Aphoristic Album Reviews, October 5, 2017: Difference between revisions
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By the time Elvis Costello recorded his sophomore album, he had recruited a sharp backing band, The Attractions. With Steve Nieve’s organ work and Bruce Thomas’ busy bass, Costello’s guitar is pushed to the back, and the record is much more idiosyncratic and vital than with the generic Clover. Costello’s even angrier and more aggressive than on his debut and for many people, ''This Year’s Model'' is Costello’s best work, but I find that it doesn’t have as many memorable tunes as his best records, even though it bristles with nervous energy. The sound of Nieve’s Vox Continental organ also homogenises the album and makes it all blend together. | By the time Elvis Costello recorded his sophomore album, he had recruited a sharp backing band, The Attractions. With Steve Nieve’s organ work and Bruce Thomas’ busy bass, Costello’s guitar is pushed to the back, and the record is much more idiosyncratic and vital than with the generic Clover. Costello’s even angrier and more aggressive than on his debut and for many people, ''This Year’s Model'' is Costello’s best work, but I find that it doesn’t have as many memorable tunes as his best records, even though it bristles with nervous energy. The sound of Nieve’s Vox Continental organ also homogenises the album and makes it all blend together. | ||
Most of the most memorable tracks are because of the attitude and aggression – there’s a pair of masturbation songs in ‘Pump It Up’ and ‘The Beat’, while ‘(I Don’t Want To Go To) Chelsea’ is aggressive and memorable, with Costello spitting out lyrics like | Most of the most memorable tracks are because of the attitude and aggression – there’s a pair of masturbation songs in ‘Pump It Up’ and ‘The Beat’, while ‘(I Don’t Want To Go To) Chelsea’ is aggressive and memorable, with Costello spitting out lyrics like “''But there’s no place here for the mini-skirt waddle/Capital punishment, she’s last year’s model''”. There’s the anti-fascist message of ‘Night Rally’, while ''This Year’s Model'' slows down for ‘Little Triggers’, a sensitive tale of overwrought teenage lust. | ||
I know I’m in the minority on ''This Year’s Model'', but it’s never fully connected for me, despite the great lyrics and impassioned delivery. | I know I’m in the minority on ''This Year’s Model'', but it’s never fully connected for me, despite the great lyrics and impassioned delivery. | ||
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''Punch The Clock''<br> | ''Punch The Clock''<br> | ||
'''1983, 6/10'''<br> | '''1983, 6/10'''<br> | ||
Elvis Costello went for the pop jugular with Punch The Clock, teaming up with the production team of Langer and Winstanley, who had helped to create hits for Madness and Dexy’s Midnight Runners. But it’s not a good fit for Costello’s music – plastering backing vocals and horn sections on constrains the fluid ensemble playing of The Attractions and feels as cynically calculated as the album title implies. But there are a handful of terrific songs here, and even though the overall sound of the Punch The Clock is dated, it’s worth hearing the highlights. | Elvis Costello went for the pop jugular with ''Punch The Clock'', teaming up with the production team of Langer and Winstanley, who had helped to create hits for Madness and Dexy’s Midnight Runners. But it’s not a good fit for Costello’s music – plastering backing vocals and horn sections on constrains the fluid ensemble playing of The Attractions and feels as cynically calculated as the album title implies. But there are a handful of terrific songs here, and even though the overall sound of the ''Punch The Clock'' is dated, it’s worth hearing the highlights. | ||
The smooth soul of ‘Everyday I Write The Book’ was Costello’s only US top 40 hit song, and it’s worthwhile, benefiting from the slick sound and backing singers, and showcasing Costello’s deftly punning lyrics. I’ve always found it confusing that the first wave of British punk ran out of steam before Margaret Thatcher’s conservative, repressive government, but two of Costello’s best songs here are directed at The Iron Lady – ‘Shipbuilding’ is stately and dignified with Chet Baker’s trumpet, while ‘Pills and Soap’ is tense and brooding. | The smooth soul of ‘Everyday I Write The Book’ was Costello’s only US top 40 hit song, and it’s worthwhile, benefiting from the slick sound and backing singers, and showcasing Costello’s deftly punning lyrics. I’ve always found it confusing that the first wave of British punk ran out of steam before Margaret Thatcher’s conservative, repressive government, but two of Costello’s best songs here are directed at The Iron Lady – ‘Shipbuilding’ is stately and dignified with Chet Baker’s trumpet, while ‘Pills and Soap’ is tense and brooding. | ||
I don’t have much use for the rest of Punch The Clock, as it doesn’t play to Costello’s strengths, but there are a few songs here that are essential. | I don’t have much use for the rest of ''Punch The Clock'', as it doesn’t play to Costello’s strengths, but there are a few songs here that are essential. | ||
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''Goodbye Cruel World''<br> | ''Goodbye Cruel World''<br> | ||
'''1984, not rated''' | '''1984, not rated'''<br> | ||
I’ve never bothered with ''Goodbye Cruel World'', because firstly it sounds like a weaker version of ''Punch The Clock'', without the handful of outstanding songs; it’s another Langer-Winstanley production. And secondly Costello included a note on the reissue, stating “Congratulations! You’ve just purchased our worst album,” and has stated that he was distracted by personal issues, including a divorce. | I’ve never bothered with ''Goodbye Cruel World'', because firstly it sounds like a weaker version of ''Punch The Clock'', without the handful of outstanding songs; it’s another Langer-Winstanley production. And secondly Costello included a note on the reissue, stating “Congratulations! You’ve just purchased our worst album,” and has stated that he was distracted by personal issues, including a divorce. | ||
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Following the artistic failure of ''Goodbye Cruel World'', Costello returned to a more organic approach for his two 1986 albums. The first, ''King of America'', was recorded with T-Bone Burnett, capturing the same country flavour as ''Almost Blue'', but comprised of Costello originals. These songs are simpler musically than Costello generally writes – instead of dazzling with complex changes, he’s often writing simple three chord songs, putting more of a focus on his lyrics. There are some impressive songs here, but when Costello doesn’t have first grade material to work with ''King Of America'' can be a little dull. | Following the artistic failure of ''Goodbye Cruel World'', Costello returned to a more organic approach for his two 1986 albums. The first, ''King of America'', was recorded with T-Bone Burnett, capturing the same country flavour as ''Almost Blue'', but comprised of Costello originals. These songs are simpler musically than Costello generally writes – instead of dazzling with complex changes, he’s often writing simple three chord songs, putting more of a focus on his lyrics. There are some impressive songs here, but when Costello doesn’t have first grade material to work with ''King Of America'' can be a little dull. | ||
Unusually, the strongest songs are clustered at the end of the album. ‘Jack Of All Parades’ is pretty, while. ‘Suit Of Lights’ has another of Costello’s great cad put-downs ( | Unusually, the strongest songs are clustered at the end of the album. ‘Jack Of All Parades’ is pretty, while. ‘Suit Of Lights’ has another of Costello’s great cad put-downs (“''if it moves then you fuck it/if it doesn’t then you stab it''.”). And my favourite is the concluding ‘Sleep Of The Just’, with its quiet, elegant drama (“''It was a powerful day/There were black crows on the road''”). Other highlights include the anti-Cadbury protest of ‘Little Palaces’, but overall ''King of America'' drags at almost an hour, and could have used a trim; in particular the cover of ‘Don’t Let Me Be Misunderstood’ adds little to the original. | ||
''King of America'' is a worthwhile album, but without The Attractions’ spark and the dazzling chord sequences of his more sophisticated releases, it’s like Costello is trying to entertain with one hand tied behind his back. | ''King of America'' is a worthwhile album, but without The Attractions’ spark and the dazzling chord sequences of his more sophisticated releases, it’s like Costello is trying to entertain with one hand tied behind his back. | ||
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''Blood & Chocolate''<br> | ''Blood & Chocolate''<br> | ||
'''1986, 8.5/10'''<br> | '''1986, 8.5/10'''<br> | ||
Elvis Costello has described ''Blood & Chocolate'' as a pissed-off, divorced, 32 year old’s take on his early sound. He’s reunited with the Attractions and with producer Nick Lowe, and if | Elvis Costello has described ''Blood & Chocolate'' as a pissed-off, divorced, 32 year old’s take on his early sound. He’s reunited with the Attractions and with producer Nick Lowe, and if all this sounds like a desperate attempt to recapture the earlier spark, improbably it works. ''Blood & Chocolate'' was recorded in a single room with the band playing together at stage volume, an unusual practice for a studio album. This gives ''Blood & Chocolate'' an energy and anger that had been absent from most of Costello’s 1980s’ work. The album’s lyrics were informed by Costello’s private life; he married Pogues bass-player Cait O’Riordan in 1986. | ||
It’s the longest songs on ''Blood & Chocolate'' that leave the biggest impression. ‘I Want You’ is almost mantra-like in its quiet intensity, while ‘Tokyo Storm Warning’ is one of the loudest songs on the disc, full of rage and bluster. The closer ‘Next Time Around’ is uncharacteristically hopeful and bouncy from Costello, while ‘Crimes of Paris’ is pretty and largely acoustic. | It’s the longest songs on ''Blood & Chocolate'' that leave the biggest impression. ‘I Want You’ is almost mantra-like in its quiet intensity, while ‘Tokyo Storm Warning’ is one of the loudest songs on the disc, full of rage and bluster. The closer ‘Next Time Around’ is uncharacteristically hopeful and bouncy from Costello, while ‘Crimes of Paris’ is pretty and largely acoustic. | ||
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{{tags}}[[My Aim Is True]] {{-}} [[ | {{tags}}[[My Aim Is True]] {{-}} [[This Year's Model]] {{-}} [[Armed Forces]] {{-}} [[Clover]] {{-}} [[The Attractions]] {{-}} [[Steve Nieve]] {{-}} [[Bruce Thomas]] {{-}} [[Pete Thomas]] {{-}} [[Get Happy!!]] {{-}} [[Trust]] {{-}} [[Almost Blue]] {{-}} [[Imperial Bedroom]] {{-}} [[The Beatles]] {{-}} [[Clive Langer]] {{-}} [[Alan Winstanley]] {{-}} [[King Of America]] {{-}} [[Blood & Chocolate]] {{-}} [[The Imposters]] {{-}} [[Goodbye Cruel World]] {{-}} [[Spike]] {{-}} [[Dave Edmunds]] {{-}} [[Stiff Records]] {{-}} [[Huey Lewis|Huey Lewis and the News]] {{-}} [[The Doobie Brothers]] {{-}} [[Alison]] {{-}} [[Watching The Detectives]] {{-}} [[Less Than Zero]] {{-}} [[Sneaky Feelings]] {{-}} [[I'm Not Angry]] {{-}} [[Pump It Up]] {{-}} [[The Beat]] {{-}} [[(I Don't Want To Go To) Chelsea]] {{-}} [[Night Rally]] {{-}} [[Little Triggers]] {{-}} [[Green Shirt]] {{-}} [[Accidents Will Happen]] {{-}} [[Oliver's Army]] {{-}} [[Goon Squad]] {{-}} [[Party Girl]] {{-}} [[Nick Lowe]] [[(What's So Funny 'Bout) Peace, Love And Understanding?]] {{-}} [[Stephen Stills]] {{-}} [[Bonnie Bramlett]] {{-}} [[Ray Charles]] {{-}} [[James Brown]] {{-}} [[Love For Tender]] {{-}} [[New Amsterdam]] {{-}} [[Possession]] {{-}} [[King Horse]]{{-}} [[Riot Act]] {{-}} [[The Clash]] {{-}} [[The Pretenders]] {{-}} [[The Police]] {{-}} [[Lovers Walk]] {{-}} [[Bo Diddley]] {{-}} [[Different Finger]] {{-}} [[Shot With His Own Gun]] {{-}} [[New Lace Sleeves]] {{-}} [[Squeeze]] {{-}} [[Glenn Tilbrook]] {{-}} [[From A Whisper To A Scream]] {{-}} [[Strict Time]] {{-}} [[Shot With His Own Gun]] {{-}} [[Fish 'N' Chip Paper]] {{-}} [[Sad About Girls]] {{-}} [[Cole Porter]] {{-}} [[Love For Sale]] {{-}} [[Nashville]] {{-}} [[John McFee]] {{-}} [[The Flying Burrito Brothers]] {{-}} [[I'm Your Toy]] {{-}} [[Good Year For The Roses]] {{-}} [[Brown To Blue]] {{-}} [[Geoff Emerick]] {{-}} [[...And In Every Home]] {{-}} [[Beyond Belief]] {{-}} [[The Long Honeymoon]] {{-}} [[You Little Fool]] {{-}} [[Man Out Of Time]] {{-}} [[You'll Never Be A Man]] {{-}} [[Pidgin English]] {{-}} [[Punch The Clock]] {{-}} [[Madness]] {{-}} [[Everyday I Write The Book]] {{-}} [[Shipbuilding]] {{-}} [[Chet Baker]] {{-}} [[Pills And Soap]] {{-}} [[T Bone Burnett]] {{-}} [[Jack Of All Parades]] {{-}} [[Suit Of Lights]] {{-}} [[Sleep Of The Just]] {{-}} [[Little Palaces]] {{-}} [[Don't Let Me Be Misunderstood]] {{-}} [[The Pogues]] {{-}} [[Cait O'Riordan]] {{-}} [[I Want You]] {{-}} [[Tokyo Storm Warning]] {{-}} [[Next Time 'Round]] {{-}} [[Crimes Of Paris]] | ||
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Latest revision as of 20:46, 16 December 2020
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