|
My parents used to shudder and ask, "Do you really understand what they're saying?" when I played rock 'n' roll at home.
I snickered and said yes, silently amazed that anyone, if listening, could not understand the words to the songs I listened to.
That was more than seven years ago and I had never heard of Elvis Costello. Now I ask myself: "What is he saying?"
I've listened to Costello since late 1978. Not fanatically, but certainly enthusiastically. And more than just occasionally. I know many of the words to most of his songs and recognize most songs from his discography of seven albums released in the United States.
But Monday night at the Bayfront Center, it was a Labor Day's effort to understand Costello's words or those of the competent warm-up band, Talk Talk.
When voices came over the sound system, words were garbled, distorted or, at worst, indistinguishable from one another.
Fortunately, the Attractions' music came through marvelously.
"Accidents will Happen" began the evening. It was faster than the studio version and a harbinger of the pace for the rest of the night.
It became jazz improvisation of the 1980s.
Costello is like that. And Costello fans are in on the ground floor. They grow with the ideas Costello creates. People foster Costello's thoughts. And the process becomes music because Costello knows talking seldom does any good.
"Hand in Hand," "Shabby Doll," with a James Bond-like introduction, and "Watch Your Step" look at life from an outside-the-love-triangle perspective. "Blind Ambition," sans Costello's guitar, was slower paced, with keyboards that sounded like woodwinds. On this, Costello's message was clear: "Oh, heaven preserve us."
"Watchin' the Detectives" was nearly classic. Easily recognizable, at least at first, yet loose enough to lose in a live jam, "Detectives" is a great song for live audiences. Moods can be — and were — drawn out, feeding on each musician's preferences as the song progressed. Blue-green lights faced the audience. We were the detectives, and Costello was watching us.
In the middle of "Detectives," another song, "Help Me," emerged. It was the organist's turn, and, without doubt, it was more jazz of the '80s.
"Long Honeymoon" and "Secondary Modern" were next. Good solid tunes and, thankfully, some of the words came through. Thankfully, because the words Costello says are the point of his music: "As the bedroom lights go out and the neighborhood gets quiet... remember, there's no money-back guarantee on future happiness."
Costello didn't stick only to his music. Smokey Robinson and Little Richard were singled out. Ray Charles' "Danger Zone" was another; Charles, perhaps, because of Costello's well-reported alleged slur toward the older, black jazz artist. Costello says he was misunderstood.
"Almost Blue," which isn't on the album Almost Blue but is on Costello's newest, Imperial Bedroom; "Imperial Bedroom," which is not on his album Imperial Bedroom; and "Clubland" were all interesting and well-played but among the more garbled tunes.
"Beyond Belief," was another. Intense, exciting and misunderstood. "Alison," one of his mainstays, was good, but seemingly thrown in because the audience wanted something a bit more recognizable.
Something else was recognizable: Costello didn't want to stop playing. Despite a half-filled arena, it was his last stop on the American leg of his tour and Costello was in the thick of it. No time to stop — except to make note of the fact that organist Steve Nieve and his family are residents of St. Petersburg.
The fast, electric "Pump It Up" did its job as the last song of the first encore.
Costello and the Attractions left the stage, but the audience wanted them back more enthusiastically than after the first time.
The band returned to "fit in as many numbers as we can," and extended the usual 90-minute concert to two hours. "World in an Uproar", "[[(What's So Funny 'bout) Peace, Love and Understanding" and one billed especially for this audience called "Shipbuilding" (not yet on any recording) kept up the fast pace. Sarcastic "Radio, Radio" and "Big Sister's Clothes" (the one for which producer Nick Lowe disclaimed responsibility) finished it.
If you don't know the words, listen to the albums. If you don't care about the words, don't tell Elvis, but go to his concerts. That way, you can all "Get Happy."
| 
