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Costello gets into society/political manipulation now and then, but the main target is the way we use feelings as weapons. "Sneaky Feelings": ''"Why don't we call it a day and both confess / You can't force me to use a little tenderness"''; "Miracle Man": ''"It's not a drag, it's not insane / It's just he wants everyone to feel his pain"''; "(Angels Wanna Wear My) Red Shoes": ''"I said I'm so happy I could die / She said 'Drop dead', and left with another guy / That's what you get if you go chasing after vengeance / Since he got me punchy that's been my sentence"''; "You Belong To Me": ''"You're easily led but you're much too scared to follow"''; "Hand In Hand": ''"Don't ask me to apologise / And I won't ask you to forgive me / If I'm going to go down / You're going to come with me"'' (or is this just copping plea No. 69?); "Accidents Will Happen": ''"It's the damage that we do / And never know / It's the words that we don't say / That scare me so"''; "Busy Bodies": ''"You want attention / You try my patience / With the best intentions / You are just amusing"''; "Two Little Hitlers": ''"He doesn't want your pleasure / He wants as no one can / He wants to know the names of those he's better than"''; "Motel Matches": ''"Though you say that I'm unkind / I'm being as nice as I can"''... | |||
Costello gets into society/political manipulation now and then, but the main target is the way we use feelings as weapons. Sneaky Feelings | |||
And so on: You can prove anything with figures; Dr. Freud, who's been listening on the other line reports: "Herr Costello exhibits pronounced oral tendencies, feelings of sexual inadequacy and closet sadism — which is normal in 140 per cent of short guitarists who wear glasses ..." | And so on: You can prove anything with figures; Dr. Freud, who's been listening on the other line reports: "Herr Costello exhibits pronounced oral tendencies, feelings of sexual inadequacy and closet sadism — which is normal in 140 per cent of short guitarists who wear glasses ..." | ||
Suffice it that one of the central questions facing modern philosophy is | Suffice it that one of the central questions facing modern philosophy is "Is the fucking I'm getting worth the fucking I'm getting," and Elvis, well... he's on the case. | ||
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If Elvis Costello was just all of the above, we would have moved on to the next page. The reason it's a wee bit interesting to suss him out is that he's one of the best and most potent musical forces around. | If Elvis Costello was just all of the above, we would have moved on to the next page. The reason it's a wee bit interesting to suss him out is that he's one of the best and most potent musical forces around. | ||
Nobody can seriously suggest that he is anything less than an original. Maybe when he was scuffling around as | Nobody can seriously suggest that he is anything less than an original. Maybe when he was scuffling around as "D.P. Costello" with the band Flip City, the influences might still have protruded: but from ''My Aim Is True'' on, they were well battened down. The artists he has expressed most admiration for are country singers like George Jones and Gram Parsons; they may well have helped shape the vocal approach, but their worlds are far, far apart. | ||
Yet he's obviously got lots of sixties and seventies rock stylings right down (and has inserted some famous riffs in various songs: a bit of "Pretty Woman" in "Busy Bodies," some Lennon here and there, and Bowie's "Rebel Rebel" in "Two Little Hitlers.") | Yet he's obviously got lots of sixties and seventies rock stylings right down (and has inserted some famous riffs in various songs: a bit of "Pretty Woman" in "Busy Bodies," some Lennon here and there, and Bowie's "Rebel Rebel" in "Two Little Hitlers.") | ||
And his musical background comes from a lot more than the time honoured | And his musical background comes from a lot more than the time honoured "playing along with the radio." His grandfather was a jazz trumpeter in New York; his father is still a working vocalist in cabaret. During the '60s the big band Ross MacManus featured with had a regular radio show, and in a '77 interview he talks of taking young Declan along to watch the likes of the Stones, the Hollies, the Merseybeats and the Beatles record their segments. | ||
So Elvis grew up in a house where modern music was taken seriously, (how many of us could say the same?), and singing wasn't reserved for the shower. Check the legacy on his striking treatment of the jazz standard "My Funny Valentine" (one of the B sides on ''Taking Liberties''). | So Elvis grew up in a house where modern music was taken seriously, (how many of us could say the same?), and singing wasn't reserved for the shower. Check the legacy on his striking treatment of the jazz standard "My Funny Valentine" (one of the B sides on ''Taking Liberties''). | ||
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But his approach as a writer, unlike that of most jazz and a lot of rock, is that the music is a vehicle for words that say something. His chord and rhythm sense is strong and adept, but the emphasis is always on melody and lyric. Likewise he's no slouch as a guitarist, but hardly ever solos (in fact the guitar features less and less on record), concentrating instead on the singing. | But his approach as a writer, unlike that of most jazz and a lot of rock, is that the music is a vehicle for words that say something. His chord and rhythm sense is strong and adept, but the emphasis is always on melody and lyric. Likewise he's no slouch as a guitarist, but hardly ever solos (in fact the guitar features less and less on record), concentrating instead on the singing. | ||
And concentrating on not messing about. In the time it would take Springsteen and the E Street Band to lumber through one of their intros, Costello and the Attractions could have wacked down a couple of numbers and be up the pub with Nick Lowe while Roger | And concentrating on not messing about. In the time it would take Springsteen and the E Street Band to lumber through one of their intros, Costello and the Attractions could have wacked down a couple of numbers and be up the pub with Nick Lowe while Roger Bechirian arranged the studio for the overdubs... | ||
The compressed ideas unfold (sometimes real slowly) in the mind of the listener. Costello often uses fragments, and often uses double, or even higher powered meanings — some just fun puns, others loaded ('I get hit looking for a Miss' or 'She's my soft touch | The compressed ideas unfold (sometimes real slowly) in the mind of the listener. Costello often uses fragments, and often uses double, or even higher-powered meanings — some just fun puns, others loaded (''"I get hit looking for a Miss"'' or ''"She's my soft touch typewriter / And I'm the great dictator"''). Even after a couple of years, a few twists have just become apparent in ''This Year's Model''... scientific tests have proven that the absence of lyric sheets makes your vinyl last longer! | ||
Some of My Aim Is True was recorded with other musicians (including the current rhythm section of The Rumour), but most of Costello's work has been with The Attractions. | <!-- WHAT'S THE ATTRACTION(S)? --> | ||
Some of ''My Aim Is True'' was recorded with other musicians (including the current rhythm section of The Rumour), but most of Costello's work has been with The Attractions. | |||
Drummer Pete Thomas came from Chilli Willie & The Red Hot Peppers, a pub band from the days of Kilburn & The Highroads and early Dr. Feelgood; Jake Riviera used to manage them. He's no relation, but had worked before with bass player Bruce Thomas, a former member of Quiver. They're a strong, competent section, who can rave live (check the famous bootleg Live At The Mocambo), but keep it sparse in the studio. | Drummer Pete Thomas came from Chilli Willie & The Red Hot Peppers, a pub band from the days of Kilburn & The Highroads and early Dr. Feelgood; Jake Riviera used to manage them. He's no relation, but had worked before with bass player Bruce Thomas, a former member of Quiver. They're a strong, competent section, who can rave live (check the famous bootleg Live At The Mocambo), but keep it sparse in the studio. | ||
Keyboard player Steve Nieve (nee Mason) is the Attraction who most influences the Costello we hear. A composition student at the London Royal Academy of Music, he'd had no rock playing experience, and had never listened to it much anyway. This seems incredible in light of his marvellous renditions of '50s/early '60s tacky organ comping; he does nice things with very basic synthesisers, and really shines on piano — roll over Chuck Berry, Beethoven's playing the blues! Costello sometimes puts the guitar away completely and lets Nieve accompany alone. | Keyboard player Steve Nieve (nee Mason) is the Attraction who most influences the Costello we hear. A composition student at the London Royal Academy of Music, he'd had no rock playing experience, and had never listened to it much anyway. This seems incredible in light of his marvellous renditions of '50s/early '60s tacky organ comping; he does nice things with very basic synthesisers, and really shines on piano — roll over Chuck Berry, Beethoven's playing the blues! Costello sometimes puts the guitar away completely and lets Nieve accompany alone. | ||
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DON'T WANT TO BE AROUND TO WATCH MY OWN DECLINE | <!-- DON'T WANT TO BE AROUND TO WATCH MY OWN DECLINE --> | ||
'''"Sometimes I can feel really washed up. If two days go by without an idea for a song I become obsessive about writing ... The thought of me drying up doesn't scare me so much as the thought of me just repeating myself in a series of diminished echoes. <br> | |||
'''"Watching someone you admired struggling to be inspired is the most pathetic sight imaginable. Ultimately I just want control over what I'm doing. <br> | |||
'''"Complete control." <br> | |||
{{mm}}— [[New Musical Express, January 27, 1979|1978]] | |||
{{Bibliography text}} | |||
The obsession has kept him prolific — after ''Armed Forces'', Bruce Thomas [[New Musical Express, January 27, 1979|told]] interviewer Nick Kent that he thought Elvis had enough material for another four albums. He started at a high level with ''My Aim Is True'' and has raised it with each album. Although there's many consistent themes running right through, the word-cunning and the wide musical background have kept him remarkably free of repetition (remembering that he seems totally committed to limited instrumentation). | |||
Comparisons are odious (but so much fun) ... how many of his contemporaries have shown such form, haven't faltered, and still out distance imitators hugely? His public persona has been sufficiently unpleasant for many to wish him abject failure; but even the music press, which has felt his violent contempt for years, maintains a growing, if aggrieved, respect. | |||
The | The chip-on-the-shoulder nastiness seems to be mellowing — there's no more talk of getting bully boys to rearrange someone's face, at least on record: if he ever does any more in-depth interviews, it will be interesting to see if revenge and guilt are permanent fuels, or whether other concerns have brightened his neurotic, creative life. For now, all we can do is read between the grooves. | ||
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{{Bibliography boxx}} | {{Bibliography boxx}} | ||
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Intriguing to see the way this album has been reviewed by other periodicals so far. Short and snappy, the assessment has usually been vague but favourable. One aspect of ''Liberties''' release however is that, with twenty items from the Costello songbook spanning some four prolific years, the harried Costello fan can pause and actually weigh up the pros and cons of the man's work to date. | Intriguing to see the way this album has been reviewed by other periodicals so far. Short and snappy, the assessment has usually been vague but favourable. One aspect of ''Liberties''' release however is that, with twenty items from the Costello songbook spanning some four prolific years, the harried Costello fan can pause and actually weigh up the pros and cons of the man's work to date. | ||
All eras are showcased here. The earliest Costello (as opposed to D P MacManus) recordings like "Radio Sweetheart" and "Stranger in the House" that were, for one reason or another, left off ''My Aim Is True'', certain of El plus the Attractions' first forays — "Chelsea", "Night Rally" (both to be annexed from the U.K. cassette-only version released Nov 7 where "Watching The Detectives," "Radio, Radio" will take their place whilst "Peace, Love & Understanding" also replaces "Sunday's Best") and "Big Tears" from the ''Model'' sessions whilst "Tiny Steps," "Clean Money," "Crawling To The USA," "Wednesday Week" and "Talking In The Dark" are all out-takes from the ''Armed Forces'' sessions. Finally, Costello-produced items like alternative cuts of "Black & White World" and "Clowntime Is Over" join ranks with marginally post-''Get Happy'' recordings like "Gettin' Mighty Crowded," "Just a Memory," "Ghost Train," "Dr Luther's Assistant," "Girls Talk," and "Hoover Factory," not forgetting the exquisite reading of "My Funny Valentine." | All eras are showcased here. The earliest Costello (as opposed to D P MacManus) recordings like "Radio Sweetheart" and "Stranger in the House" that were, for one reason or another, left off ''My Aim Is True'', certain of El plus the Attractions' first forays — "Chelsea", "Night Rally" (both to be annexed from the U.K. cassette-only version released Nov 7 where "Watching The Detectives," "Radio, Radio" will take their place whilst "Peace, Love & Understanding" also replaces "Sunday's Best") and "Big Tears" from the ''Model'' sessions whilst "Tiny Steps," "Clean Money," "Crawling To The USA," "Wednesday Week" and "Talking In The Dark" are all out-takes from the ''Armed Forces'' sessions. Finally, Costello-produced items like alternative cuts of "Black & White World" and "Clowntime Is Over" join ranks with marginally post-''Get Happy'' recordings like "<!-- Gettin' -->Getting Mighty Crowded," "Just a Memory," "Ghost Train," "Dr Luther's Assistant," "Girls Talk," and "Hoover Factory," not forgetting the exquisite reading of "My Funny Valentine." | ||
The actual editing-together of this sprawl of obsessive virtuosity is worth giving a ten out of ten to, because it balances out the numerous stylistic deviations and pinpoints certain striking inconsistencies. | The actual editing-together of this sprawl of obsessive virtuosity is worth giving a ten out of ten to, because it balances out the numerous stylistic deviations and pinpoints certain striking inconsistencies. | ||
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Where the earliest cuts — "Radio Sweetheart" and "Stranger In The House" — have not merely retained their initial clout but now sound even better, a lot of the ''Armed Forces'' era stuff — "Wednesday Week," "Sunday's Best," "Talking In The Dark" ring false, being far too busy and over convoluted. Elvis once stated that his biggest fear was of "repeating himself in diminishing echoes" and the sad fact is that these songs are the sound of a man feverishly pushing himself on to avoid the long downward spiral of self-parody. | Where the earliest cuts — "Radio Sweetheart" and "Stranger In The House" — have not merely retained their initial clout but now sound even better, a lot of the ''Armed Forces'' era stuff — "Wednesday Week," "Sunday's Best," "Talking In The Dark" ring false, being far too busy and over convoluted. Elvis once stated that his biggest fear was of "repeating himself in diminishing echoes" and the sad fact is that these songs are the sound of a man feverishly pushing himself on to avoid the long downward spiral of self-parody. | ||
Of course, this should not | Of course, this should not be taken as a generalisation — "Chelsea," like "Detectives" and most of the ''Model'' tracks for that matter, is a stunning creation with the Attractions providing a devastatingly cock-sure back-up. Even when the songs are second-rate — "Crawling To The USA" and "Clean Money" — the Attractions bring the hammer down with a vengeance. | ||
The self-produced songs are possibly ''Liberties''' strongest suit for release. Costello slows down "Clowntime Is Over," strips away all superfluous embellishments and presents one with a song that, like "Motel Matches" and "New Amsterdam," demonstrates just how easy it is to ignore a brilliant song under the sheer tonnage of material available. Here, Costello hasn't lost a thing. He's better than ever, the underlying fear of inspiration being drained, forcing him to metamorphose into what Danny Baker described as "a piano wire drawn so tight that to release, could result in an almighty ''snap''." | The self-produced songs are possibly ''Liberties''' strongest suit for release. Costello slows down "Clowntime Is Over," strips away all superfluous embellishments and presents one with a song that, like "Motel Matches" and "New Amsterdam," demonstrates just how easy it is to ignore a brilliant song under the sheer tonnage of material available. Here, Costello hasn't lost a thing. He's better than ever, the underlying fear of inspiration being drained, forcing him to metamorphose into what Danny Baker described as "a piano wire drawn so tight that to release, could result in an almighty ''snap''." | ||
"Hoover Factory" — the only truly original and hitherto unobtainable item included here — addresses Costello's own hang-up with a poignancy and grace that undermines that "''snap''" factor. ''"It's not a matter of life or death / What is? what is? / It doesn't matter if I take another breath / Who cares? who cares?"'' croons Costello. voicing his essential credo. There is the same resignation here that characterised "Alison" and "Just a Memory," that same tinge of sadness that ultimately grants Costello the human factor he's sometimes tried to dash against those feverish outbursts which now form his own caricature. ''Liberties''' release ''could'' be purely down to financial matters, the Columbia record deal and all that that might entail but I seriously doubt it. I'm glad I've got the record | "Hoover Factory" — the only truly original and hitherto unobtainable item included here — addresses Costello's own hang-up with a poignancy and grace that undermines that "''snap''" factor. ''"It's not a matter of life or death / What is? what is? / It doesn't matter if I take another breath / Who cares? who cares?"'' croons Costello. voicing his essential credo. There is the same resignation here that characterised "Alison" and "Just a Memory," that same tinge of sadness that ultimately grants Costello the human factor he's sometimes tried to dash against those feverish outbursts which now form his own caricature. ''Liberties''' release ''could'' be purely down to financial matters, the Columbia record deal and all that that might entail but I seriously doubt it. I'm glad I've got the record and I don't feel shortchanged. I see no reason why you should feel differently. | ||
{{cx}} | {{cx}} | ||
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The title is not betrayed. If you believe Costello to be one of the best singers, and most important songwriters around, this fifth album (or sixth, counting ''Taking Liberties'') will reaffirm the faith; If you've reservations, take a chance on them being obliterated. If you can't stand the man, move on, 'cause there's no concessions here. | The title is not betrayed. If you believe Costello to be one of the best singers, and most important songwriters around, this fifth album (or sixth, counting ''Taking Liberties'') will reaffirm the faith; If you've reservations, take a chance on them being obliterated. If you can't stand the man, move on, 'cause there's no concessions here. | ||
On the other hand there's less malice — and the doubts and criticisms are as much aimed at himself as other people. ''"He | On the other hand there's less malice — and the doubts and criticisms are as much aimed at himself as other people. ''"He comes without warning and leaves without feeling / Shot with his own gun / Now daddy's keeping mum ... / The little corporal got in the way / And he got hit by an emotional ricochet / It's a bit more now than dressing up dolly / Playing house seems so melancholy"'' — if "Shot With His Own Gun" doesn't have reference to Costello's marital comings-and-goings, I'll eat this review. And the lyrics from "New Lace Sleeves" quoted on page 20 don't spare the author — how many pop stars (or even real people) talk about sexual failings? | ||
This doesn't mean the fires have been banked: the opening single, "Clubland," lashes out with more barely-controlled fury than anything since ''This Year's Model''. A strange target for a performer: the plight of a perpetual audience? ''"Thursday to Saturday / Money's gone already / Something's gone uncalm these days / Your hands at work unsteady / ... Have you ever been had in Clubland?"'' | This doesn't mean the fires have been banked: the opening single, "Clubland," lashes out with more barely-controlled fury than anything since ''This Year's Model''. A strange target for a performer: the plight of a perpetual audience? ''"Thursday to Saturday / Money's gone already / Something's gone uncalm these days / Your hands at work unsteady / ... Have you ever been had in Clubland?"'' | ||
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"Watch Your Step" could almost be a segue from last year's "Secondary Modern": a deceptively gentle premonition of neighbourhoods at war, families informing on each other at the behest of ward leaders who ''"say it's good for business."'' | "Watch Your Step" could almost be a segue from last year's "Secondary Modern": a deceptively gentle premonition of neighbourhoods at war, families informing on each other at the behest of ward leaders who ''"say it's good for business."'' | ||
"New Lace Sleeves"' agonised morning-after appraisal has the cold comfort of ''"Even presidents have newspaper lovers / And ministers go crawling under covers,"'' and works over familiar Costello themes of the white lies that are feeling's only armour. A superb track, followed by another winner in the big-beat "From A Whisper To A Scream," which features guest appearances The Rumour's guitarist Martin Belmont and U.K. Squeeze's Glenn Tilbrook trading vocals in fine style with Costello. "Different Finger" sees Costello uncorking the George Jones / Gram Parsons admiration in a beautiful little country styling. Five'll get you ten that you'll hear a Nashville cover of this: ''"I don't want to hear your whole life story / Or about my resemblance to some old flame / All I want is one night of glory / I don't even know your second name"'' — I'm cryin' in my beer already. | "New Lace Sleeves"' agonised morning-after appraisal has the cold comfort of ''"Even presidents have newspaper lovers / And ministers go crawling under covers,"'' and works over familiar Costello themes of the white lies that are feeling's only armour. A superb track, followed by another winner in the big-beat "From A Whisper To A Scream," which features guest <!-- appearances The Rumour's guitarist --> appearances by The Rumour's guitarist Martin Belmont and U.K. Squeeze's Glenn Tilbrook trading vocals in fine style with Costello. "Different Finger" sees Costello uncorking the George Jones / Gram Parsons admiration in a beautiful little country styling. Five'll get you ten that you'll hear a Nashville cover of this: ''"I don't want to hear your whole life story / Or about my resemblance to some old flame / All I want is one night of glory / I don't even know your second name"'' — I'm cryin' in my beer already. | ||
"White Knuckles" is as savage as its title hints: ''"Losing face with the boys while she's whispering in his ear / Never found out why they called it laughing gear / White knuckles on black and blue skin / Didn't mean to hit her, but she kept laughing...''" "Fish 'N' Chip Paper" is one of those Costello souffles of bon mot that goes down too smoothly to worry about meaning, and "Big Sister's Clothes," the sombre closing number isn't revealing much. But then, Costello's "meaning" goes straight into the bloodstream: the stomach pump of analysis won't retrieve the message. | "White Knuckles" is as savage as its title hints: ''"Losing face with the boys while she's whispering in his ear / Never found out why they called it laughing gear / White knuckles on black and blue skin / Didn't mean to hit her, but she kept laughing...''" "Fish 'N' Chip Paper" is one of those Costello souffles of bon mot that goes down too smoothly to worry about meaning, and "Big Sister's Clothes," the sombre closing number isn't revealing much. But then, Costello's "meaning" goes straight into the bloodstream: the stomach pump of analysis won't retrieve the message. | ||
And what slips it through the membrane is the music. Inevitably some of it sounds familiar, but the melodies are still endlessly inventive, and Lowe has pulled off one of his best production stints. The Attractions are at their peak, especially Bruce Thomas his best sound ever (finally, a new amp?), and Steve Nieve, who has returned to heavily to piano after his Booker T type organ fling on ''Get Happy!!''. He's still the classical prodigy working in a band for holiday money: but he'll never get back to the Conservatorium, 'cause Elvis wants his instant counterpoint. | And what slips it through the membrane is the music. Inevitably some of it sounds familiar, but the melodies are still endlessly inventive, and Lowe has pulled off one of his best production stints. The Attractions are at their peak, especially <!-- Bruce Thomas his best --> Bruce Thomas, his best sound ever (finally, a new amp?), and Steve Nieve, who has returned to heavily <!--- ??? --> to piano after his Booker T type organ fling on ''Get Happy!!''. He's still the classical prodigy working in a band for holiday money: but he'll never get back to the Conservatorium, 'cause Elvis wants his instant counterpoint. | ||
Costello's voice Is slowly getting deeper and fuller; going back to the first album the changes are striking. Always accurate, always passionate — just like his perceptions. You don't have to like him to trust that. | Costello's voice Is slowly getting deeper and fuller; going back to the first album the changes are striking. Always accurate, always passionate — just like his perceptions. You don't have to like him to trust that. | ||
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One number, based around a sparse drum-beat and the simplest of riffs, matched easily such achievements as "Green Shirt," whilst the marvellous "Clubland" came over with archetypal venom and intensity. | One number, based around a sparse drum-beat and the simplest of riffs, matched easily such achievements as "Green Shirt," whilst the marvellous "Clubland" came over with archetypal venom and intensity. | ||
Standing there watching Elvis Costello, though is half the fun of it all. Costello's movements are so awkward, his jerky, awkward guitar playing never looks so sync with the music; his head bobbing constantly, it seems impossible for him to be actually playing. | Standing there watching Elvis Costello, though, is half the fun of it all. Costello's movements are so awkward, his jerky, awkward guitar playing never looks so sync with the music; his head bobbing constantly, it seems impossible for him to be actually playing. | ||
And how he gets so worked up delivering some of his more obscure lyrics is beyond me, but as always it's up to the listener to make of it what they will. | And how he gets so worked up delivering some of his more obscure lyrics is beyond me, but as always it's up to the listener to make of it what they will. |
Latest revision as of 16:34, 14 November 2022
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