"Want a Hit? Keep It Simple" or Where did EC's mojo go!

[Jack of All Parades]

Have been pouring over an interesting cover piece in today's Sunday Times Arts & Leisure section by John Pareles- linked here:

http://www.nytimes.com/2011/01/02/arts/ ... ?ref=music

I find it incredulous that EC fails yet again to be mentioned when Pareles questions "Is everybody dumbing down?" and then proceeds to list 2010 releases by Arcade Fire, Titus Andonicus, Joanna Newson[who I again have to shout out to Otis thank you for promoting her- she is an engaging, intelligent performer with material that repays multiple listens[and it doesn't hurt that she has a 'smashing' pair of legs], Erykah Badu, Ne-Yo and Kanye West as artists who offer far more than a "sound effect and a sound bite", that are "holdouts and outright contrarians against the dominance of three minute, two idea tracks." How is it that "National Ransom" [an album that sonically and verbally rewards a listener] gets so little notice and continues to be ignored by so many? Has he so totally fallen off the cultural grid? Is he really no longer a part of the conversation of literate, adventurous pop music? As PD states let those who have ears, listen!!!!

When does Bruno Mars merit a mention as an artist of possible note for his album "Doo-Wops & Hooligans"[who I witnessed some of while sitting in the local AE in the mall while the wife and daughters shopped-it was'nt half bad the song I heard and he did have a 'sweet' voice and an engaging video featuring animation but both my wife and I found it underwhelming in total] over the solidest piece of work EC has given the listening public in well over a decade?

[Jeremy Dylan]

There's no story for NR. For an artist of EC's vintage to get real notice for a new record, there has to be a story. SP&S got a bit of attention because it was seen as Aging Punk Artist Goes Bluegrass. Johnny Cash got notice because he was working with Rick Rubin and covering Nine Inch Nails, Dylan because he'd put out a string of reviled records before shifting gears to back to basics bluesiness and was rewarded with acclaim and press. EC's just doing what he's always done, making a great collection of pop songs with musicians he's worked with before and a producer he's made 3 records with already. Where's the story in that? If he put this record out in 1982 he'd be getting way more attention because he was in the zeitgeist then, he was current.

[jardine]

is there some way to put this question to John Pareles? i think this thing about there being no "story" to it is really important. what, after all, would make it "noticeable" if you were not already a fan?

[Jack of All Parades]

Jardine, I would be reasonably certain that you could go on the Times site and Private message or email him with any question you might have regarding the piece. There is also the tried and true letter to the editor.

[History History]

" EC's just doing what he's always done, making a great collection of pop songs with musicians he's worked with before and a producer he's made 3 records with already. Where's the story in that?"

I think you've hit the nail on the head. It should be enough that the story should be just that as you've described. It's a tribute to EC's talent that he's still around - that never goes unnoticed. Imagine if his records were rubbish he'd be long forgotten.

[jardine]

email sent. I let you know if i get a reply...

[docinwestchester]

How is it that "National Ransom" [an album that sonically and verbally rewards a listener] gets so little notice and continues to be ignored by so many? Has he so totally fallen off the cultural grid? Is he really no longer a part of the conversation of literate, adventurous pop music?

I read the article too, which focused primarily on the state of pop music in 2010. I love NR but hardly consider it pop music - it's way too sophisticated for the pop music target audience. So it doesn't really belong in this article, IMO.

I have been disappointed, however, by the lack of attention NR received in most year-in-review music articles. It deserves better.

[Poor Deportee]

On a tangential note, I have a lot of trouble with the inclusion of Kanye West on that list. I bought "Graduation" a few years back and, notwithstanding some good moments, I have to say that if this is the cutting edge of commercial hip hop, the idiom is in trouble. Why on earth would I want to listen to some guy singing about his Visa and Louis Vitton? For my money, someone like Buck 65 should be reaping the praises that go West's way; now there's a dude who actually sings about something.

Anyhow. The general silence around NR is definitely irksome. But I think maybe much of it comes down to EC's longstanding gift for horrendous timing (c.f. 'the Columbus Incident' just as AF was breaking big stateside). Let's face it, when he put out SP & S, a lot of people were ready to receive Elvis Costello again. His show was popular, his image had been rebranded as something friendly and accessible, the bluegrass thing caught some attention, the packaging was attractive, it was sold at Starbuck's - a small perfect storm of EC marketing. And what was the reward for all these curious, provisional EC consumers who bought it? A self-described "austere" album full of dense, difficult songs about obscure historical topics and curios. Of course that scared everyone off (possibly for good this time). It's rather like what happened with MLAR; he had tons of returning listeners and new fans courtesy of "Veronica," so naturally he greeted them with what just might be THE most demanding and merciless album of his entire career. Poof.

Critics don't have this sort of excuse...but they might just be fatigued with EC's endless sonic maneouverings. Who knows.

[jardine]

sonic fatigue


great band name

[Jack of All Parades]

Better yet the title of EC's next album!

[jardine]

YES!

[Ypsilanti]

Anyhow. The general silence around NR is definitely irksome. But I think maybe much of it comes down to EC's longstanding gift for horrendous timing (c.f. 'the Columbus Incident' just as AF was breaking big stateside). Let's face it, when he put out SP & S, a lot of people were ready to receive Elvis Costello again. His show was popular, his image had been rebranded as something friendly and accessible, the bluegrass thing caught some attention, the packaging was attractive, it was sold at Starbuck's - a small perfect storm of EC marketing. And what was the reward for all these curious, provisional EC consumers who bought it? A self-described "austere" album full of dense, difficult songs about obscure historical topics and curios. Of course that scared everyone off (possibly for good this time). It's rather like what happened with MLAR; he had tons of returning listeners and new fans courtesy of "Veronica," so naturally he greeted them with what just might be THE most demanding and merciless album of his entire career. Poof.

Critics don't have this sort of excuse...but they might just be fatigued with EC's endless sonic maneouverings. Who knows.

I'd say you're exactly right. Unfortunately. It's such a shame because National Ransom is really an extraordinary piece of work. It's a little heartbreaking.

[MOJO]

This NYTimes piece says a lot about nothing just to fill the page, in my opinion.

Looking forward to better entertainment articles/critics in 2011 ~ MOJO

[Neil.]

Agree with all this - the 'new' fans around the time of SP&SC would have been put off by that album's largely 'difficult' songs (God bless Elv for doing difficult stuff, I say, but it's not going to hook casual passers-by).

I think, as I've said before, that the best chance of him breaking through again is by a well-placed track in a smash movie. Especially if he refuses to allow his songs to be used in advertising. Either that, or a new young star championing him and covering his songs.