Music Banter - View Single Post - Bulldog's Armchair Guide To Elvis Costello

Bulldog · 01-18-2009, 01:33 PM

[Tracks 12-15, Outtakes]

12. Miss MacBeth
Right after the sweetly angsty and uncluttered Baby Plays Around comes another one of the more ambitious and adventurous tracks, this one being a brass-led waltz. Another mazy and very heavily-produced song which focusses musically on the baritone section of the Dirty Dozen Brass Band and Michael Blair's percussive contributions. Without yammering on too long (which I've probably done already in many places) the song is just pure gold, home to another set of great lyrics (if slightly drawn-out, which is why I'll just quote the chorus here);

'And everyday she lives out another lovesong
It's a tearful lament of somebody done wrong
How can you miss what you've never possessed
Miss MacBeth' 10/10

13. Any King's Shilling
Once again, if it weren't for Costello's voice, you could hardly be blamed for assuming that this song and Miss MacBeth were recorded by different artists. Another Celtic-flavoured folk song with another endearing lyric (this time the story of Costello's grandfather, an Irish military bandmaster with an English accent in a 1920s base in Dublin), it's yet another very good sonf (the live version in the video doesn't really capture the song's full glory, but hey). 8/10

14. Coal-Train Robberies
Musically the angriest number on the record, Coal-Train Robberies is something of a hard-rocker which is the only song on Spike that truly brings the intense bitterness of Costello's earliest work into 1989. Led by Jerry Marotta's pounding drumbeat and against punctuated by the occasional chords from Costello's rhythm guitar, it's another song which really lets the lyrics speak for the whole thing, which is just fine really;

'"So many good deeds, so little time"
Say the advertising agency slime
When man has destroyed what he thinks he owns
I hope no living thing cries over his bones'

One of my favourites. 10/10

15. Last Boat Leaving
To put the lid on a truly great record is this slower and deeply emotional tune, which is lyrically one more tale inspired by the deeds of Costello's grandfather.

'Hush my little one, don't cry so
You know your Daddy's bound to go
They took his pride
They took his voice
Don't upset him now, don't make a noise'

The lyrics are again absolute gold, but in truth it's a bit of a Her Majesty, ie slight anti-climax to the record. 6/10

The Outtakes.

The Ugly Things, You're No Good, Point Of No Return and the Room Nobody Lives In: Because of how the album was recorded, there are no real studio outtakes to speak of. These 'ere covers were recorded after the Spike sessions in order to make some B-side material.

So, summing up then...
One of the most difficult albums in Costello's back-catalogue, and it certainly takes a bit of keen listening to truly love it, given its wildly eclectic and ambitious nature. Once it clicks though, it really does come across as a truly fabulous and original album. Also, because of the way it was recorded, I can find something new to love about it after each listen. Definitely one of my all-time favs, and an essential when it comes to Elvis Costello's music. Call it fanboyism, but I don't hesitate in giving it the following rating...

10/10

01-18-2009, 01:33 PM	#44 (permalink)
Bulldog why bother? Join Date: Sep 2008 Location: UK Posts: 4,840	[Tracks 12-15, Outtakes] 12. Miss MacBeth Right after the sweetly angsty and uncluttered Baby Plays Around comes another one of the more ambitious and adventurous tracks, this one being a brass-led waltz. Another mazy and very heavily-produced song which focusses musically on the baritone section of the Dirty Dozen Brass Band and Michael Blair's percussive contributions. Without yammering on too long (which I've probably done already in many places) the song is just pure gold, home to another set of great lyrics (if slightly drawn-out, which is why I'll just quote the chorus here); 'And everyday she lives out another lovesong It's a tearful lament of somebody done wrong How can you miss what you've never possessed Miss MacBeth' 10/10 13. Any King's Shilling Once again, if it weren't for Costello's voice, you could hardly be blamed for assuming that this song and Miss MacBeth were recorded by different artists. Another Celtic-flavoured folk song with another endearing lyric (this time the story of Costello's grandfather, an Irish military bandmaster with an English accent in a 1920s base in Dublin), it's yet another very good sonf (the live version in the video doesn't really capture the song's full glory, but hey). 8/10 14. Coal-Train Robberies Musically the angriest number on the record, Coal-Train Robberies is something of a hard-rocker which is the only song on Spike that truly brings the intense bitterness of Costello's earliest work into 1989. Led by Jerry Marotta's pounding drumbeat and against punctuated by the occasional chords from Costello's rhythm guitar, it's another song which really lets the lyrics speak for the whole thing, which is just fine really; '"So many good deeds, so little time" Say the advertising agency slime When man has destroyed what he thinks he owns I hope no living thing cries over his bones' One of my favourites. 10/10 15. Last Boat Leaving To put the lid on a truly great record is this slower and deeply emotional tune, which is lyrically one more tale inspired by the deeds of Costello's grandfather. 'Hush my little one, don't cry so You know your Daddy's bound to go They took his pride They took his voice Don't upset him now, don't make a noise' The lyrics are again absolute gold, but in truth it's a bit of a Her Majesty, ie slight anti-climax to the record. 6/10 The Outtakes. The Ugly Things, You're No Good, Point Of No Return and the Room Nobody Lives In: Because of how the album was recorded, there are no real studio outtakes to speak of. These 'ere covers were recorded after the Spike sessions in order to make some B-side material. So, summing up then... One of the most difficult albums in Costello's back-catalogue, and it certainly takes a bit of keen listening to truly love it, given its wildly eclectic and ambitious nature. Once it clicks though, it really does come across as a truly fabulous and original album. Also, because of the way it was recorded, I can find something new to love about it after each listen. Definitely one of my all-time favs, and an essential when it comes to Elvis Costello's music. Call it fanboyism, but I don't hesitate in giving it the following rating... 10/10 Last edited by Bulldog; 01-18-2009 at 05:53 PM.