|
Elvis Costello is back. Earlier this year, via interviews and his 11th LP, King Of America, he cheerfully announced the "death" of "Elvis Costello" and reclaimed his given name, Declan MacManus.
As enigmatic as ever, he has returned as Elvis Costello, released his 12th album, Blood & Chocolate, and embarked on his most ambitious concert tour ever, "Elvis Costello Sings Again."
Blood & Chocolate not only reunites Costello with the Attractions, but also with Nick Lowe, who produced Elvis' first six albums. Because of this line-up, many assumed that Blood & Chocolate would return Costello to the fierce, uncompromising "Angry Young Man" phase chronicled in his first three releases. While the new album does represent a "back to basics" approach, Costello is smart enough to believe the Thomas Wolfe axiom "you can't go home again."
From the no-nonsense chord changes of "Uncomplicated" to the breezy, Beatlesque kiss-off of "Next Time 'Round," this album strikes the right balance between Costello's early hard-edged rock and the sophisticated song craft of his recent efforts.
"I Hope You're Happy Now" is drastically revised from the slow, deliberate version Costello has been performing in concert for the last couple of years. Speeding up the tempo, the Attractions give this number a loose bar band feel, as Costello delivers stinging bon mots, assessing a former girlfriend's new beau.
"He's got all the things you need and some that you will never
But you make him sound like frozen food, his love will last forever."
"Uncomplicated" comes across as a menacing love letter. The Attractions provide mighty support for Elvis scratchy, snarling guitar riffs. Bassist Bruce Thomas' supple lines act as an anchor for drummer Pete Thomas' (no relation) ponderous rhythm. Steve Nieve supplies a melodic foil with the ever-present drone of his Farfisa organ.
Blood & Chocolate's centerpiece is "Tokyo Storm Warming," co-written by Cait O'Riordan. By juxtaposing an irresistible, almost hypnotic, tribal beat with this stream-of-consciousness travelogue, Costello has managed a seamless marriage of words and music. Dazzling visual imagery connects with the heavy reverb of his guitar and the self-deprecating chorus puts it all into perspective. The lyrics are up for myriad interpretations, but in a recent interview, Costello said that the song was about "hamburgers and what they can do to your mind."
A trio of tunes tackles affairs of the heart. Both "Crimes Of Paris" and "Poor Napoleon" employ the backing vocals of Costello's fiancee, Cait O'Riordan, also the bass player for the Celtic punk group, the Pogues. The former places Elvis in the awkward and unlikely position of arbitrator caught in the middle of a lovers quarrel.
On the latter, Costello's confidence hits rock bottom when he can't even get a prostitute to feign enthusiasm for his sexual prowess. O'Riordan commiserates on the plaintive line, "Poor Napoleon." (Costello bills himself on this LP as "Napoleon Dynamite").
Finally, Costello gets in the last word on "Next Time 'Round" when he confronts his unfaithful mate. Typically, he announced he is through when he catches her packing her bag and preparing to leave.
On "Next Time 'Round," Costello comes across as the most complex (and cryptic) songwriter in contemporary pop. However, on "I Want You," he realizes he doesn't always have to be a cunning wordsmith to get his point across. A jarring guitar twang signals the transition from a gentle declaration of love to a chilling treatise of sexual obsession. The lyrics are simple but effective and the instrumentation slowly progresses from Elvis' guitar to include the entire band. While his nerve-shattering solo pushes Costello's emotions over the edge, he has never been more in command of his voice. Each intonation shades and textures the listener's interpretations. As Costello bares his soul in the final verse, his voice is tremulous, thick with emotion. He holds each note and sustains the one phrase that follows each line of the song:
"I want you."
Other interesting songs include the sprightly "Blue Chair" and the somber "Battered Old Bird," which chronicles disillusionment and despair. "Home Is Anywhere You Hang Your Head" is a poignant study in unrequited love, highlighted by Steve Nieve's psychedelic harpsichord.
Finally, "Honey Are You Straight Or Are You Blind" displays Elvis' ever-present vitriol. Nieve's '60s-style go-go Farfisa fills are punctuated by mordant guitar riffs. It is unclear whether Costello is questioning his companion's sobriety or her sexual preferences.
The final lines of "Tokyo Storm Warning" best sum up Elvis' metamorphosis from the spiteful, angry young man to the world-weary, philosophical elder statesman of the punk revolution:
"What do you care if the world is a joke
We'll give it a kiss, we'll give it a poke
Death wears a big hat 'cause he's a big bloke
We're only living this instant."
With the tough and tender Blood & Chocolate serving as his latest testament, Costello's music will live far beyond "this instant."
• • •
Ten years after the punk music revolution, which provided a springboard for his musical ambitions, Elvis Costello is still plugging away while peers like the Clash and the Jam have either ceased to exist or have drastically tailored their sound to the low standards of commerciality.
Costello recently kicked off his U.S. tour. Rather than play a different town every night, he has been playing five nights in each venue with a different show for each night. He includes a request night with the Attractions, a solo acoustic night with special guests and a night with the Confederates, concentrating on King Of America material and obscure R&B and country songs. One evening features the "Spectacular Spinning Songbook," where audience members make requests by spinning a giant wheel emblazoned with 40 Costello songs The final show is devoted to songs from the Blood & Chocolate LP.
An adventurous risk, but one that succeeded when Costello debuted the shows to sold-out audiences in Los Angeles earlier this month.
| 
