Elvis Costello

‘Brutal Youth’ (1994) is the first album since ‘Blood And Chocolate’ (1986) Costello recorded with the Attractions with Nick Lowe featuring on half of the album. Elvis picked up an electric guitar and began writing rock n’ roll songs again. The result, ‘Brutal Youth’, an impressive collection of rock and pop that that proves that Costello hadn’t forgotten how to write a loud tune and to being one of the greatest lyricists in rock music. The album features some great rockers like “Pony St.”, “13 Steps Lead Down”, “Just About Glad” and “My Science Fiction Twin” are all loud and robust songs that sound like classic Elvis. The piano ballad “Favourite Hour” might just be the album’s highlight (or is it one of 15 highlights?) and a beautiful way to close the album.

Elvis Costello embarked on a small, intimate tour with his longtime pianist Steve Nieve in the spring of 1996 to promote All This Useless Beauty. All of the shows from the five-date tour were recorded, and highlights from each show were issued on a series of promotional EPs that were later released commercially as the box set Costello & Nieve. Stripped down to their basics, the songs from All This Useless Beauty sit elegantly next to Costello classics, as well as several lesser-known gems from his rich back catalog. The performances are all understatedly passionate, and rank among the best that Costello has given, making Costello & Nieve five discs that any hardcore fan will treasure.

Following his second covers album, Kojak Variety, Elvis Costello set out to assemble a collection of songs he had written for other artists but never recorded himself – sort of a reverse covers album. As it turned out, that idea was only used as a launching pad – the resulting album, All This Useless Beauty, is a mixture of nine old and three new songs. Given its origins, it's surprising that the record holds together as well as it does. The main strength of All This Useless Beauty is the quality of the individual songs – each song can stand on its own as an individual entity, as the music is as sharp as the lyrics. Although the music is certainly eclectic, it's accessible, which wasn't the case with Mighty Like a Rose. Furthermore, the production is more textured and punchier than Mitchell Froom's botched job on Brutal Youth. All This Useless Beauty doesn't quite add up to a major statement, but the simple pleasures it offers makes it one of the more rewarding records of the latter part of Costello's career.

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."

Elvis Costello recorded the 15 songs that comprised his covers album Kojak Variety in 1990, but the album sat in the vaults for five years, with some songs trickling out on soundtracks, with the entire album eventually leaking out as a bootleg prior to its release in 1995. Given this slow, steady crawl to release and the nature of bootlegs and B-sides, it's reasonable to assume from its slow unveiling that the album was a collection of covers that he recorded with different bands over different years, when quite the opposite was true – all 15 songs were the cut with the same band, all sequestered away in Barbados.

Perhaps realizing that The Juliet Letters was one step too far, especially after the willfully eclectic pair of Spike and Mighty Like a Rose, Elvis Costello set out to make a straight-ahead rock & roll record with Brutal Youth, reuniting with the Attractions (though Bruce Thomas appears on only five tracks) and Nick Lowe (who plays bass on most of the rest). Unfortunately, all this nostalgia and good intentions are cancelled by the retention of producer Mitchell Froom, whose junkyard, hazily cerebral productions stand in direct contrast to the Attractions' best work. Likely, Froom's self-conscious production appealed to Costello, since it makes Brutal Youth look less like a retreat, but it severely undercuts the effectiveness of the music, since it lacks guts, no matter how smugly secure it is in its tempered "experimentation."