Elvis Costello: Classic or Dud

Punch the Clock has "Love Went Mad", "King of Thieves" and "The Invisible Man", which are all energetic, impassioned and witty (if cryptic).

when was the last time he did a show with no keyboards?

i should have made clear that this was a full band show with keyboards replaced with sexton's guitar.

You'd need to get the solo "Deportee"

Yep, a highlight. His Richard Thompson cover too.

Yeah "Withered and Died" from the Ryko bonus tracks is grebt

erased EC's (lead) vocals

wait, I thought it was advertised as having NEW instrumental tracks?

Not at all, it’s exactly the same tracks that you know and love. Only the lead vocals are changed. Listen to one of the videos that have already come out.

Heh, almost forgot about the French EP he did.

Thanks, JR+tB, then I'm even less interested. Anyway, 17 good things about Punch the Clock:

1. "I wish you luck with a capital F"

2. Bouncy synclavier on "Everyday I Write the Book"

3. "In and out of matrimony never once removed the Sony"

4. Thwacky-trashy snare sound on "The Greatest Thing"

5. Rubber-band-like piano on "The Flirting Kind," and the vocal slipping into nonsense that has counterpoint with the horn solo

6. "The little girl you dangled on your knee without mishap / stirs something in your memory, and something in your lap"

7-14: Chet Baker

15. "Even the pretty secreTREES who wouldn't even let me hang my... HAT"

16. Three-way tie between "When you find strange hands in your sweater," "Even in a perfect world where everyone was equal / I'd still own the film rights and be working on the sequel" and glamorous / amorous

17. The live "Merseybeat" version of "Everyday" is pretty decent, groovewise

whoops, forgot

18. Caron Wheeler

19. Claudia Fontaine

20. Caron Wheeler and Claudia Fontaine

https://www.youtube.com/watch?v=XS516NhvNmY

Thanks! Is that a German-language performance of GCW or Punch the Clock?

Great earlier video of Elvis in Germany - with a three pickup charcoal frost Jaguar?

https://www.youtube.com/watch?v=K--POHTLGY0

It's just impossible to think about When I Was Cruel without agonising over why he couldn't just trim 20 mins off and stick it on some EP or whatever

I'd have been satisfied with a 12" remix of Spooky Girlfriend

It's just impossible to think about When I Was Cruel without agonising over why he couldn't just trim 20 mins off and stick it on some EP or whatever

Don't forget, he released a companion disc of B-sides, live cuts and leftovers soon after! (Cruel Smile) I guess the glass-half-full take is that he didn't release an overstuffed two hour album but still...

Brutal Youth is an excellent album that I'll not hear any negative talk about. I love the songs and I love Froom's mix.

Punch the Clock has some annoying horns but all the songs are top notch for the most part and it has Everyday I Write the Book on it, it cannot be a bad album.

oh and shipbuilding WTF.

Yes, "Shipbuilding" and "Pills & Soap" are two masterpieces. EC's own notes for the album acknowledges that even though he's been critical of the album in the past, those complaints never extended to those two tracks.

I actually listened to some Madness (who I have mixed feelings about tbh) and went back to Punch the Clock, and the producers don't really alter their approach very much. I know Madness was supposed to be hugely successful in the UK while barely making a dent on the US charts (save for "Our House"), but if EC wanted a shot at bigger hits in the American market, you'd think he'd pick some producers who had done that more successfully.

Afrodiziak, the three-piece female session vocalists (feat Caron Wheeler, Claudia Fontaine, and Naomi Thompson) completely own this Madness version of Scritti's 'The Sweetest Girl', such beautiful harmonising.

https://www.youtube.com/watch?v=AYgRzMCECrw

Brutal Youth is my top album, love the sound of it too. But even then there's no need for Favourite Hour, especially as it feels like the album has already ended. Elvis just couldn't get enough of the CD-bloat era

so glad no consensus exists about his mid '80s.

As for PTC: "Shipbuilding," "Pills and Soap," "Everyday I Write the Book," maybe "Let Them All Talk," I can do w/out the rest.

My idiosyncratic highly personal favorite albums list (which an estimated zero people have asked for)

1. My Aim Is True

2. Punch the Clock

3. Almost Blue

4. All This Useless Beauty

5. King of America

6. Kojak Variety

7. Spike

8. Brutal Youth

Everything else I can get the gems from compilations

oooh no Trust!

Trust rules. I like Brutal Youth, too! I haven't listened to it in eons, but as I recall the issue I had with the production was not Froom/Blake but that it sounded like Froom/Blake (who I usually like) going for a rough and tumble Nick Lowe style production, which might have been a reaction to letting him off his leash on Mighty Like a Rose, but it still kind of ended up too ... hot? Bright? Good songs but tough to listen to. Probably didn't help that it was the product of multiple sessions at multiple studios. Anyway, given Lowe was very involved with Brutal Youth I think I would have preferred him just producing again. The albums he produced for Elvis are his best sounding albums.

(letting Froom/Blake off their leash, I meant to say)

A lacuna, your Lordship. Do I even own a copy of Trust? I may have once had a cassette copy of it (as I inherited a box of dubbed EC tapes from a cooler older sister in 1983 or so) but I don't remember listening to it in sequence all the way through.

By the CD era I probably would have just been okay with the singles and songs that made it to the various greatest hits / girls girls girls / other compilations. Which would be, I guess, "Watch Your Step" and "Clubland." I like those songs plenty but it never translated into love for the album.

BTW there is a splendid cover of "Watch Your Step" by Brenda Kahn on the Almost You tribute record.

https://www.youtube.com/watch?v=eak4CmfMBso

Funny -- "Watch Your Step" is cool, "Clubland" okay, but neither represents the album. Better examples of its hysterical miscellany: "Big Sister's Clothes," "New Lace Sleeves," "White Knuckles," "You'll Never Be a Man," "Fish and Chip Paper."

The Favorite Hour is one of his best album closers

Agree.

One of my favorite EC closers is "It's Time," from "All This Useless Beauty," though of course ... it's not the last track, either, followed as it is by "I Want To Vanish," another piano ballad a la "Favorite Hour."

He performed a corker of a version on Letterman in 1996 or '97.

"It's Time," that is.

https://www.youtube.com/watch?v=jiypLktxQqE

All This Useless Beauty is one I didn't expect to appreciate. First time I heard it, I thought it was a nothing album. But I came back to it much later (after Costello & Nieve) and I think it's a fine album now, I like it quite a bit. I wish Costello & Nieve wasn't a limited release - makes sense in the original five-EP format, but they should've just reissued it as a more affordable double-CD set and kept it in-print that way.

From the 1977-1986 era, the only two albums I still don't like are Almost Blue and Goodbye Cruel World. I love his live versions of "Psycho," both the 1979 cut with the Attractions and the 1981 solo rendition on that charity LP but nothing on Almost Blue comes remotely close. And again, Rhino's bonus disc for Goodbye Cruel World is excellent - there's a far better album in there that I do enjoy listening to.

After that, I think the only things like an album that I enjoy are the 1987 McCartney/Manus demos (from the Flowers in the Dirt box set), the "solo" version of Spike that you can piece together from the Rhino reissue, Brutal Youth, All This Useless Beauty, the Costello & Nieve live set, Painted from Memory, When I Was Cruel and The Delivery Man (which actually had nice bonuses on the deluxe set). Everything else ranges from a complete dislike to 3-5 tracks that seem pretty good.

From 1979, with the Attractions and released as a B-side:

https://www.youtube.com/watch?v=2Vln9g1WXp0

From 1981, I didn't know video existed until recently - it was originally released on an LP of this charity show:

https://www.youtube.com/watch?v=v-akyoO4MqI

Forgot. there's also a studio outtake on the Rhino reissue of Almost Blue, but it was disappointing to me compared to these two live versions.

Yeah, that '79 live "Psycho" is the one that got me

"solo" version of Spike

Was just thinking, are there any "singer with guitar" albums (aside from scratchy '78 stuff and the like) that sound dated the way a lot of full band records sound? Is there an equivalent of "well, in the early '80s those acoustic guitars were practically dripping with gated reverb"?

Trust rules. I like Brutal Youth, too! I haven't listened to it in eons, but as I recall the issue I had with the production was not Froom/Blake but that it sounded like Froom/Blake (who I usually like) going for a rough and tumble Nick Lowe style production, which might have been a reaction to letting him off his leash on Mighty Like a Rose, but it still kind of ended up too ... hot? Bright? Good songs but tough to listen to. Probably didn't help that it was the product of multiple sessions at multiple studios. Anyway, given Lowe was very involved with Brutal Youth I think I would have preferred him just producing again. The albums he produced for Elvis are his best sounding albums.

For some reason Trust took a while. It seemed grab bag and uneven the first time I heard it, and I couldn't understand the love it got (I think Rob Sheffield said it might've been Costello's best, and Christgau - who typically gave Costello's '80s work B+'s - actually gave it a solid A). I grew to love it when I got the "in-jokes" of making tracks as if they were for other bands (mainly New Wave bands I was catching up to like Squeeze).

Stephen Thomas Erlewine also suggested that Nick Lowe should have produced Brutal Youth. Not a bad idea at all - ah well. Lowe actually made a better album himself that same year.

Trust's grab bag approach is a scrappier version of his take on the American songbook the following year.

Was just thinking, are there any "singer with guitar" albums (aside from scratchy '78 stuff and the like) that sound dated the way a lot of full band records sound? Is there an equivalent of "well, in the early '80s those acoustic guitars were practically dripping with gated reverb"?

A hesitant "yes"....there are records that sound too clean and polished, especially when they throw some very clean sounding reverb (especially digital echo) on top of the vocal. I had a roommate who was into soft county/folk and adult contemporary acts, especially when it was just a voice and piano or guitar, and you can definitely hear it there. It's dated in the sense that no one's going to mistake it for the sound of Sun or even Dylan's old folk albums.

I find that some 60s acoustic records have a really "boxy" reverb sound that I dislike, too.

I just remembered, I used to hate Painted from Memory, but sometime later, it seemed endearing that Costello would make the kind of album so many loved but somehow consigned as being lost to time. Dusty in Memphis is the first thing that comes to mind - the songs live up to that standard, and in a lot of ways Painted from Memory sounds like it would've Springfield's great comeback à la Van Lear Rose or American Recordings had she been able to sing it. Even Costello's phrasing seems to echo some of the choices she made on Dusty in Memphis. So the album works when I think of it as Costello doing his best with songs intended for someone else. Like when I hear the album now, I almost imagine it starting with the closing remarks from Michael Powell The Red Shoes: "Ladies and gentlemen, I'm sorry to tell you that Ms. Springfield is unable to sing tonight...Nevertheless, we've decided to present this because we think she would have wished it."

What do you thing of assessment in the 1992 Rolling Stone Album Guide, which says that "Costello writes songs that he's physically incapable of singing"?

Was just thinking, are there any "singer with guitar" albums (aside from scratchy '78 stuff and the like) that sound dated the way a lot of full band records sound? Is there an equivalent of "well, in the early '80s those acoustic guitars were practically dripping with gated reverb"?

Not an album, but the Replacements' "Here Comes A Regular" sounds very much like 1985, and would without the synth pad. The acoustic guitar sound, and the reverb it's dunked in, is painfully piercing.

At the time, glancing nervously at Mighty Like a Rose, I agree, and certainly in a foul mood I want to toss his albums off the balcony.

Another vote for live "Psycho"!

What do you thing of assessment in the 1992 Rolling Stone Album Guide, which says that "Costello writes songs that he's physically incapable of singing"?

I think that was a J.D. Considine entry. I thought his entries in that guide have aged terribly - he was assigned all of the "newer" music but he seemed painfully out of touch. (IIRC, he clearly didn't get Prince's "If I Was Your Girlfriend" at all.) To be fair, this was me reading them with the benefit of 20 years worth of hindsight, but I bet if someone like Bill Wyman of the Chicago Reader got that assignment, those entries would have aged a hell of a lot better.

Anyway, I think that's too broad of an assessment, especially if you hear All This Useless Beauty. Those were all songs meant for other people, and you can see how they were tailored for the people they were written for, but I think they work better as Elvis Costello recordings. I think Joyce Millman nails it: "Costello's vision of his idols, his ideas of what his idols represent (or ought to), is often more complicated than their own view of themselves." When someone else does a better job, it's usually because Costello can't get a grasp of the song himself (like "Girls Talk," which he gave away partly because he never recorded it himself in a satisfactory way). But I don't think there are many covers that do a better job than his original recordings because his songs end up feeling too idiosyncratic and too personal to be re-interpreted easily by anyone else.

I should add that Bacharach's contributions to Painted from Memory may be a big reason why it's a notable exception. Same with many of the songs he usually "co-wrote" with others. Like with McCartney, it wasn't usually an even split, but McCartney generally helped compose those songs to fit him as well, even if you can see Costello's influence.

Painted from Memory really brought out the best in both of them.

listening to this year's model for the first time in a long time - good stuff, check out this sleeper

I bet if someone like Bill Wyman of the Chicago Reader got that assignment, those entries would have aged a hell of a lot better.

Really? His take in the SPIN Alternaive Guide is not dissimilar from Mark Coleman's (he wrote the RS entry; he used to post here!).