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The music business likes to operate on the "feast or famine" principle. The idea is to starve the listening public for certain periods of time, releasing only that product which is either inexpensive or to which it's contractually-obligated, and then suddenly deluge us with so many tasty treats that it's hard to find enough time or the appetite to take it all in. This problem becomes especially acute when masterpieces by two major creative artists come out at the same time. What a dilemma! Which one to serve first? Will my attitude toward one be affected by the other? Will I get a stomachache if I listen to too much?
The releases of excellent new fare by Elvis Costello and Bruce Cockburn recently presented just such a dilemma. Elvis has been giving a lot of interviews lately and his thrust seems to be that the Elvis Costello "character" is a fictional persona which is no longer relevant, and that the world should know that Declan MacManus has just released a masterpiece. He'll get no argument from me. Of course, the fine folks at CBS don't want name confusion to ruin anyone's meal (or hurt record sales) so the package is labeled King of America (Columbia) by The Costello Show (featuring Elvis Costello). But, don't worry about the packaging, what's inside is vintage Elvis/Declan, and it tastes just fine.
Mr. Costello (we'll still call him that for now) worked with T Bone Burnett and without the Attractions (except for one track), and the results are a listener's delight. This is no boogie album, but rather a piece of music which weaves stories, ideas and dreams around excellent musicianship and studio craftsmanship. It's the kind of record that shows off the best in all concerned (and there are some great session players here) and puts to shame so much of what passes for serious music today. Costello's lyrics have never been more poignant and T Bone's limitless energy (reportedly pushing Costello harder in the studio than anyone has ever tried) has never been so profoundly put to use. And, ponder this while savoring this delicacy, Costello may only now be discovering how good he can be. The thought is almost frightening.
Canada's Bruce Cockburn is another astounding singer/ songwriter who keeps getting better and better. He has always had a way with a tune but his lyrics are becoming increasingly biting and satiric, challenging listeners (especially those in this country) to hear about how awful things are in Nicaragua or Southeast Asia while dancing about in a smorgasbord of musical styles enhanced by flawless musicianship. His new collection, World of Wonders (True North/ Columbia import) (  ) pulls no punches and lays bare Cockburn's anguished soul. If there is a problem here, it has to do with a sameness among some of the melodies which not only sound similar to each other, but to some of 1984's Stealing Fire, which is arguably his greatest work to date. "Dancing in Paradise," for instance, will remind you of "Maybe the Poet" with its semi-rap motif and jangly guitars. I suspect that Cockburn has been devoting more time to his lyrical ingredients and sneaking in some leftover musical broth, possibly in an attempt to be thrifty. If that's the case, then, as with Costello/MacManus, we have only begun to experience what Mr. Cockburn is capable of.
So much for the main course. Now, let's start nibbling on the best of the rest. Elvis Costello has just produced some new material by The Pogues. Anyone who saw them during their recent mini-tour will really enjoy Poguetry in Motion (Stiff import ), a four-song set featuring the lads at their Irish/Pop best. This is a warm and inviting record that will have you yearning for the old sod and a pint of Guinness, even if you're not usually inclined in that direction. Be warned, though — if you have Irish blood, this stuff is habit-forming.
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