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When the punk movement put a gun to its head at the end of 1977, Elvis Costello was there to pick up the pieces and show British music the new direction.
This enigmatic little man, who looked like a cross between Buddy Holly and Hank Marvin, arrived seemingly out of nowhere, armed with a brace of terse melodies and, at first sight, a giant-sized chip on his shoulder.
Costello made everyday hangups fashionable, brought suppressed emotions out of the closet, and said a lot of things that badly needed to be said. How much of his material relates to his own dim, dark past is still unknown, but if it's entirely personal, then this man has really been through the mill. It's doubtful whether Costello lives on self pity, as he always seems to be control of himself. He retains enough detachment so his sentiments never get tiresome. Costello comes on like a victim but has all the hallmarks of a survivor.
His past is something he has never been keen to reveal, and only astute digging by various journalists has uncovered a vague synopsis of his evolution.
Born Declan MacManus, Costello's father Ross was a professional singer who performed for many years with the Joe Loss Orchestra. Elvis is a son of Liverpool, where one or two bands of note have been sired. His first band of note was a pub outfit called Flip City, which provided his musical outlet in the evenings, while he supported his wife and son by day in a computer factory run by beauty expert Elizabeth Arden (some of the impressions formed on This Year's Model probably stem from this period).
He spent some time hawking his songs unsuccessfully around various record companies, until he answered a talent ad placed in the trade papers by the newly-formed Stiff Records. As a result, he was teamed up with The Great Nick Lowe, and thus was born a partnership that has produced some of the most vital music of the 70's.
The debut single, "Less Than Zero," drew a little critical flak, being slightly derivative of Graham Parker, and owing a debt or two to Van Morrison. Its subject was the ignominious Fascist leader Sir Oswald Moseley, whose Blackshirts were the forerunner of the present National Front. The Americans thought he was referring to Lee Harvey Oswald, and a slight change of lyrics made the song just as relevant. The first album, My Aim Is True, swept aside any complaints. American hand Clover were used as backing, with a slightly softer approach than later works. Costello laid his soul on the line, or so it seemed. Sexual jealousy was the prime motivator, as he played the losing lover to the hilt For one man to have so many hangups seemed unnatural, but everyone could see something of themselves in it, and the general reaction was "Good on yer Elvis, say it again mate."
Soon afterwards, Costello recruited a three piece backing group, The Attractions, and established a sound of his own, dominated by the Farfisa of Steve Naive. It was a throwback to the West Coast punks of the 1960's, a bittersweet aroma that perfectly matched Costello's studied anguish.
The second album. This Year's Model, left no doubt that Costello's visions were spot on. His target this time was the world of fashion, which was long overdue for a bit of lampooning. "Watching The Detectives" took all of the sting out of the backlash against "white" reggae. while "I Don't Want To Go To Chelsea" recalled the plastic world of mod style, epitomised in films like Blow Up, which Costello must have had a few laughs from. The album was a harrowing look at the modern world, a lifestyle which is hollow at the centre and lives on appearances. It set a standard by which many others have since been judged.
Armed Forces broke more new ground for Costello The Universal Voyeur. The frightening trend towards militarism came under the microscope in "Oliver's Army" and "Goon Squad" while "Party Girl" harkened back to the previous album, sinking its teeth into empty people in equally empty situations.
The targets seem more diverse now, and where Costello will turn his attention next is anybody's guess. A new album, again produced by Nick Lowe, is in the can, but release is uncertain, owing to the acquisition of Radar Records by WEA. A single, "I Can't Stand Up For Falling Down", backed by "Girls' Talk" (a hit already for Dave Edmunds), is somewhere in the pipeline, but we may have to wait for Sweetwaters to hear it.
Costello was signed to headline Sweetwaters after negotiations with Blondie fell through, largely due to the patronising attitude of their negotiators. Not that he was a second choice.
Sweetwaters organisers had been talking with his management at the same time, but when it became clear that Blondie weren't going to play ball, Daniel Keighley immediately flew to London to see Nigel Kerr, Costello's booking agent.
Daniel describes Kerr as "a very likeable guy" who serves Real Ale to prospective customers. The difference in attitude from the Americans also impressed him, in that they were keener on the idea of playing a major festival than the money side of things.
So New Zealand will at last get a chance to see Europe's musical mainman. Elvis Costello and the Attractions will play Sweetwaters on Sunday night, the 27th. They are flying here exclusively for this gig. which is a coup in itself.
Costello's last major gig was only a few weeks ago, as one of the main attractions in a series of London concerts for the benefit of the Kampuchea refugees. From reliable accounts, he is as uncompromising as ever, having devoted half his show to new songs and succeeding admirably. Old numbers like "Detectives" and "Chelsea" have been extensively reworked, giving them a vital freshness, and The Attractions are given a greater chance to show off their skills.
Don't expect any soul-stirring revelations from the man himself. His contract includes the proviso that he is not to come into contact with the media at any time. His innate secretiveness has brought him a fair amount of lambasting from the press, and some unpleasant confrontations.
Let his music speak for itself. Elvis is King. Get your green shirts on.
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