Stony Brook Statesman, October 22, 1980

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Taking Liberties


Neil Hauser

In this age of crumbling societies, sado-masochistic relationships and torn psyches, Elvis Costello may be the anti-hero for our time. Beyond the stage persona resembling Buddy Holly after a lobotomy, lies a tortured poet who sees the hopeless, pathetic side of our existence and just can't help but tell us about it.

With a product rate comparable only to Dylan's prime years, Costello has unleashed an amazing catalogue of material that is as musically diverse as it is thematically cohesive. Much of this has been with the assistance of the Attractions, possibly the only band in existence who could keep pace with Costello's evolution. The cerebral attack of this soulful, shellshocked twerp is still largely rebuffed by a rock audience raised on the macho pseudostud posturings of the Stewarts and Plants. Costello has moved beyond the black and white world of the id, becoming instead, hopelessly adrift in the minefield of the superego.

Clearing the decks for whatever the future holds, Columbia has released Taking Liberties, a collection of previously recorded material that, for one reason or another, did not make it on to Costello's first four domestic LP's. The fact that these twenty unrelated tracks come together to form a powerful whole is tribute to the composer's obsession. Ever since Costello's initial statement of intent, My Aim is True, it has been painfully clear that this man has been wounded by the hideous creature that resides in all love relationships. Unrequited love can strip away all of a man's practiced defenses and leave his raw soul at the mercy of the elements. Also recurring in his material is the paranoia-tinged survival instinct necessary in a society that is constantly attempting (and succeeding) to sedate and process the individual.

The apparent venom held for women in such numbers as "I Don't Want To Go To Chelsea" ("She gives a little flirt / gives up a little cuddle / but there's no place here for the mini-skirt waddle / capital punishment / She's last year's model") and, later, in "Girl's Talk" ("There are some things you can't cover up with lipstick and powder...") is quickly shown to be a feeble defence mechanism for the pain of rejection. In "Big Tears" Costello asserts that "You wouldn't even love me if you never had a drink / you wouldn't even love me if you ever stopped to think..." while in "Radio Sweetheart" the repeated advice is to "Hide your love." The message offered up in these catchy pop confections is disturbing but far more relevant than the "gonna give you every inch of my love" ravings of the arrested adolescents who dominate album oriented radio. Costello wants love. With ironic humor, he shows that he will do anything for this goal, whether it be lavishing her with "Clean Money" ("That's all I want to do / I want to spend it on you") or empty flattery ("You're fantastic / you're terrific / Your excellence is almost scientific"). Nevertheless, Elvis often finds himself faced with isolation. The cold, steel environment of "Hover Factory" is a monument to his pointless existence forcing his psyche to split into increasingly alienated fragments. The schitzoid Elvis is almost gleefully portrayed in "Talking in the Dark" ("I found a game to drive myself insane / I talk to myself but I don't listen / found out what I was missing") and more somberly in his straight country ballad "Stranger in the House."

Since Taking liberties spans four years, it also displays the evolution of the band called Elvis Costello and the Attractions. E.C. and Company have shown a talent for shedding musical styles like they were skins. Like the Beatles at their most eclectic, this band has the ability to take a musical style totally foreign to them such as the Motown sound on Get Happy, and make it their own. This soul trend continues on the new album with alternate takes of "Black and White World" and "Clowntime is Over" and a cover of the Van McCoy stomper, "Getting Mighty Crowded." This is a far cry from the minimalist, garage sound of his debut album (backed with a group called Clover - not the Attractions), the wall of sound ravings of This Year's Model or the high tech pop of Armed Forces. This album is such a musical free-for-all that it is hard to believe that it is the same band from start to finish. The influences evident on Taking Liberties are practically a history of pop musik: early sixties Sam and Dave, late sixties Temptations, Mid sixties Beatles ("Dr. Luther's Assistant" could have been on Revolver), Nashville honky tonic and new wave dance party are all represented. There is also a piano ballad called Just a Memory" that sounds like a postscript to "Allison." Even the morbid cover of "My Funny Valentine," given away through radio stations last Valentines Day, somehow sounds like it belongs.

If you are looking for virtuoso musicianship, you're in the wrong neighborhood. In fact, E.C.'s ability on guitar is extremely limited The main strength lies in the working chemistry between composer, band and producer Nick Lowe. None of the parties mentioned are afraid to take risks and the creative energy between these sources leads to new directions with every release.

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Statesman, Alternatives, October 22, 1980


Neil Hauser reviews Taking Liberties.

Images

1980-10-22 Stony Brook Statesman page 3A.jpg
Page scan.

1980-10-22 Stony Brook Statesman page 1A.jpg
Cover.

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