Elvis Costello "The Best of Elvis Costello - The First 10 Years" (2007)

The Best of Elvis Costello - The First 10 Years (compilation)
release date: May 1, 2007
format: digital
[album rate: 4,5 / 5]
producer: various
label: Hip-O Records - nationality: England, UK

Best of compilation by Elvis Costello compiled by Costello himself is a strong contender to the best single disc compilation around with his earliest - and best - material. The selection starts off from the debut album My Aim Is True (1977) and ends with his last album released on F-Beat, Blood & Chocolate (1986). A couple of fine things about the album is how all studio releases except (the shallow) Goodbye Cruel World (1984) from this ten year period are represented, and that the songs appear in chronological order. The total of 22 tracks is made up from three taken from Costello's first three albums, My Aim..., This Year's Model (1978) and Armed Forces (1979), then two from albums 4 and 5, Get Happy!! (1980) and Trust (1981), one composition from his 6th, Almost Blue (1981), then again three from his 7th, Imperial Bedroom (1982), two from his 8th, Punch the Clock (1983), two from his 10th, King of America (1986), and one song from his 11th, Blood & Chocolate. Of course there's no way he would be able to satisfy everyone's taste and personally; I miss more from Get Happy!! and Blood & Chocolate and I could live without few of the selected, but ultimately, it's impossible to pick 22 tracks only, and when going for 1-3 songs from these albums, it's a pretty decent job.

[ allmusic.com 4,5 / 5 stars ]

Elvis Costello & Allen Toussaint "The River in Reverse" (2006)

The River in Reverse

release date: Jun. 6, 2006

format: digital (13 x Files, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: Joe Henry (exec. produced by Elvis Costello & Allen Toussaint)

label: Verve Forecast: - nationality: England, UK / USA

Track highlights: 1. "On Your Way Down" - 2. "Nearer to You" - 4. "The Sharpest Thorn" - 5. "Who's Gonna Help Brother Get Further?" - 6. "The River in Reverse" - 7. "Freedom for the Stallion" - 11. "All These Things"

Collaboration album by Elvis Costello and New Orleans-based songwriter, composer, record producer, pianist and composer, Allen Toussaint, who is a familiar name of traditional American rhythm & blues.

Toussaint had previously contributed as pianist on Costello's "Deep Dark Truthful Mirror" for his Spike album, and the two had earlier discussed the possibility of a collaboration work, but it wasn't until the hurricane, Katrina flooded New Orleans in 2005 that Costello was concerned about Toussaint, as he was one of many affected artists of the disaster. Both was involved in benefit concerts and Costello initially thought of and performed with Toussaint's song "Freedom for the Stallion" after which the two was paired for live concerts, which ultimately led to Costello suggesting that they made an album together. And in that way The River in Reverse is a requiem on the New Orleans tragedy. Except for the title song, which is written and composed by Costello, the remaining 12 compositions are reworkings of songs composed by Toussaint - a few with new lyrics by Costello.

The result is actually really good. Toussaint has composed lively and traditional music, and Costello delivers some a vocal performance on the majority of the songs with warmt and emotions that at times make me think of Van Morrison. It's a quite different arena than Costello's recent collaborations: Painted From Memory (1998) with Burt Bacharach, and Deep Dead Blue (1995) with Bill Frisell, but it's by no means a left-handed work or a lesser experience - it's just... different, mostly because this album is a genuinely rhythm & blues album, which again shows us how easily Costello adapts to different styles. Not that he masters everything, but I don't think he believes there's a style or genre he cannot handle.

This is a warm and delightful album.

[ allmusic.com 4,5 / 5, 👍Rolling Stone 3,5 / 5, Pitchfork 6,1 / 10 stars ]

Elvis Costello & The Imposters "The Delivery Man" (2004)

Deluxe Edition

The Delivery Man
release date: Sep. 21, 2004
format: digital (21 x File, FLAC - Deluxe)
[album rate: 3,5 / 5] [3,62]
producer: Dennis Herring and Elvis Costello
label: Lost Highway Records - nationality: England, UK

Track highlights: 1. "Button My Lip" - 2. "Country Darkness" - 3. "There's a Story in Your Voice" (with Lucinda Williams) - 5. "Bedlam" - 7. "Monkey to Man" - 8. "Nothing Clings Like Ivy" - 10. "Heart Shaped Bruise" (live with Emmylou Harris) - 12. "Needle Time"

19th studio album by Elvis Costello following the quiet solo album North (2004) is his first studio album with new material to be credited Elvis Costello & The Imposters, although, the backing band also backed him on When I Was Cruel (2002) and on the compilation album Cruel Smile (2002).

The album is made on the primarily country music label Lost Highway Records and recorded in four different locations in the "deep" South with the majority recorded in Oxford, Mississippi, some in Minnesota, Nashville and live in the studio in Los Angeles, which in many ways already indicate an album consisting of songs with focus on country with a mix of country rock, alt. country and singer / songwriter material. Aside from The Imposters: Steve Nieve, Pete Thomas and Davey Faragher, the album also feature Emmylou Harris on three songs (tracks #8, #10 & #14), guitarist of the Doobie Brothers, John McFee on two songs (tracks #2 & #10) and Lucinda Williams on track #3. Apparently, both Nieve and Thomas wanted to make the album with their old backing band - which would include bassist Bruce Thomas, but Costello were specific that he would no longer make music with that Thomas, and instead Dave Farragher makes the backing trio a new constellation.

The Deluxe Edition contains 7 bonus tracks (in 2-cd format) similar to the bonus disc "Delta-Verité - The Clarksdale Sessions", seven tracks recorded live in the studio using antique microphones, tube amplifiers and old recording equipment.

At a first listen, it may be an odd experience, but as always with Costello you need to adjust to his intentions, and his ideas about the music. He very seldom reproduces the sound and the style on a follow-up album, so you really have to keep an open mind to what he's on to next, and with this I felt taken on the wrong foot, and then upon listening again immediately accepted it 'cause you never know where he's going on his releases, and mostly, it's never bad or mediocre 'cause he's so full of ideas and musicality - and then he simply loves so many styles, which may make it appear as a mish-mash - but it never is just that. Here he incorporates the traditional American country music that he also explored on Almost Blue (1981). Back in the days, I sort of enjoyed his '81 album, which was more in the style with original country (as executed by Hank Williams and the like), and that of course could've been experienced in arrangements close to the original sources, but that's not the case on this one. This is not entirely a country record, although that style takes up the majority of tracks, but it's often in a combo with folk and or jazz elements, which altogether makes it a more diverse experience. Costello makes use of his talent for song structure and lyrical content, and he uses his strong vocal register - not to be confused with range, 'cause it's narrow and highly characteristic but always delivered with a strong passion that resonates through and through. And speaking of his ability to throw himself over new styles, he had been working on the music for Aterballetto Dance Company of Reggio Emilia [Italy] back in 2000 simultaneously while writing and composing music for classical artist Anne Sophie Otter (which was released as For the Stars in 2001], and written several songs for his new [20 year-old younger] partner Diana Krall for her 2004 album The Girl in the Other Room (re. Apr. 2004). With the album Il Sogno (togeher with London Symphony Orchestra and conductor Michael Tilson Thomas), he also re-arranged the ballet music songs for a music album, released on the same day as The Delivery Man.

The songs here reflect a happy and content Costello, who privately has moved in with American jazz and soft rock vocalist and pianist Diana Krall. The two married in 2003, and it's evident that Costello finds himself in a better position than perhaps ever before. He sings with warmth and passion and without the usual wry use of sarcasm and irony that has been key elements on many former albums. Instead, he narrates about real emotions and he delivers with energy and artistry as a matured storyteller. Yes, several songs are heavily inspired by others - Tom Waits seems like an obvious source to more than one song, but Costello is that musical chameleon who absorbs and reconstructs in new ways, and that's how he has made a long-lasting career.

I like it - it's definitely a grower.

[ allmusic.com, Blender, Rolling Stone, The Guardian 4 / 5, Uncut, Q Magazine 3 / 5, 👎Mojo 5 / 5 stars ]

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Elvis Costello "North" (2003)

North
release date: Sep. 23, 2003
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Elvis Costello and Kevin Killen
label: Deutsche Grammophon - nationality: England, UK

18th studio album by Elvis Costello following 1½ year after When I Was Cruel is more of a solo album than most of any all his studio releases. Despite having what seems as a full orchestra of strings and brass musicians supporting him and also appearances by all of The Imposters: Steve Nieve, Pete Thomas, and Davey Faragher, the album comes out as a quiet and very ballad-like collection of vocal jazz compositions. Also, the majority of the song titles reveal an album with full attention on love ballads. Apparently, the album both reflects Costello's broken relationship with Cait O'Riordan as well as his newfound love with Canadian pianist and jazz vocalist Diana Krall, whom he married Dec. 2003.

The album bonds nicely with his two collaboration projects, the live album Deep Dead Blue (1995) with Bill Frisell as well as Painted From Memory (1998) with Burt Bacharach - and mostly with the latter by also having a full orchestra as backing band. Having said that, it's not an album that reflects his splendid ability to arrange and compose music - it's really like stretching his hands out to Krall and stating: "You know, I did all that but I can also make really soft vocal jazz and jazz pop music - really much like you do!", which some critics noted by referring to the style as closer to what Krall normally released than was the case with Mr. Costello.

Best thing here is the songwriting.

[ allmusic.com 3,5 / 5 stars ]

Elvis Costello "When I Was Cruel" (2002)

When I Was Cruel
release date: Apr. 23, 2002
format: digital
[album rate: 3,5 / 5] [3,48]
producer: The Imposter
label: Island Records - nationality: England, UK

Track highlights: 1. "45" - 2. "Spooky Girlfriend" - 3. "Tear Off Your Own Head ( It's a Doll Revolution)" - 5. "Soul for Hire" - 7. "Tart" - 10. "Alibi" - 12. "Daddy Can I Turn This?"

17th studio album by Elvis Costello released after an unusual long hiatus of six years since the predecessor All This Useless Beauty (1998), which ended up as his final album with The Attractions. The album is produced by "The Imposter" - in this case represented by Costello, Ciaran Cahill, Leo Pearson, and Kieran Lynch - and not to be confused with The Imposters, which basically is his "new" backing band trio consisting of Steve Nieve and Pete Thomas from The Attractions and new bassist Davey Faragher. In reality, Costello and long-time bassist of The Attractions, Bruce Thomas, weren't exactly on speaking terms with one another and Costello had used both keyboardist Steve Nieve and drummer Pete Thomas on other solo releases for years. During the live tour after his '96 album with The Attractions, Costello finally announced that it would be his last performances with his old backing band, and by 2001 Costello began recording sessions with his new backing band, The Imposters. Before this, he made the collaborative album For the Stars (2001) together with classical opera singer, mezzo-soprano, Anne Sophie von Otter credited 'Anne Sophie von Otter Meets Elvis Costello' and released by Deutsche Grammophon.

Musically, the album is a typical Costello studio release representing a huge blend of styles and influences. it's quite far from his '96 album and in some places sound as a fusion of his many collaborative works during the past decade with elements of rock & roll, alt. rock, jazz fusion, pop / rock and more traditional singer / songwriter material, and then there's also new styles involved when he experiments with trip hop and / or sampling as small delicate touches here and there, and ultimately, he only once again proves what a fine composer he is 'cause lyrically, he is always more than ordinarily interesting.

It's not a favourite - I simply find it too much of a fusion carpet with too many orientations.

[ allmusic.com, Q Magazine, NME 3 / 5, Spin 3,5 / 5, Rolling Stone 4 / 5 stars ]

Bill Frisell "The Sweetest Punch" (1999)

The Sweetest Punch
release date: Sep. 21, 1999
format: cd
[album rate: 4 / 5] [3,96]
producer: Lee Townsend
label: Decca - nationality: USA

Studio album by American jazz fusion guitarist Bill Frisell is actually fully titled: The Sweetest Punch - The New Songs of Elvis Costello and Burt Bacharach Arranged by Bill Frisell, and as the title suggests all songs (but one) are the songs released by Elvis Costello & Burt Bacharach on their '98 collaboration album Painted From Memory. The Costello / Bacharach collaboration work included Costello sending Bacharach his demo takes of his half-finished compositions upon which Bacaharach would contribute with ideas for a music score and the two would then elaborate on the songs, however, Frisell was already introduced to the Costello demos, sent to him by Costello, and Frisell would then use these early sketches to compose / re-arrange them to his very own interpretations, and this albums is the result of that process and therefore not Frisell's arrangements of the finished album.

Costello is featuring vocalist on two tracks (#2 and 10) and Cassandra Wilson also on two (#5 and 10), and apart from these three vocal jazz arrangements all other compositions are held in a subtle big band jazz fusion-style.

Costello / Bacharach harvested critical acclaim for their collaboration album, which is a fine piece of work. This, however, is something entirely different, and I also think it comes out as the slightly better and essentially more well-founded whole. I really enjoyed the live album Deep Dead End (1995) by Costello and Frisell, which is why I was eager to check this one out, and I'm glad that I did 'cause I think that Frisell has made an even stronger album than the original Costello / Bacharach release. And then this release only follows four months after Frisell's fine Good Dog, Happy Man (May 1999).

These compositions are beautifully arranged and Frisell shines with his drops of elegant dozes of subtle jazz notes here and there. As a consequence of the recording process, where Frisell didn't know of the final Costello / Bacharach compositions before finishing his own recordings this album delivers on a different scale, and what a gem it truly is.

Highly recommended.

[ allmusic.com 3,5 / 5 stars ]

Elvis Costello with Burt Bacharach "Painted From Memory" (1998)

Painted From Memory
release date: Sep. 28, 1998
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Burt Bacharach & Elvis Costello
label: Mercury Records - nationality: UK / USA

Track highlights: 1. "In the Darkest Place" - 2. "Toledo" (live) - 3. "I Still Have That Other Girl" (live on Letterman) - 4. "This House Is Empty Now" - 9. "Painted From Memory" - 10. "The Sweetest Punch" - 12. "God Give Me Strength"

Collaboration album by Elvis Costello and Burt Bacharach subtitled "The New Songs of Bacharach & Costello", which is the result of a collaborative partnership that had been initiated with the song "God Give Me Strength" for the comedy film "Grace of My Heart" (1996). Apparently, all songs were made with Costello writing sketches of songs, sending demos to Bacharach - as well as to Bill Frisell, who would later release his interpretations of the Costello (and Bacharach?) demos as The Sweetest Punch (1999). All songs are credited Costello / Bacharach and the duo are credited for voice / piano respectively and they are supported by Steve Nieve on keyboards, Jim Keltner on drums, Greg Cohen on bass, and with Dean Parks on guitar. Bacharach is also credited for his role as arranger and conductor as both a horns and strings sections participate.

Musically, it represents a variety of styles ranging from baroque pop, vocal jazz, singer / songwriter and some folk and country elements not to forget chamber pop, and then it's all arranged with heavy use of horns and strings much in a Bacharach tradition.

The album was met by positive reviews and acclaim from near and far, and it was nominated to a number of prizes.

I heard about the project quite early and just purchased the album without actually listening to it, and I may not have spent my money on it immediately, had I listened through the whole album first. From my perspective, critics seems overly happy about the songwiting qualities - a dimension I've always found difficult when speaking of music. It really doesn't matter how good the lyrics are, if the music is crap. Now, this is far from that, but I just don't find that the Costello / Bacharach excessive production cocktail an interesting lyrical foundation. That said, it's far from bad, it just sounds too much as a replication of former Bacharach productions where, in fact, Costello heighten the quality thanks to his strong vocal performances. I like it because of Costello's vocal jazz performance, but to me the later Bill Frisell interpretations of the songs is simply a better album.

[ allmusic.com 4,5 / 5, Spin, Rolling Stone, Q Magazine, NME 4 / 5 stars ]

Elvis Costello & The Attractions "All This Useless Beauty" (1996)

All This Useless Beauty
release date: May 14, 1996
format: cd
[album rate: 3,5 / 5] [3,62]
producer: Geoff Emerick and Elvis Costello
label: Warner Bros. Records - nationality: England, UK

Track highlights: 1. "The Other End of the Telescope" - 2. "Little Atoms" - 3. "All This Useless Beauty" (4 / 5) - 4. "Complicated Shadows" - 5. "Why Can't a Man Stand Alone?" - 6. "Distorted Angel" - 10. "You Bowed Down"

16th studio album by Elvis Costello following Kojak Variety (1995) is his first in a decade since Blood & Chocolate (1986) but also his final to feature his old backing band The Attractions on all tracks [see Brutal Youth]. And then it's also his last studio album on the Warner Bros. Records label (a best of album, Extreme Honey, subtitled "The Very Best of Warner Brothers Years" from '97 would be his final issue releasing him from his contract with Warner).

All songs here is a collection of songs that Costello intentionally wrote for other artists to record and two of the these were written and composed with other artists: track #1 with Aimee Mann, and track #7 with Paul McCartney.

It's not a return to the sound and tempo of former albums delivered together with The Attractions, but it's neither a follow-up to other recent releases, where he has experimented with classical material and roots rock, country and traditional folk. Before his '95 album he released the acclaimed Brutal Youth (1994) with reminiscences of his heydays with his renowned backing band, but not really in that neighbourhood either. Then what is it? To compare with former Costello works it sits somewhere in between - and could be described as the combination of three albums: the stripped-down and pure Brutal Youth, the softer Mighty Like a Rose (without the heavy arrangements) and the personal, much varied, and yet unique sound of Spike.

Personally, I had stopped following new material from Elvis after his '95 album. My impression at the time was that he had peaked long before that and had his best years behind him, Although, what years they were! 'Cause no mater what, how could he come up with anything new without risking to to fail?! At this point in his massive career, he has been around all corners of genres and styles, he had covered and played with music greats. And perhaps that's what he cleverly unfolds here when he mix EVERYTHING he has done and showcases his 'roots rock' fascination, perfections his Dylanesque composer skills, points to popular music icons of the sixties and plagiarises his older self in completely new tones. It's all Costello, and he can do anything. I still think his best years were back then in the '70s and 80s, but nevertheless, I should have paid this album some attention in '96 'cause fact is, it's much better than many of his other recent releases and up there close to his '94 album. It contains many strong compositions - perhaps not as musical originals but as a songwriter, boy, he really still delivers.

[ allmusic.com, NME 3,5 / 5, Rolling Stone, Uncut, Q Magazine 4 / 5 stars ]

Elvis Costello & Bill Frisell "Deep Dead Blue" (1995) (live)

Deep Dead Blue (Live 25 June 95) (live)
release date: Aug. 14, 1995
format: cd
[album rate: 3,5 / 5] [3,66]
producer: ?
label: Warner Bros. / Nonesuch - nationality: England, UK

Collaboration live album by Elvis Costello and Bill Frisell recorded live at the Meltdown Festival, Queen Elizabeth Hall RFH2, London, Jun. 25, 1995.

The album may be regarded as a Mini-album with its relatively short running time at just less than 27 minutes. It consists of seven tracks of which two are covers and only the title track is credited the duo (track #7).

Stylistically, it's primarily ballads of vocal jazz and jazz fusion, and Costello is alone credited his vocal and Frisell is alone credited his guitar work with no other musicians contributing. The American guitarist is very likely to be capable of playing anything but his primary domain is jazz fusion, and on this it's his touch with bolder melodic instrumental jazz.

Despite being really stripped down arrangements this concept works surprisingly well. Costello 'plays around' with his most intimate vocal with Frisell adding that swirling and appropriate foundation that makes it all sparkle.

[ allmusic.com 3 / 5 stars ]

Elvis Costello "Kojak Variety" (1995)

Kojak Variety
release date: May 9, 1995
format: cd
[album rate: 3 / 5] [3,22]
producer: Elvis Costello and Kevin Killen
label: Warner Bros. Records - nationality: England, UK

Track highlights: 2. "Hidden Charms" ["Screamin' Jay" Hawkins] - 5. "Leave My Kitten Alone" [Little Willie John] - 6. "Everybody's Crying Mercy" [Mose Allison] - 9. "Must You Throw Dirt in My Face?" [Bill Anderson] - 11. "The Very Thought of You" [Ray Noble] - 15. "Days" [Ray Davies]

15th studio album by Elvis Costello following one year after Brutal Youth is an album consisting exclusively of cover versions of songs from traditional rhythm & blues, soul, beat and rock & roll - all songs from his youth. The album contains 15 tracks recorded in the period 1989-94 and they include songs (1-15) made famous by 'Screamin' Jay' Hawkins, Willie Dixon, The Supremes, Bob Dylan, Little Willie John, Mose Allison, Randy Newman, Little Richard, Louvin Brothers, James Carr, Nat 'King' Cole, Jesse Winchester, The Drifters, Aretha Franklin, and The Kinks. Costello's cover of "Days" by Ray Davies was recorded for the film "Until the end of the World" (1991) by Wim Wenders.

[ allmusic.com, Q Magazine 2 / 5, Rolling Stone 2,5 / 5, Blender, Mojo, Uncut 3 / 5 stars ]

Elvis Costello & The Attractions "The Very Best of Elvis Costello & the Attractions" (1994)

The Very Best of Elvis Costello & the Attractions (compilation)
release date: Oct. 25, 1994
format: digital
[album rate: 4 / 5]
producer: various
label: Demon Records - nationality: England, UK

Best of compilation album released on Costello's former record label with songs spanning from his earliest albums to Blood & Chocolate (1986) after which he signed with Warner Bros. And just this label had earlier in '94 (Mar. 8) released Costello's Brutal Youth, which had been seen as a "return" despite having already released two other albums on Warner since his '86 album; however, both Spike (1989) and Mighty Like a Rose (1991) had been reviewed and possibly intentionally released as bolder mainstream albums, and Brutal Youth was compared to his more power pop-shaped '86 release.

This is not the best "best of" album you'll find with Costello, in fact there are so many best of albums claiming to contain his "hits" that it seems like an endless project to list them all. The first official album making the attempt to compile a best of album is The Best of Elvis Costello and The Attractions from 1985 issued on Columbia exclusively for the North American market containing 19 tracks, and a similar, though not identical, release The Best of Elvis Costello - The Man issued by Demon for the UK and Japanese markets containing 18 tracks. These two issues originally had the same front cover as background but "only" twelve tracks in common and a completely different playlist. Later issues of the UK version have a different cover. In 2007, Hip-O-Records issued the album The Best of Elvis Costello - The First 10 Years compiled by Costello himself, which basically is a (fine) combination of the two former best of albums containing 22 tracks.

Demon also released the extensive album Girls + £ ÷ Girls = $ & Girls (commonly referred to as Girls, Girls, Girls) subtitled "The Songs of Elvis Costello / The Sounds of Elvis Costello & The Attractions" from 1989 containing 47 tracks, and in 1999: The Very Best of Elvis Costello containing 42 tracks. Apart from these, Demon and associated labels have released various compilation albums, and also Warner / WEA has issued a number of Costello compilations like Malice and Magic (1994) and Extreme Honey (The Very Best of the Warner Bros. Years) (1997).

Forced to choose just one of the many best of albums, I would go with the 2007 Hip-O-Records issue.

[ allmusic.com 4,5 / 5 stars ]

Elvis Costello "Brutal Youth" (1994)

Brutal Youth
release date: Mar. 8, 1994
format: cd
[album rate: 3,5 / 5] [3,66]
producer: Mitchell Froom and Elvis Costello
label: Warner Bros. - nationality: England, UK

Track highlights: 1. "Pony St." - 2. "Kinder Murder" (4 / 5) (live on Letterman) - 3. "13 Steps Lead Down" - 4. "This Is Hell" - 5. "Clown Strike" - 7. "Still Too Soon to Know" - 9. "Sulky Girl" (official video) - 11. "My Science Fiction Twin" - 13. "Just About Glad" - 15. "Favourite Hour"

14th studio album by Elvis Costello follows an usual three years since his latest album Mighty Like a Rose (1991). The album is like the '91 release co-produced by Mitchell Froom and it's Costello's first album since Blood and Chocolate (1986) to feature The Attractions. They are not credited on the cover (or spine) but are listed as backing band on five of the songs. The relative long hiatus - for Costello - in between albums doesn't mean he didn't produce and compose music. As soon as the recording sessions for his '91 album was over (Winter '90/'91), he was engaged in composing and writing music with film-composer Richard Harvey for the BBC Channel 4 TV-series GBH, released Jul. '91, in '92 he began a collaborative work with the classical act The Brodsky Quartet with whom he released the album The Juliet Letters (Jan. '93), AND he wrote and composed all songs songs for the Wendy James' solo debut Now Ain't the Time for Your Tears (1993) - half of these co-written by Costello's wife Cait O'Riordan. So, no! The man is bloody productive as always.

Critics were rather divided on this (see below) ranking the album from mediocre to near masterpiece. Stephen Erlewine from Allmusic criticises the production sound: "Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work.", and Chris Willman in Los Angeles Times on the other hand: "You don’t have to have underrated Costello’s recent work to agree this is his finest album since his last with the Attractions, 1986’s Blood and Chocolate.”

Brutal Youth was promoted as a return to former heydays and it's striking how Costello has left the orchestrated arrangements of brass and strings somewhat behind instead of focussing on simpler song structures. That said, it's not Blood and Chocolate part 2 - the power pop songs are outnumbered by more singer / songwriter and pop / rock material but it IS a fine album that gave promises of a return to form of one of Britain's most acclaimed contemporary songwriters.

[ allmusic.com 2,5 / 5, Blender, Rolling Stone 3 / 5, Q Magazine, Uncut 4 / 5, NME 4,5 / 5 stars ]

Elvis Costello & The Brodsky Quartet "The Juliet Letters" (1993)

The Juliet Letters
release date: Jan. 19, 1993
format: digital
[album rate: 2,5 / 5] [2,68]
producer: Brodsky Quartet, Elvis Costello and Kevin Killen
label: Warner Bros. - nationality: England, UK

Studio album by the music crossover-project featuring pop / rock artist Elvis Costello and British classical string ensemble (the) Brodsky Quartet consisting of Ian Belton and Michael Thomas on violin, Paul Cassidy on viola and Jaqueline Thomas on cello.

The album was released to mostly positive reviews and the project also perfomed live to critical acclaim. I just don't think it works that well. Costello performs songs from his most delicate jazzy corner à la "Almost Blue" / "Shipbuilding" with the string quartet as instrumental appendix trying to fit in, or simply communicate that this is true art. I find it boring, uninspiring altogether, and see it as more of a media stunt he pulled through.

[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Elvis Costello "Mighty Like a Rose" (1991)

Mighty Like a Rose
release date: May 14, 1991
format: vinyl / cd
[album rate: 3,5 / 5] [3,28]
producer: Mitchell Froom, Kevin Killen and D.P.A. MacManus
label: Warner Bros. - nationality: England, UK

13th studio album by Elvis Costello following more than 2 years after Spike is his second album for his new label, Warner Bros., and it's also his second consecutive album not to feature The Attractions, although, drummer Pete Thomas is credited as additional musician. Alledgedly, Costello had wanted to record the album with The Attractions and sent invitations to the various band members, but only received rejections as they didn't like how they would be credited. On top of that, bassist Bruce Thomas released the semi-biography "The Big Wheel", in which he portrays life in a band with a lead singer, who ends up distancing himself from the other members - ultimately, yet with no further precision or identification, describing his band life with Elvis Costello. The two musicians had been on a relational slope, but this didn't make things better. After Thomas then sent Costello a copy of the book, via a friend of a friend, Costello wrote and recorded the song "How to Be Dumb" (track #3).
The album was recorded with Costello in a strong controlling role, where he came to the studio with pre-arranged songs and a final playlist, which left little room for Froom and Killen to have their say regarding arrangements or sound. It appears (even) more complex than Spike, and Costello also employs a Phil Spector-like approach by using multiple track recordings of his lead vocal. The end result is a rather complex album filled with strings, brass and extra keyboard tracks, and it doesn't really suit his songs as they at times appear muddy and over-produced - making me recall his Goodbye Cruel World period. However, Mighty Like a Rose contains better songs, e.g. "The Other Side of Summer", "Georgie and Her Rival" and "So Like Candy", but it doesn't come without fillers or what appear as unfinished ideas.
Bottom line, it's really not one of his best, and with this I simply lost a lot of my adoration and my expectations concerning new music from Costello was at a unprecedented low.
Not recommended.
[ allmusic.com 2 / 5, NME 2,5 / 5, Blender, Rolling Stone 3 / 5 stars ]

Elvis Costello "Spike" (1989)

Spike
release date: Feb. 6, 1989
format: vinyl / cd
[album rate: 3,5 / 5] [3,64]
producer: Elvis Costello, Kevin Killen & T Bone Burnett
label: Warner Bros. - nationality: England, UK

Track highlights: 1. "...This Town..." - 3. "Deep Dark Truthful Mirror" (4 / 5) - 4. "Veronica" - 5. "God's Comic" - 7. "Tramp the Dirt Down" - 11. "Baby Plays Around" (live) - 13. "Any King's Shilling"

12th studio album by Elvis Costello is his first with Warner Bros., and it's his first album since 1977 not to feature his regular backing band, The Attractions. On top of that, the album has been recorded with musicians in four different locations: in Dublin - with appearances of various artists of Irish folk and traditional instruments as Irish harp, fiddle, bodhran, bouzouki, and ;uilleann pipes played by Derek Bell (The Chieftains), Christy Moore (Planxty, The Dubliners), Dónal Lunny (Planxty), Steve Wickham (The Waterboys), Davy Spillane and Frankie Gavin; in London - with a selection of famous artists like Chrissie Hynde (The Pretenders), Paul McCartney, Nick Lowe and Pete Thomas (The Attractions); in New Orleans - primarily with famous instrumentalists of traditional jazz like Lionel Batiste, Willie Green, Jenell Marshall, Kevin Harris, Charles Joseph, Roger Lewis, Efrem Towns, and Allen Toussaint; and in Hollywood - including a bunch of American all stars like Jerry Marotta, Jim Keltner, Jerry Scheff, Roger McGuinn, and Mitchell Froom - just to mention some. This means, Warner has truly set up an extraordinary wide range of musicians to give birth to Costello's "new face in town", so to speak.

Stylistically, this falls in its own category when comparing to former albums, but it initiates a style, which will later be closely associated with Costello's name. On Spike he combines the many influences he has proven to share bonds with, but the connection to new wave or power pop has ended and instead a stronger profile as singer / songwriter is established by focusing on more mainstream pop / rock with the addition of folk rock and jazz as the strongest elements.

The album sold well, although, it didn't really surpass former sales numbers peaking at #5 in the UK, and early albums like My Aim Is True and Armed Forces sold better - Spike sold Gold both in the UK and in the US but the main difference is that the first single "Veronica", written in collaboration with Paul McCartney, became Costello's first number #1 single hit on the Alternative Airplay charts in the US (number #10 on the Mainstream Rock list). The single peaked as number #31 in the UK, thus not really making a major leap up in terms of sales on the national market. However, the video for the single won the award for 'Best Male Video' at the 1989 MTV Awards show in Los Angeles.

Music critics were divided about the 'new Costello' and as to whether the change of style was an improvement. Yes, the UK music magazines Q and NME were rather overwhelmed in their 5 stars reviews, but on the other side of the Atlantic the reception was more laid back. Entertainment Weekly gave it a C+ (their lowest rate of all his albums), and allmusic.com and Rolling Stone were also less enthusiastic.

I never embraced the new style Costello introduced with Spike - which is said to refer to American band leader, Spike Jones - and in retrospect I see it as the first nail to my loss of interest in his later studio releases. I purchased the album upon its release, but kept playing King of America and Blood and Chocolate more frequently. I find the album too polished and over-arranged trying too hard to satisfy a mainstream audience. The songs are of varying quality, ranging from greatness to oddity. The fine "Veronica" is an example of this. It has its moments and is a fine song but it also displays an abundance of strings, horns and heavy orchestration that simply makes it anything but simple. The album contains folk songs that sort of points to his stripped-down King of America only introducing Irish folk instead of American country, and at the same time, it also contains uptempo American-produced generic music pointing in no particular directions, perhaps trying to satisfy a need for fans of Springsteen, Mellencamp, or Jeff Beck, and then there's "...This Town...", a track as if taken from Blood and Chocolate with energy and simplicity but most of the time it showcases new compositions that include New Orleans contemporary jazz or "middle-of-the-road" pop / rock.

To me, this is simply neither one of his best and nor is it any near his worst. It sits there somewhere in the middle pointing towards lesser future albums and reminds us of the greatness he has produced earlier on.

[ allmusic.com 3,5 / 5, Rolling Stone, Blender 4 / 5, NME, Q Magazine 5 / 5 stars ]

Elvis Costello "Out of Our Idiot" (1987)

vinyl cover 

Out of Our Idiot (compilation)
release date: Dec. 4, 1987
format: vinyl (X Fiend 67) / digital
[album rate: 3,5 / 5] [3,68]
producer: various
label: Demon Records - nationality: England, UK

Track highlights: A) 1. "Seven Day Weekend" (Guest Star Jimmy Cliff) - 2. "Turning the Town Red" - 3. "Heathen Town" - 5. "So Young" (previously un-issued) - 6. "American Without Tears No. 2" (Twilight Version) - 7. "Get Yourself Another Fool (Out of Our Idiot Mix)" (5 / 5) - - B) 1. "Blue Chair" (Single Version) - 2. "Baby It's You" (Guest Star Nick Lowe) - 3. "From Head to Toe" - 8. "Imperial Bedroom" (demo)

Compilation album by Elvis Costello advertised as 'Rare and Unreleased Cuts'. The vinyl version is a 17 tracks single album - the cd issue contains 21 tracks.

The album is credited to "Various Artists" (on record spine) rather than to Elvis Costello because the tracks were recorded and credited under a variety of names, including The Costello Show, Elvis Costello and the Attractions, Elvis Costello and the Confederates, The Coward Brothers, Napoleon Dynamite & the Royal Guard, The Emotional Toothpaste, The Imposter, and recorded with a variety of collaborators. Most tracks are featuring The Attractions and several of the strange band names are credited single songs only.

It reflects anything but self-sufficiency and comes out as that extra dimension to his songwriting - if you want it. Yes, it's a bit of a wide and strange compilation without head or tail but it shows us nicely how wide the man grasps in terms of styles, and I have always found it quite enjoyable - perhaps because of its lightness and funny takes, and then you can always hear that Costello puts a whole lot of sincerity into his songs, also the most corny ones, which then makes them meaningful.

[ allmusic.com 3,5 / 5 stars ]

Elvis Costello & The Attractions "Blood & Chocolate" (1986)

2015 Remaster

Blood & Chocolate

release date: Sep. 15, 1986

format: vinyl (X FIEND 80) / digital (2015 remaster)

[album rate: 4 / 5] [3,98]

producer: Nick Lowe and Colin Fairley

label: F-Beat Records / Mobile Fidelity Sound Lab - nationality: England, UK

Tracklist: 1. "Uncomplicated" (live) - 2. "I Hope You're Happy Now" (4,5 / 5) - 3. "Tokyo Storm Warning" - 4. "Home Is Anywhere You Hang Your Head" - 5. "I Want You" (4 / 5) (studio session) - 6. "Honey Are You Straight or Are You Blind?" - 7. "Blue Chair" - 8. "Battered Old Bird" - 9. "Crimes of Paris" (4 / 5) - 10. "Poor Napoleon" - 11. "Next Time Round" (4,5 / 5)

11th studio album by Elvis Costello and his second fine studio album in the same year. King of America (Feb. '86) was Costello's quiet solo singer / songwriter clone of country folk and acoustic ballads, which stands as yet another fine accomplishment by one of Britain's strongest songwriters, and then he rocks away with The Attractions on this one fuelled with energy and great songs.

Costello had already established himself as a bit of an artistic chameleon - you would always be a bit curious of what style he would dig into next. His first albums were all energetic new wave-oriented albums, but then he went on to make ballads, singer / songwriter material and country-fused songs. And then he made more sophisticated pop / rock songs in a pop soul-style - he did just what he wanted, regardless his fans.

With this, he sort steps back for a while, but also, he doesn't really. Yes, there are many new wave elements on this, but it feels more like s new combo than a step back to what he did. Here, he combines the energy of new wave with his more 'serious' singer / songwriter contributions, and then the production sound both leaves room for the roughness as well as the more polished and softer sides. I recall my initial thoughts about it as generally positive, but with a slight unfulfilled sensation that it could be more in terms with his earlier material. His musical progress was so fast that it was hard to follow. Fans wanted the angry and sharp Costello but he was so much more, and it has taken me decades to understand his tremendous repertoire.

The album is enlisted in "1001 Albums You Must Hear Before You Die".

This is truly one of his finest moments, and it may just turn out as one of his artistic cornerstones.

The 2015 remaster is released by Mobile Fidelity Sound Lab.

[ allmusic.com, Q Magazine, Uncut 4 / 5, Rolling Stone 4,5 / 5, Blender 5 / 5 stars ]

Elvis Costello "King of America" (1986)

King of America
release date: Feb. 4, 1986
format: vinyl (RCLP 20369) / digital (2013 remaster)
[album rate: 4 / 5] [3,92]
producer: The Coward Brothers ['T-Bone' Burnett, Elvis Costello]
label: RCA Victor - nationality: England, UK

10th studio album by Elvis Costello, credited the Costello Show, following close to two years after Goodbye Cruel World (Jun. '84) marks a new direction in a more substantial way than has usually been the case. Costello has always sought new ways of expression and challenged his fans from album to album but never to the extent he end up showcasing here. Around '84 he had found himself in various deep conflicts - be it privately, between two women, which ended with his first wife Mary [Burgoyne] filing for divorce and Costello then rejecting his American girlfriend, and the ongoing and increased tensions with The Attractions had him considering firing the band. He sought relief on an American solo tour where he played with 'T-Bone' Burnett [aka Joseph Henry Burnett III] and in him found a soul, with whom things seemed to work out for the better. Alledgedly, Burnett helped Costello in finding the essense of his songs and skip the superfluous arrangements he had recently become accustomed to. Together the two played covers from a long range of songwriters in a refreshing new style, and this appears to be the first step to this album. Initially, Costello invited The Attractions to the States because he still thought they should back him on the album, but after listening to what they produced together, he simply rejected the idea of a full involvement from his old backing band and completed most songs with the studio musicians that Burnett suggested - and with whom Costello found a new free form that was impossible for him to imitate together with The Attractions (they all play on two songs; keyboardist Steve Nieve on three). All but two covers are written and composed by Costello who was so determined to come up with something new that he also skipped his name; or rather: he returned to his birthname, so all songs are credited Declan MacManus and the producer-duo (T-Bone Burnett & Costello) are simple credited The Coward Brothers.
But he had also found a new love in Cait O'Riordan. He had been introduced to The Pogues and immediately fell for the band's bassist, and he then managed to hire the band as warm-up on a tour in Britain and not long after, he was hired as the band's producer for Rum, Sodomy & The Lash (1985) and during the recordings he soon began acquainting O'Riordan, and in Dec. '85 the two informally married [since Costello wasn't yet officially divorced] - seemingly, they married officially in May '86; however, Cait much later admitted - in 2004 when the two parted ways - that there never was an official marriage. The album then both deals with old flames, a broken marriage and a newfound love.
King of America is in many ways the rebirth of the artist. He tries hard to dissociate his new self with the image he had tired from, but it's not an easy task, when everyone knows who you are anyway. But with new musical friendships, new backing musicians and songs that have been stripped from the pretentiousness of his recent releases, Costello succeeds - again. His songwriting talent makes it a sheer tour de force of emotions and the sound is far from anything he has done before. He has included two covers: "Don't Let Me Be Misunderstood" by Bennie Benjamin, Sol Marcus, and Gloria Caldwell (originally written for Nina Simone in '64 and covered by many artists over the years) and "Eisenhower Blues" by J. B. Lenoir - probably to pay tribute to the very song catalogue that had inspired him to make the album, and perhaps also to show in what context he basically wanted his new songs to hint at.
I recall, purchasing the album upon its release - simply because it had been rumoured to be something completely different from his recent albums, and I simply wished he would live up to his name. Iinitially, I was slightly bewildered but the songs and the stripped down arrangements were so good that I embraced it as his best in years.
The 2013 remaster is released by Mobile Fidelity Sound Lab.
The album is Costello's first of two full-length albums to be issued in '86, and King of America is simply a cornerstone in an already long and remarkable career.
A must.
[ allmusic.com 4,5 / 5, Blender, Q Magazine 5 / 5, Rolling Stone 4 / 5 stars ]

Elvis Costello & The Attractions "Goodbye Cruel World" (1984)

Goodbye Cruel World
release date: Jun. 18, 1984
format: digital (2004 2 cd remaster)
[album rate: 3 / 5] [2,88]
producer: Clive Langer & Alan Winstanley
label: Rhino Records - nationality: England, UK

Track highlights: 1. "The Only Flame in Town" - 2. "Home Truth" - 3. "Room With No Number" - 6. "Love Field" - 12. "The Deportees Club"

9th studio album released as Elvis Costello & The Attractions following 10 months after Punch the Clock (1983) is like the predecessor produced by the duo Langer / Winstanley. The end result is not as good since Costello apparently wanted to pursue a stronger folk rock sound but the management and the producer-duo sat out for a new pop-styled mix, which ended up with a compromise: songs like "I Wanna Be Loved" [track #7] and "The Only Flame in Town" were pure Langer-Winstanley productions, whereas other songs were made according to Costello's wishes.

The 2004 2cd remaster on Rhino comes with a bonus disc containing 26 additional tracks consisting of demo takes, alternate versions, outtakes, other takes and live recordings - as a collector's item, mostly.

The album is mainstream pop / rock-founded in sheer sophisti-pop-arrangements with bits of pop soul that makes it sound like a close relative to the '83 album - also with the same producer-duo.

To me, it was like witnessing the end of a great comet-career with two lesser albums in a row, and with this like the outtakes to the '83-album being clearly the weakest. Some compositions even sound as well-written songs but with strong use of harmony-vocals, 80s synths and an abundance of shakers and bleeps and bloops songs are turned into a generic... mish-mash.

The album spawned three singles: track #13 "Peace in Our Time", track #7 "I Wanna Be Loved", and track #1 "The Only Flame in Town" peaking at number #48, number #25, and #71 respectively on the UK singles chart list.

Costello had been super-productive from the late 70s and into the early '80s but his artistic level had begun to crumble, or so it appears. For a '95 reissue in the liner notes, Costello even wrote: "Congratulations! You've just purchased our worst album." And that's pretty much how it's widely considered.

In retrospect it doesn't really shine much, and looking at Costello's long-lasting career this very album seems like an absolute wrong turn down a dead-end street without a clear direction, which he luckily understood quite soon. The album may suffer from the fact that Costello and The Attractions experienced inner conflicts, which apparently had Costello suggest it was to be his last with the backing band [also hinted at in the title] and that he found himself in the midst of a divorce from his first wife Mary as well as in a romantic restart of his relationship with (American) Bebe Buell. In this respect, many of the songs deal with starting and ending relationships.

Already as the album was in the making, Costello had made plans of solo concerts in the US without his normal backing band, and these concerts gave him the freedom he needed.

Given various ideas of musical direction, inner conflicts between band members, the album is an incoherent whole, and it stands out as a strong contender to Costello's biggest miss. Overall, it's an album that cannot be recommended.

[ allmusic.com, Mojo, Blender, Rolling Stone 2 / 5, Uncut, Q Magazine 4 / 5 stars ]

Elvis Costello & The Attractions "Punch the Clock" (1983)

Punch the Clock
release date: Aug. 5, 1983
format: vinyl (XXLP 20) / digital (2013 remaster)
[album rate: 3,5 / 5] [3,62]
producer: Clive Langer & Alan Winstanley
label: F-Beat Records - nationality: England, UK

Track highlights: 1. "Let Them All Talk" - 2. "Everyday I Write the Book" - 3. "The Greatest Thing" - 4. "The Element Within Her" - 5. "Love Went Mad" - 6. "Shipbuilding" (5 / 5) - 7. "TKO (Boxing Day)" - 13. "The World and His Wife"

8th studio album by Elvis Costello - his sixth with The Attractions and the first of two consecutive albums to be produced by the pop-producer-duo Langer / Winstanley, who at this point had faced great sales with albums like The Rise & Fall by Madness and Too-Rye-Ay by Dexys Midnight Runners, and the duo's job was to secure hit material singles that had been missing on his previous album, Imperial Bedroom (Jul. '82). Langer / Winstanley stood for large-scale arrangements and they brought with them strings arranger David Bedford, the Afrodiziak [backing choir] and the brass-constellation, The TKO Horns in support of The Attractions.

The 2013 remaster is released by Mobile Fidelity Sound Lab.

I recall buying the vinyl album immediately upon its release - I found the single "Everyday I Write the Book" rather nice despite signalling a new pop tone to the sonic universe of Costello. I also recall how I found the album too slick and without much else. Yes, it also contains his modern classic "Shipbuilding", originally written by Costello to be released with Robert Wyatt [Wyatt version] on lead vocals in Aug. '82 - a quite unforgettable version - and as Costello thought of it as his best song ever he included it here with his own vocals and with the addition of a trumpet solo by Chet Baker; and then a few other fine songs, but the overall impression wasn't entirely positive. The video to "Everyday I Write the Book" became an MTV staple and together with a positive Costello, who no longer rejected the press but now willingly stood up for interviews, all in all secured good sales, and the album eventually sold Gold, both in the US and in the UK, where the album peaked at a high top 3 - making it his best-selling album since Get Happy!! (1980).

Over the years it has proved to contain other fine songs but it's still an album that has that unfortunate Langer / Winstanley 'over-produced' touch all over it - a notion several contemporary critics also heard when they referred to the album as 'pretentious' - a tendency that would prove to be further accentuated on Goodbye Cruel World (rel. Jun. '84) - also produced by Langer / Winstanley. The album may be touched, or slightly ruined from poor production and too heavy arrangements, but it's still an album that reveal great songwriting, and in that perspective, it's not a bad album at all.

[ allmusic.com, Blender, Uncut, Mojo 3 / 5, Rolling Stone, Sounds 4 / 5 stars ]