Posts Tagged ‘Get Happy’

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Released this day February 15th in 1980: Elvis Costello released his 4th studio album (his third with The Attractions), ‘Get Happy!!’, on F-Beat Records (UK)/Columbia Records (US); heavily influenced by R&B & soul music, it was a dramatic break in tone from his previous trilogy of commercially successful albums; the sleeve came already looking like it had been worn by years of use; produced by Nick Lowe, it reached UK #2 Rolling Stone ranked it No11 on their list of ‘The 100 Greatest Albums of the 1980s’…

Get Happy!!“, earns its double exclamation points beginning with the sleeve design, which approximates the look of a well-worn vinyl LP produced on a tight art budget. Designer Barney Bubbles (born Colin Fulcher), noticing the projected album would contain a groove-busting 20 tracks, was no doubt thinking of budget-priced K-Tel and Pickwick compilations, which gave consumers music in bulk, promoted with pushy TV and print advertisements, and garish front covers.

Those budget albums did not always contain “the original hits by the original artists”; Costello must have chuckled more than once as they donned a series of musical disguises while recording the original songs on “Get Happy!!“, striving to approximate the sound of their favourite Motown, Stax and Atlantic soul records. “King Horse” nicks the guitar from the Four Tops’ “Reach Out I’ll Be There,” “Love For Tender” employs the rhythm from the Supremes’ “You Can’t Hurry Love,” and “Temptation” steals wholesale from “Time is Tight” by Booker T. and The M.G.’s.

All pretense is dropped for a version of Sam and Dave’s “I Can’t Stand Up For Falling Down,” but the Attractions radically alter the tempo. The U.K. R&B scene is represented by a version of Tony Colton and the Big Boss Band’s 1965 single “I Stand Accused,” which Costello actually lifts from the same year’s more popular version by the Merseybeats. “Get Happy!!” is both an expert homage to the sound of ’60s R&B and a collection of some of the most intense, gut-wrenching, clever and joyfully sad songs Costello ever wrote. As is typical of him, the lyrics are continually surprising, full of puns and reversals of viewpoint: “high fidelity” can refer to the clarity of sound and sexual faithfulness simultaneously. Even the album title is strangely ambiguous, with the overemphatic punctuation.

Get Happy!!” was mostly recorded in October 1979 at Wisseloord Studios in Hilversum, The Netherlands, where the group, engineer Roger Bechirian and producer Nick Lowe thought there’d be fewer distractions for musicians known for partying. Still, Costello says “a tray of cold Heineken, vodka, and orange juice was delivered to the control room each afternoon.” Alcohol had been a problem for Costello earlier in the year during the highly successful U.S. “Armed Funk Tour”: in April during a stop in Columbus, Ohio, he reportedly went on a drunken, racist rant in a bar that made national headlines. He later wrote that for a time, “I hated just about everything in my world, reserving the greatest disdain for myself.”

Some of the new tunes Costello had in hand for the Hilversum sessions had been tried out on stage and studio before, but were rejected as being too “new wave” sounding (a term never willingly embraced by Costello). Listening to vintage American R&B records by the likes of Al Green, Garnet Mimms and Curtis Mayfield during the tour finally provided the band with a sonic direction, and it rode the concept into an album considered one of Costello’s artistic peaks. Only three of 20 songs are over three minutes long, another reason the album sounds like a stack of rapidly cycling 45s on AM radio of the ’60s. No guitar solos, no bass solos, no drum solos, just great songs with razor-sharp instrumental arrangements.

The peppy Motown-inspired “Love For Tender” kicks it all off, 1:57 of pure power, with a sneering Costello vocal, Steve Nieve’s Farfisa and Bruce Thomas (bass) and Pete Thomas (drums) locked in. The lyrics are an elaborate string of metaphors for love-as-currency: “Are you ready for correction?/’Cause the wages of sin are an expensive infection/I’ll make you bankrupt/Better pay up now, don’t interrupt.” Bruce Thomas’ bouncing bass line is an early highlight of “Opportunity,” along with Nieve’s wandering keyboard lines and the Hi Rhythm Section-style minimal guitar. The melody rises and falls with Costello’s snide observations: “The chairman of this boredom is a compliment collector/I’d like to be his funeral director.”

“Secondary Modern” (a type of trade school for the British lower classes) is a smouldering ballad in a Stax mode that remains lyrically opaque to most Americans but has a great, swampy mood: “This must be the place/Second place in the human race.”

Pete Thomas’ furious snare begins “King Horse,” which has an intriguing arrangement, with eerily placed background vocal echoes, a galloping bass line and majestic grand piano combined with organ. Pete Thomas is in control of the proceedings throughout, showing why he’s widely considered one of the greatest drummers in rock. Especially during the bridge section, it’s like the E Street Band has been crossed with ABBA, harkening back to the group’s previous album Armed Forces. “Possession” varies the opening lyric of Lennon-McCartney’s “From Me to You” (“If there’s anything that you want/ If there’s anything that you need”), and has one of Costello’s best and most spontaneous vocals (at one point his voice cracks) set to a propulsive beat. Once again, the wordplay is stellar: “So I see us lying back to back/My case is closed, my case is packed.”

“Now there’s newsprint all over your face/Well, maybe that’s why I can read you like a book” is the opening couplet from “Man Called Uncle,” a spritely, runaway 2:17 with Nieve’s outstanding piano/organ combo. Costello recorded “Clowntime is Over” in different tempos, and while the glacially slow version released later has more power, “Get Happy!!” has the fast one, which isn’t bad either. (At least a few times during live gigs in subsequent years, Costello used the slow version.

The waltz “New Amsterdam,” one of three songs released as singles from “Get Happy!!”, is the only track on the album actually recorded in London as a demo by EC before decamping to The Netherlands, where it couldn’t be improved upon. One of the greatest of all Costello compositions, “High Fidelity,” ends the first LP side. Released as a single, it continued a run of hits in his native Great Britain but didn’t chart in America. This is where Costello’s pop and soul chops merge seamlessly into the kind of stomper favoured by Britain’s Northern Soul scene. A concert favourite in Costello sets for 40 years now, the opening lyrics, “Some things you never get used to/Even though you’re feeling like another man,” have a direct power matched by the flawless work of the band.

Penned by Homer Banks and Allen Jones, “I Can’t Stand Up For Falling Down” was originally relegated to the B-side of Sam and Dave’s single “Soothe Me,” but the Attractions saw the potential of matching the low-key, heartbreak-soaked lyrics to a faster dance groove. The album has several outliers. “5ive Gears In Reverse” is downright funky. “Motel Matches” is an excellent country song (it even references George Jones’ “Who Shot Sam”) with a series of tricky rhythm changes, but it sticks out like a sore thumb. Vocally, Costello is on fire, spraying out the puns (“In your eyes there is a vacancy/And you know what I’ll do/When the light outside changes from red to blue.” The ska “Human Touch” betrays EC’s recent work with the Specials, rather unsuccessfully.

The album ends with the triple-whammy of “Temptation,” “I Stand Accused” and “Riot Act,” with three different moods, from Booker T. to Merseybeat to nothing-but-net Attractions on the only song Costello says even obliquely refers to his drunken moment of shame in April: “I got your letter, now they say I don’t care for the colour that it paints me…/You can read me the riot act/You can make me a matter of fact/Or a villain in a million/A slip of the tongue is gonna keep me civilian.” “Riot Act” makes for a particularly impassioned ending to the set, with Costello lacerating himself and his critics both.

Prolific as hell in The Netherlands and back home, Costello quickly released various outtakes and alternate versions on singles and EPs that clustered around “Get Happy!!” and its follow-up, “Trust”.

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Anyone exploring further should start with the 2003 Rhino double-CD reissue of “Get Happy!!”, which contains 30 bonus tracks, including “Girls Talk,” “Just a Memory,” “Watch Your Step” and other worthies that didn’t make the final LP line-up.

Track Listing
Side one
“Love for Tender” —
“Opportunity” — 1:56
“The Imposter” — 5:08
“Secondary Modern” — 7:08
“King Horse” — 9:07
“Possession” — 12:08
“Men Called Uncle” — 14:12
“Clowntime Is Over” — 16:30
“New Amsterdam” — 19:30
“High Fidelity” — 21:42

Side two
“I Can’t Stand Up For Falling Down” (Homer Banks, Allen Jones) — 24:11
“Black & White World” — 26:18
“5ive Gears in Reverse” — 28:14
“B Movie” — 30:52
“Motel Matches” — 32:56
“Human Touch” — 35:28
“Beaten to the Punch” — 37:58
“Temptation” — 39:48
“I Stand Accused” (Tony Colton, Ray Smith) — 42:21
“Riot Act” — 44:42


Elvis Costello released “Get Happy!!” which was his fourth album, and third with the Attractions — on this day in 1980. It features this singles “I Can’t Stand Up For Falling Down,” “High Fidelity” and “New Amsterdam” One of the most underrated songwriters of our generation. Get Happy!! is notable for being a dramatic break in tone from Costello’s three previous albums, and for being heavily influenced by R&B, ska and soul music. The cover art was intentionally designed to have a “retro” feel, to look like the cover of an old LP with ring wear on both front and back.

It was placed as high as No.11 on Rolling Stone magazine’s list of the 100 greatest albums of the 1980s.
During the American concert tour for Armed Forces in April 1979, Costello engaged in a drunken argument with Stephen Stills and Bonnie Bramlett in a Columbus, Ohio, Holiday Inn hotel bar, during which he referred to James Brown as a “jive-arsed nigger,” then upped the ante by pronouncing Ray Charles a “blind, ignorant nigger.” Costello apologised at a New York City press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press.

It has been suggested that the R&B influence on the album was an attempt to atone for his comments, but as Costello writes in the liner notes for the 2002 Rhino version,
“It might have been tempting to claim that I had some noble motive in basing this record on the music that I had admired and learned from prior to my brush with infamy. But if I was trying to pay respects and make such amends, I doubt if pride would have allowed me to express that thought after I had made my rather contrived explanation… I simply went back to work and relied on instinct, curiosity, and enduring musical passions.”
The band had played some of the songs during the “Armed Funk Tour” and had rehearsed them for the record, but were dissatisfied with the sound, feeling it was too “new wave.”Some of the original versions can be found on disc 2 of the Rhino release. They then went back and re-arranged many of the songs using an R&B sound. On their US tours, Costello had been able to find a number of R&B records of his favourite artists and having been listening to them during the rehearsals, decided to emulate the feel of those songs.
The band recorded the album at Wisseloord Studios in Hilversum, Netherlands, in an attempt to isolate themselves from distractions, but they were still able to keep themselves drunk during the recording sessions. The exception to this was “New Amsterdam,” which was recorded solo by Costello in a small studio in Pimlico.

With twenty songs on the original album, the vinyl cutting and pressing process had to be precise to fit all of them on the two sides of the record. A commercial for the album, added as a hidden track on the Rhino Records remaster, jokes about the album’s length and number of songs.
The Get Happy!! sleeve was designed by F-Beat art director Barney Bubbles, who had worked with Costello at Stiff and Radar. He does not receive a credit in line with his insistence on anonymity.

The original album sleeve reversed the two sides; side one began with “I Can’t Stand Up for Falling Down” (the current single) and ended with “Riot Act”. The second side started with “Love for Tender” and ended with “High Fidelity”. Only on the record labels themselves was the true running order revealed.
Although the album received generally positive reviews upon its release, praise wasn’t as unconditional as it had been for its predecessors. Rolling Stone’s original review stated that “if the new album is hard to get into, it’s also difficult to ignore” but a later review incorporated into its album guide gave it 4.5/5 stars, calling it a “tour de force”. repeated plays reveal hidden depths”.

Produced by Nick Lowe
The Band:
Elvis Costello – vocals, guitar, organ on “Possession”, all instruments on “New Amsterdam”
Steve Nieve – piano, organ
Bruce Thomas – bass, harmonica on “I Stand Accused”
Pete Thomas – drums