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Positive proof that Spike's songs are for real was Elvis' dazzling performance on Saturday Night Live last week. Anyone who still doubted that Mr. McManus has one of the most fascinatingly expressive voices in rock just had to have been converted by that bit o' rock-TV.
It's kinda cool that Elvis' best LP since Punch The Clock ("What was wrong with Goodbye Cruel World, King Of America and Blood and Chocolate?" a certain music director is bound to ask me) also sports the coolest single since "Everyday I Write The Book" — "Veronica," co-written with Paul McCartney, is a touching, whirling bit of pop hypnotism — hope it does something on the charts.
As for the other stuff. "Tramp The Dirt Down" lovingly dismembers Thatcher to a pretty melody and "This Town" rocks like mad. with the help of the above mentioned legend and an ex-Byrd (Roger McGuinn), On the other hand, the pseudo-funk of "Chewing Gum" isn't going on at all (which is typical of British funk, save maybe the puzzling but authentic groove tunes by The Style Council) and while "God's Comic" is alright, sometimes Elvis still spends a little too much time letting us know how perceptive he is and how good he is at putting those acute perceptions in a verse. As if we didn't know by now.
That stuff can be excused, though, considering the strength of Spike when taken as a unit. In light of Elvis' semi-newly-wed self, it looks like love and commitment are better inspirations than bitterness and cynicism ever were, 'cause Spike is definitely his best record yet.
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