UNSW Tharunka, August 15, 1983

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New crooner cuff links


D. O'Driscoll

Elvis Costello
Punch The Clock

"It's just a heathen town, I see only evil
As my tongue is tightened,
I used to be God fearing now I'm not so frightened."

An examination of the above lines from the recent "Heathen Town" might have indicated a move by big sister to arrange that long-awaited game of Russian roulette. Apparently not. Elvis Costello and all his attractions emerges from a second metamorphosis looking healthier, happier and certainly earthier, in appearance than of late. And a new LP from the band, boasting an abundance of fresh purpose and direction, recorded under the supervision of Clive Langer and Alan Winstanley.

The line-up for Punch The Clock is impressive, the Attractions sharing the credits with the TKO Horns, a facet of music that Elvis has been threatening to unleash on his works for some time. Backing vocals are provided by David Bedford and trumpet solo by Chet Baker that throws a silver lining around the spine-chilling arrangement of the classic "Shipbuilding."

The full complement of Elvis' forces are drawn upon for the opening number, "Let Them All Talk." the Thomas boys provide the rhythm, tight and taught TKO are given an early airing, spreading a slashing counterpart to Steve Nieve's teeth chattering piano. Elvis' vocal bursts through the speakers, fresh and crisp, tearing down the walls with renewed vigour and energy

"Oh yeah we're killing time
Just to keep you clocking on
These are the best years of your life
Now they're here and gone."

Step down to the beautifully phrased introduction to "Everyday I Write The Book," that builds itself Into a whirlpool of delicately balanced images, fostered within the spinning torrent of sound, it throws out glimpses of Spring mornings and summer nights. The lyric is set around the flustered romance of the writer.

All your compliments and cutting remarks
and captured here in my quotation marks."

The bracket of songs following derive much of their style from many corners of the bands career to date. "The Greatest Thing" sports a rapid fire vocal on the free-right of matrimony atop the rolling clatter of the Attractions at large. The elastic backbeat of "Lovers Walk" finds a new berth, enabling Bruce Thomas to walk his bassline all over the shop. A bouquet of brass burst triumphantly upwards halfway through the number adding a powerful drive to the song. "The Element Within Her" takes on the settler role in much the same way as "The Long Honeymoon" — with its carousel like melody, hiding much more sentiment than the "la, la, las" would have one first believe.

Love Went Mad darts and dives round chopstick piano and lightly grilled organ. The sound is neatly stripped back to the bone though for the more severe aspects

"With these vulgar fractions of the treble clef,
I wish you luck with a capital F
A self made mug is hard to break
A silent partner in someone elses mistake."

Side one is seen out with an untouchable rendition of "Shipbuilding." The song displays far more intensity and originality than a Costello version of the song ever promised Elvis' vocals is full of the passion and emotions that must have been involved in the conception of "Shipbuilding."

The stamp of immortality is provided by Chet Baker's trumpet solo. A splendid piece of horn blowing tht culminates in a heart stopping rapport between singer and trumpeter. The song is as much an "anthem for doomed youth" now as it was when first written.

The second side immediately offers a quickstep, three round romp, inside the boxing ring of romance. "TKO (Boxing Day)" merges the hardline motives of the Attractions and the horns with a subtle string arrangement, and the voices of the Afrodiziaks.

"Charm School" must stand out as one of Costello's finest songs to date. A delightful example of how E.C. can plunder a musical style to suit his composition, yet still blend the ingredients to suit the current musical environment with astounding result. "Kid About It," "Almost Blue" and "Charm School" are all products of this process. The song questions the validity of our education in the modern social structure.

"Trying to make a living out of your downfalling.
Trying to make a living out of anything at all.
Didn't they teach you anything except how to be cruel
In the Charm School?"

And echoes the line of "New Lace Sleeves":

"You and I as lovers, were nothing but a farce trying to make a silk purse out of a sow's arse."

Whereas "Shipbuilding" and "Charm School" hit right at the heart of the matter. "The Invisible Man" picks up on the power-band aspects of Trust, leaping out and grabbing you by the lapels. shaking itself upon you with devastating force. "Mouth Almighty" takes up the attack from somewhat the same quarter, almost demanding answers before you have had time to decipher the questions.

Elvis and Steve take the song away with a symphony of guitars and piano to pave the way for "King of Thieves," taking the strict-time shuffle for a stomp down the aisles of Westminster. The string accompaniment chatters along with the band for a haunting look at a certain royal patrimony The singer suggests:

"If I were you I'd change my name again,
They don't care what they do to you, believe me."

This song in particular seems to have learnt much from the experimental side of Imperial Bedroom. Certainly the strings have taken on a less comprehensive role than found on Mr. Nieve's enthusiastic orchestrations on the last album. "King of Thieves" beams of pomp and gesture until Elvis, in true form, dons his darkest glasses and states

"I'll write this story but you'll never guess the final twist.
Blow the whistle on the whole design.
As they find my name on that fatal mailing list."

Perhaps a fitting lead in to the remodelled "Pills and Soap" which, by some favour of the Clangwinstanley connection. sounds happier than in its previous lethal state. Sitting snug in the context of the album, the song looses none of its venom. Lashing out at war, the depressed nation and royalty. Spits sand at the aristocratic crust of society and sneers at the popular press.

"Give us our daily bread in individual slices,
And something in the daily rag to cancel any crisis."

The song will undoubtedly lose much of its starkness to familiarity yet it will always amaze as of the extent of the bitterness behind the lines.

The punches are thrown as much on Punch the Clock as in previous albums, yet they seem far better aimed. There will of course be the ones that catch you off guard but that's come to be expected of an Elvis Costello LP. The band have departed from the moody lament that has closed many of their records, opting instead for a blistering charge through "The World and his Wife," taking the full line up for a final. powerful workout, sounding like what "Five Gear in Reverse" should have been.

"Daddy went out win the rubbish and he kept on warning,
Between mum and the wells
God only knows who does the talking."

Punch the Clock provides yet another launch pad from which Elvis Costello will most certainly tear down even more restrictions on the "pop" world The results of which await to be seen.

"Never mind there's a good film showing tonight,
Where they hang everyone who can read and write,
Oh that could never happen here but then again it might."

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Tharunka, August 15, 1983


D. O'Driscoll reviews Punch The Clock.

Images

1983-08-15 UNSW Tharunka page 21.jpg
Page scan.

Cover.
1983-08-15 UNSW Tharunka cover.jpg

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