A Voice In The Dark

[Neil.]

One of the very greatest things he's ever done?

I kinda think so!

I don't know anyone else in the rock/pop songwriter pantheon who could've pulled off something like this. The way the energy builds - ach, I'm so thrilled he's still able to surprise us this late into his career: this is an outrageous, late-career shocker which leaves everyone else standing - even the younger lot. I thank my luck stars for Elvis!

[jardine]

I agree. melody, words, images, plus, now that we've got the chords (see NR chords thread), i can't believe the sheer physical force needed to get through the thing, let alone in tune, on time, and over all the hills and dales.

[Jeremy Dylan]

He really is the Cole Porter of modern pop.

[migdd]

Definitely the highlight of a great album!

[wordnat]

wow. this surprises me. i like this song, but i don't love it. i admire the craftsmanship (as always), but it kinda-sorta too cute by half, ain't it?

[wardo68]

Yes, I'm in the "like it, don't love it, but certainly don't hate it" category.

[amberwamber]

Totally agree was my favourite on first listen and still is

[Dr. Luther]

wow. this surprises me. i like this song, but i don't love it. i admire the craftsmanship (as always), but it kinda-sorta too cute by half, ain't it?

My thoughts, as well.

[Ypsilanti]

I agree. melody, words, images, plus, now that we've got the chords (see NR chords thread), i can't believe the sheer physical force needed to get through the thing, let alone in tune, on time, and over all the hills and dales.

And he pulls it off with such aplomb!

I'm crazy about this song and his delivery is spot on, too. There are several passages that on 1st listen seem like scatting, but then no--it's just more glorious words. Love how he did that!

And by the way...it's so fun and joyful. It's got to be the happiest song EC has ever written.

[sulky lad]

Wordnat And Dr.Luther say it all !
wordnat wrote:wow. this surprises me. i like this song, but i don't love it. i admire the craftsmanship (as always), but it kinda-sorta too cute by half, ain't it?



My thoughts, as well.
There are definitely superior tracks for me on NR

[verbal gymnastics]

I certainly agree with JD's Cole Porter comment.

But I wouldn't agree it's the best song on the album. Whilst my favourite song on the album changes with each listen, A Voice in the Dark is never among them.

[Poor Deportee]

'Jimmie' is the greatest song on this record IMHO. I thought so from the first and continue to think so. Having said that, I absolutely LOVE 'Voice.' It's just overflowing with lyrical and musical generosity, a Niagra Falls of gifts to the listener. What's more, there's relatively little in EC's back catalogue that leads you to expect something like this from him. It just spills out in this magnificent cascade. Absolutely wonderful.

[johnfoyle]

What realy got me about this song was the surprise element. Until the studio recording leaked a week or two before release all we knew was the lyric, as posted on Elvis' site in August. It hadn't been done in concert so no such recordings had circulated. No personnel details were on Elvis' site so we had no indication if it would be a bluegrass/fold/rock/whatever sound, as used in other tracks on the album. After my first hearing I could have sworn I'd heard brass. My instinctive reaction was to characterised it as a 'ooompah' track. It was a delightful dose of fun , counterpointing the many weightier matters that preceded it. It's placing on the album is , I'd wager, a in-joke on Elvis' part. He's celebrating the old-style manner of listening to a disc , from start to finish in the order that they appear. The fact that the vast majority of listeners will hear it in a shuffle with a squillion other tracks on their download devices negates, of course, this affect. I delight in still listening to discs so I,for one, got the the joke. Thanks Elvis.

[Jack of All Parades]

"This song could easily fit into a big, splashy Broadway or Hollywood production- Broadway Babes of 2010 or times are tough but music will pull us through. What it most definitely can do is demonstrate yet again that EC when he applies himself can create a song worthy of the Great American Songbook.

There is a delightful tumble of unforced rhyme going on here, as they tumble out seemingly effortlessly not unlike the performing 'acrobats' performing within the lyric. There is no straining for a rhyme, nothing forced; there is no sense that he has had to resort to a rhyming dictionary. One can readily "read right through a book of matches" as rapidly as these rhymes appear in each stanza.

One has to enjoy the play on the 'thirties' anthem "Pennies From Heaven". It is inventive as you are made to feel that deluge of shifting wealth pouring down both verbally and musically. Are you 'soaked' yet? I'm not. I appreciate the effort made by EC with in the lyric to tie in motifs and themes from other songs on the album- the color blue and all its 'hued' alternatives, the big, bad 'wolf' at the door[ as both a pecuniary menace and a lascivious one, as well, the obvious references to Bush and Cheney are somewhat heavy handed- those 'bores and bullies'. I do think the tie into immigration fears and the previous administrations premature announcement that we are in a 'boon' works. 'Forget your cares' as the old song goes- 'come on get happy![a non to subtle reference to the tune which appeared with frequency on setlists this past year.] EC pulls out all the stops with the obvious inspirational echoes back to "Wish Upon a Star" to modern day "For the Benefit of Mr. Kite" stopping just sort of declaring "all you need is love" but clearly calling into play Frank Loesser's wonderful "Sit Down Your Rocking the Boat" from "Guys and Dolls" as the 'herald' beckons.

What makes this song most work for me is EC's open-hearted vocal delivery. There is a hell be damned tone that exudes a joyful playfulness as the song progresses. In fact, it is the beautifully controlled vocal performances he gives to most of the material on this record that stands out most for me[outside of the strained hamminess of his vocal on "Church Underground" and the joyless 'rant' that constitutes the title song.]. Whether solo, double tracked, or accompanied by a background singer, I have been made to re- appreciate his vocal talent as I listen to most of the songs on this record. Not my favorite on the album but a solid effort none the less."

What a surprise- I agree with PD-by far "Jimmie" is the superior song on this album hands down[one of EC's top ten over his career. That said, as stated previously above, this song is never ignored when the album plays and like Mr. Foyle, it appropriately comes at the end of my listening. Never has struck me as a 'joyous' song as Mr. Foyle as well points out. It has that 'oh Shit! the Titanic is going down' feel to it as the band gamely continues to play on the deck or 'hell! if all else fails, just smile'-neither particularly comfortable feelings for this listener.

[jardine]

c.s., i agree except for the last verse where, i think, listening for a voice, listening to a voice, becomes "somebody calling to me"/ I still think that last verse is about Diana, wild, gentle, daring, confidential. titanic is still sinking, but hark, a herald angel--a messenger not just calling out or listened for in the dark, but "calling to me."

the joy might be surrounding by impending doom (it is, after all, a voice "in the dark," and not just huddled around the radio at night), but the thing i like so much about it is that it isn't "ironic" at all, or slyly meant, but actually is a full hearted "hell with it, let's go!" by the time he gets to that last verse, the dark surroundings combined with the rip roaring get me laughing and crying all at once. GREAT song. (and agreed, not even the best one on NR, which makes it a spectacular cd, i think)

[ahawkman]

Still exploring the album but I do know that I absolutely LOVE this song too! In regard to the style, to paraphase Elvis, I think we COULD call this unexpected. The lyrics and EC's delivery are positively stunning. I smile ear-to ear every time I hear this:

I’m flat as sole, I’m happy as a clam
But they don’t know the
kind of man I am
Little fish swimming in
a jealous shoal
Now my net is overflowing

Also love when he sings "there's no fool like an old fool", he hit the sweet spot on that one!

I won't even guess what the song means, but it's great!!! To me, the lyrics are very obtuse (like much of the album), and THAT'S the EC I know and love!!! British and obtuse!!!

It's amazing that he plays this song live and pulls it off so well. The version I heard on Prairie HC was jaw-dropping... the crowd EXPLODED at the end!

I agree with others about his vocals on (most of) this album. Especially Jimmie, All These Strangers, and this track. It's a boozy, relaxed style, kind of a Dean Martin thing. He used a similarly relaxed vocal style on several Trust songs (Watch Your Step, New Lace Sleeves, Big Sisters Clothes) to great effect!

Easily his best album in the last 10 years IMO.

[Ypsilanti]

I agree with others about his vocals on (most of) this album. Especially Jimmie, All These Strangers, and this track. It's a boozy, relaxed style, kind of a Dean Martin thing. He used a similarly relaxed vocal style on several Trust songs (Watch Your Step, New Lace Sleeves, Big Sisters Clothes) to great effect!

Also, on the few occasions when Elvis has covered songs from the earlier part of the 20th Century--Gershwin, Cole Porter, etc...He really brings his A game. I'm thinking of "Lost In The Stars", "But Not For Me", "Let's Misbehave", "If I Only Had A Brain", etc. He's amazingly well suited for this type of singing--far surpassing, I would say, many others who attempt this kind of material on a regular basis (Rod Stewart--ugh). Maybe that's part of the "surprise" John Foyle mentioned--who would expect "Voice In The Dark" from the "Clean Money" singer?

For me, another track in this category is "You Hung The Moon"--in terms of both how it's written and how it's sung. Especially the first verse. It reminds me so much of the beginning of "But Not For Me"--both songs have that little preamble where the delivery is very arch and elegant, but the language is, in contrast, more conversational. Very nicely done.

[Poor Deportee]

In the context of popular song, the most obvious implication of 'A Voice in the Dark' is actually a religious one. 'Seek your maker/before Gabriel blows his horn...' But in no way am I putting that forward as the definitive meaning. It can mean anything you want, really - the inner voice of truth, the voice of a lover - whatever gets you through the night, to quote yet another (inferior) song.

In any case: I nominate this song to be played at my wake. And I defy anyone to identify a better choice

On the subject of EC's vocals on this song and on this album as a whole, I agree that the truly wonderful thing about this record is how relaxed EC suddenly seems to be as both a singer/player and writer. There's are few signs of the willful forcing that has defined the last 15 years or so. The lyrics here seem to pour out of him, brimming with the joy and fun of sheer inspiration. Except on a couple of songs (sadly, the spectacular 'Church Underground,' which due to sheer brilliance survives this ham-handedness) the singing seems effortless and natural. It's as though he took a deep breath and decided to just, finally, enjoy himself. Indeed, you wonder whether the frequent oversinging of the last 15 years was compensatory...an attempt to elevate songs that maybe, often, weren't top-drawer, or else weren't being realized in the studio in quite the way he wanted. (I'll speculate that that's what happened with 'Church'...it wasn't quite happening in studio, so he overcompensated).

On 'Voice,' my favourite moment is actually the line, 'I'll be faithful/you know I shall.' I love the warmth with which he sings this line. It could be read cynically, but there's not one iota of cynicism in the delivery, just love. Now there's a case where it's hard to believe he didn't have Diana in mind.

[jardine]

sub-poll: where would you rank this song in costello's work as a whole?

i always have trouble with questions like this, and it is especially difficult when an album is still very new. like i mentioned in another thread, there is a bit of puppy love still going on w. me and NR.

[Jack of All Parades]

PD- am always up for a challenge laid down by you-so 'defy' I will as I nominate Ms. Dickinson's "Because I Could Not Stop for Death" at my future memorial service. On a similar note I also offer Dylan's "Not Dark Yet" as both will catch my 'raging' at the approaching darkness. No disrespect-just genuine and always respectful difference:

http://www.youtube.com/watch?v=ousRlAGZ ... re=related

http://www.youtube.com/watch?v=RZgBhyU4IvQ

12/31/10 as we prepare to leave the first decade of this new millennium PD I have had my own epiphany and would much prefer to have this wonderful and pensive song by the inimitable Richard Thompson sing me out: "Strange Affair"

http://www.youtube.com/watch?v=aKkWeYlv ... re=related

[Poor Deportee]

PD- am always up for a challenge laid down by you-so 'defy' I will as I nominate Ms. Dickinson's "Because I Could Not Stop for Death" at my future memorial service. On a similar note I also offer Dylan's "Not Dark Yet" as both will catch my 'raging' at the approaching darkness. No disrespect-just genuine and always respectful difference:

http://www.youtube.com/watch?v=ousRlAGZ ... re=related

http://www.youtube.com/watch?v=RZgBhyU4IvQ

Hee hee - it all depends on the tone you're looking for. Your choices are more sombre. But I love the idea of being seen off with the existential pizazz and cheery wisdom of 'Voice in the Dark.'

Were I to go your route and choose a more sombre, reflective number, I think I would nominate 'Lone Pilgrim,' the old tune covered by Dylan on 'World Gone Wrong.' Or possibly Tom Waits's wonderful 'Green Grass' (albeit, not the version sung by him - the net effect would be too creepy. But the song itself is a beautiful signal from beyond the pale).

http://www.youtube.com/watch?v=acv_a6O8doo

[Jack of All Parades]

PD- as you say tone is all- for myself I want that bone chilling moment that Ms Emily so deftly catches as she realizes that her escort has vanished and she is headed towards the unimaginable:" Eternity. Immortality ceases and she,'and i' are alone with our deaths. I, and she, are left to a sinking home, with only a "Swelling in the Ground"-alone with Death where she, and I will find ourselves one day.

But enough of that sublime fear- great choices on your part! And may i say you are more in Montaigne's camp with your choice.

[Jeremy Dylan]

I'm going for 'Tramp the Dirt Down', personally.

[Neil.]

Blimey! At home for Christmas holidays, and I was whistling 'A Voice in the Dark' to myself. My mother pipes up with "Ooh, that's the song 'A Lovely Day' with Donald O'Connor from that film!" I said "No, it's Elvis Costello". I whistled it again and she said "No, it's 'A Lovely Day' from that film!"

Lo and behold, a certain section of the melody is from the song 'A Lovely Day'.

http://www.youtube.com/watch?v=RyUPtKTOWS8

Well, whaddaya know? (Sorry if someone's already pointed this out!)

Nx

[Jack of All Parades]

Shades of "My Sweet Lord"- hope the Irving Berlin estate doesn't take him to court. There are only 12 notes to work with, so some copying of melody can be expected. Plus there is the great tradition of current artists borrowing, or 'quoting', from prior artists. That is the one I would fall back on, though I doubt he borrowed consciously. Probably steeped in Berlin and it just oozes out subliminally in his melody. Was that not the Harrison defense?