"Man Out of Time" | ||||
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Single by Elvis Costello and the Attractions | ||||
from the album Imperial Bedroom | ||||
B-side | "Town Cryer" | |||
Released | 30 July 1982 | |||
Recorded | 1982 | |||
Studio | AIR, London | |||
Genre | New wave | |||
Length | 5:26 | |||
Label | F-Beat (UK) | |||
Songwriter(s) | Elvis Costello | |||
Producer(s) | Geoff Emerick | |||
Elvis Costello and the Attractions singles chronology | ||||
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"Man Out of Time" is a song written by new wave musician Elvis Costello and performed by Elvis Costello and the Attractions on their 1982 album, Imperial Bedroom . With lyrics detailing a political scandal, "Man Out of Time" features a lush arrangement that was a conscious departure from the aggressive style of Costello's previous work.
The song was released as the second single from Imperial Bedroom, reaching number 58 in the United Kingdom. The song has since been lauded by critics, some of whom name the track as Costello's greatest song.
Costello thought of the song's central lyric, "But will you still love a man out of time?", while on a tour bus in Sweden in 1982, writing the rest of the song in a Scottish hotel during the same tour. [1] At a lyrical level, "Man Out of Time" features lyrics about what the Guardian describes as a "cabinet minister hiding out from a sex scandal". [2] Elvis Costello wrote "Man Out of Time" as a synthesis of his personal ambition and contemporary political developments. He explained,
A lot of songs are about the sort of disgust with your own self. There were a lot of things that I wasn’t very happy with during that time. I wanted songs to blow up the world. I had mad ambitions. Not mad as in "ambition to be famous". I never wanted that. That just came as an accident of it all. But somehow you look at yourself and you're not happy with what you see. I didn't want to write a self-regarding song, so I cast it in the clothes of political intrigue and what was going on in the world at that time. There was a famous political scandal in England going on then. It all sort of got wrapped up in the song. Sometimes a song will have a personal meaning and a public meaning. "Man Out of Time" is one of those. [3]
In an interview with The New York Times , Costello explained his attitude toward the English aristocracy, stating,
I do tend to think there's a lot of decadence and moral weakness among people in positions of power. Traditionally, the aristocracy in England has been decadent and immoral. There's always a lot of intrigue, government scandals, like the Profumo affair. None of my songs are literally about that or any other particular event, but some of them have that flavor. The more personal songs are either imaginary scenarios, observations of other people, or observations of myself. Most of the really vitriolic songs I've written have been observations of myself. [4]
Unlike many of Costello's previous singles, "Man Out of Time" features a slower, less intense arrangement. Aside from the noisier sections that bookend the song, "Man Out of Time" is, according to AllMusic's Rick Anderson, "lush and heartbreakingly pretty." [5] Costello initially drove the Attractions to perform the song aggressively, but this original arrangement was largely abandoned and edited into the opening and closing sections of the song by producer Geoff Emerick. [6] The bulk of the song came from a one take performance that Costello later described as "among the best that the Attractions and I ever caught in a single take". [6] Emerick's use of Fairchild valve compressors on the song resulted in what Costello described as "a sense of the music pushing back against some intolerable weight". [6] Costello recalled,
Originally, it was a very uptempo, aggressive song. I had made this mistake several times. At the time of Imperial Bedroom, I came to terms with the fact that I was sacrificing the power of certain songs to this mad pursuit of tempo. Everything had to be delivered forcefully. I don't know whether it was just a natural process or, literally, cumulative exhaustion of what were very intense years. "Man Out of Time" is the one time I said, "No, stop. Let's play this at the right tempo." And we went for this bigger, more open sound. I think it's a really good record. [3]
In addition to its release on Imperial Bedroom in July 1982, "Man Out of Time" was released as a single, following the same album's "You Little Fool". The B-sides to the single were an alternate version of Imperial Bedroom closer "Town Cryer" and the song "Imperial Bedroom". The single reached number 58 on the British charts. [7]
According to Costello, "You Little Fool" was chosen over "Man Out of Time" to be the album's first single due to the former being more commercial; he recalled, "'You Little Fool,' which is one of the brightest-sounding tracks until you listen to lyrics, was released purely because it had a hook. I kept saying, 'Well, "Man Out of Time" is what the album is about, that's the heart of the record. You can hear that, can't you?' Of course, in those days, the people who understood what you were saying at the record label, those people didn't have any power." [8]
The song has since appeared on several compilation albums, including The Best of Elvis Costello and the Attractions (CD version), Girls Girls Girls , The Very Best of Elvis Costello and The Attractions 1977–86 , The Very Best of Elvis Costello , and The Best of Elvis Costello: The First 10 Years .
"Man Out of Time" has seen critical acclaim since its release, being ranked by NME as the tenth-best song of 1982. [9] Anderson described the track as "a song that resonates deeply on an emotional level regardless of whatever its literal meaning may be." [5]
Jim Beviglia of American Songwriter named the song Costello's best, praising the Attraction's performance as "exquisite" and commended the song's lyrical "brilliance", stating, "A precious few of us have been embroiled in a public scandal, but the bereft emotions of the song are recognizable to all". [10] Dave Lifton of Ultimate Classic Rock also named the song as the best Elvis Costello song, praising its "lush arrangement that features the Attractions playing at their best". [11] Jeremy Allen of The Guardian named the song one of the ten best Elvis Costello songs, calling the track the "centerpiece" of Imperial Bedroom and stating "Costello sometimes overreaches, trying to accommodate too much in a song, but not here, somehow". [2] The Daily Telegraph 's Martin Chilton ranked the song number four on his top 40 list of best Costello songs. [12] Cash Box said Costello "handles this ultra-melodic material with as much grace as he treated his harder-edged songs with boiling anger." [13] Vincent Arrieta of the Dallas Observer named the song as one of Costello's ten best deep cuts, calling the track "the centerpiece of what is arguably Elvis Costello's best record." [14]
Chart (1982) | Peak position |
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UK Singles (OCC) [15] | 58 |
Declan Patrick MacManus, known professionally as Elvis Costello, is an English singer, songwriter, record producer, author and television host. According to Rolling Stone, Costello "reinvigorated the literate, lyrical traditions of Bob Dylan and Van Morrison with the raw energy and sass that were principal ethics of punk", noting the "construction of his songs, which set densely layered wordplay in an ever-expanding repertoire of styles." His first album, My Aim Is True (1977), is widely regarded as one of the best debuts in popular music history. It spawned no hit singles, but contains some of Costello's best-known songs, including the ballad "Alison". Costello's next two albums, This Year's Model (1978) and Armed Forces (1979), recorded with his backing band the Attractions, helped define the new wave genre. From late 1977 until early 1980, each of the eight singles he released reached the UK Top 30. His biggest hit single, "Oliver's Army" (1979), sold more than 500,000 copies in Britain. He has had more modest commercial success in the US, but has earned much critical praise. From 1977 until the early 2000s, Costello's albums regularly ranked high on the Village Voice Pazz & Jop critics' poll, with This Year's Model and Imperial Bedroom (1982) voted the best album of their respective years. His biggest US hit single, "Veronica" (1989), reached number 19 on the Billboard Hot 100.
Imperial Bedroom is the seventh studio album by the English singer-songwriter Elvis Costello, and his sixth with the Attractions—keyboardist Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas. It was released on 2 July 1982 through F-Beat Records in the United Kingdom and Columbia Records in the United States. Recording took place at AIR Studios in London from late 1981 to early 1982 with production handled by Geoff Emerick. Placing an emphasis on studio experimentation, the album saw the group use unusual instruments, including harpsichord, accordion and strings arranged by Nieve. Songs were rewritten constantly while Costello tinkered with the recordings, adding numerous overdubs.
Punch the Clock is the eighth studio album by the English singer-songwriter Elvis Costello, and his seventh with the Attractions—keyboardist Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas. It was released on 5 August 1983 through F-Beat Records in the United Kingdom and Columbia Records in the United States. Produced by Clive Langer and Alan Winstanley, the album was Costello's attempt at making a commercial record following years of dwindling commercial success. It was recorded at London's AIR Studios in early 1983 and features contributions from the TKO Horns and Afrodiziak.
"Oliver's Army" is a song written by Elvis Costello and performed by Costello and the Attractions, from the former's third studio album Armed Forces (1979). The song is a new wave track that was lyrically inspired by the Troubles in Northern Ireland and includes lyrics critical of the socio-economic components of war. Costello had travelled to Northern Ireland and was influenced by sights of British soldiers patrolling Belfast. Musically, the song features a glossy production and a keyboard performance inspired by ABBA, creating a juxtaposition between the lyrics and music that both critics and Costello have pointed out.
Goodbye Cruel World is the ninth studio album by the English singer-songwriter Elvis Costello, and his eighth with the Attractions—keyboardist Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas. It was released on 18 June 1984 through F-Beat Records in the United Kingdom and Columbia Records in the United States. Produced by Clive Langer and Alan Winstanley, who returned from 1983's Punch the Clock, the album was recorded at London's Sarm West Studios in March 1984 during a period of turmoil for the artist. The problematic sessions included disagreements between Costello and the producers over the album's direction and high tensions amongst the Attractions.
"Radio Radio" is a song written by Elvis Costello and performed by Elvis Costello and the Attractions. The song originated as a Bruce Springsteen-inspired song called "Radio Soul" that Costello had written in 1974. In 1977, Costello reworked the song to feature a more aggressive arrangement and more direct, sarcastic lyrics that criticised the commercialism of British radio. Costello and the Attractions recorded the song around the time of his second album, This Year's Model.
All This Useless Beauty is the seventeenth studio album by the English singer-songwriter Elvis Costello, released in 1996 by Warner Bros. Records. It is his tenth and final album with his long-standing backing band the Attractions, and the last album he delivered under his contract to the Warner Bros. label, his contract expiring with a further compilation album, Extreme Honey. It peaked at number 28 on the UK album chart, and at number 53 on the Billboard 200.
The Very Best of Elvis Costello and The Attractions 1977–86 is a compilation album by Elvis Costello and the Attractions, released in 1994.
The Best of Elvis Costello and the Attractions is a compilation album by English musician Elvis Costello and his backing band the Attractions, released in 1985. It was the first of what would be many career-spanning compilation albums of previously released material for Costello.
"Pump It Up" is a 1978 song by Elvis Costello and the Attractions. It originally appeared on Costello's second album This Year's Model, which was the first he recorded with the backing group the Attractions. Written as an ironic response to his time during the Stiffs Live Tour and inspired by "Subterranean Homesick Blues" by Bob Dylan, "Pump It Up" features a stomping rhythm and ironic lyrics.
"Almost Blue" is a song recorded by English group Elvis Costello and the Attractions from their sixth studio album, Imperial Bedroom (1982). Written by Costello and produced by Geoff Emerick, the track shares the name of the group's previous 1981 studio album. It was released on 2 July 1982 along with the rest of Imperial Bedroom, and would later be included on side two of The Best of Elvis Costello and the Attractions (1985). A traditional pop song, "Almost Blue" contains lyrics that compare a former relationship to a present one.
"New Amsterdam" is a song written and performed by new wave musician Elvis Costello on his 1980 album, Get Happy!! Written about the New World and New York, the recording of the song that appears on Get Happy!! was a demo that Costello had recorded in Pimlico.
"From a Whisper to a Scream" is a song written by new wave musician Elvis Costello and performed by Costello and the Attractions on their 1981 album, Trust. With lyrics referencing drinking, the song notably features a guest vocal from Squeeze frontman and songwriter Glenn Tilbrook as well as a guitar part from ex-Rumour guitarist Martin Belmont.
"You Little Fool" is a song written by new wave musician Elvis Costello and performed by Elvis Costello and the Attractions on their 1982 album, Imperial Bedroom. The lyrics detail a teenage girl's romantic encounter with an older man.
"Brilliant Mistake" is a song written and performed by new wave musician Elvis Costello that was first released on his 1986 album King of America. Written about Costello's experiences in America, the song features introspective lyrics and a performance from the Confederates, who performed on the track after his usual backing band the Attractions could not perform to Costello's liking.
Look Now is the 30th studio album by English singer-songwriter Elvis Costello and The Imposters, released on 12 October 2018. Look Now was the first studio album released by Costello since 2013. The album was co-produced by Costello and Sebastian Krys.
"New Lace Sleeves" is a song written by new wave musician Elvis Costello and performed by Costello and the Attractions for his 1981 album Trust. The first version of the song was written by Costello in 1974 and featured post-war themed lyrics that were largely scrapped in the final recording. In the final version of the song, Costello included lyrics about seduction and power. Musically, the song was performed at a slower tempo and features a band performance praised by Costello. Pete Thomas notably performed a drum beat inspired by songs from Devo and Stevie Wonder.
"Green Shirt" is a song written by new wave musician Elvis Costello and recorded by Costello with his backing band the Attractions. The song appeared on Costello's 1979 third album, Armed Forces. Lyrically inspired by the influence of the National Front and the Quisling Clinic in Wisconsin, "Green Shirt" features a vocal recorded by Costello after a "night of carousing".
"Riot Act" is a song written by new wave musician Elvis Costello and performed by Costello and the Attractions for his 1980 album Get Happy!!. Costello wrote the song as a response to the controversy that had surrounded him in his professional and personal life, particularly relating to his incident in Columbus, Ohio. Recorded originally as a stripped-down acoustic demo, the song was fleshed out in the studio with the Attractions.
"Beyond Belief" is a song written by new wave musician Elvis Costello and recorded by Costello with his backing band the Attractions. The song appeared on Costello's 1982 album, Imperial Bedroom. With vague, hazy lyrics, "Beyond Belief" features an active drum line from a hungover Pete Thomas as well as a frantic vocal line Costello composed after the backing track was completed.
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