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To describe Elvis Costello as a surprising character is an understatement. On each of his works there is a fresh, immediate surprise. His early albums with the Attractions were pop-styled, when the fashion among the top forty world was anti-pop; his 20-song LPs were issued at a time when artists were failing to deliver consistent releases. Costello undertook country sounds when the new wave he helped propagate had bloomed, this may have subdued the commercial success he has deserved. His overproduced artistic low points arrived upon expectations of redemption and simplicity of past recordings, and his energetic creativity returned when it seemed everyone had given up on him.
The fact that Costello has thrived with little airplay or label support is an inspiration in itself. This creative genius, who has recorded nearly 20 LPs (and dozens of odd and single recordings since his American debut in 1977), has become a landmark songwriter and artist in contempt of all around him. In his innovative tradition, Costello has returned with his first domestic release since 1986's acclaimed Blood & Chocolate, Spike — named after comedian Spike Jones — is issued amidst high expectations, as well as a new record deal that permits him much greater artistic freedom.
Spike is no exception to Costello's tradition. With a bizarre cover featuring Costello's painted head on a plaque against a green, white and red plaid background, this 14-song LP sports a brass band, Irish folk instruments, organs, exotic percussion, bells, and a seemingly endless variety of performers and peculiar sounds.
Produced by Costello, T Bone Burnett and Kevin Killen, there is enough variety on this release to assure commercial success by sales to the contributors alone. Among the performers are Paul McCartney, who has co-written two songs here with Costello, former Byrds leader Roger McGuinn, Chrissie Hynde, Jim Keltner, Costello's new wife Cait O'Riordan, formerly of the Irish folk-punk band Pogues, and Costello's old friend T Bone Burnett. At times, though, this variety of performers and instruments seems to detract from the focus and contents of the work itself.
This becomes far more evident on the second half of the recording than the first. The album begins strongly enough with the fabulous "This Town," featuring McCartney on a Rickenbacker bass and McGuinn on a Rickenbacker twelve-string. Containing shades of Costello's brilliant pop songs from his successful LPs with the Attractions, "This Town" takes its place amongst the dozens of perfect pop songs Costello has written in his extremely productive 12-year recording career.
Spike is an ambitious musical and lyrical endeavor. With a memorable beginning, the second half of the recording begins with the instrumental "Stalin Malone," sounding like a horn section to a Cary Grant Technicolor film from movie star land in the early 60s. With "Satellite," and "Pads, Paws and Claws," the tempo of the initial bang attenuates severely.
On the whole, Spike is well worth Elvis Costello's respected reputation, though it's at times too slow, often lacks a tempo and ends with a whimper, not a bang. At times Spike's complexity buries deeper meanings in a "wall of distraction," yet his brilliance is not overshadowed.
The lyrical descriptions, combined with downright great performances, reimburse the losses in overproduction and bland tempo. In fact, Spike complements Costello's tradition of wealth in a variety of styles. The surprise of this recording is the eclectic variety within one disc, and the overcoming of bland boredom with songs strong enough to carry the album as a whole.
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