Zub Records, November 21, 2020: Difference between revisions
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<center><h3> | <center><h3> Hey Clockface </h3></center> | ||
<center>''' Elvis Costello </center> | |||
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<center> Steve McGowan </center> | <center> Steve McGowan </center> | ||
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As the COVID crisis began, Elvis Costello headed from touring the UK to Helsinki, of all places, to record, by himself, a couple of solo songs. Then to Paris to meet up with a horn heavy combo including Steve Nieve and AJUQ (tinyurl.com/zubimmobile), to record the bulk of the ''Hey Clockface'' Tracks. He finished more new tracks off in New York with a combo featuring Bill Frisell. The tracks were fast and loose. Although I believe Elvis has, in The Imposters, probably the best rock band in the world, It is refreshing to hear him collaborate in new alignments. Some of his best work has been done with Allen Toussaint, Burt Bacharach, and especially The Roots on ''Wise Up Ghost''. | As the COVID crisis began, Elvis Costello headed from touring the UK to Helsinki, of all places, to record, by himself, a couple of solo songs. Then to Paris to meet up with a horn heavy combo including Steve Nieve and AJUQ (tinyurl.com/zubimmobile), to record the bulk of the ''Hey Clockface'' Tracks. He finished more new tracks off in New York with a combo featuring Bill Frisell. The tracks were fast and loose. Although I believe Elvis has, in The Imposters, probably the best rock band in the world, It is refreshing to hear him collaborate in new alignments. Some of his best work has been done with Allen Toussaint, Burt Bacharach, and especially The Roots on ''Wise Up Ghost''. | ||
The fourteen songs on ''Hey Clockface'' are quite remarkable, opening with the majestic | The fourteen songs on ''Hey Clockface'' are quite remarkable, opening with the majestic "Revolution #49", which starts with a very Middle Eastern horn, reminiscent of a call to prayer, transported to some kind of ''Lawrence Of Arabia'' scene. It's a spoken word tale about hanging on to love. Strange, glorious, and regal sounding. "No Flag" is one of the solo Helsinki tracks, A noisy, electronic track with distorted guitars and an insistent bass that sounds like it could be on ''When I Was Cruel''. Elvis intones about the dissolution of self and beliefs: | ||
''I could write you verses and recite more than one | {{n}}''I could write you verses and recite more than one <br> | ||
''But they're not worth the paper that they're written on | {{n}}''But they're not worth the paper that they're written on | ||
It's quite a jolt after the intro song. | |||
"They're Not Laughing At Me Now" is a tender, sad acoustic tune with jazzy horns and an odd organ sound. Piano and drums crash in the middle to great effect. This is a classic post ''King Of America'' Costello tune, reminding me somehow of "Indoor Fireworks." Opening with a distorted baritone guitar, "Newspaper Pane" is a word packed gem, another twisted tale of love: | |||
''They were all cut down in a cavalry charge'' <br> | {{n}}''They were all cut down in a cavalry charge'' <br> | ||
''Weeping, Miss Imogen said to her priest'' <br> | {{n}}''Weeping, Miss Imogen said to her priest'' <br> | ||
''"I gave him my virtue'' <br> | {{n}}''"I gave him my virtue'' <br> | ||
''It was the least I could leave him'' <br> | {{n}}''It was the least I could leave him'' <br> | ||
''On the eve of departure'' <br> | {{n}}''On the eve of departure'' <br> | ||
''Though I will long for him now and hereafter'' <br> | {{n}}''Though I will long for him now and hereafter'' <br> | ||
''And the child I'll be raising may have his blue eyes''<br> | {{n}}''And the child I'll be raising may have his blue eyes''<br> | ||
''What if he grows up and dies'' <br> | {{n}}''What if he grows up and dies'' <br> | ||
''On some distant unnamable hillside or field'' <br> | {{n}}''On some distant unnamable hillside or field'' <br> | ||
''Because a king and a concubine put a mark on his shield'' <br> | {{n}}''Because a king and a concubine put a mark on his shield'' <br> | ||
With the beatbox drums and the | With the beatbox drums and the 60's organ sound, the tune could almost be a throwback to the ''This Year's Model'' era, but the horns and Costello's amazing vocal delivery give it more of a ''Look Now'' treatment. | ||
"I Do (Zula's Song)" is a dreamy, classical-tinged tune, with piano, horns, upright bass and a straight rip from "Toreador Song" from ''Carmen'' by Bizet. We see what you did there, Elvis. He's in full crooner mode, and sounding fantastic. This one is a stunner. | |||
The lyric for | The lyric for "We Are All Cowards Now": | ||
''They're coming for our Peacemakers <br> | {{n}}''They're coming for our Peacemakers <br> | ||
''Our Winchesters and Colts'' <br> | {{n}}''Our Winchesters and Colts'' <br> | ||
''The rattle of our Gatling Guns<br> | {{n}}''The rattle of our Gatling Guns<br> | ||
''Our best cowboy revolts and threats and insults<br> | {{n}}''Our best cowboy revolts and threats and insults<br> | ||
''We are all cowards now'' | {{n}}''We are all cowards now'' | ||
Obviously a fierce anti-gun screed. This one has Elvis back in his R&B mode with a very strange chorused vocal part. Lyrically amazing but the tune is only average for this | Obviously a fierce anti-gun screed. This one has Elvis back in his R&B mode with a very strange chorused vocal part. Lyrically amazing but the tune is only average for this year's master. | ||
"Hey Clockface / How Can You Face Me?," Is a song we heard on the last tour and found it very interesting. This take is straight 30's jazz, rollicking piano, clarinet, spoons...very old timey. It sounds like a classic jazz side from that era, not easy to do. To drive the point home, they break into a snippet of Fats Waller's "How Can You Face Me Now" from 1934. The whole thing is quite joyous, and no one can pull off this musical shape shifting better than Elvis. "The Whirlwind" is a beautiful tune and melody, again written from the point of view of a disappointed young woman. Elvis provides a tour de force on the vocals, and the piano is stately and amazing. There's a whiff of ''Painted From Memory'' on this one. Again, Elvis hits it out of the park. | |||
With | With "Hetty O'Hara Confidential" we get another beatbox electronic tune, with the cheesy organ, lyrics jam-packed about an old-fashioned gossip columnist: | ||
''Who's got your girlfriend? <br> | {{n}}''Who's got your girlfriend? <br> | ||
''And who had her first? <br> | {{n}}''And who had her first? <br> | ||
''Reading her column was essential<br> | {{n}}''Reading her column was essential<br> | ||
''Hetty O'Hara Confidential <br> | {{n}}''Hetty O'Hara Confidential <br> | ||
''She could kill a man with a single stroke<br> | {{n}}''She could kill a man with a single stroke<br> | ||
''She is not the one you want to provoke <br> | {{n}}''She is not the one you want to provoke <br> | ||
''If you can't take the heat <br> | {{n}}''If you can't take the heat <br> | ||
''Or you can't take a joke | {{n}}''Or you can't take a joke | ||
This one is a rollicking good ride. Elvis is almost rapping at points, and he does it well. | This one is a rollicking good ride. Elvis is almost rapping at points, and he does it well. "The Last Confession Of Vivian Whip" is another piano driven ballad about a lonely woman. Elvis croons admirably and the backing is almost Brodsky-like, It's a pretty and sad song, but I'm afraid it doesn't quite match up to "The Whirlwind." | ||
"What Is It That I Need That I Don't Already Have?" starts with somber, acoustic strumming that gives away to horns and strings. In waltz time, a man looks back on the material things that hold him back. | |||
''What is it that I lost that I don't really need <br> | {{n}}''What is it that I lost that I don't really need <br> | ||
''Some glasses for my eyes <br> | {{n}}''Some glasses for my eyes <br> | ||
''And an hour or two of speed <br> | {{n}}''And an hour or two of speed <br> | ||
''My hands don't blister, my hands don't bleed <br> | {{n}}''My hands don't blister, my hands don't bleed <br> | ||
''But I'll never be contented, repent or ever be lamented <br> | {{n}}''But I'll never be contented, repent or ever be lamented <br> | ||
'' 'Til I'm planted down like rotten crops <br> | ''{{n}}'Til I'm planted down like rotten crops <br> | ||
''And covered up with weeds | ''{{n}}And covered up with weeds | ||
This is a sad song and a very mature topic. Elvis is obviously looking back and, whether writing in character or not, his years are slipping through. | This is a sad song and a very mature topic. Elvis is obviously looking back and, whether writing in character or not, his years are slipping through. "Radio Is Everything" is basically a spoken word piece without the regal backing of "Revolution #49." He rails against hate on the radio: | ||
''You don't need to see my face <br> | {{n}}''You don't need to see my face <br> | ||
''Radio is everything <br> | {{n}}''Radio is everything <br> | ||
''You don't need to know my name <br> | {{n}}''You don't need to know my name <br> | ||
''Radio is everything <br> | {{n}}''Radio is everything <br> | ||
''The lie that I tell <br> | {{n}}''The lie that I tell <br> | ||
''It just doesn't matter <br> | {{n}}''It just doesn't matter <br> | ||
''If I should deceive you <br> | {{n}}''If I should deceive you <br> | ||
''Or if I should flatter <br> | {{n}}''Or if I should flatter <br> | ||
''If your bankroll gets thin while some kitty gets fatter <br> | {{n}}''If your bankroll gets thin while some kitty gets fatter <br> | ||
''Radio is everything <br> | {{n}}''Radio is everything <br> | ||
''From the straight to the narrow to the broadcast from within <br> | {{n}}''From the straight to the narrow to the broadcast from within <br> | ||
''Radio is everything <br> | {{n}}''Radio is everything <br> | ||
''Radio is everything''<br> | {{n}}''Radio is everything''<br> | ||
It's quite remarkable and stands up to repeated listening. | |||
"I Can't Say Her Name" is another acoustic tune that sounds like it could be home on ''National Ransom'', it has that 30's jazz vibe. Trumpets and barrelhouse piano join in. Like "Hey Clockface," it's a joyous song not even ruined by Elvis' take on scat singing. It makes me smile. | |||
"Byline" is a story of broken lovers, this is a piano-driven ballad with a strange chorus part. It's short, sad, pretty, and to the point. Another winner and ''Hey Clockface'' goes out on top. | |||
This is | This is Costello's thirty-first record. This amazing artist, after all this time, continues to innovate and impress. The themes show Elvis to still be angry at times, just presenting his arguments with a much more, ahem, "mature" delivery. He's considered a new style, writing from the female perspective, as on ''Look Now''. He continued to pursue old time jazz tropes, that began with ''National Ransom'', and continues to improve on that theme. He's also not afraid to cross into noisy electronica, a la ''When I Was Cruel''. His singing and lyrics are always nonpareil, and the new collaborators are truly astonishing. He continues to experiment, invent, adopt, and adapt. Here's to more to come! | ||
{{cx}} | {{cx}} | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:Hey Clockface album cover.jpg| | [[image:Hey Clockface album cover.jpg|180px|border|link=Hey Clockface]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 17:22, 20 October 2021
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