|
It's been more than a year since we last heard anything from that sneering, spitting, crooning, balding British gentile Woody Allen that some accuse of being "king." Well, the long wait is over. The new album is Get Happy, and yes, Elvis is still King. (Amen.) Although the import was released some three weeks ago, the American version is now available and boasts the same cuts and a significantly superior sound quality than its expensive British counterpart.
It's hard to know where to begin; Costello's cover is riddled with gimmicks and, like Elvis' music, it harkens back to the mod movement of the early 1960s. The bright colors are appropriately tacky and somehow reminiscent of Paul McCartney. The import goes to an extreme by having faded white rings on the cover, implying that the record has been around for awhile. Your copies of Meet the Monkees and Aftermath probably have similar white rings, only they are genuine. Also, the lettering on the back bears a pre-calculated resemblance to the Beatles Yesterday and Today release. The most ostentatious of all these nostalgic oriented gimmicks is that this single record album contains 20 cuts. The average length of each is approximately 2:10.
Also included on the cover is a note from producer Nick Lowe, who assures the prospective buyer and "people who have never bought an album before 1967" that the inclusion of these extra cuts will not detract from the sound quality. By employing all these gimmicks, Elvis Costello no longer sets himself up as a Buddy Holly clone; rather, he appears to be trying to broaden his image and is determined to follow in the footsteps of John Lennon, Mick Jagger and other legends that grew out of the early '60s.
Similarly, the music on Get Happy is reminiscent of the early mods sound. This, however, is not new Elvis, who incorporates enough originality in his work to prevent it from being imitative. (Many have justly wondered where New Wave will go from where it is now.) It can't go "back to the roots" forever. Get Happy exemplifies a near-perfect response to the question; it boasts a new sound . based on old, traditional techniques. In Armed Forces Elvis created a more accessible '70s pop sound as is evident in "Oliver's Army" and "Party Girl." Get Happy, however, is more of a step sideways than a step forward or back. The number of cuts on the album itself prevents Get Happy from being as accessible as Armed Forces. At the same time, it resembles and in many ways is a superior reworking of Armed Forces in that many of the tracks are more catchy than those on either My Aim Is True or This Year's Model. Yet Get Happy's instrumentation is tighter and more barren than any of its predecessors and follows a general reductionist trend established in earlier albums. For example, guitar plays a less and less prominent part in the Elvis sound, to the point where it is almost indistinguishable. Get Happy is virtually based on four instruments: bass, organ, drums, and vocals. Furthermore, Elvis' vocals not only dominate this album, they also allow no room for other instrumental solos. Nonetheless, the Attractions remain impeccable. They do not need leads to show off their competency their talent shines through on every track. Elvis Costello is perhaps the only pop star whose notoriety and ability is seriously rivaled by the back-up band. Bruce and Pete Thomas together form the tightest rhythm section alive in rock. Steve Naive's keyboards perfectly punctuate each cut and tread the thin line between the overly ornate and the mundanely safe.
The track "B Movie" superbly illustrates the superior syncopation that has come to be synonymous with Elvis and the Attractions' style. Again, guitar is minimal and serves only to enhance and sharpen the already rich rhythm. Also present in this cut and others are some subtle Beatlesque distortions reminiscent of "A Day in the Life." Indeed, pure popster now person Nick Lowe has proven himself an able producer; his tamperings are not overly conspicuous and remain appropriate to the Elvis sound.
Other notable cuts on Get Happy include: "Temptation," wherein the Elvis guitar makes a rare but daring two-minute appearance. Like all the cuts on this album, this one contains vintage Elvis jargon; "Who's this kid with the mumbo-jumbo / Living in air-conditioned Limbo?"
Side Two's "Love For Tender" (a pun on the imposter's "Love Me Tender") is a vintage upbeat number a la "Mystery Dance," only a little longer (1:58). It too has some great lines: "You can total up my balance sheet / And never know if I'm a counterfeit."
The cut "Opportunity" a slow, highly syncopated number that barely hints at reggae and is worthwhile if you like the malicious side of Elvis. "Possession" also is filled with nasty puns great material if you just got a Dear John letter. You could quote Elvis and write back: "You lack lust, you're so lackluster / Is that all the strength that you can muster?"
The next-to-last cut, "New Amsterdam," is one of Elvis' best slow numbers and is unusually calm and controlled. Indeed, it is Elvis' ode to Manhattan: "Everything you say sounds like it was ghost written / New Amsterdam, it's become much too much..."
Essentially, all of the cuts on this are of high quality. Without any doubt, Get Happy mollifies any fears one might have of Elvis going AM. Until now, This Year's Model has generally been regarded as Elvis' magnum opus. Get Happy is certainly as good and possibly better. Be prepared to spend a week getting used to this album; 20 cuts are a lot to digest in one sitting. After a few serious listening, most will agree that Elvis has succeeded in beating the no wave syndrome and can still give new and better life to a more or less old sound.
|
