Entry Points: Elvis Costello

Elvis Costello exemplifies the term "musical chameleon". Starting out as a standard singer-songwriter fronting a bar band, he has moved effortlessly throughout several different musical genres. The main problem of such genre-hopping is that it's nearly impossible to know where to start as a new listener. Wading through this musical sea, though sometimes difficult, is a rewarding experience.

Entry Points: This Year's Model and Armed Forces



Popular opinion states that Costello's first three albums are his best, and that statement isn't very far off. While My Aim is True showcases some great musical moments by his backing band, clover, the songcraft isn't mature enough to warrant it being the proper place to start. This Year's Model introduces The Attractions, Costello's new band that would last the next decade. The intensity of their playing feeds off of Costello's new lyrics, which showcase his anger at it's most seething. "No Action", the opening salvo, is a burst of energy, both flailing and literate in it's dismissal of love. This feeling is echoed in "This Year's Girl", "You Belong To Me", and "Lipstick Vogue". Despite the inherent anger, this is also Costello at his most accessible. The punky beat and slippery bass lines of "Pump It Up" will infect you, as will the bubbly power pop of "(I Don't Want To Go To) Chelsea". This is a can't miss record.



On the same coin is Costello's next record, the monolithic Armed Forces. Every song contained is a new wave mini-masterpiece. The soaring opener of "Accidents Will Happen" segues brilliantly into the up-tempo "Senior Service". This album showcased the band beginning to become more musically adventurous, with the ABBA-esque opening piano of "Oliver's Army", and the synthesizer experiments of "Big Boys" and "Green Shirt". Rather than making the album sound dated, the synths keep the record fresh over 20 years later. The only bad cut on the album is the circus-organ driven "Sunday's Best", though it's so forgettable that it won't be missed when the track is skipped. Of course, no review of this album would be complete without mentioning the driving closer, a cover of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding?". Simply put, it's an excellent end to an amazing record.



Next Steps: Blood & Chocolate and Imperial Bedroom



Blood & Chocolate is an ugly beast. This record found Costello turning his anger inward, damning himself for the collapse of his marriage and the dissolution of his relationship with his mistress. This record finds The Attractions playing with reckless abandon, almost beating the songs into submission. This approach fits the content of the songs well. Songs like "I Hope You're Happy Now" or "I Want You" can't be played gently. "Tokyo Storm Warning" recalls Bob Dylan's "Subterranean Homesick Blues" with it's mouthfuls of aerobic wordplay. "Next Time Round" ends the album on a bittersweet note, where the singer tells of his sorrows, but assures us that he'll be alright.



Imperial Bedroom is Costello's Revolver. After five albums of brilliant, but fairly standard, power-pop (and one country-rock diversion), EC buried himself in the studio, determined to make a record with a new sound. The baroque pop contained here is a real treat, using many unfamiliar sounds to Costello fans, such as accordion on "The Long Honeymoon", or Harpsichord on "You Little Fool". "...And In Every Home" receives a full orchestra treatment, fitting of it's Beatles-inspired origins. The screaming intro of "Man Out Of Time" belies the tender sentiments of a broken man. The album isn't without it's difficult bits, but on the whole, it's a satisfying record.



Avoid: Mighty Like A Rose, Kojak Variety, and Cruel Smile

Mighty Like A Rose and Kojak Variety both come out of Costello's mostly dreadful mid-period. Most of the albums in this time, from MLAR spanning to All This Useless Beauty are good for a few great songs buried in the dreck, but these two are the worst of the lot. The one great track on MLAR is "The Other Side of Summer", a Beach Boys inspired hit that examines the contradictions of modern living. Kojak Variety is a soulless album of covers, and isn't worth your time or Costello's, possibly the reason why it wasn't released until about five years after it was recorded.

Cruel Smile was my first Elvis Costello album, and it's possibly my favorite. Composed of B-sides, remixes and live tracks from the mostly superb When I Was Cruel, it's an album for hardcore EC fans. That in mind, I have to say avoid it. It's not something easily digestible by the casual fan.