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When Elvis Costello's King of America album was released last spring, he announced that he wanted to be called from then on by his given name, Declan MacManus His latest record, Blood and Chocolate, reunites him with his band after a brief respite, and is credited to "Elvis Costello and the Attractions," just like the old days. The singer himself, however, is referred to only as "Napoleon Dynamite." If all of this seems confusing, it's really no worse than many of the lyrics on this provocative but flawed album.
Costello has never been an artist who plays it safe. After catching the world's attention as an angry young Buddy Holly look-alike, he has experimented with countless styles and sounds From the pop of Armed Forces to the fairly authentic country album Almost Blue, culminating in 1982's brilliant Imperial Bedroom, Costello continually refined his songwriting and produced exciting, eclectic music.
His more recent work, however, has lacked the focus and intensity which characterized his best writing. King of America featured some of Costello's strongest melodies, and recording with musicians other than the Attractions his band since the early years — seemed to bring some of the spark back to his songs. But ultimately, the album suffered from a tendency toward lyrical obscurity, a problem which becomes songs concern obsessive, unrequited passion. The emotions range from bitter revenge in "I Hope You're Happy" — which sounds exactly like the Costello of 1978's This Year's Model — to the intense paranoia of "I Want You." The music is even more troublesome on Blood and Chocolate.
Despite the domestic bliss which Costello claims he is enjoying with singer Cait O'Riordan, most of the album's consistently engaging, and includes some interesting experiments with sound effects and instrumental backing, but the clarity and precision of Costello's best songwriting is almost nowhere to be found.
Clever and compelling images careen through the album, sometimes coming together in coherent, powerful songs, but often, as in the bouncy "Crimes of Paris," producing obscure, muddled numbers. "Tokyo Storm Warning" is Costello's statement on the absurdity of today's world, listing atrocities from around the globe over a Motown organ riff, but never adding anything more than wordplay to this well-worn theme.
"Tokyo" is one of four tracks on Blood and Chocolate which is over five minutes long. None of these songs is strong enough to sustain interest for so much time. "Battered Old Bird" is a sprawling, messy account of various causes and forms of insanity. Potentially the strongest track is the sparse, gripping "I Want You," but even this goes on too long to maintain the almost unbearable tension it creates.
There are several solid songs on the album, such as the sly "Blue Chair," and the Attractions capture the songs' many moods effectively. The variety of rocking, catchy tunes makes Blood and Chocolate appealing for the first few playings. But closer listening reveals that what Elvis Costello really needs right now is a good editor.
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