CD review - Elvis Costello, My Aim is True (1977)

Elvis Costello is one of my strongest writing and singing influences. I didn't really hear him until his third album, Armed Forces, but I immediately became a fan. He was a nerdy looking guy who was constrained by a throttled, nasal voice. Still, he rose out of the nascent punk/new wave scene and crafted flawless pop gems that spanned those styles, as well as ska, country rock, and jazz. His first album, My Aim is True is a masterpiece. Over time, he would reinvent himself several times, but even on this first album his musical versatility was clear. His pop songs sounded simple, but on closer examination, they'd reveal some satisfying complexity.

Costello's musical fluency is impressive, but what really captured me was his lyrics and singing style. Sarcastic, dark humor one moment, biting social commentary the next. But he could still pull out some deeply emotional, sentimental moments, too. His delivery was unique, with odd phrasing. Uneven lines that drew out at first, then a staccato rush of syllables to finish it out. This approach gave me room to move beyond simplistic couplets in my own writing.

Listen to Alison, a sentimental sounding pop song that owes a lot to Hal David and Burt Bacharach. A complex little intro with some silky smooth guitar. Once the lyrics start, the guitar throws in some fills to accent the holes. The first line is stretched out a little, the syncopation at the start of the second line ("And with the way you look, I understand") propels the song forward. His phrasing provides these subtle jerks that make the song so compelling. Linda Ronstadt had a big hit with it, but her version is a lot less interesting even though her voice is much better. The song sounds sentimental and longing, but the lyrics are more bitter than their delivery.

Contrast this with the bouncy Welcome to the Working Week. Off the cuff sarcasm and Costello's voice has the perfect bit of sneer. It's less than a minute and half long, but it satisfies.

Elvis shifts into a more serious mood on Less Than Zero, providing social commentary about the British fascist, Oswald Mosley. Audiences in America assumed that the Oswald mentioned was Lee Harvey Oswald and later, Elvis would record the "Dallas version" of the song pushing the JFK theme in a fairly rank parody. But in the original, he captures the nihilistic mindset that he's dissecting: everything means less than zero.

For another great example of phrasing, listen to the moody "song noir" of Watching the Detectives. A stark ska beat drives the song with a jagged guitar riff. The tightest lyrical delivery comes in the bridge (at 2:12 on the live version I've linked):

You think you're alone until you realize you're in it
Fear is here to stay, love is here for a visit
They call it instant justice when it's past the legal limit
Someone's scratching at the window, I wonder who is it
The detectives come to check if you belong to the parents
Who are ready to hear the worst about their daughter's disappearance
Though it nearly took a miracle to get you to stay
It only took my little fingers to blow you away.

The rhythm of "call it instant justice" or "ready to hear the worst" are perfect.

Scotch and splash of soda are a perfect companion...

Further listening:
Linda Ronstadt, Alison, Living in the USA (1978)
Intersection, Man On Fire, Meet Me At The Corner (1999)