Imperial bedroom scene

Press, 8 May 1986, Page 10

Imperial bedroom scene

THE COSTELLO SHOW “King of America” (FBeat VPLI 7601). Here comes the Costello Show, not to be confused with the Cosell Show, although there is more than a little blood sport here. Lead by Declan Patrick Aloysius Macmanus, as Costello has reverted to his given name by deed poll, or as on the record sleeve, the Little Hands of Concrete, the Confederate Band and the Attractions (one song) have come up with an album worthy of a kingdom. > The album partly deals with Costello’s own decision to revert to his given name. He joked that the popular press would go bananas over the change and sure enough, he was right. The London "Sun” went as far as saying if John Wayne had used his

real name (Marion Morrison) would he have conquered the West! But thanks to T-Bone Burnett having a big band in the production, and keeping the Little Hand from tinkering with the songs Macmanus has the best album on his hands since the pulsating “Get Happy!” I don’t agree with some critics that Elvis has gone for a straightforward writing style on “King Of America.” You can still find the old verbal gymnastics of “Punch The Clock” and “Imperial Bedroom,” which are so delightful, but on the latest album he has allowed both the words and music stand for themselves, without the tortuous lyrical approach of the previous two LPS mentioned. Some have also seen “King Of America” as the Last Post for the persona

al Elvis Costello, as shown by the opening song “Brilliant Mistake” and the sole Attractions song “Suit Of Lights.” Both are about media inventions. The Attractions solo spot is a fine one, and as Macmanus says himself it is the only track of 15 on the LP that fits the band’s style. In part, “King Of America” recalls the country and western style of “Almost Blue” The Confederate Band consists of Ron Tutt, Jerry Scheff, and James Burton, who all worked with the real King of rock, plus musicians such as the drummer, Jim Keltner, and of course, T-Bone. For this reason the album seems to flow on a Rand B feel, although in fact it has as many musical styles as the last few vinyl prints from Tom Waits.

The best point of the LP is that Costello has plenty of room to sing, and to play his acoustic guitar, and so the songs are fresh and uncluttered. And tremendous songs themselves as powerful as “Shipbuilding." “Little Palaces,” for example, splits the view of raising children in a slum (Macmanus’s own Liverpool?) and Prince William being raised in comfort. Other powerful songs include “American Without Tears,” a mixed-up track partly recalling Costello’s own family history and America Gls in Britain in World War II (over-fed, over-sexed, and over here). Costello also rides out of "Glitter Gulch,” which seems to recall a Nevada bordello run by Madame X (“Her teeth are perfect but her mouth is loose”), which

Costello views as Presley’s "Heartbreak Hotel.” Costello’s songs are also much more personal, the best being “I’ll Wear It Proudly,” his most superb love song yet. But the band around him also make the songs, none better than J. B. Lenoir’s "Eisenhower Blues,” and the apt "Don’t Let Me Be Misunderstood,” which is a great cover. Macmanus, a.k.a. Costello, has proved that the King may be dead, but the King lives on. “King of America” is simply the best album this year so far — majestic, royal. And don’t look on it as the death knell of Costello after nine years, apparently he is back with the Attractions and working as hard as ever.

- By NEVIN TOPP.