This year’s model
ELVIS COSTELLO AND THE ATTRACTIONS, “Imperial Bedroom” (F-Beat XXLP2I7).
This year’s model was given its name before the intruder was discovered in Her Majesty’s bedroom. Some were surprised that Royalty kept separate bedrooms — whether that causes conflict is not known — but for Costello there is still plenty to explore in the fantasies and realities in the bedroom. It would be tempting to sub-title the review “Love’s labour lost.”
Some people felt let down by Costello’s country and western album, “Almost Blue,” after the progress that had been made in his discography so far. However, Costello shows no disappointment on “Imperial Bedroom” — indeed, one track is called “Almost Blue,” and one may assume that the song was already in the bag before the Nashville album was recorded.
“Imperial Bedroom” shows Costello in a mellower mood, perhaps because of the influence of the country album. He adopts differing musical styles and the playing is exceptionally loose — Bruce Thomas seems to peg out bass notes almost randomly, and Stevie Nieve is in fine form on keyboards. Costello’s songs are as meaty as ever, although he is now dancing, quite prepared to extend the songs rather than punch out the vocals.
Side one is particularly
strong, and would be satisfying on its own. The songs, “Tears Before Bedtime,” “Shabby Doll,” “The Long Honeymoon,” “Man Out Of Time,” and “Almost Blue,” are well constructed, and lyrically and musically, interesting. They contrast with some of the side two songs which rely slightly on the echo effects.
With the aid of lyrics printed- on the inner sleeve one can find ’ Costello’s thoughts on love. “Man Out Of Time” opens and closes on a scream, the emptiness of a (upper class) relationship (husband and wife) explained in “the after dinner overtures are nothing but an after thought.” The track before 'it, “The Long Honeymoon” is superb. The cabaret mood in a rhumba rhythm, and Costello taking on Frank Sinatra to the end, extending the last notes of the song. There is a similar effect on “Almost Blue.” . Side two is neither as strong, nor as successful as the opening side. “Kid About It,” borrows from the Pretenders’ “I; Go To Sleep” at the start. “Pidgin English,” although a good song, shows the lengths that Costello will go to get a rhyme (“From your own back yard to the land of exotica/From the truth society to neurotic erotica”). The final song, “Town Crier,” shows how Costello has changed from the straight punching — there is a horn and string-section on the song, showing a more
mature style. In spite of the criticisms, “Imperial Bedroom” and Van Morrison’s “Beautiful Vision" vie for the position of best album of the year. There can be no doubt that the listener is getting more than his money’s worth from E.C. and the Attractions.
— NEVIN TOPP Tom Verlaine “Words From The Front” (Virgin V 2227) “. . . Foxhole, foxhole, where’s my guardian angel. . .!?” That was in 1978. In 1982, Tom Verlaine is still in the trenches, and ' now he has decided to give us a few words from the front. The pen of Verlaine has always been worth paying, attention to. I will admit that I was a late starter to Television, Verlaine’s band of the late 19705. But their. “Marquee Moon” album has. established itself as one of my very favourites. It’s a real feeling, playing it, a Sort-of enjoyment beyond description..; Television split after the underrated “Adventure” album in 1978, and Verlaine, one of the rock heroes in New. York during those years, ■ continued writing. His first solo album, “Tom Verlaine,” is one that I enjoy. It rambles on with a hint of humour and lots of testy guitaring. '■ Its successor, “Dreamtime,”.! have not bothered with (a lot of people; did that). But "Words From The Front” ’sees Verlaine with a new energy and seven strong compositions. “Present Arrived” is very
self-assured, as Verlaine seems to be. In that form which he has made his own, he solos while the rhythm guitar runs'alongside, a pattern that dares to be dismissed.
“Postcard From Waterloo” is like a small gift to a friend. It recalls some of the softer early songs like “Days,”,., but then anything from Television I beg to compare to now. It ambles along pleasantly, with piano and even slide guitar poking through from the background.
Verlaine almost rewrote the book oh guitar solos afid he is still producing short and interesting spurts on his instrument It jabs here and there, adding interest rather, than distracting of annoying. ; “True Story” has a Television edge, while “Days On The Mountain” continues the comparison, in an epic sense. “Clear It Away” is unusually minimal, as the artist makes his point over limited noises from the guitars. In - the foxhole (“Words From The Front”), “We’re in mud up to our knees ... up on . the ridge, we’re dug in deep, we move in waves, as if asleep ■ The war drags on for Tom Verlaine. Probably the one against people who go on about-“that "Sand” whenever he does something new. But then, he still does “Marquee Moon” in concert. It’s a struggle for a modern guitar ' hero, so help him out. DAVID SWIFT
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