Montreal Gazette, October 2, 1986: Difference between revisions
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<center><h3> Elvis Costello's back — at his creative best </h3></center> | <center><h3> Elvis Costello's back — at his creative best </h3></center> | ||
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If his fellow countrymen pursued their craft with one ounce of the dedication of Elvis Costello, the U.K. would not now be sliding deeper and deeper into an economic and moral abyss. | If his fellow countrymen pursued their craft with one ounce of the dedication of Elvis Costello, the U.K. would not now be sliding deeper and deeper into an economic and moral abyss. | ||
Mind you, if that beloved blighted isle was populated with people an iota as | Mind you, if that beloved blighted isle was populated with people an iota as obsessed and obsessive as the chameleon Costello and his alter ego, Declan MacManus, there's no telling what strangeness might follow. ''Blood & Chocolate'' (Columbia) is Costello's second full-blown LP in less than six months and his what, 13th?, in nine years upon the rock scene. | ||
Because it is a direct contradiction of everything El set out to accomplish with his last, ''King of America'', it is perhaps the most fascinating album of his astonishingly varied career. After long and sort-of tortured deliberation, I also happen to think it's his most consistently powerful piece of goods since ''Armed Forces'' in '79. | Because it is a direct contradiction of everything El set out to accomplish with his last, ''King of America'', it is perhaps the most fascinating album of his astonishingly varied career. After long and sort-of tortured deliberation, I also happen to think it's his most consistently powerful piece of goods since ''Armed Forces'' in '79. | ||
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A bit of background. ''King of America'' was to represent the complete break with a past created when the then-Declan MacManus changed his name to Costello in the mid-1970s and launched a brilliant career as the definitive singer-songwriter of the British punk detonation. | A bit of background. ''King of America'' was to represent the complete break with a past created when the then-Declan MacManus changed his name to Costello in the mid-1970s and launched a brilliant career as the definitive singer-songwriter of the British punk detonation. | ||
Changed his name | <!-- Changed his name --> | ||
In a move destined to burn the bridges before him, Costello finally dropped his wife; slagged off his great long-time band the Attractions and much of the early work they'd done together; changed his name back to MacManus; took up with the lovely Cait O'Riordan of the Pogues; and set off for America to record a completely different record with producer T. Bone Burnett and a skeleton crew of session musicians. The results were everything he, and we, could have hoped for from a new man; initially off-putting because so unfamiliar but ultimately richly rewarding, it was the work of a mature individual. Not since prime Dylan or Bowie had an artist in rock's caustic bright light so effectively engaged in the act of self-re-creation. Neato. | In a move destined to burn the bridges before him, Costello finally dropped his wife; slagged off his great long-time band the Attractions and much of the early work they'd done together; changed his name back to MacManus; took up with the lovely Cait O'Riordan of the Pogues; and set off for America to record a completely different record with producer T. Bone Burnett and a skeleton crew of session musicians. The results were everything he, and we, could have hoped for from a new man; initially off-putting because so unfamiliar but ultimately richly rewarding, it was the work of a mature individual. Not since prime Dylan or Bowie had an artist in rock's caustic bright light so effectively engaged in the act of self-re-creation. Neato. | ||
Now along comes ''Blood & Chocolate'', and a more complete about-face could not be imagined. Costello has returned to the Attractions, returned to early producer Nick Lowe and casual production values, even marginally returned to the name Costello itself. (This is a complicated one. The LP is credited to Elvis Costello and the Attractions, the songs are written by MacManus, and the liner notes — written in Esperanto! — list one Napoleon Dynamite as singer, bandleader. Talk about covering the angles.) | Now along comes ''Blood & Chocolate'', and a more complete about-face could not be imagined. Costello has returned to the Attractions, returned to early producer Nick Lowe and casual production values, even marginally returned to the name Costello itself. (This is a complicated one. The LP is credited to Elvis Costello and the Attractions, the songs are written by MacManus, and the liner notes — written in Esperanto! — list one Napoleon Dynamite as singer, bandleader. Talk about covering the angles.) | ||
Back to battlefield | <!-- Back to battlefield --> | ||
More importantly, he's returned with a gnawing passion to the sexual battlefield — the land of revenge and guilt he charts better than anyone writing in any medium at this point in history. | More importantly, he's returned with a gnawing passion to the sexual battlefield — the land of revenge and guilt he charts better than anyone writing in any medium at this point in history. | ||
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Patience will be repaid in full. The first step into this psycho-soap opera comes with the LP's centrepiece, a horrific dirge for organ and splintered guitar called "I Want You" that lands with the delicacy of acid on skin. | Patience will be repaid in full. The first step into this psycho-soap opera comes with the LP's centrepiece, a horrific dirge for organ and splintered guitar called "I Want You" that lands with the delicacy of acid on skin. | ||
Harrowing drama | <!-- Harrowing drama --> | ||
This is Costello's most harrowing bedroom drama ever, the story of confronting a mate's infidelity and revelling self-destructively in the sexual insecurities that follow the discovery. | This is Costello's most harrowing bedroom drama ever, the story of confronting a mate's infidelity and revelling self-destructively in the sexual insecurities that follow the discovery. | ||
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Then there's "Tokyo Storm Warning," co-written with O'Riordan, and inexplicably released as the album's first single. Ha ha! Not only does this wordfest lift its entire structure whole from the Stones' "19th Nervous Breakdown" (with apologies to the Kinks' "Well-Respected Man"), but it is too dense, too long and too weird to ever make the radio. Just a little joke guys. | Then there's "Tokyo Storm Warning," co-written with O'Riordan, and inexplicably released as the album's first single. Ha ha! Not only does this wordfest lift its entire structure whole from the Stones' "19th Nervous Breakdown" (with apologies to the Kinks' "Well-Respected Man"), but it is too dense, too long and too weird to ever make the radio. Just a little joke guys. | ||
Anguished vocals | <!-- Anguished vocals --> | ||
That's just off the top. Every song on the LP — the wistful "Poor Napoleon" and the witty booze 'n' accuse of "Blue Chair" to name two — comes of age with time. | That's just off the top. Every song on the LP — the wistful "Poor Napoleon" and the witty booze 'n' accuse of "Blue Chair" to name two — comes of age with time. | ||
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Revision as of 17:54, 23 April 2019
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