Melody Maker, February 11, 1989: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
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{{Melody Maker | {{:Melody Maker index}} | ||
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<center><h3> The | <center><h3> The beloved entertainer </h3></center> | ||
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<center> Dave Jennings </center> | <center> Dave Jennings </center> | ||
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''' Elvis Costello <br> | |||
Spike | |||
{{Bibliography text}} | {{Bibliography text}} | ||
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 & 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."'' Ears must be burning all over London. | |||
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 | |||
"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 | "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, | "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{{nb}}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. | ||
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Finally, there's the simple folk lament of "Last Boat Leaving," a quiet understated, yet desperately sad song, about a father forced to leave home, presumably to find work Bitterness shows through at the very end, but there's a kind of triumph there, too: ''"You've taken the place where I once belonged / Now what more can you take?"'' As another master songwriter once put it: when you've got nothing, you've got nothing to lose. | Finally, there's the simple folk lament of "Last Boat Leaving," a quiet understated, yet desperately sad song, about a father forced to leave home, presumably to find work Bitterness shows through at the very end, but there's a kind of triumph there, too: ''"You've taken the place where I once belonged / Now what more can you take?"'' As another master songwriter once put it: when you've got nothing, you've got nothing to lose. | ||
Certainly, ''Spike'' proves that Costello is still the finest wordsmith we have, his only serious challenger being Morrissey. Musically, he's perhaps ''too'' versatile here, to the point where ''Spike'' lacks the clear identity of its most recent predecessors. The third-person detachment that characterises much of the LP means that this album takes longer to grip than the warm, generous ''King Of America'', or the fiery, dramatic ''Blood | Certainly, ''Spike'' proves that Costello is still the finest wordsmith we have, his only serious challenger being Morrissey. Musically, he's perhaps ''too'' versatile here, to the point where ''Spike'' lacks the clear identity of its most recent predecessors. The third-person detachment that characterises much of the LP means that this album takes longer to grip than the warm, generous ''King Of America'', or the fiery, dramatic ''Blood & Chocolate''. But I've lived with it only a day, and I'm discovering new things with each successive listen. It's thoughtful, furious, eloquent, witty and angry. | ||
It's Elvis Costello. | It's Elvis Costello. | ||
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{{tags}}[[Spike]] {{-}} [[Kevin Killen]] {{-}} [[T{{nb}}Bone Burnett]] {{-}} [[Allen Toussaint]] {{-}} [[Chrissie Hynde]] {{-}} [[Paul McCartney]] {{-}} [[Roger McGuinn]] {{-}} [[Christy Moore]] {{-}} [[Dirty Dozen Brass Band]] {{-}} [[Pete Thomas]] {{-}} [[Veronica]] {{-}} [[Pads, Paws And Claws]] {{-}} [[Let Him Dangle]] {{-}} [[...This Town...|This Town]] {{-}} [[Deep Dark Truthful Mirror]] {{-}} [[God's Comic]] {{-}} [[Chewing Gum]] {{-}} [[Tramp The Dirt Down]] {{-}} [[Stalin Malone]] {{-}} [[Satellite]] {{-}} [[Last Boat Leaving]] {{-}} [[Any King's Shilling]] {{-}} [[Baby Plays Around]] {{-}} [[Miss Macbeth]] {{-}} [[Pills And Soap]] {{-}} [[Bob Dylan]] {{-}} [[Squeeze]] {{-}} [[Squeeze: Labelled With Love|Labelled With Love]] {{-}} [[The Beloved Entertainer]] {{-}} [[Almost Blue (song)|Almost Blue]] {{-}} [[Poisoned Rose]] {{-}} [[Andrew Lloyd Webber]] {{-}} [[King Of America]] {{-}} [[Blood & Chocolate]] {{-}} [[The Attractions]] {{-}} [[Margaret Thatcher]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Melody Maker, February 4, 1989 | |||
|next = Melody Maker, February 18, 1989 | |||
}} | |||
'''Melody Maker, February 11, 1989 | '''Melody Maker, February 11, 1989 | ||
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[[Dave Jennings]] reviews ''[[Spike]]''. | [[Dave Jennings]] reviews ''[[Spike]]''. | ||
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''Melody Maker'' notes EC's performance with [[Nick Lowe]], February 5, Tower Records, London. | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1989-02-11 Melody Maker page 36.jpg|380px]] | |||
[[image:1989-02-11 Melody Maker page 36.jpg| | <br><small>Page scan.</small> | ||
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{{Bibliography box}} | {{Bibliography box}} | ||
<center><h3> Elvis Costello </h3></center> | |||
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<center> Melody Maker </center> | |||
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{{Bibliography text}} | {{Bibliography text}} | ||
[[image:1989-02-11 Melody Maker page 05 clipping.jpg|150px|border|right]] | |||
Elvis Costello celebrated the release of his new album, ''Spike'', with a special appearance at midnight on Sunday outside Tower Records in Piccadilly. | Elvis Costello celebrated the release of his new album, ''Spike'', with a special appearance at midnight on Sunday outside Tower Records in Piccadilly. | ||
Costello had been expected at the store to sign copies of the album, which was released on Monday, but surprised the crowd of several hundred by treating them to a 20-minute acoustic set of songs from the LP, and a version of "(What's So Funny 'Bout) Peace, Love And Understanding?" with | Costello had been expected at the store to sign copies of the album, which was released on Monday, but surprised the crowd of several hundred by treating them to a 20-minute acoustic set of songs from the LP, and a version of "(What's So Funny 'Bout) Peace, Love And Understanding?" with Nick Lowe. <!-- ''Spike'' review: page 36. --> | ||
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<br><br> | |||
<small>Photo by [[Keith Morris]].</small><br> | |||
[[image:1989-02-11 Melody Maker photo 02 km.jpg|380px|border]] | |||
[[image:1989-02-11 Melody Maker photo | <small>Photographer unknown.</small><br> | ||
[[image:1989-02-11 Melody Maker photo 01.jpg|380px]] | |||
<small>Cover.</small><br> | |||
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{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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==External links== | ==External links== | ||
*[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | *[http://en.wikipedia.org/wiki/Melody_Maker Wikipedia: Melody Maker] | ||
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[[Category:Bibliography 1989 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1989]] | |||
[[Category:Melody Maker| Melody Maker 1989-02-11]] | [[Category:Melody Maker| Melody Maker 1989-02-11]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
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[[Category:Spike reviews | [[Category:Spike reviews]] |
Latest revision as of 17:33, 29 November 2023
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