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If the world could have only one pop musician, Elvis Costello would suffice. His music comes in most styles; he's a prolific songwriter; and his lyrics are among the best in the business.
After a dormant period, Costello is back with Spike, his first album of new material since 1986. Although he continues his tradition of insightful, imaginative lyricism, the helter-skelter styles of the record leave something to be desired.
It's not that Costello can't handle the range, it's just that there's no reason to have one album that includes rockabilly, ballads, pop, funk, jazz and straightforward rock. Only a diehard fan can appreciate such a far-flung, uneven journey.
If the range is over-stretched, at least the material is interesting. "Veronica," co-written with Paul McCartney, is a bouncy tune betrayed by its theme, the story of a bitter old woman who is but a shell of her romantic youth.
"Let Him Dangle" is a hard-hitting anti-capital punishment track, and "Chewing Gum," a jerky song underscored by an oomphing tuba, is about a hollow couple going through the motions.
Costello's wry perspective is defined by "Miss Macbeth." As the instrumentation repeatedly shifts in tone and pacing, Costello doesn't waste sympathy on the town scapegoat, singing, "Sometimes people are just what they appear to be — With no redemption at all."
The heartbroken Costello surfaces on "Baby Plays Around" when he assumes the role of a miserable man who tolerates his lover's infidelity, despite the pain: "She doesn't even know it's wrong — How much I hurt inside." Like "Miss Macbeth," this isn't a tidy song with conventional wisdom. Rather than do something about his wrenching situation, he settles for unmitigated unhappiness.
The Dirty Dozen Brass Band gives added punch to the LP, which also includes such varied instruments as maracas, bells and a xylophone. The band's most notable contributions are the instrumental showcase, "Stalin Malone," and a boost to the melody of "Deep Dark Truthful Mirror."
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