THE COSTELLO SHOW FEATURING MACMANUS Rock De Lux, Núm. 52

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THE COSTELLO SHOW FEATURING MACMANUS Rock De Lux, Núm. 52 THE COSTELLO SHOW FEATURING MACMANUS Rock de Lux, Núm. 52, mayo, 1989, pgs. 6‐9. Menos que cero, la novela de Bret Easton Ellis que toma su título de la primera canción que sacó Elvis Costello, comienza con Clay, el protagonista, que llega a su casa para pasar unas vacaciones. Entra en su habitación y mira con precaución el póster que está en la pared encima de su cama. Es el póster de Trust, el quinto elepé de Costello. Suspira con alivio o cansancio: no ha cambiado. “Elvis mira hacia la ventana con esa sonrisa irónica y torcida en los labios. La palabra “Confianza” revolotea por encima de su cabeza, y sus gafas de sol, un cristal rojo, el otro azul, están caídas hacia la punta de su nariz, de modo que se le ven los ojos que están ligeramente desviados.” Ahora, acaba de aparecer Spike The Beloved Entertainer; en su portada, la cara de Costello, dividida nítidamente en dos mitades, una pintada de negro, la otra de blanco, mira con la expresión de quien se está burlando del mundo. Un clavo pende sobre ella. (“Poca gente ha pensado –dice Costello– que Spike es también un verbo”. Y el título del elepé entonces, si se lee todo seguido, ordena que atravesemos con un pincho al querido entertainer.) Puestos todos sus elepés, uno junto a otro como en la página de al lado, aún hay que soportar más miradas maliciosas: desde arriba de sus piernas torcidas en My Aim is True, redoblada por la de la cámara en This Year’s Model, de reojo en Punch the Clock, desde debajo de su corona real en King of America. “A veces casi me siento como si fuera simplemente un ser humano” –decía en Lipstick Vogue– , y parece como si Costello se haya metido en la piel de ese dios bonachón y displicente, con melena y barba blanca, que en God’s Comic lee una novela de Bret Easton Ellis mientras mira la televisión y, entre triste y molesto, piensa que más valdría haber dejado el mundo para los monos. Spike, en cualquier caso, es el disco en que Costello demuestra que puede hacer ya lo que quiera. Todo le está permitido porque se ha convertido en un clásico. Incluso molestarnos con sus aires de suficiencia o con sus amenazas: “Voy a hacerte temer hasta los sueños que sueñas” (Stalin Malone). Al comienzo, en 1977, quizá él no se sentía tan seguro y por eso aparecía con las piernas torcidas (“Mi cabeza gira como una peonza y mis piernas tiemblan / Este baile de paso de oca no me deja oírme pensar” –Radio Sweetheart), atacando con furia y rabia sus canciones, como el punk que le era contemporáneo. Pero, “Alison, my aim is true”, su intención era auténtica, apuntaba con tino, su empresa estaba clara: como todos los grandes artistas de la vanguardia moderna lo que pretendía 2 my life as a rock critic, artículos luis puig era reescribir la historia de su arte, y a eso ha dedicado los doce años que van desde que apareció My Aim is True. Todos los revivalismos que se han producido en la década de los ochenta, parecen partir de la base de que la música pop ha agotado todas sus posibilidades y ya no cabe más que, entre la nostalgia de los buenos tiempos que nunca volverán y la adoración por ellos, repetir una historia acabada. La búsqueda de gemas escondidas –en los garajes o los trasteros– no es más que otra versión de este revival de espíritu posmoderno. La empresa de Elvis Costello, sin embargo, ha sido de índole distinta, porque para él la historia de la música pop no ha terminado. Volver a Abba, el soul de Stax, el country o los standards de Tin Pan Alley de forma explícita como ha hecho en algunos discos –y lo comento en otra página–, o a todas las fuentes primarias de la música pop en cualquiera de ellos, ha sido su forma de ahondar la tradición y, a la vez, hacer música costelliana. Costello es, además, un cantautor que cuida las letras de sus canciones. Hasta Punch the Clock no aparecieron publicadas en sus discos y parece que él hasta ese disco no quiso hacerlo (tampoco los Beatles las publicaron hasta el Sgt. Pepper). Pero vale la pena hacer el esfuerzo de atravesar la barrera del inglés nada elemental que utiliza y de su tremendo acento de Liverpool porque en sus canciones hay imágenes enigmáticas: “Una mariposa bebe las lágrimas de una tortuga, pero ¿cómo sabes que realmente las necesita?” (Deep Dark Truthful Mirror), o dylanianas: “El autoestopista legendario dice que sabe dónde está el asunto / Ahora preferiría ir a España o algo así / Con su biblia de dos tonos y sus curiosos cigarrillos / Su crema solar y sus castañuelas” (Waiting for the End of the World). Fue un tópico decir que tiene canciones llenas de misoginia (como Girls Talk, “Hay cosas que no puedes tapar con lápiz de labios y polvos”, que, lo que es no tener sentido del ridículo, la cantó Linda Ronstadt). Pero éstas sólo eran una cara de las descripciones despiadadas de la miseria de las relaciones entre las personas, a las que se dedican muchas de sus canciones. Un ejemplo es estos tres versos cáusticos: “No puedo acostarme ni una vez más en esta cama, me quema la piel / Puedes coger todas las cosas verdaderas que me has dicho / Y ponerlas en la cabeza de un alfiler” (Poor Napoleon). Pero sobre todo esa pieza perfecta que es Indoor Fireworks (que, dicho sea de paso, grabó Nick Lowe antes que él). En Indoor Fireworks una pareja, él y ella, con años de vida juntos, hastiados, pero buscando aún el consuelo de las pequeñas alegrías en común: no parece que se pueda sacar gran cosa de un asunto tan manido. Sin embargo, Costello aún encuentra cómo dar una vuelta más de tuerca con ironía implacable así: “Los fuegos artificiales de casa / aún pueden quemar tus dedos / No son tan espectaculares / No explotan en el cielo / Pero pueden deslumbrar o deleitar / O hacer saltar una lágrima / Cuando el humo entra en tus ojos”; y, por si el doble sentido pudiera escaparse, la confesión luis puig my life as a rock critic, artículos 3 final: “Es el momento de decir la verdad / Estas cosas hay que afrontarlas / Mi mecha se está apagando / Y toda esta pólvora se va a desperdiciar”. Costello no sólo está preocupado por esta miseria del ámbito de lo privado, por el fascismo emocional (“Y es el daño que hacemos sin saberlo, / Las palabras que no decimos, lo que me da más miedo” –Accidents will happen), también es un cantante protesta: como tal se presentó en Live Aid a cantar All you Need is Love, y, aunque tenga sus dudas sobre que alguien le preste atención (“Están tan cansados de disparar a los cantantes protesta / Que casi ni nos mencionan” –Tokyo Storm Warning), ha jurado en su último disco que esperará todo el tiempo que sea necesario para poder pisotear con fuerza toda la porquería y hundirla en la tumba de Margaret Thatcher (Tramp the Dirt Down), y le dio en su momento una canción a Robert Wyatt sobre la guerra de las Malvinas (Shipbuilding). Músico prolífico, espejo de las relaciones personal (“Algún día tendrás que afrontar / un espejo, profundo y oscuro, que dice la verdad” –Deep Dark Truthfull Mirror), o cantante protesta, Costello no deja de sorprenderme, ya sea rey, bufón, impostor, uno de los hermanos cobardes o, simplemente, Declan Patrick Aloysius MacManus, nombre que su padre trompetista le puso en 1955 y que no podía presagiar nada bueno. DISCOGRAFÍA DE LOS COSTELLOS My Aim is True (Stiff, 1977). El comienzo. Un puñado de canciones cantadas con furia. Hay mofa en las letras, guitarras arañadas, y ritmos sincopados: lo mismo que el punk que le es contemporáneo. Sólo que, en vez de acabar con el rock, lo que Costello pretende es ahondar su tradición. Aún sin los Attractions, le acompaña el grupo americano Clover. This Year’s Model (Radar, 1978). El encuentro de Costello con una verdadera banda. En este disco se forja un sonido –que debe mucho a los teclados de Steve Naive– que va a identificar por algún tiempo a Costello. Canciones rabiosas, misóginas, contra la prensa y las casas de discos. Celebrado por la crítica como el mejor disco de Costello…, hasta que hizo el siguiente. Live at The Mocambo (CBS, 1978) Disco promocional editado en Canadá por Columbia‐CBS sin el consentimiento de Costello. No es un pirata. El sonido es bueno y captura la manera directa y rápida con que tocaban en esa fecha. Las canciones pertenecen a los dos primeros elepés, con excepción de Radio, Radio, que salió en la edición americana del segundo, pero no en la española. Armed Forces (Radar, 1979). Primero se tituló Emotional Fascism, y, como el título definitivo no es muy diferente, trata de eso, del fascismo que impregna las 4 my life as a rock critic, artículos luis puig relaciones entre las personas, y entre éstas y las instituciones. Oliver’s Army es la obra maestra, y la música bucea en la historia del pop y excava esa mina de los setenta que fue Abba. Get Happy!! (F­Beat, 1980). Nada menos que veinte canciones. Ahora es el soul el que se hace costelliano o viceversa. Una versión de un tema de Sam & Dave para que las cosas queden claras y otra de los Merseybeats para que no se diga que no sabe quién fue soul antes que él.
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