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Some of the most notable music released this year has come from beyond the grave. We have had "new" releases from Sam Cooke, John Lennon — and Declan Patrick Aloysius MacManus who, if he gets his way, soon will be killing off Elvis Costello.
The crowned head smugly staring off the cover of King of America (Columbia) may not be instantly recognizable, nor should it be: It's Elvis Costello, who has announced his intention to change his name back to the one he was born with, Declan Patrick MacManus. Goodbye, cruel world.
The only indication of this intent on the album is in the artist's billing as "The Costello Show," and his co-production credit as MacManus. Whatever. For all intents and purposes. it's the same guy making more or less the same music. And probably only diehard Costello fans will even care about this latest stage in the career of "The Impostor."
The singer/songwriter's wordplay is in vintage form: Songs such as "Our Little Angel" and "The Poisoned Rose" are peak examples of the lyricist's craft. If the melodies are not as compelling — well, that's a problem he's been working on.
Again, that won't matter much to those outside of Elvis' fandom. And the man is assured a degree of respect and attention, even if he's come to seem more and more like a literary talent — John Updike or Joyce Carol Oates, for instance — who meticulously hones his craft for the sake of the small, insular cult that follows his work.
That certainly doesn't make him irrelevant, but how much is less than zero, anyway? Let's not forget that his idol, Hank Williams, balanced his considerable insights with some very commercial music.
In a recent interview, Costello bragged about the varied backgrounds of the musicians he uses on this album. There's James Burton, Jerry Scheff, and Ron Tutt, from the other Elvis' TCB Band; L.A. session drummer Jim Keltner; the Attractions, on one cut; co-producer T-Bone Burnett; Los Lobos' David Hidalgo singing backup; and jazz greats Ray Brown and Earl Palmer.
True, these players all come from different disciplines, but the irony is, almost all are professional session musicians. That doesn't mean they play without soul, but their music here is reserved, almost dispassionate, though the song styles range from rockabilly to cocktail-lounge pop.
Much of the playing is unamplifled, and might pass for easy listening but for a stronger drum attack, and El's voice. And considering the limitations of that voice — a pinched, nasal, whiny-sounding thing — it's amazing the feeling he can coax out of it.
Take the way he hisses, "'cause I love you." at the end of the bridge on his remake of the Animals' "Don't Let Me Be Misunderstood," which sounds more like Joe Cocker's prior remake; his tender, almost warm rendition of "Indoor Fireworks." previously covered quite capably by Nick Lowe, his former producer; or his righteous anger on "Little Palaces."
King of America is a polished piece of craftsmanship, and has won the artist his most favorable reviews in some time, but it's difficult to get excited about. It should be interesting to see how many follow Elvis Declan as he blazes new trails in what sounds increasingly like Mel Torme singing Celtic folk favorites.
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