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If there was any one development that seemed to signify the maturation of popular music in the '70s, it was the time between releases for major contemporary musicians. Before the turn of the last decade, when pop was still product, it was hardly unusual for an artist to release two, even three albums' Worth of new material in the space of a year.
But, with the release of the Beatles' Sgt. Pepper's, which took the band months to record and mix, a new standard was set. One LP a year became the new maximum, and artist contracts soon began to reflect the contention that art should not be rushed. If you signed, say, Elton John to a five-year contract, Elton would be responsible for only five LPs, or even four if he decided to make one of those a double set.
For the superstars of rock 'n' roll, this one-year stretch has begun lately to extend itself into two-, three-, even four-year periods between releases. A resulting myth has been built that says the longer we wait, the better the record. Stories abound, for example, that Stevie Wonder's Songs in the Key of Life was finished long before its release, but intentionally delayed to heighten interest. Undoubtedly, the long delay on the upcoming Bruce Springsteen and Steely Dan LPs have added to their respective mystiques. Superstar releases have become events, to be celebrated and anticipated like the unveiling of the new Chevrolets.
I think it's fitting — since Elvis Costello has been quite responsible for much of the rock 'n' roll myth-busting of the past few years (even his adopted name is a prick at the pomposity of rock) that he's the fellow to knock off this silly business as well. In less than three years, Costello and his Attractions have released four brilliant and complete studio LPs of new material, including one, Get Happy!!, that contained 20 tracks. At the same time, he's toured extensively and produced other artists, including The Specials. Since his work is ever improving, he seems none the worse for the wear.
His American LPs, however, are just the tip of the iceberg. In England, he has also released a steady stream of singles, EPs and giveaway records, all containing non-LP numbers, most of which had not surfaced here until the release of his latest album, called Taking Liberties.
Columbia Records calls Taking Liberties a "clearing of the decks," and, since it's comprised of songs recorded over a three-year period, one might expect it to be a disjointed grab bag of a program. Not so. Though it obviously lacks the thematic quality of Armed Forces or Get Happy!!, it's still a powerful collection of songs that hangs together quite nicely. And, since Costello was not concerned with maintaining a mood or stance when these tracks were recorded, the record serves as a showcase for his wide and varied talents, many of which have gone unnoticed by the average American consumer. To many, Costello is still a grating presence, the archetypal angry young punk.
Consequently, they'll be shocked by the sincerity of "Stranger in the House," a mournful country ballad, spiced by steel guitar; surprised to hear the Beatlesque flourishes of the psychedelic "Dr. Luther's Assistant" or the poppy "Talking in the Dark"; soothed by the rich vocals on the straight reading of the standard "My Funny Valentine" and the Sinatra-esque alternate version of "Clowntime Is Over."
This record contains something for everybody, from the casual fan who simply wants a solid and entertaining rock 'n' roll LP, to the Costello collector who may have gone to great lengths to obtain some of the more obscure cuts contained here. For the latter, Costello has included some previously unavailable anywhere material, including a song called "Clean Money" that features Dave Edmunds on backup vocals and seems to be an early working version of "Love For Tender"; a slowed-down reworking of "Black and White World," and the semi-legendary "Hoover Factory," a near-perfect little miniature travelogue along London's not-so-picturesque byways.
Amazingly, this LP still doesn't entirely clear the decks. Still uncollected on album is Costello's live rave-up on the Damned's "Neat Neat Neat," the original Stiff tour tracks and completed studio versions of ABBA's "Touching You, Touching Me," the rockabilly oldie "Psycho" and a theatrical rock version of "Stranger in the House." Maybe someday they'll clear the lower decks as well.
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