Dusting 'Em Off
Revisiting an album, a film, or an event on its anniversary

10 Times Elvis Costello’s Aim Was True

on October 10, 2018, 12:15am
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My Aim Is True (1977)

myaimistrue 10 Times Elvis Costellos Aim Was True

Miracle Man (Producer): Nick Lowe

Every Elvis Has His Army (Band): American country rock band Clover, sometimes billed in press materials as “The Shamrocks.”

Chained to family life and ignored by every label in London, Nick Lowe and new label Stiff Records finally took a chance on a young Declan MacManus, first as a songwriter and then eventually as a recording artist dubbed Elvis Costello. The genius of My Aim Is True stems from Costello’s deep love and knowledge of all types of music, instilled in him by his musician father. Each song rings of a familiar style that Costello adapts for himself, mixing these sounds with a preternatural sense of melody and lyrics drawing from the frustrations of daily life. From the pain of pre-record deal Monday mornings (“Welcome to the Working Week”) and stress of being a provider (“Miracle Man”) to regretting the girl who got away (“Alison”) and fumbling on the couch as the disturbing politics of the day unfold (“Less Than Zero”), Costello spins the mundanity of young married life into a punk record that actually relates to the average listener.

Truest Aim (Best Song): “Watching the Detectives” — Nothing on the telly, honey? How about a little reggae-flavored film noir? Fucking brilliant.

Poison Fountain Pen (Most Scathing Lyric): “Oh, I said, ‘I’m so happy, I could die’/ She said, ‘Drop dead,’ then left with another guy” from “(The Angels Wanna Wear My) Red Shoes”

Elvis Says: “Something was supposed to be changing. I spent a lot of time with just a big jar of instant coffee and the first Clash album, listening to it over and over. By the time I got down to the last few grains, I had written ‘Watching the Detectives’. The chorus had these darting figures that I wanted to sound like something from a Bernard Herrmann score. The piano and organ on the recorded version were all we could afford.”

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This Year’s Model (1978)

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Miracle Man: Nick Lowe

Every Elvis Has His Army: The Attractions (Steve Nieve, Pete Thomas, and Bruce Thomas), in their studio debut

Outfit an acerbic young songwriter coming into his own with the greatest backing trio in rock history, and you get an album like This Year’s Model. From the opening seconds, Costello’s contemptuous snarl leaps off the record, as does the one-of-a-kind whirlwind of Steve Nieve’s emphatic keys, Pete Thomas’ rhythmic pounding, and Bruce Thomas’ pumping bass lines. Again, Costello’s musical dexterity allows him to start a rave on “Pump It Up” and mellow things to a slow dance a song later on “Little Triggers”, his irresistible melodies belying a far more cynical artist than a record ago. Maybe most impressive of all is Costello’s knack for spitfire wordplay on biting songs like “(I Don’t Want to Go to) Chelsea” and “Radio, Radio”. If a put-down comes and goes before anybody realizes, does it count?

Truest Aim: “Radio, Radio” — So much for a slow, cool-down denouement. Has a record ever ended on more of a starter’s pistol song than this?

Poison Fountain Pen: “Every time I phone you, I just wanna put you down” from “No Action”

Elvis Says: “For a brief, improbable moment the horrified children of Britain were offered magazines featuring pop pinups of myself and the most handsome band in the world, right alongside Debbie Harry and those other blonde beauties, The Police. Thankfully for all concerned, I was just about to screw it all up completely.”

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Armed Forces (1979)

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Miracle Man: Nick Lowe

Every Elvis Has His Army: The Attractions

If This Year’s Model saw Costello and The Attractions forging their sound, Armed Forces captures a band doubling down and daring to find even more hooks and intricate pop moments. For every model that came off the line firing like “Goon Squad” or the Nick Lowe cover “(What’s So Funny ‘Bout) Peace, Love and Understanding”, there’s a “Big Boys” or “Party Girl” that builds into an unexpected, album-stealing moment or an “Accidents Will Happen” or “Oliver’s Army” that bears so many stamps of Costello and The Attractions that nobody else could’ve pulled it off. Because Costello is the only billed vocalist on many of his albums with The Attractions, it often goes overlooked how much his voice actually appears harmonizing, echoing, and interjecting. These songs are just absolutely worked and molded to perfection — naive politics and misadventures be damned.

Truest Aim: “Big Boys” — A march that keeps surprising itself, including a lyrical cataloging that slips effortlessly into one of Costello’s best vocals on the record.

Poison Fountain Pen: “But you tease, and you flirt/ And you shine all the buttons on your green shirt/ You can please yourself, but somebody’s going to get it” from “Green Shirt”

Elvis Says: “At the time, it seemed as if we were making an impossibly sophisticated leap from the sound of This Year’s Model, but listening now there are very few production devices that sit between the listener and the songs. The confidence and cohesion of The Attractions’ playing is the product of 12 months of intense touring. The sessions were not without dissent and tension, but we probably never had quite this level of consistent musical agreement again.

“This album was originally to be called Emotional Fascism. Two or three half-formed notions collided uneasily in that title, although I never would have admitted to having anything as self-conscious as a ‘theme’ running through the songs. Any patterns that have emerged did so as the record was completed or with the benefit of hindsight. Personal and global matters are spoken about with the same vocabulary; maybe this was a mistake. Betrayal and murder are not the same thing. The first of them only deadens the soul. Some of the highly charged language may now seem a little naive; it is full of gimmicks and almost overpowers some songs with paradoxes and subverted clichés piling up into private and secret meanings. I was not quite 24 and thought I knew it all.”

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Get Happy!! (1980)

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Miracle Man: Nick Lowe

Every Elvis Has His Army: The Attractions

Having spent the last two albums helping to introduce a more agitated type of pop music, Get Happy!! saw Costello and The Attractions turning back to the songwriter’s appreciation of R&B, an influence that saved many of the songs on this album from the rubbish bin. While some argue this shift came as a reaction to the “where do we go now?” success of Armed Forces along with an attempt to make amends for drunken racist comments Costello had made about James Brown and Ray Charles, the songwriter chalks it up to just following natural instincts and passions. In an era before sampling, Costello borrowed from his encyclopedic music knowledge of songs to find ways to rev up a handful of cuts that had previously seemed unable to turn over at all. Get Happy!! isn’t Costello at his best, but it shows a musical dexterity and curiosity that he’d put to great use throughout the latter half of his career working with collaborators as varied as string quartets, Allen Toussaint, and The Roots.

Truest Aim: “I Can’t Stand Up for Falling Down” — Costello turned a slow soul ballad by Sam & Dave into an upbeat dance track. It’s one of the early hints of his miraculous genre-hopping ability.

Poison Fountain Pen: “Now you’re sending me your best wishes/ Signed with love and vicious kisses/ You lack lust, you’re so lackluster/ Is that all the strength you can muster?” from “Possession”

Elvis Says: “Much of the music that had come out in the previous three years appeared not to have any obvious precedent. The best of it happened in the moment, the worst of it could make minutes seem endless. I had begun listening again to the R&B records, filling in the gaps between the compilations of my teenage years, Atlantic’s This Is Soul and Motown Chartbusters Vol. 3, with stacks of Stax singles purchased in Camden Town. The first trips to America had yielded still more riches: whole albums by someone like Garnet Mimms, who had previously only been the name on a single track of a ‘various artists’ collection. Drawing on all of these sources, we set about re-arranging the songs using an R&B motor.”

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Imperial Bedroom (1982)

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Miracle Man: Geoff Emerick

Every Elvis Has His Army: The Attractions

Having broken their previous mold with the R&B-powered Get Happy!! (1980) and the mimicry of Trust (1981), Costello and the Attractions found themselves with the room to stretch out that comes when audiences no longer know what to expect. The result was Imperial Bedroom, a somewhat hidden gem in Costello’s sprawling catalog and arguably the most beautiful-sounding record he’s ever made with The Attractions. By this time, Costello was composing on piano rather than guitar, which leads to a more arranged sound in which Steve Nieve often leads the way on keys rather than accenting or underscoring other parts. “I’m the town crier, and everybody knows/ I’m a little down with a lifetime to go,” Costello sings on closer “Town Cryer”, a lyric that sums up the album’s general disenchantment and the songwriter’s struggle to believe that things might work out. It’s a moody record, sure, but there are definitely days that call for clouds instead of sunlight.

Truest Aim: “Man Out of Time” — A song of self-doubt and disenchantment looking for an escape to something better and also one of the best pop rock songs of the ’80s.

Poison Fountain Pen: “He’s got a mind like a sewer and a heart like a fridge/ He stands to be insulted, and he pays for the privilege” from “Man Out of Time”

Elvis Says: “To some extent Imperial Bedroom was the record on which The Attractions and I granted ourselves the sort of scope that we imagined The Beatles had enjoyed in the mid-‘60s. We had engaged the engineering skills of the sonic, and somewhat unsung, genius [Geoff Emerick] behind many of those productions. The studio was booked for an unprecedented 12 weeks. If we needed a harpsichord or Mellotron, we hired one; if we required a 12-string acoustic guitar, marimba, or accordion, we went out and bought one; if we heard strings and trumpet and horns, we booked the musicians and Steve began writing out the parts.”

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