Nobody likes everything and when Elvis Costello is mentioned, you’re bound to get strong opinions either way. Lyrically, he can be a little “wordy“. Then there‘s his voice. A nasal sneer if there ever was one, this guy would never be able to cut it if he was in say, Foreigner or Journey. That whole nerdy persona was bound to polarize people, too. How can this guy rock, he doesn’t even LOOK like Robert Plant!
The musical character that became Elvis Costello was no cliché. Sure you’ve read smart ass critics refer to him as the evil Buddy Holly, but that’s too much of an oversimplification. It was more importantly the polar opposite of the soup de’jour, and came along at precisely the right time. He also had the tunes to back it up.
His band toured the world for the better part of seven years. Nine full length albums were recorded during the same time frame , as well as enough single tracks to fill another record. Between the recorded output and live performances, it was inevitable that the band would implode under that much activity and pressure. Elvis had become a monster, and his creator wanted him dead.
1986‘s “King Of America” was the result of that skin shedding, and many Costello fans will tell you it’s their favorite. Breaking from the Attractions, whatever his name is made a solo record of sorts with producer T-Bone Burnett. Late that same year though, another record was released which was arguably more important because although the Elvis “disguise” was pulled back out, it wasn’t exactly the same.
The record company wanted another “Elvis” album. It was probably the last thing he wanted to do, but KOA was not a big enough hit to give him much leverage. So after a three album hiatus, Nick Lowe was welcomed back into the fold and the old gang re-convened at the legendary Olympia Sound Studios, London.
“Blood And Chocolate” sounds like it was worked on fairly quickly, three months in fact. More often than not, that works to it’s advantage. “I Hope You’re Happy Now” is the only song on the album credited to Costello instead of one of his now many nom-de-plumes. It has those clever phrase turns Elvis was so almost famous for, and even though the lyrics seem to be about yet another ex lover it might actually be about his now cantankerous relationship with Columbia Records.
Most of the album was recorded by the full band doing the backing tracks at ear splitting sound level. The few overdubs that were inserted were of the quick slapdash variety. The record seemed predestined to be nothing more than the fulfilling of a contractual obligation. Elvis, the Attractions , and the record company had all grown sick of each other.
The ironic twist here is that the album works. It doesn’t recall any past glories, or try to charm it’s way into your heart. B&C is the black sheep of the family. It’s loud, obnoxious and unapologetic. It for the most part plods along getting louder and more belligerent with each passing track. Even the more tuneful offerings such as “I Want You” and “Crimes Of Paris” have sections within them where they descend into a swirl of dissonance.
With “Blood And Chocolate” the Attractions era ended not with a whimper but a bang. Today, as we listen to it becomes all the more satisfying that they left kicking and screaming.
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