|
Elvis Costello has changed. Once known as "Rock's Angry Young Man," Costello now communicates with his fans, rather than rejects them. Instead of putting together 50-minute snarl-ladened live rehashes of his songs, he now performs an appealing, sociable two-hour concert. He no longer hurls racial slurs at legendary performers such as Ray Charles. Now in his 30s, the angry young man has finally matured.
Elvis Costello has not mellowed, however. He remains rock music's sharpest and cruelest wit, and continues to be one of its most dedicated social analysts. The tendencies are exemplified to a great extent on his latest Columbia Records release, Punch The Clock.
Although Costello is usually labeled as a product of the "post-punk new wave" of the late 1970s, this tag has always been much of a misnomer. Costello is a master of writing well-crafted pop songs, and Punch The Clock contains some of his best work. His music is as much a derivative of the Beatles and of Motown as it is of Britain's new wave explosion of 1976-78. His lyrics are definitely in the best John Lennon mold — cynical, witty, wry, and above all thought-provoking.
Punch The Clock opens with the explosive "Let Them All Talk," a searing indictment of the rock 'n' roll dinosaurs who are past their creative primes, and also an attack on today's more faceless "fashionable" bands. In best Costello manner, he asks, "Have we come this fa-fa-fa to find a soul cliche". Elvis realizes that he has the potential to become one of rock's elite, and this song is a direct statement that he intends to take what lead he can.
Next on the album is Elvis' hit single, "Everyday I Write the Book." A story of unrequited love, "Everyday" is Costello's poppiest song ever, and despite its mature lyrics, (listen to the first verse), its commercial hooks are classy enough to assure popularity.
The most intriguing song on the album is "Pills and Soap." Elvis originally released this tune in England under the pseudonym "The Imposter," and it is now a unique collector's item. The song features a stinging attack on the British press, delivered deadpan over a track of snapping fingers and haunting keyboards.
Admonishing the press for having "a microphone in one hand and a checkbook in the other," Costello is at his angriest on this song, reminiscent in style of such earlier songs as "Less Than Zero," and "Oliver's Army."
Punch The Clock's most effective song is the last on side one, "Shipbuilding." Written about the conflict in the Falkland Islands, the singer examines the dilemma that war brings: an improved economy and jobs as well as death. While noting that "people get killed in the result of this shipbuilding." Costello's character sadly concludes, "it's all we're skilled in; we will be shipbuilding." This takes place over music fitting to an Elton John or Paul McCartney love ballad. It's perfect for slow dancing.
What makes this Costello album unique is the wonderful use of a horn section (The TK0 Horns) and backup vocals (Afrodiziak). While Costello previously punctuated his most pointed lyrics with yells and guitars, now he accents them with flowing horns, making the words more effective than before. This especially works on "The Greatest Thing," "The World and His Wife," the Squeeze-like "Love Went Mad," and the autobiographical "Mouth Almighty" ("I used to shoot my mouth off 'til you had enough of me.").
Punch The Clock is not as perfect as last year's Imperial Bedroom or 1978's classic Armed Forces.
What matters, however, is that Elvis Costello is a performer of some of today's richest pop music. His band, The Attractions, is one of the best in the business (Steve Nieve's piano and keyboards are the glue that hold Punch The Clock together). And his lyrics can remain powerful without being obnoxious.
| 
