|
Pinning the label on performers from Phil Ochs and John Prine to Bruce Springsteen and Steve Forbert, rock critics for a long time have been trying to anoint "the next Bob Dylan."
Then along came another great lyricist and, just as Robert Zimmerman changed his name to Dylan, Declan MacManus changed his to Elvis Costello. But for some reason, because Mr. Costello's first few albums rocked hard, the similarities between his angry, alienated lyrics and those of the folksier Mr. Dylan went largely unnoticed.
But on Imperial Bedroom, Mr. Costello completes the softening of his musical approach that began on Get Happy!! and continued through Trust and Almost Blue. As a result, his complex lyrics stand out, and comparisons with Mr. Dylan's words, the Beatles' musical flourishes and Frank Sinatra's crooning are inevitable.
With a combination like that, Imperial Bedroom is a marvelous album. A big part of the marvel is that even though the music doesn't rock and the vocals don't snarl, all 15 songs have plenty of bite.
Indeed, this may be Mr. Costello's best writing and the Attractions' best playing. Pete Thomas' drums have been relegated to near silence, but his tap-tap-tapping often sets up a tense undercurrent that is all the more effective because one feels it without even realizing it's there. On bass, Bruce Thomas adds just enough detail to the background on songs like the slow, swaying "Kid About It." He also makes the most of his few chances for punchy playing, like on "Shabby Doll."
The instrumental star is keyboard man Steve Neive. His grab bag of sounds — including junky, Dylan-style organ on "Man Out of Time"; sprightly harpsichord on "Little Savage"; and some wistful accordion on "The Long Honeymoon" — gives the album immense range. The ever-changing textures end up having as much impact as the raving rockers of Mr. Costello's first three albums.
And, of course, there's Mr. Costello. His guitar playing takes a back seat, but when it's there, it's superb. From the ringing chords on "Human Hands" to the sensuous acoustic solo on "Almost Blue," he shows that he still knows how to pick 'em.
Vocally, Mr. Costello really stretches out. Several numbers are pretty but sad, and he captures the anger, desperation and resignation that go into trying to glue a crumbling relationship back together, knowing all the while that the chances for success are slim.
Who can she turn to when the chance of coincidence is slim
'Cause the baby isn't old enough to speak
There's been a long honeymoon
She thought too late and spoke too soon
There's no money-back guarantee on future happiness
And with the abating of Mr. Costello's rage, his humor and even tenderness command attention. The ache comes through clear and strong on "Human Hands" when he sings, "All I ever want is just to fall into your human hands."
On "The Loved Ones," a bouncy pop tune, he takes a few good-natured shots at himself. It's almost as if he's asking, "Who's the next Elvis Costello?"
"Spare us the theatrics and the verbal gymnastics
We break wise guys just like match sticks...
Now he's a hit in every city
Now there's a name well never forget
There's one born every minute or two
Don't pin a medal on me yet
I don't know of anyone yet who has called this Elvis "the new Dylan," but watch out. Robert Hilburn of the Los Angeles Times has rightly said that Mr. Costello's eight albums represent "a creative explosion perhaps unmatched for quality and quantity in rock since Dylan's mid-'60s period."
And one of these days some writer is going to go that one step further. But it won't be me, because Mr. Costello is a genius in his own right and in his own way.
| 
