Melody Maker, July 28, 1984: Difference between revisions
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''Goodbye Cruel World'' is Elvis Costello's tenth album in seven years; a rough calculation currently puts his published repertoire of original material at around 130 songs. Considering this, it would seem positively churlish to describe his monumental industry, the sheer energy of his invention, as merely prolific. The man obviously ''bleeds'' music. | |||
Even more remarkable however, than this kind of creative promiscuity, has been the generally unassailable standard of songwriting Costello has maintained throughout his career and he often breathtaking diversity of musical styles he's investigated, plundered and appropriated. | |||
Since ''My Aim Is True'', Elvis' records have entertained the galvanic rock thrust of ''This Year's Model'', the glossy pop strategies of ''Armed Forces'', the rumbustuous emotional soul attack of ''Get Happy!!'', the epic maturity of ''Trust'', the brooding country desolation of ''Almost Blue'', the sophisticated orchestrations of ''Imperial Bedroom'' and the brassy Stax-pop of ''Punch The Clock''. Add to these achievements the splendid diversions of the ''10 Bloody Marys''/''Taking Liberties'' compilations, the Imposter releases and "Shipbuilding" and it becomes clear that Costello has amassed a positively awesome body of work. | |||
''Goodbye Cruel World'' evinces no critical lapse in quality. From where I'm listening, in fact, it sounds like the most approachable Costello LP since ''Trust'', more intimate than the steely angularity of ''IB'', less blaring, more resolute than ''Punch The Clock''. The story is that most of this record was written in two weeks, with Costello hunched over a typewriter in a rented office, and was recorded as quickly. And it's true. ''Goodbye Cruel World'' has a very taking-care-of-business-like air about it, a grave, serious urgency, In this, it resembles Costello's best LP, ''Get Happy!!''. Elvis was on the ropes then, however, reeling from a series of largely self-inflicted blows that had badly damaged his career. Despite its barren title, ''Goodbye Cruel World'' has a lighter touch, doesn't really go in too much for the lacerating self-examination of "Riot Act", say, or "Secondary Modern." | |||
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