Very often when I get my hands on demos or rehearsal takes of songs, they outshine the finished versions that the artist ultimately releases. Nowhere is this more apparent than when listening to the sessions for Elvis Costello’s 1981 release, “Trust”.
Other than a couple of instances, most of these tracks are similar to what appeared on the record. However, when they are stripped bare of the reverb effects and vocal overdubs that adorned the finished product, small nuances and counterpoint melodies rise up from within. Steve Nieve’s keyboards and Bruce Thomas’s bass lines are no longer buried under the gloss and sheen, which makes for a thrilling listening experience hearing their contributions so “up front” in the mix.
There are other surprises. Early attempts at “Watch Your Step” are presented in a much faster tempo and in a different key than what would eventually be settled on. Costello’s “close whispering” vocal that adorns the finished version is nowhere to be found. The rehearsal take here more closely resembles “Chelsea” or even “Lipstick Vogue” with the lyrics shouted out in an attempt to cut through the chainsaw rhythm track. As we all know, “Watch Your Step” would eventually be totally re-worked into something completely different. I would compare this early version to watching a baby being born. A little messy, but brilliant never the less.
An early run through of “New Lace Sleeves” is presented here as a mid-tempo track, reminiscent of say, Dylan’s “Basement Tapes”. This work in progress is once again,far removed from the finished product with it’s tight snare drum/ high hat combo and nervous plucking of that single guitar string we’re so familiar with.
Upon listening to some early takes of “Clubland” , you can hear Steve Nieve adding keyboard flourishes more often than what would eventually appear on the master. Therefore, one could safely assume that a conscious decision was made to save these riffs for specific moments within the song, ultimately adding to the tension and suspense so apparent on the LP version.
Those of us who have heard both “Big Sister’s Clothes” and the much faster “Big Sister” that appeared on the “Out Of Our Idiot” compilation LP have some point of reference when examining Costello’s creative process. Specifically, how he and his band could seemingly at will bash out alternate versions on the fly, picking and choosing the best bits as they occurred spontaneously in the studio. So it’s not all too surprising to hear yet a third version of this song that again sounds like a very early rehearsal. This one has more of a country/ western feel, but still up tempo enough so that one could envision a cowboy doing rope tricks with the track playing in the background.
In addition to these crude early tapes, alternate takes of the basic tracks feature only the lead vocal without the harmony parts and the reverb/echo that Elvis and his producer, Nick Lowe would add later on. An integral part of his overall sound particularly back then, it’s hard to say that one would actually prefer hearing these versions without Costello harmonizing with himself, since he does it so effectively. But after hearing “White Knuckles” , You’ll Never Be A Man” and these other tracks without them, the performances of the other three members of the band become more apparent. Paired up against that one single vocal track, the efforts of Nieve, Thomas and Thomas shine brightly here and are ultimately more thrilling than ever before.
Costello’s official assessment of the “Trust” album describe it as his most drug-influenced record. Specifically, he admits to a diet of hard cider, gin and tonic, various powders (probably not corn starch), Johnnie Walker Black, and the pharmaceutical drug Seconal, a barbiturate derived sedative. This cocktail of inspiration, while not recommended does however lend some credence to the theory that drugs may aid towards the execution of the creative process.
Either way, “Trust” represents the pinnacle of Costello’s songwriting talents as well as the versatility and arranging prowess of The Attractions. While “Imperial Bedroom” garners many of these same kudos and “Get Happy” gets the overall nod from other factions of Elvis fans, it is here on this record where we are treated to the most consistent balance between future experimentation and the immediate punch of his earliest works.
Click the "Play" button to hear an early rehearsal of "Watch Your Step" from the "Trust" sessions.
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