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You should not be reading this column today. You should be either on your way to, or coming from your local record store, where heaven has arrived. That is right, heaven — in the form of Brutal Youth, the new album from Elvis Costello.
I am so happy. Why are you still reading? Since you have already read this far, let me share. It has been a year since I wrote in this column about The Juliet Letters, my No. 1 album of 1993, and Elvis Costello's brilliant foray into classically structured, string-quartet pop songs. In that year, I saw the man perform and it left the indelible impression on me that Costello is one of our time's great entertainers and talents. I also swooned at the sound of his first three albums, which were digitally remastered and released in the fall by Rykodisc.
And the rest of the time, I waited for Brutal Youth. It is not a comeback record; Costello never went away. It is not a retro record; it is as punctual and rockin' as anything else out there. It does reunite the Singer with the Band. That would be The Attractions, the ultra-tight backup unit that rode sidesaddle for nine albums (Bruce Thomas on bass, Pete Thomas on drums, Steve Nieve on keyboards).
This is not Costello's best album. This is not his Sgt. Pepper, or his Let It Bleed. This is not the last record he will ever make. It is, however, one helluva ride. From the reverberating snare that snaps its way through the opener, "Pony Street," to the sad, barroom piano of the closer, "Favourite Hour," this is Declan Patrick Aloysius MacManus (as the birth certificate says) at his brutal best.
This LP picks right up where Blood & Chocolate, his last album with the Attractions (1986) left off — brash, perked-up guitar rhythms, busy organ, and Elvis' distinctly urgent vocals. It seems almost pointless to point out how well-crafted the songs are, or how superb the lyrics are; in case you have been in a hole for 20 years, Costello is the best pop songwriter since the team of John and Paul.
The songs on Brutal Youth range from gut-wrenching stories about lost souls and characters in trouble, to Costello's signature, angst-driven love notes. "13 Steps Lead Down" takes us into the bedroom of a woman with a disturbing job and an even more troubled client. "This Is Hell" is an anthem for the stock Costello characters, the prince, the dancing girls, the rogues, and all of the loneliness they have endured in this writer's career. "This is hell, it never gets better or worse, but you'll get used to it after a spell, for heaven is hell in reverse."
"You Tripped at Every Step" and "Still Too Soon To Know" appear together as a return of bitter posturing toward that little poisoned rose, Alison. "You Tripped" spells it out in terms of who-needs-who, while the Orbison-esque "Still Too Soon," is a plea for a second chance, with Costello's crafty jealousness. "It didn't take much to break us in two. It was in the way he came close to touching you."
The album, at its finest, rocks with all the grind and stutter of early Attractions work like "Pump It Up," "Radio, Radio," and "Oliver's Army." The Attractions are up to speed with Costello, putting a frenetic charge behind his cutting words and music.
Elvis and bassist Bruce Thomas worked together, despite their falling out a few years back, which led to a scathing book by Thomas about The Singer and The Band, and Costello's musical retort "How To Be Dumb," from Mighty Like A Rose.
Nick Lowe shows up for the party as well, playing bass on, I'm guessing, Costello's favorites. Producer Mitchell Froom helped create an epic sound to these simple pop songs, mostly by recreating the elementary, live sound of the studio.
The album was recorded in four weeks, and the post-production was minimal. But somehow, the record sounds as if it took years of pain, travel, discovery, hate, blood, chocolate, peace, love and understanding to make; probably because it did. Costello muses on "Just About Glad":
"There are a few things that I regret, but nothing that I need to forget."
Costello's Brutal Youth may not be No. 1 at the end of 1994, but right now, it is like a brand new friend that I am getting to know, and discovering something fascinating about every day.
In related new-release news, check out Shipbuilding by Tasmin Archer, a relatively new pop-soul diva from England. After last year's self-titled debut met critical success, Archer went into the studio to record four Elvis Costello numbers, including the title track, "All Grown Up," "New Amsterdam," and "Deep Dark Truthful Mirror."
Archer has a powerful, inviting voice that sounds like a combination of Sarah Vaughn and Bonnie Raitt. Her choice of MacManus tunes is not only perfect for her voice and style, but she also chose four of Costello's best vocal pieces. The arrangements are close to the originals, but step into new directions coming from the female voice. The rest of the mini-LP features Archer originals from live shows last year.
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