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When Elvis Costello and the Attractions first burst into American living rooms on Saturday Night Live a little over four years ago, Costello soured many viewers with his insolent, angry young man stance.
In a twist on a lyric from Costello's latest album, Imperial Bedroom (Columbia. FC-38157), Elvis is indeed a man who's been insulted for his stand and has paid for the privilege. Since then, Costello has learned to turn that anger inward, and, in the process personalize the rage.
We first got wind of the changes to come with last year's Stax/Motown tribute, Get Happy, and the denser Trust. Earlier this year, Elvis went on a pilgrimage to Nashville with Almost Blue, an uneven but still engaging little sidestep that left some fans more than a little bewildered, wondering if El wasn't floundering a bit searching for a new direction. But, after seven LPs and a hundred or so songs in just five years, (he's one prolific little bugger, isn't he?) Costello has painted his masterpiece.
A writer for England's New Musical Express wrote that, with Imperial Bedroom, Elvis has finally achieved "a synthesis of words and music that correlates to the duplicity of each." The lyrics are masterful and eminently quotable. And, for the first time, they're printed on the inner sleeve in a stream of unpunctuated type.
The music is a dense, aural experience that eschews the traditional verse-chorus-verse school of pop songwriting. Imperial Bedroom isn't a collection of 15 songs. Rather, it's a work that slowly builds to become something much more powerful than any of its individual elements.
Elvis picks the bones of familiar themes — love, betrayal, revenge, weakness and the strength that sometimes emerges from everyday tragedies. But in the opening cut, "Beyond Belief," he grudgingly admits that we rarely learn from past experiences. "History repeats the old conceits, the glib replies, the same defeats."
"Human Hands" should dispel any doubts about Costello's heart being in the right place. "Whenever I put my foot in my mouth and you begin to doubt that it's you that I'm dreaming about, do I have to draw you a diagram. All I ever want is just to fall into your human hands."
"Kid About It" revolves around a lovely, intricate vocal, the likes of which I've never heard before.
The album ends with "Town Cryer," a surprisingly personal coda along the lines of "Human Hands," in which Costello sees himself as "a little boy lost in a big man's shirt."
"I'm the town crier and everybody knows. I'm just a little down with a lifetime to go. Maybe you don't believe my heart is in the right place. Why don't you take a good look at my face."
Musically, Imperial Bedroom's focus is drawn by Steve Nieve's superb keyboards. Costello takes a back seat on acoustic guitar, using his Fender electric primarily for coloration. Bassist Bruce Thomas and drummer Pete Thomas, who usually provide the overt kick, have turned the rhythm in on itself. Several of the cuts are lushly orchestrated by Nieve, all Sgt. Pepper horns and swooping violins.
Imperial Bedroom is a classic along the lines of Dylan's first electric LP, Bringing It All Back Home, The Who's Tommy and, yes, The Beatles' Sgt. Pepper's Lonely Hearts Club Band. This is pop music light years ahead of the competition. If you can't warm up to it now, give it a couple of years.
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