New Musical Express, January 24, 1981: Difference between revisions
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<center><h3> | <center><h3> Trust Never Sleeps </h3></center> | ||
<center> ''' | <center>'''Elvis Costello And The Attractions </center> | ||
<center> | <center>''Trust'' (F Beat)</center> | ||
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<center> | <center> Ian Penman </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
...Turn to the right! | |||
Paradigm one: the noveau hi-fashion sub-culture has within it and its mandarin margins a lot of foppish,foolish notions of ‘creative’ sophistication. The posh and their prudently acute camp followers would-be cameleons and critics) are searching for the ultimate — therefore unrealisable — aesthetic aether in which to prance. | |||
Paradigm one: the noveau hi-fashion sub-culture has within it and its mandarin margins a lot of foppish,foolish notions of ‘creative’ sophistication. The posh and their prudently acute camp followers would-be cameleons and critics) are searching for the ultimate — therefore unrealisable — aesthetic aether in which to prance. | |||
The mystification with which these creatures of untroubled leisure dabble is based on the over-valuation of (the) Fashion Life as (the) authentic escape from the reality which produced them - which is lived (or lived on) by the unfortunate masses. Their particular mystery dance is tedious rather than dangerous — i.e., Strange is no Rotten. It elaborates as far as the assumption that Real Life (in the UK) can only remain as it is — the real problem is the cosmetic requirements of their unproblematic little abstract world, in which new needs are always, have always to be satisfied: an epic in direct opposition to the possibility of ''useful'' cultural change. | The mystification with which these creatures of untroubled leisure dabble is based on the over-valuation of (the) Fashion Life as (the) authentic escape from the reality which produced them - which is lived (or lived on) by the unfortunate masses. Their particular mystery dance is tedious rather than dangerous — i.e., Strange is no Rotten. It elaborates as far as the assumption that Real Life (in the UK) can only remain as it is — the real problem is the cosmetic requirements of their unproblematic little abstract world, in which new needs are always, have always to be satisfied: an epic in direct opposition to the possibility of ''useful'' cultural change. | ||
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Various excuses thrive. The best of them manipulates ‘class’ roots — reifying the noting-down of tendencies (toward funk, toward drink, whatever) as the description of the real dream behind the screen. The worst of them just prays and plays for vanguard status (guess who). The best and worse share a commitment: the idealisation of a space-in-itself in which various shifts and adjustments of dress, eyebrow, tone, titfer, etc., take place and are noted. | Various excuses thrive. The best of them manipulates ‘class’ roots — reifying the noting-down of tendencies (toward funk, toward drink, whatever) as the description of the real dream behind the screen. The worst of them just prays and plays for vanguard status (guess who). The best and worse share a commitment: the idealisation of a space-in-itself in which various shifts and adjustments of dress, eyebrow, tone, titfer, etc., take place and are noted. | ||
No one else save those leading the Fashion Life ¡s accorded any luminosity. The furious fop’s exit with respect to real problems and solutions is always the last clever rehearsed Wilde-ish aphorism he had in his head. The nova clan doesn’t recognise the dreariness, the untidiness of life as a problem. | No one else save those leading the Fashion Life ¡s accorded any luminosity. The furious fop’s exit with respect to real problems and solutions is always the last clever rehearsed Wilde-ish aphorism he had in his head. The nova clan doesn’t recognise the dreariness, the untidiness of life as a problem. | ||
The problem is this week’s escape route. The repressive, challenging complexity of the social world can only be dealt with — the exquisite ones tell us — by transcendental means. Turn to grey ''(sic)''.. | The problem is this week’s escape route. The repressive, challenging complexity of the social world can only be dealt with — the exquisite ones tell us — by transcendental means. Turn to grey ''(sic)''.. | ||
PARADIGM TWO: ''“have you ever been had in Clubland?”'' | PARADIGM TWO: ''“have you ever been had in Clubland?”'' | ||
‘Trust’ jump starts single-first like ‘[[Get Happy!!]]’ did almost exactly 12 months ago (and like so many Motown LPs did so many times before). ‘Clubland’ is as appropriate a taster for the new tract as ‘[[I Can't Stand Up For Falling Down| I Can’t Stand Up (For Falling Down)]]’ was then — a jumble twist of investigative lyricism, tearing strips of wall paper down off the mythology in question. There are 13 songs to follow — odes to (tear apart) different delusions — myths — dreams | ‘Trust’ jump starts single-first like ‘[[Get Happy!!]]’ did almost exactly 12 months ago (and like so many Motown LPs did so many times before). ‘Clubland’ is as appropriate a taster for the new tract as ‘[[I Can't Stand Up For Falling Down| I Can’t Stand Up (For Falling Down)]]’ was then — a jumble twist of investigative lyricism, tearing strips of wall paper down off the mythology in question. There are 13 songs to follow — odes to (tear apart) different delusions — myths — dreams —fibs. The common in-thing is the co-existence and seperation of myth and reality. By the time it’s through, “trust” means “complacency”; as well. | ||
The trad rock’n’roll critic pigeonholes — limits — specifies. Which very much “misses the point” with Costello’s fancy and facility with language — otherwise known as “good lyrics”. The point is—there is no one point. Any one song deals with (m)any number(s) of things. | The trad rock’n’roll critic pigeonholes — limits — specifies. Which very much “misses the point” with Costello’s fancy and facility with language — otherwise known as “good lyrics”. The point is—there is no one point. Any one song deals with (m)any number(s) of things. | ||
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And he is an increasingly, exceedingly “good” vocalist — sliding unexpectedly, prolonging, devouring, pushing, judging with syllables to humorous, dangerous, langourous effect. | And he is an increasingly, exceedingly “good” vocalist — sliding unexpectedly, prolonging, devouring, pushing, judging with syllables to humorous, dangerous, langourous effect. | ||
Costello opens | Costello opens úp all the sore contradictions the most theoretically high-minded thinkers-singers-writers wouldn’t dare let their public hear. But his isn’t a whining self-confessional. Oh no. The details may well be drawn from Costello’s private life drama, but this is neither clear nor important. What is important is not how “open” he is — but how open he can get words to be. | ||
The three main steps the words have to learn are: sex & romance, money, culture. His favourite being the first. Like few other songwriters (along with August Darnell he gives the impression of being able to write classic songs in his sleep — real songwriters in the businesslike Tin Pan Alley sense), Costello can convey the rapture of love and at the same time slice through the more negative codes of male and female sexuality. Whereas in the past this ability was often displaced onto one or other hapless victim from his little black book, since | The three main steps the words have to learn are: sex & romance, money, culture. His favourite being the first. Like few other songwriters (along with August Darnell he gives the impression of being able to write classic songs in his sleep — real songwriters in the businesslike Tin Pan Alley sense), Costello can convey the rapture of love and at the same time slice through the more negative codes of male and female sexuality. Whereas in the past this ability was often displaced onto one or other hapless victim from his little black book, since ‘Get Happy!!’ It has been ratlonalised into a highly compassionáte, personally political voice. The subject which receives more hearing than any other on ‘Trust’ is sexual deception and violence. Trust = Power, you see, and it can either be used or abused. Unlike a lot of pre-’Get Happy !!’ Costello, the villain of the pieces is predominantly a bloke — which is not to say that the author has gone on a mad hack guilty binge, atoning for past sins by way of laying all blame squarely upon the nastier aspects of the masculine psyche; everything is put in a context or two. But lest we forget: these aren’t smug academic mirrors — but pop songs, not afraid of their public. It would, however, be daft to attempt anything approaching a “definitive” perspective on ‘Trust’. Although it’s six songs less than ’Get Happy!!’ that still leaves a lot of syntax to sift through. It took me half the last year to realise what half the terms and turns of phrase on ‘Get Happy!!’ added up to. So, a hasty empirical scan of ‘Trust’ — featuring Elvis Costello as the private eye (“Looking Italian” the sleeve sez) [[Steve Nieve]] on keys, [[Bruce Thomas]] on bass notes, [[Pete Thomas]] on drumbeat and a [[Nick Lowe]] production “in association with” Roger Bechirian “assisted by” Neil King. Wheel it out.. | ||
“''Bad lovers face to face in the morning/Shy apologies and polite regrets/Slow dances that left no one enough/Outraged glances and Indiscreet yawning/Good manners and bad breath get you - nowhere/... She’s no Angel/He’s no Saint/They’re all covered up with whitewash and greasepaint''.” | “''Bad lovers face to face in the morning/Shy apologies and polite regrets/Slow dances that left no one enough/Outraged glances and Indiscreet yawning/Good manners and bad breath get you - nowhere/... She’s no Angel/He’s no Saint/They’re all covered up with whitewash and greasepaint''.” | ||
TOSS TO the left, turn to the right. ‘Trust’ nearly caves in under the weight of Costello’s bewildering range of viewpoints — or vantage points. ‘[[New Lace Sleeves]]’ — quoted above — | TOSS TO the left, turn to the right. ‘Trust’ nearly caves in under the weight of Costello’s bewildering range of viewpoints — or vantage points. ‘[[New Lace Sleeves]]’ — quoted above — Is the apex of this emotional index, switching from involved observation to bitter indictment to shrill humour in a manner of couplets. | ||
‘[[Lovers Walk|Lover’s Walk]]’ — which follows ‘Clubland’ on Side One — is a panted, frenzied phenomenological shortlist, a run through of all characters and characteristics to come, so to speak — from the champagne greeting to the clandestine meet. The beat is halfway between [[Bo Diddley]] and Antmusic, the button is double entendre. “''Be on caution where lovers walk''.” ‘[[You'll Never Be A Man| You’ll Never Be A Man]]’ is first up to get specific, and bound to be ‘interpreted’ as soul-searching autobiographical on Costello’s part. ''“You’ll never be a man/No matter how many foreign bodies you can take/You’ll never be a man/When you’re half a woman and half awake/With a faceful of tears and a chemical shake.”'' I’ve decided | ‘[[Lovers Walk|Lover’s Walk]]’ — which follows ‘Clubland’ on Side One — is a panted, frenzied phenomenological shortlist, a run through of all characters and characteristics to come, so to speak — from the champagne greeting to the clandestine meet. The beat is halfway between [[Bo Diddley]] and Antmusic, the button is double entendre. “''Be on caution where lovers walk''.” ‘[[You'll Never Be A Man| You’ll Never Be A Man]]’ is first up to get specific, and bound to be ‘interpreted’ as soul-searching autobiographical on Costello’s part. ''“You’ll never be a man/No matter how many foreign bodies you can take/You’ll never be a man/When you’re half a woman and half awake/With a faceful of tears and a chemical shake.”'' I’ve decided It’s about me — anything else would be speculation. | ||
‘[[Pretty Words]]’ is similarly open heart, part diary entry partly obtuse — possibly the most vulnerable song here, or elsewhere in Costello’s past, turning imperceptibly from lovely personal detail ("''You’re loosening all the screws that hold the hinges on my life!''’—a different kind of love song) into public prosecution, in an immaculately thought-out, very vintage Tamla arrangement. | ‘[[Pretty Words]]’ is similarly open heart, part diary entry partly obtuse — possibly the most vulnerable song here, or elsewhere in Costello’s past, turning imperceptibly from lovely personal detail ("''You’re loosening all the screws that hold the hinges on my life!''’—a different kind of love song) into public prosecution, in an immaculately thought-out, very vintage Tamla arrangement. | ||
The way in which the main “''Pretty words don’t mean much any more''”refrain is phrased and placed, the statement could be one of regret or definition; I go for regret. “''No words of consolation/Just cartoons and chitter chatter/Well, well fancy that!/Millions murdered for a kiss-me-quick hat''“ | The way in which the main “''Pretty words don’t mean much any more''”refrain is phrased and placed, the statement could be one of regret or definition; I go for regret. “''No words of consolation/Just cartoons and chitter chatter/Well, well fancy that!/Millions murdered for a kiss-me-quick hat''“ | ||
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IN CONCLUSION, I would just like to say that ‘Get Happy!!’ is an enormously underrated linguistic and dance music work, ‘New Lace Sleeves’ is not only the best “protest” song ever recorded but also the only song to make me laugh out loud for a very long time, and that ‘Trust’ should not be at all underrated as a linguistic and dance music long playing record. | IN CONCLUSION, I would just like to say that ‘Get Happy!!’ is an enormously underrated linguistic and dance music work, ‘New Lace Sleeves’ is not only the best “protest” song ever recorded but also the only song to make me laugh out loud for a very long time, and that ‘Trust’ should not be at all underrated as a linguistic and dance music long playing record. | ||
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[[Ian Penman]] reviews ''[[Trust]]''. | [[Ian Penman]] reviews ''[[Trust]]''. | ||
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EC, [[Steve Nieve]] and ''[[Get Happy!!]]'' place in the '80 Readers' Poll. | |||
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Pages 24-25 feature a 2-page ad for ''Trust''. | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1981-01-24 New Musical Express cover.jpg| | |||
[[image:1981-01-24 New Musical Express page 26.jpg| | [[image:1981-01-24 New Musical Express cover.jpg|x120px|border]] | ||
[[image:1981-01-24 New Musical Express page 27.jpg| | [[image:1981-01-24 New Musical Express page 26.jpg|x120px|border]] | ||
[[image:1981-01-24 New Musical Express Photo | [[image:1981-01-24 New Musical Express page 27 clipping.jpg|x120px|border]] | ||
<br><small> | <br><small>Cover, page scan, and clipping.</small> | ||
[[image:1981-01-24 New Musical Express photo 01 ac.jpg|320px]] | |||
<br><small>Photo by [[Anton Corbijn]].</small> | |||
[[image:1981-01-24 New Musical Express page 24-25 composite.jpg|320px|border]] | |||
<br><small>Ad for ''Trust'' on pages 24 and 25.</small> | |||
[[image:1981-01-24 New Musical Express page 26-27 composite.jpg|320px|border]] | |||
<br><small>Pages 26 and 27.</small> | |||
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{{Bibliography box}} | |||
<center><h3> '''1980 Readers' Poll </h3></center> | |||
'''<center>Male Singer</center> | |||
# [[Paul Weller]] | |||
# [[David Bowie]] | |||
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# '''Elvis Costello | |||
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'''<center>Songwriter</center> | |||
# Paul Weller | |||
# David Bowie | |||
# '''Elvis Costello | |||
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<br> | |||
'''<center>Album</center> | |||
# ''Sound Affects'' - [[The Jam]] | |||
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# '''''Get Happy!!''''' - Elvis Costello | |||
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<br> | |||
'''<center>Keyboardist</center> | |||
# Dave Greenfield | |||
# [[Jerry Dammers]] | |||
# {{n}} | |||
# {{n}} | |||
# {{n}} | |||
# '''Steve Nieve | |||
# {{n}} | |||
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''Remainder of poll results to some. | |||
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{{cx}} | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Revision as of 19:34, 2 August 2013
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