Sunday, 6 April 2025

The 500 - #166 - Imperial Bedroom - Elvis Costello

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 


Album: #166
Album Title: Imperial Bedroom
Artist: Elvis Costello
Genre: New Wave, Baroque Pop, Art Rock
Recorded: Air Studios, London, England
Released: July, 1982
My age at release: 16
How familiar was I with it before this week: One song
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Man Out Of Time
For the past twelve years, more than half of my students have been multi-language learners. Some arrive in my class directly from another country and speak almost no English. Most are well on their way to becoming strong English speakers, with several years of experience behind them. No matter their level, I am amazed at how quickly their language skills evolve. My job is, typically, helping them refine their grammar skills and navigate the trickier aspects of the English language -- irregular spellings, rich vocabulary and, often the hardest part, idioms and word play.
Imperial Bedroom, the seventh studio album from Elvis Costello, brims with layered lyrics, clever word play and surprising turns of phrase. Costello is able to blend evocative storytelling with biting sarcasm in his exploration of love, regret and disillusionment. In Shabby Doll, Costello uses the image of a worn out rag doll as a metaphor for someone being cruelly manipulated and discarded in a failed relationship.
Album cover for Shabby Doll single.
However, the stand out track for me is Man Out Of Time, the second single released from this week’s subject, Imperial Bedroom.  The title evokes a sense of desperation and plays on multiple meanings. Is this a person who feels out of place in their own era, or is it someone who has lost relevance? Perhaps it is simply a man who is literally running out of time. In it, the English singer-songwriter flexes his sharp and playful linguistic dexterity, writing with shifting perspectives and fragmented imagery, all of which contribute to a feeling of instability and disorientation. My favourite two verses read:
There`s a tuppeny hapenny millionaireLooking for a fourpenny oneWith a tight grip on the short hairsOf the public imagination
But for his private wife and kids somehowReal life becomes a rumourDays of Dutch CourageJust three French letters and a German sense of humour
There is so much going on with these eight lines and I loved wrestling with their meaning. In particular, I loved the inclusion of idiomatic phrases lifted from British soldier vernacular, circa 1945. 
  • Dutch Courage (alcohol induced bravery),
  • French Letters (condoms)
  • German sense of humour (irony and a straight-faced, resigned acceptance of life's absurdity)
Recently, my wife and I have been watching a new HBO series called The Pitt. It is a medical drama set in the Emergency Room of The Pittsburgh Trauma Hospital that takes place in real time over 15 one hour-long episodes. The show offers a realistic window into the world of medical professionals under the most stressful circumstances. Consequently, the language and medical jargon they use is not explained to the viewers. One is simply immersed in the chaos and, much like the medical students depicted in the show, figure things out as they happen.
Costello's writing on Imperial Bedroom is similar. It is rich with word play, regional idioms and references that are left for the listener to decipher and interpret. Add to this the ambitious musical choices Costello and his band, The Attractions, create and it is easy to see why this album ranked in the top 200 on The 500. The record, produced by Geoff Emerick, best known for his work with The Beatles, reinvents the Post-Punk and New Wave sound of Costello's earlier releases. It contains orchestral flourishes, jazz influences and even Baroque Pop, a sound made famous by The Beatles with Sgt. Pepper's Lonely Hearts Club Band, and Pet Sounds by The Beach Boys -- #1 and #2 respectively on The 500.
Album covers for Pet Sounds and Sgt. Pepper's.
Unsurprisingly, critics and fans have consider Imperial Bedroom to be Costello's "Sgt. Pepper moment". However, despite the strength of his record, it did not make the 2020 ticket. The updated list placed more emphasis on diversity of genre and contemporary cultural impact. As a result, many selected albums, including Imperial Bedroom, were shuffled down or bounced off to make way for new material, such as To Pimp A Butterfly from Kendrick Lamar and Lemonade by Beyoncé.  But, who knows, with another list likely to be released in the next few years, this clever, witty and ambitious record may crack the docket again. After all, I constantly have a new batch of music listeners to teach the joys of word play.

Tuesday, 1 April 2025

The 500 - #167 - Master Of Puppets - Metallica

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 


Album: #167
Album Title: Master Of Puppets
Artist: Metallica
Genre: Thrash Metal
Recorded: Sweet Silence Studios, Copenhagen, Denmark
Released: March, 1986
My age at release: 20
How familiar was I with it before this week: Fairly
Is it on the 2020 list? Yes, at #97, rising 70 spots
Song I am putting on my Spotify Playlist: Master of Puppets
In the summer of 2024, I penned a lengthy post about Metallica's Black Album (#255 on The 500) in which I sketched out a brief history of heavy metal -- from its founding in late-’60s heavy blues, through its commercially successful glam rock phase in the ‘80s and into the arrival of Metallica in 1984.
In that post, I recalled my introduction to Metallica in 1987 when I was working at Fluffy's Pizza with a devoted headbanger named James Fast. James worked in the kitchen and, at first, I was a delivery driver. We both worked late into the night, especially on weekends, often finishing our shifts at 3:00 a.m. Those long hours were ballasted by caffeine, cigarettes and music. The stereo system in my car (a 1981 Chevette) was in overdrive, and James had his portable cassette player blasting away at the back of the kitchen.

We quickly connected over a shared love of Rush, Iron Maiden, Queensryche and Judas Priest; however, my tastes skewed toward more progressive rock sounds (Genesis, Peter Gabriel, Marillion, Yes) and James liked his sound louder and heavier. Among his favourite bands were the Danish Black Metal band Mercyful Fate and Metallica.
Metallica in 1987 (l-r) Kirk Hammett (lead guitar), Lars Ulrich (drums),
Jason Newsted (bass) and James Hetfield (guitar, vocals).
James tried hard to make me a Metallica fan, sharing stories of their epic performances and regularly sharing cassette tapes of their albums. These included their most recent work, Master Of Puppets, which I could listen to  during deliveries. I didn't mind the music. The songs were high energy and aggressive and that helped keep me awake as I drove around, squinting for street names and house numbers during late night deliveries. In a time before Satellite navigation and on-screen mapping apps like Waze, I relied on a well-worn map that I kept stuffed in the glove compartment. It had been folded and unfolded so many times it was hard to read the street names obscured in the creases.
The approximate delivery area I served, with Fluffy's Pizza Springbank located
on the map with a red star.
Despite James' best efforts, Metallica didn't stick – just another band that I "didn't mind" but too indifferent to commit time or money. Eventually, though, I was won over and Metallica songs are now scattered through my workout playlists.
I have to give Metallica and James their due. Master Of Puppets is an important record and considered by fans and music critics to be a highwater mark for Thrash Metal -- hailed for its strong lyrics, technical excellence and influence on the genre. The guitar riffs are relentless and the lyrics tap perfectly into teen-age anger, conspiratorial curiosity, rebellion and angst.

A 500 Podcast guest and Metallica fan, Joe Manganiello, aptly described the record as containing "muscular poetry", touching on themes of addiction, anti-war, religious corruption and corporate exploitation. It also delivered  a powerful instrumental inspired by H.P. Lovecraft's cosmic horror series, The Call of Cthulhu. In view of those laudatory comments I wonder why the teen-age version of me didn't like the record more.

Cthulhu (The Old One) creature from H.P. Lovecraft's mythos.
Perhaps I'll check in again with my friend "Jimmy Quick", as I like to call him. We have remained in touch over these past 40 years. He works as a sound engineer on television productions and is still a fan of Metallica. I'll have to let him know his late night, oven-side persuasions finally worked.