Customer Reviews

North

5 star:		(17)
4 star:		(8)
3 star:		(3)
2 star:		(1)
1 star:		(7)

 

 

Elvis Costello is a constantly evolving artist, and his fans have come to expect the unexpected from him. This song cycle may prove to be his most challenging even for hardcore fans. This time around, not only has he abandoned his rock sound, as he has done before, but he has also tossed aside his trademark scathing lyrics. While some may view this as sequel to 1998's "Painted From Memory" with Burt Bacharach, this album is a more sparse affair, with none of the pop backbeat of the former. Many songs feature little more than piano and a string quartet as accompaniment. The melancholy feeling behind the songs evokes images of dusk on a brisk autumn day. The lyrics suggest heartbreak, disappointment, and the rediscovery of love, a topic seemingly new to the Costello oeuvre. The album may take a few listens to warm up to, but ultimately it is rich with musical delight. Overall, this is a solid effort from the artist. While the musical style is not for everyone, those who can appreciate a more sophisticated, "grown up" Elvis Costello should be able to enjoy this album.

Throughout his career, Elvis Costello has made his reputation on changing his music styles with the days of the week. Even the angry punk he had made his name on & with which he became an unofficial member of the movement was just one facet of his identity, for shortly afterwards, he dabbled in soul (1980's GET HAPPY!!), country (1981's ALMOST BLUE), baroque pop (1982's IMPERIAL BEDROOM), and even classical (1993's THE JULIET LETTERS). The latter has proven to be more than just an ordinary flirtation, for even while THE JULIET LETTERS album with the Brodsky String Quartet may have been a very obviously self-conscious affair, Elvis returned to the genre three times more, recording an album with opera singer Anne Sofie Von Otter (2001's FOR THE STARS) & then recording his first full-fledged classical work (i.e. not still having his lyrical talents to fall back on) with IL SOGNO (2004). In between those two, Elvis recorded a unique jazz-pop hybrid (although it is released on Deutsche Grammophon, the label for his classical material) with 2003's NORTH.

One of the things that makes NORTH Elvis' best classical-based work is the story behind its creation. After the divorce from his second wife Caitlin O'Riordan, Elvis met jazz singer Diana Krall (who my mother is quite a fan of). Supposedly, it was love at first sight, and by the time Elvis began work on NORTH (less than a year after 2002's artistic renewal WHEN I WAS CRUEL), the two were engaged. For someone as legendarily misanthropic in his music like Elvis Costello, the idea of him getting all lovey-dovey may be a frightening one. Just maybe finding the love of his life has Elvis wishing to sing rainbows, and while occasionally his lyrics will still retain a sense of didacticism, there is no secret about what each of the 11 songs are about.

Of course, not every song on NORTH is completely dedicated to his new love. Some songs like "You Left Me In The Dark" could easily be about the demise of Elvis' second marriage with him wondering just how things went wrong. Rather than laying the blame at his ex-wife's door, Elvis accuses himself: "Nothing I do can make you stay/I'm glad it will rain today". "Fallen" also finds Elvis with a heart of despair over messing up a good relationship with its autumnal music & especially in its lyrics full of browns, ambers & burnished golds. Where the orchestral arrangements could have gotten over-the-top (and on "Can You Be True?", it comes quite close to that), they are actually much more subtle than expected, which was something THE JULIET LETTERS did not have enough of.

Those are the only two songs on NORTH that find Elvis in a dark mood matching the blackness of the cover art. The rest clearly have him celebrating his newfound romance & darned be the results. "Still" is perhaps the most romantic Elvis has ever gotten in his music, especially with the opening verse. Elvis still does not have his head too high in the clouds, though, if the last verse is any indication: "I want to kiss you in a rush/and whisper things to make you blush/and you say, "Darling, hush".

"Let Me Tell You About Her" certainly indicates Elvis' wish to tell the world about his new love, whether or not they care to listen. Elvis' lyrics have often been compared to Cole Porter, and maybe he is aware of that with the reference to Cole's classic song "You're Sensational". "Someone Took The Words Away" works in a similar fashion, demonstrating how Elvis is at a loss for words upon seeing his new love for the first time, as does "When Did I Stop Dreaming?". These three songs are the ones that contain the trademark Costello wit, only this time being used for good rather than criticism.

"You Turned To Me" has Elvis wondering if he could all be dreaming these amorous feelings, and if his new woman does in fact consider him her new addiction. One song that does not have an orchestra of any kind on it, the simple bass & piano accompaniment still manages to sound as full as it needs to be. "Can You Be True?" has Elvis inquiring whether his new love will be as faithful to him as he will be to her. Elvis again shows no shame in being love poet extraordinaire, as he does on the more positive outlook of "When It Sings", but that just indicates the former angry young man of MY AIM IS TRUE (1977) & THIS YEAR'S MODEL (1978) has done a lot of growing up since those acid-drenched masterpieces. When you hear the devotional lyrics to a song like "When Green Eyes Turn Blue", it is apparent that Elvis has learned when to put the verbal daggers away if necessary.

The love letter that is NORTH closes out in utter bliss on "I'm In The Mood Again", with Elvis creating a reverent ode to love in the big city, one you could hear emanating from a club after midnight in New York City. With just a piano (played by Elvis himself, whereas the keyboard playing mostly rested upon old Attractions member Steve Nieve) & a vibraphone as accompaniment, that is all the song needs to show that Elvis Costello is ready to give love a chance, and just maybe the third time is the charm. After experiencing some 40 straight minutes of unabashed romantic celebration, one can not help but hope that turns out to be true.

While NORTH may not be as overtly classical as THE JULIET LETTERS or even IL SOGNO, that in fact is what makes it work so well. With THE JULIET LETTERS having been more a pastiche of a string quartet sound rather than a tried-and-true experiment with it, NORTH's more understated use of a classical sound, and concentrating more on the jazzier elements of the music therein (sounding like the theme albums that Frank Sinatra had created so successfully in the '50s & '60s, only this time, Elvis is taking a crack at writing standards as well as singing them), makes it one much easier to enjoy for what it is, and not what it should have been. The music of his future wife perhaps had a profound effect on Elvis' own work, and he would even collaborate with Diana Krall for the original songs on her then-upcoming THE GIRL IN THE OTHER ROOM album. Those who come into NORTH expecting just another genre experiment will be much surprised to see Elvis thrive in yet another style of music one would think he had no business even attempting.

Well, this falls into the category of "mellow Costello."

In the vein (not vain, as some reviewers might have you believe) of The Juliette Letters and other gentle Elvis, this is a CD to throw on as background music, light the candles, sip the wine, and chill.

Do NOT expect to rock, even for a second. Think slow jazz, and if you like Elvis' voice and the aforementioned style, you'll enjoy this CD.

If you're expecting a return to the Attractions, you'll regret buying this one.

For what it is, I like it. Elvis is top notch, a class act, and he rarely puts out junk.

Definitely worth a listen.

Just when you thought you knew Elvis, he hits you with this unbelievably honest record. These are all very straight foward songs about love and loss, and it's very discriptive of the happenings in his private life. no social commentary. no sarcastic undertones. This is THE most sincere album he has ever written. He orchestrated all the songs beautifully. If you are particular fan of Elvis's early work, and more rock n roll stuff, you might not like it as much. It's all ballads, in contrast to his last release When I was Cruel. But it touched me...damnit....a good record

soaring haunting gorgeous

As I gleefully unwrapped my newly purchased cd and inserted it in my cd player....I was instantly transported to an otherworldy jazz/piano bar.....with fantastic blue colored lights, cigar smoke, cognac, and the most awesome music I'd heard in years! This was aided in part by the fact that I had no preconceived notions on what this album would hold...and the fact that the heavens had just opened and poured out rain that evening.
I would gladly and profusely encourage anyone to buy this! It is a quintessential piano cd with overtures of someone pouring out their soul....
Well done, Elvis, well done
9.5 stars....[.5 stars withheld due to album cover art]
"it's gotta good beat"

This is my first Elvis Costello CD and I guarantee it will not be my last. That haunting voice, the strings - indeed, the entire accompaniment - the words and emotions....it all comes out in NORTH. These arrangements are near the top - a male Linda Ronstadt one might say.

The surprise is that every single track is as good as the previous one unlike others of this ilk wherein one is lucky to get 3 or 4 on an entire recording. A gifted artist and a near perfect production.

It's quite a slow grower, this one. It took me six or seven listens until I was able to tell the songs from one another. The mood and tempo is very much the same all the way through, and indeed at first it felt almost like one single fortyfive-minute track. But keep playing it and it grows immensely! The arrangements, apparently Costello's first go at writing orchestral scores and conducting himself, are sparse but very tasteful. None of that overblown, overpolished Bacharach stuff. And it's really beautiful, in a sad, autumnal but also hope-inspiring way. Do, however, try to track down the European version of the album, which contains an excellent bonus track, "Impatience", the only semi-upbeat song (and indeed the only song with a beat of any kind..) on the album.

I've been an Elvis fan for over 20 years and have grown up, matured and changed just as has his music. I absolutely love this CD - it reminds me of Sinatra's "Wee Small Hours" in tone. Full of elegant simplicity, heartfelt emotion and sincerity. It's not an album I would have understood or appreciated when I was 18, but now that I'm 37 it hits the mark like no other CD I've purchased in a long time. Hauntingly beautiful (especially cuts 1, 5, 6 and 7) - the perfect CD for a quiet, contemplative, late evening listen.

I'm a huge Costello fan. His preceding album "When I Was Cruel" really amped me up for "rhythm" oriented tunes. I put this one on and was greatly disappointed on first listen. It just wasn't what I was expecting or what I wanted to hear.

But I have good ears. After a few listens I realized that North was a beautiful record. It ranks among Costello's best work. It's not the first one that I grab when I want to hear some EC, but I do grab it when I am in the mood.

Some people will never "get" the songs on this album, no matter how many times they listen. I guess that some of the negative reviews are warranted from that perspective. If you only like EC's rock records, I would stay away from this one. If you enjoy Classical, Jazz, and Ballads then go ahead and get this one. It's a fine record.