Melody Maker, February 11, 1989: Difference between revisions
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<center><h3> The | <center><h3> The beloved entertainer </h3></center> | ||
<center>''' Elvis Costello ''' / Spike </center> | <center>''' Elvis Costello ''' / Spike </center> | ||
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Horror and humour have always been compellingly juxtaposed in Costello's work. This time around, the resulting tension is clear from a glance at the sleeve of ''Spike''. It depicts Costello's head mounted on a plaque like a hunter's trophy, his face grinning insanely through grotesque clown's make-up. Below, is a small brass plate that reads "THE BELOVED ENTERTAINER" | Horror and humour have always been compellingly juxtaposed in Costello's work. This time around, the resulting tension is clear from a glance at the sleeve of ''Spike''. It depicts Costello's head mounted on a plaque like a hunter's trophy, his face grinning insanely through grotesque clown's make-up. Below, is a small brass plate that reads "THE BELOVED ENTERTAINER." Initially shocking, the image now makes me smile. | ||
More importantly, though, it illustrates the dilemma facing Costello following the relative commercial failure of ''Blood And Chocolate'' — a failure that was admittedly exacerbated by the wilful release of singles that were scarcely likely to win daytime radio airplay. So — what is a poor genius to do when fans stay loyal, but the world won't listen? | More importantly, though, it illustrates the dilemma facing Costello following the relative commercial failure of ''Blood And Chocolate'' — a failure that was admittedly exacerbated by the wilful release of singles that were scarcely likely to win daytime radio airplay. So — what is a poor genius to do when fans stay loyal, but the world won't listen? | ||
Well, for a start, he can call in famous friends. The kind of acquaintances who might raise his profile without making him easy prey for gutting and stuffing by the forces of business. So, ''Spike'' features two collaborations with [[Paul McCartney]], who also plays bass on two tracks. Elsewhere, there are cameo appearances from [[Chrissie Hynde]], [[Allen Toussaint]], [[Roger McGuinn]] and [[Christy Moore]]. The Attractions would seem to be no more, though [[Pete Thomas]] makes a couple of contributions on drums. Both of the songs co-written with McCartney are remarkably effective. "Veronica," the forthcoming single, and "Pads, Paws And Claws" can be seen as further education versions of Squeeze's "Labelled With Love" and The Cure's "The Love Cats," respectively. But let's start at the beginning. "...This Town..." (note those dotty pauses) is a wondering, disgusted look at sordid small-time manoeuverings, set to a melody whose power owes nothing to brute force or noise. Eerie keyboard tones and ingeniously arranged and treated vocals underpin the interesting contention that ''"you're nobody 'till everybody in this town thinks you're a bastard" | Well, for a start, he can call in famous friends. The kind of acquaintances who might raise his profile without making him easy prey for gutting and stuffing by the forces of business. So, ''Spike'' features two collaborations with [[Paul McCartney]], who also plays bass on two tracks. Elsewhere, there are cameo appearances from [[Chrissie Hynde]], [[Allen Toussaint]], [[Roger McGuinn]] and [[Christy Moore]]. The Attractions would seem to be no more, though [[Pete Thomas]] makes a couple of contributions on drums. Both of the songs co-written with McCartney are remarkably effective. "Veronica," the forthcoming single, and "Pads, Paws And Claws" can be seen as further education versions of Squeeze's "Labelled With Love" and The Cure's "The Love Cats," respectively. But let's start at the beginning. "...This Town..." (note those dotty pauses) is a wondering, disgusted look at sordid small-time manoeuverings, set to a melody whose power owes nothing to brute force or noise. Eerie keyboard tones and ingeniously arranged and treated vocals underpin the interesting contention that ''"you're nobody 'till everybody in this town thinks you're a bastard."'' Ears must be burning all over London. | ||
"Let Him Dangle" is an almost Dylan-esque narrative ballad about the infamous Craig/Bentley murder case of the Fifties. An abortive robbery ended in violence when Craig and Bentley were cornered by police on a warehouse roof. Craig, who was armed, was told to surrender his gun, whereupon Bentley was heard to utter the ambiguous instruction, "Let him have it, Chris." Craig then shot one of the policemen. The pair were subsequently convicted of murder. Craig was too young to hang. But Bentley, although he had been unarmed at the time of the arrest, went to the gallows. He was 19. | "Let Him Dangle" is an almost Dylan-esque narrative ballad about the infamous Craig/Bentley murder case of the Fifties. An abortive robbery ended in violence when Craig and Bentley were cornered by police on a warehouse roof. Craig, who was armed, was told to surrender his gun, whereupon Bentley was heard to utter the ambiguous instruction, "Let him have it, Chris." Craig then shot one of the policemen. The pair were subsequently convicted of murder. Craig was too young to hang. But Bentley, although he had been unarmed at the time of the arrest, went to the gallows. He was 19. | ||
A low, resonant piano makes it musically akin to a more swinging version of "Pills And Soap" | A low, resonant piano makes it musically akin to a more swinging version of "Pills And Soap." Which is a gruesome irony, considering the subject. It's a frightening story, vividly told. Its contemporary relevance becomes clear when you remember that dozens of Tory MPs regularly make themselves more popular with their constituency bigots by regularly voting for the return of capital punishment. | ||
"Deep Dark Truthful Mirror," which follows, is inevitably less emotive. The lyric is frustratingly obscure, and the track is probably most notable for the debut here of [[The Dirty Dozen Brass Band]], the New Orleans ensemble who are employed on three of the album's tracks. Elvis is in soulboy mode, and the polished brass suits his impassioned delivery perfectly. But only he knows what the description in the third verse of a butterfly's exotic diet is meant to convey to anyone. | "Deep Dark Truthful Mirror," which follows, is inevitably less emotive. The lyric is frustratingly obscure, and the track is probably most notable for the debut here of [[The Dirty Dozen Brass Band]], the New Orleans ensemble who are employed on three of the album's tracks. Elvis is in soulboy mode, and the polished brass suits his impassioned delivery perfectly. But only he knows what the description in the third verse of a butterfly's exotic diet is meant to convey to anyone. | ||
"Veronica" brings the album back into focus. The first of the songs co-written with McCartney, it's a gorgeous, gambolling thing. Subtly constructed, but instantly infectious, it should get Costello back in the singles chart. Production credits on ''Spike'', incidentally, are shared by EC, [[Kevin Killen]] and [[T Bone Burnett|T-Bone Burnett]], and they deserve ''lots'' of credit for "Veronica" | "Veronica" brings the album back into focus. The first of the songs co-written with McCartney, it's a gorgeous, gambolling thing. Subtly constructed, but instantly infectious, it should get Costello back in the singles chart. Production credits on ''Spike'', incidentally, are shared by EC, [[Kevin Killen]] and [[T Bone Burnett|T-Bone Burnett]], and they deserve ''lots'' of credit for "Veronica." It features sweet, light touches of trumpet, strings and keyboards, and once again, Costello's harmonies are beautifully layered. Yet the song still sounds lean and urgent. | ||
"I wish you'd known me when I was alive," is a difficult opening to follow, but Costello manages it on "God's Comic" | "I wish you'd known me when I was alive," is a difficult opening to follow, but Costello manages it on "God's Comic." It's a quiet, whispering piece that highlights Costello's mordant sense of humour, while suggesting that the Almighty may have an even darker one. In the guise of a "comical priest," EC sees the Lord reclining on a waterbed, listening to Andrew Lloyd Webber's "Requiem." ''"I prefer the one about my son,"'' confides the deity, as a banjo and xylophone twang and twinkle in the background. | ||
"Chewing Gum" is yet another sad short story — this album is full of them. This one's about an unhappy, commercially-arranged marriage, where sex is the couple's only real communication. It's particularly remarkable for the ingenious way the Dirty Dozen Brass Band is added to nothing more than drums and guitar to create a brisk dance track, sousaphone taking the place of more conventional bass instruments. | "Chewing Gum" is yet another sad short story — this album is full of them. This one's about an unhappy, commercially-arranged marriage, where sex is the couple's only real communication. It's particularly remarkable for the ingenious way the Dirty Dozen Brass Band is added to nothing more than drums and guitar to create a brisk dance track, sousaphone taking the place of more conventional bass instruments. |
Revision as of 14:04, 18 July 2015
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