The attractions of Costello

Press, 23 August 1984, Page 18

The attractions of Costello

ELVIS COSTELLO AND THE ATTRACTIONS “Goodbye Cruel World” (FBeat SFLI 0100). Ten albums from Costello in seven years, and one enterprising British hack has put the number of his songs at 130. And he is as changeable as Neil Young, even to the extent of exploring more than one musical style on an album, as his last LP, “Punch The Clock,” and his latest effort, “Goodbye Cruel World,” show. One thing that can be said about “Goodbye Cruel World” is that the sound is not as muddy as that presented in the Costello concert earlier this year. Probably, it is the best sound that has ever been done on a Costello LP, and that is surprising, because the whole album was apparently written in two weeks. In some ways this accounts for the spontaneity that is so prominent when compared with "Punch The Clock.” However, the TKO

Homs and the backing chorus on the last album made such an impact on the songs, but the new tracks do not come across the same way, in spite of the jazzy feel, and the work of Steve Nieve on keyboards and Pete Thomas, drums. Costello has gone more for songs and less for verbal gymnastics on “Goodbye Cruel World,” but he is still capable of coming up with a few nasty surprises. “And with each passing day/ you’re less tender and more tinder,” he sings on “The Only Flame In Town." Even better is “Like a lady in the chamber/And another in the clip” from “Inch By Inch.” "Goodbye Cruel World” again encompasses a fair musical style, but within a tighter rock vein. The album opens on “The Only Flame In Town,” a song which Costello performed at his Christchurch concert, with a horn section that is most prominent out of ail the tracks. “Goodbye Cruel

World” closes with the poignant “Peace In Our Time,” echoing a part of the inner sleeve (a tee-shirt with “Worldwide Nuclear Ban Now”), possibly the most definitive (in style) of the tracks on the album. In between, there are some fascinating things. “Inch By Inch,” is one of the best, a beguiling track that would put Frankie Goes To Hollywood to shame for its suggestive lyrics. Although one critic has described the song as inconsequential, it is nevertheless delightful for Nieve’s keyboards and also the boozy sax by Gary Barnacle. Another side, though, is “The Deportees Club,” which is played with wild abandon and equally wild lyrics. But Costello doesn’t miss a beat for a story either, as “Room With No Number” shows. It’s a mystery worthy of Hitchcock, about passion turning to murder and some disappearing bodies (plus a missing hotel

room). The scary drum brushes at the start set up the song. But, the ballads may not be as strong, particularly “Home Truth,” which gets tangled up in words and Nieve’s keyboards. “Love Field” is much better, a more delicate song, with the slightly quavering vocals that Costello favours. In a funny way it seems to be another version of “Pump It Up.” Except for side one’s “Worthless Thing,” the second side seems to deal more with the political issues raised so pointedly in “Shipbuilding.” “Worthless Thing” deals with the problems of stars and fans and has a harsh ending. "Joe Porterhouse” and “The Great Unknown” both deal with political issues facing Britain, the latter a song rejected by Robert Wyatt, and finally “Peace In Our Time,” a song that deserved to do better than most of the dumb stuff dominating the top 10 at the moment.

"Goodbye Cruel World” is a bargain at 13 tracks, and they are played with ease. Although not immediately accessible “Goodbye Cruel World” has the best advantage of all — the ability to grow at each listening which is the particular challenge that Costello offers. - NEVIN TOPP