Returning to Costello's masterpiece Imperial Bedroom

Dynamic as hell and heaven, really bitter and really happy, emotionally a bit more complex than the six albums before... still these actual "classical" arrangements makes some pieces the most "pop" Elvis ever has done.

Recorded in October -81. Released in July -82. Discovered by me first -05, deeper -13, now again -18. During -81 the boy I was was rather occupied by discovering Beatles. Only saw Costello on idol cards modern then.

Fantastic work! Produced by Geoff Emerick, who lend a hand to Beatles' post-Pepper records. Cover picture is playing with Picasso's "three musicians", which may represent the band members = The Attractions.


as my Autumn Album # 18:5
by kinda chakra based evaluation


most Whole Soulful song : HUMAN HANDS
["whenever I put my foot in my mouth and you begin to doubt..."]


most Introspective Dreamlike song : BEYOND BELIEF
["through a two-way looking glass you see your Alice"]


most Expressively Amusing song : AND IN EVERY HOME
["sliding down the banisters in your Sunday suit"]


most Beautifully Lovable song : A LONG HONEY MOON
["there's no money back guarantee on future happiness"]


most Mighty Strongfelt song : THE LOVED ONES
["we break wise guys just like matches"]


most Sexy Teasing song : LITTLE SAVAGE
["you do something very special to Mr. Average"]


most Survive-Struggling song : SHABBY DOLL
["in this dress... in distress"]




Above and Below everyone : TOWN CRYER
["just a little boy lost in a big man's shirt"]
also the fast bonus version becomes greatest contrast


Even More Above and Even More Below everyone  : MAN OUT OF TIME
["the high heels he used to be has been ground down"]
still a bit tired on this since I heard it endless times the last time





Whole Album

(7) compositions
(7) instrumentations
(5) singin' /playin' feelin'
(6) lyrics (incl titles)
(5) variation
(2) synchronization
(5) cover /concept
(7) historical importance

= 44

I now give 1-7 for each cathegory
where 3 is good and total possible 8 x 7 = 56 never exist(?)




Harder to grasp for me is why he/they have put almost every slower, melancholic or harsh tune on the A-side - and almost every faster, bouncy or spiritual song on the B-side!! Surely I experience some moods differently than other listeners, but anyhow potential reasons :

Maybe it gives a strange kind of (un)balance? Or he/they prefered a clearly divided album? Or just created them in that order? Or intended to lead from despair up to joy in a longer process? Or to reward the audience who survived the first side?





0W0