get the joke.
As for this new double LP, Costello and Toussaint pair up effectively on a set of the Crescent City veteran's standards like "On Your Way Down," (covered by Little Feat), "Freedom For The Stallion," and a few others, and on some new collaborations backed by The Crescent City Horns and driven by Costello's long time bandmates Steve Nieve and Pete Thomas. Newest Imposter and Cracker member Davey Faragher adds electric bass and backing vocals. Multiple keyboard exchanges between Toussaint and Steve Nieve add greatly to the pleasure.
"The Sharpest Thorn," the first EC/Toussaint collaboration on the album, a song about temptation and the battle between good/evil has a gospely feel aided by Toussaint's heavenly chording and EC's organ squiggles.
There are songs about love and songs about race, like Toussaint's plea "Who's Gonna Help Brother Get Further?" and "Freedom For the Stallion" delivered with a deep funky groove.
Costello contributes the bitter title tune, which begins with a line appropriate to Bush's recent State of the Union address, which didn't even mention New Orleans: "How long does a promise last? How long can a lie be told?" The producer or engineer inserts what sounds like a purposely out of phase keyboard line that will float behind you if your system's set up correctly.
Between that one, "Broken Promise Land," and "Ascension Day," you have a fittingly funky tribute/protest session filled with images of empty silent streets, prayer-filled hope, the power of music and the redemption of love.
The arrangements are clean, jagged and edgy, with lots of space carved out between the notes and choogling, churning horns.
As for the recording, man it's a dark, dark and darker airless job, with cymbals barely rising for a chime. Engineer Husky Höskulds's production company is called 'eightbitaudio' but jeez, does he have to take the name literally? Actually that would be 'twobitaudio.'
On the other hand, it's a direct sound, with lots of weight and chewy textures so it's a decidedly mixed sonic bag, but the grit and grain scream "ProTools" bigtime and I don't mean as in record analog and transfer to ProTools for editing, I mean do it all in ProTools. I may be wrong but I'm betting on it.
That's too damn bad in my sonic book and yet beneath the congestion there's much that's good about the sound, especially the solidity and even the woody feel of the piano and the directness of Costello's voice.
While the mastering credit goes to Gavin Lurssen at The Mastering Lab, don't expect to see a "TML" in the lead out groove area as Doug Sax's lathe remains in mothballs. Come on Doug! Join the party!
So I don't know who cut this nor do I know who's responsible for the sloppy pressing. Side "C" begins noisily on my copy and apparently on others, based on reader email. It gets better, but overall pressing quality is strictly '70s quality. A real shame since it's a nice two LP package.
Look Verve/Forecast, UMG or whoever, if you're gonna go through the motions, why not get it right? Please?
Still, I recommend this on vinyl for both music (especially for music) and for the double LP. We've got to let Verve/UMG know that we want more vinyl!
PS: I bought mine. It wasn't a "promo," so I'm not asking you to pony up for what I got sent gratis.
Musically, you'll not be disappointed, that's for sure
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