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I remember the first time I heard the expression "New Wave." A friend of my brother's was talking about Graham Parker's music. He said it was "kind of like punk, only not so annoying," and then mumbled something about drug addicts and queers.
Although the term became very popular a few years later, it seemed that when people were asked to define it they would only stammer and say, "You know, bands like those Talking Heads and Elvis whatever, runnin' around pokin' fun at the King, God rest his soul." Based on definition by example, I concluded that New Wave meant music by new groups that were too good to expect the common herd to listen to.
Its been almost 10 years since I first heard those words, and since then New Wave has been pulverized and prostituted to describe everything from haircuts and bands to bars and (ech!!) Bangles. Its also been almost 10 years (not ironically) since Talking Heads and Elvis Costello began their careers as leaders in the industry.
Both bands have released albums in recent weeks forcing us to ask whether it's time for New Wave to go the way of lava lamps and Farrah. Although admittedly the music on both albums isn't as fresh and raw as it was 10 years ago, Costello and especially the Heads are doing something right on their new albums.
Blood and Chocolate, Elvis Costello's 12th album in nine years (his second in six months) marks not only an improvement for Costello, but a step in the right direction for tearing progressive music back down.
Costello, who built his reputation on hate and anger, had lost his edge in recent years on albums like Punch the Clock and Goodbye Cruel World. On Blood he comes within a few songs of the emotions achieved on Armed Forces and This Year's Model.
In order to return to the old feel without being nostalgic, Costello dropped the hokey Declan MacManus (his real name) on the cover of the album, although it does remain in the credits. He brought The Attractions back and trimmed of the majority of the excess FM fat, synthetic overlays. Producer Nick Lowe brought some of the tricks back from the days when everyone he produced was hot, except himself. The drums are natural, the guitars distorted and keyboard wizard Steve Nieve is contained yet noticeable.
Perhaps the best part of this album is Elvis' voice, which Lowe has let loose. Elvis is able to deceive lyric readers by juxtaposing what he's saying with what he's singing. On "I Want You," he repeats the title close to 100 times, and every time his anger and jealousy increase without having to use instrumentation as a gimmick to express the song.
Lowe's influence on the album, although positive on the whole, bleeds through at some of the most inopportune times on the album. On "Honey Are You Straight or Are You Blind," just when Costello is pumping up his only two-minute ditty on the record a Lowe-ish bridge breaks up an otherwise Get Happy number.
The length of the songs is, in fact, hard to adjust to, considering he used to put 20 songs on an album, but he overcomes the initial handicap with some fascinating beats from drummer Pete Thomas.
"The Blue Chair" is the most uncomfortable song on Blood, as it exemplifies Costello as an aging artist beginning to starve for hooks and catches. The other disappointment on the album is Costello's relative short shot of word play. Even so, if you've got the cash, or if you're looking for a shot to prove that Elvis is still king, this is a good buy.
The rock industry is without a doubt full of too many old people. Paul McCartney is gray and mushy, Mick Jagger should have quit after Some Girls, Tina Turner looks good but awfully silly, and all these comeback groups are enough to make my stomach turn. Blood and Chocolate, and especially True Stories, however, are examples of the music that keeps us all young.
I never liked the expression New Wave, but I do like good music, and these two bands are still putting out.
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