|
In 1978, two albums were published that caricatured the impetuosity of rock music trends. One was Nick Lowe's Pure Pop for Now People and the other was Elvis Costello's This Year's Model. Both Lowe and Costello have become major figures on the current pop wave, and their contributions are more valuable than these titles suggest. Together with Graham Parker, the three represent the most creatively intelligent composers of England's so-called "New Wave."
Whereas Lowe has played down album making in favor of performing, producing (he produced much of Parker's early work) and composing tunes for others to cover, Costello and Parker have been dependent on their albums for exposure. Parker, who became known to American audiences with his album Howlin' Wind and his hit "Back to School Days," actually preceded this most recent British invasion by a few years. His next recording, Heat Treatment, is a classic of the style. It was during a lull caused by the lackluster Stick to Me LP (1977) that he was practically eclipsed by Costello's debut. This was marked by a successful American club tour, and an ambitious record of 13 original tunes, entitled My Aim Is True.
A whole generation of Elvis fans is unaware that he is one of Parker's musical progeny. The main inheritance is in the vocal style, and tight, terse instrumentation.
Both players draw from a variety of Black and White styles of the last two decades (R'n'B, Rockabilly, and especially, Reggae). How they differ is in the relationship they had with English predecessors. Parker comes out of the big-band oriented country-rock (or pub rock) scene, as does Lowe. This music drew heavily from the Dylan/Band sound, and Motown. Like Southside Johnny Lyons, the result is as good timesy as it is prosaic.
Costello's stylistic independence begins with his rock-minimalist back-up band, the Attractions. He first recorded with them on his second album, This Year's Model. The spartan crew consisted of bass, drums, guitar and Farfisa organ. The effect was both audially jarring and thematically appropriate. Of Costello's three records, this was the most self-conscious recreation of a '60s texture (characterized by the early Who or Stones) with a contemporary lyric content (as in "Living in Paradise" or Radio, Radio"). This drawing on earlier English sources coincides with the conceptual backdrop of the Punk-phenomena, the adherents of which despair over a political and economic system whose values have collapsed.
There is, in both cases, a distrust of the present, (musical or domestic) in which a longing for the past is implied but never actually stated. Costello's music symbolizes this through its Dave Clark-Peter Townsend-Beatles mannerisms.
For this reason, Elvis has won such dubious titles as "King of the Punks." But Armed Forces, his most recent disc, is a deliberate defiance of this categorization. The musical references are much less obvious (save for a few licks) and the songs demonstrate a closer affinity to Randy Newman than to Johnny Rotten. Stylistically, he remains closest of all to Parker.
Squeezing Out Sparks, is the cynically romantic new album by Parker and the Rumour (the five piece band he has continually recorded with). This is the best Parker has sounded and written since the New Wave vogue turned against him and his brassy, sharp arrangements. He remains a better singer than Costello, and the Rumour could play circles around the Attractions.
But the really important distinction is the songs. Parker's tunes are thought provoking and personalized. Costello communicates through neurotic vignettes, passionately obscure symbolism, and overdrawn concepts (like "Emotional Fascism"). Costello has obviously reached for a loftier artistic goal, but in this way, his new record is a strained success. Parker has utilized a much less recognizable element in the rapidly changing Pop world — good individual, rock taste. The absence of shock value in favor of eloquence has been Parker's biggest obstacle to widespread American acceptance.
A recent outburst of hostilities between Costello and Bonnie Bramlett involved Elvis' irascible wit in a tasteless tirade against American Negroes. Fortunately, Bramlett socked him. Unfortunately, this revealed the ugly side of Costello's derisive, craven image, however chic it has become. As difficult as it is to evaluate the man's musical innovation, this meaningless, cultish behavior only taxes this fan's patience.
The future of this music depends on its exploitation of the commercial process while simultaneously maintaining its artistic verve. This seems more possible with Parker and Costello than any other members of the current crop. I hope these two win remain in view a long time.
| 
