UPI, April 18, 1986

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King of America

Elvis Costello

Chris Scott

Redemption seems to be the best word to describe the latest effort of Declan McManus — that thin English chap who's now telling us on his new album, King of America, that the eight years we've known him as "Elvis Costello" were all for show.

For his 12th offering, Costello has stripped away not only the trappings of being a "rock-star," but has also left behind the tortured soul his fans remember from his last studio album, 1984's Goodbye Cruel World.

Costello has left his familiar back-up band, the Attractions, behind for most of King of America. He instead enlists some of the top Los Angeles studio session musicians as well as Elvis Presley's TCB Band.

A sparse sound furnished by producer T Bone Burnett gives the listener the idea that Costello has finally emerged from his battles with the "demon" and is at peace just making the music itself.

The opening cut — "Brilliant Mistake" — showcases Costello's consistent skill in weaving a tight lyric — and shows acceptance of what becoming "Elvis Costello" really meant to Declan McManus.

Most of the album is a travelogue through various American music styles, such as bluegrass, country, blues and even gospel. As usual, Costello is in fine voice, able to hit guttural lows in a cover version of "Don't Let Me Be Misunderstood," as well as the lilting highs of "The Big Light."

The redemption aspect is seen in Costello's moving on musically in King of America, but retaining some of the qualities that made him the durable performer he is. And that makes this album the best effort from Costello-McManus in some time.


UPI, April 18, 1986

Chris Scott reviews King Of America.


King Of America album cover.jpg


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