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Attraction-less and with his first new record label in 12 years, the Tin Pan Alley Elvis — a man of many styles and themes — comes to the fore on Spike. Costello continues to cast aside the mantle of the angry young man, revealing a more mature, contemplative and musically adventurous soul than we've ever seen before. Using compelling narratives and stylish lyrical twists, he tackles domestic turbulence ("Baby Plays Around," the tender "Last Boat Leaving"), capital punishment ("Let Him Dangle"), television ("Satellite"), marketing ("This Town"), insecurities ("Deep Dark Truthful Mirror") and the political ills of his native England ("Tramp the Dirt Down"). Musically, things are equally interesting. Two of Spike's finest tracks — "Veronica" and "Pads, Paws and Claws" — were penned with Paul McCartney. Besides the ex-Beatle, other noteworthy players on the album include Chrissie Hynde, Benmont Tench of Tom Petty's Heartbreakers, coproducer T Bone Burnett and ex-Pogue Cait O'Riordan, Costello's wife. Costello does falter a few times: His diction is too clear for the funky "Chewing Gum" and the Celtic-flavored "Any King's Shilling" is just plain dull. But, shortcomings included, Spike is an exceptional, compelling work, an attractive turn in Costello's already stellar career.
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