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Joining the ranks of other notorious "Spikes" of the literary and musical world, Elvis Costello presents his version of the lad, also known as "the beloved entertainer."
Abandoning the "Napoleon Dynamite" surname he donned for his Blood & Chocolate release, Costello returns to the music arena with a sweet vengeance for the instrumental portion of the Costello show.
Perhaps the most eclectic of Costello’s releases, Spike exemplifies the very seeds of the theater. It combines heartrending ballads with upbeat bravadoes to make for an admirable combination of content.
Obviously the years have not dulled the razor-tongue of Costello. He continues in his signature vein of witty cynicisms, examining everything from Margaret Thatcher England to drunken spouses and wasted lives. Costello may have claimed that he is "not angry anymore" but Spike would hardly provide an adequate testimony to the confession, most thankfully.
Costello still has the inimitable voice stylings few songsters can even touch. It is also evident that Sir Elvis has spent some recent quality time with rock legend Roy Orbison. On the ballad portion of Spike Costello croons some of his finest melodies with a smooth sincerity so typical of the late Orbison.
But in all truthfulness, the star of Spike is the imaginative instrumental mix. Costello’s liaisons with the multi-instrumented aficianados, The Pogues, have left an emblazoned track in the grey matter of his musical brain. From tubas, glockenspiels and marimbas to uileann pipes, snowbells and an old Oldsmobile hubcap. Spike is an orchestra of sounds, meticulously collected together.
One of the more interesting songs on the album is an instrumental cut titled "Stalin Malone." Featuring The Dirty Dozen Brass Band, this track is a jazzy memoir of a big band sound with some of the best trumpet work to grace a pop album in years.
And as if the above mentioned isn’t enough to recommend the diversions of Costello’s latest endeavor, its guest list reads like a benefit concert. Featuring such notables as Paul McCartney, Chrissie Hynde, T Bone Burnett, Mitchell Froom and Benmont Tench. Spike certainly ain’t no dog.
Costello once again proves his musical dexterity as he spits out yet another interpretive and entertaining collection of his version of how it should be. Bravo.
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