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Going cold turkey during 1985 has taken its toll on Elvis Costello fanatics everywhere.
You've probably seen them around, mumbling lyrics from Costello's songs or imitating his patented pigeon-toed stance. Some have even begun to hoard his old recordings like religious fanatics hoarding food in preparation for Armageddon.
But the drought is finally over. Costello, who recently reclaimed his true name, Declan MacManus, has returned with King of America, his strongest effort since Imperial Bedroom. Along with going back to his original name, Costello has undergone many other changes, both personal and professional, and these changes are reflected on this, his 11th LP.
The most significant difference is the absence of the Attractions, the trio that has backed Costello on every LP except his debut. Rather than rely on their keen but limited talents, Costello and producer T Bone Burnett have opted to use American musicians. The result is a departure from the easy pop flavor of Costello's last two LPs.
The lyrics of the opening tune, "Brilliant Mistake," are up for myriad interpretations On the surface, this mid-tempo number serves as a back-handed tribute to America, but, on another level, the song refers to Declan MacManus' alter ego, Elvis Costello:
I was a fine idea at the time
Now I'm a brilliant mistake.
On both "Glitter Gulch" and "Big Light" Costello hones his country sensibilities to a razor-sharp edge. Both employ the same slapdash rhythm and their lyrics provide the album's most humorous moments. The former is a scathing send-up of television game shows, where contestants sell their dignity for the promise of some extra money.
James Burton's dobro guitar flourishes add a piquant flavor to the proceedings. "The Big Light" comically details the classic fuzzy-tongued symptoms of a hangover. The deadly accurate lyrics are accentuated by Burton's insouciant guitar pickin'.
The melody of "Lovable" swaggers with bravado. Walking bass lines and throbbing guitar riffs connect with a steady beat and a droning organ. The lyrics paint a sympathetic portrayal of the town's most willing bed partner. Los Lobos' David Hidalgo adds his distinctive back-up vocals. The tune was co-written by Costello's fiancee Cait O'Riordan of the Celtic punk group, the Pogues.
A generosity of spirit pervades this entire album. Costello's emotions, once his bete noir, are given free reign. This emotional growth is charted on three songs, "Indoor Fireworks," "I'll Wear It Proudly" and "Jack of All Parades." Although "Indoor Fireworks" was first recorded by Nick Lowe, Costello's intensely personal reading of marriage on the rocks (which closely mirrors the recent break-up Of his 10-year marriage), obliterates Lowe's version. As he did on "The Only Flame In Town," Costello uses fiery images as a metaphor for the state of a relationship. Even though this relationship is at an end, it is clear he still carries a torch.
"I'll Wear It Proudly" is Elvis' first undiluted love song. For once, he is content to proclaim his love without inserting any disclaimers:
If they had a king of fools then I could wear that crown
And you could all die laughing, 'cause I'll wear it proudly.
"Jack Of Parades" deals with the same subject, but in a far more oblique manner. Fueled by Costello's aggressive acoustic strumming, a pounding back beat and Attraction Steve Nieve's sweeping piano fills, his round-about proclamation of love seems almost Straightforward.
Costello has included two non-originals on King of America, the Animals' "Don't Let Me Be Misunderstood" and the more obscure "Eisenhower Blues."
He turns the former into a personal plea to get past the "Elvis Costello: Misanthrope" persona, responding to the man beneath the bespectacled facade, Declan MacManus. "Eisenhower Blues" is a ragged rave-up with jazz greats Earl Palmer and Ray Brown. The lyrics bemoan the conservative climate of the '50s.
The LPs most ambitious numbers are "Little Palaces" and "American Without Tears." A searing vignette revolving around the citizenry of a small working class town, "Little Palaces" paints a bleak picture of unemployed fathers venting their frustrations through child abuse. Costello's sprightly, Cajun-styled mandolin flourishes attempt to lighten the impact of the bitter lyrics.
"Americans Without Tears" follows an immigrant's assimilation into American culture. It later briefly juxtaposes the immigrant's sense of wonder with the jaundiced cynicism and prejudice acquired by his American-born offspring. Tex-Mex accordion underpinnings from Jo-El Sonnier punctuate each verse.
Other interesting tunes include the lovelorn lament of "Poisoned Rose." "Sleep of the Just" includes a pithy swipe at Madonna:
He'll be tucked up in his bed tonight with his dirty-pictures girl
Saving 'You're some mother's daughter or is it immaterial girl.'
"Suit of Lights" alludes to the death of MacManus' alter ego. This is also the only tune on King of America to feature all of the Attractions and Palmer and Brown. The album includes guitarist Burton, bassist Jerry Scheff and drummer Ron Tutt, who have worked with Rick Nelson and Elvis Presley, plus noted session musicians Mitchell Froom and Jim Keltner.
Once the self-proclaimed "Man Out of Time," this album transforms Costello/MacManus into the "Man Who Would Be King."
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