REVIEWS: National Ransom

[Neil.]

Just making a new thread in which we can all post our reviews - or other people's reviews - of the new album!

[migdd]

I'll be interested to find out if the reviews reflect anything close to the fan reaction to NR thus far.

[Otis Westinghouse]

This month's The Word contains a brief review, saying the more theatrical, music hall style of this LP suits him better than bluegrass did, or the like.

They also feature EC in their Word of Mouth bit, which is what people of note are reading/watching/listening to. It's typically interesting. Books: his lifestyle isn't conducive to reading the great works of literature, though people think he's winding them up with this, but he chooses this fascinating book of early colour photography:

http://entertainment.timesonline.co.uk/ ... 743161.ece

And also this:

http://www.amazon.co.uk/Vertigo-Novel-W ... 85&sr=1-11

Music: obscure New Orleans band Feufollet, traditional accordion, etc., but with electric guitar too. It's on Spotify for those that partake, so you can easily check out Elvis's latest fave, sounds good:

http://www.feufollet.net/music.html

Also, this Jack White-produced and -released oddity single by Mildred and the Mice:

http://www.myspace.com/mildredandthemice

Film: Color Me Kubrick with John Malkovich as SK:

http://www.amazon.co.uk/Color-Kubrick-D ... 699&sr=1-1

I can't scan here, but John or someone else may for your delectation. As ever, EC comes over as smart and original.

[johnfoyle]

Film: Color Me Kubrick with John Malkovich as SK:

Here's a link for region 2 edition of this -

http://www.amazon.co.uk/Colour-Me-Kubri ... _cp_d_h__1

Great feature!

[Jack of All Parades]

If memory serves, having seen this movie a number of years ago, it is about a fraud- a Kubrick manque[Malkovich was appropriately unctuous]- curiously thematically can perhaps be linked to elements of the soon to be released record.

[John]

Here's the BBC review
http://www.bbc.co.uk/music/reviews/hqgw

BBC Review
Costello’s Nashville love affair continues, but while enjoyable this is no classic.

Chris Roberts 2010-10-15

.Elvis Costello can’t be accused of genre-fear. Over an illustrious career of inspiring Bret Easton Ellis titles he’s also attempted opera, punk, jazz and soul. He can be forgiven then for making two consecutive studio albums which stick to a core of country and Americana. To focus on the trappings (and the list of "respected" players) however, is to miss the point. Whatever the stylings, the crux of Costello remains his songs, voice and words. It’s these which have enabled him to survive dips over decades, and avoid stagnation. His blatant craving to be identified within the Great American Songbook has also helped him to float above fashion. Last year’s Secret, Profane & Sugarcane sold much more strongly in the US than in the UK, and this is effectively its sequel.

Like its predecessor, it was produced by T Bone Burnett in Nashville in under a fortnight. Musicians include recurring cohorts The Impostors and The Sugarcanes, plus cameos by Vince Gill, Marc Ribot, Buddy Miller and Leon Russell. Inevitably then, it’s "rootsy", with all the lap-steel that entails. It never works magic with such elements the way Robert Plant seems able to, but it’s a solid, generally impressive hour.

It suggests topical themes of deprivation and bankruptcy, but the lyrics play fast and loose, often digressing into standard, if dark, love ballads. The title song rages at Wall Street, a little foggily. Indeed several songs chug by placidly, hamstrung by Burnett’s generic tropes. Stations of the Cross is the first number to entice and enthral, with some of the broodiness of Pills and Soap. It breaks the rut, and the album then ascends and transcends through Five Small Words and Church Underground: Costello at his best, the music freeing up his unique voice rather than turning him into any old bar-room bluesman. (The nadir is Russell’s My Lovely Jezebel, which could be Cliff fronting Status Quo.)

Then he’ll sing something as literate and brutal/wounded as All These Strangers and remind you of his gimlet eye and keen ear. So, while it’s no Costello classic, this repays patience.

[Neil.]

Still eager to hear people's views of the new album - maybe cos the main reviews area has ended up being the thread called 'The Magnificent Octopus' (good gag!), people aren't twigging that they can post their reviews there (cos of the less-than-obvious title). Here's the link, if you want to read the Magnificent Octopus thread: http://www.elviscostellofans.com/phpBB3 ... f=2&t=8492

So I'm just reinstating this thread, in case it's a more obvious place to put your reviews. I don't care, though, honest! (even though I am a TOTAL CONTROL FREAK!)

[Ypsilanti]

OK. I'm going to say this (and it feels like a dirty confession)...

I haven't heard much of it yet--hardly any, really. But, I'm approaching NR with a certain amount of fear and dread. I'm afraid to listen to it. There. I said it. I'm afraid I'm not going to like it. I'm afraid it's going to be so brutal and sad and depressing that I won't be able to take it, let alone enjoy it. I get the impression these songs are absolutely heartbreaking and unbearable. Is NR a thing of immense quality and brilliance, yet so emotionally draining and exhausting that it makes for a miserable listening experience? This is what I'm expecting and it's making me all squeamish.

There are usually a couple of songs like that on every record. Not saying they're not great songs--some sure are. But sad Elvis songs? They're a lot sadder than most--perhaps because they're rarely sentimental. They tend to sneak past my thickest padding and stab me right in the soft spots. Which is where I'd usually rather not be stabbed. And Elvis does this a lot more efficiently than any other songwriter I can think of. With some of these songs, I keep listening in order to form a callous. "Country Darkness" made me cry real tears the first time I heard it, but I eventually got over it. Other songs I just have to avoid. I didn't listen to MLAR for years because of "After the Fall". Couldn't take it. Even now I barely can.

Now NR seems to be made up entirely of songs like this. I'm really not eager to hear it. And I feel like a total asshole for saying so.

[Jeremy Dylan]

OK. I'm going to say this (and it feels like a dirty confession)...

I haven't heard much of it yet--hardly any, really. But, I'm approaching NR with a certain amount of fear and dread. I'm afraid to listen to it. There. I said it. I'm afraid I'm not going to like it. I'm afraid it's going to be so brutal and sad and depressing that I won't be able to take it, let alone enjoy it. I get the impression these songs are absolutely heartbreaking and unbearable. Is NR a thing of immense quality and brilliance, yet so emotionally draining and exhausting that it makes for a miserable listening experience? This is what I'm expecting and it's making me all squeamish.

No, no, no - not at all.

I'd say the majority of it a pretty fun record. National Ransom is a juicy, up-tempo rocker. Jimmie Standing In The Rain is negative in lyrical content, but I wouldn't say it's heartbreaking. Josephine is as light and joyful as anything EC's recorded, Stations of the Cross is probably sad, but I haven't given it enough of a listen to judge the lyrics. Five Small Words is a fractured relationship song, but it's not sad. It's musically groovy and lyrically accusatory. Actually, the only real "sad" songs on the album are One Bell Ringing and All These Strangers. Neither of these have reduced me to tears. And if they do, just skip to The Spell That You Cast or A Voice In The Dark.

[Ypsilanti]

I'd say the majority of it a pretty fun record. National Ransom is a juicy, up-tempo rocker. Jimmie Standing In The Rain is negative in lyrical content, but I wouldn't say it's heartbreaking. Josephine is as light and joyful as anything EC's recorded, Stations of the Cross is probably sad, but I haven't given it enough of a listen to judge the lyrics. Five Small Words is a fractured relationship song, but it's not sad. It's musically groovy and lyrically accusatory. Actually, the only real "sad" songs on the album are One Bell Ringing and All These Strangers. Neither of these have reduced me to tears. And if they do, just skip to The Spell That You Cast or A Voice In The Dark.

I actually love "Jimmie". But what about "You Hung the Moon", "Doctor Watson" and "Bullets for the Newborn King"? True--I haven't heard them yet, but a quick look at the lyrics makes me think I'm in for a rough time. I hope I'm wrong. I hope NR isn't going to be a record I respect but rarely play. And I don't dislike sad songs, per se--I'm a big fan of "Favorite Hour", "What Lewis Did Last", "Any King's Shilling" and lots more. It just seems that Elvis has this way of taking a long, clear-eyed look at pain and ugliness, where anyone else (at least I) would flinch and turn away. I expect to do a lot of flinching with NR. (I feel a bit guilty when I skip songs--seems like cheating)

[Neil.]

Yps, the album is very dark and very sad - the mournful dirge 'All These Strangers' is incredibly sad, disillusioned, jaded, disappointed - but absolutely beautiful, I love it! One Bell Ringing, too, is deeply painful - the slowies, generally, really cut deep. He really goes into the depths on this album - as he says in the last, outrageously up-tempo ballad, we should all "Listen to the voice in the dark"! Elvis is certainly providing that voice, on this new album. But, as Jeremy says, there're loads of up-tempo ones, too! Slow Drag will have you beaming, and Doctor Watson has a really hopeful feel to it - and don't forget the rockers, and that last number, which reminds me of a more ballsy version of 'Put Your Big Toe In The Milk of Human Kindness' mixed with 'Point of No Return' and 'Let Me Tell You About Her.'

[Ypsilanti]

that last number, which reminds me of a more ballsy version of 'Put Your Big Toe In The Milk of Human Kindness' mixed with 'Point of No Return' and 'Let Me Tell You About Her.'

Neil, I love what you've said here! I did listen to "Voice in the Dark" from the downloaded bonus tracks and I really loved it. I think your description is spot on. I picture Elvis fronting a cowboy big band on that one, wearing a tuxedo and a cowboy hat, crooning into an old-time microphone, making the ladies down in Texas swoon. It's an excellent song.

I'm girding myself for the worst, however with much of the rest of the record. In order to avoid tears and depression, I've assembled Gin & Vermouth and lots of fancy snacks. Spouse and I will have a drunken listening party in the kitchen as soon as the CD arrives. A little booze will surely take the edge off any unbearable bleakness. At least that's my plan.

[docinwestchester]

I've assembled Gin & Vermouth and lots of fancy snacks. Spouse and I will have a drunken listening party in the kitchen as soon as the CD arrives. A little booze will surely take the edge off any unbearable bleakness. At least that's my plan.

Don't forget the brownies...

[Ypsilanti]

I've assembled Gin & Vermouth and lots of fancy snacks. Spouse and I will have a drunken listening party in the kitchen as soon as the CD arrives. A little booze will surely take the edge off any unbearable bleakness. At least that's my plan.

Don't forget the brownies...

Chocolate euphoria--good idea!!

[docinwestchester]

I've assembled Gin & Vermouth and lots of fancy snacks. Spouse and I will have a drunken listening party in the kitchen as soon as the CD arrives. A little booze will surely take the edge off any unbearable bleakness. At least that's my plan.

Don't forget the brownies...

Chocolate euphoria--good idea!!

So good...Need any more CD's?

[Ypsilanti]

Doc--I could easily be persuaded to whip up another batch. As far as CDs go...I'm open to suggestions. I've always been curious about "The Spinning Songbook", among many other things.

[Ypsilanti]

OK. I listened to it--on Halloween Eve--seemed appropriate, given the Lupe-o-tone label. I'm going through it for a 2nd time right now. First, the CD packaging is really nicely done (except for the typos, of course, which are shameful). Very elegantly designed. Love the Tony Millionaire artwork. That soft, almost metallic grey color on the inside cover is both masculine and rarefied. I don't miss the plastic jewel case at all and the photo of Elvis on the inside is quite handsome.

I have to admit, I was extremely leery of National Ransom. So much heartbreaking subject matter! And some of the songs I had heard in concert (Five Small Words, The Spell That You Cast) I really disliked. Seemed like it was going to be a dreary affair.

Of course I was wrong about everything.

One thing hits me like a punch in the face...the overall sense of virtuosity and confidence in Elvis' approach. It's quite striking. I feel like you can actually hear how much he believes in himself, the material & his players. Wow! Elvis is absolutely at the very top of his game on NR and knows it. Wow, again!

It's still too early to pick any favorites or form any conclusions, but the tracks that jump right out to me are...

Stations Of The Cross (Love the self-harmonies. Always love it when Elvis busts out the high notes)

Bullets For The Newborn King (Love the simplicity and clarity of his voice here. Reminds me of some of the songs on the GCW Rhino bonus disk--Withered & Died? She Loves The Jerk?)

Voice In The Dark (Totally charming and delicious and full of wit. Really smitten with this one.)

Five Small Words (that Mastertone guitar is like a sex toy!)

All These Strangers (A complicated story. Am I hearing him sing about his lonely state when he was turning away from Cait and just starting to turn toward the possibility of Diana? I think so. And he weaves in some imagery from old-time movies--as he has done so many times before. I always love that.)

[Jeremy Dylan]

BOSTON HERALD
http://www.bostonherald.com/entertainme ... ition=also

THE NEW YORKER
http://www.newyorker.com/online/blogs/n ... ansom.html

[Jeremy Dylan]

THE GLOBE AND MAIL
http://www.theglobeandmail.com/news/art ... le1778421/

OLOGY
http://www.ology.com/music/album-review ... s-costello

THE SYDNEY MORNING HERALD (this is a good one)
http://www.smh.com.au/entertainment/mus ... 17787.html

SOUND SPIKE (Which picks out Not the Part of Him as the stand out track. Interesting how everyone has a different fave)
http://www.soundspike.com/reviews/950-e ... _hear.html


But I swear, if I see one more review referring to him as a punk artist I'm gonna scream.

[jardine]

love the smokey robinson connection for 5 small words in the sydney review. from head to toe!!!

[And No Coffee Table]

http://latimesblogs.latimes.com/music_b ... ansom.html

As a singer, songwriter and observer of human foibles, Elvis Costello is little short of dazzling on his latest outing. It certifies him as both the modern-day Cole Porter for the effortless way he marries sophisticated lyrics with elegant music, and contemporary counterpart to Brecht-Weill for his unrelenting skill at creating and inhabiting unforgettable characters and their dark situations.

Collaborating once again with T Bone Burnett and his crew of musical magicians, Costello fearlessly takes on rampant greed (the title track), society’s discards (“Jimmie Standing in the Rain”), abandoned love (“I Lost You”), romantic paranoia (“Dr. Watson, I Presume”) and myriad other topics in what feels like a sequel song cycle to 2009’s “Secret, Profane & Sugarcane.” This one delves even deeper into the art-song style, sometimes at the expense of the rootsy Americana fun that characterized its predecessor.

Costello and his accomplices cover the gamut — including the Brit pub-rock thump of “National Ransom,” the stunning jazzy pop of “Slow Drag With Josephine” and the dark cabaret lament of “You Hung the Moon.” At times, he happily ignores the hobgoblin of consistent time signature and revels in oblique lyrics; a few songs may require multiple listens to fully penetrate.

But anyone who loves the English language should marvel at his poking into its nooks and crannies with phrases such as “ravening maw,” “colliery town,” “fumbled skein,” and “vile vaudevillians.” In Costello’s infinitely gifted hands, pop music circa 2010 is anything but “only rock ’n’ roll.”

— Randy Lewis

Elvis Costello
“National Ransom”
Hear Music
Three stars (Out of four)

[jardine]

from rolling stone 3 1/2 stars of five

Will Hermes

2010 11 02
Elvis Costello traffics in so many genres, it must be hard to focus on one. Here, he doesn't. Instead, busy producer T Bone Burnett brings period detail to a set of country, folk, music-hall and rock songs whose unifying conceit is America's recent fiscal sins. The rockers echo vintage Costello, down to Steve Nieve's squealing Vox organ. The subject matter calls for more musical edge than they deliver. But parlor songs like "Jimmie Standing in the Rain" evoke an era when political anger was cloaked in gentler sounds. Often, whispers speak louder than screams.

and taylor swift got four stars

[jardine]

small review of a beautiful detail: at the end of Chruch Underground, when he is repeating the title, there is a repeated note trumpet fanfare buried deeply in the mix!!!!!! beautiful beatles-like touch. and otherwise, this is really a great song, almost breathtaking when he gets near the end and it almost starts to swagger and swing, "i'm rolling like a barrel, swinging like a gallows. . ." Fabulous (and a side note...there it is again, images of hanging also in you hung the moon and bullets, and images of turning blue and asphyxia, and not the first time for elvis. interesting).

and a question: when did he become quite so good at acoustic finger picking? i know he mentions his little hands of concrete loosening up a bit in an interview, but my, bullets for a newborn king (which reminds me of richard thompson a bit)...the guitar playing is quite something

[A rope leash]

I bought it today.

What strikes me most is the mix. This is rock, country, jazz, and pop all in the same music. There's respect back to the Thirties...it's not Cab Calloway or Woody Guthrie or the Mitchell Brothers, but a song about chicken would fit right in.

The dissonance in it is almost a seed. It feels like he's captured all the genres, and slapped them together to make a monster. It isn't clean or slick, it's real and unkempt, yet deceptively sophisticated.

In the prescence of all these sounds of days of eighty years ago, he jams in some modern jazz sounds from only fifty or forty years ago. All this with a country flair, and here and there a bit of Painted from Memory.

What is happening here is Elvis on the verge of creating a new form. He needs to take the fiddle and double bass, grab some saxophone and oboe, and get the Hell out of Nashville. He's at the edge of something great, musically.

Earth knows we could use a new form. Rock is dead, jazz smells funny, and country sucks. Elvis is our only hope of giving us something new to live for. He needs to start hanging out with Eno and Beck...he needs to finish what Miles Davis and Thelonius Monk started.

Music needs a saviour. Nailing Elvis to the cross won't help. Nudging Elvis over the precupice of a New Day is the real ticket.

Chicken ain't nothin' but a word.

[sulky lad]

jardine said

and a question: when did he become quite so good at acoustic finger picking? i know he mentions his little hands of concrete loosening up a bit in an interview, but my, bullets for a newborn king (which reminds me of richard thompson a bit)...the guitar playing is quite something

I asked Elvis after the Birmingham show if he'd been having lessons because I thought his playing had been superb throughout the UK shows and he said modestly ( you're bound to pick up a thing or two after all these years " or words to that effect. Like Jardine, I've been amazed and delighted by his playing on the album but and, it's early days yet, a great album -I don't think so, not by a long chalk !
In fact i think the 4 cuts on National Ransack are superior to a number of tracks on NR