Elvis Costello - My Aim Is True (1977)

Note: the CD I listened to was the 1993 Rykodisc reissue with 9 bonus tracks.

I normally don't look for Elvis Costello CDs, but I was pursuing the used bins of my local store and I spotted this Rykodisc version - complete with trademarked green jewel box - of Costello's acclaimed debut and the collector in me just couldn't resist. It's a great first release to be sure (in 2022 it ranked at #64 in Rolling Stone's list of "The 100 Best Debut Albums of All Time"), but I still think his best album is Trust.

Recorded on a shoestring budget, the album was produced by Nick Lowe and used three members of the band Clover as the backing musicians in the studio. Arrangements are impatient, hooks are everywhere, tempos are almost always upbeat, and the clever lyrics are examples of teenage angst set to rock beats. And Costello's late-'70s reboot of the "angry young man" was unleashed.

In The Village Voice's annual 'Pazz & Jop' critic's list, this album placed at #2 for 1977.

Press of the time:

• Stereo Review: "the work of someone who comes as close to being the Compleat Rock Star as anyone within recent memory - driven, funny, and totally original"
• CashBox: "demonstrates great promise"
• Record World: "One of the brightest and freshest new talents to emerge from England this year"
• Billboard: "Costello does a lot with the basic four/four, guitar and drum format"
• Robert Christgau (B+): "I like the nerdy way this guy comes on, I'm fascinated by his lyrics, and I approve of his rock and roll orientation"
• NME: "an album often of intense brilliance"
• Rolling Stone: "has only begun to surprise us"
• Trouser Press: "Elvis Costello has produced a classic in his first try"
• The Virgin Encyclopedia of Indie & New Wave (1998): ★★★★

The album is listed in the 2005 book 1001 Albums You Must Hear Before You Die, calling it "a heady combination of punk and quality songcraft."

Album chart peaks:

• US Billboard 200: #32
• CashBox: #33

Tracks, ranked in order of personal preference:

1. Alison
2. Less Than Zero
3. Watching The Detectives (not included in the UK album, but released as a single in October 1977, then added to the US release as the last track on side one; it appears as track 13 on this CD. This song was the only single to even catch a whiff of the US Billboard charts, bubbling under the Hot 100 at 108)
4. Welcome To The Working Week
5. (The Angels Wanna Wear My) Red Shoes
6. Pay It Back
7. Sneaky Feelings
8. Waiting For The End Of The World
9. Miracle Man
10. Mystery Dance
11. Blame It On Cain
12. No Dancing
13. I'm Not Angry

(If you don't agree with my ranking, second and third opinions available over at Billboard and the EC Fan Forum.)

Bonus tracks: These 9 tracks receive some explanation in the CD's liner notes, which all boils down to "these songs are in a radically different style" than the songs included in the album. Most tracks are called "pre-professional" recordings, which I believe to be a way to gloss over the fact they are demos. Still, because of the DIY ethos of the time, the demos aren't too bad, just different - most skew towards country. Good of Costello to recognize what should fit on the album.

Personal Memory Associated with this CD: None. I was but 11 years old at the time of this album's release and was listening exclusively to AM Top 40 radio at the time and nobody in my immediate circle was listening to the emerging New Wave sounds being imported. I probably didn't hear a track from this album until 1983ish.

Previously revisited for the blog:
Painted From Memory (1998)
Spike (1989)
Imperial Bedroom (1982)
Trust (1981)

Elvis Costello & The Attractions - Trust (1981)

Note: the CD I listened to was the 1994 Rykodisc reissue with 9 bonus tracks.

I'm not much of a wine drinker, but I was once at a dinner party where I was offered some wine by what I'll graciously call an enthusiastic, self-proclaimed wine aficionado. I politely declined, but this guy was insistent. I responded with some BS along the lines of "the sulfites give me a headache" hoping he would finally leave me the hell alone. But just like your friendly neighborhood corner drug pusher, he kept at me saying, "I believe everybody likes wine, they just haven't yet found the wine they like." [I'll pause here whilst you roll your eyes.] I'm not sure if he just wanted to be 'right,' or if he needed my approval as if that would somehow validate his own wine opinions. In any case, I walked away from the winey and opened a beer. Scene.

What's that story got to do with this Elvis Costello album? For many years (and on previous posts to this blog) I've said/written things like "I'm not much of an Elvis Costello fan, but occasionally I'll pick up a Costello release because I sometimes think I should like him. But I always reach the same conclusion: Costello is a great songwriter and usually includes 3 or 4 wonderfully crafted pop songs on each of his albums. So, to me, he's more of a singles artist than an albums artist." And then I bought this CD. It's fantastic throughout. So, relating to the above tale, apparently everybody likes Elvis Costello albums, they just haven't yet found the album they like. I don't know how I possibly would have been introduced to this album back in '81, but I'd welcome a visit to that alternate universe because this would have sounded fantastic pouring out of the windows of my '72 Ford Maverick.

A cohesive mix of styles (if that makes any sense). And Steve Nieve remains one of the most underrated rock keyboardists of all time - if it's even possible for a hall of famer to be considered underrated. He's got a helluva an ear and the talent to play exactly what is needed at precisely the right time. Plus there's Nick Lowe's production. I could go on and on. Yada, yada, yada, better-late-than-never, etc.

In The Village Voice's annual 'Pazz & Jop' critic's list, this album placed at #3 for 1981, but was lauded as #1 in Trouser Press. Ten years ago, Rolling Stone magazine's Rob Sheffield called the album "Elvis Costello’s Best (and Most Curiously Underrated) Album." And I think he's right. My favorite EC song remains Beyond Belief, the lead track from Imperial Bedroom, but as far as albums go, it's Trust.

Press of the time:

• Smash Hits (9 out of 10): "buy it"
• Rolling Stone (★★★★): "the results are awesome."
• Downbeat (★★★★½): "displays a great diversity of musical styles and a powerful ability to achieve emotional impact with tommy-gunned lyrics and mournful pleas alike."
• Robert Christgau (A): "This is rock and roll as eloquent, hard-hitting pop"
• Billboard: "Arguably, this is by far Costello's best album yet."
• Musician: "a more open, brighter feel"
• Trouser Press: "As always, the album contains some instant classics that, without relying on a formula, could only have sprung from the Costello pen."
• Roadrunner: "dare I say it?, this is his best album yet."

Album chart peaks:

• US Billboard 200: #28
• Billboard Rock: #16
• CashBox: #27
• Rolling Stone: #11

Tracks: The best songs are Clubland, Lovers' Walk (with that wonderful Diddley beat), Strict Time, Luxembourg, Watch Your Step, New Lace Sleeves, From A Whisper To A Scream (with Glenn Tilbrook of Squeeze), and Fish 'n' Chip Paper. The only skippable track is Different Finger, which is a bit too country for my liking.

Bonus tracks: a couple of later b-sides and previously unreleased material, some with unrefined production. Nothing really objectionable other than an ill-advised cover of Cole Porter's Love For Sale; but nothing measures up to the original album. The only tracks that kinda catch my ear are Sad About Girls and Seconds of Pleasure. Long story short: the only tracks I've ripped to files are the original album, tracks 1-14.

Personal Memory Associated with this CD: Until I bought this CD, my only knowledge of this album came from Less Than Zero, the 1987 movie as well as the 1985 book (pic of my battered paperback below).

Previously revisited for the blog:
Painted From Memory (1998)
Spike (1989)
Imperial Bedroom (1982)

Elvis Costello and the Attractions - Imperial Bedroom (1982)

Note: the CD I listened to was the 2002 Rhino reissue which includes a 2nd CD containing 23 bonus tracks.

As I've written before, I'm not much of an Elvis Costello fan, but occasionally I'll pick up a Costello release because I sometimes think I should like him. But I always reach the same conclusion: Costello is a great songwriter and usually includes 3 or 4 wonderfully crafted pop songs on each of his albums. So, to me, he's more of a singles artist than an albums artist. Imperial Bedroom is just another in a long list of critically acclaimed, award winning albums that I can't muster much enthusiasm for. Yeah, I'll take a lot of grief for these remarks, but to paraphrase a statement I often hear on the Maury show, "The ear wants what the ear wants."

Admittedly, I didn't listen to this album when it was released, so maybe if I had bought a copy in '82 around the same time I was listening to Sweets From A Stranger and Suburban Voodoo, I'd feel differently because I'd have the usual high school memories attached to it. Kudos to Rhino for great packaging and liner notes.

Press of the time:

• CashBox: "brilliant in both concept and execution"
• Record Mirror (+++++): "rich and interesting, mixing brilliant ideas into a concoction that can be listened to on any level."
• Rolling Stone (★★★★½): "the most varied and committed music he's ever played in his life."
• Smash Hits (9 out of 10): "puts Elvis Costello ahead of the field. Way ahead."
• Stereo Review: "the tunes are shapeless and dull, the lyrics sophomoric and verbose."
• Trouser Press: "it can't - or rather won't - be ignored"
• RPM: "could move Costello out of the restrictive cult following"

Album chart peaks:

• US Billboard 200: #30
• Billboard Rock: #50
• CashBox: #33
• Rolling Stone: #9&

Tracks:  This album begins with my favorite Costello song, Beyond Belief, which I usually hear 2 or 3 times back-to-back. Also good are Tears Before Bedtime, Man Out Of Time, and Kid About It. I usually skip Shabby Doll and Town Cryer.

Bonus tracks: alternate versions, rehearsals, b-sides, and demos. Other than a fair Smokey Robinson cover (From Head To Toe), there's nothing to see here, move along.

Personal Memory Associated with this CD: This is one of those albums where the album cover art grabs you long before you know what any of the songs sound like. The mock-Picasso painting was credited to the fictitious Sal Forlenza, but was actually created by graphic designer Barney Bubbles. I don't think it is particularly attractive, but it certainly grabbed my attention and has held it for 30+ years.

Previously revisited for the blog:
Painted From Memory (1998)
Spike (1989)

Elvis Costello - Spike (1989)

My edition is the original release, not the 2001 reissue with a 2nd CD containing 17 bonus tracks.

I'm not the useful kind of doctor, so this is a totally inappropriate diagnosis, but listening to this CD makes me think that EC has ADHD. This album is all over the place: we get attempts at rockabilly, New Orleans soul, Brit funk, a Celtic waltz, and a torch song. Some people can make that kind of diversity work for them, but that's not the case here. Fortunately, like most EC albums, there's also one or two pretty good pop songs, including the reason I bought this used CD, Veronica. I'll rip those few to iTunes and leave the rest for hardcore Costello fans and the critics. (Note to self: The Elvis Spike would be a good band name.)

Album chart peaks:

• US Billboard 200: #32 (April 22, 1989)
• Billboard Pop CD: #4

Tracks: Veronica (co-written by Sir Paul McCartney) was Costello's biggest US hit, reaching #19 on the Billboard Hot 100 in June, 1989. It's far and away the best song here. Also good are Satellite, and Baby Plays Around.

For more information on the brief life of the CD longbox,
go visit The Legend of the Longbox.

Personal Memory Associated with this CD: None.

Previously revisited for the blog:
Painted From Memory (1998)

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

I'm not much of an Elvis Costello fan, but occasionally I'll pick up a Costello release because I sometimes think I should like him. Thankfully, it turns out that this isn't much of a Costello disc at all - the star of this disc is Bacharach's songwriting which is as strong as any of his writing from the '60s. And it's quite a solid return to form, at that. From the production to the string arrangements, this entire project was written within the parameters of Bacharach's most successful work. Even though a song from this disc won a Grammy for Best Pop Collaboration With Vocals and the entire album was met with critical acclaim, the album wasn't a commercial success. This music is not of its time, which explains why it peaked at #78 on the album charts. I guess it just couldn't compete with the soundtrack to Titanic. That's a shame, because it means that a lot of people are missing out on this treat. Great music for a rainy day or quiet night.

This disc was recorded and released around the same time the duo made a cameo appearance in the second Austin Powers movie. I think they performed I'll Never Fall In Love Again.

Peak on the US Billboard Top 200 chart: #78 (Oct 17, 1998)

Tracks: It's hard to pick favs on this disc because the more you listen to them, the more you like them. I've always though the best song on the disc is Toledo. As of this listen, I'm also liking In The Darkest Place, I Still Have That Other Girl, Such Unlikely Lovers, My Thief, and the title track. Track 8, The Long Division, sounds like an '80s tune. Normally, you'd think I'd like that, but it just doesn't seem to fit with the sound of the other songs.

Personal Memory Associated with this CD: (almost the same as Human Being by Seal) This album was released in September 1998. In December of that year, I rode on a charter bus from Bay City to Irving and back with 200 high school students. That particular Saturday we were headed to Texas Stadium for the Class 4A, Div 1 state football championship game between Bay City and Grapevine (final score: Grapevine 22, Bay City 0). I listened to this CD on that trip. For that reason, I consider it to be a fall/winter CD that can't be listened to in the spring or summer.

One of my dream jobs is to play flugelhorn with Burt Bacharach.

Previously revisited for the blog:
The Very Best Of Burt Bacharach (2001)
Bill Frisell - The Sweetest Punch (1999)