|
Aren't you sick and tired of hearing how great Elvis Costello is — that wormy looking guy who's always singing about how bad his sex life is, how many problems he has with women, and what a sorry state of affairs the world is in?
If that's the case, then stop reading now. Elvis is back with Punch the Clock and once again he's come up with a stunner.
The first question to tackle with Elvis is what is this year's model of music? Let's see, first there was r&b inspired pub rock (My Aim Is True), then a tauter version of pumped up punk rock (This Year's Model), neo-pop (Armed Forces), Stax/Volt soul revisited (Get Happy) and a new traditional melange of styles on last year's Imperial Bedroom. Where does Punch the Clock fit in?
Punch the Clock reinstates the Stax/Volt soul of Get Happy with the accessible quirks of Imperial Bedroom while lyrically Costello revisits familiar turf. Punch the Clock is not Costello's best lp, but as an album that amalgamates many of his past meanderings, it succeeds on its own terms.
Lyrically, Punch the Clock is slight. One listen to "Charm School," "King of Thieves" or a number of other songs and the listener is on familiar turf. But watch out for that musical detail. Dense, intricate arrangements and top notch ensemble playing by the Attractions gives Punch the Clock its kick and, a surprising thing for Costello, its warmth.
Standouts are many: the beautiful ballad "Shipbuilding," the tongue in cheek self-condemnation of "Mouth Almighty," the political desperation of "Pills and Soap" (the lp's most subdued and different track), etc. Any song could be a radio hit at any time, and "Everyday I Write the Book" is well on its way to becoming both a radio hit and an MTV staple.
Punch the Clock, as I've said. is not Costello's best, but it isn't bad at all. Just prime Costello, aging like good wine.
| 
