July 4–11, 1996

disc quicks

Elvis Costello & the Attractions

The business of being Elvis (and, by design, the fierce-but-sprightly "pub rock" dynamism that is Messrs Thomas, Thomas and Nieve) has meant coming up with stories witty and urbane, matched to music crisply energetic. A fine goal, but this refinement of craft has led his last bunch of records to sound smarmy, over-compensatingly clever and tedious. But this record, full of songs written for other artists (Roger McGuinn, Johnny Cash, Aimee Mann) and assorted newies, seems to have rejuvenated the quartet.

Big cheers to producer Steve Nieve for opening up the Costello keyboard sound by leaps and bounds. "Other End of the Telescope" is a spacey, sweet organ/piano-dominated love ditty while "Little Atoms" ambiently toys with an olde English tale (and melody) as well as a weird Duane Eddy guitar line. "Poor Fractured Atlas" is a divine adult lullaby matched to keen Elton John balladry. "Distorted Angel"'s synthetic soulfulness seems trite and confused but winds up an unlikely smooth confessional triumph. The title track, written originally for folkie June Tabor, has a gentle lilt made grand by Nieve's ticklishly offbeat piano.

Costello's twisted Cole Porter-meets-Harry Crews power to turn a phrase remains in tact, but on tunes like "Shadows" and "Atlas" it's the lyrical twists that make the most sense and are most pleasing: the exact opposite of his usual mindless chatter.

— a.d. amorosi