Spike

I'd formed much the same impression myself, until I heard 'Spike'. On this album, probably his best ever, he hardly puts a foot wrong. For once, lyrics and music mesh to lasting effect: from the chimingly tuneful rabble-rousing of 'This Town', through the bittersweet lament for lost youth that is 'Veronica', to the sugared vitriol of 'Tramp the Dirt Down', no word is wasted, no tune seems knocked together as an afterthought.

A glimpse of the old Costello, who would have picked a fight with the whole of Oliver's Army (and won), 'Spike' drives the point home.

The album was recorded in both Dublin and New Orleans, a factor that gives SPIKE an even more schizophrenic sound, with celebrated instrumentalists the Dirty Dozen Brass Band found playing along side segregated members of the Dubliners and the Chieftains; whilst there are also guest appearances from Christy Moore, Chrissie Hind and Paul McCartney, who co-wrote the biggest hit to stem from the record, the infectious and affecting Veronica. This track is just one example of Costello's newly developed sense of lyrical extremity, as he shifts his attention from social causes (Let him Dangle is about the famous wrongful execution of alleged murderer Derek Bentley), to political concerns (lamenting Margaret Thatcher on the honest and deeply controversial Tramp the Dirt Down) whilst also crafting a few diverse variations on the theme of love (Satellite is a very-80's style pop song/duet with the aforementioned Pretender, whilst Baby Plays Around is a heartbreaking, folk-infused number penned by Elvis and his then-wife Cait O'Riordan of the Pogues). There are also attempts to create a more music-hall style that mixes elements of rock opera with baroque-pop, as Costello first parodies Andrew Lloyd Webber on the excellent God's Comic (some of his best lyrics!) before taking things a step further with the more experimental and conceptually rounded Miss Mac Beth.

It is this fusion of pop & rock influences pared alongside more classical, or leftfield observations that would point the way forward to 1993's stunning experiment with the Brodsky Quartet, the Juliet Letters (still one of the most underrated records of the last decade) as well as the more immediate pop follow up, Mighty Like a Rose. The instrumentation is layered in a way that only Imperial Bedroom could match in terms of Costello's back catalogue, with the added session musicians/guest stars bringing a wonderful atmosphere to the already superbly written compositions... the demons of which can be found on the bonus disk to this stunning re-issue. The linear notes of the CD booklet are once again penned by Costello himself, who reflects upon the issues caused with the move to a new record label, and the benefits of working with not one, but two of the most skilful producers of the last twenty years (now-regular collaborators T-Bone Burnett and Kevin Killen). The quality of the re-production of the music, the rarities of the bonus disk and the Costello's always fascinating notes make this an essential update if you've only experienced the original Warner's release from 1989.

SPIKE is without a doubt one of the true original rock records of the 1980's, up there with the likes of Don't Stand Me Down, Second Edition, Rum Sodomy & the Lash, and Costello's own must-have Imperial Bedroom... this should be an essential purchase for every true lover of music!