Elvis Costello: A Bio-Bibliography (Bio-Bibliographies in Music)

Elvis Costello lvisCostello. (Copyright @1996 WarnerBros. Records Inc./Photo credit: Tim Kent. Reprinted byT permissi...

Author: James E. Perone

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Elvis Costello

lvisCostello. (Copyright @1996 WarnerBros. Records Inc./Photo credit: Tim Kent. Reprinted byT permission of Warner Bros, and Elvis Costello.)

Elvis Costello

= A Bio-Bibliography = A JAMES E. PERONE

Bio-Bibliographies in Music, Number 70

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Perone, James E. Elvis Costello : a bio-bibliography / James E. Perone. p. cm.—(Bio-bibliographies in music, ISSN 0742-6968 ; no. 70) Includes discographies, filmography, and index. ISBN 0-313-30399-1 (alk. paper) 1. Costello, Elvis—Bibliography. 2. Costello, Elvis— Discography. 3. Rock musicians—United States—Biography. I. Title. II. Series. ML134.C68P47 1998 782.42166,092—dc21 [B] 98-41644 MN British Library Cataloguing in Publication Data is available. Copyright © 1998 by James E. Perone All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 98-41644 ISBN: 0-313-30399-1 ISSN: 0742-6968 First published in 1998 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10

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Contents PREFACE ACKNOWLEDGEMENTS BIOGRAPHY ALBUM DISCOGRAPHY Elvis Costello as Performer Elvis Costello as Composer SINGLES DISCOGRAPHY MISCELLANEOUS DISCOGRAPHY Elvis Costello as Primary Performer Covers of Elvis Costello Compositions Production Work and Guest Appearances by Elvis Costello Other Costello-Related Recordings VIDEOGRAPHY AND FILMOGRAPHY MUSICAL SCORES DISCOGRAPHY BIBLIOGRAPHY GENERAL BIBLIOGRAPHY ELECTRONIC RESOURCES WORKS LIST AND WORKS INDEX INDEX

vii xi 1 13 13 35 37 53 53 63 68 74 75 79 81 127 173 175 193

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Preface While following the general format of the other volumes in Greenwood's BioBibliographies in Music series, I have used some slight stylistic variations due to the nature of the work of the subject of the present volume, British singer/songwriter/guitarist Elvis Costello. The book is divided into seven principal sections: (1) Biography; (2) Album Discography; (3) Singles Discography; (4) Discography Bibliography; (5) General Bibliography; (6) Works List and Works Index; and (7) Index. There are also smaller chapters devoted to videography/filmography, miscellaneous discography, bibliography of musical scores, and electronic resources. The Album Discography is broken down into two sections, the first large, the second smaller: (1) Elvis Costello as performer and (2) Elvis Costello as composer. The releases included in this chapter share a Costello focus - these are albums on which Costello appears as a performer or as a composer throughout. In numbering the works in this chapter, I have adopted the mnemonic "A" for "Album" followed by a sequential number. Depending upon the significance of the changes made, I have included some reissue information at the end of some album entries, but have included new entries when a number of "bonus tracks" have been added. In an effort to avoid confusion, however, I have cross-referenced the multiple entries for Costello's first album, My Aim Is True, for example, with "See also" notes. When using the Album Discography, it should also be noted that a number of Costello's British releases included slightly different selections than did their American counterparts. When the tracks differ, I have included separate entries for each "version" of the album. The Singles Discography includes "traditional" 45 rpm phonodiscs, cassette singles, and the still-newer compact disc singles. Also included are extended play phonodiscs and 12-inch, 45 rpm phonodiscs. As is the case in the Album Discography, I have made every effort to list all of the available formats for each of Costello's commercial releases. The singles are listed sequentially, with the mnemonic "S" for "Single," preceding the sequential number. Only releases on which Elvis Costello is the featured performer are included. One might label the Miscellaneous Discography a real "mixed bag." I have placed both albums and singles in this chapter which feature guest appearances by Costello, compilation-type releases which include perhaps one Elvis Costello song/performance, releases which feature cover versions of his compositions, and recordings which Elvis Costello produced. I have also included a number of truly miscellaneous issues, including tributes to and parodies of Costello. The mnemonic "M" for "Miscellaneous," followed by a sequential number differentiates these various entries.

iii Prefacea For the most part, I have avoided including promotional releases not available to the general public in the various discographies. I have, however, included some promotional compilations in the Miscellaneous Discography to illustrate the type of Elvis Costello product being included in, for example, Best of Warner Brothers Records-type releases. I have also included a number of promotional releases which include material not commercially available at the time of issue. A number of Costello concerts were broadcast live over the BBC in Great Britain and later available to radio stations on transcription discs, and a number of Costello's U.S. shows were recorded for radio broadcast on the "King Biscuit Flower Hour" program - since neither the "King Biscuit" nor the BBC recordings are available for commercial purchase, neither type is listed in the present book. While Elvis Costello has made cameo appearances in a number of films, such as Americathon, and in music videos by a variety of other artists (including The Spice Girls), the Videography and Filmography includes only official releases which feature something more substantial than a brief cameo. The Discography Bibliography includes entries with a primary focus on Costello's recordings or recordings of his songs by other artists. Most entries are reviews. Some articles on Elvis Costello profile the musician's career and provide a review of a Costello album - these are generally included in both the Discography Bibliography and General Bibliography and are cross-indexed. The entries in this chapter are listed chronologically The reader will find the use of the mnemonic "DB," for "Discography Bibliography," followed by a sequential number preceding each of these entries. The entries are, of course, cross-indexed back to the appropriate albums and singles from the Album, Singles, and Miscellaneous Discographies. The General Bibliography includes citations related to biographical material, concert reviews, brief mentions of Elvis Costello in the context of some other subject, and brief announcements of recording projects. When specific songs or recordings are mentioned in my annotations, I have cross-indexed the bibliographic citations with the appropriate recording (in one of the discography chapters) or with the song title in the Works List and Works Index. In keeping with the system of mnemonics which the reader has undoubtedly already figured out, I have used "GB" followed by a sequential number in the present chapter. The brief Electronic Resources chapter includes what I consider to be the most important internet, CD-ROM, and world wide web resources for information on Elvis Costello. This list does not reflect the huge number of "hits" one gets when one does a name search using one of the popular search engines on the web. The reader should be aware that some information available on the world wide web is of dubious quality and accuracy - these are not juried publications! While 1 do not suggest that any other electronic resources should be avoided, I do consider those I have listed to be wellresearched, and have found them to be as accurate as print publications. Due to the evolving nature of the internet and the world wide web, these resources are highly subject to change - the addresses I have supplied, as well, are subject to change; they are accurate as of May 1998. The Works List and Works Index includes all of the compositions of Elvis Costello I have been able to substantiate, either through recordings, or through print and electronic resources. In the case of unreleased works, I have attempted to gather at least two supporting references. Costello's compositions are listed alphabetically - the evolving nature of his approach to songs would make accurate chronological listing next to impossible. Because these entries are alphabetical, I have not found it necessary to continue the system of mnemonics I have used elsewhere. The reader will find "See"

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references back to the various other chapters, including references to "MS" entries, from the brief Musical Scores chapter. Concerning the Index, I would like to make one note. The reader will find Elvis Costello's entry broken down into such categories as "as performer," "as producer," and "as songwriter." I have included here only bibliographic citations in which my annotations indicate that an author made specific mention of one of these facets of Costello's work. Naturally, all or nearly all reviews of Costello's recordings would include commentary on his performance - in my annotations in the bibliography chapters I have only mentioned some of the stronger opinions expressed by writers or those which, in some cases, reflect either "typical" critical reaction or, in other cases, critical reaction which diverges widely from most. In the Index, I have also broken down the entries of a number of other individuals into separate categories, not necessarily in any systematic way, but as I felt that it might help the reader find some specific morsel of information.


Acknowledgements I am indebted to a number of individuals for their assistance in preparing the present book. In particular, I wish to thank my wife Karen L. Perone, whose 1991 bio-bibliography on American composer Lukas Foss for Greenwood Press first inspired me to try to get into the book-writing business; the acquisitions and production staff at Greenwood, who have helped me over the course of now six books; my childhood friend Mark Calvert who introduced me to the music of Elvis Costello when he returned to Ohio for summer vacation after his freshman year at Duke University - where he was fortunate enough to work for the University's radio station and have a chance to hear this amazing new sound from England; those wonderful record stores around Ohio State University in my native Columbus, where I found that I could buy all sorts of imported singles and extended-play singles of Elvis Costello, Nick Lowe, and other British acts long before they became generally known in this country; and my colleagues at Mount Union College, especially Professors Michelle Collins-Sibley, Thomas Botzman, and Kelly Lowe, who have kept asking "how Elvis is coming," pushing me to try to bring this project to some sort of closure - at least before Costello releases a whole batch of new recordings and sets me back to reindexing once again. I would also like to thank Gill Taylor of Costello's management team for providing the frontispiece photograph, and Elvis Costello himself, for providing some of the most interesting, innovative, and thought-provoking music of the past twenty years. Of course, I will offer the standard disclaimer that, while this book never could have been completed without these people, any errors and omissions are purely my own.


Biography Elvis Costello is the stage name of British musician, singer, guitarist, lyricist, and composer Declan Patrick MacManus. Born in London, England on August 25, 1954, Costello was surrounded by the popular music of the day since birth. His mother, Lillian MacManus, nee Costello, of Irish Catholic descent, ran a record shop in London's Selfridge's Department Store, while his father, Ronald (Ross) MacManus, also of Irish Catholic descent, was a trumpeter and singer with the Joe Loss Orchestra. Ross MacManus, who was with the Joe Loss group from the mid-1950s through the late1960s, was known as a giant of the cover version of popular songs, performing on the B.B.C. on the "Light Programme." For the younger MacManus, one important side benefit from his father's career was having ready access to newly released recordings of popular music, and even pre-release demonstration copies (See: DB296). Many songs to which the younger MacManus was introduced by these recordings were to appear on later Elvis Costello recordings, most notably on Kojak Variety (See: A45). In interviews (See: GB78, for example) and in his writings (See: DB296), Costello emphasizes the importance of his lifelong record collecting on the breadth and depth of his musical tastes. Although he first performed in public in 1969, Costello did not establish a professional recording career for about eight years. When his parents divorced in 1972, he moved from his native London to Liverpool and took a job at Midland Bank. It was during his stay in Liverpool that Costello made the acquaintance of Nick Lowe, who was later to produce the bulk of Costello's early recordings. The two musicians met after one of Lowe's performances with the band Brinsley Schwarz at a pub across the street from the Cavern, where the Beatles had initially made a name for themselves just over a decade before. During the 1972-1973 period, Costello performed with Alan Mayes using the moniker Rusty. A number of his earliest compositions date from this period. After returning to London in 1974, he worked as a computer operator for the Elizabeth Arden cosmetics company, performing in numerous London pubs with the band Flip City, still using his given name. His work at the cosmetics company, and the world of high fashion in general, influenced his later song "Lipstick Vogue," on the album This Year's Model (See: A3 and A4). With Flip City, MacManus was the lead singer, played rhythm guitar, and wrote the bulk of the original material which the band performed. Although Flip City established a following, the group's demo recordings, widely distributed to London record companies, generated no recording contract. A number of these demos, recorded in 1974 and 1975, however, later appeared as "bonus" tracks on the compact disc reissue of the Elvis Costello album My Aim Is True (See: A31). During this time, in November 1974, Costello was married to Mary Burgoyne. A son, Matthew, was born to the couple

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in February 1975. Matthew MacManus later received credit as an art consultant on King of America (See: A21) and for "rhythm research" on All This Useless Beauty (See: A49), and appeared as a member of Costello's post-Warner Brothers band in 1997. After the breakup of Flip City in 1976, the musician performed solo and continued his quest for a recording contract. Costello's recording career began in 1977 when he was signed to Stiff Records. Reportedly, Costello's demo record was the first to be delivered to Stiff Records founder Jake Riviera (real name Andrew Jakeman). Reportedly, the name "Elvis" was chosen by the musician and record label head because it was "almost as exclusive as 'Jesus'" (See: GB84). MacManus's pseudonym, as well as the title of his song "Watching the Detectives," are parodied in the recording "Washing the Defectives," credited to the group The Beatles Costello (See: M200). Riviera mounted a major promotional campaign for his new signing. Among the attempts to gain publicity for Costello was the musician's appearance in July 1977 in front of the London Hilton Hotel "busking" at the same time CBS executives were scheduled to meet. Although Costello was arrested and fined £5 for his "impromptu" performance, much publicity resulted and Columbia Records, owned by CBS, soon became the U.S. distributor for Costello's recordings. Costello's first singles on Stiff and Columbia (See: SI, S2, S3, and S4) generated modest sales. It was with the release, however, of the aforementioned "Watching the Detectives" (See: S5), that Costello captured the attention of the British record-buying public, giving Stiff Records its first chart single (See: GB84). On these early recordings, as well as on his first album My Aim Is True (See: Al and A2), Costello was backed by the American band Clover and members of The Rumour. My Aim Is True generated considerable exposure for Costello. The album has also elicited much praise from critics; in 1987, Rolling Stone, for example, listed My Aim Is True at #29 in the magazine's roll call of the top 100 albums of the period 1967-1987 (See: DB106). While the album featured mature song forms and insightful (some might say inciteful) lyrics that would continue to define the artist's style, My Aim Is True provided only a hint of a Costello ensemble sound. The tracks backed by Clover featured the lead guitar much more prominently than most later Costello productions, with very little keyboard. The basic Costello band sound was, rather, established by "Watching the Detectives," with its sparse guitar, virtuosic melodic bass guitar, frequent drum fills, and early-1960s style keyboard sound. Considering the importance of this recording, it is interesting that it was written very quickly by Costello after observing his wife watch a detective program on television. Costello telephoned Nick Lowe late at night and insisted that the producer immediately set up an "emergency" recording session so that Costello could get exactly the sound he wanted. The Rumour's drummer and bassist were enlisted for this recording (the keyboard parts, performed by later member of The Attractions, Steve Nieve, were later overdubbed), which took place some time after Costello had finished work on the original tracks for My Aim Is True. The difference in recording dates accounts for the fact that the British release of My Aim Is True (See: Al) does not include "Watching the Detectives," while the later American release (See: A2) includes the seminal track. The song, with its Jamaican, ^-influenced style, has continued to be one of the best-known Costello tracks. While the lyrical content of Costello's early work reflected a level of "revenge and guilt" (See: GB3) rarely seen before in rock music, the purely musical sound achieved by Costello on "Watching the Detectives" and the sound of other "pub rockers" or "new wave" artists like Nick Lowe, seemed to harken back to the British invasion of the early 1960s. In fact, Lowe provided one of the best examples of this curious mix in his song "Marie Provost." The 1976 Lowe opus features a jangling, 1964-style rhythm guitar, a

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middle instrumental bridge of unison electric guitar, piano, and chimes that would have fit on any early Beatles or Dave Clark Five album. The text, however, tells the story of Provost, a silent film legend, who died alone and in obscurity, and who was found halfeaten by her pet dog! Speaking of Nick Lowe, one need not search too far for certain correspondences between the early work of Lowe and Costello; Lowe wrote and recorded a song entitled "Little Hitler," while Costello bettered him with "Two Little Hitlers"; Lowe also wrote and recorded "When I Write the Book," with Costello producing "Everyday I Write the Book" a couple of years later. Nick Lowe also can be perhaps directly linked to the American new wave - the rhythmic style and unusual metrical changes (as well as the title, interestingly) of "I Love the Sound of Breaking Glass" can be heard in the work of Blondie, especially in the song "Heart of Glass." Since The Rumour was the vehicle for Graham Parker, and since Clover was usually fronted by the later-well-known Huey Lewis, Jake Riviera needed to form a backing group for Costello. The talents of keyboardist Steve Nason, who took up the pseudonym Steve Naive, and later Steve Nieve (See: A9); bass guitarist Bruce Thomas; and drummer Pete Thomas were enlisted for the new group, Elvis Costello and The Attractions. Naive (hereafter referred to as Nieve) had studied music at the Royal Conservatory, and later played a significant role in some of the Costello ensemble's orchestrations, most notably "...And In Every Home," on the album Imperial Bedroom (See: A15). Nieve was also the only Attraction to have no previous experience in rock music, having previously remained loyal to his classical roots. Both Bruce and Pete Thomas (no relation) had a great deal of experience in various bands and as studio musicians. Pete Thomas had already been hired as the new ensemble's drummer when Bruce Thomas replied to Riviera's newspaper advertisement. Costello was apparently not convinced by Bruce Thomas's original interview and resume, especially when the bassist acknowledged that one of his favorite groups was the American ensemble Steely Dan, a jazz-tinged, pop group sharing very little stylistic common ground with Costello. Pete Thomas, however, convinced Costello that Bruce would be an ideal bassist for The Attractions. A number of commentators have suggested that the name "The Attractions" was most appropriate for Costello's new group, as the science of physics teaches that opposites attract. The diverse nature of the four individuals, Costello, Nieve, Thomas, and Thomas, is highlighted in Bruce Thomas's 1990 book, The Big Wheel (See: GB221), a thinly-disguised, detailed account of an Elvis Costello and The Attractions concert tour, written shortly after the initial breakup of the ensemble. Thomas characterizes "The Singer" as a neurotic hypochondriac, while "The Drummer" is presented as a perpetuallyintoxicated partier and "The Keyboard Player" is presented as an unpredictable eccentric. Costello, not amused, responded with the rather blistering song "How To Be Dumb" on Mighty Like a Rose (See: A29). This vitriolic interchange resembled the early 1970s volleys between former Beatles John Lennon and Paul McCartney in songs such as Lennon's "How Do You Sleep?" and McCartney's "Too Many People." Costello's feelings to the contrary, some of Bruce Thomas's observations appear to have some basis in fact - in a 1978 article, Nick Kent wrote of the then-pseudonymed-Naive, "He's easily the weirdest guy I've ever, EVER interviewed" (See: GB16). In interviews, Costello himself admitted that he was also was perhaps not the most mature, stable person during the early part of his career (See: GB41). Regardless of how much the personalities of Elvis Costello and The Attractions, and particularly Costello and Bruce Thomas, might have later clashed, the new ensemble gelled musically from the start. The group performed live extensively in late 1977 and thereafter. A December 17, 1977 appearance on NBC's "Saturday Night Live" provided

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Elvis Costello and The Attractions with instant notoriety in the United States. Forbidden by the program's producers to perform "Radio, Radio," an indictment of the broadcasting industry, Costello started "Less Than Zero" instead, stopped in the middle and launched into the banned song on live television. The impact of the ensemble was not just a result of this sort of controversy and Costello's striking, venomous, pigeon-toed stage presence - there were compelling musical reasons that the band and their first album together (with producer Nick Lowe still on board), This Year's Model (See: A3 and A4), created a sensation. Writing in 1980 after the third album by Elvis Costello and The Attractions, Get Happy!! (See: A8), music critic Tom Carson stated "The Attractions were one of the best backup groups in the world on This Year's Model, and since then they've gotten better" (See: DB24). 1978's This Year's Model found its way onto Rolling Stone magazine's list of the best 100 albums of the period 1967-1978, besting even My Aim Is True. The 1978 opus, which featured "the most biting, punchy, and pointed rock & roll songs of this gifted artist's early career," clocked in at #11 (See: DB107). The album was also commercially successful, reaching #2 in the British charts and #11 in the United States. The discrepancy in chart standings between the United Kingdom and the United States for This Year's Model has continued throughout Costello's career. The 1994 album Brutal Youth, for example, reached #2 in the U.K., while only reaching #34 in the U.S. In this respect, Costello has broken the mold of a number of famous rock acts, such as the Beatles, Beach Boys, and Doors, all of which were generally even more commercially successful and/or more highly regarded critically across the Atlantic than in their home countries. A number of writers have attributed this to the "Englishness" of Costello's lyrics. The extensive touring and recording took its toll on Costello. While on tour, in Columbus, Ohio in March 1979, Costello became embroiled in a verbal battle with members of Stephen Stills's and Bonnie Bramlett's backing bands in a Holiday Inn bar. The intoxicated Costello, apparently trying to shock the American musicians, made a number of racial slurs about jazz and early rock & roll legend Ray Charles and about soul great James Brown (See: GB32). Even 15 years after the incident, a feature-length profile of Costello appeared in the Washington Post which obliquely referred to the Ohio incident in its title (See: GB336). Even though he was the subject of Costello's epithet, Ray Charles forgave the British newcomer, stating that Costello should be judged by his music and not by something he did while drunk. It should be noted that both before and after the infamous incident, Costello has demonstrated an unquestionable commitment to mending race relations - his 1978 song "Night Rally," for example, was a stinging indictment of England's racist National Front movement. The musician also participated in a number of "Rock Against Racism" concerts and produced the debut album by The Specials, a rare, racially integrated ensemble (See: Ml43). Costello's 1979 release Armed Forces (See: A6 and A7) had received nearly as much critical acclaim as This Year's Model, and the 1980 release Get Happy!! (See: A8), called "a clever and danceable album full of pop hooks and diabolical wordplay" by Rolling Stone, was ranked #65 in the magazine's list of the 100 most important albums of 1967-1987 (See: DB105). Get Happy7/ has remained a favorite album of Costello fans, fairly consistently being rated in fan polls as one of the musician's top two or three recordings (See: ER2). The song "Riot Act," contained on Get Happy!!, has incidentally also long been a favorite of Costello fans. As will be mentioned later, the album featured among the clearest examples of Elvis Costello's superb rhythm guitar work, and is also instrumentally dominated by virtuosic bass guitar playing from Bruce Thomas. Costello's original songs on the album recall, perhaps more than any of his other songs, the early 1960s British Invasion style, itself imitative of American soul music. Interestingly,

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Costello had seriously considered retiring after Get Happy!!, seeing the collection of originals and a few key rhythm and blues cover tunes as a fitting final statement. Perhaps because of Costello's intention to retire from the recording industry, the next releases from the artist were Ten Bloody Marys and Ten How's Your Fathers (United Kingdom) (See: A10) and Taking Liberties (United States) (See: A9), collections of rare B-sides and previously unreleased demo versions of other songs. Critical reaction to these two releases was generally mixed-to-negative (See: DB32, DB34, and DB35). Some critics wondered why Costello fans, who probably owned most of the tracks anyway, would buy an album just for a few demo versions. The same question/complaint was later heard even more vehemently about the 1997 album Extreme Honey (See: A56), which essentially summed up Costello's years at Warner Brothers. Eventually nixing the plan to retire, Costello moved into 1981 with Trust (See: All). While the album received generally favorable critical reaction, it is probably best remembered for its cover art - a striking, slightly askew and out-of-focus photograph of Costello peering over sunglasses. Posters of the album cover were seen throughout the 1980s in American television programs and movies such as "WKRP in Cincinnati," and Fast Times At Ridgemont High. Even in the 1990s, the cover remains part of popular consciousness (See also: DB185). 1981 also saw Costello recording his first collection of non-original compositions, Almost Blue (See: A12). The album's release came as quite a shock to some of the musician's fans - Almost Blue contains American country songs, some well known and some obscure. Perhaps understandably, since Almost Blue was such a stylistic departure, the album also received elicited a decidedly-mixed reaction from the rock music press (See, for example: DB44, DB52, and DB54). To authenticate the Nashville style, Elvis Costello and The Attractions recorded the album in the Tennessee city with famed producer Billy Sherrill, and were assisted by some of the top studio musicians in this country music mecca. Stylistic change was again in the air for Elvis Costello and The Attractions in 1982 when, working with producer Geoff Emerick, they recorded Imperial Bedroom (See: A15). Emerick had gained fame in the 1960s as a recording engineer assisting George Martin, producer for the Beatles. Considering the direct connection with arguably the greatest rock group of all time, it was perhaps fitting that Imperial Bedroom has been called Elvis Costello and The Attractions' "Sgt. Pepper," a reference to the 1967 Beatles album Sgt. Pepper's Lonely Hearts Club Band. Certainly, Emerick brought a greater number of recording "tricks" into the studio - this was the first Costello album that would be truly impractical to reproduce live in concert. It could be argued that many of Costello's compositions from the first four years of his recording career were political in nature, although sometimes the sentiments were expressed obliquely - Costello's lyrics more commonly deal with sexual politics. The 1980s, however, found Costello making more specific political statements. The 1982 Falklands War provided fodder for the composer in the form of the song "Shipbuilding," a most-highly critically acclaimed 1983 work which featured the trumpet work of jazz legend Chet Baker. The ballad told the story of an English town that would be spared economic hardship by the reopening of the shipyard. "Shipbuilding" was joined on the album Punch the Clock (See: A17) by "Pills and Soap," another work with a politicallyinspired text, which received even more acclaim. "Pills and Soap," incidentally holds the distinction of being the first Costello opus to be studied in an academic dissertation (See: GB233). Interestingly, the rest of Punch the Clock was seen as something of a "holding pattern" for Costello, at least in the view of some critics (See: DB65). Musically, the album, produced by Clive Langer and Alan Winstanley featured the increased use of a American-style brass section and the use of female background vocalists - a move similar

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in some respects to earlier British artists Elton John and David Bowie who embraced the "Philadelphia Sound" in the 1970s. Costello, in an online internet chat session in the late 1990s, explained the move in the direction with middle-of-the-road pop by saying, "Hey, it was the 80s" (See: ER3). The flirtation with an almost generic pop sound reached a "peak" with 1984's Goodbye Cruel World (See: A18), which even included a duet, "The Only Flame in Town," with "blue-eyed soul" star Daryl Hall. The album, generally considered Costello's worst (See: DB293 and ER1), was composed and recorded as the singer/composer's first marriage was breaking up. Costello himself attributes the lack of cohesiveness to both a lack of inspiration and the failed attempt to make his recorded product more commercially accepted (See: DB293). Costello also admits that he found himself "falling under the spell" of new technology like synthesizers and drum machines, instruments about as far from his earlier 1960s-influenced sound as one could imagine (See: DB293). The title, Goodbye Cruel World, was perhaps intended to be prophetic, for Costello once again intended to leave the music industry. The latest retirement once again provided Costello's British and American record labels a chance to release "best o f packages (See: A19 and A20). Marriage to Cait O'Riordan, former bass guitarist with The Pogues, a group for which Costello had done record production work, provided Costello with something of a new start. Costello's new musical start came with his work with T-Bone Burnett. The pair, calling themselves the Coward Brothers, toured and eventually worked together on the 1986 album King of America (See: A21). As if to signal his new start, Costello reverted back to his given name of Declan Patrick MacManus in the songwriting credits for the new material found on both King of America and Blood & Chocolate (See: A22), which was recorded several months later. King of America, which included just one guest appearance by The Attractions, found Costello working with some of the greatest American studio musicians of the rock and roll era, including the late Elvis Presley's former backup musicians Jerry Scheff (bass guitar and acoustic bass), Ron Tutt (drums), and James Burton (lead guitar). Costello was to continue to work primarily with studio musicians, with periodic guest appearances by Steve Nieve or Pete Thomas, for the next several years after the recording of Blood & Chocolate with The Attractions. Costello blamed the continuing personality conflicts with Bruce Thomas for the breakup of Elvis Costello and The Attractions. Incidentally, Blood & Chocolate also saw the return of Nick Lowe as producer (although Lowe was quickly gone again for Costello's next album), as well as the return of a harder-edged sound. Costello suggests in his liner notes for the compact disc reissue of the album (See: DB295) that the harder-edged sound was a result of his use of a Fender Telecaster guitar, as well as the recording of most of the material at live performance volume. Costello acknowledges the influence of Prince on a number of the songs (See: DB295), and the perceptive listener might detect the influence of the group U2 in the instrumental parts on "Home Is Anywhere You Hang Your Head." A later Costello solo version of Blood & Chocolate's "I Want You" was included on a compilation album featuring "great songs of sexual jealousy" (See: M89). The song can be understood as an updated version of the Robert Schumann lied "Ich grolle nicht" (text by Heinrich Heine). In the Schumann/Heine opus, the line "Ich grolle nicht" ("I grieve not") evolves in meaning from the literal to the sarcastic. Similarly, "I Want You" has the singer's true feelings moving from the near sentimental (in the introduction, which quotes a simple folk song) to the near sinister. A side-by-side listening to King of America and Blood & Chocolate (recorded within about six months of each other) provides an outstanding illustration of Costello's stylistic eclecticism - King of America presents a mix of country, folk, and ballad styles, while Costello himself describes Blood &

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Chocolate as "a rock 'n' roll record with a couple of weird ballads and few pop songs thrown in" (See: DB295). Even a cursory study of the annotations included with the bibliographic citations in this book will show numerous comments about the aforementioned electicism of Elvis Costello. Probably one of the best examples of this eclecticism would be his series of five completely different shows on five consecutive nights at the Beverly Theater in Beverly Hills, California in late 1986. Costello performed his old hits and new songs with The Attractions, country and rock oldies with The Confederates (the group that included the former Presley sidemen), and duets with such artists as Tom Waits and Tom Petty. Costello also featured an unique spinning wheel with over three dozen different song titles for an audience request segment of the shows (See: GB147). After Blood & Chocolate failed to live up to its sales potential, Costello decided to leave Columbia Records. According to Costello, "Our American record company had always seemed to want us to return to the sound that we had started out with, even though it had been more famous than successful. When we gave them what they wanted..., they hated it and buried it under a stone somewhere in Utah.... They had their chance and they blew it" (See: DB295). Once again, the musician apparently decided to retire from the recording industry - indeed it would be three years before an album of new material would be released. As had been the case with Costello's first "retirement," however, another collection, Out Of Our Idiot (See: A23), was issued. This 1987 collection, released by Costello's own Demon IMP label, consisted of alternate versions of Costello songs and other "rarities." 1987 also saw the release of Costello's first collaborative effort with Paul McCartney; the song "Back on My Feet," on the McCartney album Once Upon a Long Ago (See: Ml 12), was credited to McCart ney/MacManu s. The mid to late 1980s found Costello not only collaborating with Paul McCartney, but also recording and appearing in concert with the likes of Ruben Blades, country music star Ricky Skaggs and early rock and roll legend Roy Orbison. Orbison, on the final album before his death, Mystery Girl (See: Ml 16), also recorded Costello's "The Comedians." Throughout the late 1980s and the 1990s, Rykodisc, which had acquired the rights to the pre-Warner Brothers Costello catalog, reissued the original Columbia/Demon albums on compact disc. Since compact discs can hold much more material than the original vinyl albums, the company included live versions of well-known songs, demo versions, songs that had not previously appeared on albums, and other "rarities" as extended play tracks. For the serious "Elvis-ophile," these "bonus" tracks often provide a fascinating account of the artist's quest to achieve just the right sound for a given song. For example, the inclusion of both "Sunday's Best," which had only appeared on the original British version of Armed Forces (See: A6), and "Moods For Moderns," on the 1993 Rykodisc reissue (See: A33) allows the American listener to hear and compare Costello's deliberate attempt to gear particular material to one side of the Atlantic or the other. The reissue of Armed Forces also includes Costello's cover of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding," previously available only on the American version of the album (See: A7). Similarly, Trust's mysterious, impressionistic "Big Sister's Clothes" can be compared with its revved up cousin (or, sister...) "Big Sister" on the reissue of the album (See: A39). Rykodisc's Trust reissue also provides a fascinating look at the genesis of Punch the Clock's "The Invisible Man," which can be traced through the previously unreleased "Twenty-Five To Twelve" and "Seconds of Pleasure." Also of special note is the experimental version of "Hoover Factory" (earlier available on both albums A9 and A10) released on the reissue of Get

8

Biography

Happy!! (See: A38), which sounds eerily similar in instrumentation, style, and arrangement to some of Beach Boy Brian Wilson's 1966 Pet Sounds songs. Elvis Costello came back with a vengeance in 1989 with Spike (See: A25), the musician's first release on Warner Brothers. Not only was Costello's label new, he also broadened his songwriting collaboration with Paul McCartney. The collaboration "Veronica" generated more radio airplay in the United States than any other Costello single and the entire Spike package received generally positive reviews and brisk sales. Among other things, the recording is notable for the inclusion of a brass band (New Orleans-style, not a British brass band), an instrumental selection ("Stalin Malone"), as well as a generally high level of stylistic eclecticism from song to song. Unfortunately, Spike, Costello's first album with Warner Brothers, was also his most commercially and critically successful album during his eight years with the label. Spike, in fact, remains Costello's best-selling album. The recording saw Costello taking on social issues, such as British Prime Minister Margaret Thatcher's conservative policies ("Tramp the Dirt Down") and capital punishment ("Let Him Dangle"), head on, rather than obliquely as he had sometimes done in the past. The McCartney/MacManus songwriting team found even more exposure in 1989 with Paul McCartney's Flowers in the Dirt (See: Ml 19 and Ml80), which contained four joint efforts. According to many critics, Costello provided a near-perfect foil for McCartney, with several stating that Costello was largely responsible for McCartney producing some of his best songs since the former Beatle had worked with John Lennon nearly two decades earlier. The perhaps strange "Elvis Costello as John Lennon replacement" talk continued off and on for a number of years, returning when the surviving Beatles reunited to record several songs in 1994. Critics and fans gave Costello serious consideration as a possible replacement for the slain former Beatle, should the Beatles decide to tour (See: GB307 and GB308). 1991 's Mighty Like a Rose (See: A29) continued, in many respects, the Spike "tradition," with Costello still using well-known studio musicians and still collaborating (on two songs) with Paul McCartney. Commercially, the album did not really measure up to its predecessor. Critics were somewhat divided, although a number insisted that the new album included even better songs than Spike. The year 1991 also saw Costello appearing on MTV's "Unplugged" program - an affirmation of his status as a major figure in the popular music field. Costello's next great change of pace was to come in the form of 1992's The Juliet Letters (See: A30), a collaboration between Elvis Costello and The Brodsky Quartet. If Almost Blue, Costello's earlier country album, had divided fans and critics in the 1980s, the collaboration of a singer/composer generally known for a pop/rock/new wave/punk style (whatever that is) and a string quartet known for its work with both traditional repertoire and new music proved to be the controversial Costello collection of the 1990s. David Gates, writing in Newsweek, stated that the collection proved that Elvis Costello was an artist "beyond genre," (See: DB209) while an article entitled "Disgraceland" appearing in Stereo Review listed The Juliet Letters as one of the worst pop albums of 1993. (See: DB241) Critic Dan Ouellette, writing in Down Beat, gave the album 4-1/2 out of a possible 5 stars (See: DB217), while CD Review magazine felt compelled to present two contrasting reviews, with one giving The Juliet Letters 4 out of 5 stars, and the other, complaining mostly about Costello's "whining, straining voice," gave the work 2 out of 5 stars (See: DB211). Regardless of whether one accepts the extremely positive or the extremely negative reaction of Costello's audience and critics, the song cycle, with texts in the form of letters, was certainly formally and musically unique - there simply was not anything else around in 1992 that sounded quite like The Juliet Letters.

Biography

9

The 1990s found Costello collaborating with conductor/composer Richard Harvey on several television soundtrack scores. While a number of the musical themes introduced in instrumental versions on the soundtracks to "G.B.H." (See: A58) and "Jake's Progress" (See: A60) were to re-emerge in later Costello songs, it was perhaps this experience of composing instrumentally that inspired Costello's aspiration to eventually release an album of purely abstract instrumental music (See: GB477). Singer Tony Bennett's re-emergence in 1994 was fuelled by an appearance on MTV's "Unplugged" program. Among the guest artists joining Bennett on the television show and subsequent album (See: Ml87 and VI3) was Elvis Costello. Costello would, in 1996, guest with The Jazz Passengers and singer Deborah Harry (formerly vocalist with the new wave band Blondie) on the album Individually Twisted (See: Ml90), another "crossover" experience that would confound the critics (See: DB387, for example). Costello's work with jazz musicians also included performances with the Count Basie Orchestra, shortly before the famed bandleader's death. Perhaps acting in reaction to the mixed perception of The Juliet Letters, Costello's first post-string quartet project was to be 1994's Brutal Youth (See: A36). The album, which reunited Elvis Costello with The Attractions, featured a punkishlooking Costello on the back cover, with music to match. Costello's association with the long-absent Nick Lowe was also renewed, with Lowe providing bass guitar on a number of tracks. Lowe's presence was almost certainly due to the continuing musical and personal conflicts between Costello and Bruce Thomas. The year 1995 found Costello taking on a brand new role, as Artistic Director of London's Meltdown Festival. The festival allowed the musician to program with the kind of eclecticism that has continued to mark his own composing and performing work The festival also gave Costello himself a chance to perform with the Brodsky Quartet (including a rare voice and string quartet arrangement of Brian Wilson's "God Only Knows"), with the Jazz Passengers, and with jazz guitarist Bill Frisell. The festival also included a performance of Costello's orchestral composition Edge of Ugly, with conductor Gunther Schuller leading the London Philharmonic Orchestra. In the early 1990s, Costello had recorded cover versions of early rock and roll and rhythm and blues songs, accompanied by many of the same studio musicians who had served him so well on Spike and Mighty Like a Rose. The material was finally put onto compact disc (with limited release on 33-1/3 rpm phonodisc) and issued in 1995 as Elvis Costello's Kojak Variety (more generally known simply as Kojak Variety) (See: A45). Unlike his earlier cover album, Almost Blue, Kojak Variety met with near universal critical acceptance, if not approval. As mentioned previously, much of the material, rather obscure songs, was first heard by Costello as a result of his passion for record collecting, first begun as a child. The 1996 film Grace of My Heart, a thinly disguised nationalization of the career of Carole King and other late-1950s/early-1960s Brill Building songwriters, provided the opportunity for another unexpected collaboration - this time with Burt Bacharach. The song "God Give Me Strength," part of the film and the soundtrack album (See: M78), was written by the two by leaving messages on each other's telephone answering machines (See: GB435). While some reviewers found the film to be somewhat contrived, "God Give Me Strength" met with favorable critical reaction. The Costello/Bacharach collaboration is expected to continue with possible 1998 and 1999 projects. Over the years, Elvis Costello had written a number of songs specifically with other singers in mind - some had been recorded while others had not. The 1996 album All This Useless Beauty (See: A49) saw many of these compositions collected and

10

Biography

recorded by Costello and The Attractions, Because of the collaborative nature with which most of these songs had been written, the singles drawn from the album (See: SI07, SI08, and SI09) came with versions featuring guest performers - an usual move for Elvis Costello and The Attractions. While All This Useless Beauty was generally warmly received by music critics (See: DB371 for an interesting, strongly dissenting opinion!), the publicity campaign launched by Warner Brothers was deemed by Costello to be a failure. May 1996 also found Elvis Costello and Steve Nieve playing a series of duet concerts (with a few guest appearances by drummer Pete Thomas) in New York, Chicago, Los Angeles, Boston, and San Francisco. The press gave extensive coverage to the concerts (See: GB421, GB424, and GB425, all related to the duo's performance at the Supper Club in New York City), all of which were recorded and subsequently released both separately and together on a series of five compact discs (See: A50, A51, A52, A53, A54, and A55). A number of critics commented that the duo texture highlighted the quality of Costello's compositions, showing that they could stand up in even the most intimate of settings (See: DB380 and DB382). In late 1997, Costello's eight-year association with Warner Brothers ended, as did the latest reunion of Elvis Costello and The Attractions. A number of factors played a role in the rejection of the record label and band. Costello, apparently upset with what he felt to be the mishandling of publicity for All Iliis Useless Beauty after the album failed to live up to its sales potential, reportedly stormed into the offices of Warner music executives and, in an angry shouting match, quit (See: DB394 and GB477). In interviews, Costello placed the blame for his decision to disband The Attractions squarely on the shoulders of bass guitarist Bruce Thomas (See: DB394). Costello's last album on Warner Brothers, Extreme Honey (See: A56) was another "best o f collection, with a few important twists. Firstly, Costello himself was deeply involved with the choice of material (which might explain why some especially well-composed, yet less-thancommercially-stellar songs made the cut). Secondly, the album featured one new song, "The Bridge That I Burned," basically a rewrite of Prince's "Pop Life," necessitated by "The Artist's" refusal to allow Costello to cut a slightly modified version of "Pop Life" (See: GB470). Long considered an artist somewhat on the fringes of popular music, Costello has maintained a loyal following among a relatively small pocket of fans. The care and respect with which the fans treat Costello is probably best seen in the meticulous world wide web page maintained by Mark Schnitzius (See: ER2). Interestingly, despite his "fringe" standing, Costello has been a part of popular consciousness throughout his 20year career. Costello's music has been used in the background soundtracks of network television "soap operas" and situation comedies, including the popular 1980s American television program "Taxi," and in a 1997 review of the play Rent, Los Angeles Times writer Laurie Winer described the character "Mark" as "wearing Elvis Costello glasses" (See: GB467); this in spite of the fact that Costello had ceased wearing his trademark Buddy Holly glasses a decade-and-a-half earlier. As mentioned previously, the striking cover of the album Trust also remains a major part of popular consciousness. And in January 1998, as my wife and I waited for a take home sundae at the Alliance, Ohio Friendly's restaurant, I even heard "The Only Flame in Town," from Costello's selfacknowledged worst album (See: DB293), playing on the background music system! Although he refers to himself with such self-deprecating nicknames as "The Little Hands of Concrete" (See: A21), Costello exhibits a distinctive and fully functional electric guitar style. Early Costello work, such as his appearance on N.B.C.'s "Saturday Night Live," featured use of the "whammy bar" on isolated chords. This technique can

Biography

II

also be heard to good effect on the song "Shabby Doll," from the album Imperial Bedroom (See: A15 and A41). Both Costello, with his concise, early 1960s-influenced rhythm guitar work, and bassist Bruce Thomas can be considered the instrumental stars of the popular album Get Happy!! (See: A8). While Costello's rhythm guitar work can be heard to good effect on the majority of his recordings (especially the outstanding acoustic guitar work on King of America), he has rarely played extensive guitar solos Elvis Costello recordings, with the exception of Kojak Variety, in fact rarely feature any sort of extended melodic guitar solos, regardless of player. In his very early interview with Allan Jones (See: GB1), Costello emphatically stated, "There are going to be no flicking soloists in my band." There are, fortunately, a few notable exceptions, in which Costello demonstrates a wonderful ballad solo style, with a wide range of musical mood. The clean, emotionally detached solo in "The Long Honeymoon," with its rock-steady tremolo, contrasts greatly with Costello's emotional, Jimi Hendrix-influenced (notably Hendrix's "The Wind Cries Mary") solo on the beautiful ballad "Sweet Pear," found on the album Mighty Like a Rose. Interestingly, Costello's much underrated guitar playing has received relatively little comment from critics. In contrast to his instrumental work, Costello's vocal stylings have elicited a significant amount of commentary from the rock music press. Some consider him to be the Frank Sinatra-like crooner of his generation (See: DB36, DB302, DB310, and DB346); Sinatra, like Costello in the past 20 years, may not have sold the greatest number of records during the 1940s and 1950s, but he spoke for his generation the way no other singer could. Other critics, with more of an ear for pure vocal technique, have complained about Costello's lack of range and a "grating" and "whining and straining" delivery (See: DB211 and DB276, for example). Greil Marcus probably came closest to describing Costello's place as a vocalist in writing that "Elvis Costello is a typical firstrate rock & roll singer with a third rate voice" (See: DB72). That Elvis Costello has elicited such widely divergent reaction is perhaps a testimony to the distinctiveness of his style. With the exceptions of a few cover tunes on several albums and the all-cover albums Almost Blue and Kojak Variety, Elvis Costello has primarily performed his own songs. To look at the situation a little differently, Elvis Costello the composer has had the bulk of his work performed only by Costello the performer. The tie between composition and the definitive, Costello performance, then, is essential; when one speaks about Costello's songs, one must necessarily make reference to Costello's arrangements and performances. Although the critics disagree considerably on the merits of Costello's voice, and have for the most part failed to recognize his skill as a rhythm guitarist, as a composer, the musician has come close to achieving universal acclaim. The eclecticism which I have previously mentioned has served Costello well as a song writer; Elvis Costello has a knack for studying a particular genre and adopting it as his own. For example, Trust's "Shot With His Own Gun" vividly recalls the torch songs of 50 and 60 years before its penning. In addition, while Costello's performance of country standards on Almost Blue was generally poorly received, his own country-style songs, from "Radio Sweetheart," to "Stranger in the House," and a number of songs on the later King of America, have been praised. Musically, Costello has transcended the three-minute popular song. Even an early work, like the aforementioned "Radio Sweetheart," features an unusual approach to form (the song includes an introduction, repeated choruses, and repeated, transitional "middle-eight" sections, and a coda, but has no structural verses - a most unusual feature), perhaps related to the text. As mentioned previously, "Pills and Soap" was studied in a doctoral dissertation because of its close marriage of music and text. The texts of Costello's songs, in fact, have been the focal point of many reviews

12

Biography

and feature articles. Even a casual perusal of the Discography Bibliography and the General Bibliography will lead the reader to numerous examples. Throughout his career, Costello has been compared with Bob Dylan, another writer whose texts feature serious, thoughtful, emotionally charged commentary on a wide range of subjects. Elvis Costello has also been an influence on younger pop musicians, such as Casey Scott, Ron Sexsmith, Peter Himmelman, Everclear, John Wesley Harding, and a number of others. The General Bibliography will lead the reader to a fair number of articles on "Costello as influence." After the previous discussion of Costello's performance and compositional style and its influence, it is appropriate to note that the artist never hesitates to express his disdain for music critics - not that this is necessarily a reaction to negative criticism, it is rather because Costello feels that music should be heard, enjoyed, and understood on its own terms; writing about music, to Costello's way of thinking, is entirely inappropriate. A man of many contradictions - a punk who has sung with George Jones, Tony Bennett, and the Count Basie Orchestra, not to mention a string quartet; one who dismisses critics, yet has been known to comment on the performances of others in a manner not unlike a music critic; a writer best known for "revenge and guilt" who penned the absolutely beautiful ballad "Sweet Pear;" an artist accused of being a racist because of comments he made that were purely meant to shock, yet an active foe of racist organizations and active participant in the "Rock Against Racism" concerts; a singer who has worn the eyeglass styles of Buddy Holly and John Lennon; and probably the most gifted, most critically acclaimed, and most prolific writer of popular song of his generation - these are all Elvis Costello.

Album Discography Elvis Costello as Performer A1.

My Aim Is True. "Welcome to the Working Week" (Costello); "Miracle Man" (Costello); "No Dancing" (Costello); "Blame It On Cain" (Costello); "Alison" (Costello); "Sneaky Feelings" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "Mystery Dance" (Costello); "Less Than Zero" (Costello); "Pay It Back" (Costello); "I'm Not Angry" (Costello); "Waiting for the End of the World" (Costello). Elvis Costello, guitar and vocals, with Clover (John McFee, guitar and pedal steel guitar; Sean Hopper, piano and organ; Johnny Ciambotti, bass guitar; Mickey Shine, drums). Produced by Nick Lowe. Simultaneously released on 33-1/3 rpm phonodisc, Stiff Records SEEZ 3 (U.K.); and 1-7/8 ips audio cassette, Stiff Records ZSEEZ 3 (U.K.), 1977. The present album, released in July 1977, stayed in the charts for most of the second half of the year, and peaked at #10. (See also: A2, A24, A31; MSI; DB1, DB2, DB3, DB4, DB5, DB6, DB9, DB80, DB106, DB297; GB16, GB330)

a2.

My Aim Is True. "Welcome to the Working Week" (Costello); "Miracle Man" (Costello); "No Dancing" (Costello); "Blame It On Cain" (Costello); "Alison" (Costello); "Mystery Dance" (Costello); "Sneaky Feelings" (Costello); "Watching the Detectives" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "Less Than Zero" (Costello); "Pay It Back" (Costello); "I'm Not Angry" (Costello); "Waiting for the End of the World" (Costello). Elvis Costello, guitar and vocals, with Clover (John McFee, guitar and pedal steel guitar; Sean Hopper, piano and organ; Johnny Ciambotti, bass guitar; Mickey Shine, drums) all tracks except "Watching the Detectives," which features Costello backed by members of The Rumour (Steve Goulding, drums; Andrew Bodnar, bass); Steve Naive, keyboards (overdubbed) on "Watching the Detectives." Produced by Nick Lowe. Simultaneously released on 33-1/3 rpm phonodisc, Columbia 35037 (U.S.); and 1-7/8 ips audio cassette, Columbia JCT 35037, 1977. Reissued on compact disc, 1985. Note that, unlike the original British release of My Aim Is True (See: Al), the American release includes the seminal work "Watching the Detectives." (See also: A24, A31; MSI; DB2, DB3, DB4, DB5, DB6, DB9, DB80, DB106, DB297; GB330)

14 Album Discography A3.

This Year's Model. "No Action" (Costello); "This Year's Girl" (Costello); "The Beat" (Costello); "Pump It Up" (Costello); "Little Triggers" (Costello); "You Belong To Me" (Costello); "Hand In Hand" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Lip Service" (Costello); "Living In Paradise" (Costello); "Lipstick Vogue" (Costello); "Night Rally" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Radar RAD3, 1978 (U.K.). Reissued in 1980 as F-Beat XXLP 4 (U.K.). (See also: A4, A32; MSI; DB7, DB15, DB107, DB152, DB297, DB344, DB368)

A4.

This Year's Model. "No Action" (Costello); "This Year's Girl" (Costello); "The Beat" (Costello); "Pump It Up" (Costello); "Little Triggers" (Costello); "You Belong To Me" (Costello); "Hand In Hand" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Lip Service" (Costello); "Living In Paradise" (Costello); "Lipstick Vogue" (Costello); "Radio Radio" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe. Simultaeously released on 331/3 rpm phonodisc, Columbia JC 35331 (U.S.); 1-7/8 ips audio cassette, Columbia PCT 35331 and JCT 35331 (U.S.); and 3-3/4 ips sound cartidge (8tracktape), Columbia JC A 35331 (U.S.), 1978. (See also: A3, A32; MSI; DB9, DB10, DB11, DB12, DB24, DB107, DB152, DB297, DB344, DB368; GB16)

A5.

Live at the ElMocambo. "Mystery Dance" (Costello); "Waiting for the End of the World" (Costello); "Welcome to the Working Week" (Costello); "Less Than Zero" (Costello); "The Beat" (Costello); "Lip Service" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Little Triggers" (Costello); "Radio Radio" (Costello); "Lipstick Vogue" (Costello); "Watching the Detectives" (Costello); "Miracle Man" (Costello); "You Belong To Me" (Costello); "Pump It Up" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums; Martin Belmont, rhythm guitar. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Columbia CDN-10C, 1978 (Canada). The present was a live promotional release of 500 copies; counterfeit and bootleg versions also exist in abundance. The tracks were recorded in Toronto, March 1978. (See also: A34;DB13)

A6.

Armed Forces. "Accidents Will Happen" (Costello); "Senior Service" (Costello); "Oliver's Army" (Costello); "Big Boys" (Costello); "Green Shirt" (Costello); "Party Girl" (Costello); "Goon Squad" (Costello); "Busy Bodies" (Costello); "Sunday's Best" (Costello); "Moods For Moderns" (Costello); "Chemistry Class" (Costello); "Two Little Hitlers" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Radar RAD 14, 1979 (U.K.). Also issued on 1-7/8 ips audio cassette, Radar RAC 14, 1979 (U.K.). Reissued on F-Beat XXLA5 5, 1980 (U.K.). Reissued on Demon Records FIEND 21, 1984 (U.K.) Reissued on compact disc, Demon Imp FIEND CD 21, 1984 (U.K.). (See also: A7, A33; S16; MSI; DB14, DB297; GB16)

Album Discography 15 A7.

Armed Forces. "Accidents Will Happen" (Costello); "Senior Service" (Costello); "Oliver's Army" (Costello); "Big Boys" (Costello); "Green Shirt" (Costello); "Party Girl" (Costello); "Goon Squad" (Costello); "Busy Bodies" (Costello); "Moods For Moderns" (Costello); "Chemistry Class" (Costello); "Two Little Hitlers" (Costello); "(What's So Funny 'Bout) Peace, Love and Understanding" (Nick Lowe). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Peter Thomas, drums. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Columbia JC 35709, 1979 (U.S.). Released simultaneously on 1-7/8 ips audio cassette, Columbia JCT 35709. Reissued on compact disc, Columbia CK 35709, Columbia DIDP 20187, 1985. (See also: A6, A33; S16; MSI; DB16, DB17, DB18, DB19, DB20, DB297)

a8.

Get Happy!! "Love For Tender" (Costello); "Opportunity" (Costello); "The Imposter" (Costello); "Secondary Modern" (Costello); "King Horse" (Costello); "Possession" (Costello); "Man Called Uncle" (sic) (Costello); "downtime Is Over" (Costello); "New Amsterdam" (Costello); "High Fidelity" (Costello); "I Can't Stand Up for Falling Down" (Homer Banks, Allan Jones); "Black and White World" (Costello); "5ive Gears In Reverse" (Costello); "B Movie" (Costello); "Motel Matches" (Costello); "Human Touch" (Costello); "Beaten to the Punch" (Costello); "Temptation" (Costello); "I Stand Accused" (T. Colton, R. Smith); "Riot Act" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe, except "New Amsterdam," which is produced by Elvis Costello. Simultaneously released on 33-1/3 rpm phonodisc, F-Beat XXLA 1 (U.K.); Columbia JC 36347 (U.S.); 3-3/4 ips sound cartridge (8-track tape), Columbia JCA 36347; and 1-7/8 ips audio cassette, Columbia, JCT 36347 (U.S.) and Columbia PCT 36347 (U.S.), 1980. Also released on two 45 rpm phonodiscs on F-Beat XXPROMO 1, 1980 for promotional use by disc jockies. Note: The correct title of "Man Called Uncle" is "Men Called Uncle." (See also: A38; MSI; DB21, DB22, DB23, DB24, DB25, DB26, DB27, DB28, DB29, DB90, DB105, DB109, DB146, DB297)

A9.

Taking Liberties. "Clean Money" (Costello); "Girls Talk" (Costello); "Talking in the Dark" (Costello); "Radio Sweetheart" (Costello); "Black and White World" (Costello); "Big Tears" (Costello); "Just a Memory" (Costello); "Night Rally" (Costello); "Stranger in the House" (Costello); "downtime Is Over" (Costello); "Getting Mighty Crowded" (Van McCoy); "Hoover Factory" (Costello); "Tiny Steps" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Dr. Luther's Assistant" (Costello); "Sunday's Best" (Costello); "Crawling to the U.S.A." (Costello); "Wednesday Week" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart); "Ghost Train" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums (all tracks except "Radio Sweetheart" and "Stranger in the House"). Elvis Costello with Clover on "Radio Sweetheart" and "Stranger in the House." Dave Edmunds, guest vocals on "Clean Money" and Mick Jones, guitar on "Big Tears." Produced by Nick Lowe (tracks 1, 2, 3, 4, 6, 8, 9, 13, 14, 16, and 18) and Elvis Costello (tracks 5, 7, 10, 11, 12, 15, 17, 19, 20). Simultaneously released on 33-1/3 rpm phonodisc, Columbia JC 36839

16 Album Discography (U.S.); 1-7/8 ips audio cassette, Columbia JCT 36839 (U.S.); and compact disc, Columbia CK 36839, 1980. The present album consists primarily of rare "B-sides" and previously unreleased material. This release marked the first use of the pseudonymn Steve Nieve by keyboardist Steve Nason (a.k.a. Steve Naive). (See also: A10; MSI; DB30, DB31, DB32, DB33, DB34, DB35, DB37, DB297) A10.

Ten Bloody Marys and Ten How's Your Father. "Clean Money" (Costello); "Girls Talk" (Costello); "Talking in the Dark" (Costello); "Radio Sweetheart" (Costello); "Big Tears" (Costello); "Crawling to the U.S.A." (Costello); "Just a Memory" (Costello), "Watching the Detectives" (Costello); "Stranger in the House" (Costello); "downtime Is Over" (Costello); "Getting Mighty Crowded" (Van McCoy); "Hoover Factory" (Costello); "Tiny Steps" (Costello); "(What's so Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe); "Dr. Luther's Assistant" (Costello); "Radio Radio" (Costello); "Black and White World" (Costello); "Wednesday Week" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart); "Ghost Train" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums (all tracks except "Radio Sweetheart" and "Stranger in the House"). Elvis Costello with Clover on "Radio Sweetheart" and "Stranger in the House." Dave Edmunds, vocals on "Clean Money" and Mick Jones, guitar on "Big Tears." Produced by Nick Lowe and Elvis Costello. 3-3/4 ips cassette tape. FBeat XXC 6 (U.K.), 1980. Reissued simultaneously on 33-1/3 rpm phonodisc, Demon IMP FIEND 27 (U.K.); and 1-7/8 ips audio cassette, Demon IMP FIENDCASS 27 (U.K.), 1984. Reissued on compact disc, Demon IMP FIEND CD 27, 1986. The present album, the United Kingdom equivalent of Taking Liberties (See: A9), was initially released exclusively on cassette. (See also: DB71, DB297)

Al 1.

Trust. "Clubland" (Costello); "Lover's Walk" (Costello); "You'll Never Be a Man" (Costello); "Pretty Words" (Costello); "Strict Time" (Costello); "Luxembourg" (Costello); "Watch Your Step" (Costello); "New Lace Sleeves" (Costello); "From a Whisper to a Scream" (Costello); "Different Finger" (Costello); "White Knuckles" (Costello); "Shot With His Own Gun" (Costello); "Fish 'n' Chip Paper" (Costello); "Big Sister's Clothes" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums; Martin Belmont, guitar ("From a Whisper to a Scream"); Glenn Tilbrook, vocals ("From a Whisper to a Scream"). Produced by Nick Lowe, in association with Roger Bechirian, except "Big Sister's Clothes," which is produced by Elvis Costello. Simultaneously issued on 33-1/3 rpm phonodisc, F-Beat XXLP 11 (U.K.); Columbia JC 37051 (U.S.); and 1-7/8 ips audio cassette, F-Beat XXC 11 (U.K.); Columbia JCT 37051 (U.S.), 1981. Reissued on 33-1/3 rpm phonodisc, Demon Records IMP FIEND 30 (U.K.); and 1-7/8 ips audio cassette, Demon Records IMP FIEND CASS 30 (U.K.), 1984. Reissued on compact disc, Demon FIEND CD 30 (U.K.), 1986. (See also: A39; MS2; DB36, DB38, DB39, DB40, DB41, DB42, DB43, DB109, DB185, DB297)

A Ibum Discography 17 A12.

Almost Blue. "Why Don't You Love Me (Like You Used to Do)" (Hank Williams); "Sweet Dreams" (Don Gibson); "Success" (Johnny Mullins); "I'm Your Toy" (Gram Parsons, Chris Ethridge); "Tonight the Bottle Let Me Down" (Merle Haggard); "Brown To Blue" (George Jones, Virginia Frank); "Good Year for the Roses" (Jerry Chesnut); "Sittin' and Thinkin'" (Charlie Rich); "Colour of the Blues" (Lawton Williams, George Jones); "Too Far Gone" (Billy Sherrill); "Honey Hush" (Lou Willie Turner); "How Much I Lied" (Gram Parsons, Pam Rifkin). Elvis Costello, guitar and vocals; Steve Nieve, piano and organ; Bruce Thomas, bass guitar; Pete Thomas, drums; John McFee, lead guitar and pedal steel guitar; Nashville Edition, backing vocals; Tommy Miller, violin. Produced by Billy Sherrill. Simultaneously released on 33-1/3 rpm phonodisc, F-Beat XXLP 13 (U.K.); Columbia FC 37562 (U.S.), 1981; and 17/8 ips audio cassette, F-Beat XXC 13 (U.K.); Columbia FCT 37562 (U.S), 1981. Reissued on 33-1/3 rpm phonodisc, Demon Records IMP FIEND 33; and 1-7/8 ips audio cassette, Demon Records IMP FIEND CASS 33, 1984. Reissued on compact disc, Demon IMP FIEND CD 33, 1986. (See also: A13, A40; DB44, DB45, DB46, DB47, DB48, DB49, DB50, DB51, DB52, DB53, DB54, DB109, DB297, DB329)

Al 3.

Elvis Costello Introduces... The Tracks From His New Album 'Almost Blue. " "Why Don't You Love Me (Like You Used to Do)" (Hank Williams); "Sweet Dreams" (Don Gibson); "Success" (Johnny Mullins); "I'm Your Toy" (Chris Ethridge, Gram Parsons); "Tonight the Bottle Let Me Down" (Merle Haggard); "Brown To Blue" (George Jones, Virginia Frank); "Good Year for the Roses" (Jerry Chesnut); "Sittin' and Thinkin'" (Charlie Rich); "Colour of the Blues" (Lawton Williams, George Jones); "Too Far Gone" (Billy Sherrill); "Honey Hush" (Lou Willie Turner); "How Much I Lied" (Gram Parsons, Pam Rifkin). Elvis Costello, guitar and vocals; Steve Nieve, piano and organ; Bruce Thomas, bass guitar; Pete Thomas, drums; John McFee, lead guitar and pedal steel guitar; Nashville Edition, backing vocals; Tommy Millar, violin. Produced by Billy Sherrill. 33-1/3 rpm phonodisc. F-Beat E C . CHAT 1 (U.K.); Columbia AS 1318 (U.S.), 1981. Each of the songs on the present album is preceeded by a spoken introduction by Costello. Each copy of the release was individually stamped and numbered and contained personal autographs from the musicians. (See also: A12)

A14.

Almost New. "I'm Your Toy" (Chris Ethridge, Gram Parsons); "Accidents Will Happen" (Costello); "Alison" (Costello); "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Green Shirt" (Costello); "Pump It Up" (Costello); "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums; Royal Philharmonic Orchestra, Robert Kirby, conductor ("I'm Your Toy"). Produced by Nick Lowe. 33-1/3 rpm phonodisc. F-Beat ELVIS 82 (Australia), 1982. Although non-UK. and non-US. releases are not generally included in the present discography, Almost New is included due to its unique nature. The versions of "Accidents Will Happen" and "Alison" are identical to those released on Live At Hollywood High (See: S16).

18 Album Discography A15.

Imperial Bedroom. "Beyond Belief (Costello); "Tears Before Bedtime" (Costello); "Shabby Doll" (Costello); "The Long Honeymoon" (Costello); "Man Out Of Time" (Costello); "Almost Blue" (Costello); "... And In Every Home" (Costello); "The Loved Ones" (Costello); "Human Hands" (Costello); "Kid About It" (Costello); "Little Savage" (Costello); "Boy with a Problem" (Costello, Chris Difford); "Pidgin English" (Costello); "You Little Fool" (Costello); "Town Cryer" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards and orchestrations; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Geoff Emerick from an original idea by Elvis Costello, assisted by Jon Jacobs. Simultaneously released on 33-1/3 rpm phonodisc, FBeat XXLP 17 (U.K.); Columbia FC 38157 (U.S.); and 1-7/8 ips audio cassette, F-Beat XXC 17 (U.K.); Columbia PCT 38157 (U.S.), 1982. Reissued on halfspeed mastered 33-1/3 rpm phonodisc, Columbia HC-48157 (U.S.), 1983. Reissued on 33-1/3 rpm phonodisc, Demon IMP FIEND 36; and 1-7/8 ips audio cassette, Demon IMP FIEND CASS 36, 1984. Reissued on compact disc, Demon IMP FIEND CD 36, 1986. (See also: A16, A41; MS2; DB55, DB56, DB57, DB58, DB59, DB60, DB61, DB62, DB147, DB183, DB297)

A16.

A Conversation With Elvis Costello. "Beyond Belief (Costello); "Tears Before Bedtime" (Costello); "Shabby Doll" (Costello); "The Long Honeymoon" (Costello); "Man Out Of Time" (Costello); "Almost Blue" (Costello); "...And In Every Home" (Costello); "The Loved Ones" (Costello); "Human Hands" (Costello); "Kid About It" (Costello); "Little Savage" (Costello); "Boy with a Problem" (Elvis Costello and Chris Difford); "Pidgin English" (Costello); "You Little Fool" (Costello); "Town Cryer" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards and orchestrations; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Geoff Emerick from an original idea by Elvis Costello, assisted by Jon Jacobs. 33-1/3 rpm phonodisc. F-Beat E.C.CHAT 2 (U.K.), 1982. The present release contains identical material to Imperial Bedroom (See: A15), but with extensive spoken introductions to each of the tracks by Elvis Costello. Costello describes the lyrical content of the songs, how the arrangements were developed, and the writing, recording, and mixing process in detail. Apparently, most copies were numbered and signed by Elvis Costello.

A17.

Punch the Clock. "Let Them All Talk" (Costello); "Everyday I Write the Book" (Costello); "The Greatest Thing" (Costello); "The Element Within Her" (Costello); "Love Went Mad" (Costello); "Shipbuilding" (Costello, Clive Langer); "TKO (Boxing Day)" (Costello); "Charm School" (Costello); "The Invisible Man" (Costello); "Mouth Almighty" (Costello); "King Of Thieves" (Costello); "Pills and Soap" (Costello); "The World and His Wife" (Costello). Elvis Costello, guitar, vocals, synclavier, and Casiotone; Steve Nieve, piano, synthesizers, and organ; Bruce Thomas, bass guitar; Pete Thomas, drums; The TKO Horns (Jim Paterson, trombone; Jeff Blythe, saxophones and clarinet; Paul Speare, saxophone and flute; Dave Plews, trumpet; Stuart Robinson, trumpet and flugelhorn); Caron Wheeler, vocals; Claudia Fountaine, vocals; Chet Baker, trumpet; Morris Pert, percussion. String arrangements by David Bedford. Produced by Clive Langer and Alan Winstanley, except "Pills and Soap," which was produced by Colin Fairley and The Imposter (Elvis Costello).

A Ibum Discography 19 Simultaneously released on 33-1/3 rpm phonodisc. F-Beat XXLP 19 (U.K.); Columbia FC 38897 (U.S.), 1983. 1-7/8 ips audio cassette, F-Beat XXC 19 (U.K.); Columbia PCT 38897 (U.S.). Reissued on compact disc, Columbia CK 38897 (U.S.), 1984. Simultaneously reissued on 33-1/3 rpm phonodisc, Demon IMP FIEND 72; 1-7/8 ips audio cassette, Demon IMP FIEND CASS 72; and compact disc, Demon IMP FIEND CD 72, 1987. (See also: A43; MS2; DB64, DB65, DB66, DB67, DB68, DB69, DB297) A18.

Goodbye Cruel World. "The Only Flame In Town" (Costello); "Home Truth" (Costello); "Room with a Number" (Costello); "Inch By Inch" (Costello); "Worthless Thing" (Costello); "Love Field" (Costello); "I Wanna Be Loved" (Farnell Jenkins); "The Comedians" (Costello); "Joe Porterhouse" (Costello); "Sour Milk-Cow Blues" (Costello); "The Great Unknown" (Costello); "The Deportees Club" (Costello); "Peace In Our Time" (Costello). Elvis Costello, guitar, vocals, and anvil; Maurice Worm, ramdom racket [Steve Nieve, keyboards]; Bruce Thomas, bass guitar; Pete Thomas, drums; Gary Barnacle, saxophones and electric saxophone; Jim Paterson, trombone; Luis Jardim, percussion; Daryl Hall, backing vocals; Green, backing vocals. Produced by Clive Langer and Alan Winstanley. 33-1/3 rpm phonodisc. F-Beat ZL70317 (U.K.); Columbia 39429 (U.S.), 1984. Reissued 33-1/3 rpm phonodisc, Demon IMP FIEND 75; and compact disc, Demon IMP FIEND CD 75, 1987. (See also: A44; DB72, DB73, DB74, DB75, DB76, DB77, DB78, DB99, DB183, DB297;GB364)

A19.

The Best of Elvis Costello and The Attractions. "Alison" (Costello); "Watching the Detectives" (Costello); "(What's So Funny 'Bout) Peace, Love, and Understanding?" (Nick Lowe); "Oliver's Army" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "Pump It Up" (Costello); "Accidents Will Happen" (Costello); "Radio, Radio" (Costello); "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Good Year for the Roses" (Jerry Chesnut); "Almost Blue" (Costello); "Beyond Belief (Costello); "Man Out Of Time" (Costello); "Clubland" (Costello); "Watch Your Step" (Costello); "Shipbuilding" (Costello, Clive Langer); "I Wanna Be Loved" (Farnell Jenkins); "Everyday I Write the Book" (Costello); "The Only Flame in Town" (Costello). Elvis Costello and The Attractions, with various other backing musicians. Various tracks produced by Nick Lowe, Billy Sherrill, Clive Langer, and Alan Winstanley. All tracks previously released. Simultaneously released on 33-1/3 rpm phonodisc, Columbia CK40101 (U.S.); 1-7/8 ips audio cassette, Columbia CK40101 (U.S.); and compact disc, Columbia CK40101 (U.S.), 1985. Note: Neither the 33-1/3 rpm phonodisc release, nor the cassette release include "(The Angels Wanna Wear My) Red Shoes," "Good Year for the Roses," and "Man Out Of Time." (See also: DB297)

A20.

The Best of Elvis Costello - The Man. [also known as The Man (The Best of Elvis Costello)] "Watching the Detectives" (Costello); "Oliver's Army" (Costello); "Alison" (Costello); "Accidents Will Happen" (Costello); "Pump It Up" (Costello); "High Fidelity" (Costello); "Pills and Soap" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "New Lace Sleeves" (Costello); Good Year for the Roses" (Jerry Chesnut); "I Can't Stand Up For Falling

20

Album Discography Down" (Homer Banks, Allan Jones); "Clubland" (Costello); "Beyond Belief (Costello); "New Amsterdam" (Costello); "Green Shirt" (Costello); "Everyday I Write the Book" (Costello); "I Wanna Be Loved" (Farnell Jenkins); "Shipbuilding" (Costello, Clive Langer). Elvis Costello, guitar and vocals with The Attractions and various other backing musicians. Various tracks produced by Nick Lowe, Billy Sherrill, Clive Langer, Alan Winstanley, Colin Fairley, and The Imposter (Elvis Costello). All tracks previously released. Simultaneously released on 1-7/8 ips audio cassette, 33-1/3 rpm phonodisc, and compact disc, Telstar STAR 2247 (U.K.), 1985. Reissued on 33-1/3 rpm phonodisc, Demon IMP FIEND 52; 1-7/8 ips audio cassette, Demon IMP FIEND CAS 52; and compact disc, Demon IMP FIEND CD 52, 1986. The present U.K. album was highly succesful commercially, reaching number 8 in the British charts. Note that the Telstar release was know as The Best of Elvis Costello - The Man, while the Demon version was entitled The Man (The Best of Elvis Costello). (See also: DB82, DB93)

A21.

King of America. "Brilliant Mistake" (MacManus); "Lovable" (MacManus, Cait O'Riordan); "Our Little Angel" (MacManus); "Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell); "Glitter Gultch" (MacManus); "Indoor Fireworks" (MacManus); "Little Palaces" (MacManus); "I'll Wear It Proudly" (MacManus); "American Without Tears" (MacManus); "Eisenhower Blues" (J.B. Lenoir); "Poisoned Rose" (MacManus); "The Big Light" (MacManus); "Jack Of All Parades" (MacManus); "Suit Of Lights" (MacManus); "Sleep of the Just" (MacManus). The Little Hands of Concrete (Elvis Costello), vocals and guitar; Mickey Curry, drums; Jerry Scheff, bass and bass guitar; T-Bone Walker, guitar and piano accordion; Jim Keltner, drums; Mitchell Froom, keyboards; Pete Thomas, drums; Bruce Thomas, bass guitar; Steve Nieve, keyboards; David Hidalgo, vocals; Ron Tutt, drums; Michael Blair, marimba; James Burton, guitar; Ray Brown, bass; Lo-El Sonnier, French accordion; Earl Palmer, drums, Tom Canning, piano. Produced by J. Henry (T-Bone) Burnett and Declan Patrick Aloysius MacManus with Larry Kalman Hirsch. Simultaneously released on 33-1/3 rpm phonodisc, F-Beat ZL 70946 (U.K.); Columbia Records FC 40173 (U.S.); compact disc, F-Beat ZD 70946 (U.K.); Columbia 40173 (U.S.); and 1-7/8 ips audio cassette, F-Beat ZL 70946 (U.K.), 1986. Reissued on compact disc, Demon IMP FIEND CD 78; 33-1/3 rpm phonodisc, Demon IMP FIEND 78; and 1-7/8 ips audio cassette, Demon IMP FIEND CASS 78, 1987. (See also: A46; DB87, DB89, DB90, DB92, DB94, DB96, DB97, DB98, DB120, DB297)

A22.

Blood & Chocolate. "Uncomplicated" (MacManus); "I Hope You're Happy Now" (Costello); "Tokyo Storm Warning" (MacManus, Cait O'Riordan); "Home Is Anywhere You Hang Your Head" (MacManus); "I Want You" (MacManus); "Honey, Are You Straight Or Are You Blind?" (MacManus); "Blue Chair" (MacManus); "Battered Old Bird" (MacManus); "Crimes Of Paris" (MacManus); "Poor Napoleon" (MacManus); "Next Time Around" (MacManus). Elvis Costello, guitar and vocals; Pete Thomas, drums; Bruce Thomas, bass guitar; Steve Nieve, keyboards; Nick Lowe, guitar; Cait O'Riordan, vocals. Produced by Nick Lowe with Colin Fairley. Simultaneously released on 33-1/3 rpm phonodisc, Demon IMP XFIEND 80 (U.K.), Columbia

Tlbum Discography 21 FC 40518 (U.S.); 1-7/8 ips audio cassette, Demon IMP XFIEND CAS 80 (U.K.); compact disc, Demon IMP FIEND 80 (U.K.), Columbia FC 40518 (U.S.), 1986. (See also: A48; DB99, DB100, DB101, DB102, DB103, DB120, DB297, DB307; GB202) A23.

Out Of Our Idiot. "Seven Day Weekend" (Costello, Jimmy Cliff); "Turning the Town Red" (Costello); "Heathen Town" (Costello); "The People's Limousine" (Henry & Howard Coward [Costello, T-Bone Burnett]); "So Young" (J. Camilleri, T. Faehse, J. Burstin); "Little Goody Two Shoes" (Costello); "American Without Tears, No. 2 (Twilight Version)" (MacManus); "Get Yourself Another Fool" (Ernest Tucker, Frank Heywood); "Walking On Thin Ice" (Yoko Ono); "Withered and Died" (Richard Thompson); "Blue Chair" (MacManus); "Baby It's You" (Burt Bacharach, Hal David, Barney Williams); "From Head To Toe" (William "Smoky" Robinson); "Shoes Without Heels" (MacManus); "Baby's Got a Brand New Hairdo" (MacManus); "The Flirting Kind" (Costello); "Black Sails in the Sunset" (Costello); "A Town Called Big Nothing (Really Big Nothing)" (MacManus); "Big Sister" (Costello); "Imperial Bedroom" (Costello); "The Stamping Ground" (Costello). Elvis Costello with various backing artists. Various producers. Simultaneously released on compact disc, Demon IMP FIEND CD 67; 1-7/8 ips audio cassette, Demon IMP FIEND CASS 67; and 33-1/3 rpm phonodisc, Demon IMP XFIEND 67, 1987. The present album consists of an assortment of alternate versions and other obscurities. Note: Only the compact disc version includes "A Town Called Big Nothing (Really Big Nothing)" and "Big Sister." (See also: DB108, DB297)

A24.

My Aim Is True. "Welcome to the Working Week" (Costello); "Miracle Man" (Costello); "No Dancing" (Costello); "Blame It On Cain" (Costello); "Alison" (Costello); "Sneaky Feelings" (Costello); "Watching the Detectives" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "Less Than Zero" (Costello); "Pay It Back" (Costello); "I'm Not Angry" (Costello); "Waiting for the End of the World" (Costello). Elvis Costello, guitar and vocals, with Clover, all tracks except "Watching the Detectives," which features Costello backed by members of The Rumour. Produced by Nick Lowe. Compact disc. Demon Records IMP-Fiend CD 13 (U.K.), 1989. The present British release, a compact disc reissue of Costello's first album is given a separate entry as it includes "Watching the Detectives," which did not previously appear on the original British release of My Aim Is True. (See: DB80, which, although it refers to the Columbia reissue, could apply here as well) (See also: Al, A2, A31)

A25.

Spike. ".. This Town..." (MacManus); "Let Him Dangle" (MacManus); "Deep Dark Truthful Mirror" (MacManus); "Veronica" (Paul McCartney; MacManus); "God's Comic" (MacManus); "Chewing Gum" (MacManus); "Tramp the Dirt Down" (MacManus); "Stalin Malone" (MacManus); "Satellite" (MacManus); "Pads, Paws, and Claws" (Paul McCartney, MacManus); "Baby Plays Around" (Cait O'Riordan, MacManus); "Miss McBeth" (MacManus); "Any King's Shilling" (MacManus); "Coal-Train Robberies" (MacManus); "Last Boat

2

Album Discography Leaving" (MacManus). Elvis Costello, guitar, keyboards, percussion, and vocals; Roger McGuinn, guitar; Paul McCartney, bass guitar; T-Bone Burnett, guitar; Cait O'Riordan, percussion; Chrissie Hynde, vocal harmonies; Michael Blair, percussion; Ralph Forbes, drums, Jim Keltner, drums; Marc Ribot, guitar; Benmont Tench, piano; Jerry Marotta, drums; Jerry Scheff, bass and bass guitar; Donal Lunny, bouzouki and guitar; Davy Spillane, whistle and Uileann pipes; Steve Wickham, fiddle; Pete Thomas, drums; Mitchell Froom, Indian harmonium; Derek Bell, Irish harp and tiompan; Frankie Gavin, fiddle; Christy Moore, bodhran; Buell Niedlinger, double bass; T-Bone Wolk, bass and accordion; Allan Toussaint, piano; and The Dirty Dozen Brass Band (Gregory Davis, trumpet; Efrem Towns, trumpet; Kevin Harris, tenor saxophone; Roger Lewis, baritone saxophone; Kirk Joseph, sousaphone). Produced by Elvis Costello, Kevin Killen, and T-Bone Burnett. Simultaneously released on compact disc, Warner Brothers 9 25848-2; 33-1/3 rpm phonodisc; Warner Brothers 9 25848-1/WX 238; and 1-7/8 ips audio cassette, Warner Brothers 9 25848-2, 1989. Note: The 33-1/3 rpm phonodisc version does not include the track "Coal-Train Robberies." The present was Costello's most commercially successful album (in terms of unit sales) during his eight years with Warner Brothers, reaching #5 in the U.K. and #32 in the U.S. (See also: A26;MS3; DB110, DB111,DB112, DB113,DB114, DB115, DB116, DB117, DB118, DB119, DB122, DB123, DB124, DB125, DB126, DB127, DB128, DB129, DB130, DB131, DB132, DB133, DB134, DB135, DB137, DB138, DB139, DB149, DB151, DB179, DB297; GB181, GB183, GB185, GB187, GB202, GB364)

A26.

Timothy White 's Rock Stars (FeaturingElvis Costello: The "Spike " Sessions). "...This Town..." (MacManus); "Veronica" (Paul McCartney, MacManus); "Pads, Paws, and Claws" (Paul McCartney, MacManus); "Alison" (Costello); "Watching the Detectives" (Costello); "Wave a White Flag" (Costello) [Honky TonkDemo]; "Pump It Up" (Costello); "Oliver's Army" (Costello); "Temptation" (Costello); "Girls Talk" (Costello); "Everyday I Write the Book" (Costello); "You're No Good" (Clint Ballard, Jr.); "Sally Sue Brown" (Arthur Alexander); "Deep Dark Truthful Mirror" (MacManus). Elvis Costello and The Attractions, except "...This Town...," "Veronica," "Pads, Paws, and Claws," "Alison," "Wave a White Flag," "You're No Good," "Sally Sue Brown," and "Deep Dark Truthful Mirror," Elvis Costello, guitar, piano, and vocals with various backing musicians. Two 33-1/3 rpm phonodiscs. Westwood One (U.S.), 1989. The present recording contains an interview with Costello, as well as the above songs. It was a radio promotional recording, and also has Costello playing excerpts from and discussing a number of other songs, including his own "Mystery Dance," and "Tramp the Dirt Down," Bon Jovi's "Bad Medicine," and The Detroit Spinners' "Getto Child." (See also: A25)

.27.

The Elvis Costello Hour. Bill Flanagan interviewing Elvis Costello. Includes music from Spike, including ".. .This Town..." (MacManus) ["Sweetheart" mix]. Two 33-1/3 rpm phonodiscs. Warner Brothers Words & Music Series #165, PRO-A-3488, 1989.

Album Discography 23 Note: Costello sings the word "sweetheart" on "...This Town..." over the word "bastard." The present release was intended for radio use. A28.

Girls+£+Girls=$&Girls. "Watching the Detectives" (Costello); "I Hope You're Happy Now" (Costello); "This Year's Girl" (Costello); "Lover's Walk" (Costello); "Pump It Up" (Costello); "Strict Time" (Costello); "Temptation" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "High Fidelity" (Costello); "Lovable" (MacManus, Cait O'Riordan); "Mystery Dance" (Costello); "Big Tears" (Costello); "Uncomplicated" (MacManus); "Lipstick Vogue" (Costello); "Man Out Of Time" (Costello); "Brilliant Mistake" (MacManus); "New Lace Sleeves" (Costello); "Accidents Will Happen" (Costello); "Beyond Belief (Costello); "Black and White World" (Costello); "Green Shirt" (Costello); "The Loved Ones" (Costello); "New Amsterdam" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "King Horse" (Costello); "Big Sister's Clothes" (Costello); "Alison" (Costello); "Man Called Uncle" (sic) (Costello); "Party Girl" (Costello); "Shabby Doll" (Costello); "Motel Matches" (Costello); "Tiny Steps" (Costello); "Almost Blue" (Costello); "Riot Act" (Costello); "Love Field" (Costello); "Possession" (Costello); "Poisoned Rose" (MacManus); "Indoor Fireworks" (MacManus); "I Want You" (MacManus); "Oliver's Army" (Costello); "Pills and Soap" (Costello); "Sunday's Best" (Costello); "Watch Your Step" (Costello); "Less Than Zero" (Costello); "Clubland" (Costello); "Tokyo Storm Warning" (MacManus, Cait O'Riordan); "Shipbuilding" (Costello, Clive Langer). Elvis Costello, vocals and guitar; various backing musicians. Simultaneously released on two compact discs, Demon IMP FIEND CD 160 (U.K.); Columbia 46897 (U.S.); two 1-7/8 ips audio cassettes, Demon IMP FIEND CASS 160/161 (U.K.); Columbia C2T-46897 (U.S.); two 33-1/3 rpm phonodiscs, Demon IMP D-FIEND 160; and digital audio tape, Demon IMP FIEND 160, 1989. Reissued on compact disc as Demon D FIEND CD 160 (U.K.), 1996. Note: Although listed as "Man Called Uncle," the correct title of the song is "Men Called Uncle." (See also: DB144, DB150, DB153, DB154, DB155, DB156, DB297)

A29.

Mighty Like a Rose. "The Other Side of Summer" (MacManus); "Hurry Down Doomsday (The Bugs Are Taking Over)" (MacManus, Jim Keltner); "How To Be Dumb" (MacManus); "All Grown Up" (MacManus); "Invasion Hit Parade" (MacManus); "Harpies Bizarre" (MacManus); "After the Fall" (MacManus); "Georgie And Her Rival" (MacManus); "So Like Candy" (Paul McCartney, MacManus); "Interlude: Couldn't Call It Unexpected No. 2" (MacManus); "Playboy to a Man" (Paul McCartney, MacManus); "Sweet Pear" (MacManus); "Broken" (Cait O'Riordan); "Couldn't Call It Unexpected No. 4" (MacManus). Elvis Costello, guitar, vocals, bass, organ, Chamberlain, and percussion; Larry Knechtel, keyboards; Robert Wasserman, bass; Marc Ribot, electric guitar, eflat horn, cornet; Mitchell Froom, Chamberlain, celesta, keyboards; James Burton, guitar; Nick Lowe, bass guitar; Richard Page, vocals; Steven Soles, vocals; Steve George, vocals; Pete Thomas, drums and percussion; Benmont Tench, piano; T-Bone Wolk, bass; Jerry Scheff, bass; Jim Keltner, drums and percussion; Roger Lewis, baritone saxophone; Gavyn Wright, string leader; Fiachra Trench, conductor; Ross MacManus, trumpet; Nicholas Bucknall, clarinet; Richard Morgan, oboe; Andrew Findon, flute; Simon Rayner, horn;

24 Album Discography Neil Levesley, bassoon. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus (Elvis Costello). Simultaneously released on 33-1/3 rpm phonodisc, Warner Brothers WX 419/9-26575-2; 1-7/8 ips audio cassette, Warner Brothers 4-26575; and compact disc, Warner Brothers WX 419CD/9-26575-2, 1991. The present release was highly successful in the U.K., reaching #5 in the album charts. (See also: DB160, DB161, DB162, DB164, DB165, DB166, DB167, DB168, DB169, DB171, DB172, DB173, DB174, DB175, DB176, DB177, DB178, DB179, DB180, DB181, DB182, DB183, DB186, DB270, DB297, DB303; GB221, GB255) A30.

The Juliet Letters. "Deliver Us" (MacManus); "For Other Eyes" (MacManus, Paul Cassidy, Michael Thomas); "Swine" (MacManus, Paul Cassidy); "Expert Rites" (MacManus); "Dead Letter" (Paul Cassidy); "I Almost Had a Weakness" (MacManus, Michael Thomas); "Why?" (MacManus, Ian Belton); "Who Do You Think You Are?" (MacManus, Michael Thomas); "Taking My Life In Your Hands" (MacManus, Jacqueline Thomas, Michael Thomas, Paul Cassidy); "This Offer Is Unrepeatable" (MacManus, Paul Cassidy, Jacqueline Thomas, Michael Thomas); "Dear Sweet Filthy World" (MacManus, Ian Belton, Michael Thomas); "The Letter Home" (MacManus, Paul Cassidy, Ian Belton); "Jacksons, Monk and Rowe" (MacManus, Michael Thomas, Jacqueline Thomas); "This Sad Burlesque" (MacManus, Paul Cassidy); "Romeo's Seance" (MacManus, Michael Thomas); "I Thought I'd Write To Juliet" (MacManus); "Last Post" (Michael Thomas); "The First To Leave" (MacManus); "Damnation's Cellar" (MacManus); "The Birds Will Still Be Singing" (MacManus). Elvis Costello, voice; The Brodsky Quartet (Michael Thomas, violin; Ian Belton, violin; Paul Cassidy, viola; Jacqueline Thomas, violoncello). Produced by Kevin Killen, Elvis Costello, and The Brodsky Quartet. Compact disc. Warner Brothers 9 45180-2; Warner Brothers 9362-45180-2, 1992. Note: Warner Brothers also issued a special compact disc, WO 159 CDX 9362-40799-2, 1993, which included musical excerpts from The Juliet Letters, as well as an interview from the The Juliet Letters video release. This disc was included with A30 as a "Collectors' Edition CD Package" on a limited basis. A video version of the disc was also issued (See: V12). (See also: MS5; DB191, DB192, DB193, DB194, DB195, DB196, DB197, DB198, DB199, DB200, DB201, DB202, DB203, DB204, DB206, DB207, DB209, DB210, DB211, DB212, DB213, DB214, DB215, DB217, DB218, DB219, DB220, DB241, DB270, DB297, DB329)

A31.

My Aim Is True. "Welcome to the Working Week" (Costello); "Miracle Man" (Costello); "No Dancing" (Costello); "Blame It On Cain" (Costello); "Alison" (Costello); "Sneaky Feelings" (Costello); "(The Angels Wanna Wear My) Red Shoes" (Costello); "Less Than Zero" (Costello); "Mystery Dance" (Costello); "Pay It Back" (Costello); "I'm Not Angry" (Costello); "Waiting for the End of the World" (Costello); "Watching the Detectives" (Costello); "Radio Sweetheart" (Costello); "Stranger in the House" (Costello); "Imagination (Is a Powerful Deveiver)" (Costello); "Mystery Dance" [demonstration version] (Costello); "Cheap Reward" (Costello); "Jump Up" (Costello); "Wave a White Flag" (Costello); "Blame It On Cain" [live version] (Costello); "Poison Moon" (Costello). Elvis Costello, guitar and vocals; with Clover (John McFee, guitar and pedal steel guitar; Sean Hopper, piano and organ; Johnny Ciambotti, bass

Album Discography 25 guitar; Mickey Shine, drums); members of The Rumour (Steve Goulding, drums; Andrew Bodnar, bass); and Flip City (Mich Kent, bass guitar; Malcolm Dennis, drums; Ian Powling, drums; Steve Hazelhurst, guitar; Dickie Faulkner, percussion); Nick Lowe, bass guitar and background vocals on a number of tracks; Steve Nieve, overdubbed keyboards on "Watching the Detectives." Produced by Nick Lowe. Simultaneously released on compact disc, Rykodisc RCD 20271 (U.S.); Demon DP AMI (U.K.); and 1-7/8 ips cassette audio tape, Rykodisc RAC 20271, 1993. The present reissue of My Aim Is True was also available as part of the boxed set 2-1/2 Years (See: A35). (See also: Al, A2, A24; DB279) A32.

This Year's Model. "No Action" (Costello); "This Year's Girl" (Costello); "The Beat" (Costello); "Pump It Up" (Costello); "Little Triggers" (Costello); "You Belong To Me" (Costello); "Hand In Hand" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Lip Service" (Costello); "Living in Paradise" (Costello); "Lipstick Vogue" (Costello); "Night Rally" (Costello); "Radio Radio" (Costello); "Big Tears" (Costello); "Crawling to the U.S.A." (Costello); "Running Out of Angels" (Costello); "Green Shirt" (Costello) [demo version]; "Big Boys" (Costello) [demo version]. Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe. Compact disc. Demon DPAM2 (U.K.); Rykodisc RCD 20272 (U.S.), 1993. The present reissue of This Year's Model was also available as part of the boxed set 2-1/2 Years (See: A35). (See also: A3, A4; DB279)

A33.

Armed Forces. "Accidents Will Happen" (Costello); "Senior Service (Costello); "Oliver's Army" (Costello); "Big Boys" (Costello); "Green Shirt" (Costello); "Party Girl" (Costello); "Goon Squad" (Costello); "Busy Bodies" (Costello); "Sunday's Best" (Costello); "Moods For Moderns" (Costello); "Chemistry Class" (Costello); "Two Little Hitlers" (Costello); "(What's So Funny 'Bout) Peace, Love, and Understanding?" (Nick Lowe); "My Funny Valentine" (Richard Rodgers, Lorenz Hart); "Tiny Steps" (Costello); "Clean Money" (Costello); "Talking in the Dark" (Costello); "Wednesday Week" (Costello); "Accidents Will Happen" (Costello) [live version]; "Alison" (Costello) [live version]; "Watching the Detectives" (Costello) [live version]. Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe. Compact disc. Demon DPAM3 (U.K.); Rykodisc RCD 20273 (U.S.), 1993. The present reissue of Armed Forces was also available as part of the boxed set 2-1/2 Years (See: A35). The live material was recorded at Hollywood High. (See also: A6, A7;DB170)

A34.

Live at the ElMocambo. "Mystery Dance" (Costello); "Waiting for the End of the World" (Costello); "Welcome to the Working Week" (Costello); "Less Than Zero" (Costello); "The Beat" (Costello); "Lip Service" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Little Triggers" (Costello); "Radio Radio" (Costello); "Lipstick Vogue" (Costello); "Watching the Detectives" (Costello); "Miracle Man" (Costello); "You Belong To Me" (Costello); "Pump It Up" (Costello). Elvis Costello, guitar and vocals; Steve Naive, keyboards;

26 Album Discography Bruce Thomas, bass guitar; Pete Thomas, drums; Martin Belmont, rhythm guitar. Compact disc. Demon DPAM4 (U.K.); Rykodisc 10274 (U.S.), 1993. The present recording, made in Toronto in 1978, had previously only been available on a promotional release and on numerous bootlegs and counterfeits. This recording was available only as part of the boxed set 2-1/2 Years (See: A35). (See also: A5) A3 5.

2-1/2 Years. Elvis Costello and The Attractions and other accompanying musicians. Contains material also released on Rykodisc RCD 20271 (My Aim Is True), RCD 20272 (This Year's Model), RCD 20273 (Armed Forces). See individual entries for credits. Also includes Live at the ElMocambo (RCD 10274), previously commercially unreleased (See: A34 for tracks and credits). 4 compact discs. Rykodisc CDC 90271/74, 1993. (See also: A31, A32, A33, A34; V l l ; DB221, DB223, DB224, DB225, DB226, DB227, DB229, DB230, DB231, DB232, DB233, DB234, DB239, DB297)

A36.

Brutal Youth. "Pony St." (MacManus); "Kinder Murder" (MacManus); "13 Steps Lead Down" (MacManus); "This Is Hell" (MacManus); "Clown Strike" (MacManus); "You Tripped At Every Step" (MacManus); "Still Too Soon To Know" (MacManus); "20% Amnesia" (MacManus); "Sulky Girl" (MacManus); "London's Brilliant Parade" (MacManus); "My Science Fiction Twin" (MacManus); "Rocking Horse Road" (MacManus); "Just About Glad" (MacManus); "All the Rage" (MacManus); "Favourite Hour" (MacManus). Elvis Costello guitar and vocals (piano on "Favourite Hour" and bass guitar on "20% Amnesia" and "Kinder Murder"); Pete Thomas, drums and percussion; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Nick Lowe, bass guitar. Produced by Mitchell Froom and Elvis Costello. Simultaneously released on compact disc, Warner Brothers Records 9 45535-2 (U.S.); WEA 9362-45535-2 (U.K.); and 1-7/8 ips audio cassette, Warner Brothers Records 9 45535-4 (U.S.); WEA 9362-45535-4 (U.K.), 1994. A relatively commercially-successful release, reaching #34 in the U.S. charts and #2 in the U.K. (See also: A37; MS4; DB228, DB242, DB243, DB245, DB 246, DB247, DB248, DB249, DB250, DB251, DB252, DB253, DB254, DB255, DB256, DB257, DB258, DB259, DB260, DB261, DB262, DB263, DB264, DB265, DB266, DB267, DB268, DB269, DB270, DB272, DB273, DB276, DB279, DB280, DB281, DB282, DB283, DB284, DB297; GB309, GB315, GB330, GB331, GB337)

A3 7.

Words and Music. "Pony St." (MacManus); "Kinder Murder" (MacManus); "13 Steps Lead Down" (MacManus); "This Is Hell" (MacManus); "Clown Strike" (MacManus); "You Tripped At Every Step" (MacManus); "20% Amnesia" (MacManus); "Sulky Giri" (MacManus); "London's Brilliant Parade" (MacManus); "My Science Fiction Twin" (MacManus); "Rocking Horse Road" (MacManus); "Just About Glad" (MacManus); "All The Rage" (MacManus); "Favourite Hour" (MacManus). Elvis Costello guitar and vocals (piano on "Favourite Hour" and bass guitar on "20% Amnesia" and "Kinder Murder"); Pete Thomas, drums and percussion; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Nick Lowe, bass guitar. Original recordings produced by Mitchell

A Ibum Discography 2 7 Froom and Elvis Costello; Executive Producer: Larry Butler; produced by MarcGraue. Compact disc. WEA PRO-CD-6955 (U.S.), 1994. The present promotional album, basically Brutal Youth (See: A36) minus "Still Too Soon To Know," includes talkovers by Elvis Costello, as interviewed by Bill Flanagan of Musician magazine. A38.

Get Happy!! "Love For Tender" (Costello); "Opportunity" (Costello); "The Imposter" (Costello); "Secondary Modern" (Costello); "King Horse" (Costello); "Possession" (Costello); "Men Called Uncle" (Costello); "downtime Is Over" (Costello); "New Amsterdam" (Costello); "High Fidelity" (Costello); "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Black and White World" (Costello); "5ive Gears In Reverse" (Costello); "B Movie" (Costello); "Motel Matches" (Costello); "Human Touch" (Costello); "Beaten To the Punch" (Costello); "Temptation" (Costello); "I Stand Accused" (T. Colton, R. Smith); "Riot Act" (Costello); "Girls Talk" (Costello); "downtime Is Over" (Costello) [version two]; "Getting Mighty Crowded" (Van McCoy); "So Young" (Camilleri, Faehse, Burstin); "Just a Memory" (Costello); "Hoover Factory" (Costello); "Ghost Train" (Costello); "Dr. Luther's Assistant" (Costello); "Black and White World" (Costello) [demo version]; "Riot Act" (Costello) [demo version]; "Love For Tender" (Costello) [demo version]. Elvis Costello, guitar and vocals; Steve Naive, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums. Produced by Nick Lowe, except "New Amsterdam," "Just a Memory," "Hoover Factory," "Ghost Train," "Dr. Luther's Assistant," and the demo versions, which are all produced by Elvis Costello. Simultaneously released on compact disc, Demon DP AM 5 (U.K.); Rykodisc RCDE 20275 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20275 (U.S.), 1994. Note: The compact disc of the present reissue of Get Happy!! was also packaged with the reissue of Trust (See: A39) as Rykodisc VPRCD 275/6 and RCD 275/6, 1994. (See also: A8; DB235, DB274, DB278, DB286)

A39.

Trust. "Clubland" (Costello); "Lover's Walk" (Costello); "You'll Never Be a Man" (Costello); "Pretty Words" (Costello); "Strict Time" (Costello); "Luxembourg" (Costello); "Watch Your Step" (Costello); "New Lace Sleeves" (Costello); "From a Whisper to a Scream" (Costello); "Different Finger" (Costello); "White Knuckles" (Costello); "Shot With His Own Gun" (Costello); "Fish 'n' Chip Paper" (Costello); "Big Sister's Clothes" (Costello); "Black Sails in the Sunset (Costello); "Big Sister" (Costello); "Sad About Girls" (Brain, Hart); "Twenty-Five to Twelve" (Costello); "Love For Sale" (Cole Porter); "Weeper's Dream" (Costello); "Gloomy Sunday" (Sam Lewis, Rezso Seress); "Boy with a Problem" (Costello, Chris Difford) [demo version]; "Seconds of Pleasure" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums; Martin Belmont, guitar ("From a Whisper to a Scream"); Glenn Tilbrook, vocals ("From a Whisper to a Scream"). Produced by Nick Lowe, in association with Roger Bechirian, assisted by Neil King, except "Big Sister's Clothes," which was produced by Elvis Costello. Simultaneously released on compact disc, Demon DP AM 6 (U.K.); Rykodisc RCD 20276 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20276 (U.S.), 1994.

28 Album Discography Note: The compact disc of the present reissue of Trust was also packaged with the reissue of Get Happy!! (See: A3 8) as Rykodisc VPRCD 275/6 and RCD 275/6, 1994. "Sad About Girls," credited to Brain and Hart, was actually written by Steve Nieve, according to Elvis Costello's liner notes (See: DB236). Note that the much-pseudonymed Nieve used the pseudonym "Hart" on S78 as well. (See also: All; DB278, DB286) A40.

Almost Blue. "Why Don't You Love Me (Like You Used to Do)?" (Hank Williams); "Sweet Dreams" (Don Gibson); "Success" (Johnny Mullins); "I'm Your Toy (Hot Burrito Number 1)" (Gram Parsons, Chris Ethridge); "Tonight the Bottle Let Me Down" (Merle Haggard); "Brown To Blue" (George Jones, Virginia Frank); "Good Year for the Roses" (Jerry Chesnut); "Sittin' and Thinkin'" (Charlie Rich); "Colour of the Blues" (Lawton Williams, George Jones); "Too Far Gone" (Billy Sherill); "Honey Hush" (Lou Willie Turner); "How Much I Lied" (Gram Parsons, Pam Rifkin); "He's Got You" (Hank Cochran) [live recording]; "Cry, Cry, Cry" (Johnny Cash) [live recording]; "There Won't Be Anymore" (Charlie Rich) [live recording]; "Sittin' and Thinkin'" (Charlie Rich) [live recording]; "Honey Hush" (Lou Willie Turner) [live recording]; "Psycho" (Leon Payne) [live recording]; "Your Angel Steps Out Of Heaven" (Jack Ripley); "Darling You Know I Wouldn't Lie" (Wayne Kemp, Red Lane); "My Shoes Keep Walking Back to You" (Lee Ross, Bob Wills); "Tears Before Bedtime" (Costello); "I'm Your Toy" (Gram Parsons, Chris Ethridge) [live recording]. Elvis Costello, guitar and vocals; Steve Nieve, piano and organ; Bruce Thomas, bass guitar; Pete Thomas, drums; John McFee, lead guitar and pedal steel guitar; Nashville Edition, backing vocals; Tommy Miller, violin. Various tracks produced by Billy Sherrill, Elvis Costello, and Paul Bass. Simultaneously released on compact disc, Demon DP AM 7 (U.K.); Rykodisc RCD 20277 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20277 (U.S.), 1994. Note: The compact disc of the present reissue of Almost Blue was also packaged with the reissue of Imperial Bedroom (See: A41) as Rykodisc RCD 20277/8,1994. (See also: A12; DB237, DB290)

A41.

Imperial Bedroom. "Beyond Belief (Costello); "Tears Before Bedtime" (Costello); "Shabby Doll" (Costello), "The Long Honeymoon" (Costello); "Man Out Of Time" (Costello); "Almost Blue" (Costello); "...And In Every Home" (Costello); "The Loved Ones" (Costello); "Human Hands" (Costello); "Kid About It" (Costello); "Little Savage" (Costello); "Boy with a Problem" (Costello, Chris Difford); "Pidgin English" (Costello); "You Little Fool" (Costello); "Town Cryer" (Costello); "From Head to Toe" (William "Smoky" Robinson); "The World of Broken Hearts" (Doc Pomus, Mort Shuman); "Night Time" (Patrick Chambers); "Really Mystified" (Tony Crane, Johnny Gustafson); "I Turn Around" (Costello); "Seconds of Pleasure" (Costello) [alternate version]; "The Stamping Ground" (Costello); "Shabby Doll" (Costello) [demo version]; "Imperial Bedroom" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, keyboards and orchestrations; Bruce Thomas, bass guitar; Pete Thomas, drums. Tracks 1-15 produced by Geoff Emerick from an original idea by Elvis Costello, assisted by Jon Jacobs; tracks 16-21 produced by Elvis Costello, assisted by Paul Bass; tracks 22 and 23 produced by Elvis Costello; track 24 produced by Elvis Costello, assisted by Neil King. Simultaneously

Album Discography 29 released on compact disc, Demon DP AM 8 (U.K.); Rykodisc RCD 20278 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20278 (U.S.), 1994. Note: The compact disc of the present reissue of Imperial Bedroom was also packaged with the reissue of Almost Blue (See: A40) as Rykodisc RCD 20277/8,1994. (See also: A15; DB238, DB290) A42.

The Very Best of Elvis Costello and The Attractions 1977-1986. "Alison" (Costello); "Watching the Detectives" (Costello); "(I Don't Want To Go To) Chelsea" (Costello); "Pump It Up" (Costello); "Radio, Radio" (Costello); "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe); "Oliver's Army" (Costello); "Accidents Will Happen" (Costello); "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "New Amsterdam" (Costello); "High Fidelity" (Costello); "Clubland" (Costello); "Watch Your Step" (Costello); "Good Year For the Roses" (Jerry Chesnut); "Beyond Belief (Costello); "Man Out Of Time" (Costello); "Everyday I Write the Book" (Costello); "Shipbuilding" (Costello, Clive Langer); "Love Field" (Costello); "Brilliant Mistake" (MacManus); "Indoor Fireworks" (MacManus); "I Want You" (MacManus). Elvis Costello, guitar and vocals, with Clover ("Alison"); Elvis Costello, guitar and vocals, with members of The Rumour ("Watching the Detectives"); Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Bruce Thomas, bass guitar; Pete Thomas, drums; and various other backing musicians. Various producers. Released simultaneously on compact disc, Demo DP AMI 3 (U.K.); Rykodisc RCD 40283 (U.S.); two 33-1/3 rpm phonodiscs, Demon DPAMLP13 (U.K.); 1-7/8 ips audio cassette, DPAMCASS13 (U.K.); Rykodisc RAC 40283 (U.S.), 1994. (See also: V16; DB297, DB298)

A43.

Punch the Clock. "Let Them All Talk" (Costello); "Everyday I Write the Book" (Costello); "The Greatest Thing" (Costello); "The Element Within Her" (Costello); "Love Went Mad" (Costello); "Shipbuilding" (Costello, Clive Langer); "TKO (Boxing Day)" (Costello); "Charm School" (Costello); "The Invisible Man" (Costello); "Mouth Almighty" (Costello); "King Of Thieves" (Costello); "Pills and Soap" (Costello); "The World and His Wife" (Costello); "Heathen Town" (Costello); "The Flirting Kind" (Costello); "Walking On Thin Ice" (Yoko Ono); "Town Where Time Stood Still" (Costello) [demo version]; "Shatterproof (Costello) [demo version]; "The World and His Wife" (Costello) [live, solo version]; "Everyday I Write the Book" (Costello) [live version]. Elvis Costello, guitar, vocals, synclavier, and Casiotone; Steve Nieve, piano, synthesizers, and organ; Bruce Thomas, bass guitar; Pete Thomas, drums; The TKO Horns: Jim Paterson, trombone; Jeff Blythe, saxophones and clarinet; Paul Speare saxophone and flute; Dave Plews, trumpet; and Stuart Robinson, trumpet and flugelhorn; Caron Wheeler, vocals; Claudia Fountaine, vocals; Chet Baker, trumpet; Morris Pert, percussion. String arrangements by David Bedford. Original release produced by Clive Langer and Alan Winstanley, except "Pills and Soap," which was produced by Chris Fairley and The Imposter (Elvis Costello). Simultaneously released on compact disc, Demon DPAM9 (U.K.); Rykodisc RCD 20279 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20279 (U.S.), 1995. Note: The compact disc of the present reissue of Punch the Clock was also packaged with the reissue of Goodbye Cruel World (See: A44) as

30 Album Discography Rykodisc RCD 20279/80, 1995. The Demon release actually occurred about one week before the Rykodisc release. (See also: A17; DB326) A44.

Goodbye Cruel World. "The Only Flame In Town" (Costello); "Home Truth" (Costello); "Room with a Number" (Costello); "Inch by Inch" (Costello); "Worthless Thing" (Costello); "Love Field" (Costello); "I Wanna Be Loved" (Farnell Jenkins); "The Comedians" (Costello); "Joe Porterhouse" (Costello); "Sour Milk-Cow Blues" (Costello); "The Great Unknown" (Costello); "The Deportees Club" (Costello); "Peace In Our Time" (Costello); "Turning The Town Red" (Costello); "Baby It's You" (Burt Bacharach, Hal David, Barney Williams); "Get Yourself Another Fool" (Ernest Tucker, Frank Heywood); "I Hope You're Happy Now" (Costello); "The Only Flame In Town" (Costello) [live version]; "Worthless Thing" (Costello) [live version]; "Motel Matches" (Costello); "Sleepless Nights" (Felice and Boudleaux Bryant); "Deportee" (Costello) [demo version]; "Withered and Died" (Richard Thompson). Elvis Costello, guitar, vocals, and anvil; Maurice Worm, ramdom racket [Steve Nieve, keyboards]; Bruce Thomas, bass guitar; Pete Thomas, drums; Gary Barnacle, saxophones and electric saxophone; Jim Paterson, trombone; Luis Jardim, percussion; Daryl Hall, backing vocals; Green, backing vocals; Nick Lowe, guitar and vocals. Produced by Clive Langer and Alan Winstanley. Simultaneously released on compact disc, Demon DP AMI 0 (U.K.); Rykodisc RCD 20280 (U.S.); and 1-7/8 ips audio cassette, Rykodisc RAC 20280, 1995. Note: The compact disc of the present reissue of Goodbye Cruel World was also packaged with the reissue of Punch the Clock (See: A43) as Rykodisc RCD 20279/80, 1995. The live recordings were made at an April 1984 concert in San Francisco. The Demon release actually occurred approximately one week before the Rykodisc release. (See also: A18; DB293, DB326)

A45.

Elvis Costello's Kojak Variety. "Strange" (Walter Hawkins); "Hidden Charms" (Willie Dixon); "Remove This Doubt" (Brian Holland, Lamont Dozier, Eddie Holland); "I Threw It All Away" (Bob Dylan); "Leave My Kitten Alone" (Little Willie John, Titus Turner); "Everybody's Crying Mercy" (Mose Allison); "I've Been Wrong Before" (Randy Newman); "Bama Lama Bama Loo" (Richard W. Penniman); "Must You Throw Dirt In My Face" (Bill Anderson); "Pouring Water On a Drowning Man" (D. Baker, D. McCormick); "The Very Thought of You" (Ray Noble); "Payday" (Jesse Winchester); "Please Stay" (Burt Bacharach, Hal David); "Running Out Of Fools" (K. Rogers, R. Ahlert); "Days" (Ray Davies). Elvis Costello, vocals (guitar on "Days" and harmonica on "Remove This Doubt"); Jim Keltner, drums; Pete Thomas, drums; Jerry Scheff, bass guitar; Larry Knechtel, piano and organ; James Burton, guitar; Marc Ribot, guitar and E-flat horn. Produced by Elvis Costello and Kevin Killen. Compact disc. Warner Brothers Records 9 45903-2, 1995. Also released on 33-1/3 rpm phonodisc (limited release). Note: 200 numbered compact discs were also released with two bonus tracks, "Step Inside Love" (John Lennon, Paul McCartney) and "Sticks and Stones" (Titus Turner). The present release reached #21 in the British charts and #102 in the U.S. The album is more commonly referred to as simply Kojak Variety. (See also: DB269, DB296, DB301, DB302, DB304, DB305, DB306, DB308, DB309, DB310, DB311, DB312, DB313, DB314, DB315, DB316, DB317, DB318, DB319, DB320, DB321, DB322, DB323, DB324, DB325,

Album Discography 31 DB327, DB328, DB329, DB330, DB331, DB332, DB333, DB334; GB374, GB375, GB379, GB385, GB391) A46.

[Disc one] King of America. "Brilliant Mistake" (MacManus); "Lovable" (MacManus, Cait O'Riordan); "Our Little Angel" (MacManus); "Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell); "Glitter Gultch" (MacManus); "Indoor Fireworks" (MacManus); "Little Palaces" (MacManus); "I'll Wear It Proudly" (MacManus); "American Without Tears" (MacManus); "Eisenhower Blues" (J.B. Lenoir); "Poisoned Rose" (MacManus); "The Big Light" (MacManus); "Jack Of All Parades" (MacManus); "Suit Of Lights" (MacManus); "Sleep of the Just" (MacManus); "The People's Limousine" (Henry & Howard Coward [Costello, T-Bone Burnett]); "They'll Never Take Her Love From Me" (Leon Payne); "Suffering Face" (Costello); "Shoes Without Heels" (Costello); "King of Confidence" (Costello). The Little Hands of Concrete (Elvis Costello), vocals and guitar; Mickey Curry, drums; Jerry Scheff, bass and bass guitar; T-Bone Walker, guitar and piano accordion; Jim Keltner, drums; Mitchell Froom, keyboards; Pete Thomas, drums; Bruce Thomas, bass guitar; Steve Nieve, keyboards; David Hidalgo, vocals; Ron Tutt, drums; Michael Blair, marimba; James Burton, guitar; Ray Brown, bass; Lo-El Sonnier, French accordion; Earl Palmer, drums; Tom Canning, piano. Produced by J. Henry (T-Bone) Burnett and Declan Patrick Aloysius MacManus with Larry Kalman Hirsch. [Disc two] Live on Broadway, 1986. "That's How You Got Killed Before" (Dave Bartholomew); "The Big Light" (MacManus); "It Tears Me Up" (Dan Penn, Spooner Oldham); "The Only Daddy That'll Walk the Line" (Ivy J. Bryant); "Your Mind is On Vacation/Your Funeral and My Trial" (Mose Allison, Sonny Boy Williamson); "That's How You Got Killed Before" (Dave Bartholomew) [reprise]. Elvis Costello and The Confederates (James Burton, lead guitar; Jerry Scheff, bass; Jim Keltner, drums; T-Bone Burnett, rhythm guitar; Mitchell Froom, keyboards; T-Bone Wolk, accordion and vocals; Michael Blair, marimba, vibraphone, percussion; Ralph Carney, saxophone). Simultaneously released on two compact discs, Demon DP AMI 1 (U.K.); Rykodisc RCD 20281 (U.S.); 1-7/8 ips audio cassette, Demon DP AM CASS11 (U.K.); Rykodisc RAC 20281 (U.S.); and 33-1/3 rpm phonodisc, Demon DP AM LP11 (UK); Rykodisc (U.S.), 1995. Note: The present two-disc and two-phonodisc release was later replaced by a single disc/phonodisc version - the live recording, from a 1986 Broadway show, was included in only the first 15,000 copies. The two-disc version was also packaged with the two-disc reissue of Blood & Chocolate (See: A48) in a limited edition 4-disc set. (See also: A21; DB294, DB335, DB336, DB337, DB339, DB342)

A47.

Deep Dead Blue: Live 25 June 95. "Weird Nightmare" (Charles Mingus); "Love Field" (Costello); "Shamed Into Love" (Costello, Ruben Blades); "Gigi" (Alan J. Lerner, Frederic Lowe); "Poor Napoleon" (MacManus); "Baby Plays Around" (MacManus, Cait O'Riordan); "Deep Dead Blue" (MacManus, Bill Frisell). Elvis Costello, guitar and vocals; Bill Frisell, guitar. Simultaneously released on compact disc, Warner/Nonesuch 9362-46073-2 (U.K.); Warner/Nonesuch PRCD 6383 (U.S.); and 33-1/3 rpm phonodisc, Warner/Nonesuch (U.K.), 1995.

32 Album Discography The present recording was made at the Meltdown Festival, Queen Elizabeth Hall, London, on June 25, 1995. (See also: DB340, DB341) A48.

Blood & Chocolate. Uncomplicated (MacManus) [New Music Express version]; "I Hope You're Happy Now" (Costello); "Tokyo Storm Warning" (MacManus, Cait O'Riordan); "Home Is Anywhere You Hang Your Head" (MacManus); "I Want You" (MacManus); "Honey, Are You Straight Or Are You Blind9" (MacManus); "Blue Chair" (MacManus); "Battered Old Bird" (MacManus); "Crimes Of Paris" (MacManus); "Poor Napoleon" (MacManus); "Next Time Around" (MacManus); "Seven Day Weekend" (Costello, Jimmy Cliff); "Forgive Her Anything" (MacManus); "Blue Chair" (MacManus) [single version]; "Baby's Got a Brand New Hairdo" (MacManus); "American Without Tears No. 2" (MacManus) [Twilight version]; "A Town Called Big Nothing (Really Big Nothing)" (MacManus); "Return To Big Nothing" (MacManus). Elvis Costello, guitar and vocals; Pete Thomas, drums; Bruce Thomas, bass guitar; Steve Nieve, keyboards; Nick Lowe, guitar; Cait O'Riordan, vocals. Other miscellaneous backing musicians on the "Big Nothing" tracks. Original tracks produced by Nick Lowe with Colin Fairley; extended play tracks produced by Elvis Costello, T-Bone Burnett, and Larry Hirsch. Interview on disc two by Peter Doggett of Record Collector Magazine. Two compact discs. Demon DP AM 12 (U.K.); Rykodisc (U.S.), 1995. The initial 10,000 copies of this reissue of Blood & Chocolate came packaged with the interview disc. The two-disc release was also available packaged with the two disc reissue of King of America (See: A46). (See also: A22; DB295, DB307, DB338, DB342; ER10)

A49.

All This Useless Beauty. "The Other End of the Telescope" (Costello, Aimee Mann); "Little Atoms" (Costello); "All This Useless Beauty" (Costello); "Complicated Shadows" (Costello); "Why Can't a Man Stand Alone" (Costello); "Distorted Angel" (Costello); "Shallow Grave" (Paul McCartney, MacManus), "Poor Fractured Atlas" (Costello); "Starting To Come To Me" (Costello); "You Bowed Down" (Costello); "It's Time" (Costello); "I Want To Vanish" (Costello). Elvis Costello, vocals, guitar, celesta, bass guitar; Steve Nieve, keyboards, sequencing, and orchestrations; Bruce Thomas, bass guitar; Pete Thomas, drums and percussion; Matt MacManus, rhythm research; Pete Whyman, bass clarinet; Roy Babbington, double bass; and The Brodsky Quartet (Michael Thomas, violin; Ian Belton, violin; Paul Cassidy, viola; Jacqueline Thomas, violoncello). Produced by Geoff Emerick and Elvis Costello. Simultaneously released on compact disc, Warner Brothers 9362-46198-4 (U.K.); Warner Brothers 9 46198-2 (U.S.); 33-1/3 rpm phonodisc, Warner Brothers 9 46198-1 (U.S.); and 1-7/8 ips audio cassette, Warner Brothers 936246198-4 (U.K.); Warner Brothers 9 46198-4 (U.S.), 1996. The present album consists mainly of songs Elvis Costello originally wrote for other artisits. (See also: DB343, DB345, DB346, DB347, DB348, DB349, DB350, DB351, DB352, DB353, DB354, DB355, DB356, DB357, DB358, DB359, DB360, DB362, DB363, DB364, DB365, DB366, DB367, DB369, DB370, DB371, DB372, DB374, DB376, DB378, DB379; GB440)

A50.

Live At The Troubadour, Los Angeles - Costello & Nieve. "Temptation" (Costello); "Poor Fractured Atlas" (Costello); "I Just Don't Know What To Do

Album Discography 33 With Myself (Burt Bacharach, Hal David); "It's Time" (Costello); "Man Out Of Time" (Costello); "Shallow Grave" (Paul McCartney, Costello). Elvis Costello, guitar and vocals; Steve Nieve, piano; Pete Thomas, drums ("Man Out Of Time" and "Shallow Grave"). Compact disc. Warner Brothers PRO-CD8408 (U.S.), 1996. All tracks were recorded at The Troubadour, Los Angeles, on May 14, 1996. The present promotional 2500-copy release was later packaged along with A51, A52, A53, and A54 as For The First Time In America - Costello & Nieve (See: A55). A51.

Live At The Fillmore, San Francisco - Costello & Nieve. "Just About Glad" (Costello); "Why Can't a Man Stand Alone?" (Costello); "My Dark Life" (Costello); "All This Useless Beauty" (Costello); "Ship Of Fools" (Jerome J. Garcia, Robert C. Hunter). Elvis Costello, guitar and vocals; Steve Nieve, piano. Compact disc. Warner Brothers PRO-CD-8411, 1996. All tracks were recorded at The Fillmore, San Francisco, on May 15, 1996. The present promotional 2500-copy release was later packaged along with A50, A52, A53, and A54 as For The First Time In America - Costello & Nieve (See: A55). (See also: M83)

A52.

Live At The Paradise, Boston - Costello & Nieve. "You Bowed Down" (Costello); "The Long Honeymoon" (Costello); "Distorted Angel" (Costello); "The Angels Want To Wear My Red Shoes" (Costello); "Little Atoms" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart). Elvis Costello, guitar and vocals; Steve Nieve, piano. Compact disc. Warner Brothers PRO-CD-8416 (U.S.), 1996. All tracks were recorded at The Paradise, Boston, Massachusetts, on May 20, 1996. The present promotional 2500-copy release was later packaged along with A50, A51, A53, and A54 as For The First Time In America - Costello & Nieve (See: A55).

A53.

Live At The Supper Club, New York - Costello & Nieve. "Black Sails in the Sunset" (Costello); "You'll Never Be a Man" (Costello); "Just a Memory" (Costello); "I Want To Vanish" (Costello); "Alison" (Costello); "Laughing a Little" (Tom Bell, Linda Creed); "Tracks of My Tears" (Marvin Tarplin, Warren Moore, William Robinson, Jr.); "Tears of a Clown" (William Robinson, Jr., Stevie Wonder, Henry Cosby); "No More Tearstained Make-Up" (William Robinson, Jr.); "downtime Is Over" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, piano. Compact disc. Warner Brothers PRO-CD-8427, 1996. All tracks were recorded at The Supper Club, New York, on May 22, 1996. The present promotional 2500-copy release was later packaged along with A50, A51, A52, and A54 as For The First Time In America - Costello & Nieve (See: A55).

A54.

Live At The Park West, Chicago - Costello & Nieve. "The Long Honeymoon" (Costello); "Starting to Come to Me" (Costello); "The Other End of the Telescope" (Costello, Aimee Mann); "All the Rage" (Costello); "Watching the Detectives" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, piano. Compact disc. Warner Brothers PRO-CD-8430, 1996.

34 Album Discography All tracks were recorded at The Park West, Chicago, on May 18, 1996. The present promotional 2500-copy release was later packaged along with A50, A51, A52, and A53 as For The First Time In America ~ Costello & Nieve (See: A55). A55.

For The First Time In America - Costello & Nieve. "Temptation" (Costello); "Poor Fractured Atlas" (Costello); "I Just Don't Know What To Do With Myself (Burt Bacharach, Hal David); "It's Time" (Costello); "Man Out Of Time" (Costello); "Shallow Grave" (Paul McCartney, Costello); "Just About Glad" (Costello); "Why Can't a Man Stand Alone?" (Costello); "My Dark Life" (Costello); "All This Useless Beauty" (Costello); "Ship Of Fools" (Jerome J. Garcia, Robert C. Hunter); "The Long Honeymoon" (Costello); "Starting to Come to'Me" (Costello); "The Other End of the Telescope" (Costello and Mann); "All the Rage" (Costello); "Watching the Detectives" (Costello); "You Bowed Down" (Costello); "The Long Honeymoon" (Costello); "Distorted Angel" (Costello); "The Angels Want To Wear My Red Shoes" (Costello); "Little Atoms" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart); "Black Sails in the Sunset" (Costello); "You'll Never Be a Man" (Costello); "Just a Memory" (Costello); "I Want To Vanish" (Costello); "Alison" (Costello); "Laughing a Little" (Tom Bell, Linda Creed); "Tracks of My Tears" (Marvin Tarplin, Warren Moore, William Robinson, Jr.); "Tears of a Clown" (William Robinson, Jr., Stevie Wonder, Henry Cosby); "No More Tearstained Make-Up (William Robinson, Jr.); "downtime Is Over" (Costello). Elvis Costello, voice and guitar; Steve Nieve, piano; Pete Thomas, drums ("Shallow Grave" and "Man Out Of Time only). 5 compact discs. Warner Brothers Records 9 46469-2, 1996. The present limited pressing of 30,000 copies collects material previously released on an even more limited basis on A50, A51, A52, A53, and A54. (See also: DB380, DB381, DB382, DB383, DB388)

A56.

Extreme Honey: The Very Best of the Warner Brothers Years. "The Bridge I Burned" (MacManus); "Veronica" (Paul McCartney, MacManus); "Sulky Girl" (MacManus); "So Like Candy" (Paul McCartney, MacManus); "13 Steps Lead Down" (MacManus); "All This Useless Beauty" (Costello); "My Dark Life" (Costello); "The Other Side of Summer" (MacManus); "Kinder Murder" (MacManus); "Deep Dark Truthful Mirror" (MacManus); "Hurry Down Doomsday (The Bugs are Taking Over)" (MacManus, Jim Keltner); "Poor Fractured Atlas" (Costello); "The Birds Will Still Be Singing" (MacManus); "London's Brilliant Parade" (MacManus); "Tramp the Dirt Down" (MacManus); "Couldn't Call It Unexpected No. 4" (MacManus); "I Want To Vanish" (Costello); "All the Rage" (MacManus). Elvis Costello, guitar and vocals; various backing musicians. Various producers. Simultaneously released on compact disc, Warner Brothers 2-46801; and 1-7/8 ips audio cassette, Warner Brothers 4-46801, 1997. The material on the present album, with the exception of "The Bridge I Burned," had all previously been released. (See also: DB391, DB392, DB393, DB394; GB470, GB475)

Album Discography 35 Elvis Costello as Composer A57.

Original Soundtrack Recording from the Motion Picture "The Courier. " Includes "Last Boat Leaving" (MacManus). Elvis Costello and The Attractions. Also includes "Mad Dog" (MacManus); "Painted Villain" (MacManus); "Stalking" (MacManus); "Furinal Music" (piano version) (MacManus); "Rat Poison" (MacManus); "Furinal Music" (saxophone version); "Unpainted Villain" (MacManus); and "Last Boat Leaving" (MacManus), all orchestral pieces from the film soundtrack. Simultaneously released on 33-1/3 rpm phonodisc, Virgin 90954-1; and compact disc, Virgin CDV2517, 1988. (See also: M29)

A58.

Original Music from the Channel Four Series "GB.H " "G.B.H. Opening Titles: The Life and Times of Michael Murray" (MacManus, Richard Harvey); '"It Wasn't Me'" (MacManus, Richard Harvey); "Men Of Alloy" (MacManus, Richard Harvey); "Lambs to the Slaughter" (MacManus, Richard Harvey); "Bubbles" (MacManus, Richard Harvey); "The 'Goldilocks' Theme" (MacManus, Richard Harvey); "Perfume - The Odour Of Money" (MacManus, Richard Harvey); "Barbara Dougles: Assassin" (MacManus, Richard Harvey); "Pursuite Suite" (MacManus, Richard Harvey); "Prufrock Quartett: The Roaring Boy" (MacManus, Richard Harvey);'"... So I Used Five!'" (MacManus, Richard Harvey); "Love From a Cold Land" (MacManus, Richard Harvey); "In a Cemetery Garden" (MacManus, Richard Harvey); '"Smack Tm!"' (MacManus, Richard Harvey); "Woodlands" (MacManus, Richard Harvey); '"It's Cold Up There'" (MacManus, Richard Harvey); "Going Home Service" (MacManus, Richard Harvey); "Grave Music" (MacManus, Richard Harvey); "The Puppet Masters' Work" (MacManus, Richard Harvey); '"He's So Easy'" (MacManus, Richard Harvey); "Another Time, Another Place" (MacManus, Richard Harvey); "Closing Titles" (MacManus, Richard Harvey). Unnamed orchestra. Simultaneously released on 33-1/3 rpm phonodisc, Demon Soundtrack DSLP 4 (U.K.); 1-7/8 ips audio cassette, Demon Soundtrack DSCASS 4 (U.K.); and compact disc, Demon Soundtrack DSCD 4 (U.K.); Rykodisc CDC 20284 (U.S.), 1991. The present soundtrack for the the BBC television program "G.B.H.," contains orchestral music by Costello and Richard Harvey. Some of the themes later appeared in songs on Mighty Like a Rose and The Juliet Letters. (See also: DB297)

A59.

Tom Thumb. Orchestral background compositions by Elvis Costello. John Cleese, narrator. Compact disc. Rabbit Ears 7 4041 72016 2 0 (U.S.), 1995. The present "album" of material from the children's video Tom Thumb (See: VI5), was never officially released due to financial difficulties.

A60.

"Jake's Progress" Soundtrack. "Jake's Progress Opening Sequence" (MacManus, Richard Harvey); "Map Of Africa" (MacManus, Richard Harvey); "Julie's Pregnant Pause" (MacManus, Richard Harvey); "Monica's Fortune Telling" (MacManus, Richard Harvey); '"Cisco Kid" (MacManus, Richard Harvey); "Graveyard Waltz" (MacManus, Richard Harvey); "Housewarming" (MacManus, Richard Harvey); "Moving In" (MacManus, Richard Harvey); "Howling at the Moon" (MacManus, Richard Harvey); "Unhappy Home

36 Album Discography Service" (MacManus, Richard Harvey); "Ursine Variations" (MacManus, Richard Harvey); "Mrs. Rampton Reminisces" (MacManus, Richard Harvey); "A Friend In Need" (MacManus, Richard Harvey); "Death Of Alex/Closing Titles" (MacManus, Richard Harvey); "Remembering Alex" (MacManus, Richard Harvey); "Leaving Home" (MacManus, Richard Harvey); "Eliot's Heartbreak and Flashback" (MacManus, Richard Harvey); "Kate's Abuse" (MacManus, Richard Harvey); "Grave Dance" (MacManus, Richard Harvey); "Banquo" (MacManus, Richard Harvey); "Fall From Grace" (MacManus, Richard Harvey); "Play With Me, Mummy" (MacManus, Richard Harvey). Elvis Costello, vocals (guitar on "Grave Dance"); unnamed orchestra; Richard Harvey, conductor; Pete Thomas, drums. Produced by Richard Harvey and Austin Ince. 1995.

Singles Discography 51.

"Less Than Zero" (Costello); "Radio Sweetheart" (Costello). Elvis Costello with Clover ("Less Than Zero"); Elvis Costello with Nick Lowe, John McFee, and Mickey Shine ("Radio Sweetheart"). Produced by Nick Lowe. 45 rpm phonodisc. Stiff Records, BUY 11 (U.K.), 1977. (See also: S30)

52.

"Alison" (Costello); "Welcome To the Working Week" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. 45 rpm phonodisc. Stiff Records, BUY 14 (U.K.), 1977. (See also: S30)

53.

"(The Angels Wanna Wear My) Red Shoes" (Costello); "Mystery Dance" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. 45 rpm phonodisc. Stiff Records, BUY 15 (U.K.), 1977. (See also: S30)

54.

"Alison" (Costello); "Miracle Man" (Costello). Elvis Costello with Clover ("Alison"); Elvis Costello and The Attractions ("Miracle Man"). Produced by Nick Lowe. 45 rpm phonodisc. Columbia 3-10641 (U.S.), 1977. The present release of "Alison" includes added string synthesizer. (See also: S6) Note: The present version of "Miracle Man" was recorded live in London, August 1977.

55.

"Watching the Detectives" (Costello); "Blame It On Cain" (Costello) and "Mystery Dance" (Costello). Elvis Costello with members of The Rumour ("Watching the Detectives"); Elvis Costello and The Attractions ("Blame It On Cain" and "Mystery Dance"). Produced by Nick Lowe. 45 rpm phonodisc. Stiff Records, BUY 20 (U.K.); Columbia 3-10696 (U.S.), 1977. The present release was the first chart entry for the relatively new Stiff label. The record peaked at 15. Note: "Blame It On Cain" and "Mystery Dance" were recorded live in London, August 1977. (See also: S30)

56.

"Watching the Detectives" (Costello); "Alison" (Costello). Elvis Costello with Clover ("Alison"); Elvis Costello with members of The Rumour ("Watching the

38

Singles Discography Detectives"). Produced by Nick Lowe. 45 rpm phonodisc. Columbia 3-10705 (U.S.), 1977. The present release of "Alison" includes added string synthesizer. (See also: S4).

57.

"(I Don't Want To Go To) Chelsea" (Costello); "You Belong To Me" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Radar ADA 3 (U.K.), 1978. Note that the present was Costello's first release on Radar, a label specifically set up by Jake Riviera for recordings by The Yachts, Nick Lowe, and Costello.

58.

"(I Don't Want To Go To) Chelsea" (Costello); "Tiny Steps" (Costello); "Night Rally" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Columbia C4-8292 (U.S. and Canada), 1978.

59.

"Stranger in the House" (Costello); "Neat, Neat, Neat" (James). Elvis Costello with Clover ("Stranger in the House"); Elvis Costello and The Attractions, with Davey Payne, saxophone ("Neat, Neat, Neat"). Produced by Nick Lowe. 45 rpm phonodisc. Radar SAM 83 (U.K.), 1978. Note: "Neat Neat Neat" was recoded live at Leicester University, October 1977. (See also: DB11)

S10.

"Pump It Up" (Costello); "Big Tears" (Costello). Elvis Costello and The Attractions (Mick Jones also performs on "Big Tears"). Produced by Nick Lowe. 45 rpm phonodisc. Radar ADA 10 (U.K.), 1978.

SI 1.

"This Year's Girl" (Costello); "Big Tears" (Costello). Elvis Costello and The Attractions (Mick Jones also performs on "Big Tears"). Produced by Nick Lowe. 45 rpm phonodisc. Columbia 3-10762 (U.S.), 1978.

512.

"Radio Radio" (Costello); "Tiny Steps" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Radar ADA 24 (U.K.), 1978.

513.

"American Squirm" (Nick Lowe); "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe). Elvis Costello and The Attractions ("Peace, Love, and Understanding" only - Nick Lowe performs "American Squirm." Elvis Costello, backing vocals on "American Squirm." [To add to the general (completely intentional) confusion, the entire record is credited to Nick Lowe And His Sound.] Produced by Nick Lowe. 45 rpm phonodisc. Radar ADA 26 (U.K.), 1978.

514.

"Talking in the Dark" (Costello); "Wednesday Week" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Radar RG 1 (U.K.), 1978. The present release was given away free to fans at London shows in December 1978 and New York shows in January 1979. (See also: GB359)

Singles Discography 39 515.

"Oliver's Army" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart). Elvis Costello and The Attractions ("Oliver's Army"); Elvis Costello ("My Funny Valentine"). Produced by Nick Lowe ("Oliver's Army"); produced by Elvis Costello ("My Funny Valentine"). 45 rpm phonodisc. Radar ADA 31 (U.K.), 1979.

516.

Elvis Costello And The A ttractions - Live at Hollywood High. "Accidents Will Happen" (Costello); "Alison" (Costello); "Watching the Detectives" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Radar SAM 90 (U.K.); Columbia AE7-1171 (U.S.), 1979. The present single release, distributed free with some copies of the Armed Forces album (See: A6 and A7), was recorded live, June 1978. (See also: A14 and A33)

517.

"My Funny Valentine" (Richard Rodgers and Lorenz Hart); "(What's So Funny 'Bout) Peace, Love, and Understanding" (Nick Lowe). Elvis Costello ("My Funny Valentine"); Elvis Costello and The Attractions ("Peace, Love, and Understanding") Produced by Elvis Costello ("My Funny Valentine"); produced by Nick Lowe ("Peace, Love, and Understanding"). 45 rpm phonodisc. Columbia AE7-1172 (U.S.), 1979. The present limited-edition release was distributed free to fans at a St. Valentine's Day 1979 concert in Long Beach, California.

518.

"Accidents Will Happen" (Costello); "Talking in the Dark" (Costello); "Wednesday Week" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Radar ADA 35 (U.K.), 1979. (See also: S19)

519.

"Accidents Will Happen" (Costello); "Sunday's Best" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Columbia 3-10919 (U.S.), 1979. (See also: SI8)

520.

"I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Girls Talk" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Two-Tone TT 7 (U.K.), 1980. The present single was never released for commercial sale due to legal entanglements, although copies were distributed free at a concert in London. Apparently, 13,000 copies were pressed before WEA objected to a licensing agreement between Riviera Global Productions and Two-Tone which was signed after the collapse of Radar Records (See: GB55). The single was eventually released on the newly formed F-Beat Records (See: S21). (See also: S22)

521.

"I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Girls Talk" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. F-Beat XXI (U.K.); Columbia 1-11194 (U.S.), 1980. (See also: S20 and S22)

40 Singles Discography 522.

"I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Girls Talk" (Costello); "Secondary Modern" (Costello); "King Horse" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Columbia 1-11251 (U.S.), 1980. (See also: S20andS21)

523.

"High Fidelity" (Costello); "Getting Mighty Crowded" (Van McCoy). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. FBeatXX3 (U.K.), 1980. (See also: S24)

524.

"High Fidelity" (Costello); "Getting Mighty Crowded" (Van McCoy); "downtime Is Over" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 12-inch, 45 rpm phonodisc. F-Beat XX3T (U.K.), 1980. The present version of "downtime Is Over" differs from that of the album Get Happy": (See: A8) (See also: S23)

525.

"New Amsterdam" (Costello); "Dr. Luther's Assistant" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe ("New Amsterdam"); produced by Elvis Costello ("Dr. Luther's Assistant"). 45 rpm phonodisc. FBeat XX5 (U.K.), 1980. (See also: S26)

526.

"New Amsterdam" (Costello); "Dr. Luther's Assistant" (Costello); "Ghost Train" (Costello); "Just a Memory" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe ("New Amsterdam"); all other tracks produced by Elvis Costello. 45 rpm phonodisc. F-Beat XX5E (U.K.); XX5P (picture disc version) (U.K.), 1980. The present is an extended-play single. (See also: S25)

527.

"New Amsterdam" (Costello); "Wednesday Week" (Costello) Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc. Columbia 1-11284 (U.S.), 1980.

528.

"Getting Mighty Crowded" (Van McCoy); "Radio Sweetheart" (Costello). Elvis Costello and The Attractions ("Getting Mighty Crowded"); Elvis Costello with Nick Lowe, John McFee, and Mickey Shine ("Radio Sweetheart"). Produced by Elvis Costello ("Getting Mighty Crowded"); produced by Nick Lowe ("Radio Sweetheat"). 45 rpm phonodisc. Columbia 1-11389, 1980 (U.S.).

529.

"Clubland" (Costello); "Clean Money" (Costello); "Hoover Factory" (Costello). Elvis Costello and The Attractions ("Hoover Factory" is credited to Costello as a solo recording). Produced by Nick Lowe ("Clubland" and "Clean Money"); produced by Elvis Costello ("Hoover Factory"). 45 rpm phonodisc. F-Beat XX12(U.K.), 1980.

530.

Elvis Costello - Stiff Singles Four-Pack. Elvis Costello with The Attractions, members of The Rumour, and Clover. Produced by Nick Lowe. Four 45 rpm phonodiscs. Stiff GRAB 3, 1981 (U.K.).

Singles Discography 41 The present is a reissue of SI, S2, S3, and S5 in a special wallet. 531.

"From a Whisper to a Scream" (Costello); "Luxembourg" (Costello). Elvis Costello and The Attractions; Glenn Tilbrook, vocals ("From a Whisper to a Scream"); Martin Belmont, guitar ("From a Whisper to a Scream"). Produced by Nick Lowe, in association with Roger Bechirian. 45 rpm phonodisc. F-Beat XX14(U.K.), 1981. (See also: S32)

532.

"From a Whisper to a Scream" (Costello); "Different Finger" (Costello). Elvis Costello and The Attractions; Glenn Tilbrook, vocals ("From a Whisper to a Scream"); Martin Belmont, guitar ("From a Whisper to a Scream"). Produced by Nick Lowe in association with Roger Bechirian. 45 rpm phonodisc. WEA 58260, 1981. (See also: S31)

533.

"Watch Your Step" (Costello); "Luxembourg" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe in association with Roger Bechirian. 45 rpm phonodisc. Columbia 11-60519 (U.S.), 1981.

534.

The Elvis Costello Interview with Tom Snyder: "Tomorrow Coast to Coast. " 12-inch 45 rpm phonodisc. Columbia/CBS AS 958 XSM-168566 (U.S.), 1981. The present single was a promotional release of Snyder's 11-1/2 minute television interview with Costello.

535.

"Alison" (Costello); "Accidents Will Happen" (Costello). Elvis Costello with Clover ("Alison"); Elvis Costello and The Attractions ("Accidents Will Happen"). Produced by Nick Lowe. 45 rpm phonodisc. Columbia Hall of Fame 13-33401 (U.S.), 1981. The present is a reissue of previously released material.

S3 6.

"Good Year for the Roses" (Jerry Chesnut); "Colour of the Blues" (Lawton Williams, George Jones); "Why Don't You Love Me (Like You Used To Do)?" (Hank Williams). Elvis Costello and The Attractions. Produced by Billy Sherrill. 45 rpm phonodisc. F-Beat EC-1 (U.K.), 1981. The present was a promotional release. (See also: ER5)

S3 7.

"Good Year for the Roses" (Jerry Chesnut); "Your Angel Steps out of Heaven" (Jack Ripley). Elvis Costello and The Attractions. Produced by Billy Sherrill. 45 rpm phonodisc. F-Beat XXI7 (U.K.), 1981. Note: Despite the fact that some Costello fans were shocked and offended by the artist's recording of country music, the present single reached #4 in the British charts.

S38.

"Sweet Dreams" (Don Gibson); "Psycho" (Leon Payne). Elvis Costello and The Attractions. Produced by Billy Sherrill ("Sweet Dreams"); produced by Elvis Costello ("Psycho"). 45 rpm phonodisc. F-Beat XX19 (U.K.), 1981. "Psycho" was recorded live at the Palomino Club, North Hollywood, California, February 1979.

42 Singles Discography 539.

"I'm Your Toy" (Chris Etheridge, Gram Parsons); "Cry, Cry, Cry" (Johnny Cash); "Wondering" (J. Werner). Elvis Costello with the Royal Philharmonic Orchestra ("I'm Your Toy"), Robert Kirby, conductor; Elvis Costello and The Attractions (remaining tracks). Produced by Billy Sherrill ("Cry, Cry, Cry" and "Wondering"); produced by Elvis Costello ("I'm Your Toy"). 45 rpm phonodisc. F-Beat XX21 (U.K.), 1982. (See also: S40)

540.

"I'm Your Toy" (Chris Etheridge, Gram Parsons); "My Shoes Keep Walking Back To You" (Lee Ross, Bob Wills); "Blues Keep Calling" (Janis Martin); "Honky Tonk Girl" (Loretta Lynn). Elvis Costello with the Royal Philharmonic Orchestra, Robert Kirby, conductor ("I'm Your Toy"); Elvis Costello and The Attractions (remaining tracks). Produced by Billy Sherrill ("My Shoes Keep Walking Back To You," "Blues Keep Calling, and "Honky Tonk Girl"); produced by Elvis Costello ("I'm Your Toy"). 12-inch, 45 rpm phonodisc. FBeatXX21T(U.K.), 1982. (See also: S39)

541.

"You Little Fool" (Costello); "Big Sister" (Costello); "The Stamping Ground" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick ("You Little Fool"); produced by Nick Lowe ("Big Sister"); produced by Elvis Costello ("The Stamping Ground"). 45 rpm phonodisc. F-Beat XX26 (U.K.), 1982. Note: "The Stamping Ground" is credited to The Emotional Toothpaste, a moniker used on a number of occasions by Costello.

542.

"Man Out Of Time" (Costello); "Town Cryer" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick. 45 rpm phonodisc. F-Beat XX28 (U.K.); Columbia 18-03202 (U.S.), 1982. The version of "Town Cryer" on this disc is faster than the Imperial Bedroom album version. (See also: S43 and S44)

543.

"Man Out Of Time" (Costello), "Town Cryer" (Costello); "Imperial Bedroom" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick. 12-inch, 45 rpm phonodisc. F-Beat XX28T (U.K.), 1982. The version of "Town Cryer" on this disc is faster than the Imperial Bedroom album version. (See also: S42 and S44)

544.

"Man Out Of Time" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick. 45 rpm (one-sided) phonodisc. Columbia CNR-03269 (U.S.), 1982. The present one-sided single was an unsuccessful attempt to reduce the cost of 45-rpm records. The introduction and coda to the song have been deleted from this mix. (See also: S42 and S43)

545.

"From Head To Toe" (William "Smoky" Robinson); "The World Of Broken Hearts" (Doc Pomus, Mort Shuman). Elvis Costello and The Attractions. Produced by Elvis Costello, assisted by Paul Bass. 45 rpm phonodisc. F-Beat XX30, 1982 (U.K.).

Singles Discography 43 Some copies of the present single was distributed free with free copies of the Get Happy!! album (See: A8). (See also: GB80) 546.

"Party Party" (Costello); "Imperial Bedroom" (Costello). Elvis Costello and The Attractions with The Royal Guard Horns. Produced by Elvis Costello and Colin Fairley ("Party Party"); produced by Elvis Costello ("Imperial Bedroom"). 45 rpm phonodisc. A&M AMS 8267, 1982 (U.K.).

547.

"Pills and Soap" (The Imposter); "Pills and Soap" (The Imposter) [extended version]. Elvis Costello (The Imposter) and The Attractions. Produced by Colin Fairly and Elvis Costello (The Imposter). 45 rpm phonodisc. Demon IMP Records IMP 001, 1982 (U.K.). Due to legal entanglements resulting from a new United Kingdom record distribution agreement, Costello used the pseudonymn "The Imposter" for the present release. (See also: DB63)

548.

"Everyday I Write the Book" (Costello); "Heathen Town" (Costello). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. F-Beat XX32 (U.K.); Columbia 38-04045, 1983. Unlike most of the Columbia/F-Beat releases, the present single was released approximately one month earlier in the United States. This single also holds the distinction of being Elvis Costello's first top 40 recording in the United States. (See also: S49 and S50)

549.

"Everyday I Write the Book" (Costello); "Heathen Town" (Costello); "Night Time" (Patrick Chambers). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley, except "Night Time," which is produced by Elvis Costello with assistance by Paul Bass. 12-inch, 45 rpm phonodisc. FBeat XX32T (U.K.), 1983. The present release features an extended remix of "Everyday I Write the Book." (See also: S48 and S50)

550.

"Everyday I Write the Book" (Costello); "Everyday I Write the Book" (Costello) [instrumental version]; "Heathen Town" (Costello); "Night Time" (Patrick Chambers). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley, except "Night Time," which is produced by Elvis Costello with the assistance of Paul Bass. "Everyday I Write the Book" is remixed by John "Jellybean" Benitez. 45 rpm phonodisc. Columbia 44-04115 (U.S.), 1983. The present version of "Everyday I Write the Book" is longer than even thatofS49. (See also: S48)

551.

"Let Them All Talk" (Costello); "The Flirting Kind" (Costello). Elvis Costello and The Attractions with the TKO Horns. Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. F-Beat XX33 (U.K.), 1983. (See also: S52)

552.

"Let Them All Talk" (Costello) [extended remix]; "The Flirting Kind" (Costello). Elvis Costello and The Attractions with the TKO Horns. Produced

44 Singles Discography by Clive Langer and Alan Winstanley. 12-inch, 45 rpm phonodisc. F-Beat XX33T(U.K.), 1983. (See also: S51) 553.

"Let Them All Talk" (Costello); "Shipbuilding" (Costello, Clive Langer). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. Columbia 38-04266, 1983 (U.S.).

554.

"Peace In Our Time" (The Imposter); "Withered and Died" (Richard Thompson). The Imposter (Elvis Costello). Produced by Clive Langer and Alan Winstanley ("Peace In Our Time"); "Withered and Died" produced by Colin Fairley and The Imposter (Elvis Costello). 45 rpm phonodisc. Imposter Records TRUCE 1, 1984 (U.K.). Costello used the pseudonymn "The Imposter" for this release to denote it as a solo project without The Attractions.

555.

"I Wanna Be Loved" (Farnell Jenkins); "Turning the Town Red" (Costello). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. F-Beat XX35 (U.K.), 1984. (See also: S56, S57, and S58)

556.

"I Wanna Be Loved" (Farnell Jenkins); "Turning the Town Red" (Costello); "I Wanna Be Loved" (Farnell Jenkins) [extended version]. Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 12-inch, 45 rpm phonodisc. F-Beat XX35T (U.K.), 1984. (See also: S55, S57, and S58)

557.

"I Wanna Be Loved" (Farnell Jenkins); "Turning the Town Red" (Costello); "I Wanna Be Loved" (Farnell Jenkins) [discotheque version]. Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 12-inch, 45 rpm phonodisc. F-Beat XX35Z (U.K.), 1984. The present discotheque version of "I Wanna Be Loved" is nearly 1:30 longer than the "extended version," clocking in at 7:04. (See also: S55, S56, and S58)

558.

"I Wanna Be Loved" (Farnell Jenkins); "Love Field" (Costello). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. Columbia 38-04625 (U.S.), 1984. (See also: S55, S56, and S57)

559.

"The Only Flame In Town" (Costello); "The Comedians" (Costello). Elvis Costello and The Attractions; Daryl Hall, vocals ("The Only Flame In Town"). Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. F-Beat XX37, 1984. (See also: S60, S61, S62, and S63)

560.

"The Only Flame In Town" (Costello) [discotheque version]; "The Comedians" (Costello). Elvis Costello and The Attractions; Daryl Hall, vocals ("The Only Flame In Town"). Produced by Clive Langer and Alan Winstanley. 12-inch 45 rpm phonodisc. F-Beat XX37T, 1984.

Singles Discography 45 (See also: S59, S61, S62, and S63) 561.

"The Only Flame In Town" (Costello) [discotheque version]; "Pump It Up" (Costello) [discotheque mix]; "Baby It's You" (Burt Bacharach, Hal David, Barney Williams). Elvis Costello and The Attractions; Daryl Hall, backing vocals ("The Only Flame In Town"); Elvis Costello with Nick Lowe and His Cowboy Outfit ("Baby It's You"). Various tracks produced by Nick Lowe and by Clive Langer and Alan Winstanley. 12-inch 45 rpm phonodisc. F-Beat XX37Z, 1984. (See also: S59, S60, S62, and S63)

562.

"The Only Flame In Town" (Costello) [special mix]; "Baby It's You" (Burt Bacharach, Hal David, Barney Williams); "Pump It Up" (Costello) ["1984 monster mix"]. Elvis Costello and The Attraction; Elvis Costello with Nick Lowe and His Cowboy Outfit ("Baby It's You"); Daryl Hall, vocals ("The Only Flame In Town"). Various tracks produced by Nick Lowe and by Clive Langer and Alan Winstanley. 12-inch 33 rpm phonodisc. Columbia 44 05081 (U.S.), 1984. (See also: S59, S60, S61, and S63)

563.

"The Only Flame In Town" (Costello); "Turning the Town Red" (Costello). Elvis Costello and The Attractions; Daryl Hall, vocals ("The Only Flame In Town"). Produced by Clive Langer and Alan Winstanley. 45 rpm phonodisc. Columbia 38-04502, 1984. (See also: S59, S60, S61, and S62)

564.

"Green Shirt" (Costello); "Beyond Belief (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe ("Green Shirt") and Geoff Emerick ("Beyond Belief'). 45 rpm phonodisc. F-Beat ZB40085, 1985. (See also: S65 and S66)

565.

"Green Shirt" (Costello); "Beyond Belief (Costello); "Oliver's Army" (Costello); "Good Year for the Roses" (Jerry Chesnut). Elvis Costello and The Attractions; various other backing musicians ("Good Year for the Roses"). Produced by Nick Lowe ("Green Shirt"); produced by Billy Sherrill ("Good Year For the Roses"). Two 45 rpm phonodiscs. F-Beat ZB40085/7, 1985. (See also: S64 and S66)

566.

"Green Shirt" (Costello); "Beyond Belief (Costello); "Green Shirt" (Costello) [extended remix version]. Elvis Costello and The Attractions. Produced by Nick Lowe ("Green Shirt") and Geoff Emerick ("Beyond Belief). 12-inch 45 rpm phonodisc. F-Beat ZT 40086, 1985. (See also: S64 and S65)

567.

"The People's Limousine" (Henry & Howard Coward [Costello, T-Bone Burnett]); "They'll Never Take Her Love From Me" (Leon Payne). The Coward Brothers (Elvis Costello and T-Bone Burnett). Produced by T-Bone Burnett and Elvis Costello. 45 rpm phonodisc. IMP Records 006, 1985. Copies of the present record were distributed free with copies of S69.

46

Singles Discography

568.

"Less Than Zero" (Costello); "Radio Sweetheart" (Costello); "Alison" (Costello); "Watching the Detectives" (Costello) [edited version]. Elvis Costello with members of The Rumour and members of Clover. Produced by Nick Lowe. 12-inch, 45 rpm phonodisc. Stiff BUYIT 239, 1985.

569.

"Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell); "Baby's Got a Brand New Hairdo" (Costello). The Costello Show. Produced by T-Bone Burnett and Elvis Costello. 45 rpm phonodisc. F-Beat ZB 40555 (U.K.); Columbia 38-05809 (U.S.), 1986. (See also: S67) (See also: S70 and S71)

570.

"Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell); "Baby's Got a Brand New Hairdo" (Costello); "Get Yourself Another Fool" (Ernest Tucker, Frank Heywood). Elvis Costello, guitar and vocals with various backing musicians. Produced by T-Bone Burnett and Elvis Costello. "Get Yourself Another Fool" produced by Nick Lowe. 12-inch, 45 rpm phonodisc. F-Beat ZT 40556, 1986. (See also: S69andS71)

571.

"Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell); "Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell) [live version]. The Costello Show. Produced by T-Bone Burnett and Elvis Costello; live version produced by David Vanderhayden. 12inch, 45 rpm phonodisc. Columbia/CBS CAS 2310, 1986. The live recording comes from a solo performance for the WNEW-FM Morning Show at the Heartbreak in New York City. The audience provided backing vocals to Costello, who performed on lead vocals and electric guitar. (See also: S69 and S70)

572.

"Lovable" (MacManus, Cait O'Riordan); "Get Yourself Another Fool" (Ernest Tucker, Frank Heywood). The Costello Show ("Lovable"); Elvis Costello and The Attractions ("Get Yourself Another Fool"). Produced by T-Bone Burnett and Declan Patrick MacManus. 45 rpm phonodisc. Columbia 38-06059, 1986.

573.

"Tokyo Storm Warning" (MacManus, Cait O'Riordan) [part one]; "Tokyo Storm Warning" (MacManus, Cait O'Riordan) [part two]. Elvis Costello and The Attractions. Produced by Nick Lowe with Colin Fairley. 45 rpm phonodisc. Columbia 06326 (U.S.); Demon IMP 007 (U.K.), 1986. (See also: S74)

574.

"Tokyo Storm Warning" (MacManus, Cait O'Riordan); "Black Sails in the Sunset" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe ("Tokyo Storm Warning") and by T-Bone Burnett and Declan Patrick MacManus ("Black Sails in the Sunset"). 12-inch, 45 rpm phonodisc. Demon IMP007T, 1986. (See also: S73)

575.

"I Want You" (MacManus); "I Hope You're Happy Now" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 45 rpm phonodisc.

Singles Discography 47 Demon IMP 008, 1986. Also released on 12-inch, 45 rpm phonodisc, Demon IMP 008T, 1986. 576.

"Blue Chair (MacManus); "American Without Tears No. 2 (Twilight Version)" (MacManus). The Costello Show. Produced by T-Bone Burnett and Declan Patrick MacManus. 45 rpm phonodisc. Demon D1047, 1987. (See also: S77)

577.

"Blue Chair" (MacManus); "American Without Tears No. 2 (Twilight Version)" (MacManus); "Shoes Without Heels" (MacManus); "American Without Tears" (MacManus). The Costello Show. Produced by T-Bone Burnett and Declan Patrick MacManus. 12-inch, 45 rpm phonodisc. Demon D1047T, 1987. (See also: S77)

578.

"A Town Called Big Nothing (Really Big Nothing)" (MacManus) [shortened version]; "Return To Big Nothing" (MacManus). The MacManus Gang (Elvis Costello, guitar, bass, vocals, percussion; Ross MacManus, trumpet, percussion; Sy Richardson, voice; Cait O'Riordan, vocals; Steve Hart, piano; and Pete Thomas, drums). Produced by Declan MacManus. 45 rpm phonodisc. Demon D1052, 1987. (See also: S79;DB104)

579.

"A Town Called Big Nothing (Really Big Nothing)" (MacManus); "Return to Big Nothing" (MacManus); "A Town Called Big Nothing (The Long March)" (MacManus). The MacManus Gang (Elvis Costello, guitar, bass, vocals, percussion; Ross MacManus, trumpet, percussion; Sy Richardson, voice; Cait O'Riordan, vocals; Steve Hart, piano; and Pete Thomas, drums). Produced by Declan MacManus. 12-inch, 45 rpm phonodisc. Demon D1052T, 1987. (See also: S78;DB104)

580.

"Veronica" (Paul McCartney, MacManus); "You're No Good" (Clint Ballard, Jr.); "The Room Nobody Lives In" (John Sebastian); "Coal Train Robberies" (MacManus). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Colin Fairley and The Imposter (Elvis Costello). Simultaneously released on compact disc single, Warner Brothers W7558 CD 921156-2; 12inch, 45 rpm phonodisc, Warner Brothers W7558 T 9211560, 1989. The present release was Costello's most commercially successful single in the U.S., reaching #19. (See also: S81;DB121)

581.

"Veronica" (Paul McCartney, MacManus); "You're No Good" (Clint Ballard, Jr.). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Colin Fairley and The Imposter (Elvis Costello). Simultaneously released on 45 rpm phonodisc, Warner Brothers W7558; and 1-7/8 ips audio cassette single, Warner Brothers 7-22981, 1989. (See also: S80; DB121, DB141)

582.

"Let Him Dangle, " Plus Other Tracks You Might Like. "Let Him Dangle" (MacManus); "Coal-Train Robberies" (MacManus); "Ugly Things" (Nick Lowe); "You're No Good" (Clint Ballard, Jr.). Elvis Costello and various

48 Singles Discography backing musicians. Compact disc single. Warner Brothers PRO-CD-3720, 1989. The present was a promotional disc, not intended for sale. 583.

"Baby Plays Around" (Cait O'Riordan, MacManus); "Poisoned Rose" (MacManus); "Almost Blue" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart). Elvis Costello and The Attractions ("Poisoned Rose" and "Almost Blue"); Elvis Costello, guitar and vocals, with various backing musicians (other tracks). 45 rpm phonodisc. WEA W2949, 1989. Simultaneously released on 10-inch, 45 rpm phonodisc, WEA W2949TE. (See also: S84;DB140)

584.

"Baby Plays Around" (Cait O'Riordan, MacManus); "Point Of No Return" (Gerry Goffin, Carole King); "Almost Blue" (Costello); "My Funny Valentine" (Richard Rodgers, Lorenz Hart). Elvis Costello, guitar and vocals, with various backing musicians. "Point Of No Return" produced by Colin Fairley and "The Imposter" (Elvis Costello); "My Funny Valentine" produced by Elvis Costello. Simultaneously released on compact disc single, Warner Brothers 2949CD 921229-2; 12-inch, 45 rpm phonodisc, Warner Brothers 2949T 921229-2; and 1-7/8 ips audio cassette single, Warner Brothers 2949C, 1989. (See also: S83;DB140)

585.

"Accidents Will Happen" (Costello); "Alison" (Costello). Elvis Costello and The Attractions ("Accidents Will Happen"); Elvis Costello with Clover ("Alison"). Produced by Nick Lowe. Compact disc single. Columbia 13K68632, 1989.

586.

"The Other Side Of Summer" (MacManus); "Couldn't Call It Unexpected No. 4" (MacManus). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus (Elvis Costello). 45 rpm phonodisc. Warner Brothers W0025 (U.K.), 1991. (See also: S87, S88;DB159)

587.

"The Other Side Of Summer" (MacManus); "The Ugly Things" (Nick Lowe). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus ("The Other Side of Summer"); produced by Colin Fairley and "The Imposter" (Elvis Costello) ("The Ugly Things"). 1-7/8 ips audio cassette single. Warner Brothers W0025C, 1991. (See also: S86, S88;DB159)

588.

"The Other Side Of Summer" (MacManus); "Couldn't Call It Unexpected No. 4" (MacManus); "The Ugly Things" (Nick Lowe). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus (Elvis Costello), except "The Ugly Things," which is produced by Colin Fairley and "The Imposter" (Elvis Costello). Simultaneously released on 12-inch, 45 rpm phonodisc, Warner Brothers W0025T/9362 40073-0; and compact disc single, Warner Brothers W0025CD/9362 40073-2, 1991. (See also: S86, S87; DB159)

Singles Discography 49 589.

"So Like Candy" (Paul McCartney, MacManus); "Veronica" (Paul McCartney; MacManus) [demo version]; "Couldn't Call It Unexpected No. 4" (MacManus); "Hurry Down Doomsday (The Bugs Are Taking Over)" (MacManus, Jim Keltner). Elvis Costello, guitar and vocals, with various backing musicians ("So Like Candy"); Elvis Costello, guitar and vocals, and the Rude Five. Simultaneously released on compact disc single, Warner Brothers W0068CD 9362-40241-2; 45 rpm phonodisc, Warner Brothers W0068 9362-40241-2; and 12-inch, 45 rpm phonodisc, Warner Brothers W0068 (U.K.), 1991. The present version of "Couldn't Call It Unexpected" was recorded live at Great Woods, Mansfield, Massachusetts, June 1991; "Hurry Down Doomsday..." was recorded live for Costello's MTV "Unplugged" appearance in June 1991. (See also: S90;DB184)

590.

"So Like Candy" (Paul McCartney, MacManus); "Couldn't Call It Unexpected No. 4" (MacManus). Elvis Costello, guitar and vocals with various backing musicians. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus. 45 rpm phonodisc. Warner Brothers, 1991. (See also: S89;DB184)

591.

"Jacksons, Monk and Rowe" (MacManus, Michael Thomas, Jacqueline Thomas); "This Sad Burlesque" (MacManus, Paul Cassidy). Elvis Costello, voice; The Brodsky Quartet. Produced by Kevin Killen, Elvis Costello, and The Brodsky Quartet. 1-7/8 ips audio cassette single. Warner Brothers WO 159 C, 1993.

592.

Live At New York Town Hall. "More Than Rain" (Tom Waits); "God Only Knows" (Brian Wilson, Tony Asher); "They Didn't Believe Me" (Jerome Kern); "I Almost Had a Weakness" (MacManus, Michael Thomas). Elvis Costello, voice with The Brodsky Quartet. Produced by Kevin Killen. Compact disc single. Warner Brothers PRO-CD-6480, 1993. The present was a promotional release, not intended for retail sale. The performance took place on March 18, 1993. While promotional releases have generally not been included in the present discography, Live At New York Town Hall is in the interest of illustrating the unusual repertoire performed by Costello and The Brodsky Quartet.

593.

"Sulky Girl" (MacManus) [single version]; "Idiophone" (MacManus); "A Drunken Man's Praise Of Sobriety" (W.B. Yeats, MacManus); "Sulky Girl" (MacManus) [album version]. Elvis Costello and The Attractions. "Sulky Girl" produced by Mitchell Froom and Elvis Costello; all other tracks produced by Elvis Costello and Kevin Killen. Compact disc single. Warner WEA W0234CD/9362-41439-2, 1994. (See also: S94; DB244, DB275, DB277)

594.

"Sulky Girl" (MacManus) [single version]; "A Drunken Man's Praise Of Sobriety" (W.B. Yeats, MacManus). Elvis Costello and The Attractions. "Sulky Girl" produced by Mitchell Froom; "A Drunken Man's Praise, produced by Elvis Costello and Kevin Killen. Simultaneously released on 45 rpm phonodisc, Warner WEA W0234/5439-18203-7 (U.K.); and 1-7/8 ips audio cassette single, Warner WEA W0234C/5439-18203-4 (U.K.), 1994.

50 Singles Discography (See also: S93; DB244, DB275, DB277) 595.

"13 Steps Lead Down" (MacManus); "A Drunken Man's Praise Of Sobriety" (W.B. Yeats, MacManus). Elvis Costello and The Attractions. Produced by Mitchell Froom and Elvis Costello. Simultaneously released on 45 rpm phonodisc, Warner WEA 9 18214 (U.S.); compact disc single, Warner WEA 9 18214-2 (U.S.); and 1-7/8 ips audio cassette, Warner WEA 9 18214-4 (U.S.), 1994. (See also: S96, S97; DB271, DB273)

596.

"13 Steps Lead Down" (MacManus); "Puppet Girl" (MacManus); "Basement Kiss" (MacManus); "We Despise You" (MacManus). Elvis Costello and The Attractions. "13 Steps Lead Down" produced by Mitchell Froom; all other tracks produced by Elvis Costello. Compact disc single. Warner WEA W0245CD 9362-41556-2 (U.K.), 1994. (See also: S95, S97; DB273)

597.

"13 Steps Lead Down" (MacManus); "Do You Know What I'm Saying?" (MacManus). Elvis Costello and The Attractions. Produced by Mitchell Froom and Elvis Costello ("13 Steps Lead Down"); produced by Elvis Costello ("Do You Know..."). Simultaneously released on 45 rpm phonodisc, Warner WEA W0245 5439 18156 (U.K.); and 1-7/8 ips audio cassette, Warner WEA W0245C 5439 18156-4 (U.K.), 1994. (See also: S95, S96; DB271, DB273)

598.

"You Tripped at Every Step" (MacManus); "Step Inside Love" (John Lennon, Paul McCartney); "You've Got To Hide Your Love Away" (John Lennon, Paul McCartney); "Sticks and Stones" (Titus Turner). Elvis Costello and The Attractions. "You Tripped At Every Step" produced by Mitchell Froom and Elvis Costello; all other tracks produced by Elvis Costello. Compact disc single. Warner WEA W0251 CD 9362-41666-2 (U.K.), 1994. (See also: S99; DB269, DB285)

599.

"You Tripped At Every Step" (MacManus); "You've Got To Hide Your Love Away" (John Lennon, Paul McCartney). Elvis Costello and The Attractions. "You Tripped At Every Step" produced by Mitchell Froom and Elvis Costello. Simultaneously released on 45 rpm phonodisc, Warner WEA W0251 (U.K.); and 1-7/8 ips audio cassette, Warner WEA W0251C/5439-18102-4 (U.K.), 1994. (See also: S98; DB285)

5100.

"London's Brilliant Parade" (MacManus); "Sweet Dreams" (Don Gibson); "The Loved Ones" (Costello); "From Head To Toe" (William "Smoky" Robinson). Elvis Costello and The Attractions. Various producers. Compact disc single. Warner Brothers W0270CD1 (U.K.); Warner WEA 41859-2 (U.S.), 1994. The present single was part one of a two-part release. (See also: S101, S102, S103;DB291)

5101.

"London's Brilliant Parade" (MacManus); "New Amsterdam" (Costello); "Beyond Belief (Costello); "Shipbuilding" (Costello, Clive Langer). Elvis

Singles Discography

51

Costello and The Attractions. Various producers. Compact disc single. Warner Brothers W0270CD2 (U.K.); Warner WEA 41860-2 (U.S.), 1994. The present single was part two of a two-part release. (See also: S100, S102, S103;DB291) 5102.

"London's Brilliant Parade" (MacManus); "My Resistance Is Low" (Hoagy Carmichael, Harold Adamson); "Congratulations" (Paul Simon); "London's Brilliant" (MacManus, Cait O'Riordan). Elvis Costello and The Attractions ("London's Brilliant Parade"); Elvis Costello, guitar and vocals, Paul Riley, bass, and Pete Thomas, drums, all other tracks, except "London's Brilliant," which features only Elvis Costello and Pete Thomas. 12-inch, 45 rpm phonodisc. Warner Brothers W0270T (U.K.), 1994. (See also: S100, S101, S103; DB291; GB351)

5103.

"London's Brilliant Parade" (MacManus); "London's Brilliant" (MacManus, Cait O'Riordan). Elvis Costello and The Attractions. 1-7/8 ips audio cassette single. Warner Brothers W0270C/5439-17992-4 (U.K.), 1994. (See also: S100, S101, S102; DB291)

5104.

"It's Time" (Costello); "Life Shrinks" (MacManus); "Brilliant Disguise" (Bruce Springsteen). Elvis Costello, guitar and vocals; Steve Nieve, keyboards; Steve Donnelly, guitar; Pete Thomas, drums; Paul Riley, bass; Trevor Barry, bass. Produced by Geoff Emerick and Elvis Costello. Simultaneously released on compact disc single, Warner Brothers W0348CD/9632-43703-2 (U.K.); and 17/8 ips audio cassette single, Warner Brothers W0348C/5439-17631-4 (U.K.), 1996.

5105.

"Little Atoms" (MacManus); "Almost Ideal Eyes" (MacManus); "Just About Glad" (MacManus); "Why Can't a Man Stand Alone?" (MacManus). Elvis Costello, guitar and vocals; The Attractions ("Little Atoms" and "Almost Ideal Eyes"); Steve Nieve, keyboards (all tracks). Compact disc single. Warner Brothers W0364CD/9362-43744-2 (U.K.), 1996. Only 5000 copies of this U.K. release were pressed and were only available for one week.

SI 06.

"The Other End Of the Telescope" (Costello, Aimee Mann); "Almost Ideal Eyes" (Costello); "Basement Kiss" (Costello); "Complicated Shadows" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick and Elvis Costello, except "Basement Kiss" which is recorded and mixed by Dave Zamitt. Compact disc single. Warner Brothers W0365CD/9362-43745-2 (U.K.), 1996. Only 5000 copies of this U.K. release were pressed and were only available for one week.

SI07.

"Distorted Angel" (Costello); "Almost Ideal Eyes" (Costello); "All This Useless Beauty" (Costello); "Little Atoms" (MacManus) [DJ Food Rinse]; "Little Atoms" (Costello) [Polished Glass Mix]. Elvis Costello and the Attractions (all tracks except "All This Useless Beauty); DJ Food, vocals (on "Little Atoms"); Lush (on "All This Useless Beauty"). Warner Brothers W0366CD WE C795/9362-43746-2 (U.K.), 1996.

52

Singles Discography Only 5000 copies of this U.K. release were pressed and were only available for one week. (See also: DB378)

5108.

"All This Useless Beauty" (Costello); "Almost Ideal Eyes" (Costello); "The Other End of the Telescope" (Costello, Aimee Mann); "Distorted Angel" (Costello). Elvis Costello and The Attractions (all tracks except "The Other End of the Telescope"); Tricky (on "Distorted Angel"); Sleeper ("The Other End of the Telescope"). Compact disc single. Warner Brothers W0367CD/9362-43747-2 (U.K.), 1996. Only 5000 copies of this U.K. release were pressed and were only available for one week. (See also: DB378)

5109.

"You Bowed Down" (Costello); "Almost Ideal Eyes" (Costello); "Just About Glad" (Costello); "All This Useless Beauty" (Costello); "Distorted Angel" (Costello). Elvis Costello and The Attractions ("You Bowed Down" and "Almost Ideal Eyes"); Elvis Costello, vocals and Steve Nieve, piano ("Just About Glad"); Lush ("All This Useless Beauty"); Elvis Costello and The Attractions with Tricky ("Distorted Angel"). Compact disc single. Warner Brothers 43777-2 (U.S.), 1996. (See also: DB375, DB378)

Miscellaneous Discography Elvis Costello as Primary Performer Ml.

A Bunch of Stiff Records. Contains "Less Than Zero" (Costello). Elvis Costello and The Shamrocks (a.k.a. Clover). Produced by Nick Lowe. 33-1/3 rpm phonodisc. Stiff Records SEEZ 2 (U.K.), 1977. The present mix of "Less Than Zero" differs from the single version (See: SI) and from the version on My Aim Is True (See: Al and A2).

M2.

Jem Imports Sampler No. 4. Contains "I'm Not Angry" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Jem Records JEM PROMO-4 (U.S.), 1977. The present was the first U.S. release of an Elvis Costello recording.

M3.

Hits Greatest Stiffs. Contains "Radio Sweetheart" (Costello). Elvis Costello backed by Nick Lowe, John McFee, and Mickey Shine. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Stiff Records, FIST 1, 1977. The present album features the first 10 Stiff singles, including the above Costello song. (See also: SI)

M4.

Live Stiffs Live. Contains "I Just Don't Know What To Do With Myself (Burt Bacharach, Hal David), "Miracle Man" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Stiff Records, GET 1, 1978. Reissued under the title Live Stiffs by Music For Pleasure, MFP 50445, 1980? Reissued on compact disc, Mau Mau Records MAUCD621, 1992. The present album features 1977 live recordings of Elvis Costello and The Attractions, Nick Lowe, Wreckless Eric, Ian Drury and The Blockheads, and Larry Wallis, all artists recording with Stiff Records. (See also: DB8)

M5.

Heroes and Cowards. Includes "Less Than Zero" (Costello), "Mystery Dance" (Costello), "Alison" (Costello). Elvis Costello, guitar and vocals, backed by Clover. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Stiff Records, SEWL 1000, 1978. The present album is an Italian import featuring a number of other Stiff recording artists in addition to Costello.

54 Miscellaneous Discography M6.

Soundtrack to "That Summer. " Includes "(I Don't Want To Go To) Chelsea" (Costello) and "Watching the Detectives" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Arista Records SPART 1088, 1979. Although this performance of "Watching the Detectives" is credited to Elvis Costello and The Attractions it may be the original version in which Costello is supported by members of The Rumour.

M7.

Music from the Original Motion Picture Soundtrack "Americathon. " Includes "(I Don't Want To Go To) Chelsea" (Costello) and "Crawling to the U.S.A." (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 331/3 rpm phonodisc. Lorimar Records JS 36174; Columbia Records A136174, 1979.

M8.

Rock Against Racism (Greatest Hits). Includes "Goon Squad" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 33-1/3 rpm phonodisc. Virgin Records RAR 1 (U.K.), 1980.

M9.

Breaking the Rules. Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Two 33-1/3 rpm phonodiscs. Columbia/CBS A25-881 (U.S.), 1980.

M10.

Concerts for the People of Kampuchea. Includes "The Imposter" (Costello) [live version]. Elvis Costello and The Attractions. Two 33-1/3 rpm phonodiscs. Atlantic K60153 (U.K.); Atlantic SD 2-7005 (U.S.), 1981. Reissued on two compact discs, Hammersmith Music CDP5595, 1996.

Ml 1.

New Rock Champions. Includes "Alison" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. 33-1/3 rpm phonodisc. RCANL33186 (Italy), 1981.

Ml2.

Happy Rock: O Maximo Da New Wave. Includes "Alison" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. Two 33-1/3 phonodiscs. Nova Records 10014/15 (Portugal), 1981.

M13.

NME Dancin' Master. Includes "Big Sister" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. 1-7/8 ips audio cassette. NME 001, 1981. The present release was offered to readers of New Musical Express.

M14.

Fundamental Frolics. Includes "Psycho" (Leon Payne). Elvis Costello, guitar and vocals. 33-1/2 rpm phonodisc. BBC Records REB 435 (U.K.), 1981. Th included Costello performance was recorded live at the Apollo Theatre, London, June 1981.

M15.

NME Mighty Reel. Includes "Town Cryer" (Costello). Elvis Costello and The Attractions. 1-7/8 ips audio cassette. NME 004, 1982. This cassette was offered to readers of New Musical Express. Note: The present version of "Town Cryer" is faster than that on the Imperial Bedroom album.

Miscellaneous Discography 55 Ml 6.

Soundtrack to "Party Party." Includes "Party Party" (Costello). Elvis Costello and The Attractions. Simultaneously released on 33-1/3 rpm phonodisc and 17/8 ips audio cassette, A&M Records 68551, 1982. Reissued on compact disc, A&M D20Y 4030 (Japan), 1989. (See also: S46)

Ml7.

Why Study? Includes "Everyday I Write the Book" (Costello); "Let Them All Talk" (Costello); "The Invisible Man" (Costello). Elvis Costello and The Attractions. Produced by Clive Langer and Alan Winstanley. 33-1/3 rpm phonodisc. Columbia AS 1765, 1983. The present was a promotional release featuring material by various Columbia artists.

Ml 8.

Every Man Needs a Woman. Includes "Walking On Thin Ice" (Yoko Ono). Elvis Costello and The Attractions, with the TKO Horns. 33-1/3 rpm phonodisc. Polydor 422-823 490-1 Y-l, 1984. The present album is a tribute to Yoko Ono.

Ml9.

Sometimes a Great Notion. Includes "Really Mystified" (Tony Crane, Johnny Gustafson). Elvis Costello and The Attractions. EMI TOPCAT-1 (U.K.), 1984. Also released as EMI SP8410RS (U.K.), 1984. The present album benefited the British Deaf Association.

M20.

Save the Children. Includes the introduction to "Only Flame In Town" (Costello), with a voice over. Elvis Costello and The Attractions. 7-inch phonodisc. DWP 970A/B, 1985. The present release contains public radio service announcements for the Save The Children charity. The Costello spot is 30 seconds in length.

M21.

Soundtrack from "Club Paradise. " Includes "Seven Day Weekend" (Costello, Jimmy Cliff). Elvis Costello and The Attractions with Jimmy Cliff. "Seven Day Weekend" produced by Nick Lowe with Colin Fairley. 33-1/3 rpm phonodisc. CBS 70298, 1986. Reissued on compact disc, Sony SRCS 6416, 1994.

M22.

"Seven Day Weekend" (Costello, Jimmy Cliff); "Brightest Star" (Jimmy Cliff). Elvis Costello and The Attractions with Jimmy Cliff ("Seven Day Weekend"); Jimmy Cliff ("Brightest Star"). "Seven Day Weekend" produced by Nick Lowe with Colin Fairley. 45 rpm phonodisc. Columbia 38-06135, 1986.

M23.

NME Fourplay. Includes "Uncomplicated" (MacManus). Elvis Costello and The Attractions. 45 rpm phonodisc. New Musical Express GIV 4, 1986. The present single was given away free in New Musical Express magazine.

M24.

// 's a Live-In World. Includes "The End of the Rainbow" (Richard Thompson). Elvis Costello, guitar and vocals. Simultaneously released on two 33-1/3 rpm phonodiscs, EMI AHP LP1; and 1-7/8 ips audio cassette, TC AHP LP1, 1986. The present album was a benefit for The Anti-Heroin Project in Great Britain.


NME Pogo a Go Go. Includes "Watching the Detectives" (Costello). Elvis Costello and the Attractions. 1-7/8 ips audio cassette. NME 021, 1986. The present cassette was distributed to readers of New Musical Express. The performance may be from an August 1977 concert in Liverpool, according the discography on the Elvis Costello Home Page (See: ER2).

M26.

Straight to Hell (soundtrack). Includes "Big Nothing" (MacManus). The MacManus Gang. Produced by Declan MacManus. 33-1/3 rpm phonodisc. Hell DIABLO 1, 1987. Reissued on compact disc, Repertoire Records REP 4224-WY, 1987; Enigma Records CDE 73308 (U.S.), 1987.

M27.

Live For Ireland. Includes "Many Rivers To Cross" (Jimmy Cliff). Elvis Costello and The Attractions. 12-inch, 45 rpm phonodisc. MCA WMCG 6027 (U.K.), 1987; MCA MCA 42113 (U.S.), 1988. Also released on 1-7/8 ips audio cassette, MCA MCAC 42113 (U.S.), 1988. Reissued on compact disc, MCAMCD06027, 1988. This live recording was made May 17, 1986 in Dublin. The present was a promotional release. (See also: M28)

M28.

Live For Ireland. Includes "Leave My Kitten Alone" (Little Willie John, Titus Turner). Elvis Costello and The Attractions. Simultaneously released on two 33-1/3 rpm phonodiscs, MCA MCGD 6027; two 1-7/8 ips audio cassettes, MCA MCGDC 6027, 1988. This live recording was made May 17, 1986 in Dublin. (See also: M27) Note that Costello later recorded the song for Kojak Variety (See: A45).

M29.

Original Soundtrack Recording from the Motion Picture "The Courier. " Includes "Last Boat Leaving'1 (MacManus). Elvis Costello and The Attractions. Also includes "Mad Dog" (MacManus); "Painted Villain" (MacManus); "Stalking" (MacManus); "Furinal Music" (piano version) (MacManus); "Rat Poison" (MacManus); "Furinal Music" (saxophone version); "Unpainted Villain" (MacManus); and "Last Boat Leaving" (MacManus), all orchestral pieces from the film soundtrack. Simultaneously released on 33-1/3 rpm phonodisc, Virgin 90954-1; and compact disc, Virgin CDV2517, 1988. (See also: A57)

M30.

From Hell to Obscurity. Includes "Psycho" (Leon Payne); "They'll Never Take Her Love From Me" (Leon Payne). Elvis Costello and The Attractions ("Psycho"); The Coward Brothers (Elvis Costello and T-Bone Burnett) ("They'll Never Take Her Love From Me"). Simultaneously released on 33-1/3 rpm phonodisc, Black Mail BLACK 1; and compact disc, Black Mail BLACK CD1, 1989. Note: Black Mail was a name used by Demon for mail-order product.

M31.

The Godfather Part III Soundtrack. Includes "Miracle Man" (Costello). Elvis Costello and The Attractions. Simultaneously released on compact disc, CBS CK-47078; and 1-7/8 ips audio cassette, CBS CT-47078, 1990.

M32.

Soundtrack of "Until the End of the World. " Includes "Days" (Ray Davies). Elvis Costello, guitar and vocals, with various backing musicians. Produced by

Miscellaneous Discography 5 7 Elvis Costello and Kevin Killen. Simultaneously released on 33-1/3 rpm phonodisc, Warner Brothers 7599-26707-1; and compact disc, Warner Brothers 7599-26707-2, 1991. (See also: DB187) M33.

Bringing It All Back Home. Includes "Mischievous Ghost." Elvis Costello with Mary Coughlan. Simultaneously released on two 33-1/3 rpm phonodiscs, BBC LP REF 844; two compact discs, BBC CD 844; and two 1-7/8 ips audio cassettes, BBC ZCD 844, 1991. Reissued on two compact discs, BBC CD 844, 1996. The present release includes material used in the BBC television series "Bringing It All Back Home."

M34.

Deadicated. Includes "Ship of Fools" (Robert Hunter, Jerry Garcia). Elvis Costello, acoustic guitar and vocals, and the Rude Five (James Burton, electric guitar; Jim Keltner, drums; Larry Knechtel, piano; Marc Ribot, banjo and e-flat horn; Jerry Scheff, bass guitar). Produced by Elvis Costello and Kevin Killen. Simultaneously released on 33-1/3 rpm phonodisc, Arista 304 179 (U.K.); 1-7/8 ips audio cassette, Arista AC-8669 (U.S.); and compact disc, Arista 304 179 (U.K.); Arista ARCD-8669 (U.S.), 1991. (See also: DB158 and DB163)

M35.

Punk and Disorderly (New Wave 1976-1981). Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Telstar TCD 2520, 1991.

M36.

The Sound of the Suburbs. Includes "Oliver's Army" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Columbia MOODCD18, 1991.

M37.

The Stiff Records Box Set. Includes "Less Than Zero" (Costello); "Alison" (Costello); "Watching the Detectives" (Costello); "I Just Don't Know What To Do With Myself (Burt Bacharach, Hal David). Elvis Costello with Clover ("Less Than Zero" and "Alison"); Elvis Costello with members of The Rumour ("Watching the Detectives"); Elvis Costello and The Attractions ("I Just Don't Know What To Do With Myself). Produced by Nick Lowe. Four compact discs. Demon STIFF BOX 1, 1992. (See also: DB189, DB190, DB205)

M38.

The Sound of the City. Includes "(I Don't Want To Go To) Chelsea" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Columbia MOOD CD22, 1992.

M39.

Rock & Wave, Vol. 1: The Hits from the Underground. Includes "Oliver's Army" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Columbia 472733 2, 1992.

M40.

The Rolling Stone Collection, 1977-1982: 25 Years of Essential Rock. Includes "Watching the Detectives" (Costello). Elvis Costello with members of

58 Miscellaneous Discography The Rumour. Produced by Nick Lowe. Seven compact discs. Time-Life Music OPCS-2693, 1993. Simultaneously released on 1-7/8 ips audio cassette. M41.

Ferrington Guitars. Includes "May 17th" (MacManus). Elvis Costello, guitar. Produced by Elvis Costello. Book and compact disc. Jonathan Cape, Callaway Editions DF GR 1992 3, 1993. The present compact disc was only available with the book Ferrington Guitars. (See also: GB265)

M42.

Particle Theory (A Compendium of Lightspeed Incursions and Semiotic Weapons from Warner/Reprise). Includes "God Only Knows" (Brian Wilson, Tony Asher). Elvis Costello with The Brodsky Quartet. Compact disc. Warner Brothers PRO-CD-6550, 1993. The present disc was distributed by Options magazine. The live recording was made at New York Town Hall, March 18, 1993. (See also: S92)

M43.

The Compact 2 Tone Story. Includes "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones); "Girls Talk" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Four compact discs. CDCHRTT 5013, 1993. (See also: M44)

M44.

The Best of 2 Tone. Includes "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Chrysalis 72438276702 2 (U.S.), 1993. (See also: M43)

M45.

Anarchy: The Best of Punk. Includes "Welcome to the Working Week" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc, Nectar NTRCD007, 1993.

M46.

Punk and New Wave. Includes "Radio, Radio" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Time-Life Music, 1993.

M47.

Back to the 70 's. Includes "Oliver's Army" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Two compact discs. EMI 7243 8 27230 2 8, 1993.

M48.

Start. Includes "Watching the Detectives" (Costello). Elvis Costello with members of The Rumour. Produced by Nick Lowe. Compact disc. Dino DINCD92, 1994.

M49.

Adios Amigo: A Tribute to Arthur Alexander. Includes "Sally Sue Brown" (Arthur Alexander). Elvis Costello, guitar and vocals. Produced by Jon and Sally Tiven. Compact disc. Demon FIEND CD 754 (U.K.); Razor & Tie RT 2814 (U.S.), 1994. (See also: DB292)

Miscellaneous Discography 59 M50.

The Glory of Gershwin. Includes "But Not For Me" (George and Ira Gershwin). Elvis Costello, vocals. Simultaneously released on compact disc, Polygram Records 522 727-2 (U.K.), 314 526 091 (U.S.); and 1-7/8 audio cassette, Polygram Records 314 526 091-4 (U.S.), 1994. (See also: DB300)

M51.

No Prima Donna (The Songs of Van Morrison). Includes "Full Force Gale" (Van Morrison). Elvis Costello, vocals, with The Voice Squad (Phil Callery, Fran McPhail, and Gerry Cullen). Produced by Van Morrison and Phil Coulter. Simultaneously released on compact disc, Exile/Polydor 523368-2; and 1-7/8 ips audio cassette, Exile/Polydor 523368-4, 1994. (See also: DB289; GB352)

M52.

The Rykodisc/Hannibal Fall '94 Collection. Includes "You Little Fool" (Costello); "I'm Your Toy" (Gram Parsons, Chris Etheridge). Elvis Costello, guitar and vocals, with various backing musicians. Various producers. Compact disc. Rykodisc VRCO 9402, 1994.

M53.

The Unplugged Collection, Volume 1. Includes "Deep Dark Truthful Mirror" (MacManus). Elvis Costello, acoustic guitar and vocals, and The Rude 5 (Marc Ribot, guitar; Larry Knechtel, piano; Jerry Scheff, bass; Pete Thomas, drums). Produced by BifTDawes. Compact disc. Warner Brothers 9362-45774-2, 1994.

M54.

Sounds of the Seventies. Includes "Oliver's Army" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Two compact discs. Global Television RADCD01, 1994.

M55.

Eleven Years and Counting: Spring 1994 Collection. Includes "Twenty-Five To Twelve" (Costello). Elvis Costello and The Attractions. Compact disc. Rykodisc VRCD 9401, 1994.

M56.

My PoMo Valentine (Hits Post Modern Syndrome). Includes "13 Steps Lead Down" (MacManus). Elvis Costello and The Attractions. Produced by Mitchell Froom and Elvis Costello. Compact disc. Hits HTO19 (U.S.), 1994.

M57.

New Frontiers. Includes "Jacksons, Monk and Rowe" (MacManus, Michael Thomas, Jacqueline Thomas). Elvis Costello, vocals with the Brodsky Quartet. Produced by Kevin Killen, Elvis Costello, and The Brodsky Quartet. Compact disc. Warner WEA 9548-31952-2 (France), 1994.

M58.

Slam Jams, Vol. 1. Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Tommy Boy Music TBCD 1194, 1994.

M59.

One and Only: 25 Years Of Radio One. Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Produced by Tony Wilson. Two 1-7/8 ips audio cassettes. ISBOJMC 25, 1995. The present live performance of "Pump It Up" was recorded in 1979 for radio broadcast.


The Demon Bible According To Tower. Includes "Big Tears" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Demon FIENDCD766, 1995. The present recording was available through Tower Records.

M61.

The Rykodisc/Hannibal/Gramavision Fall '95 Mixer. Contains "Brilliant Mistake" (MacManus). Elvis Costello, guitar and vocals with various backing musicians. Produced by J. Henry (T-Bone) Burnett and Declan Patrick Aloysius MacManus with Larry Kalman Hirsch. Compact disc. Rykodisc VRCD 9509, 1995.

M62.

It \s a Warnerful World. Includes "The Other Side Of Summer" (MacManus). Elvis Costello, vocals and guitar with miscellaneous backing musicians. Produced by Mitchell Froom, Kevin Killen, and D.P.A. MacManus (Elvis Costello). Compact disc. Warner WEA 9548-33346-2, 1995.

M63.

HUH Music Service. Includes "Pouring Water on a Drowning Man" (D Baker, D. McCormick). Elvis Costello, vocals, with miscellaneous backing musicians. Compact disc. HK0108D, 1995. The present release was an American magazine sampler CD.

M64.

The Best Punk Album in the World...Ever•/ Includes "(I Don't Want To Go To) Chelsea" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Simultaneously released on compact disc, Virgin VTDCD 42 (U.K.); and 1-7/8 ips audio cassette, Virgin VTDMC 42, 1995.

M65.

The Awards 1995. Includes "Sulky Girl" (MacManus). Elvis Costello and The Attractions. Produced by Mitchell Froom and Elvis Costello. Simultaneously released on two compact discs, Columbia MOOD CD 39; and 1-7/8 ips audio cassette, Columbia MOOD C39, 1995.

M66.

London on the Line. Includes "(I Don't Want To Go To) Chelsea" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Columbia 477129-2 (Australia), 1995.

M67.

CD Review's Holiday Music Sampler. Contains "St. Stephen's Day Murders" (Costello, Paddy Maloney). Elvis Costello, vocals with The Chieftains. Compact disc. CDR 1295D (U.S.), 1995. The present compact disc was included free in the December 1995 issue of CD Review. (See also: M123andM183)

M68.

Drivetime 3. Contains "Oliver's Army" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Simultaneously released on compact disc, Dino Entertainment Records DINCD119 (U.K.); and 1-7/8 ips audio cassette, Dino Entertainment Records DINMC119 (U.K.), 1995.

M69.

18 Original Hits - 18 Unoriginal Artists. Contains "They Didn't Believe Me" (Jerome Kern). Elvis Costello, vocals, with the Brodsky Quartet. Compact disc. Polygram PMP 011 (U.S.), 1995. The present was a promotional release.


Punk Killer. Contains "(I Don't Want To Go To) Chelsea" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Two compact discs. MCA (France), 1995. Although few European and Asian releases are included in the present book, this one is to illustrate the extent to which ".. .Chelsea" was linked with the British punk rock movement.

M71.

Into The Eighties. Contains "I Can't Stand Up For Falling Down" (Homer Banks, Allan Jones). Elvis Costello and The Attractions. Produced by Nick Lowe. Two compact discs. Global Television Ltd., London RADCD09, 1995.

M72.

Britpop Vol. 1. Contains "Veronica" (Paul McCartney, MacManus). Elvis Costello, guitar and vocals, with various backing musicians. Produced by Kevin Killen and Elvis Costello. Two compact discs. Sony, 1996. The present collection was released as part of the German magazine Musikexpr ess/Sounds.

M73.

Songs in the Key ofX. Includes "My Dark Life" (Costello). Elvis Costello with Brian Eno. Simultaneously released on compact disc, Warner Brothers 936246079-2 (U.K.); Warner Brothers 9 46079-4 (U.S.); and 1-7/8 ips audio cassette, Warner Brothers 4-46079-4 (U.S.), 1996. The present release includes music featured in the U.S. television program "The X-Files." (See also: DB373; GB414)

M74.

Fuck the Rides. Includes "You Bowed Down" (Costello). Elvis Costello, guitar and vocals, with various backing musicians. Compact disc. Warner Brothers PRO-CD-8229-R, 1996.

M75.

Common Ground (Voices of Modern Irish Music). Includes "The Night Before Larry Was Stretched" (traditional). Elvis Costello, voice. Compact disc. EMI Premier 7243 8-37691-2, 1996. (See also: DB361)

M76.

The Best Punk Album in the World...Ever! 2. Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Simultaneously released on two compact discs. Virgin VTDCD 79 (U.K.); and two 1-7/8 ips audio cassettes, Virgin VTDMC 79, 1996.

M77.

The Number One Punk Album. Includes "Oliver's Army" (Costello). Elvis Costello and The Attractions. Simultaneously released on two compact discs, Polygram TV 535 658-2; and two 1-7/8 ips audio cassettes, Polygram TV 535 658-4, 1996.

M78.

''Grace of My Heart" Soundtrack. Includes "God Give Me Strength" (Costello, Burt Bacharach). Elvis Costello with Burt Bacharach. Compact disc. MCA 11510 (11554), 1996. The initial release, MCA 11510, was replaced by MCA 11554 one week after the original issue date due to error with one of the non-Costello tracks. (See also: DB377)

2 Miscellaneous Discography a M79.

WEA NME 3. Includes "Distorted Angel" (Costello). Elvis Costello and The Attractions with Tricky. 1-7/8 ips audio cassette. WEA NME 3 (U.K.), 1996. The present tape was offered free with New Musical Express magazine.

M80.

Doing It Right. Includes "King of Confidence" (MacManus). The Costello Show. Compact disc. Demon ZNIP 502 (U.K.), 1996. The present sampler was available at low cost through Virgin's record stores.

M81.

Collector's Edition 1996, Vol.2. Includes "You Bowed Down" (Costello). Elvis Costello and The Attractions. Compact disc. SBR Radio Company (U.S.), 1996.

M82.

Live from the Music Hall, Vol. 3. Includes "All This Useless Beauty" (Costello). Elvis Costello, guitar and vocals. Compact disc. KSCA KSCA01-2 (U.S.), 1996. The present release, produced by Los Angeles radio station KSCA, includes the listed Costello cut, performed live by Costello in the station's studio. Costello sings the chorus in Italian in the present performance.

M83.

Live from the Archives, Vol. 3. Includes "Just About Glad" (Costello). Elvis Costello, guitar and vocals; Steve Nieve, piano. Two compact discs. KFOG, 1996. The present release was produced by San Francisco's KFOG radio station, which provided production assistance for the Costello & Nieve show at The Fillmore recorded for A51.

M84.

17 Volume. Includes "What Do I Do Now?" (Wener). Elvis Costello, vocals and all instruments. Produced by Elvis Costello. Two compact discs. VOLUME 17VCD17 (U.K.), 1996. The present collection was apparently released and deleted on the same day! Costello's performance was recorded at the musician's house. (See also: GB434)

M85.

MCA Soundtracks: Off the Cutting Room Floor. Includes "God Give Me Strength" (Costello, Burt Bacharach). Elvis Costello with Burt Bacharach. Compact disc. MCA MCA3P-90047, 1997. The present album was distributed to subscribers of the Los Angeles public radio station KCRW-FM.

M86.

ESPN Presents Slam Jams Volume 1. Includes "Pump It Up" (Costello). Elvis Costello and The Attractions. Produced by Nick Lowe. Compact disc. Tommy Boy TBCD 1194 (U.S.), 1997

M87.

"Mad About You, " The Final Frontier: Music from and Inspired by the Television Series. Includes "Sneaky Feelings" (Costello). Elvis Costello with Clover. Produced by Nick Lowe. Simultaneously released on compact disc, Atlantic 82983-2; and 1-7/8 audio cassette Atlantic 82983-4, 1997.


September Songs: The Music of Kurt Weill. Includes "Lost in the Stars" (Kurt Weill). Elvis Costello, vocals, with the Brodsky Quartet. Produced by Hal Willner, Elvis Costello, and the Brodsky Quartet. Sony Classical SK 63046, 1997. (See also: V14; DB389, DB390)

M89.

Not With That Clown (Great Songs Of Sexual Jealousy: The Human Condition Series #1). Includes "I Want You" (MacManus). Elvis Costello, guitar and vocals. Compact disc. Mushroom Records/Mambo (Australia), 1997.

M90.

Q Magazine Issue 130. Includes "Complicated Shadows" (Costello). Elvis Costello and The Attractions. Produced by Geoff Emerick and Elvis Costello Compact disc. Q Magazine (U.K.), July 1997. The present compact disc was issued free with the July 1997 issue of Q Magazine.

M91.

A Hard Night's Day. Various artists. Includes "Watching the Detectives" (Costello); and "Alison" (Costello). Elvis Costello with members of The Rumour ("Watching the Detectives"); Elvis Costello with Clover ("Alison"). Produced by Nick Lowe. Two compact discs. MCA MCD60047 (U.K.), 1997. The present release is a compilation from Stiff Records.

M92.

Live From 6A: Musical Performances From uLate Night With Conan O 'Brien. " Various artists. Includes "All This Useless Beauty" (MacManus). Elvis Costello, guitar and vocals. Compact disc. Broadway Video Records/Mercury 314 536 324-2, 1997.

M93.

"The Big Lebowski" Original Motion Picture Soundtrack. Includes "My Mood Swings" (Costello, Cait O'Riordan). Elvis Costello, vocals; Greg Cohen, bass; Jim Keltner, drums; Marc Ribot, guitar. Produced by T-Bone Burnett. Compact disc. Mercury Records CD 5369032 (U.K.); CD 314 536 903-2 (U.S.), 1998. Covers of Elvis Costello Compositions

M94.

"Alison" (Costello); "Momma" (Christian, Walton). Barry Christian. 45 rpm phonodisc. Mercury 6007 161, 1977 (U.K.).

M95.

Living in the U.S.A. Linda Ronstadt. Includes "Alison" (Costello). 33-1/3 rpm-phonodisc. Asylum K53085, 1978.

M96.

Fool Around. Rachel Sweet. Includes "Stranger in the House" (Costello). 331/3 rpm phonodisc. Stiff Records SEEZ 12, 1978.

M97.

"Girls Talk" (Costello); "Bad is Bad" (Huey Lewis). Dave Edmunds. 45 rpm phonodisc. Swan Song SSK 19418, 1979 (U.K.). (See also: M98)


Repeat When Necessary. Dave Edmunds. Includes "Girls Talk" (Costello). Simultaneously released on compact disc, Swan Song 8507-2; and 1-7/8 ips audio cassette, Swan Song CS 8507, 1979. (See also: M97)

M99.

My Very Special Guests. George Jones. Includes "Stranger in the House" (Costello). Costello is a guest performer on the present recording. 33-1/3 rpm phonodisc. Epic EPC 83163 (U.K.); Epic 35544 (U.S.), 1979. Reissued on compact disc, Epic EK35544, 1991. (See also: M103 andM144)

Ml00.

That's \Miat Friends Are For. Georgie Fame. Includes "That's What Friends Are For" (Costello). Simultaneously released on 33-1/3 rpm phonodisc and 17/8 ips audio cassette, Pye Nl 19, 1979. (See also: M137)

M101.

Two Sides to Every Woman. Carlene Carter. Includes "Radio Sweetheart" (Costello). 33-1/3 rpm phonodisc. Warner Brothers BSK 3375, 1979.

M102.

Mad Love. Linda Ronstadt. Includes "Party Girl" (Costello) and "Talking in the Dark" (Costello). 33-1/3 rpm phonodisc. Asylum K52210, 1980.

Ml03.

"Stranger in the House" (Costello); "A Drunk Can't Be a Man" (George Jones). George Jones. 45 rpm phonodisc. Epic S-EPC 8560, 1980 (U.K.). (See also: M99andM144)

M104.

"Just a Memory" (Costello), "Who Cares" (The Shakin' Pyramids). The Shakin'Pyramids. 45 rpm phonodisc. Virgin VS 505, 1982 (U.K.).

Ml05.

Nothing Can Stop Us Now. Robert Wyatt. Includes "Shipbuilding" (Costello, Clive Langer). Compact disc. Rough Trade, 1982. (See also: M106)

Ml 06.

"Shipbuilding" (Costello, Clive Langer); "Memories of You" (Blake, Razal). Robert Wyatt. 45 rpm phonodisc. Rough Trade RT 115, 1982 (U.K.). (See also: M105)

M107.

White Heat. Dusty Springfield. Includes "Losing You (Just a Memory)" (Costello). 33-1/3 rpm phonodisc. Casablanca, 1983.

Ml08.

Far From the Hurting Kind. Tracie. Includes "(I Love You) Wrhen You Sleep" (Costello). 33-1/3 rpm phonodisc. Respond Records RRL 502, 1984.

Ml09.

"Shatterproof (Costello); "Look At That Car" (Bremner, Birch). Billy Bremner. 45 rpm phonodisc. Arista ARIST 557, 1984 (U.K.).

Ml 10.

The Rose of England. Nick Lowe. Includes "Indoor Fireworks" (MacManus). Compact disc. F-Beat ZL70765/Demon FIENDCD 73, 1985. (See also: DB84)

Miscellaneous Discography 65 Mill.

Stumblin' In The Aisle. Allan Mayes. Includes "Maureen & Sam" (MacManus, Allan Mayes). 33-1/3 rpm phonodisc. U.S. STC 86-2-1001, 1986.

Ml 12.

Once Upon a Long Ago. Paul McCartney. Includes "Back On My Feet" (Paul McCartney, MacManus). Simultaneously released on 12-inch, extended play 45 rpm phonodisc, Parlophone 202188-6/CDR 6170 (U.K); and compact disc single, Parlophone 202188-6/CDR 6170 (U.K.), 1987.

Ml 13.

Nothing But the Truth. Ruben Blades. Includes "The Miranda Syndrome" (Costello, Ruben Blades) and "Shamed Into Love" (Costello, Ruben Blades). Simultaneously released on 33-1/3 rpm phonodisc, Elektra 960 754-1; compact disc, Elektra 960 745-2; and 1-7/8 ips audio cassette, Elektra 960 754-4, 1988. (See also: GB169, GB173, GB174)

Ml 14.

What Up, Dog? Was (Not Was). Includes "Shadow and Jimmy" (Costello, David Was). Simultaneously released on 33-1/3 rpm phonodisc, Fontana SFLP4; compact disc, Fontana 834 291-2; and 1-7/8 ips audio cassette, Fontana SFMC4, 1988.

Ml 15.

Chet Baker Sings and Plays from the Film 'Let's Get Lost. " Chet Baker. Includes "Almost Blue" (Costello). Simultaneously released on 1-7/8 ips audio cassette and compact disc, RCA-BMG PK 83054 (Germany); Novus 3054-2-N (U.S.), 1989. (See also: V6 for a related Baker and Costello "collaboration")

Ml 16.

Mystery Girl. Roy Orbison. Includes "The Comedians" (Costello). Compact disc. Virgin Records America V2 91058/CDV 2576, 1989. (See also: DB136; GB178, GB180)

Ml 17.

A Black and White Night. Roy Orbison. Includes "The Comedians" (Costello). Compact disc. Virgin Records CDV 2601, 1989. (See also: V7)

Ml 18.

Voyage. Christy Moore. Includes "(The) Deportees Club" (Costello). Simultaneously released on 1-7/8 ips audio cassette, WEA-Atlantic 82034-4; and compact disc, WEA 2292-46156-2, 1989.

Ml 19.

Flowers in the Dirt. Paul McCartney. Includes "My Brave Face" (McCartney, MacManus); "You Want Her Too" (McCartney, MacManus); "Don't Be Careless Love" (McCartney, MacManus); and "That Day Is Done" (McCartney, MacManus). Elvis Costello appears on vocals and keyboards on "You Want Her Too." "You Want Her Too" produced in part by Elvis Costello. Compact disc. Parlophone PCSD (U.K.); Capitol Records CDP 7 91653 2 (U.S.), 1989. Remastered disc issued as Parlophone EMI 0777 7 89138 2 5, 1993. Reissue also includes "Back on My Feet" (McCartney, MacManus). (See also: M180; DB142, DB143)

M120.

Everything's Different Now. 'Til Tuesday. Includes "The Other End of the Telescope" (Costello, Aimee Mann). Elvis Costello appears on backing vocals.

66 Miscellaneous Discography Simultaneously released on 33-1/3 rpm phonodisc and compact disc. Epic EPC 460737, 1989. (See also: M181) M121.

Boom Chicka Boom. Johnny Cash. Includes "Hidden Shame" (MacManus). Simultaneously released on 33-1/3 rpm phonodisc, Mercury 8421551; and compact disc, Mercury 842 725-2, 1990.

M122.

Angel Tiger. June Tabor. Includes "All This Useless Beauty" (Costello). Compact disc. Cooking Vinyl COOKCD 049, 1991. (See also: M136)

M123.

The Bells of Dublin. The Chieftains. Includes "St. Stephen's Day Murders" (Costello, Paddy Maloney). Elvis Costello, guest vocalist. Compact disc. RCA 60824, 1991. (See also: M67andM183)

M124.

Back From Rio. Roger McGuinn. Includes "You Bowed Down" (Costello, Roger McGuinn). Compact disc. Arista ARDC-8648, 1991. (See also: M184;DB157)

M125.

The Criminal Under My Own Hat. T-Bone Burnett. Includes "It's Not Too Late" (MacManus, T-Bone Burnett, Bob Neuwirth). Simultaneously released on compact disc, Columbia 467978-2; and 1-7/8 ips audio cassette, Columbia 467978-4, 1992.

M126.

Rock 'n'Lull, Volume II. Dimit. Includes "New Amsterdam" (Costello). 1-7/8 ips audio cassette. FYZYX Music Company, 1992.

Ml27.

Someone to Love. Charles Brown. Includes "I Wonder How She Knows" (Costello, Charles Brown). Simultaneously released on compact disc, Bullseye Blues METCD 9514; and 1-7/8 ips audio cassette, Bullseye Blues CBB 9514, 1992.

M128.

Miserere. Zucchero "Sugar" Fornaciari. Includes "Miss Mary" (MacManus, Zucchero Fornaciari). Compact disc. Polydor 513 682-2 (U.K.); London 314 517 097-2 (U.S.), 1992.

Ml 29.

Off the Ground. Paul McCartney. Includes "Mistress and Maid" (McCartney, MacManus) and "The Lovers That Never Were" (McCartney, MacManus). Compact disc. Parlophone CDPCSC 125 (U.K.); Capitol Records CDP-580362 (U.S.), 1993. (See also: DB208)

Ml30.

The Complete Works. Paul McCartney. Includes "Mistress and Maid" (McCartney, MacManus) and "The Lovers That Never Were" (McCartney, MacManus). Two compact discs. Parlophone CDEQ 5010, 1993.

Ml 31.

Love For Sale. Mary Coughlan. Includes "Upon a Veil of Midnight Blue" (Costello). Compact disc. Demon FIENDCD 730, 1993.

Miscellaneous Discography 67 Ml 3 2.

Now A in't the Time for Your Tears. Wendy James. Includes "London's Brilliant" (MacManus, Cait O'Riordan); "Basement Kiss" (MacManus); "Do You Know What I'm Saying" (MacManus); "This Is a Test" (MacManus); "Earthbound" (MacManus, Cait O'Riordan); "Fill in the Blanks" (MacManus); "I Want To Stand Forever" (MacManus); "Puppet Girl" (MacManus, Cait O'Riordan); "The Nameless One" (MacManus). Simultaneously released on 17/8 ips audio cassette, Geffen Records DGCC-24507; and compact disc, MCA MCAD 10800, 1993. (See also: DB222)

Ml33.

"Short Cuts" Soundtrack. Annie Ross and the Low Note Quintet. Includes "Punishing Kiss" (MacManus, Cait O'Riordan). Compact disc. Imago-BMG 72787 210142, 1993.

M134.

Shipbuilding. Tasmin Archer. Includes "Shipbuilding" (Costello, Clive Langer); "New Amsterdam" (Costello); "Deep Dark Truthful Mirror" (MacManus); "All Grown Up" (MacManus). Compact disc. SBK Records, 1994. (See also: DB240, DB275)

M135.

Against The Stream. June Tabor. Includes "I Want to Vanish" (Costello). Compact disc. Cooking Vinyl COOK CD 071, 1994.

M136.

Essential Folk. Includes June Tabor's recording of "All This Useless Beauty" (Costello). Compact disc. Nectar NTRCD030, 1995. (See also: Ml22)

M137.

Georgie Fame At His Best. Georgie Fame. Includes "That's What Friends Are For" (Costello). Compact disc. Castle Communications MAT CD 323, 1995. The present is a reissue of Fame's 1979 recording of the Costello composition. (See also: Ml00)

Ml38.

Dirty Rotten Shame. Ronnie Drew. Includes "Dirty Rotten Shame" (Costello). Compact disc. Sony 4814132, 1995.

M139.

Norma Waterson. Norma Waterson. Includes "The Birds Will Still Be Singing" (MacManus). Compact disc. Hannibal/Rykodisc HNCD 1393, 1996.

Ml40.

Nearly God. Tricky. Includes the track "Black Coffee," which uses samples from "Pills and Soap" (Costello). 1996.

M141.

"Grace of My Heart" Soundtrack. Includes "Unwanted Number" (MacManus). Performed by For Real. Compact disc. MCA MCAD 11510 (U.S.), 1996. (See also: M78)

68 Miscellaneous Discography Production Work and Guest Appearances by Elvis Costello Ml42.

"Message To You Rudy" (Richard Thompson)/ "Nite Klub" (J. Dammers, Specials). The Specials. Produced by Elvis Costello. 45 rpm phonodisc. TwoTone CHS TT-5 (U.K.), 1979. (See also: M143)

M143.

The Specials. The Specials. Produced by Elvis Costello. 33-l/3rpm phonodisc. Two-Tone CDL TT-5001 (U.K.), 1979; Chrysalis CHR 1265 (U.S.), 1980. Reissued on compact disc, Chrysalis F2 21265. (See also: M142;DB148)

M144.

My Very Special Guests. George Jones. Includes "Stranger in the House" (Costello). Costello is a guest performer on the present recording. 33-1/3 rpm phonodisc. Epic EPC 83163 (U.K.); Epic 35544 (U.S.), 1979. Reissued on compact disc, Epic EK35544, 1991. (See also: M99andM103)

M145.

Splash. Clive Langer and the Boxes. Produced in part by Elvis Costello. 331/3 rpm phonodisc. F-Beat XXLP 2 (U.K.), 1980. Note that Langer later collaborated with Costello on the song "Shipbuilding," and produced Punch the Clock.

M146.

"Is That Love" (Glenn Tilbrook, Chris Difford); "Trust" (Glenn Tilbrook, Chris Difford). Squeeze. Produced by Roger Bechirian and Elvis Costello. 45 rpm phonodisc. A&M AMS 8129 (U.K.), 1981.

M147.

East Side Story. Squeeze. Backing vocals on "Tempted" and "There's No Tomorrow" by Elvis Costello. Produced by Roger Bechirian and Elvis Costello. 33-l/3rpm phonodisc. A&M AMLH 64854 (U.K.); A&M SP-4854 (U.S.), 1981. (See also: M148, M155; DB145)

Ml48.

"Tempted" (Glenn Tilbrook and Chris Difford); "Yap, Yap, Yap" (Glenn Tilbrook and Chris Difford). Squeeze. Backing vocals on "Tempted" by Elvis Costello. "Tempted" produced by Roger Bechirian and Elvis Costello. 45 rpm phonodisc. A&M AMS 8147 (U.K.), 1981. (See also: M147andM155)

Ml49.

"Tempted" (Glenn Tilbrook and Chris Difford); "Trust" (Glenn Tilbrook and Chris Difford). Squeeze. Backing vocals on "Tempted" by Elvis Costello. Produced by Roger Bechirian and Elvis Costello. 45 rpm phonodisc. A&M AM 2345 (U.S.), 1981. (See also: M147, M148, M155)

Ml50.

"Labelled With Love" (Glenn Tilbrook and Chris Difford); "Squabs on Forty Fab" (Glenn Tilbrook and Chris Difford). Squeeze. "Labelled With Love" produced by Roger Bechirian and Elvis Costello. 45 rpm phonodisc. A&M AMS 8166 (U.K.), 1981.


"Forevermore" (R. Hodgens); "Aim in Life" (K. McClusky). The Bluebells. "Aim in Life" produced by Elvis Costello. London Records LON 14 (U.K.), 1982. (See also: M153 andM159)

M152.

"Everybody's Somebody's Fool" (R. Hodgens). The Bluebells. Produced by Elvis Costello. 45 rpm flexible phonodisc. London LONF 14 (LYN 12361) (U.K.), 1982. The present free flexible disc was supplied with the initial pressing of M153.

M153.

Sisters. The Bluebells. Produced in part by Elvis Costello. 33-1/3 rpm phonodisc. London Records, 1982. Reissued by Sire Records, 1984. A number of singles produced by Costello were extracted from the present album. (See also: M151, M152, and M159.)

Ml54.

"The Captain and the Kings" (Brendan Behan); "Faithful Departed" (Philip Chevron). Philip Chevron. Produced by Colin Fairley and The Imposter (Elvis Costello). 45 rpm phonodisc. IMP Records IMP 002 (U.K.), 1982.

Ml 55.

Squeeze Singles. Squeeze. Includes "Tempted," produced by Roger Bechirian and Elvis Costello. 33-1/3 rpm phonodisc. A&M Records AMLH 68552, 1982. (See also: M148andM149)

M156.

"Black Coffee In Bed." Squeeze. Elvis Costello, backing vocals. 45-rpm phonodisc. A&M Records AMS 8219, 1982. (See also: Ml57)

Ml 57.

Sweets for a Stranger. Squeeze. Includes "Black Coffee In Bed," which features Elvis Costello, backing vocals. 33-1/3 rpm phonodisc. A&M Records AMLH 64899, 1982. (See also: Ml56)

Ml 58.

If You Leave Me, Can I Come Too? Mental As Anything. Includes "I Didn't Mean To Be Mean," produced by Elvis Costello. 33-1/3 rpm phonodisc. A&M Records SP-4921, 1982. Simultaneously issued on 1-7/8 ips audio cassette, A&M Records CS-4921. (See also: M177andM178)

Ml 59.

NME Racket Packet. Contains The Bluebells' "Aim In Life" (K. McClusky), produced by Elvis Costello. 3-3/4 ips cassette tape. NME NME 006 (U.K.), 1983. (See also: M151)

Ml60.

"Tomorrow's (Just Another Day)" (Smyth, Barson); "Blue Beast" (Thompson). Madness. Elvis Costello, guest vocals on "Tomorrow's (Just Another Day)." 12 inch, 45 rpm phonodisc. Stiff BUYIT 169 (U.K), 1983.

70 Miscellaneous Discography Ml61.

"Nelson Mandela" (Dammers); "Break Down the Door!" (Dammers, Campbell, Bradbury). The Special A.K. A. Backing vocals by Elvis Costello. Produced by Elvis Costello. 45 rpm phonodisc. Two-Tone CHS TT-26 (U.K.), 1984. (See also: DB81)

Ml 62.

Nick Lowe and His Cowboy Outfit. Nick Lowe and His Cowboy Outfit. Coproduced by Nick Lowe and Elvis Costello. 33-1/3 rpm phonodisc. F-Beat Records ZL-70338, 1984. (See also: M163)

M163.

"L.A.F.S. (Love at First Sight)" (Nick Lowe); "Hey Big Mouth" (Nick Lowe); "Baby It's You" (Burt Bacharach, Hal David, Barney Williams). Nick Lowe and His Cowboy Outfit. Elvis Costello, vocals on "Baby It's You." Elvis Costello, coproduction on "L.A.F.S." and "Baby It's You." 45 rpm phonodisc. F-Beat, 1984. (See also: M162)

M164.

Rum, Sodomy, and the Lash. ThePogues. Produced by Elvis Costello. 33-1/3 rpm phonodisc. Stiff Records SEEZ 58, 1985. Simultaneously released on compact disc, Stiff Records 2292-44495-2, 1985. (See also: M167, M168, M169; GB175)

M165.

"Watch Me Catch Fire." Big Heat. Produced by Elvis Costello. 45 rpm phonodisc. A&M Records 239, 1985. (See also: M166)

Ml 66.

Watch Me Catch Fire. Big Heat. Includes the title track, produced by Elvis Costello. 33-1/3 rpm phonodisc. A&M Records AMY 239, 1985. (See also: M165)

M167.

"A Pair of Brown Eyes." The Pogues. Produced by Elvis Costello. 45 rpm phonodisc. Stiff Records BUY 220 (U.K.), 1985. (See also: Ml64)

M168.

"Sally MacLennane." ThePogues. Produced by Elvis Costello. 45 rpm phonodisc. Stiff Records BUY 223 (U.K.), 1985. (See also: Ml64)

Ml69.

"Dirty Old Town." The Pogues. Produced by Elvis Costello. 45 rpm phonodisc. Stiff Records BUY 229 (U.K.), 1985. (See also: Ml64)

M170.

Be Yourself Tonight. Eurythmics. Elvis Costello, guest vocals on "Adrian." Simultaneously released on 33-1/3 rpm phonodisc, RCA AJL 1-5429; and 1-7/8 ips audio cassette, RCA AJK 1-5429, 1985. Note: Aretha Franklin and Stevie Wonder also guest on the present album.

Ml71.

Sixteen All-Time Lowes. Nick Lowe. Elvis Costello, guest vocals on "American Squirm." Compact disc. Demon FIEND CD 20, 1985. "American

Miscellaneous Discography 71 Squirm "also reissued on the albums Labour of Lust and Basher: The Best of Nick Lowe, Columbia CK 45313 (compact disc), 1989. Ml72.

Warming Up to the Ice Age. JohnHiatt. Elvis Costello, guest vocals on "Living a Little, Laughing a Little" (Thorn Bell, Linda Creed). Simultaneously released on 33-1/3 rpm phonodisc, Geffen GEF 26309; and compact disc, Geffen GED 24055, 1985. (See also: M713, M174, and M193)

M173.

"Living a Little, Laughing a Little" (Thorn Bell, Linda Creed); "I'm a Real Man" (John Hiatt). John Hiatt. Elvis Costello, guest vocals on "Living a Little, Laughing a Little." 45 rpm phonodisc. Geffen/CBS A 6121, 1985. (See also: M172, M174, and M193)

Ml74.

"Living a Little, Laughing a Little" (Thorn Bell, Linda Creed); "I'm a Real Man" (John Hiatt); "When We Ran" (John Hiatt); "Everybody's Giri" (John Hiatt). John Hiatt. Elvis Costello, guest vocals on "Living a Little, Laughing a Little." 12-inch, 45 rpm phonodisc. Geffen/CBS TX 6121, 1985. (See also: M172, M173, and M193)

Ml75.

Live In London. Ricky Skaggs. Elvis Costello, guest vocals on "Don't Get Above Your Raisin'" (Lester Flatt, Ernest Scruggs). Simultaneously released on 33-1/3 rpm phonodisc, 1-7/8 ips audio cassette, and compact disc. Epic EPC 26618, 1986. Reissued on 33-1/3 rpm phonodisc and 1-7/8 ips audio cassette, Pickwick SHM/HSC 3252, 1989. (See also: DB91)

M176.

Poguetry In Motion. ThePogues. Produced by Elvis Costello. Stiff Records BUY 243 (U.K.); MCA Records MCAC 36015 (Canada), 1986.

Ml77.

"I Didn't Mean to be Mean"; "Yoga Dog Sunset." Mental As Anything. Produced by Elvis Costello. 45 rpm phonodisc. Regular Records RRSP714 (Australia), 1986. (See also: M158andM178)

M178.

If You Leave Me, Can I Come Too? & Greatest Hits, Vol. 1. Mental As Anything. "I Didn't Mean to be Mean" produced by Elvis Costello. Compact disc. CBS Records 450052 2 (Australia), 1986. (See also: M158andM177)

Ml79.

Voyage. Christy Moore. Elvis Costello, guest vocals. 1-7/8 ips audio cassette. Arlantic 82034-4, 1989.

Ml80.

Flowers In The Dirt. Paul McCartney. "You Want Her Too" (Paul McCartney, MacManus), on which Elvis Costello appears on vocals and keyboards; and "That Day Is Done" (Paul McCartney, MacManus), on which Elvis Costello appears as guest vocalist. "You Want Her Too" produced in part by Elvis Costello. Simultaeously released on 33-1/3 rpm phonodisc, Parlophone PCSD 106; and compact disc, Parlophone PCSD 106 (U.K.); Capitol CDP 7 91653 2 (U.S.), 1989.

72 Miscellaneous Discography (See also: Ml 19; DB142, DB143) Ml 81.

Everything's Different Now. 'Til Tuesday. Includes "The Other End of the Telescope" (Costello, Aimee Mann). Elvis Costello appears on backing vocals. Simultaneously released on 33-1/3 rpm phonodisc and compact disc. Epic EPC 460737, 1989. (See also: M120)

Ml82.

The New Orleans Album. The Dirty Dozen Brass Band. Elvis Costello, guest vocals on "That's How You Got Killed Before" (Dave Bartholomew). Simultaneously released on 33-1/3 rpm phonodisc, Sony 466894 1; and compact disc, CBS CK 45414, 1990.

M183.

The Bells of Dublin. The Chieftains. Includes "St. Stephen's Day Murders" (Costello, Paddy Maloney). Elvis Costello, guest vocalist. Compact disc. RCA 60824, 1991. (See also: M67andM123)

M184.

Back From Rio. Roger McGuinn. Includes "You Bowed Down" (Costello). Elvis Costello, backing vocals on "You Bowed Down." Compact disc. Arista ARDC-8648, 1991. (See also: M124;DB157)

Ml 85.

Weird Nightmare: Meditations On Mingus. Contains "Weird Nightmare" (Charles Mingus). Elvis Costello, "harmonic canon" and vocals; Don Alias, percussion; Michael Blair, drums; Don Byron, clarinet; Art Baron, trombone; Bill Frisell, guitar; Greg Cohen, bass; Francis Thumm, Partch instrument; with other backing musicians. Produced by Hal Willner. Compact disc. Columbia CK 52739/COL 472467 2 (U.S.), 1992. (See also: DB188;GB270)

M186.

Trios. Rob Wasserman. Includes "Put Your Big Toe in the Milk of Human Kindness" (MacManus). Rob Wasserman, electric upright bass; Elvis Costello, acoustic guitar and vocals; Mark Ribot, electric guitar. Simultaneously released on 1-7/8 ips audio cassette, MCA/GRP Records MGD-40222; and compact disc, MCA/GRP Records MGD-40222, 1994.

Ml 87.

MTV Unplugged - Tony Bennett with the Ralph Sharon Trio. Tony Bennett, vocals, with the Ralph Sharon Trio. Elvis Costello, guest vocals on "They Can't Take That Away From Me" (George and Ira Gershwin). Simultaneously released on compact disc and 1-7/8 ips audio cassette, Columbia CK 66214 (U.S.); Columbia 477170 (U.K.), 1994. The present performance was taped in New York City, April 12, 1994. (See also: V13)

Ml88.

Lament. Brodsky Quartet. Elvis Costello, vocals on "She Moved Through the Fair" (Traditional). Simultaneously released on compact disc, Silva Classics SILKD 6001; and 1-7/8 ips audio cassette, Silva Classics SILKC 6001, 1994. (See also: DB287 and DB288)

Miscellaneous Discography 73 Ml 89.

Terror & Magnificence. JohnHarle. Includes "Mistress Mine" (John Harle, William Shakespeare), which features Elvis Costello, guest vocals. Compact disc. Argo 452-605-2 (U.K.), 1996.

Ml90.

Individually Twisted. The Jazz Passengers. Includes "Aubergine" (Costello, Brad Jones); "Doncha Go 'Way Mad" (Illinoise Jacket). Elvis Costello and Deborah Harry, guest vocals ("Doncha Go "Way Mad"). Produced by Joel Dorn and Adam Dorn. Compact disc. 32 Records 32007, 1996. (See also: DB384, DB385, DB386, DB387)

Ml91.

Laguna Beach. Bob Dylan. Elvis Costello, vocals on "I Shall Be Released" (Bob Dylan). 2 compact discs. Midnight Beat MB CD 067/68, 1996. The present duet was recorded live at Brixton Academy, London in 1995. (See also: GB448)

M192.

"Christiansands;" "Christiansands" (The Imposter's Mix). Tricky. The Imposter's Mix, remixed by Elvis Costello. Simultaneously released on 12-inch, 45 rpm phonodisc, Fourth & Broadway 12 BRW 340 (U.K.); and compact disc single, Fourth & Broadway BRCD 340/854 767-2 (U.K.), 1996.

Ml 93.

Living a Little, Laughing a Little. John Hiatt. Includes "Living a Little, Laughing a Little" (Thorn Bell, Linda Creed). Elvis Costello, guest vocals. Compact disc. Raven RVCD-50, 1996. The present is a reissue of Haitt and Costello's earlier 1985 performance (See: M172, M173, and M174).

M194.

Vox Class Of 96. Includes "Christiansands" (The Imposter's Mix). Tricky. Remixed by Elvis Costello. Compact disc. VOX FREE CD CLASS 96 (U.K.), 1996. The present was a free compact disc, distributed with Vox magazine.

Ml95.

Pre-Millenium Tension. Tricky. Elvis Costello, violin on "Bad Dream." Compact disc. 1996. The source for this curious citation is the discography provided on ER2.

Ml96.

Pay Before You Pump. Al Anderson. Elvis Costello, guest vocals on "Bang Bang Bang." Compact disc. Imprint IMPCD10004, 1996.

Ml97.

Jazz Voice. Includes "Doncha Go 'Way Mad" (Illinoise Jacket). Elvis Costello, guest vocals with the Jazz Passengers. Compact disc. Knitting Factory KFW 212, 1997. The present compact disc was issued in conjuction with the 1997 Texaco New York Jazz Festival.

Ml98.

/ Couldn 't Hear Nobody Pray. The Fairfield Four. Includes "That Day Is Done" (Paul McCartney, MacManus). Elvis Costello, guest vocals on the track. Compact disc. Warner Brothers 9 46688-2, 1997.

74 Miscellaneous Discography Ml99.

777e Irish In America: Long Journey Home. Includes "Long Journey Home (Anthem)" (Costello, Paddy Maloney). Elvis Costello, guest vocals with The Chieftans. Compact disc. Unisphere/BMG Classics 9026-68963-2, 1998. Other Costello-Related Recordings

M200.

Washing the Defectives. The Beatles Costello. 45 rpm phonodisc. Pious JP 310, 1978 (U.S.). The present recording contains no Costello material, but both the name of the group and the title of the extended-play single are a parody of Costello.

M201.

Alive VII. University of Northern Colorado Jazz Lab Band I. Includes "A Salute To Elvis Costello" (Matt Catingub). 33-1/3 rpm phonodisc. Eaglear 870729 [date unknown].

M202.

My Mommy & Me. The Matt Catingub Big Band. Includes "A Salute To Elvis Costello" (Matt Catingub). Compact disc. Sea Breeze Record Company, 1990.

M203.

The Business - Madness. Includes a brief interview with Elvis Costello. Three compact discs. Virgin 7243 8 39286 2 0, 1993.

M204.

Time After Time. Synthesis (Brigham Young University Big Band), Ray Smith, Director. Includes "A Salute To Elvis Costello" (Matt Catingub). Compact disc. Sea Breeze Vista, 1996.

Videography and Filmography VI.

If It Ain 7 Stiff, It Ain 't Worth a Fuck. Documentary film. 50 minutes. London: Stiff Records Ltd., 1978. The present film documents the 1978 Stiff Records tour, which featured Elvis Costello and The Attractions, Nick Lowe, Larry Wallis, Ian Drury and The Blockheads, and Wreckless Eric. (See also: GB62)

V2.

Heroes of Rock and Roll, Part 2. ABC-TV. Broadcast February 9, 1979.

V3.

Fundamental Frolics. VHS format videocassette. 94 minutes. Richmond Hill, Ontario: BFS Video, 1981. The present video contains a performance by Costello at the Apollo Theatre, Victoria, from June 1, 1981.

V4.

The Best of Elvis Costello and The Attractions. VHS format videocassette. 71 minutes. Farmington Hills, Michigan: CBS/Fox Video Music 7092, 1985. The present video contains twenty-two of the group's best-known songs from their years at Columbia Records. (See also: V5; DB83, DB85, DB86, DB95)

V5.

The Very Best of Elvis Costello and The Attractions. Video laser disc. Demon DPAMVID 1 (U.K.), 1986? (See also: V4; DB83, DB85, DB86, DB95)

V6.

Chet Baker Live At Ronnie Scott's With Van Morrison and Elvis Costello. Chet Baker. Elvis Costello, guest vocalist on three selections. VHS format videocassette. 58 minutes. New York: Wadham Films.

V7.

Black and White Night. Roy Orbison. VHS format videocassette. 55 minutes.Vivid Videos, Ltd. W D 308. Elvis Costello performs as part of an all-star band in this performance from the Cocoanut Grove in Los Angeles. Costello plays guitar, harmonica, and keyboards on various songs. "The Comedians" (Costello) is among the songs performed. (See also: Ml 17)

76

Videography and Filmography

V8.

Freedom Beat. Charles McDougall and Deborah Kermode, Producers. VHS format videocassette. Beverly Hills, California: Pacific Arts Video, 1988. The present video includes Costello's performance of "Don't Let Me Be Misunderstood" (Bennie Benjamin, Sol Marcus, Gloria Caldwell).

V9.

The Aims Gala. Virgin ODY 128, 1989. Includes Costello's performances of "Windows of the World" and "Days" (Ray Davies)

VI0.

Choreography Workshop. VHS format videocassette. Includes choreography of Elvis Costello's composition "Almost Blue." Boston: Boston Conservatory, 1991. Note: Costello does not appear in the present video!

VI1.

2-1/2 Years (In 22 Minutes). 22 minutes. VHS format videocassette. Rykodisc VVHS 0271, 1993. The present promotional video was issued in support of the compact disc box set 2-7/2 Years (See: A3 5). Includes performances of "Watching the Detectives" (Costello), "Radio Radio" (Costello), "(I Don't Want To Go To) Chelsea" (Costello), "Pump It Up" (Costello), "Accidents Will Happen" (Costello), "Oliver's Army" (Costello), "(What's So Funny 'Bout) Peace, Love, and Understanding?" (Nick Lowe).

V12.

The Juliet Letters. Philip King, Director/Producer. 53 minutes. Simultaneously released on 12-inch videodisc and VHS format videocassette. Warner Reprise Video, 1993. The present video features music from the compact disc release The Juliet Letters, by Elvis Costello and The Brodsky Quartet (See: A30). (See also: DB216)

VI3.

MTV Unplugged: The Video (Tony Bennett). Elvis Costello, guest vocals on "They Can't Take That Away From Me" (George Gershwin, Ira Gershwin). VHS format videocassette. New York: Columbia Music Video, 1994. (See also: Ml87)

V14.

September Songs: The Music of Kurt Weill. 1994. 90 minutes. VHS format videocassette. Oley, Pennsylvania: Bullfrog Films, 1994. (See also: M88; GB399)

VI5.

Tom Thumb. 30 minutes. VHS format videocassette. Rabbit Ears 7 4041 72016 3 7 (U.S.), 1995. The present children's video contains narration by John Cleese and orchestral background music by Elvis Costello. Although the recording was broadcast in June 1995, and the video and compact disc prepared for release, financial difficulties caused the actual release to be indefinately postponed. (See also: A59)

V16.

The Very Best of Elvis Costello and The A fractions. 1995. The present video was released in support of the album of the same name (See: A42). (See also: DB299)

Videography and Filmography VI7.

77

Elvis Costello Live - A Case for Song. Janet Fraser-Crook, Director. VHS format videocassette. 77 minutes. Warner Brothers Video 3-38456 (U.S.), 7599-38456-3 (U.K.), 1997. The present video contains live performances of 16 songs, with Costello backed by The Attractions, The Brodsky Quartet, and The White City Septet. Included are rare performances of Tony Asher and Brian Wilson's "God Only Knows," and Costello's "Upon a Veil of Midnight Blue." (See also: DB395 and DB396)


Musical Scores MSI.

Costello, Elvis. A Singing Dictionary. London and New York: Plangent Visions Music, 1980. Warner Brothers Publications VF0813. The present publication contains vocal/piano arrangements, with chord symbols, guitar chord diagrams, and lyrics for songs from the albums My Aim Is True (See: Al, A2), This Year's Model (See: A3, A4), Armed Forces (See: A6, A7), Get Happy!J (See: A8), and Taking Liberties (See; A9).

MS2.

Costello, Elvis. Everyday I Write the Song (Grumbling Appendix to the Singing Dictionary). London: Plangent Visions Music, 1983. Warner Brothers Publications VF1080. The present publication contains vocal/piano arrangements, with chord symbols, guitar chord diagrams, and lyrics for songs from the albums Trust (See: Al 1), Imperial Bedroom (See: A15), and Punch the Clock (See: A17).

MS3.

Costello, Elvis. Spike. Secaucus, New Jersey: Plangent Visions Music, 1989. Warner Brothers Publications, VF1573. The present publication contains vocal/piano arrangements, with chord symbols, guitar chord diagrams, and lyrics for songs from the album Spike (See: A25).

MS4.

Costello, Elvis. Brutal Youth. London: Plangent Visions Music, 1994 The present publication contains vocal/piano arrangements, with chord symbols, guitar chord diagrams, and lyrics, for songs from the album Brutal Youth (See: A36).

MS5.

Costello, Elvis, et al. The Juliet Letters. Chester Music, 1996. The present publication includes the full score and instrumental parts for the songs on The Juliet Letters (See: A30).


Discography Bibliography DB1.

Jones, Allan. "Deep Soul From Elvis." [Review of My Aim Is True] Melody Maker 52:17 (July 23, 1977). Costello's first album (See: Al) receives high praise from Jones. "My Aim Is True is already a personal favourite - I can think of only a few albums released this year that rival its general excellence."

DB2.

Review of My Aim Is True. Crawdaddy n78:98-9 (November 1977). "Elvis Costello's My Aim Is True (See: A2) heralds the arrival of a truly superb artist by any standards."

DB3.

Marcus, Greil. Review of My Aim Is True. Rolling Stone n253:69-70-t(December 1, 1977). Marcus, in his very favorable review of Costello's first album (See: A2), writes prophetically "I think Costello, like Graham Parker and the best of the British punk bands, has only begun to surprise us."

DB4.

Sutherland, Sam. "Elvis Costello: New Wave Rock Classicist." High Fidelity/Musical America 27:138 (December 1977). The present is a review of My Aim Is True (See: A2).

DB5.

Cohen, Mitch. Review of My Aim Is True. Creem 9:59 (February 1978). My Aim Is True (See: A2) receives favorable treatment in the present review. According to Cohen, "the only questionable aspect of Elvis Costello is how far he'll take his misogyny, how long he'll keep blaming women because he was raised on romance and has had it pulled out from under him."

DB6.

Simels, Steve. "Elvis Costello: The Twerp for Our Time." Stereo Review 40:103 (March 1978). The present article is a review of My Aim Is True (See: A2).

DB7.

Jones, Allan. "Elvis On Revenge." [Review of This Year's Model] Melody Maker 53:23 (March 11, 1978). This Year'sModel (See: A3) receives glowing comments from Jones in the present review. Nick Lowe's production work is described as the best he

82

Discography Bibliography has ever done and Costello's songwriting work "promotes its author to the foremost ranks of contemporary rock writers."

DB8.

Tucker, Ken. Review of Stiffs Live. Rolling Stone n264:61-2 (May 4, 1978). In the present favorable review, Tucker writes that Stiffs Live (See: M4) shows "Americans that punk rock in England can be a lot more than anger and frenzy."

DB9.

Carson, Tom. "Riffs: Elvis Costello's Latest Ultimatum." Village Voice 23:65 (May 15, 1978). The present article is a review of My Aim Is True (See: A2) and This Year's Model (See: A4), with This Year's Model being favorably compared with Costello's debut. "The songs open up to the listener instead of shutting themselves off." This Year's Model is further described as "superbly realized."

DBIO.

Pareles, Jon. "Below the Belt." [Review of This Year'sModel.] Crawdaddy n85:70(June 1978). Pareles describes This Year's Model (See: A4) as being centered on sex and sexual politics in the present, somewhat mixed review. Costello is criticized for having a "limited" melodic gift - Pareles finds the songwriter overusing the "common descending scale." The album is also described as being "so wrongheaded, so full of hatred, and so convinced of its moral superiority" that it makes the writer uneasy. However, "Costello's intelligence is evident in every lyric."

DBll.

Rachlis, Kit. "Who's Afraid of Elvis Costello?" Rolling Stone n268:53-4 (June 29, 1978). The present is a highly favorable review of both This Year's Model (See: A4) and the single "Stranger in the House'V'Neat, Neat, Neat" (See: S9). According to the author, "I don't think there's been a rock & roller who's made fear so palpable or so attractive." Steve Naive's organ playing receives special comment in the review of the album. Rachlis writes that "Stranger in the House," while very conservative musically, "makes absolutely blatant the sexual warfare that lies at the heart of This Year's Model"

DB12.

Carman, Charles. Review of This Year'sModel. Down Beat 45:36 (July 13, 1978). Carman describes This Year's Model (See: A4) as "bludgeoning in its musical approach," but the "mid-'60s rock and roll" style is the perfect vehicle for Costello's lyrics. ".. if Elvis Costello follows up his first two albums with more of like quality, intelligence and feeling will be injected into pop music with an impact similar to that made by the electric Dylan of the mid-'60s."

DB13.

Hill, Susan. Review of Live at ElMocambo. Melody Maker 53:20 (November 25, 1978). The promotional album (See: A5) receives praise in the present review, although Hill dislikes the fact that some of Costello's songs are extended unneccessarily. This is one of the few reviews of Costello to mention his guitar playing, referring to the lead guitar break on "Watching the Detectives" as "welcome."

Discography Bibliography 83 DB14.

Rayns, Tony. "Elvis: A Compulsive Confusion." [Review of Armed Forces.] Melody Maker 53:22 (December 30, 1978). Armed Forces (See: A6) receives generally favorable treatment in the present, lengthy review. Rayns makes mention of a number of confusing twists in the lyrics, especially when the subjects of global and regional politics and the politics of interpersonal relationships are intermingled within the same song. The music, however, "is strong enough to swamp virtually any lapses in the lyrics." "Costello's vocal phrasing is getting richer all the time," and "Steve Naive's keyboards, in particular, have a range and bite that is unique in contemporary rock."

DB15.

"Records of the Year." Melody Maker 53:19 (December 30, 1978). The present includes a review of This Year's Model (See: A3).

DB16.

Rachlis, Kit. "Riffs: Elvis Costello Presents Arms." Village Voice 24:61 (January 22, 1979). The present is a favorable review of Armed Forces (See: A7). Rachlis mentions the uniquely British references in Costello's lyrics, one feature of his work that may partially account for Costello's greater popularity in England than in the United States. "On Armed Forces he is shading his voice with much more precision and variety than before." Costello's musical arrangements are described as being "as witty and sly as his lyrics."

DB17.

Sutherland, Sam. Review of Armed Forces. High Fidelity/Musical America 29:123-4 (March 1979). Armed Forces (See: A7) receives a highly favorable treatment in the present review. The album is seen as a high point in Costello's career, with special mention made of increased sophistication in Steve Naive's contrapuntal keyboard lines, increased melodic sophistication in Costello's songwriting, and an increased prominence of Costello's guitar playing. Costello's songs are said to now be understandable on two distinct levels: (1) as songs of broken relationships and (2) as direct commentaries on the disintegration of life in Europe in the late 1970s.

DB18.

Young, Jon. "Elvis Declares War & Peace." Feature n94:65 (March 1979). The present article is a thorough and highly favorable review of Armed Forces (See: A7). Costello is described as displaying "commanding presence," and Nick Lowe's production work is described as "inspired." According to Young, "the cumulative effect of Armed Forces is like going through the washing machine of life on a heavy spin cycle - until the last number." That final number, Nick Lowe's "(What's So Funny 'Bout) Peace, Love, and Understanding," is described as a song that Costello could never have written, but which perfectly fits Costello's performing style.

DB19.

Maslin, Janet. Review of Armed Forces. Rolling Stone n287:59-60 (March 22, 1979). Armed Forces (See: A7) is describes as "danceable" but with material that is "more stunning and substantial than anything rock has produced in a good long while." Maslin compares Costello's lyrics with the best of Bob Dylan's output.

84

Discography Bibliography

DB20.

Simels, Steve. "Exit Elvis, Pursued by Graham." Stereo Review 42:94 (June 1979). The present is a review of Armed Forces (See: A7).

DB21.

Brazier, Chris. Review of Get Happy!! Melody Maker 55:25 (February 23, 1980). Brazier describes Get Happy!! (See: A8) as being somewhat uneven in quality in the present, mixed review. The biggest overall complaint of the review is the over-1960s-ness of the album.

DB22.

Gosse, Van. "Riffs: Elvis Cools Out." Village Voice 25:69 (March 10, 1980). The present is a generally favorable review of Get Happy!! (See: A8). Although the author finds that Costello has included too much material for Get Happy!! to be a truly great album, "because Elvis Costello is one of the few rock and roll songwriters whose melodies count, and because he has a band unequaled for finesse and deft jump music, his new record is brilliant."

DB23.

Review of Get Happy!! People Weekly 13:28-9 (April 14, 1980). The present is a highly positive review of Get Happy!! (See: A8).

DB24.

Carson, Tom. Review of Get Happy!! Rolling Stone n315:53-5 (April 17, 1980). Get Happy!! (See: A8) receives a somewhat mixed review in the present article. Carson feels that "The Attractions were one of the best backup groups in the world on This Year's Model (See: A4), and since then they've gotten better." The material, however, reflects anguish which requires some sort of breakthrough, according to the author. While the "breakthrough fails," the writer feels that Costello shows strength in the way in which he makes his listeners feel his quest and failure as their own. The song "New Amsterdam" receives abundant praise.

DB25.

Trakin, Roy. Review of Get Happy!! Musician, Player, and Listener n24:57-8 (April-May 1980). According to the present review, Get Happy!! (See: A8) suffers from Nick Lowe's production, which obscures Costello's voice. Steve Nieve's organ playing receives much positive comment.

DB26.

Sutherland, Sam. Review of Get Happy!! High Fidelity/Musical America 30:99 (May 1980). The present is a generally positive review (with a few reservations) of Get Happy!! (See: A8). Sutherland describes the work as somewhat "disorienting," due to the large number of short, up-tempo songs. Costello's compositions, however, provide glimpses of "a warmth and humility previously missing from his tortured cityscapes."

DB27.

Coppage, Noel "Contrived Costello." Stereo Review 44:86 (June 1980). The present is a generally positive review of Get Happy!! (See: A8).

Discography Bibliography 85 DB28.

Nesin, Jeff. "Elvis Costello Seeks the Window Up Above." [Review of Get Happy!!] Creem 12:52 (June 1980). Nesin chronicles his original reluctance to acknowledge Costello's importance, to his begrudging acceptance of the musician, to his now effusive praise for Get Happy!! (See: A8). "I still can't say his name without a twinge, but if you care at all about rock & roll you must have this album."

DB29.

Carman, Charles. Review of Get Happy!! Down Beat 47:46 (July 1980). Get Happy!! (See: A8) receives generally positive comments from Carman in the present review.

DB30.

"As It Happens." Melody Maker 55:3 (October 11, 1980). The present is a review of Taking Liberties (See: A9).

DB31.

Altman, Billy. Review of Taking Liberties. Creem 12:52 (December 1980). Taking Liberties (See: A9) receives praise in the present review.

DB32.

Cohen, Mitchell. Review of Taking Liberties. High Fidelity/Musical America 30:99 (December 1980). The present is a favorable review of Elvis Costello and The Attractions' American compilation album (See: A9). The collection is described as illustrating Costello's "fierce, wide-ranging musical intelligence."

DB33.

Review ofTaking Liberties. People Weekly 14:24 (December 8, 1980). The present is a generally favorable review the album (See: A9).

DB34.

Cohen, Debra Rae. Review of Taking Liberties. Rolling Stone n332:56 (December 11, 1980). Cohen questions the validity of Costello "ceremoniously gift-wrapping his trash" after having only released four albums. She comments favorably, however, on Costello's display of command of several disparate styles on this compilation of rarities, unreleased tracks, and B-sides of singles (See: A9). Cohen also points out the irony of releasing in the present form a set of tracks that are the favorites of collectors - the current album makes the collecting of obscure releases somewhat null and void. This is an especially interesting criticism, seeing that Costello himself remains a most avid record collector.

DB35.

Marcus, Greil. "Riffs: Elvis Costello's Bill of Complaint." Village Voice 25:95-6 (December 17, 1980). The present is a generally unfavorable review of Taking Liberties (See: A9). The collection of B-sides and previously unreleased material is seen as a sign that Costello "desparately needs to recreate the craft" of his first three albums.

DB36.

Jones, Allan. "The Physical Art of Conversation." [Review of Trust] Melody Maker 56:18 (January 24, 1981). The present, highly favorable review of Trust (See: Al 1) is interestingly the first to refer to Costello as the Frank Sinatra of his generation.

86


DB37.

Tiven, Jon and Tiven, Sally. Review of Taking Liberties. Audio 65:62 (February 1981). The present is a generally favorable review of the album (See: A9).

DB38.

Piccarella, John. Review of Trust. Village Voice 26:69 (February 11, 1981). Piccarella comments on the ecelecticism of Trust (See: Al 1), and writes that "though Nick Lowe's open-ended productions helps, it's Elvis's singing set against Steve Nieve's acoustic piano flourishes - that finally provides a lucid vehicle for his cumbersome wordplay."

DB39.

Miller, Jim. Review of Trust. Newsweek 97:77 (February 23, 1981). The pesent is a generally favorable review of Trust (See: Al 1).

DB40.

Review of Trust. People Weekly 15:15 (March 30, 1981). The present review treats Trust (See: Al 1) as something of a mediocre album.

DB41.

Review of Trust. Musician Player and Listener n3 2:70 (April 1981). (See: A l l )

DB42.

Tucker, Ken. Review of Trust. Rolling Stone n340:58-9 (April 2, 1981). Tucker gives Trust (See: Al 1) 4 out of a possible 5 stars in the present favorable review. "This is Costello's achievement, the man who not long ago admitted.. .that he admired wordsmith-wits like Cole Porter and Lorenz Hart is now breaking away from pop-song conventions by shifting emotional and linguistic gears within a single verse - sometimes within a single line. Technically, the results are awesome."

DB43.

Friedman, Richard. Review of Trust. Down Beat 48:44+ (September 1981). The present is a generally-favorable review of the album (See: Al 1).

DB44.

Jones, Allan. Review of Aim ost Blue. Melody Maker 56:15 (October 24, 1981). The present is one of the few generally favorable review of Costello's country album (See: A12). Jones especially praises Costello's and producer Billy Sherrill's handling of the ballad material. "It's a relief to know that passion's not completely out of fashion."

DB45.

Nesin, Jeff. "Elvis; What Happened*?" Village Voice 26:89 (December 2, 1981). The present is a generally negative review of Almost Blue (See: A12), with the author writing that Costello simply doesn't have the voice or appropriate vocal stylings for American country music, "Any adventurous artist makes mistakes. We all make them. I just wish my mistakes had such great cover art."

DB46.

Hume, Martha. Review of Almost Blue. Rolling Stone n3 58:91+ (December 10, 1981). Almost Blue (See: A12) receives 3 of a possible 5 stars in the present mixed review. Hume states that, while Costello is not likely to permanently

Discography Bibliography 87 change his style, "his performance on Almost Blue is no joke." According to the author, Costello's chief strength as a vocalist is on the album's ballads. DB47.

Bentkowski, Tom. Review of Almost Blue. New York 14:88 (December 14, 1981). Bentkowski views Costello's country album (See: A12) as a "B" grade work.

DB48.

"Melody Maker Records of the Year: Almost Blue" Melody Maker 56:29 (December 19, 1981). (See: A12)

DB49.

Sutherland, Sam. Review of Almost Blue. High Fidelity/Musical America 32:86 (January 1982). The present is a generally positive review of the album (See: A12).

DB50.

Review of Almost Blue. People Weekly 17:18 (January 18, 1982). Costello's country album (See: A12) receives a generally-positive, although somewhat mixed reaction in the present review.

DB51.

Tiven, Sally and Tiven, Jon. Review of Almost Blue. Audio 66:22 (February 1982). The present is a somewhat mixed review of Almost Blue (See: A12).

DB52.

Young, Jon. Review of Almost Blue. Trouser Press 8:30 (February 1982). Almost Blue (See: A12) finds Costello generally sounding "uptight," "constricted," and "clinical," according to the present generally-unfavorable review. Young writes, however, that Costello's "subtle, lump-in-the-throat rendition" of "A Good Year for the Roses" "atones for other tracks."

DB53.

Review of Almost Blue. Stereo Review 47:96 (March 1982). The present is a generally unfavorable review of Costello's country album (See: A12).

DB54.

Zeller, Craig. Review of Almost Blue. Creem 13:54-5 (March 1982). As an example of the explosively negative nature of the present review of Almost Blue (See: A12), Zeller writes of Costello, "time after time he comes off like some hack lounge singer coming to fingertip grips with heartbreak. Only thing is, the heartbreak's drowning in a sea of clicked saphead angst vocal mechanisms."

DB55.

Puterbaugh, Parke. Review of Imperial Bedroom. Rolling Stone n375:46-8 (August 5, 1982). With special mention given to Steve Nieve's keyboard work, Geoff Emerick's clean production, and especially to Costello's use of his vocal instrument, Imperial Bedroom (See: A15) receives 4-1/2 of a possible 5 stars in this highly-favorable review.

DB56.

Livingstone, David. Review ofImperial Bedroom. Maclean's 95:48 (August 9, 1982).

88

Discography Bibliography Imperial Bedroom (See: Al 5) receives generally favorable reaction in the present review.

DB57.

Review of Imperial Bedroom. People Weekly 18:17-8 (August 23, 1982). The present is a generally favorable review of the Geoff Emerickproduced album (See: A15).

DB58.

Sigerson, Davitt. "Elvis: A Legendary Performer " Village Voice 21.60 (September 7, 1982). The present is a generally positive review of Imperial Bedroom (See: A15). Costello is called a classical songwriter in the Phil Spector, Holland/Dozier/Holland, and Bob Dylan line. According to Sigerson, the Beatle-esque production and arrangements of Imperial Bedroom do nothing really positive for the fine material - the real innovation found in this album is Costello's attempt to find out what produced the situations and the characters he describes. ".. .the Elvis Costello we know may have made his last record. Could that radiant entity have been merely the chrysalis of an emerging Declan MacManus?"

DB59.

Cioe, Crispin. Review of Imperial Bedroom. High Fidelity/Musical America 32:88-9 (October 1982). Imperial Bedroom (See: Al 5) is described as "a striking blend of incisive pop poetics and artful, musical excursion" and "a songwriting tour deforce" in the present, highly favorable review.

DB60.

Isler, Scott. Review of Imperial Bedroom. Trouser Press 9:33 (October 1982). Isler describes Imperial Bedroom (See: A15) as Costello's "most unified album yet." He further writes that"Imperial Bedroom is too idiosyncratic to launch any trends, and possibly too involuted for mass appeal. But it can't - or rather won't - be ignored, just as the Beach Boys' Pet Sounds (another album of brilliant compositions that eluded the public upon release) had to be redeemed by history."

DB61.

Walls, Richard C. Review of Imperial Bedroom. Creem 14:56 (November 1982). With Imperial Bedroom (See: A15), "EC has done it again, has topped himself, has come out with an album that both critics and fans are mad about and.. .that makes this the fifth unquestionable topper in as many years."

DB62.

Winner, Langdon. "A Gentle Costello." Atlantic Monthly pp94-95 (December 1982). The present general article contains much also on Imperial Bedroom (See: A15). The writer reports that, while Costello's songwriting technique shows added maturity, his voice can not keep pace. "He makes good use of what he has, but his vocals are somewhat thin and raspy, even a little flat at times." According to the review, Costello's first three albums "established him as the most capable rock performer of his generation, and perhaps the equal of any musician rock-and-roll has ever known." (See also: GB82)

DB63.

"Talk Talk." Melody Maker 58:5 (May 28, 1983).

Discography Bibliography 89 The present is a review of the single "Pills and Soap" (See: S47). DB64.

Sweeting, Adam. Review of Punch the Clock. Melody Maker 58:28 (July 30, 1983). Sweeting gives Punch the Clock (See: A17) a highly favorable review.

DB65.

Connelly, Christopher. Review of Punch the Clock. Rolling Stone n4Q3:47+ (September 1, 1983). Connelly praises "Shipbuilding" as "a beautifully simple, almost terse, rumination, clear as water." He also praises the "even more powerful" "Pills and Soap." The rest of the album (See: A17), however, finds Costello in a "holding pattern," accounting for the rating of only 3-1/2 of a possible 5 stars.

DB66.

Baird, Jock. Review of Punch the Clock. Musician n60:93 (October 1983). Baird acknowledges that Punch the Clock (See: A17) has confused a number of critics due to the difference in style and lyrical focus from the artist's previous material. "For many, critics and otherwise, the pearls of Punch the Clock will have to be dived for, but their value will be all the more increased for it."

DB67.

Cohen, Mitchell. Review of Punch the Clock. High Fidelity/Musical America 33:94 (November 1983). Cohen refers to "Shipbuilding" as "an extraordinary piece," and the entire album as "expansive" with a "swaggering tunefulness" in the present, highly favorable review of Punch the Clock (See: Al 7).

DB68.

Fissinger, Laura. Review of Punch the Clock. Creem 15:51-2 (November 1983). Punch the Clock (See: A17) receives a generally negative reaction in the present review.

DB69.

Young, Jon. Review of Punch the Clock. Trouser Press 10:38 (November 1983). The present is a generally favorable review of Punch the Clock (See: A17). Young expresses concern with Elvis Costello's lack of commercial acceptance, suggesting various performers for whom the Punch the Clock material would be perfect - artists from Elton John, to Aretha Franklin, to Olivia Newton-John, to Led Zeppelin.

DB70.

Parkyn, Geoff. Elvis Costello: The Illustrated Disco/Biography. London and New York: Omnibus Press, 1984. The present book covers Costello's career through Goodbye Cruel World (See: A18). The discography is generally more illuminating than the biography. (See also: GB98)

DB71.

Sweeting, Adam. Review of Ten Bloody Marys & Ten How's Your Fathers. Melody Maker 59:28 (April 14, 1984). Sweeting describes Ten Bloody Marys & Ten How's Your Fathers (See: A10) as "one of Costello's best albums, whether by accident or design."

90 Discography Bibliography DB72.

Marcus, Greil. "Riffs: Imperial Margarine." Village Voice 29:67 (June 26, 1984). The present concerns the album Goodbye Cruel World (See: A18). According to Marcus, "it's the sort of record you stop hearing halfway through a side" While much of the material is of high quality, the arrangements "don't shape the songs but muffle them." Marcus contrasts this album with Punch the Clock (See: A17), which he describes as "super." The writer further complains about Costello's tendency on Goodbye Cruel World to pull back his voice, writing "Elvis Costello is a typical first-rate rock & roll singer with a third rate voice: almost no physical range, no coloration." "Peace In Our Time," however, is identified as an outstanding track.

DB73.

Shewey, Don. Review of Goodbye Cruel World. Rolling Stone t\425.44 (July 5, 1984). According to the author of the present mixed review, Goodbye Cruel World (See: A18) is "as murky an album, musically and lyrically, as Costello has ever made." The recording receives 3 of a possible 5 stars.

DB74.

Jones, Allan. Review of Goodbye Cruel World. Melody Maker 59:27 (July 28, 1984). Running contrary to most reviewers of Goodbye Cruel World (See: A18), Jones states that the opus "isn't just a great album it's a great Elvis Costello album. And that, as you should know, is something else altogether."

DB75.

Review of Goodbye Cruel World. Musician n70:90+ (August 1984). (See: A18)

DB76.

Cohen, Mitchell. Review of Goodbye Cruel World. Creem 16:57 (September 1984). While Goodbye Cruel World (See. A18) has "many first-rate songs," the material "goes astray," due to over production and mediocre instrumental work by The Attractions.

DB77.

Review of Goodbye Cruel World. Record3:56 (September 1984). (See: A18)

DB78.

Millman, Joyce. Review of Goodbye Cruel World. High Fidelity/Musical America 34:108+ (October 1984). The individual selections on the album (See: A18) are described as sounding "careless and recycled."

DB79.

Morris, Gina. Off-Beat: Pub Rock for the l80's. San Francisco: Nightbird Books, 1985. The present publication is described as "a fan's assessment of the body of work belonging to the four (sic) artists and one group - Nick Lowe, Elvis Costello, Dave Edmunds, Carlene Carter, Paul Carrack, and Squeeze." (See also: GB116)

DB80.

Sutherland, Sam. Review of My Aim Is True. High Fidelity/Musical America 35:48 (January 1985).

Discography Bibliography 91 Since the original release of My Aim Is True (See: Al and A2) was quickly and inexpensively produced, the compact disc reissue (See: A2) "cannot escape the distortion and poor stereo separation of the master tape." The reviewer writes that the quality of Costello's songwriting and the energy of the performance make up for the relatively poor sound quality, although "Costello's albums Armed Forces and Get Happy!! would be more interesting CD releases." DB81.

Kostakis, Peter. Review of The Special A.K.A. Down Beat 52:34 (February 1985). The Costello-produced song "Free Nelson Mandela" is described as "the most successful cut" on the album by this group (The Special A.K.A.) which was basically a renamed version of The Specials. (See: M161)

DB82.

Mcllheney, Barry. Review of The Best of Elvis Costello - The Man. Melody Maker 61:29 (May 4, 1985). The "best o f collection (See: A20) is given favorable treatment in the present review. "To still sound so absolutely valid and sure-footed some eight years on is just final proof that Elvis Costello is indeed a master craftsman."

DB83.

Video: The Best of Elvis Costello: The Man" Melody Maker 60:38 (June 8, 1985). (See: V4 and V5)

DB84.

Millman, Joyce. Review of Rose of England by Nick Lowe and His Cowboy Outfit. High Fidelity/Musical America 35:77 (December 1985). (See: MHO)

DB85.

"Spotlight: The Best of Elvis Costello and The Attractions (Video).'" Record 5:51 (January-February 1986). (See: V4 and V5)

DB86.

Seldeman, Tony. "Video News & Notes: The Best of Elvis Costello and The Attractions" Rolling Stone n467:84 (February 13, 1986). The present is a highly favorable of this "potent collection of virtually unseen work." (See: V4 and V5)

DB87.

Kent, Nicholas Benedict. Review of King of America. Melody Maker 61:29 (February 22, 1986). Although the author more commonly known as Nick Kent none-too-subtly pokes fun at Costello's return to his full given name of Declan Patrick MacManus on King of America (See: A21) by his own use of his full moniker, the album is described as Costello's best.

DB88.

Tucker, Ken. Review of The Best of Elvis Costello and The Attractions. High Fidelity/Musical America 36:72 (March 1986). In the present review of the video release The Best of Elvis Costello and The Attractions (See: V4), Costello is called "arguably the most interesting rock star of the past ten years." The collection is described as a "must-have item." The unique concept behind the video of "I Wanna Be Loved," is given

92 Discography Bibliography special commentary, being called "witty and frightening, just like Costello's music." DB89.

Cocks, Jay. Review of King of America. Time 127:70 (March 10, 1986). In the present brief, favorable review, Costello's King of America (See: A21), is described as "one of his best."

DB90.

Hampton, Howard. "Elvis Costello: Grace Notes and Dread." Village Voice 31:67+(March 11, 1986). The present is a generally positive review of King of America (See: A21). "On King of America..., Costello makes his best, least hedged music since \9S0's Get Happy!!"

DB91.

Gates, David. Review of Live in London by Ricky Skaggs. Rolling Stone p52 (March 13, 1986). In this generally negative review of material recorded live in May 1985, Gates states that, although he has a strong voice, "in a duet with Elvis Costello, Skaggs comes in a distant second." (See: Ml75)

DB92.

Coleman, Mark. Review of King of America. Rolling Stone n470:113-14 (March 27, 1986). While the reviewer finds that King of America (See: A21) has "dozens of clever lines" in its lyrical content, he complains of most of the songs having a general lack of coherence. James Burton's guitar and dobro work is favorably commented upon, however, and "Our Little Angel" is described as one of Costello's "best excursions into country music."

DB93.

Edelstein, David. Review of The Best of Elvis Costello and The Attractions. Esquire 105:202-3 (April 1986). The author writes that the collection (See: A20) illustrates Costello's growth as an artist, calling the musician "one of a few songwriters today who has a keen grasp of the interactions of music and lyrics."

DB94.

Isler, Scott. Review of King of America. Musician n90:86 (April 1986). Isler writes that Costello's King of America (See: A21) "marks a return to top form after a couple of mediocre (for him) albums" in the present, highlyfavorable review.

DB95.

"Video Video - Clips: The Best of Elvis Costello and The Attractions" 17:73 (April 1986). (See: V4 and V5)

DB96.

Milkowski, Bill. Review of King of America. Down Beat 53:30 (June 1986). A positive review of the album (See: A21), which states that "Costello is strongly influenced by American music ranging from rockabilly to folk, but has definitely found his own voice."

DB97.

Nesin, Jeff. Review of King of America. Creem 17:26 (June 1986). The author points out an interesting conflict in King of America (See: A21) - that while the production and performing is very precise, the meaning of

Creem

Discography Bibliography 93 some of the lyrics are obscure. This is one of the few reviews to comment on Costello's guitar playing, stating that Costello "controls the sound absolutely with his austere rhythm guitar." DB98.

Simels, Steve. Review of King of America. Stereo Review 51:113 (June 1986). A positive review calling King of America (See: A21) "more interesting than anything Costello has recorded in a long time." The artist's use of The Attractions in a guest appearance on "Suit of Lights" is call "an inspired touch."

DB99.

Reynolds, Simon. Review of Blood & Chocolate. Melody Maker 61:28 (September 13, 1986). Costello's new work with The Attractions (See: A22) is described by Reynolds as "miles superior to the overlit and picked-out production on the last LP with the Attractions, Goodbye Cruel World" The author recognizes the curious and continuing nature of Costello's greater recognition in Great Britain than in the United States, writing "Elvis Costello is doomed to make only big splashes in a small pond, our pond."

DB100. Tannenbaum, Rob. Review of Blood & Chocolate. Rolling Stone n486:74 (November 6, 1986). In the present mixed review, the author states that some fans will perceive the album (See: A22) as a return to basics. Tannenbaum himself finds it "too often glib and sketchy," although he describes the song "I Want You" as "among Costello's best work." (See also: ER10) DB101. Review of Blood & Chocolate. Musician n98:115-16 (December 1986). (See: A22) DB102. Browne, David. Review of Blood & Chocolate. High Fidelity 31:10A (February 1987). While the songs on Blood & Chocolate (See: A22) receive praise in the present review, the author finds the performance "jumbled and underrehearsed," with the sound of The Attractions being muffled. DB103. Ladabedi, Iman. Review of Blood & Chocolate. Creem 18:15 (February 1987). Blood & Chocolate (See: A22), while better than most of Costello's recent product represents something of "a holding pattern," according to the present review. DB104. Review of "A Town Called Big Nothing." Melody Maker 62:4 (May 2, 1987). (See: S78 and S79) DB105. Review of Get Happy!! Rolling Stone n507:129 (August 27, 1987). In the present issue of Rolling Stone, featuring the best 100 albums of the past 20 years, Get Happy!! (See: A8) is listed as number 65. The Costello opus is described as "a clever and danceable album full of pop hooks and diabolical wordplay." (See also: DB106, DB107) DB106. Review of My Aim is True. Rolling Stone n507:93 (August 27, 1987).

94

Discography Bibliography In the present issue of Rolling Stone, featuring the best 100 albums of the past 20 years, My Aim Is True (See: Al and A2) is listed as number 29. The work is described as "perhaps the freshest record to emerge from the British punk explosion of 1977." (See also: DBl05, DBl07)

DB107. Review of This Year'sModel. Rolling Stone n507:72 (August 27, 1987). In the present issue of Rolling Stone, featuring the best 100 albums of the past 20 years, This Year's Model (See: A3 and A4) is listed as number 11. The album is said to contain "the most biting, punchy, and pointed rock & roll songs of this gifted artist's early career." (See also: DB105, DB106) DB108. Wilde, Jonh. Review of Out of Our Idiot. Melody Maker 63:32 (November 28, 1987). The Costello compilation album (See: A23) receives generally-favorable comment in the present, brief review. DB109. "The Eighties - A Vinyl Documentary: Get Happy!!; Trust; Almost Blue (1981). Melody Maker 65:29 (February 4, 1989). Get Happy!!, Trust, and Almost Blue (See: A8, Al 1, and A12) are all included in Melody Maker's "critical guide to the landmark albums of the last decade." (See also: DB120) DBl 10. "News." Melody Maker 65:3 (February 4, 1989). The present item concerns the release of Spike (See: A25). DBl 11. Cromelin, Richard. "Costello Open Floodgates in Spike. Los Angeles Times February 5, 1989:C 72. The present is a favorable review of the album (See: A25). DBl 12. Himes, Geoffrey. "Costello & Cockburn: Two Dazzling Returns." Washington Post February 5, 1989:G6. Costello's Spike (See: A25) and Bruce Cockburn's album Big Circumstance receive postive reviews in the present article. DBl 13. Sullivan, Jim. "Elvis Costello Releases a Topsy-Turvy Album." Boston Globe February 7, 1989:27. Sullivan focusses on the eclecticism of Spike (See: A25) in the present descriptive article. DBl 14. Denselow, Robin. "Costello's Classy Comeback." The Guardian February 10, 1989. Costello's Spike (See: A25) receives favorable comment in the present review. DBl 15. Jennings, Dave. Review of Spike. Melody Maker 65:36 (February 11, 1989). Spike (See: A25) receives abundant praise from Jennings in the present feature-length review. The texts of many of the songs are fully explained. The reviewer does have some questions about the music itself being perhaps overly eclectic, but says "I've lived with it only a day, and I'm discovering new things with each successive listening."

Discography Bibliography 95 DBl 16. Whitall, Susan. "Elvis Costello Hits Spike Right on the Head." Detroit News February 15, 1989:D3. The present is a favorable review of Spike (See: A25). DBl 17. Williams, Joe. Review of Spike. Cash Box 52:14 (February 18, 1989). According to the present highly-favorable review, Spike (See: A25) is "an album both powerful and subtle, with musical tricks to match its linguistic shrewdness. Recommended." DBl 18. Pareles, Jon. "Elvis Costello's Happy Marriage Of Lyrics and Music." New York Times February 19, 1989:11 29. The present is a postive review of Spike (See: A25). DBl 19. Pick, Steve. "Elvis Costello Serves Up Dazzling Variety in Spike. Saint Louis Post-Dispatch February 24, 1989:E 5. As implied by the headline, Spike (See: A25) receives favorable treatment in the present review. DB 120. "The Eighties - A Vinyl Documentary: King of America; Blood & Chocolate (1986). Melody Maker 65:24 (February 25, 1989). In the present run-down of the most important albums of the 1980s, Costello's King of America and Bood & Chocolate (See: A21 and A22) are included. According to the reviewer, they represent Costello's best work of the decade. (See also: DBl09) DB121. Lester, Paul. Review of "Veronica." Melody Maker 65:27 (February 25, 1989). "Veronica" (See: S80 and S81) "is a gorgeoous, layered thing with multitracked vocals, a chord structure of labyrinthine complexity and a sorrowful narrative story of rejected love, all to a melancholy Merseybeat... Still the King." DB122. Gehr, Richard. "Elvis Costello: But Seriously Folks." Village Voice 34:65-6 (February 28, 1989). In the present, mixed review of Spike (See: A25), Gehr finds serious fault with the choice of backing musicians. "Egged on by coproducers Kevin Killen and T-Bone Burnett, Costello substitutes a Hollywood hackmanship for the head-over-heels virtuosity of The Attractions." Allen Toussaint and the Dirty Dozen Brass Band, however, receive accolades for their performances. The reviewer finds Costello somewhat ill-at-ease with a head-on approach to social issues. DB123. Milward, John; Jones, James T., IV. Review of Spike. USA Today March 2, 1989:D5. (See: A25) DB124. Roca, Octavio. Review of Spike. Washington 7z/wes March 2, 1989:M 30. (See: A25) DB125. Blair, Ian. "Elvis Is Back!" Chicago Tribune March 5, 1989:XIII 6. The present is a long feature article on Spike (See: A25).

96 Discography Bibliography DBl 26. Selvin, Joel. "Costello Lets Go of the Anger." San Francisco Chronicle March 5, 1989:DAT43. A number of albums, including Spike (See: A25) are reviewed in the present article. DBl27. Wild, David. "What's So Funny About Peace, Love, and Elvis?" Rolling Stone n547:103+(March9, 1989). The present is a review of Costello's Spike (See: A25), which is described as "an ambitious sampler of his astonishing musical creativity." DBl28. Rogers, Forrest. "Elvis Costello's Big Musical Wheel Keeps on Turning." Atlanta Constitution March 10, 1989:D4. The author of the present review finds favor with the eclecticism of Spike (See: A25). DB129. Miller, Jim. Review of Spike. Newsweek 113:68 (March 13, 1989). Costello "deliberately fragments a variety of genres to produce combinations that are startling and infectious" on Spike (See: A25). DB130. Willman, Chris. "God, as Seen by Elvis Costello." Los Angeles Times March 26, 1989:C67. While the present article provides a general profile of Costello and his work, it also contains information specific to Spike (See: A25). (See also: GB185) DB131. Review of Spike. Folk Roots r\10:34 (April 1989). (See: A25) DB132. Rogers, Forrest. "Elvis Costello Hopes Aim - To Get His New Songs Heard Is True." Atlanta Journal Constitution April 2, 1989.N 12. Costello discusses Spike (See: A25) and the plans to get airtime for the album's songs in the present interview. (See also: GB132) DBl33. Gundersen, Edna. "Cover Story: A Musical Punch Spiked with Venom." USA Today April 3, 1989:D 1. The author profiles Costello and his recording career, pleacing emphasis on Spike (See: A25). (See also: GB133) DB134. Moses, Mark. Review of Spike. The New Yorker 65:84-5 (April 24, 1989). A postive review of the album (See: A25). Moses writes that many of the songs feature lyrics conforming "to the more narrative structure that Costello has been exploring in recent years." Costello's musical eclecticism has lead to "perhaps the most far-ranging album of his career." DB135. Fried, Stephen. "Attack of the Giant Brundlefly." Gentlemen's Quarterly 59:114+(May 1989). According to the present review of Spike (See: A25) and a number of other albums, the Costello opus "grows on you," but "every tune on the collection sounds like a slightly disguised version of a Costello classic."

Discography Bibliography 97 DB136. Nash, Alanna. Review of Mystery Girl by Roy Orbison. Stereo Review 54:114 (May 1989). The Costello contribution to this album (See: Ml 16), "The Comedians," is described as "potent." DB137. Simels, Steve. "Elvis Costello Deals with the Real World." Stereo Review pl09 (May 1989). In the present review of Spike (See: A25), the author writes that Costello's singing has never been more "accomplished and convincing." The quality of the arrangements is also favorably reviewed, as are the contributions of guest artists Chrissie Hynde and Roger McGuinn. DB138. Walls, Richard C. Review of Spike. High Fidelity/Musical America 39:71-2 (May 1989). A generally postive review of Costello's Spike (See: A25), which describes "Tramp the Dirt Down" and "Any King's Shilling" as "two of the best political sketches he has ever written." Walls also praises Costello's collaborations with Paul McCartney and Allen Toussaint, and the guest appearances, notable by the Dirty Dozen Brass Band. DB139. Wieseltier, L. "Elvis Lives!" Washingtonianvvl5-16 (May 1989). The present is a review of Spike (See: A25). DB140. Gittins, Ian. Review of "Baby Plays Around." Melody Maker 65:36 (May 13, 1989). Gittins, who admittedly has "just never seen the point in Costello" gives the single (See: S83 and S84) a blisteringly negative review. DB141. Review of "Veronica." Atlanta Journal Constitution May 14, 1989:L 6. The present is a favorable review of the compact disc single (See: S81). DB142. Morse, Steve. "Flowers in the Dirt Is Inspired McCartney." Boston Globe June 4, 1989:A4. The present is a somewhat mixed review of Flowers in the Dirt (See: M119andM189). DBl43. DeCurtis, Anthony. Review of Flowers in the Dirt by Paul McCartney. Rolling Stone n555:52-3 (June 29, 1989). For toughening up Paul McCartney's sound on the present album (See: Ml 19 and Ml 80), "some of the credit belongs to McCartney's songwriting partnership with Elvis Costello." Receiving especially favorable reviews are the McCartney/Costello collaborations "My Brave Face" and "You Want Her Too." DB144. Wilde, Jonh. "The Price Of Love." [Review of Girls+£+Girls=$&Girls] Melody Maker 65:41 (October 21, 1989). Girls+£+Girls=$&Girls (See: A28) receives generally favorable comment in the present review. DB145. "The Top 100: East Side Story by Squeeze." Rolling Stone n565:135 (November 16, 1989).

98 Discography Bibliography The present 1981 release (See: M147), number 82 on Rolling Stone's list of the top 100 albums of the 1980s, was coproduced by Elvis Costello. Squeeze's Chris Difford and Glenn Tilbrook credit Costello with "encouraging the band to explore new territory." DB146. "The Top 100: Get Happy!!" Rolling Stone n565:75 (November 16, 1989). Get Happy!! (See: A8) is ranked number 11 on Rolling Stone's list of the top 100 albums of the 1980s. The album is described as "perhaps the smartest, most impassioned party record" of the decade, showing Costello's "respect and affection for the music of black America." DB147. "The Top 100: Imperial Bedroom" Rolling Stone n5 65:96 (November 16, 1989). Imperial Bedroom (See: Al 5) is ranked number 38 on Rolling Stone's list of the top 100 albums of the 1980s. The album is said to demonstrate "Costello's broad reach as a songwriter." DB148. "The Top 100: The Specials by The Specials." Rolling Stone n565:120 (November 16, 1989). Costello produced the present album (See: M143), ranked number 68 on Rolling Stone's list of the top 100 albums of the 1980s. Costello is credited with capturing "the energetic spirit of the racially mixed seven-member band's live shows by re-creating a club atmosphere in the studio." DB149. Fried, Stephen. "The Ten Best Records of 1989." Gentlemen's Quarterly 59:139+(December 1989). Costello's Spike (See: A25) is included. DBl50. Denselow, Robin. Review of Girls+£+Girls=$&Girls. The Guardian December 14, 1989:26. (See: A28) DB151. "The Year in Records: Spike" Rolling Stone n567-568:212 (December 14-28, 1989). The present is a generally favorable review of the album (See: A25). DB152. Pond, Steve. "The Seventies Reconsidered." Rolling Stone n587:84-7 (September 20, 1990). The present review of 50 albums recorded and released in the 1970s includes Costello's 1978 This Year's Model (See: A3 and A4). Pond quotes Elton John's reaction to winning the 1978 "Singer of the Year" award from England's Capitol Radio: "I honestly felt that of the people who had emerged, Elvis Costello was the most important - by far the best songwriter and the best record maker." DB153. Whitall, Susan. Review of Girls+£+Girls=$&Girls. Detroit News & Free Press November 3, 1990:C 1. (See: A28)

Discography Bibliography 99 DB154. Hilburn, Robert. "Costello's True Aim." Los Angeles Times November 11, 1990:CAL64. The present is a favorable review of Costello's Girls+£+Girls=$&Girls (See: A28). DBl55. Dollar, Steve. Review of Girls+£+Girls^$&Girls. Atlanta Constitution December 8, 1990:WL 1. Dollar gives the Costello package (See: A28) a brief, but favorable review. DB156. Considine, J.D. "Replays." Rolling Stone p220 (December 13-27, 1990). The present article is a review of a number of recently released boxed sets and reissues, including Costello's Girls+£+Girls=$&Girls (See: A28). DB157. Wild, David. "A Byrd Flies Again." Rolling Stone pi3+ (February 21, 1991). Costello's guest appearance on Roger McGuinn's album Back From Rio (See: Ml24 and Ml84) is mentioned in the present review. DB 158. Hochman, Steve. Review of Deadicated. Los Angeles Times April 21, 199LCAL59. The present is a brief, favorable review of the Grateful Dead tribute album (See: M34) on which Elvis Costello appears. DBl 59. Jennings, Dave. Review of "The Other Side of Summer." Melody Maker 67:33 (April 27, 1991). The Costello single (See: S86, S87, and S88) receives a brief, glowing review. DB160. Blackwell, Mark. Review of Mighty Like a Rose. Spin 7:79 (May 1991). Mighty Like a Rose (See: A29) receives a generally favorable review from Blackwell, who writes "Elvis has always been at his musical and lyrical best when he's pissed, depressed, misunderstood, or just plain bitter, and fortunately he doesn't seem to be in such a great mood this time around." DB161. DiMartino, Dave. "Recordings: I'm Okay, You're a Jerk." (Review of Mighty Like a Rose) Musician n 151:88+ (May 1991). Mighty Like a Rose (See: A29) is described as "one of the most overwhelming albums about sexual politics ever crafted" in the present favorable review. According to DiMartino, however, the album is not without blemishes - the MacManus/McCartney collaboration "Playboy to a Man" "sticks out like a sore thumb." DB162. Farber, J. Review of Mighty Like a Rose. Seventeen 50:90 (May 1991). According to the present brief, favorable review of Mighty Like a Rose (See: A29), "Costello remains one of the few songwriters artful enough to make us glad to receive life's bad news." DB163. Gilmore, Mikal. "Grateful For the Dead." Rolling Stone n603:51 (May 2, 1991).

100 Discography Bibliography The present is a review of the album Deadicated (See: M34) on which Costello appears. DB164. Schoemer, Karen. "A Word or Two (or Three) on Love, Death and Insects." New York Times May 12, 1991:11 30. The present article deals with Costello's "effusiveness" in his songs and the author's feeling that that particular trait unfortunately eclipses meaning on Mighty Like a Rose (See: A29). DB165. Willman, Chris. "Costello's Rose a Warm Tour de Force." Los Angeles Times May 12, 199LCAL54. In the present, brief article, Mighty Like a Rose (See: A29) receives a favorable review. DBl66. Garbarini, Victor. Review of Mighty Like a Rose. Rolling Stone n604:112+ (May 16, 1991). The album (See: A29) is described as Costello's "most ambitious and adventurous" in years, with "Couldn't Call It Unexpected No. 4" described as "a song that may be the most moving of Costello's career." DBl67. Kot, Greg. Review of Mighty Like a Rose. Chicago Tribune May 16, 1991:V 7. The present is a brief, generally mixed review of the album (See: A29). DBl68. Sullivan, Jim. Review of Mighty Like a Rose. Boston Globe May 16, 199LCAL8. The album (See: A29) receives a mixed review in the present, brief article. DBl69. Sweeting, Adam. Review of Mighty Like a Rose. The Guardian May 16, 1991:26. (See: A29) DB170. Pick, Steve. "Mixed But Vital Bag from Elvis Costello." Saint Louis PostDispatch May 17, 1991 :F 4. The present is a favorable review of the compact disc reissue of Armed Forces (See: A33). DB171. Roberts, Chris. "Crown Of Thorns." [Review of Mighty Like a Rose] Melody Maker 67:41 (May 18, 1991). Mighty Like a Rose (See: A29) receives a brief, but highly favorable review. Especially notable is Roberts's view that "the singing throughout is gorgeous." DB172. Himes, Geoffrey. "Smart Musicmaking." Washington Post May 19, 1991 :G 7. The present is a favorable, comparative review of Costello's Mighty Like a Rose (See: A29) and Richard Thompson's Rumor and Sigh. DBl73. Tomashoff, Craig. Review of Mighty Like a Rose. People Weekly 35:20 (May 20, 1991).

Discography Bibliography 101 In the present brief, favorable review, the author comments on the broadening of Costello's style, especially in reference to the songs "Sweet Pear" and his cover of Cait O'Riordan's "Broken." DBl74. Alkyer, Frank. Review of Mighty Like a Rose. Down Beat 58:37-8 (June 1991). Alkyer describes the album (See: A29) as a collection of "some of the finest individual songs" Cotello has written, although some of the melodies "do not quite measure up." DB175. Review of Mighty Like a Rose. Stereoplayr\6:\92(lux\e\99\). (See: A29) DBl76. Aiges, Scott. "Still an Edge to Elvis Costello." Times-Picayune June 7', 1991.LAG 7. Mighty Like a Rose (See: A29) receives a mixed review in the present article. DBl77. Selvin, Joel. "Costello Unfolds Again With Rose." San Francisco Chronicle June 9, 199LDAT47. The present is a review of Mighty Like a Rose (See: A29). DBl78. Kelly, John F. "Mighty Costello Misses His Punches." Washington Post June 14, 199LWW 16. The present is a brief, unfavorable review of Mighty Like a Rose (See: A29). DBl79. Kennedy, Lisa. "Music: The Candy Man." Village Voice 36:76+ (July 2, 1991). The present is a review of both Mighty Like a Rose (See: A29) and a live performance on Costello's tour supporting the album. The album is described as "better than Spike," and as a "quintessential CD album," being uniquely suited for the digital medium. (See also: GB255) DB180. Leland, John. "Time Is On Their Side." Newsweek 118:54-6 (July 8, 1991). In the present article profiling the recent work of long-established musicians Costello, Bonnie Raitt, Tom Petty, Paul McCartney, and others, Leland writes that on Mighty Like a Rose (See: A29), "Costello isolates human flaws as cruelly and as surgically as any writer in pop music." DB181. Perry, Claudia. Review of Mighty Like a Rose. Houston Post July 21, 1991 :H 9. (See: A29) DBl82. Brown, Elizabeth A. "Don't Be Fooled: Elvis Costello Is Still Bittersweet." Christian Science Monitor July 26, 1991:13. Mighty Like a Rose (See: A29) receives favorable comment in the present review.

102 Discography Bibliography DB 183. Puterbaugh, Parke. Review of Mighty Like a Rose. Stereo Review 56:72-3 (August 1991). Mighty Like a Rose (See: A29) receives a mixed review from Puterbaugh, who writes that the album ironically shares the ambitiousness of Imperial Bedroom and the convoluted nature of Goodbye Cruel World. DB184. Lester, Paul. Review of "So Like Candy." Melody Maker 67:31 (October 26, 1991). While Lester believes that the record may not make the charts due to Costello's being "in between audiences," "So Like Candy" (See: S89 and S90) receives a glowing review. DB185. "100 Classic Album Covers: Trust. Rolling Stone n617:154 (November 14, 1991). (See: A l l ) DB186. "Review of 1991: May." Melody Maker 67:42 (December 21-28, 1991). Costello's Mighty Like a Rose (See: A29) is reviewed. DB187. Light, Alan. Review of Until the End of the World. Rolling Stone p34 (February 6, 1992). Costello is mentioned as one of the composers recruited to provide soundtrack material for the film. (See: M32) DBl 88. Heckman, Don. Review of Weird Nightmare: Meditations on Mingus. Los Angeles Times October 11, 1992:CAL 63. The present is a brief, negative review of the album (See: Ml 85). DBl 89. Loder, Kurt. Review of The Stiff Records Box Set. Esquire 118:58 (December 1992). The present is a positive review of the set (See: M37), warning that because of the musical enthusiasm and quick, low-budget production of the original recordings, the reissue is "not recommended to Michael Jackson fans." DBl90. Hilburn, Robert. "They Were Such a Fine Bunch of Stiffs." Los Angeles Times January 10, 1993.CAL56. The present is a favorable review of The Stiff Records Box Set (See: M37). DB191. Sweeting, Adam. "This Year's Model." The Guardian January 15, 1993:11 4. While the present article provides an extensive profile of Costello and his work, The Juliet Letters (See: A30) project is featured. DB192. Hilburn, Robert. "Costello Gets Pumped Up (With Strings Attached)." Los Angeles Times January 17, 1993 :CAL 59. The present is a favorable review of The Juliet Letters (See: A30). DBl93. Pick, Steve. "Musical Traditions Merge in Letters From Elvis Costello, Brodsky Quartet." Saint Louis Post-Dispatch January 22, 1993 :E 8.

Discography Bibliography 103 The Juliet Letters (See: A30) receives favorable comment in the present review. DB194. Sweeting, Adam. "Raggamuffin with a Message." The Guardian January 22, 1993:118. Sweeting compares several new recordings, including The Juliet Letters (See: A30) and Jesus Jones's Perverse. DB195. Jones, Allan. Review of The Juliet Letters. Melody Maker 69:30 (January 23, 1993). In his highly-favorable review of The Juliet Letters (See: A30), Jones writes that this is "an album you know you're going to be able to live with down the years." DB196. Robicheau, Paul. "Elvis Costello and the Brodsky Quartet." Boston Globe January 28, 1993:CAL6. The present is a brief, unfavorable review of The Juliet Letters (See: A30). DB197. Himes, Geoffrey. "Costello and Brodsky's Juliet Letters: Not Half Bad." Washington Post January 24, 1993 :G 9. A generally favorable review of The Juliet Letters (See: A30). DBl98. Brown, G. "Elvis Costello Has Some Fun With Juliet Letters." Denver Post January 29, 1993:WEEK 26. The present article includes discussion of The Juliet Letters (See: A30), as well as a number of other "noteworthy" recordings released in January 1993. DBl99. Sandow, Greg. "Classical Gasp." Entertainment Weekly p56 (January 29, 1993). The present is a review of The Juliet Letters (See: A30). DB200. Dollar, Steve. "Costello's Latest Eloquent But Unconvincing." Atlanta Journal Constitution January 30, 1993.WL 24. The present is a mixed review of The Juliet Letters (See: A30). DB201. Graff, Gary. "Elvis Costello, Classics Quartet Joint Forces For Chamber Pop." Detroit News & Free Press January 31,1993 :G 2. The present article is more of an objective description of The Juliet Letters (See: A30) and how the project came together rather than a subjective review. DB202. Holden, Stephen. "Elvis Costello Laces Punk With Grand Ambitions." New York Times January 31, 1993:11 24. The Juliet Letters (See: A30) receives a lengthy, generally favorable treatment in the present article. DB203. Buonaiuto, Claudia. "Elvis Costello." Musician n 172:7 (February 1993). The present interview concerns Costello's collaboration with the Brodsky Quartet for The Juliet Letters (See: A30) project and about the mixing of

104 Discography Bibliography classical and popular music. It is listed both here in the "General Bibliography," due to the duel nature of the piece. (See also: GB274) DB204. Willner, Hal. Review of The Juliet Letters. Spin 8:77 (February 1993). The Juliet Letters (See: A30) "is an incredible journey, enjoyable without being highbrow, and ranks as one of Costello's best," according to the present, highly-favorable review. DB205. Isler, Scott. Review of The Stiff Records Box Set. Rolling Stone n649:64 (February 4, 1993). The five disc compilation of material from Costello's first British recording label (See: M37) receives 4 stars in the present review. Note that Costello's contribution to the release is not specifically mentioned. DB206. Bessman, Jim. "Costello Project Has Strings Attached." Billboard 105:14-15 (February 6, 1993). The present is a feature article on The Juliet Letters (See: A30). DB207. Willman, Chris. "Greetings From Elvis." Los Angeles Times February 14, 1993:CAL4. Costello and Willman discuss The Juliet Letters (See: A30) in the present, lengthy interview. DB208. Puterbaugh, Parke. Review of Off the Ground by Paul McCartney. Rolling Stone p56+ (February 18, 1993). The McCartney/Costello collaboration "Mistress and Maid" is called "fanciful" and "The Lovers that Never Were" is called a "gorgeous vocal showcase" in the present, mixed review of the McCartney album (See: Ml29). DB209. Gates, David. "String Along With Elvis." Newsweek 121:65 (February 22, 1993). The present is a favorable review of The Juliet Letters (See: A30). "Despite (or because of) their austere formality, it is hard to listen to these songs dry-eyed." Costello is described as "a songwriter beyond genre." DB210. Snyder, Michael. "Classical Costello." San Francisco Chronicle February 28, 1993:DAT37. The Juliet Letters (See: A30) is compared with recent compact discs by Bob Dylan and others in the present, lengthy review. DB211. O'Kane, Dan and Vernier, David. "The Juliet Letters: A Head-to-Head Comparison." CD Review (March 1993). O'Kane gives The Juliet Letters (See: A30) 4 out of a possible 5 stars, stating that "Costello is an extraordinary character and The Juliet Letters is just another chapter in a remarkable career that continues to stretch the boundaries of popular music." Vernier, on the other hand, gives the album 2 stars, finding a lack of needed contrast in the songs and writing that "Costello's whining, straining voice also becomes a distraction long before the disc's 65 minutes are up."

Discography Bibliography 105 DB212. Review of The Juliet Letters. Mademoiselle 99:78 (March 1993). (See: A30) DB213. Bradley, Jeff. "Juliet Letters Hypnotic." Denver Post March 3, 1993 :F 3. The present is a generally favorable review of The Juliet Letters (See: A30). DB214. Coleman, Mark. "Elvis Costello's Classical Gas." Rolling Stone p23 (March 4, 1993). Coleman discusses the album The Juliet Letters (See: A30), as well Costello's speed and facility with learning to read and write musical notation as he worked on the project. DB215. Gardner, Elysa. Review of The Juliet Letters. Rolling Stone n652:39-40 (March 18, 1993). The album (See: A30) is described as "accomplished and moving." DB216. Korman, Kenneth. "Editor's Choice." Video 17:45 (April 1993). The present article reviews the video movie The Juliet Letters (See: VI2) by Elvis Costello and the Brodsky Quartet. DB217. Ouellette, Dan. Review of The Juliet Letters. Down Beat 60:53 (April 1993). Costello's collaboration with the Brodsky Quartet (See: A30) receives 41/2 of a possible 5 stars. According to Ouellette, "the music is topnotch throughout." DB218. Connolly, Rachel. Review of The Juliet Letters. The Strad 104:510 (May 1993). The Juliet Letters (See: A30) displays "not so much a contrasting variety of textures and ideas as a total lack of cohesion." Costello's vernacular vocal style is described as being at odds with "the disciplined approach of the Brodsky." DB219. Givens, Ron. Review of The Juliet Letters. Stereo Review 58:83 (May 1993). The Costello/Brodsky Quartet collaboration (See: A30) receives a mixed review. While some of the songs successfully bring out the characters who are described in the letters, some seem labored. DB220. Teller. "Name That Tune." New Yorker 69:100 (June 14, 1993). The present article discusses the meaning of The Juliet Letters (See: A30) as well as the musical style of the song cycle. The album is described as "impressive." In a longer version of the article, available through the Elvis Costello Home Page (See: ER2), Teller also describes a concert from Costello and the Brodsky Quartet's Juliet Letters tour as "perfect." DB221. "Boxing Elvis." Melody Maker 69:2+ (August 21, 1993). The present article reports on the soon-to-be-released multi-disc reissue set 2-1/2 Years (See: A35).

106 Discography Bibliography DB222. Robbins, Ira. Review of Now Ain't the Time for Your Tears by Wendy James. Rolling Stone n664:70 (September 16, 1993). Described as a recording of Costello leftovers from the late 1970s, the album (See: Ml32) is given a generally unfavorable review. "Costello castoffs from that era are certainly worth listening to, but the talentless James does them no justice." DB223. Perry, Claudia. Review of 2-1/2 Years. Houston Post September 26, 1993 :H 18. (See: A35) DB224. Roberts, Chris. "The Main Attraction." Melody Maker 69:41+ (October 9, 1993). The present is a generally favorable review of 2-7/2 Years (See: A35). DB225. Henderson, Richard. "See/Hear." Billboard 105:62+ (October 9, 1993). The present article contains a brief description of the multi-disc 2-7/2 Years (See: A35) set. DB226. Sullivan, Jim. "Elvis Costello's Years as an Angry Young Man." Boston Globe October 22, 1993:64. The present is a lengthy, favorable review of 2-1/2 Years (See: A35). DB227. Pick, Steve. "Finally, a Classic Treatment for Classic Costello Albums." Saint Louis Post-Dispatch October 29, 1993:F 4. 2-1/2 Years (See: A35) receives a favorable review in the present article. DB228. "Elvis Rocks Again." Melody Maker 70:5 (October 30, 1993). The present article reports on the making of Brutal Youth (See: A36). The style of the album is discussed, as well as the volatile relationship between Costello and The Attractions. DB229. Tearson, Michael. Review of 2-1/2 Years. Audio 77:102+ (November 1993). 2-7/2 Years (See: A35) receives a glorious review from Tearson, who praises Rykodisc for the care with which the company has treated the digital reissue of Costello's material. DB230. Verna, Paul; Morris, Chris, et al. "Vital Reissues." Billboard 105:66 (November 6, 1993). The present is a brief, highly favorable review of 2-7/2 Years (See: A3 5). "Brilliant stuff, and it has never sounded better on CD." DB231. Considine, J.D. "Replays." Rolling Stone n669:77 (November 11, 1993). Among the CD-box sets reviewed in the article is Costello's 2-7/2 Years (See: A35). Considine reacts highly favorably to the release, especially praising the inclusion of "universal editions" of the original releases which include material from the British and American versions of Costello's first three albums, plus important bonus material.

Discography Bibliography 107 DB232. Himes, Geoffrey. "Graham Parker and Elvis Costello: Beyond Punk." Washington PostNovember 14, 1993.G9. Graham Parker's Passion Is No Ordinary Word, Costello's 2-7/2 Years (See: A35), and Richard Thompson's Watching the Dark are compared. The basic premise of the reviews is that the artists, although originally identified with the punk movement, transcend the confines of punk rock, as illustrated by these anthology releases. DB233. Weisbard, Eric. Review of 2-7/2 Years. Spin 9:126 (December 1993). (See: A3 5) DB234. Browne, David, et al. "Boxing Day." Entertainment Weekly p70 (December 3, 1993). The present article includes a review of 2-1/2 Years (See: A35). DB235. Costello, Elvis. Liner Notes for Get Happy!! Rykodisc RCD 20275, 1994. Of particular interest is Costello's description of the 1960s rhythm & blues songs that directly influenced his own Get Happy!! compositions. For example, "Temptation" is said to be based on the song "Time Is Tight" by Booker T. and the MGs, and "Love For Tender" and "High Fidelity" are described as having been influenced by performances of The Supremes. Costello's liner notes should be considered essential material. DB236. Costello, Elvis. Liner Notes for Trust. Rykodisc RCD 20276, 1994. Among other things, Costello's liner notes for the compact disc reissue of Trust (See: A39) place the date of a number of the songs, including "New Lace Sleeves" and "Watch Your Step" before 1976. Costello's liner notes should be considered essential material. DB237. Costello, Elvis. Liner Notes for Almost Blue. Rykodisc RCD 20277, 1994. In the present liner notes, prepared especially for the compact disc reissue of Almost Blue (See: A40), Costello explains the peculiar situation of finding himself in Nashville recording a country album with Americans who thought of him as a British punk. He also presents some background information on the songs. Costello's liner notes should be considered essential material. DB238. Costello, Elvis. Liner Notes for Imperial Bedroom. Rykodisc RCD 20278, 1994. Costello sheds light on some of the recording "tricks" used on the highly acclaimed Imperial Bedroom in the present notes accompanying the compact disc reissue (See: A41). He also provides background information not found elsewhere on the album's songs, as well as on the extended play selections. Costello's liner notes should be considered essential material. DB239. "DieRaritat: 2-1/2 Years:' Stereoplay n\: 146 (January 1994). (See: A35) DB240. Newman, Melinda. "Tasmin Archer Impersonates Elvis (Costello)." Billboard 106:14 (January 22, 1994).

108 Discography Bibliography The present article deals in part with Archer's recording of the Costello songs "Shipbuilding," "Deep Dark Truthful Mirror," "All Grown Up," and "New Amsterdam" (See: Ml34). The singer is described as being "up to the task" of covering material composed by someone who, himself, is a distinctive performer. DB241. "Disgraceland." [Review of The Juliet Letters] Stereo Review 59:60 (February 1994). The present article includes The Juliet Letters (See: A30) as one of the ten worst popular music albums of 1993. DB242. "Costello's Brutal Youth." Melody Maker 71:5+ (February 5, 1994). The present article previews Brutal Youth (See: A3 6), describing Costello's reunion with The Attractions and the individual tracks on the forthcoming album. DB243. "Costello Goes Back to Basics." Melody Maker 71:5 (February 12, 1994). The present article details Brutal Youth (See: A36), presenting information on Costello's inspirations for the album. The soon-to-be-released album is described as a "return to basics." DB244. Dulli, Greg. Review of "Sulky Girl." Melody Maker 71:29 (February 26, 1994). In the present, brief, two-sided review of "Sulky Girl" (See: S93 and S94), the "favorable" review seems to win out. "He's a brilliant satirist - he should probably write books." In light of Dulli's comment, it should be noted that Costello has expressed admiration for American writer James Thurber, a satirist/humorist who dealt extensively with the human condition and the battle of the sexes (See: GB89). DB245. Roberts, Chris. "Teen Rage Kicks" Melody Maker 71:31+ (February 26, 1994). The present is a rather glowing review of Costello's Brutal Youth (See: A36). The album is described as "his best record in ages." DB246. Milano, Brett. Review of Brutal Youth. CD Review (March 1994). The album (See: A36) receives four out of five possible stars for both performance and sound quality in the present, highly-positive review. DB247. Sullivan, Caroline. "Elvis Lives." The Guardian March 4, 1994:2. The present is a favorable review of Brutal Youth (See: A36). DB248. Jenkins, Mark. "Elvis Costello, Longing For His Youth." Washington Post March 6, 1994:G7. Brutal Youth (See: A36), by Elvis Costello and The Attractions and Richard Thompson's Mirror Blue are featured and compared in the present review. DB249. Kot, Greg. "Three Discs Worth Waiting For." Chicago Tribune March 6, 1994:XIII 10.

Discography Bibliography 109 Costello's Brutal Youth (See: A36), The Downward Spiral by Nine Inch Nails, and Superunknown by Soundgarden all receive favorable reviews in the present, lengthy article. DB250. Snyder, Michael. "Costello Finds His Fountain ofYouth" San Francisco Chronicle March 6, 1994:DAT 31. The present is a fairly-lengthy, favorable review of Brutal Youth (See: A36). DB251. Willman, Chris. Review of Brutal Youth. Los Angeles Times March 6, 1994:CAL62. The album (See: A36) receives favorable comment in the present, brief review. DB252. Dollar, Steve. "Welcome Reunion for Costello, Attractions." Atlanta Constitution March 8, 1994:C 7. The present is a favorable review of Brutal Youth (See: A36). DB253. Robicheau, Paul. Review of Brutal Youth. Boston Globe March 10, 1994:CAL 14. Brutal Youth (See: A36) receives generally positive comments in the present, short review. DB254. Flaherty, Mike. "Peace in Our Time." Entertainment Weekly n213:55 (March 11, 1994). The present article reports on Costello's Brutal Youth (See: A36), due to be released "this week." The musician is quoted as saying that he had not handled the 1984 dissolution of his association with The Attractions well, saying "I guess I got a little arrogant, you know, as I got more confident." DB255. Verna, Paul. "Brutal Youth" Billboard 106:52D (March 12, 1994). Costello's album (See: A36) is simply listed as a new release. DB256. Tucker, Ken. Review of Brutal Youth. New York Times March 13, 1994:11 33. Described as "a return to his earliest, rawest method of record making," Brutal Youth (See: A36) is given generally favorable treatment in the present review. Tucker writes that "pleasure comes in Costello's pointed descriptions and the dialogue he creates for the characters." DB257. Pick, Steve. "Elvis Lives (This One Never Left)." Saint Louis Post-Dispatch March 18, 1994:F4. The present is a review of Brutal Youth (See: A36). DB258. Perry, Claudia. "Brutal Youth" Houston Post March 20, 1994:H 6. Brutal Youth (See: A36) receives generally unfavorable commentary in the present, short review. DB259. O'Connor, Rob. Review of Brutal Youth. Rolling Stone n678:96 (March 24, 1994).

10 Discography Bibliographya The verbosity of Costello's lyrics, as well as his overuse of puns, makes the musician "sound too clever for his own good," according to the present review of reunion of Elvis Costello and The Attractions (See: A36). DB260. Baldauf, Scott. Review of Brutal Youth. Christian Science MonitorMarch 25, 1994:12. The album (See: A36) receives a favorable review from Baldauf. DB261. "Die Besondere: Brutal Youth" Stere op lay n4:135 (April 1994). (See: A36) DB262. Jacobson, Mark. Review of Brutal Youth. Esquire 121:36 (April 1994). The present review acknowledges but gently pokes fun at the recent artistic growth shown by Costello. The reviewer rejoices in the fact that Brutal Youth (See: A36) "is awash with the old corrosives, or at least an approximation of that classic bile." DB263. Kalogerakis, George. "Elvis Revived!" (Review of Brutal Youth) Vogue 184:206-7 (April 1994). The present article goes into some detail about Costello's encounter with an airport security women, as immortalized in "20% Amnesia," and describes a number of Costello songs as "masterpieces." Messages contained in the composer's works are also discussed. (See also: GB315) DB264. "Spins: Brutal Youth" Spin 10:88+ (April 1994). (See: A36) DB265. Stock, Jeffrey. "Elvis Citing." (Review of Brutal Youth) Pulse! (April 1994). Stock describes Brutal Youth (See: A36) as Costello's "most frank and affecting album since King of America in 1986" in this highly positive review/feature article. DB266. Whitall, Susan. Review of Bridal Youth. Detroit News & Free Press April 2, 1994.D 20. Brutal Youth (See: A36) receives favorable comment in the present, brief review. DB267. Tomashoff, Craig. Review of Brutal Youth. People Weekly 41:21 (April 4, 1994). According to the present brief, favorable review of Brutal Youth (See: A36), "listening to this disc is like meeting an old friend and finding you're still in sync." The reunion of Elvis Costello and The Attractions "picks up where.. Blood & Chocolate left off." DB268. Powers, Ann. "Tie Me Up, Tie Me Down." Village Voice 39:84-5 (April 5, 1994). The present is a review of Brutal Youth (See: A36). Costello's early work with The Attractions is described as being somehow magical and "the old alchemy hits a few times on Brutal Youth" The singing, while being described

Discography Bibliography 111 as masterful, is also called "overripe." Powers finds Costello milking phrases a litte too much, at times obscuring the bite of some of the lyrics. DB269. "Elvis Keeps It in the Family." Melody Maker 71:2-10 (April 9, 1994). The present article reports on Costello's reunion with The Attractions for Brutal Youth (See: A36) and a number of his other recordings, such as his interpretation of the Lennon/McCartney song "Step Inside Love" (See: A45 and S98). DB270. Garcia, Guy. Review of Brutal Youth. Time 143:78 (no. 15, April 11, 1994). While describing Mighty Like a Rose (See: A29) as "a disappointment," and The Juliet Letters (See: A30) as "sedate," the reviewer states that Costello has found his "stinging touch" once again with Brutal Youth (See: A36) The album is described as "boisterous and piercing...at times recapturing the brilliance of Costello's best days." DB271. Flick, Larry. Review of "13 Steps Lead Down." Billboard 106:63 (April 16, 1994). In the present review of the cassette single (See: S95 and S97), Flick writes that "this wonderful track announces with full-face snarl that Elvis & The Attractions are back on the block, rocking like a house on fire." DB272. Gundersen, Edna. "Costello'sBrutal Youth" USA Today April 20, 1994:D 6. (See: A36) DB273. Mathur, Paul. Review of "13 Steps Lead Down." Melody Maker 71:27 (April 23, 1994). Although the single (See: S95, S96, and S97) and the other material on Brutal Youth (See: A36) promise much, they also show that Costello "can't really transfix like he used to." DB274. Arundel, Jim and O'Connell, Sharon. "Get This!!" (Review ofGet Happy!!). Melody Maker 71:36 (April 30, 1994). According to the present, favorable review of the compact disc reissue of Get Happy!! (See: A3 8), ".. .its cool if nervy, set of two-minute nuggets was a neat two fingers at anyone who expected Costello to run out of ideas...." DB275. Marcus, Greil. "Real Life Rock." Artforum 32:14-15 (May 1994). The author reviews 10 recordings in the present article, including Costello's "Sulky Girl" (See: S93 and S94) and Tasmin Archer's recording of "Shipbuilding" (See: M134). DB276. Marcus, Greil. Review of Brutal Youth. Interview 24:72 (May 1994). Marcus describes the album (See: A36) as "irritating and filled with unpleasantness," with many of the songs featuring "grating, bashing, or whinily singsongy choruses and incessantly repeated title lines." Even with those descriptions, however, the author admits that he feels compelled to keep playing the recording. DB277. Flick, Larry. Review of "Sulky Girl." Billboard 106:71 (May 14, 1994).

772 Discography Bibliography "Sulky Girl" (See: S93 and S94) is a "masterfully drawn portrait of an independent female and her admirer as they fight for the reins," according to the present, favorable review of the single. DB278. Considine, J.D. Review of Get Happy!! Rolling Stone n682:100 (May 19, 1994). Get Happy!! (See: A3 8) now sounds overly mean spirited, according to Considine. The real value in the present reissue is "in the bonus tracks, such as 'Just a Memory' and 'Girls Talk.'" The writer also briefly mentions the reissue of Trust (See: A39), which "never sounded better." DB279. Santoro, Gene. Review of Brutal Youth. The Nation 258:762-4 (May 30, 1994). The present article came on the heels of the compact disc reissue of My Aim Is True (See: A31) and This Year's Model (See: A32), and the release of Brutal Youth (See: A36). The author compares Costello's early work to the music of Bob Dylan, Bruce Springsteen, Randy Newman, Frank Loesser, and Hoagy Carmichael. Costello is described as "a brilliant arranger" whose music "suggests.. .a hurtling, raw spontaneity as it recalls the structural insinuations of Beethoven's late string quartets." The author very favorably reviews This Year's Model as well, stating, however, that gradually through Get Happy!! and Trust, he stopped listening to Costello. He writes that "when Costello began incorporating people like McCartney into his act, I was not only sure I was right - 1 was gone." Brutal Youth, however, is described as being "worth the risk," with particular praise being given to "Pony St.," "Kinder Murder," "13 Steps Lead Down," and "This Is Hell." Additionally, Santoro states that "more than half of.. .Brutal Youth lives up to what Costello can deliver at his best." The way in which Costello interweaves personal and political themes in his lyrics receives positive reaction. DB280. Hammer, Christof. "Sturm und Drang." Stereoplay n6:137-9 (June 1994). The present is a review of Brutal Youth (See: A3 6) DB281. Tearson, Michael. Review of Brutal Youth. Audio 78:91 (June 1994). (See: A36) DB282. Wright, Christian. Review of Brutal Youth. New York 27:68-9 (June 13, 1994). The album (See: A36) is called "autobiographical and reflective" and about "getting older," although the music proves that Costello can "still rock." David Byrne's self-titled recording is also reviewed and the two artists, who burst upon the recording scene in 1976, are compared and contrasted. DB283. Dollar, Steve. "Tour Shows Other Elvis Is Alive, Evolving." Atlanta Constitution June 17, 1994:P 8. Brutal Youth (See: A3 6) is discussed in the present feature article on Costello. (See also: GB283) DB284. Puterbaugh, Parke. Review of Brutal Youth. Stereo Review 59:77 (July 1994). The album (See: A3 6) is included among the "best recordings of the month." Costello focuses on human emotions "with a lacerating wit and a

Discography Bibliography 113 musical attack to match." Puterbaugh writes that the album shows Costello in full control "with 15 dense and unrelenting songs." DB285. Robb, John. Review of "You Tripped at Every Step." Melody Maker 71.32 (July 2, 1994). Although Costello is still able to rock at age 40, his latest single (See: S98 and S99) is "a mawkish, dull ballad... that carefully manages to avoid a tune." DB286. Popson, Tom. Review of Get Happy!! and Trust. Chicago Tribune July 14, 1994.V6. (See: A38andA39) DB287. Nelson, C. Review of Lament. The Strad 105:795 (August 1994). (See: Ml89) DB288. Long, Robert. Review of Lament. Audio 78:78 (September 1994). (See: M189) DB289. "Irish Oatmeal." Entertainment Weekly pp82-3 (September 9, 1994). The present article is a review of No Prima Donna: The songs of Van Morrison. (See: M51) DB290. Sweeting, Adam. "Reissue of the Week: Elvis Costello." The Guardian October 21, 1994:11 13. The present is a comparative review of Rykodisc's compact disc reissues of Almost Blue (See: A40) and Imperial Bedroom (See: A41). DB291. Jennings, Dave. Review of "London's Brilliant Parade." Melody Maker 71:34 (November 12, 1994). The single (See: SI00, S101, SI02, and SI03) receives abundant praise in the present, fairly-brief review. DB292. Capobianco, Ken. Review of Adios Amigo: A Tribute to Arthur Alexander. Boston Globe November 24, 1994:CAL 17. The tribute album (See: M49) on which Costello appeared receives a favorable review from Capobianco. DB293. Costello, Elvis. Liner notes to Goodbye Cruel World. Rykodisc RCD 20280, 1995. Costello primarily discusses his lack of inspiration and the problems he encountered in recording suitable versions of his songs in these liner notes to the Rykodisc compact disc of an album recorded in 1984 (See: A44). Costello begins his notes "Congratulations! You've just purchased our worst album." Costello's liner notes should be considered essential material. DB294. Costello, Elvis. Liner notes to King of America. Rykodisc RCD 20281, 1995. Among other things, Costello sheds light on the rather confusing sequence of events that followed The Attractions's questionable work on Goodbye Cruel World, through Costello's work with T-Bone Burnett that lead directly to King

774 Discography Bibliography of America (See: A46), to his brief reunion with The Attractions for Blood & Chocolate. Costello's liner notes should be considered essential material. DB295. Costello, Elvis. Liner notes to Blood & Chocolate. Rykodisc RCD 20282, 1995. Costello details the recording of the album (See: A48) in the these liner notes, attributing the punkish sound of the guitar to his use of his Fender Telecaster. He also describes his attempt in "Uncomplicated" to compose a song around one chord, as well as the manner in which he used contrast in degrees of feedback and white noise to heighten the text of "Poor Napoleon." Costello also acknowledges the influence of Prince on a number of the songs on the album. As is the case in Costello's liner notes for the other Rykodisc reissues of the Columbia albums (See: DB293 and DB294, for example), these notes provide a great deal of concise insight into the musician's recording and compositional process. DB296. Costello, Elvis. Liner notes to Kojak Variety. Warner Brothers Records 9 45903-2, 1995. Costello discusses the influences on his recordings of the generally obscure early rock and rhythm and blues songs on his compact disc Kojak Variety (See: A45). He also discusses how his father's work with the Joe Loss Orchestra was instrumental in building a collection of records, including some of the recordings which influenced the Kojak Variety arrangements. Costello's liner notes should be considered essential material. (See also: DB301) DB297. Wyman, Bill. SPIN Alternative Record Guide. s.v. "Elvis Costello." Vintage, 1995. The present includes ratings of the following albums: My Aim Is True (See: Al and A2); This Year's Model (See: A3 and A4); Armed Forces (See: A6 and A7); Get Happy!! (See: A8); Taking Liberties (See: A9); Ten Bloody Marys & Ten How's Your Fathers (See: A10); Trust (See: Al 1); Almost Blue (See: A12); Imperial Bedroom (See: Al 5); Punch the Clock (See: A17); Goodbye Cruel World (See: Al 8); The Best of Elvis Costello and The Attractions (See: A19); King Of America (See: A21); Blood & Chocolate (See: A22); Out Of Our Idiot (See: A23); Girls+£+Girls=$&Girls (See: A28); Spike (See: A25); G.B.H (See: A58); Might Like a Rose (See A29); 21/2 Years (See: A35); The Juliet Letters (See: A30); Brutal Youth (See: A36); and The Very Best of Elvis Costello and The Attractions 1977-1986 (See: A42). Each album is also briefly discussed. The last Costello recordings to receive a rating of better than 5 (on a scale of 1-10), not including compilations, were 1986's Blood & Chocolate (1) and King of America (8). This Year's Model was the sole album (not including compilations) to receive a 10. DB298. Hogan, Peter. Review of The Very Best of Elvis Costello and The Attractions. Voxp93 (January 1995). (See: A42) (See also: DB299) DB299. Humphries, Patrick and Shutkever, Paula. "The Ears Have It." VoxpllS (January 1995).

Discography Bibliography 115 The present is a review of the music video The Very Best of Elvis Costello and The Attractions (See: V16). (See also: DB298) DB300. Gardner, Elysa. Review of The Glory of Gershwin. Rolling Stone n700:61-2 (January 26, 1995). According to the present review of the album (See: M50), "Lisa Stansfield, Elvis Costello, Peter Gabriel, Sting, and Kate Bush give impressive performances." DB301. Costello, Elvis. Description of Kojak Variety. Q Magazine (April 1995). In the present article, Costello discusses the individual songs of Kojak Variety (See: A45) and the versions which most influenced him. The material is roughly equivalent to the liner notes for the compact disc release (See also: DB296). DB302. Doyle, Tom? Review of Kojak Variety. Q Magazine (April 1995). A somewhat mixed review of the album (See: A45). Nevertheless, the author writes that "there are signs here that, should he find himself at 60, all fueling angers spent, Costello could be the man the mount the bar stool on a smoky club state set and sing the great songs of the last 40 years the Sinatra might have if he'd been born to the rock'n'roll generation." DB303. Doyle, Tom. Review of Mighty Like a Rose. QMagazine pi 22 (April 1995). The "reissue" of Mighty Like a Rose (See: A29) receives 3 out of a possible 5 stars in the present brief, mixed review. DB304. Review of Kojak Variety. Pulse Magazine (April 1995). (See: A45) DB305. Newman, Melinda. "WB Takes the Lid Off Costello's Covers Album." Billboard 107:8+ (April 15, 1995). The present article deals with the release of Kojak Variety (See: A45). (See also: GB375) DB306. Review of Kojak Variety. Newsday (April 30, 1995). A positive review of the album, which finds Kojak Variety (See: A45) far superior to other recent cover albums by Annie Lennox and Duran Duran. DB307. Mercer-Taylor, Peter Jameson. "Elvis Costello Opens His Mouth Almighty." Repercussions 4:26-52 (Spring 1995). The present, rather lengthy study suggests that Blood & Chocolate (See: A22 and A48) was a deliberate by Costello to parody his earlier, near-punk style. DB308. Humphreys, Patrick. "Poaching the Detective." Encore Magazine (May 1995). A mixed review of Kojak Variety (See: A45). Humphreys finds fault with the obscurity of many of the songs on the album, writing that, had the album been released in 1991 when it had been completed, it might have come across better. Costello's performance on several cuts, including "I've Been Wrong

116 Discography Bibliography Before," "Pouring Water on a Drowning Man," and "Please Stay," receives praise. DB309. Gilyard, Burl. Review of Kojak Variety. Request Magazine (Musicland) (May 1995). A generally negative review of Costello's cover album (See: A45). "Costello is such a strong individual stylist that his own rewrites of classic genres often sound better than his attempts to cover favorite tunes." DB310. Wilonsky, Robert. Review of Kojak Variety. Dallas Observer (May 4-10, 1995). The present is a very positive review, which describes Costello as sounding "reborn" on Kojak Variety (See: A45). Wilonsky writes that Costello "is, like Sinatra, a man who so thoroughly buries himself in his material that it becomes hard to believe he didn't write the words himself." DB311. Bjurman, Per. Review of Kojak Variety. Aftonbladet (May 5, 1995). A very favorable review, which finds Kojak Variety (See: A45) "so much better, and more enjoyable, than all - and I mean all - other cover-albums that have been released during the last 20 years." DB312. Dollar, Steve. "Costello Treats Covers To Classy Crooning." Atlanta Journal Constitution May 6, 1995:WL 26. The present is a medium-length, generally positive review of Kojak Variety (See: A45). DB313. Morse, Steve. Review of Kojak Variety. The Boston Globe May 7', 1995:39. In the present review of Kojak Variety (See: A45), Morse writes that, while some of the recent cover albums which have been released have been made to cure writer's block, Costello's was made out of love of the material. According to the writer, "Costello's raw, idiosyncratic voice and inimitable phrasing breathes new life into each of these songs, with the exception of Holland/Dozier/Holland's 'Remove This Doubt.'" DB314. Okamoto, David. "Elvis Costello Takes Cover." Dallas Morning News May 7, 1995. Costello and Okamoto discuss Kojak Variety (See: A45), the concept of cover albums in general, and a number of recent cover albums and singles by Duran Duran, Blur, and Bob and Hilary James. (See also: GB376) DB315. Ashare, Matt and Carioli, Carly. Review of Kojak Variety. The Boston Phoenix 24:12 (May 12, 1995). (See: A45) DB316. Ehrlich, Dmitri. Review of Kojak Variety. Entertainment Weekly p62 (May 12, 1995). Brief, generally negative review of the album (See: A45) which states that "only a few cuts make sense for Costello's brisly idiosyncratic vocalizing."


117

DB317. Rosenbluth, Jean. Review of Kojak Variety. Los Angeles Times May 14, 1995:CAL64. The present is a short, favorable review of the album (See: A45). DB318. Tomashoff, Craig. Review of Kojak Variety. People Weekly 43:26 (May 15, 1995). A brief, but favorable review of Costello's cover album (See: A45), which states that "Costello seems to be having more fun on this record that he has had in years." DB319. Caro, Mark. Review of Kojak Variety. Chicago Tribune May 18, 1995.V 8. The present is a brief, mixed review of the album (See: A45). DB320. Sullivan, Caroline and Sweeting, Adam. "Pop." The Guardian May 19, 1995:11 14. In the present feature-length review, Kojak Variety (See: A45) is compared with Paul Weller's Stanley Road. DB321. Whitall, Susan. Review of Kojak Variety. Detroit News & Free Press May 20, 1995:D 30. The present is a short, favorable review of Costello's album of covers (See: A45). DB322. Ayers, Anne; Gundersen, Edna; Jones, James T. IV; Steams, David Patrick. "Hendrix Still Cooks On Voodoo Soup." USA Today May 23, 1995:D 8. The present is a comparative review of Costello's Kojak Variety, Jimi Hendrix's Voodoo Soup, and Don Dixon's Romantic Depressive. DB323. Mueller, Andrew. Review ofKojak Variety. Melody Maker 72:38 (May27', 1995). The present is a fairly positive review of Kojak Variety (See: A45). "For the most part.. .Kojak Variety is an engaging detour. It takes a gigantic ego to even consider making records like this, and yet larger talent to make records like this that work. In both areas, Elvis Costello has been in a league of one for a mighty long time." DB324. Verna, Paul. Review of Kojak Variety. Billboard 107:58 (May 27', 1995). With Kojak Variety (See: A45), Costello shows "deep knowledge of popular song" and proves to be a "brilliant, multifaceted artist." DB325. Selvin, Joel. "Costello Tackles Some Covers." San Francisco Chronicle May 28, 1995:DAT35. The present is a favorable review of Kojak Variety (See: A45). DB326. Hogan, Peter. Review of Punch the Clock and Goodbye Cruel World. Vox p93 (May-June 1995). (See: A43 and A44) DB327. Ciabattoni, Steve. Review of Kojak Variety. CMJ (June 1995).

118 Discography Bibliography The present is a review of Costello's approach to the songs of Kojak Variety (See: A45), most of which, unfortunately, do not hold "any crafty lyrical bite." DB328. Holden, Stephen. Review of Kojak Variety. New York Times June 4, 1995:11 28. (See: A45) DB329. Schimke, David. Review of Kojak Variety. Twin Cities Reader 21:26 (June 14, 1995). Kojak Variety (See: A45) is described as "a surefire hit," especially compared with Almost Blue (See: A12) and The Julief Letters (See: A30), both of which Schimke describes as "bad swing(s) at an artistic curveball." DB330. Walls, Richard C. Review of Kojak Variety. Rolling Stone n711:43 (June 29, 1995). Kojak Variety (See: A45) receives 2-1/2 stars in the present review. The writer's principle complaint is that many of the songs on the album "earned their obscurity." (See also: DB334) DB331. Kirsch, Michele. Review of Kojak Variety. Vox p80 (July 1995). (See: A45) DB332. Puterbaugh, Parke. Review of Kojak Variety. Stereo Review 60:75-6 (July 1995). In this positive review, Kojak Variety (See: A45) is described as "something special: oxymoronic as it sounds, it's the most original album of covers ever made." DB333. "Pop-CDs: Kojak Variety:' Stereoplay n8:125 (August 1995). (See: A45) DB334. Walls, Richard C. Review of Kojak Variety. Rolling Stone Australia n512:88 (August 1995). (See: A45) (See also: DB330) DB335. Wyman, Bill. Review of King of America. Chicago Reader (August 4, 1995). Mixed review of the CD reissue ofKing of America (See: A46). The writer sees the songs as being largely about Costello's lack of stardom. Costello's work since Blood & Chocolate (See: A48) (originally released shortly after King of America) is described as "flaccid imitations of his vibrant early work." DB336. Pick, Steve. "King of America Revives a Costello Classic." Saint Louis PostDispatch August 18, 1995:E 6. The present is a favorable review of the compact disc reissue of the album (See: A46). DB337. Review of King of America. Folk Roots n 146-147:71 (August-September 1995).

Discography Bibliography 119 (See: A46) DB338. Kirsch, Michele. Review of Blood & Chocolate. Vox n60:96 (October 1995). (See: A48) DB339. "Pop-CDs: King of America:' Stereoplay nlO: 141 (October 1995). (See: A46) DB340. "Pop-CDs: Deep Dead Blues" Stereoplay nil: 148 (November 1995). (See: A47) DB341. "NeueCDs: Deep Dead Blues." Jazz Podium 44:74 (December 1995). (See: A47) DB342. St. John, Allen. Review of King of America; Live on Broadway, 1986; Blood & Chocolate; and An Overview Disc. Stereophile (December 1995). Highly positive review of the present series of Rykodisc reissues (See: A46 and A48). The compact disc versions are described as sounding far better than the original vinyl versions. St. John raves about the material, the performances, and Rykodisc's remasterings. The sonically-cleaned up version of the sometimes-panned Blood & Chocolate is described as belonging "on your shelf right next to This Year's Model and Armed Forces" DB343. Dee, Johnny. "Finder." Vox n64:12-20 (February 1996). The present article reports on Costello's recording of All This Useless Beauty (See: A49), described as "an album of cover songs he initally wrote for others." DB344. "The Vinyl Countdown - the Maker's Albums of the Year 1970-1995." Melody Maker 73:51-3 (April 27, 1996). The present list includes The Year's Model (See: A3 and A4) as 1978's "Album of the Year." DB345. Review of All This Useless Beauty. Scotts on Sound (May 1996). (See: A49) DB346. Zacharek, Stephanie. "Elvis Costello Becomes Our Generation's Sinatra." Boston Phoenix (May 9, 1996). The present is a highly positive review of All This Useless Beauty (See: A49). Costello's singing, in particular, is given much praise, with the writer stating that he has "captured better than any singer of his generation the cautious expectation, the heartache hiding behind a mask of aggression, the punctured dreams we're all prey to," adding that "if Sinatra's crooning in the '40s, smooth as whipped butter, spoke to the romantic hopes of his listeners, then Costello's choked-up growl, 30 years later, spoke to ours." DB347. Graff, Gary. "Costello Hones His Pop Craft." San Francisco Chronicle May 12, 1996:DAT47. The present is a mixed review of All This Useless Beauty (See: A49).

120 Discography Bibliography DB348. Scribner, Sara. Review of All This Useless Beauty. Los Angeles Times May 12, 1996:CAL69. The present is a favorable review of the album (See: A49). DB349. Caro, Mark. Review of All This Useless Beauty. Chicago Tribune May 16, 1996:V9C. The present is a brief, favorable review of the album (See: A49). DB350. Dollar, Steve. "Elvis Costello's Sound Still Holds Strong Attraction." Atlanta Constitution May 16, 1996.K 10. The present is a favorable review of All This Useless Beauty (See: A49), which is described as "predictable but pleasurable," receiving 3 out of a possible 4 stars. DB351. Ennist, Holly. Review of All This Useless Beauty. Aquarian Weekly (New Jersey) (May 16, 1996). Costello's album (See: A49) is described as "the most varied, unpretentious batch of tunes he's released in years," in the present, brief review. DB352. Millman, Joyce. "Elvis and His Idols: He Writes the Songs They Ought to Sing." Salon (May 16, 1996). In the present, somewhat mixed review of All This Useless Beauty (See: A49), the writer details the relative merits of the songs as vehicles for the singers for whom they were originally intended. DB353. Costello, Elvis. "This Year's Models." The Guardian May 17, 1996:2, 14. Costello provides commentary on each of the songs on All This Useless Beauty (See: A49) in the present, medium-length article. DB354. Selvin, Joel. "Elvis Costello Sings Songs of Beauty. San Francisco Chronicle May 17, 1996:D 1. The present is a favorable review of All This Useless Beauty (See: A49). DB355. Willman, Chris. Review of All This Useless Beauty. Entertainment Weekly n327:61 (May 17, 1996). (See: A49) DB356. Bambarger, Bradley. "New Elvis Costello Set Stars Attractions." Billboard 108:11-12 (May 18, 1996). The present article is a review of All This Useless Beauty (See: A49), and also discusses the promotional campaign for the album, the musical style of the album and the importance of The Attractions in Costello's best work. DB357. Booth, Daniel. Review of All This Useless Beauty. Melody Maker 73:49 (May 18, 1996). All This Useless Beauty (See: A49) receives generally favorable comment in the present fairly brief review, Costello "has a lot to be confident about here. He has divided his songwriting between a teardrop melancholy and a ramshackle vivacity, both extremes being well fed with occasional wit."

Discography Bibliography 121 DB358. Review of All This Useless Beauty. East Coast Rocker (May 18, 1996). (See: A49) DB359. Gundersen, Edna. Review of All This Useless Beauty. USA Today May 21, 1996:D 10. The present is a brief, favorable review of the album (See: A49). DB360. Farber, Jim. Review of All This Useless Beauty. Rolling Stone n735:49 (May 30, 1996. The present review gives All This Useless Beauty (See: A49) a grade of "A." DB361. Denselow, Robin. Review of Common Ground. The Guardian May 31, 1996:2. The present is a brief, favorable review of Common Ground (See: M76), on which Elvis Costello appears. DB362. Review of All This Useless Beauty. MSN Music Central (June 1996). (See: A49) DB363. Stolder, Steven. Review of'All This Useless Beauty. HotWired (June 1996). All This Useless Beauty (See: A49) is described as Costello's "best work in years," in the present, brief review. Stolder is especially taken by the way in which Costello effortlessly moves between different musical styles (Note: Not all critics appreciate this trait of Costello's. See: DB369) DB364. Daniel, Jeff. Review of All This Useless Beauty. Saint Louis Post-Dispatch June 6, 1996: GO 8. The present is a mixed review of All This Useless Beauty (See: A49). DB365. Verna, Paul. Review of All This Useless Beauty. Billboard 108:97 (June 8, 1996). All This Useless Beauty (See: A49) is "sure to command the intelligent scrutiny of Elvis' loyal legions and make a worthy addition to the artist's canon," according to the present, brief review. DB366. Review of All This Useless Beauty. Toronto Sun June 9, 1996. (See: A49) DB367. Ross, Jonah. Review of All This Useless Beauty. Twin Cities Reader 22:23 (June 12, 1996). (See: A49) DB368. Rosenberg, Scott. Review of This Year's Model. Salon (June 17, 1996). Rosenberg describes This Year's Model (See: A3 and A4) as Costello's personal best. DB369. Baxter, Nicky. "Useless Elvis." [Review of All This Useless Beauty] Metro (San Jose) (June 20-26, 1996).

722 Discography Bibliography While the reviewer feels that Costello can still "spew venom" better than anyone else in rock music, she feels that All This Useless Beauty (See: A49) is far too musically eclectic, exhibiting a failure to "rock." (See also: DB363 for an alternate view of Costello's eclecticism on the present recording) DB370. Review of All This Useless Beauty. Musician n212:86-7 (July 1996). (See: A49) DB371. Nickson, Chris. Review of All This Useless Beauty. Alternative Press (August 1996). All This Useless Beauty (See: A49) receives "1 finger (I'll let you guess which one) out of a possible 5," in the present negative review. Costello is characterized as an emperor to whom rock critics have bowed down even though "the Emperor's record is a load of crap." DB372. Patterson, Rob. Review of All This Useless Beauty. Audio 80:83-4 (August 1996). (See: A49) DB373. Puterbaugh, Parke. Review ofSongs in the Key ofX. Stereo Review 61:90 (August 1996). (See: M73) DB374. Himes, Geoffrey. "Costello's Beauty, Naive's Mood Music. Washington Post August 9, 1996:WW7. The present is a comparative review of All This Useless Beauty (See: A49) and Steve Nieve's It's Raining Somewhere. DB375. Reece, Doug; Smith, Shawnee; et al. Review of "You Bowed Down." Billboard 108:116 (August 31,1996). The present very brief review suggests that "You Bowed Down" (See: SI09) shows potential for radio airplay. DB376. Milano, Brett. Review of All This Useless Beauty. Stereo Review 61:107 (September 1996). The reviewer gives All This Useless Beauty (See: A49) a mediocre grade of"C." DB377. Hochman, Steve. Review of Grace Of My Heart Soundtrack. Los Angeles Times September 29, 1996:94. (See: M78) DB378. Duffy, Thom. "Collaborations Spur U.K.'s Elvis Costello, Lush." Billboard 108:1-2 (October 26, 1996). The present is a report that both Costello and the group Lush are promoting their latest recordings by means of collaborations with other artists. It is reported that the singles from All This Useless Beauty (See: A49) come with versions by Lush, Sleeper, Tricky and DJ Food (See: SI07, S108, and S109). (See also: GB439 and GB440)

Discography Bibliography 123 DB379. Interview with Jon Jacobs and Geoff Emerick. Sound On Sound (November 1996). Emerick and Jacobs discuss in detail the performances, miking, and recording techniques employed in All This Useless Beauty (See: A49). DB380. Zacharek, Stephanie. Review of Costello & Nieve. Salon (December 9, 1996). A glowing review of the five compact disc set (See: A55), which, according to Zacharek, proves that Costello has "turned into a first-rate song stylist, working his compositions from the inside out to show us more depth, subtlety, and unvarnished beauty that he's ever given us before." DB381. Oullette, Dan. "Holiday Treat From Costello." San Francisco Chronicle December 15, 1996: 54. The present is a favorable review of the five-disc Costello & Nieve set (See: A55). DB382. Verna, Paul Review of Costello & Nieve. Billboard 108:55 (December 21, 1996). Costello & Nieve (See: A55) is given "spotlight" treatment in the present review. "Stripped to their bare essence, Costello's songs shine even more radiantly" than in their original settings. The series of concerts that produced the material for the five-disc set is described as "one of the most talked-about live events of 1996." DB383. Dollar, Steve. Review of Costello & Nieve. Atlanta Constitution January 9, 1997: C 4. The five-disc set (See: A55) receives a mixed review. DB384. Mitchell, Rick. "Individually Twisted:" Houston Chronicle February 16, 1997:Z6. The present is a favorable review of the album (See: Ml 90) on which Costello makes a guest appearance. DB385. Spera, Keith. "Harry In Driver's Seat For Jazz Passengers." Times-Picayune (New Orleans) March 14, 1997:LAG 9. In the present review of Individually Twisted (See: Ml90), the Deborah Harry/Elvis Costello duet "Doncha Go 'Way Mad" is labelled "a highlight." (See also: DB387 for an alternate view of the duet) DB386. Williams, K. Leander. Review of Individually Twisted. Rolling Stone n756:845 (March 20, 1997). (See: M190) DB387. Andrews, Jon. Review of Individually Twisted. Down Beat 64:52 (April 1997). The recording (See: Ml 90) receives 3 of a possible 5 stars from Andrews, who writes that "it's ironic and unsettling to hear "New Wave" icons [Costello and Deborah Harry] banter like Steve Lawrence and Eydie Gorme."

124 Discography Bibliography DB388. Marcus, Greil. "Warmth in Cold Places." [Review of Costello & Nieve] Addicted To Noise (April 1997). Marcus describes the five-compact disc set (See: A55) as casting "a spell." He is especially taken by the performance of "My Dark Life," a song Costello wrote after taking a package tour to Russia. DB389. Gundersen, Edna; Jones, Steve; Steams, David Patrick; Zimmerman, David. Review of September Songs: The Music of Kurt Weill. USA Today August 26, 1997:D6. The album (See: M88) receives three out of a possible four stars. DB390. Crawford, Steve. Review of September Songs: The Music of Kurt Weill. Houston Chronicle September 7, 1997:Z 18. (See: M88) DB391. Gee, Mike. "Costello: Lick It Up." The iZINE (October 16, 1997). The present is a brief, but very positive review of Extreme Honey (See: A56). DB392. Hochman, Steve. Review of Extreme Honey: The Very Best of the Warner Brothers Years. Los Angeles Times October 19, 1997:CAL 65. Extreme Honey (See: A56) receives 2-1/2 out of a possible four (?) stars. The author questions the fairness of fans having to spend "$14 on songs that they have" in order to get the few extra tracks on recent compilations by Costello and other artists. DB393. Bessman, Jim. "Elvis Costello Ends WB Stint With Compilation." Billboard 109:9-10 (October 25, 1997). The present article details Extreme Honey (See: A56) and provides a synopsis of Costello's work at Warner Brothers. (See also: GB475) DB394. Hasted, Nick. "Elvis's Army Is Here To Stay." The Independent (October 28, 1997). According to the present review, "Extreme Honey (See: A56) shows that the rumours of artistic decline, of a talent pulled apart by diversity, are so much hot air." The writer deals at some length with Costello's disbanding of The Attractions on the heels of this compilation album highlighting the musician's eight years at Warner Brothers. Costello is quoted as saying "I don't have any sentiment at all about The Attractions. You won't see them again. When somebody is deliberately fucking it up, you have to get rid of them, it's as simple as that." Hasted notes that Costello was primarily referring to bass guitarist Bruce Thomas. The article also chronicles Costello's angry confrontation with Warner Brothers executives over their perceived mishandling of publicity for All This Useless Beauty (See: A49). DB395. Janich, Kathy; Drennen, Eileen M.; Levine, Al; Murray, Sonia. "The Latest in Music, Videos and Books Mini Reviews Broadway/Pop." Atlanta Constitution November 20, 1997:D 6. The present includes a review of Elvis Costello Live: A Case For Song (See: V17).

Discography Bibliography 125 DB396. Nichols, Natalie. Review of Elvis Costello Live: A Case For Song. Los Angeles Times November 23, 1997.CAL 73. (See: V17)


General Bibliography GB1.

Jones, Allan. "The Elvis (Costello, That Is) Interview." Melody Maker 52:14 (June 25, 1977). Jones's interview, which took place one week before the auditions to form Costello's backing band, is very illuminating in that Costello clearly establishes such things as: (1) the importance of the lyrics in his conception of song; (2) the kind of sparse instrumental sound he intends for the new ensemble to have; and (3) the difference in attitude between the major record labels he had unsuccessfully approached with Stiff Records.

GB2.

Jones, Allan. "A Day in the Life of a Bunch of Stiffs." Melody Maker 52:22+ (August6, 1977).

GB3.

Kent, Nick. "The Man Who Would Be King." New Music Express (NME) (August 27, 1977). It was in this early interview that Costello made one of his most frequently quoted statements: "The only two things that matter to me, the only motivation points for me writing all these songs, are revenge and guilt." (See also: GB302)

GB4.

Jones, Allan. "Five Live Stiffs." Melody Maker 52:34+ (October 15, 1977).

GB5.

"The Elvis Costello That No One Knows." Rolling Stone n251:39 (November 3, 1977).

GB6.

"New Acts." Variety 289:70 (December 21, 1977).

GB7.

Mieses, Stanley. "American Scene: Elvis Conquers." Melody Maker 52:6 (December 31, 1977). The present article provides coverage of the first American tour by Elvis Costello and The Attractions, including the ensemble's appearance on N.B.C.'s television program "Saturday Night Live."

GB8.

"Talent In Action." Billboard 90:35 (January 7, 1978).

GB9.

"Performance." Rolling Stone n256:68 (January 12, 1978).

128 General Bibliography GB10.

Kent, Nick. "Welcome to the Working of Elvis Costello's Mind." Creem 9:27+(February 1978). The present is an interview with Costello.

GBll.

WiUwerth, J. "Angry New Elvis: 'My Rage Is True.'" Crawdaddy n82:12-14 (March 1978). The present is an interview with Costello.

GB12.

"Caught In the Act." Melody Maker 53:6 (March 4, 1978).

GB13.

Mieses, Stanley. "Cold For Elvis - New York." Melody Maker 53:6 (March 11, 1978).

GB14.

"Concert Reviews." Variety 290:84 (March 15, 1978).

GB15.

Jones, Allan. "What the El!" Melody Maker 53:3 (March 25, 1978).

GB16.

Kent, Nick. "Elvis Costello Interviewed By Nick Kent." New Musical Express (March 25, 1978). The present article profiles The Attractions and the way in which the band members were chosen by audition. Kent and Costello extensively discuss the meaning of the lyrics of the My Aim Is True (See: Al) and This Year's Model (See: A3) songs, as well as some of the songs being considered for Armed Forces (See: A6). When asked if he considers his vocation as being "simply a singer and a songwriter," Costello responds ".. .my ultimate vocation in life is to be an irritant!"

GB17.

"Caught in the Act." Melody Maker 53:20 (April 22, 1978).

GB18.

Goldstein, Patrick. "Can Elvis Costello Cure Acne?" Creem 9:36-7+ (May 1978).

GB19.

Jones, Allan. "The Man Who Would Be King." Melody Maker 53:9 (May 13, 1978). Jones provides a thorough and perceptive analysis of Costello's early career and early output (through This Year's Model) in the present, featurelength article.

GB20.

Marsh, David. "American Grandstand: Hate Conquers." Rolling Stone n265:38(May 18, 1978).

GB21.

Mieses, Stanley. "Model Elvis." Melody Maker 53:6 (May 20, 1978).

GB22.

"Performance." Rolling Stone n268:68 (June 29, 1978).

GB23.

"Caught!" Down Beat 45:45-6 (July 13, 1978).

GB24.

"Aussie Fans Pelt Elvis." Melody Maker 53:3 (December 9, 1978).

GB25.

"Caught in the Act." Melody Maker 53:29 (December 23, 1978).

General Bibliography 129 GB26.

"Concert Reviews." Variety 293:54 (December 27, 1978).

GB27.

Frith, Simon. "Elvis Switches Targets." Melody Maker 54:10 (January 20, 1979).

GB28.

"Caught in the Act." Melody Maker 54:33 (February 10, 1979).

GB29.

Selvin, Joel. "U.S. News " Moravian Music 54:5 (March 3, 1979).

GB30.

"Talent In Action." Billboard 91:106 (March 3, 1979).

GB31.

Plummer, Kim "Costello's Attack of Station Jaring." Billboard 91:20 (March 24, 1979).

GB32.

Kirkeby, Marc. "Elvis Costello, What'd I Say?" Village Voice 24:44 (April 2, 1979). The present is a report on Costello's infamous "Ray Charles incident." On March 16, 1979, at approximately 2.00 a.m., in a bar in a Columbus, Ohio Holiday Inn, Costello began loudly criticizing America and Americans. The drunken Costello called James Brown "a jive-ass nigger" and Ray Charles "an ignorant blind nigger." He was slapped by American singer Bonnie Bramlett, whom he then called "a slut."

GB33.

"Elvis Costello's Triple Play." Variety 294:106 (April 4, 1979).

GB34.

"Performance." Rolling Stone n288:84 (April 5, 1979).

GB35.

Rose, Frank "Elvis Costello Wins Friends and Influences People." Village Voice 24:41 (April 9, 1979).

GB36.

"Caught In the Act." Melody Maker 54:38 (April 14, 1979).

GB37.

Kent, Nick. "Elvis Costello." Creem 10:40-42+ (May 1979). The present article was reprinted from New Music Express. (See: GB)

GB38.

Valentine, Penny. "Waiting for the End of the World." Creem 10:25+ (May 1979).

GB39.

Schruers, Fred. "What'd I Say? - Elvis Costello Puts His Foot In Mouth." Rolling Stone n291:9+ (May 17, 1979).

GB40.

MacManus, Ross. "Correspondence: Elvis Costello." Rolling Stone n293:8 (June 14, 1979). Costello's father, the author of this letter to the editor, explains that Costello is not a racist and that his insulting remarks about Ray Charles were the result of a drunken attempt to pick a verbal fight with members of the Stephen Stills band.

GB41.

Whitall, Susan "He'd Rather Be Anywhere Else But Here Today." Creem 11:20 (July 1979).

130 General Bibliography The present article provides coverage of Costello's unprecedented press conference to explain the infamous "Ray Charles" incident. At the press conference, Costello explained that he is not a racist and that some of the "emotive words" in his songs have been taken out of context. Costello explained the indiscretion at the bar in Columbus, Ohio as a result of the fact that "I'm not a mature, balanced person as far as I'm concerned." GB42.

Kent, Nick. "Murder on the Liverpool Express." Creem 11:18+ (September 1979). The present is an interview with Costello.

GB43.

Williams, Richard "Radio, Radio: Costello Beats Anaesthesia." Melody Maker 54:16 (September 29, 1979). The present deals with Costello's work as a guest disc jockey.

GB44.

"Caught in the Act." Melody Maker 55:21 (January 5, 1980).

GB45.

"WEA, Costello Now Resolved." Billboard 92M (February 16, 1980). The present article deals with the resolution of Jake Riviera's attempts to have Costello's recordings distributed by Warner Brothers in the U.S.

GB46.

Birch, Ian. "Pop Star Slams Police." Melody Maker 55:9 (February 23, 1980). The present is an interview with Costello.

GB47.

"Caught in the Act." Melody Maker 55:26 (March 8, 1980).

GB48.

"Medium Cool." Village Voice 25:59 (July 16, 1980). The present is a review of Costello's appearance on the television program Rockworld.

GB49.

"Caught in the Act." Melody Maker 55:13 (August 23, 1980).

GB50.

"Costello's Master Plan." Melody Maker 55:13 (August 23, 1980).

GB51.

"Caught in the Act." Melody Maker 55:47 (October 4, 1980).

GB52.

Whitall, Susan. "Crouching Towards Bowmanville, or Elvis, What Happened?" Creem 12:45-6+ (November 1980).

GB53.

Capobianco, Donald Marc. Alison. Thesis: Brown University, 1981. The present thesis is a stageplay "from the musical imagery of Elvis Costello."

GB54.

Marsh, David. The Book of Rock Lists. New York: Dell; London: Sidgwick & Jackson, 1981. Elvis Costello is included in several lists in the present book. (See also: GB304)

General Bibliography 131 GB55.

Reese, Krista. Elvis Costello: A Completely False Biography Based on Rumour, Innuendo and Lies. London and New York: Proteus Publishing, 1981. The present book covers Costello's career through Trust. The present book includes numerous photographs of Costello in live performance, but does not include nearly as much detail as Mick St. Michael's biography (See: GB130). (See also: GB68 and GB74)

GB56.

"Concert Reviews." Variety 301:92 (January 21, 1981).

GB57.


GB58.

Fricke, David. "Elvis Speaks (Shock, Horror)." Melody Maker 56:6 (February 14, 1981). The present, rather brief article describes Costello's appearance on Tom Snyder's "Tomorrow" program on NBC television.

GB59.

Miller, Martin. "Costello's Moods For Moderns." Melody Maker 56:18 (February 28, 1981). The present, lengthy feature article details numerous Costello songs as well as the artist's 1977-1981 career.

GB60.

Hewitt, Paulo. "Pumping Up This Green and Pleasant Land." Melody Maker 56:14-15+(March 7, 1981). Hewitt chronicles the Elvis Costello and The Attractions English Trust tour, describing some of the backstage scene and the details of several of the performance.

GB61.

Schruers, Fred. "Faces." Musician, Player and Listener n32:32 (April 1981).

GB62.

Review of the film If It Ain 7 Stiff It Ain't Worth a Fuck. Variety 302:22 (April 29, 1981). The documentary of the 1978 Stiff Records tour (See: VI) receives a generally mixed review, except for Elvis Costello, who "lurks on the fringes like an edgy, camera-hating outsider" and "consciously or otherwise.. .steals the show." In fact, the reviewer states that "Costello's intense, reggaeish rendition of 'Watching the Detectives' is about the only thing this four-year-old docu has to strongly recommend it to most audiences."

GB63.

Sutherland, Sam. "Squeeze Squeezing Far Broader Style with Costello as Producer." Billboard 93:52+ (July 4, 1981).

GB64.

Stephen, Bill. "Making Music: Amazing Axes." Rolling Stone n347:68 (July 9, 1981).

GB65.

Matthew, B. and Hewitt, Paulo. "Elvis Grilled." Melody Maker 56:3 (October 17, 1981).

GB66.

"Elvis Costello In Blind Date Revisited." Melody Maker 56:24-5 (October 31, 1981).


Sweeting, Adam. "From Elvis In Nashville." Melody Maker 56:25 (October 31, 1981). The present is a review of the television program Elvis Costello In Nashville.

GB68.

Review of Elvis Costello: A Completely False Biography Based on Rumor, Innuendo and Lies by Krista Reese. Billboard 93:17 (December 5, 1981). (See: GB55)

GB69.

"Concert Reviews." Variety 305:67 (January 6, 1982).

GB70.


GB71.

Connelly, Chris. "Costello Cheery, Generous At Three U.S. Shows." Rolling Stone n363:41 (February 18, 1982).

GB72.

"Hot Spots." Trouser Press 9:58 (April 1982). Concert review.

GB73.

Lababedi, Iman. "Get Happy New Year." Creem 13:15-16 (April 1982). The present article is a concert review.

GB74.

Review of Elvis Costello: A Completely False Biography Based on Rumor, Innuendo and Lies by Krista Reese. Trouser Press 9:39+ (April 1982). (See: GB55)

GB75.

Quilty, P.M. "Welcome to the Working Week." Melody Maker 57:11 (May 29, 1982). The present article, the winning entry in Melody Maker's Rock Writer Contest, presents a fictional day in the life of Elvis Costello.

GB76.

Miller, Jim. "No More Mr. Bad Guy." Newsweek 100:41 (August 9, 1982).

GB77.

"Concert Reviews." Variety 308:76 (September 1, 1982).

GB78.

Marcus, Greil. "Elvis Costello Explains Himself." Rolling Stone n377:12-13+ (September 2, 1982). In the present, important interview, Costello explains the importance record collecting and his father's reception of demo recordings played in his musical development. According to Costello, "my dad went a bit psychedelic around the edges, about 1968. He grew his hair quite long; he used to give me Grateful Dead records, and Surrealistic Pillow. I'd keep them for a couple of weeks, and then sell them at the record exchange and buy Marvin Gaye records."

GB79.

"Talent In Action." Billboard 94:34 (September 11, 1982).

GB80.

"Costello on the Falklands." Rolling Stone n382 (November 11, 1982). The present is a brief report on Costello's penning of "Shipbuilding." Also mentioned is controversy arising from the packaging of the U.K. single "From

General Bibliography 133 Head To Toe" (See: S45). Some record stores are giving away free copies of the Get Happy!! album with the purchase of the single, bringing charges that the record label is trying to "artificially raise the chart position of the single." GB81.

"Hot Spots." Trouser Press 9:66 (December 1982). Concert review.

GB82.

Winner, Langdon. "A Gentle Costello." Atlantic Monthly pp94-95 (December 1982). Although the present article deals extensively with Imperial Bedroom, it is of a much more general nature than a typical review. Costello's entire career is detailed, along with the critical acclaim he had won up to the time of the article's writing. Costello's recently "warmer" dealings with the press and in his live performances are praised. While the author feels that Costello's first three albums "established him as the most capable rock performer of his generation, and perhaps the equal of any musician rock-and-roll has ever known," he writes that "an unfortunate fact about Costello's recent compositions is that he lacks a voice strong enough to do them justice." (See also: DB62)

GB83.

"Random Notes: Elvis to Change His Name Back?" Rolling Stone n384:36 (December 9, 1982).

GB84.

Muirhead, Bert. Stiff: The Story of a Record Label. Poole, Dorset, England: Blandford Press, 1983. The present book details all the 1976-1982 releases by Stiff Records. In addition, the author presents a brief biographical article on Costello, detailing his early career and signing to Stiff. The article repeats the story that Costello's demo recording was the first to arrive at the newly formed Stiff label in 1976.

GB85.

1983 Current Biography Yearbook, s.v. "Costello, Elvis." New York: H.W. Wilson Company, 1983.

GB86.

"Caught in the Act." Melody Maker 58:24 (January 8, 1983).

GB87.

"It's Alive." Melody Maker 58:15 (June 11, 1983).

GB88.

"It's Alive." Melody Maker 58:14 (July 9, 1983).

GB89.

Rambali, Paul. Interview With Elvis Costello. The Face (August 1983). The present, feature-length interview covers such topics as Costello's childhood, political views, the nature of The Attractions, his interest in the humor of Lenny Bruce and James Thurber, his recent activities (the recording of Imperial Bedroom), and his belief that Get Happy!! was to be his last recording (at the time it was made).

GB90.

"Concert Reviews." Variety 312:74 (August 17, 1983).

GB91.

"It's Alive." Melody Maker 58:15 (August 20, 1983).


Smith, R.J. "Riffs: Elvis Costello's Station Break." Village Voice 28:87 (August 23, 1983). The present article concerns Costello's recording of Imperial Bedroom and his appearance at The Pier.

GB93.

Connelly, Christopher. "Random Notes: Elvis'Dreary Duet." Rolling Stone n404:13 (September 15, 1983). The present deals with Costello's duet performance with Tony Bennett.

GB94.

White, Timothy. "Elvis Costello. A Man Out of Time Beats the Clock:' Musician (October 1983). In the present interview, White and Costello discuss the musician's work through the album Punch the Clock.

GB95.

"Talent In Action." Billboard 95:47 (October 1, 1983).

GB96.

"It's Alive." Melody Maker 58:22 (October 15, 1983).

GB97.

"It's Alive." Melody Maker 58:13 (October 29, 1983).

GB98.

Parkyn, Geoff. Elvis Costello: The Illustrated Disco/Biography. London and New York: Omnibus Press, 1984. The present book covers Costello's career through Goodbye Cruel World. The discography is generally more illuminating than the biography. (See also: DB70)

GB99.

"It's Alive." Melody Maker 59:15 (January 7, 1984).

GB100. "Elvis Costello Joins the Boys." Melody Maker 59:3 (April 21, 1984). The present article concerns Costello's guest appearance on the "Boys From the Black Stuff' television program. GB101. "Concert Reviews." Variety 314:86 (April 25, 1984). GB102. "It's Alive." Melody Maker 59:19 (April 28, 1984). GB103. Marcus, Greil. "Executioner Song." Artforum 22 (no. 5, 1984). The present article provides the author's thoughts on the provocative song "Pills and Soap." GB104. "Talent In Action." Billboard 96:52 (May 5, 1984). GB105. Miller, Jim. "Return of the Rock Heroes." Newsweek 103:100 (June 18, 1984). The present article profiles the recently revived careers of Bruce Springsteen and Costello. GB106. Considine, J.D. "Elvis Costello, Up Close and Personal." Musician n69:28 (July 1984).

General Bibliography 135 GB107. "Elvis Costello's Solo Set: Overcoming the Distance." Record3:\0 0(July 1984). GB108. "Concert Reviews." Variety 316:118 (August 22, 1984). GBl09. Graham, Samuel. "A Musician For Life." High Fidelity/Musical America 34:74-5 (September 1984). T-Bone Burnett's work as a producer and performer with Costello is mentioned in the present Burnett profile. GBl 10. "It's Alive." Melody Maker 59:19 (September 1, 1984). GBl 11. "Talent In Action." Billboard96:47 (September 1, 1984). GB112. "It's Alive." Melody Maker 59:2\ (October 13, 1984). GBl 13. Connelly, Christopher. "A Survival LP for Yoko Ono." Rolling Stone p53+ (November 8, 1984). The present feature article on Yoko Ono's recent releases mentions Costello's appearance on Every Man Has a Woman. GBl 14. "It's Alive." Melody Maker 59:20 (November 17, 1984). GBl 15. "It's Alive." Melody Maker 59:19 (December 15, 1984). GBl 16. Morris, Gina. Off-Beat: Pub Rock for the '80's. San Francisco: Nightbird Books, 1985. The present publication is described as "a fan's assessment of the body of work belonging to the four (sic) artists and one group - Nick Lowe, Elvis Costello, Dave Edmunds, Carlene Carter, Paul Carrack, and Squeeze." (See also: DB79) GBl 17. Larson, Mark. Art Reproduction of Elvis Costello. Print 39:79 (JanuaryFebruary 1985). GBl 18. Traxler, Lisa. "Elvis Costello's Cruel World Blues." Creem 16:36-9+ (February 1985). Traxler and Costello discuss a number of topics in the present interview, including Costello's feelings about cover versions of his songs (he generally dislikes them), his surprise at finding early rhythm and blues and rock and roll composers he idolizes to be truly humble about the important developmental work they did, and Costello's feelings about a number of his own past albums and songs. GB119. "Live!" MelodyMaker 60:18 (March 16, 1985). GB120. Schell, Orville. "His Guitars for the Stars Are There for the Pickin'." Smithsonian 16:86-90+(April 1985). Costello is listed as a customer of guitar maker Danny Ferrington in this article detailing Ferrington's work.

136 General Bibliography GB121. Goldberg, Michael. "Los Lobos." Rolling Stone n445:9+ (April 11, 1985). In this profile of the band Los Lobos, Costello's performance of one of their songs is mentioned. GB122. Pareles, Jon. "When Will Rock's Bad Boys Grow Up?" Mademoiselle 91:88+ (May 1985). In this broad article about the treatment of women in songs by male rock artists, Costello is mentioned as one of the "self-conscious" seventies rockers. GBl 23. Head, Gary. Art Reproduction of Elvis Costello. Communication Arts Magazine 27:106 (July 1985). GB124. "Banding Together For Africa." Newsweek 106:52 (July 15, 1985). The present article mentions Costello as a performer at the upcoming transatlantic broadcast concert to benefit African famine victims. GB125. Law, Marshal. "Two of a Kind." Melody Maker 60:16-17 (July 27, 1985). GB126. Boot, Adrian and Salewicz, Chris. Punk: The Illustrated History of a Music Revolution. London; New York: Penguin Studio, 1986. The present book includes a number of photographs of Costello. GB127. Flanagan, Bill. Written in My Soul: Conversations with Rock's Great Songwriters. Chicago: Contemporary Books, 1986. Drawn from journal interviews Flanagan had made, the present is an essential source for Costello's views on the songwriting process, his own work and the work of other contemporary songwriters. (See also: GB219) GBl28. Groothuizen, Richard and den Heyer, Kees. Going Through the Motions. Purmerend, The Netherlands: The Authors (Elvis Costello Information Service), 1986. The present publication, available directly from Groothuizen at Primulastraat 46, 1441 HC Purmerent, The Netherlands, provides a comprehensive listing of lyrics, set lists from Costello's concerts, and other interesting material. Much, if not all, of the information is currently posted on the world wide web. (See also: GB362; ER3) GBl 29. Hill, Dave. Designer Boys and Material Girls: Manufacturing the '80s Pop Dream. Blandford Press, 1986. GBl 30. St. Michael, Mick. Elvis Costello: An Illustrated Biography. Omnibus Press, 1986. The present book covers Costello's career through Goodbye Cruel World. Included is extensive detail about the musician's "pre-Costello" work with the group Flip City and much about the work of Jake Riviera to promote Costello immediately after his signing by Stiff Records. It should be considered essential background on Costello. (See also: GB55) GB131. Ferrar, Ann. "Squeeze. Together Again." Stereo Re view 51:58-60 (January 1986).

General Bibliography 137 The group Squeeze's appearances with Elvis Costello and The Attractions on their 1981 U.S. tour are notated in the present feature article on the reunion of the group. GB132. Nadelson, Regina. Review of the motion picture Absolute Beginners. Vogue 176:45 (January 1986). Costello's compositional work for Absolute Beginners is noted in the present review of the film. GBl33. Flanagan, Bill. "The Last Elvis Costello Interview You'll Ever Need to Read." Musician n89:36-40+ (March 1986). The present interview deals in part with Costello's review legal change of name. GB134. "Playing with the Big Boys." Musician n89:47 (March 1986). GB135. Jones, Allan. "Crown Time Is Over." Melody Maker 61:16-18 (March 1, 1986). Includes an interview with Costello about his recent legal change of name back to Declan MacManus. GBl 36. "Absolute Beginners: Elvis Costello." Melody Maker 61:26 (March 2, 1986). GB137. Fricke, David. "This Year's Model." Rolling Stone n471:23-4 (April 10, 1986). The present biographical article details the musician's separation from his wife Mary, and his intent to marry Cait O'Riordan. The writer finds that Costello has "discarded some of his old negative energy" on his current tour and, thus, has improved his relationship with the press. GB138. Christgau, Georgia. "Faint Praise." High Ludelity/Musical America 36:53 (May 1986). Christgau compares Costello, Billy Joel, and Prince to relative newcomer Marshall Crenshaw, suggesting that the older musicians could learn a lesson in lyrical maturity from Crenshaw. GB139. Levin, Eric. "Elvis Costello." People Weekly 25:61-4+ (June 9, 1986). The present article chronicles Costello's career, detailing the infamous "Ray Charles incident," and Costello's subsequent eschewing of drugs and alcohol. Levin attributes the "new, relaxed quality" in Costello's singing and the increased subjectivity and emotionalism in his songwriting in part to the influence of Cait O'Riordan. GB140. Pollock, Ian. Art Reproduction of Elvis Costello. Communication Arts Magazine 28:36 (July 1986). GB 141. Corliss, Richard. Review of the Motion Picture No Surrender. Time 128:83 (September8, 1986). Costello's appearance in this portrayal of club life in Liverpool, England is mentioned in the present review.

138 General Bibliography GB142. Morris, Chris. "Elvis Is Main Attraction On U.S. Tour." Billboard 9^:23 (October 18, 1986). GB143. Edelstein, David. "Music: Declan Divides and Conquers." Village Voice 31:67-8+(November 11, 1986). The present is a review of Costello's appearances at the Broadway Theater in New York City. GB144. "Concert Reviews." Variety 325:78 (November 12, 1986). GB145. "Talent In Action." Billboard98:30 (November 15, 1986). GB146. Fricke, David. "The King In America." Melody Maker 61.9 (November 22, 1986). The present is a review of Costello's "Spinning Songbook Spectacular" revue. GB147. Pond, Steve. "The Many Moods of Elvis Costello." Rolling Stone n488:20 (December 4, 1986). The kick-off of Costello's six-city U.S. tour is described in the present article. The five completely different shows on five consecutive nights at the Beverly Theater in Beverly Hills, California are detailed. Of particular interest was Costello's use of a spinning wheel with 38 different song titles for the request segment and his performances of vastly contrasting repertoire with The Attractions, The Confederates, and various solo artists in duets. (See also: GBl 54) GB148. "Live!" Melody Maker 61 14 (December 6, 1986). GB149. Scheuer, Dorothy. "The Unconventional Elvis Costello." Scholastic Update (Teacher's Edition) 119:15 (December 15, 1986). The present is a profile of Costello's career and recent recording and performing activities. According to the article, "it is surprising that such a gifted artist has escaped broad recognition." GB150. "Music Yearbook 1986." Rolling Stone n489-490:36-41+ (December 18, 1986-January 1, 1987). Includes a brief profile of Costello and Cait O'Riordan. GB 151. Balfour, Victoria. Rock Wives: The Hard Lives and Good Times of the Wives, Girlfriends, and Groupies of Rock and Roll. Beech Tree Books, 1987. GB152. "Live!" Melody Maker 62:19 (January 31, 1987). GB153. "Caught." Down Beat 54:52 (February 1987). GB154. Milkowski, Bill. "Elvis Costello." Down Beat 54:52 (February 1987). The present article is a review of Costello's five concerts at the Broadway Theatre in New York. Milkowski details the "Spectacular Spinning Songbook"

General Bibliography 139 concert in which audience members spun a giant wheel to select from among 40 songs. (See also: GB147) GB155. White, Timothy. "Elvis Costello." Musician nl00:56 (February 1987). An interview of major importance. (See also: GB222) GB156. "Live!" Melody Maker 62-2\ (February 7, 1987). GB157. Forte, Dan. "Bruce Thomas." Guitar Player 21:36-42+ (March 1987). GB158. Holdship, Bill. "Centerstage." Creem 18:53+ (March 1987). GB 159. Handelman, David. Review of Talking with the Taxman About Poetry by Billy Bragg. Rolling Stone n496:135 (March 26, 1987). Bragg's songs are described as being "as clever as those by Elvis Costello" in the present review GBl 60. Jennings, Nicholas. "Pumping Out the New Sound of Rock." Maclean's 100:50 (August 10, 1987). In the present article on the emergence of the accordion as an instrument in rock music, Costello's use of the instrument is noted. GB161. "The Boss Is Just One of the Guys as an All-Star Band Salutes Rock 'N' Roll Great Roy Orbison." People Weekly 28:44-5 (October 19, 1987). Elvis Costello is mentioned as one of several rock stars appearing with Roy Orbison. GB162. "Pop! The Glory Years: Boys Keep Swinging." Melody Maker 63:24 (October 24, 1987 supplement). Part one of a two-part series. (See also: GBl 64) GBl63. George, Nelson. "The Rhythm and the Blues: Costello Fights Apartheid in WB Contract." Billboard 99:27 (November 14, 1987). GBl 64. "Pop! The Glory Years: Boys Keep Swinging." Melody Maker 63:16 (November 14, 1987 supplement). Part two of a two-part series. (See also: GBl 62) GBl 65. Fricke, David. Review of Gossip by Paul Kelly and the Messengers. Rolling Stone n513:118 (November 19, 1987). Costello's influence on Paul Kelly and the Messengers in noted in the present record review. GB166. Rogers, Sheila. "An All-Star Band Rocks with Roy Orbison at the Coconut Grove." Rolling Stone n513:9 (November 19, 1987). GB167. Jones, Allan. "87 Interview." Melody Maker 63:32 (December 19-26, 1987). GB168. Review of Straight to Hell, a film by Alex Cox. Video 11:70 (March 1988).

140 General Bibliography Costello's participation in the film is noted in the present review of the video release of Straight to Hell. GB169. Goodman, Fred. "English LP Due From Ruben Blades." Rolling Stone n522:29 (March 24, 1988). Costello's collaborations with Blades are noted in the present preview of Nothing But the Truth (See: Ml 13). GBl70. Kalogerakis, George. "T-Bone Burnett Steps Out." Rolling Stone n522:34 (March 24, 1988). Burnett's production work with Costello is noted in the present profile. GB 171. Handleman, David. Review of Pinker and Prouder Than Previous by Nick Lowe. Rolling Stone n524:112-13 (April 21, 1988). Lowe's production work with Elvis Costello is mentioned in the present, generally negative review. GB172. "Live!" Melody Maker 64:23 (May 14, 1988). GBl 73. Browne, David. Review of Nothing but the Truth by Ruben Blades. Rolling Stone n526:166 (May 19, 1988). Costello's songwriting collaborations with Blades (See: Ml 13) are noted in the present review. GB174. Cocks, Jay. "Of Ghosts and Magic." Time p52 (July 11, 1988). The present article deals in part with Costello's collaboration with Ruben Blades on Nothing But the Truth (See: Ml 13). GB175. George, Terry. "The Pogues Get Their Irish Up." Rolling Stone n536:23 (October 6, 1988). Costello's production of the Pogues' second album, Rum Sodomy & the Lash (See: Ml64) is mentioned in this feature article on the group. GBl76. Bertando, Paolo. Elvis Costello: Testi con traduzione afronte. Milano: Arcana Editrice, 1989. The present Italian publication is part of a biographical series on rock stars. It includes lyrics in both English and Italian for a number of Costello songs. GBl 77. Gouldstone, David. Elvis Costello: A Man Out Of Time. London: Sidgwick and Jackson, 1989. The present book provides essential critical commentary on Costello's lyrics through Blood and Chocolate (See: A22). Gouldstone, unlike many Costello critics, also includes musical analysis, including discussion of tonalities used by the composer, scalar materials, and tonal motion at modulation points. Also included is discussion of the relationship between the music and lyrics. Elvis Costello: A Man Out Of Time, and the author's updated God's Comic (See: GB220), should be considered essential studies.

General Bibliography 141 GB178. Pond, Steve. "Roy Orbison: 1936-1988." Rolling Stone n544:22-5+ (January 26, 1989). Costello's participation in Orbison's album Mystery Girl (See: Ml 16) is noted in the present discussion of the late singer's career. GBl79. Cooper, Mark. "A Belly Laugh With Spike." The Guardian February 10, 1989:26. The present is a lengthy profile of Elvis Costello. GBl 80. Nesin, Jeff. Obituary of Roy Orbison. High Fidelity/Musical America 39 A950 (March 1989). Costello's participation in Orbison's album Mystery Girl (See: Ml 16) is briefly noted in the present discussion of the late singer's career. GB181. Rowland, Mark and Corbijn, A. "Elvis Costello in Love and War." Musician nl25:62+(March 1989). In the present profile of and interview with Costello, the musician's reputation of being "difficult to work with" is discussed, as well as his career and extensive knowledge of popular music's history. Also included is a description of Spike (See: A25). GBl82. Jennings, Nicholas. "Bold New Sounds." Maclean's p50+ (March 6, 1989). The author discusses the ways in which British musicians such as Costello and Fine Young Cannibals continue to play a leading role in the music industry by taking American musical traditions and making them their own. GBl83. Givens, Ron; Barol, B; et al. "Getting Back on Track." Newsweek p66+ (March 13, 1989). The present article provides a profile of six "older" musicians who have recently produced excellent work. Included are Costello, Bonnie Raitt, Paul McCartney, Bob Dylan, Tammy Wynette, and George Jones. Costello's Spike (See: A25) is cited. GBl84. Pareles, Jon. "The Rockers Discover Broadway." New York Times March 23, 1989:C 13. Pareles describes memorable rock concerts which were unusual in that they were performed on Broadway, which had not generally been know for presenting rock performers. Among the artists profiled are Elvis Costello, Lou Reed, Joan Jett, and Tom Waits. GBl 85. Willman, Chris. "God, As Seen By Elvis Costello." Los Angeles Times March 26, 1989:C 67. While the present article contains information specific to Spike (See: A25), it also provides a more general profile of Costello and his work. (See also: DB130) GB186. Sullivan, Jim. "The Year's Elvis Costello." Boston Globe March 31, 1989:29. The present is a long, biographical profile.

742 General Bibliography GBl87. Rogers, Forrest. "Elvis Costello Hopes Aim - To Get His New Songs Heard Is True." Atlanta Journal Constitution April 2, 1989:N 12. Costello discusses Spike (See: A25) and the plans to get airtime for the album's songs in the present interview. (See also: DBl32) GB188. Gundersen, Edna. "Cover Story: A Musical Punch Spiked With Venom." USA roflfary April 3, 1989:D 1. The author profiles Costello and his recording career, placing emphasis on Spike (See: A25). (See also: DB133) GBl89. Sullivan, Jim. "Costello Riding High at the Heights." Boston Globe April 3, 1989:31. Costello's appearance at Boston College receives a mixed review in the present article. GB190. Rogers, Sheila. "Random Notes." Rolling Stone n549:9+ (April 6, 1989). Costello's record-signing appearance and performance at Tower Records in London is noted in the present article. GBl91. Pareles, Jon. "Elvis Costello, Still Taking Risks." New York Times April 13, 1989:C 19. Costello is profiled in the present article, which deals in part with his current tour in which he has been performing solo on college campuses and in small, intimate venues. GBl92. Whitall, Susan. "Elvis Costello Revs Up Show With His Fuel-Injected Energy." Detroit News April 21, 1989:D 5. The present feature article serves as a preview of Costello's April 21, 1989 concert in Detroit with Nick Lowe. GB193. "Talent In Action." Billboard 101:38 (April 22, 1989). GB194. Silverman, David. "Elvis Costello Still a Riveting Rocker, But 3D Set's a Dud." Chicago Tribune April 24, 1989.T 14. The present is a mixed review of Costello's Chicago performance, which "featured" (my quotes) an "unimpressive three-dimensional stage set." GBl95. Selvin, Joel. "Mill Valley's Rocking Record Store Party." San Francisco Chronicle April 26, 1989:E 3. The present feature article details Village Music in Mill Valley, California. The small record store is a favorite of record-collecting rock musicians, like Elvis Costello. Costello and Jerry Garcia were among the musicians who attended the store's 21st anniversary celebration. GB196. Wright, Christian L. "The Man Who Would Be King." Spin 5:44-6+ (May 1989). An interview. GB197. Sweeting, Adam. "Almighty Mouth." The Guardian May 9, 1989:38.

General Bibliography 143 The present is a mixed review of Costello's performance at the Palladium in London. GB198. Jones, Allan. "Elvis Costello: Songs of Love and Hate." Melody Maker 65:32-4 (May 13, 1989). Part one of a two-part interview. (See also: GB200) GB199. "Live!" Melody Maker 65:22 (May 13, 1989). Review of a concert appearance at the London Palladium. GB200. Jones, Allan. "Elvis Costello - The Beloved Entertainer. Part Two." Melody Maker 65:30-31 (May 20, 1989). Part two of a two-part interview. (See also: GBl 98) GB201. "Sour Notes." Time pi 19 (May 22, 1989). The present article concerns Costello's negative remarks about the British royal family in "Tramp the Dirt Down" from Spike. GB202. Wild, David. "The Rolling Stone Interview: Elvis Costello." Rolling Stone n553:62-4+(June 1, 1989). Costello presents his views on the present state of popular music, his relations with Columbia Records and the media, and his work with The Attractions and with Paul McCartney. He also discusses his albums Spike (See: A25) and Blood & Chocolate (See: A22), in addition to the music of the 1970s and 80s in general. This interview should be considered essential material. GB203. Irwin, Colin. "Floor Singer's Revenge." Folk Roots n73:44-9 (July 1989). The present is an interview with Costello. GB204. "Summit Talk: Eavesdropping on Elvis Costello and Tom Waits." Option (July-August 1989). In the present, enlightening, highly unique conversation between Costello and Tom Waits, the two discuss, among other things, the compositional process, problems inherent in the use of computers and other digital instruments in music, the way in which jazz is more accepted by today's young people in Europe than in the U.K. or the U.S., and Costello's experiences singing with the Dirty Dozen Brass Band and with the Count Basie Orchestra just months before Basie's death. The two musicians even manage to work in a somewhat technical discussion of the operation of the Mellotron, a staple of 1960s rock groups such as The Moody Blues. GB205. Sullivan, Jim. "Elvis Costello Plays the Brilliant Showman." Boston Globe August 19, 1989:9. The present is a favorable review of Costello's August 18, 1989 concert at Great Woods in Boston. GB206. "Talent In Action." Billboard 101:29 (September 2, 1989). GB207. "Concert Reviews." Variety 336 80-81 (September 6, 1989).

144 General Bibliography GB208. Brown, G. "Elvis Costello Keeps Mood Upbeat During Wide-Ranging Concert." Denver Post September 7, 1989:B 5. The present is a favorable concert review. GB209. Handelman, David. "Leapin' Lizard." Rolling Stone n560:25 (September 7, 1989). The present article profiles guitarist Marc Ribot, whose work with Costello, including a current tour in support of the album Spike, is duly noted. (See also: GB224 and GB228) GB210. Snyder, Michael. "Mellow Costello In Comeback." San Francisco Chronicle September 10, 1989:DAT39. The present is a long biographical profile. GB211. Boehm, Mike. "Costello Artful and Entertaining." Los Angeles Times September 11, 1989:VI2. The present is a favorable review of Costello's recent appearance at Irvine Meadows in Irvine, California. GB212. Snyder, Michael. "A Cooler Costello Retains His Edge." San Francisco Chronicle September 18, 1989:F 2. Costello's concert at the Greek Theatre in Berkeley, California, receives a favorable review in the present article. GB213. Jennings, Nicholas. "Paul Gets Back." Maclean's p68 (October 2, 1989). Costello's collaborations with Paul McCartney are mentioned in the present McCartney profile. GB214. Laswell, Mark. "Elvis Costello and the SNL Weenies." Rolling Stone n562:69 (October 5, 1989). The present article recounts Costello's December 17, 1977 appearance on NBC's "Saturday Night Live." Costello and The Attractions stopped in the middle of "Less Than Zero," breaking into "Radio, Radio" because they felt that they had been treated shabbily by cast members of the program. GB215. Morse, Steve. "Pulling the Plug." Chicago Tribune October 5, 1989:XIII 30. Elvis Costello is mentioned as one musician who has been recently using the acoustic (rather than electric) guitar more frequently. GB216. Marcus, Greil. "Real Life Rock Top Ten." Village Voice 34:67 (October 17, 1989). The present, brief article deals in part with Costello's inclusion of jokes about former U.S. President Ronald Reagan in a rendition of "Tramp the Dirt Down" he performed at the Greek Theatre, Berkeley, California on September 15, 1989. GB217. "Live!" Melody Maker 65:20 (October 21, 1989). Review of a concert appearance in Colorado Springs.

General Bibliography 145 GB218. Contemporary Musicians: Profdes of the People in Music, Volume 2. s.v. "Costello, Elvis." Detroit, Michigan: Gale Research, Inc., 1990. GB219. Flanagan, Bill. Written In My Soul: Candid Interviews With Rock's Great Songwriters. London: Omnibus, 1990. The present, updated version of Flanagan's earlier book (See also: GBl27) is essentially Elvis Costello reading material. The songwriter reflects on the compositional process, on the meaning of his texts, and on the work of other songwriters. GB220. Gouldstone, David. God's Comic. New York: St. Martin's Press, 1990. The present book is an update of the author's Elvis Costello: A Man Out Of Time (See: GBl 77), an essential source of information and insight on Costello and his work. (See also: GB229) GB221. Thomas, Bruce. The Big Wheel. London: Viking, 1990; Winchester, Massachusetts: Faber and Faber, 1991. The present book, by the bass guitarist of The Attractions, describes his generally negative images of life on the road with Elvis Costello and The Attractions. "The Singer" is presented as a neurotic hypochondriac, while "The Drummer" is presented as being perpetually intoxicated and "The Keyboard Player" is presented as an eccentric. Costello, not at all amused, responded with the blistering song "How To Be Dumb" on Mighty Like a Rose (See: A29). (See also: GB261 and GB262) GB222. White, Timothy. Rock Lives. New York: Henry Holt and Company, 1990. The present book contains a reprint of GB 155. (See also: GB231) GB223. Hilburn, Robert. "And Now Here Comes the New Elvis Costello?" Los Angeles Times February 17, 1990:F 1. In the present profile of John Wesley Harding, the British musician is compared with Elvis Costello in the areas of vocal timbre and phrasing. (See also: GB225, GB226, GB237) GB224. Dieckmann, Katherine. "Rootless Rocker." New York 23:34 (February 26, 1990). The present article features guitarist Marc Ribot, whose work with Costello is duly noted. (See also: GB209 and GB228) GB225. Goldberg, Michael. "John Wesley Harding." Rolling Stone n574:26-7 (March 22, 1990). The present review of Harding's album Here Comes the Groom is included because of the participation of Attractions Bruce Thomas and Pete Thomas. (See also: GB223, GB226, GB237) GB226. Crenshaw, Holly. "Is Fame Blowin' in Wind for Harding?" Atlanta Constitution March 30, 1990:D 6. In the present profile of John Wesley Harding, the musician states that he was flattered, but surprised with some of the critical comparisons with Elvis Costello that he has received. (See also: GB223, GB225, GB237)

146 General Bibliography GB227. "Costello on McCartney/MacManus." Musician nl39:43+ (May 1990). As implied by the title, the present article features Costello's perceptions of collaborating as both a performer and songwriter with Paul McCartney. GB228. Hermann, Brenda. "Marc Ribot." Down Beat 57:13 (May 1990). Marc Ribot's work with Costello is briefly mentioned in the present profile of the "adventurous jazz" guitarist. (See also: GB209 and GB224) GB229. Review of Elvis Costello: God's Comic by David Gouldstone. Variety 340:70 (July 25, 1990). (See: GB220) GB230. Wild, David. "A Conversation With Van Morrison." Rolling Stone n584:54-5+ (August 9, 1990). Morrison's influence on Costello is mentioned in the present interview. GB231. Thomas, Keith L. "'Rock' Speaks Out in Lively Voices of Music All-Stars." Atlanta Constitution December 5, 1990:E 4. The present is a favorable review of Rock Lives by Timothy White. (See: GB222) GB232. The Complete Costello. Edited by K.L. Stuart. Palo Alto, California: Clark MacKent Publishing Company, 1991. The present book is a collection of Elvis Costello lyrics and a guide to Costello's work through Mighty Like a Rose (See: A29). GB233. Brackett, David Robert. Three Studies In the Analysis of Popular Music. Dissertation: Cornell University, 1991. The present dissertation, indexed in Dissertation Abstracts International 52.728A (September 1991), deals with Hank Williams's "Hey Good Lookin'," James Brown's "Superbad," and Costello's "Pills and Soap." The author finds a close relationship between timbre and text and finds that Costello uses common practice tonal procedures to produce a musically unresolved effect which mirrors the text. Brackett later expanded the present dissertation into Interpreting Popular Music (See: GB361). GB234. Sullivan, Jim. "A Folk-Punk Collaboration Takes Shape." Boston Globe February 19, 1991:22. The present profile of British folk singer June Tabor includes discussion of her collaboration with Elvis Costello on a number of songs. GB235. Rowland, Mark. "Strange Bedfellows." Musician nl49:42-8+ (March 1991). In the present conversation, Jerry Garcia of The Grateful Dead and Elvis Costello discuss a variety of subjects, including their brief work together, their reactions to each other's music, the vocal stylings of contemporary artists, and older artists like Bing Crosby, Frank Sinatra, and Tony Bennett, and the musical equipment they are each currently using. GB236. Wild, David. Review of Struck By Lightning by Graham Parker. Rolling Stone n599:80-81 (March 7, 1991).

General Bibliography 147 Costello is briefly mentioned as having been influenced by Parker early in his career. GB237. Brown, G. "Harding Emulates Costello." Denver Post May 25, 1991 :E 2. Among the topics discussed in the present commentary is the plethora of comparisons of John Wesley Harding with Elvis Costello from various rock music reviewers. (See also: GB223, GB225, GB226) GB238. Snyder, Michael. "Costello on the Move." San Francisco Chronicle May 26, 199LDAT22. Costello's recent activities and career are profiled in the present feature article. GB239. Hilburn, Robert. "Costello Retains His Fury and Bite." Los Angeles Times May 28, 1991 :F 1. Costello's May 26, 1991 appearance at the Wiltern Theatre in Los Angeles receives a favorable review in the present article. GB240. Elder, Sean. "Why Elvis Is Still King." San Francisco Chronicle June 2, 199 LIMA 25. The present is a lengthy feature on Costello. The author describes his appreciation for the musician. GB241. Kot, Greg. "The Last Word From Elvis Costello." Chicago Tribune June 2, 199LXIII4. The writer states that, although Costello has shoulder-length hair and a beard now, the musician's personality is still contentious, in the present feature article. (See also: GB242) GB242. Kot, Greg. "The Sounds of Elvis from San Francisco and Beyond." Chicago Tribune June 2, 199LXIII 5. The present is a brief overview of Costello's career. (See also: GB241) GB243. Selvin, Joel. "Rock That's Older and Wiser." San Francisco Chronicle June 3, 199LE 1. The present is a favorable review of Costello's May 31, 1991 concert at the Greek Theater, University of California at Berkeley. GB244. Whitall, Susan. "Costello Has a New Look, But He's the Same Old Skeptic." Detroit News June 7, 1991 :D 1. The present feature article profiles Costello, who will perform at Detroit's Fox Theatre on June 9, 1991. GB245. "Concert Review." Variety 343:83 (June 10, 1991). GB245A. Kot, Greg. "Caustic Costello Breaks Ties That the Past Binds." Chicago Tribune June 10, 1991:1 12. The present is a favorable review of Costello's June 8, 1991 appearance at Chicago's World Music Theatre.

148 General Bibliography GB246. Pick, Steve. "Elvis Costello'Reinvents'His Music." Saint Louis PostDispatch June 14, 1991 :F 4. In the present article, Pick discusses his trip to Chicago to see Costello's June 7, 1991 concert, the evolution of Costello's career, and describes the concert. GB247. Himes, Geoffrey. "Consummate Costello." Washington Post June 19, 1991 :F 8. The present is a favorable review of Costello's June 16, 1991 concert at the Merriweather Post Pavilion in Washington, D.C. GB248. Sullivan, Jim. "Costello Pumps Up the Emotions for Holman Park's Opener." Boston Globe June 19, 1991:42. Costello's June 18, 1991 performance with the Rude 5 at Holman Park in Nashua, New Hampshire receives favorable treatment in the present review. GB249. "Live!" Melody Maker 67:17 (June 22, 1991). GB250. Holden, Stephen. "A Softer Image for Elvis Costello." New York Times June 24, 199LC9. Costello's June 22, 1991 concert at New York's Madison Square Garden receives favorable comment in the present review. (See also: GB251) GB251. "Corrections." New York Times June 25, 199LA3. The present brief note mentions that, contrary to what was reported in the June 24, 1991 New York Times, the final song on Costello's June 22, 1991 program was "Pump It Up," and not "Oliver's Army." (See: GB250) GB252. Sweeting, Adam. "Geek of the Bleak." The Guardian June 27, 1991:28. The present is biographical profile of Costello. GB253. Puterbaugh, Parke. Review of From Strength to Strength by Peter Himmelman. Stereo Review 56:60 (July 1991). "With Strength to Strength, Peter Himmelman joins Elvis Costello, Graham Parker, and Bruce Springsteen in the upper echelons of contemporary singer-songwriters." (See also: GB313) GB254. Garcia, Guy. "Look, M a - N o Amps!" Time 137:79 (July 1, 1991). In the present feature article on the "MTV Unplugged" program, Costello is mentioned as one of the past performers. GB255. Kennedy, Lisa. "Music: The Candy Man." Village Voice 36:76+ (July 2, 1991). The present is a review of both Mighty Like a Rose (See: A29) and a live performance on Costello's tour supporting the album. At the concert, Costello showed greater care with his new material than he generally did with older songs, to the dislike of some audience members. "His voice was the best instrument in the house. Costello is a croonmeister." (See also: DBl79) GB256. Sweeting, Adam. "Songs of Hate and Bile." The Guardian July 3, 1991:36.

General Bibliography 149 The present is a review of a concert given by Costello at the Hammersmith Odeon. GB257. "Artists In Concert." Billboard 103:32 (July 13, 1991). GB258. "Live!" Melody Maker 67:14 (July 13, 1991). GB259. Wild, David. "Performance." Rolling Stone n610:24 (August 8, 1991). The present includes a favorable review of Costello's May 26, 1991 appearance at the Wiltern Theater in Los Angeles. Costello's show, in support of'the Mighty Like a Rose album "is the most straightforward rock show of his career." GB260. "Live!" Melody Maker 61:2\ (October 12, 1991). GB261. Review of The Big Wheel: Rock & Roll and Roadside Attractions by Bruce Thomas. Billboard 104:62 (January 11, 1992). (See: GB221) GB262. Review of The Big Wheel: Rock & Roll and Roadside Attractions by Bruce Thomas. Popular Music 11:260-61 (no. 2, 1992). (See: GB221) GB263. Sullivan, Jim. "When Romance Is Reeling, There's Costello, Joy Division." Boston Globe February 14, 1992:47. In the present, ironic, Valentine's Day article, "cathartic songs" for individuals with recently soured romances are discussed. GB264. "Irish Legends Meet Local Talent." Maclean's 105:63 (March 30, 1992). In the present article on guitarist Colin James's performance with The Chieftains, Elvis Costello is mentioned as a past James collaborator. GB265. Hoffert, B. and Feldman, G. "It's a Book! It's a CD! It's Both.. from HarperCollins." Publishers Weekly 239:27 (April 27, 1992). The present is a review of the book Ferrington Guitars. (See: M41) GB266. McCormick, Moira. "Jeffrey Gaines." Rolling Stone m629:31 (April 30, 1992). In the present profile of Gaines, Elvis Costello is mentioned as an influence. (See also: GB268) GB267. Kluger, Bruce. Review of "MTV Unplugged." TV Guide 40:28-9 (May 16-22, 1992). Costello is mentioned as one of the diverse group of musicians to have appeared on the program. GB268. Kalogerakis, George. "Jeffrey Gaines." Vogue 182:208+ (June 1992). Costello is listed as an influence upon singer-songwriter Jeffrey Gaines. (See also: GB266)

150 General Bibliography GB269. Hermann, Brenda. "Buddy Holly Today: 33 Years Later, the Sound of That Plane Crash Still Hasn't Faded Away." Chicago Tribune July 5, 1992:XIII 8. The influence of Buddy Holly is the subject for discussion in the present article. Holly's influence on 1970s and 80s artists such as Mark Knopfler of Dire Straits and Elvis Costello is detailed. GB270. Birnbaum, Larry. "Mingus Meditations: Hal Willner's Weird Nightmare " Down Beat 59:30+ (October 1992). In the present article, the music of Charles Mingus is described and compared with that of other jazz composers. Meditations on Mingus are presented, as well as a description of the recording Weird Nightmare (See: Ml85), on which Costello performs. (See also: DBl88) GB271. Costello, Elvis. "Profile." Interview 22:46 (November 1992). The present is an interview with George Jones. Note that Costello and Jones had previously collaborated a number of times. GB272. Kot, Greg. "Burnett Plays to Individual Talent on Others' Albums." Chicago Tribune November 8, 1992:XIII 7. T-Bone Burnett recounts his work in producing albums by a number of artists, including Elvis Costello, in the present interview. GB273. Marcus, Greil. Ranters and CrowdPleasers. New York: Doubleday, 1993; Anchor Books, 1994. Marcus's book deals with punk influences in popular music from the period 1977-1992, and features extensive coverage of Costello. The book provides a broad look at Costello's place within the punk movement and should be considered essential material. (See also: GB285, GB288, and GB289) GB274. Buonaiuto, Claudia. "Elvis Costello." Musician nl72:7 (February 1993). The present interview concerns Costello's collaboration with the Brodsky Quartet for The Juliet Letters project and about the mixing of classical and popular music. (See also: DB203) GB275. "String Along With Elvis Costello." Newsweek 71:65 (February 22, 1993). GB276. Flanagan, Bill. "Elvis Lives." Vanity Fair 56:140 (March 1993). The present article deals with Costello's recent recordings and releases and his other current activities. GB277. Sweeting, Adam. "Elvis Costello - Brodsky Quartet." The Guardian March 2, 1993:116. Sweeting gives Costello and the Brodsky Quartet a positive review for their performance at London's Theatre Royal. GB278. "Live!" Melody Maker 69:18 (March 6, 1993). GB279. Henken, John. "Letters: Strings Attached." Los Angeles Times March 16, 1993:F 1.

General Bibliography 151 The March 14, 1993 appearance by Costello and the Brodsky Quartet at Royce Hall in Los Angeles is given a positive review in the present article. (See also: GB280) GB280. Hilburn, Robert. "Miss Capulet, You've Inspired This Costello Fellow." Los Angeles Times March 16, 1993:F 1. A favorable review of the March 14, 1993 performance by Elvis Costello and the Brodsky Quartet at Royce Hall, Los Angeles. (See also: GB279) GB281. Kosman, Joshua. "Costello's Classical Side." San Francisco Chronicle March 17, 1993 :D 1. Costello's March 15, 1993 concert with the Brodsky Quartet at San Francisco's Davies Symphony Hall receives a mixed review from Kosman. GB282. Sullivan, Jim. "Weight of His Latest Reinvention Drags Costello Down." Boston Globe March 18, 1993:67. The present is an unfavorable review of Costello's March 17, 1993 appearance with the Brodsky Quartet at Boston's Symphony Hall. GB283. Holden, Stephen. "Song Cycle Unites Musical Opposites." New York Times March 22, 1993:C 15. The author presents a favorable review of the March 18, 1993 concert by Elvis Costello and the Brodsky Quartet at Town Hall in New York City. GB284. "Mitchell Froom." Keyboard 19:40 (April 1993). In the present article, Froom's production work with Costello is mentioned. GB285. Miller, Barry X. Review of Ranters and Crowd Pleasers by Greil Marcus. Library Journal 118:92 (April 15, 1993). (See: GB273) GB286. Christgau, Robert. "Rock & Roll &: Arguing With Perfection." Village Voice 38:82+(April 20, 1993). GB287. Ressner, Jeffrey. "Casey Scott: City Slacker." Rolling Stone n656:27 (May 13, 1993). In this profile of singer Casey Scott, Costello is listed as a musical influence. GB288. Segedin, Benjamin. Review of Ranters and Crowd Pleasers by Greil Marcus. Booklist 89:1667 (May 15, 1993). (See: GB273) GB289. Damsker, Matt. "The Godfather of Rant." Rolling Stone n658:33 (June 10, 1993). The present is a review of Greil Marcus's book Ranters and Crowd Pleasers (See: GB273). GB290. Kalogerakis, George. "The Great Unknown." Vogue 183:80+ (July 1993).

752 General Bibliography Costello's recording of material by Richard Thompson is briefly mentioned in this profile of Thompson. GB291. "Abba! Ha, Ha, Ha!" Melody Maker 69:47+ (July 31, 1993). Elvis Costello's views (and those of several other musicians) of the group Abba are reported in the present article. GB292. Bessman, Jim. "Rykodisc Nabs Costello Catalog." Billboard 105:8+ (August 7, 1993). The present article reports on Rykodisc's acquisition of the North American rights to Costello's original Columbia Records releases. The entire catalog will start to be reissued in October 1993. (See also: GB293, GB294, and GB298) GB293. "News: Boxing Elvis." Melody Maker 69:2 (August 21, 1993). The present is a report on Rykodisc's plan to reissue Costello's Columbia albums on compact disc. (See also: GB292, GB294, and GB298) GB294. Goodman, Fred. "In the News." Rolling Stone p21 (September 30, 1993). Includes a brief report on the reissue of eleven of Costello's Columbia albums by Rykodisc. (See also: GB292, GB293, and GB298) GB295. Marcus, Greil. "Elvis Costello and the Brodsky Quartet." Artforum 31:13 (no. 10, 1993). The present is a concert review. GB296. "GQ Critiques." GO [Gentlemen 's Quarterly] 63:44 (November 1993). GB297. Vare, Ethlie. "Mayim Bialik." Teen Magazine 37:34-5 (November 1993). The present article profiles actress Mayim Bialik of the television program "Blossom." Among the things discussed by the actress is her fascination with Elvis Costello. GB298. "Brit Invasion Revisited." Stereo Review 58:120+ (December 1993). The present article discusses Rykodisc's acquisition of most of the Elvis Costello catalog and the company's plans to reissue the recordings. (See also: GB292, GB293, and GB294) GB299. '"Twas in the Year 1993... More McConnigalesque Mirth from the Muse of Our Merry Mutt." Melody Maker 70:61 (December 25, 1993). The present article provides a retrospective of popular music news for 1993, including mention of Wendy James's recording with Elvis Costello. GB300. Contemporary Musicians: Profiles of the People in Music, Volume 12. s.v. "Costello, Elvis." Detroit, Michigan: Gale Research, Inc., 1994. GB301. Gimarc, George. Punk Diary: 1970-1979. London: St. Martin's Publishing, 1994. The present book details Costello's career through his early recordings with The Attractions on Stiff Records.

General Bibliography 153 GB302. Kent, Nick. The Dark Stuff. s.v. "Horn-Rims From Hell: Elvis Costello." London; New York: Penguin, 1994. The chapter "Horn-Rims From Hell" [pages 188-201] is a composite of previous work on Elvis Costello done by Kent, including the "The Man Who Would Be King" (See: GB3). Kent chronicles Costello's problems with the National Front (a British neo-Nazi organization Costello has actively opposed) and the difficulties the musician had in initially securing a record contract. Of particular interest coming from Kent's 1991 interview with the musician, are Costello's strong support for Paul McCartney (and his intense displeasure with music critics who dismiss McCartney) and his views on the differences between "popular" and "classical" music. Costello states that "one is really spontaneous and visceral and the other is probably also that way but it's on a whole different level of musical complexity which still doesn't prevent it from being primitive and transcendent." Costello also offers opinions on the lack of quality of the album Goodbye Cruel World. Kent praises Costello's 1994 album Brutal Youth, stating that it "can stand with his very best." (See also: GB416 and GB417) GB303. Maconie, Stuart. Love Is the Drug. Edited by John Aizelwood. s.v. "Get Happy." London; New York: Penguin, 1994. GB304. Marsh, David. The New Book Of Rock Lists. New York: Simon & Schuster, 1994. (See also: GB54) GB305. "Lost In Space." Stereo Review 59:124+ (January 1994). The present article mentions that television actor Michael J. Nelson of "Mystery Science Theater 3000" enjoys listening to Costello's King of America. GB306. White, Timothy. "Elvis Costello's Sweet Bird of Youth." Billboard 106:3-4 (February 5, 1994). While the present article includes much information about Brutal Youth, it also includes much information of a more general nature, including Costello's comments about his 18 years in the recording industry and his plans for an upcoming tour. GB307. Cerio, Gregory and Howard, Lucy. "Who'll Be the New Fab Fourth?" Newsweek 123:6-7 (February 7, 1994). The authors speculate on who could replace John Lennon in a Beatles reunion. Pros and cons for Julian Lennon, Bob Dylan, Elvis Costello, Tom Petty, Pete Townshend, and Frank Sinatra [italics are mine] are given. (See also: GB308) GB308. Whitall, Susan. "The Other Beatle." Detroit News February 7, 1994:D 1. In a poll of Detroit News readers Julian Lennon, Eric Clapton, Elvis Costello, and professional basketball player Chris Webber (!!!) were picked as possible replacements for the slain John Lennon in a Beatles reunion tour. (See also: GB307) GB309. "Attractive Tour." Melody Maker 71:5+ (February 19, 1994).

154 General Bibliography The present article previews a series of concerts planned by Costello with The Attractions in Great Britain in July 1994. The release of Brutal Youth (See: A36) is also mentioned. GB310. "Morecambe and Wise Team Up with Steve and Pete of The Attractions!" Melody Maker 71:50+ (February 26, 1994). The present spoof presents a humorous, and very fictional, conversation among members of The Attractions on membership. GB311. Flanagan, Bill. "Elvis Costello and His Invisible Twin." Musician nl85:22-6+ (March 1994). GB312. Clark, Rick. "Froom's Sensitivity Keeps Acts Coming Back." Billboard 106:69 (March 12, 1994). The present article is an interview with record producer Michell Froom, who, in part, discusses his work with Costello and the chemistry between Costello and The Attractions. GB313. Hart, Hugh. "Cerebral Pop." Chicago Tribune March 17, 1994:V 5. In the present profile of singer/songwriter Peter Himmelman, the musician's "incisive" lyrics are compared with those of Costello, Bob Dylan, and Graham Parker. (See also: GB253) GB314. Jacobson, Mark and Leclerc, Anita. "His Aim Is Still True." Esquire 121:36-7 (April 1994). The present article explores Costello's lifestyle, the dropping of his youthful arrogance, and the recent releases of several new recordings. GB315. Kalogerakis, George. "Elvis Revived!" Vogue 184:206-7 (April 1994). The present article deals with Costello's recent release of Brutal Youth (See: A36) and his reassembly of The Attractions for a tour. (See also: DB263) GB316. Peden, Lauren David. "Elvis Costello." Esquire 121:36 (April 1994). GB317. "Dinosaur Wakes." Melody Maker 71:6 (April 23, 1994). The present article reports on Tony Bennett's "MTV Unplugged" program, including Costello's guest appearance. GB318. "Tony Bennett, In the Mix." The New Yorker 70:37 (April 25, 1994). The present article discusses a taping session for Bennett's "MTV Unplugged" program. Costello's particpation is noted. GB319. Giles, Jeff; Malone, Maggie; et al. "The Kids Are All Right." Newsweek 123:56-7 (May 2, 1994). Costello's appearance on the forthcoming "Tony Bennett, Unplugged" program is mentioned in this look at how Bennett and Johnny Cash have suddenly become alternative-rock stars.

General Bibliography 155 GB320. Kosman, Joshua. "Costello Returns To Brutal Roots." San Francisco Chronicle May 9, 1994.E 1. The present is a favorable review of the May 8, 1994 appearance by Elvis Costello and The Attractions at the Shoreline Amphitheatre in San Francisco. GB321. Ali, Lorraine. "Elvis Costello Can Still Pump It Up." Los Angeles Times May 13, 1994:F 1. Elvis Costello and The Attractions' May 11, 1994 performance at the Universal Amphitheatre in Los Angeles receives a favorable review from Ali. GB322. Corcoran, Michael. "An Endless Elvis Summer Was a Religious Experience." The Dallas Morning News May 15, 1994:1C. On the occasion of Costello's reunion with The Attractions for the Brutal Youth (See: A36) album and the supporting tour, the author offers a reminiscence of a couple he met in 1982 that considered Costello's music a religious experience. Corcoran expresses the felling that, to a certain extent, Costello "burned through his best early on," releasing eight albums in his first five years. Although the author finds the new Brutal Youth album to be considerably better than other recent Costello product, it "just doesn't speak to me like his earliest albums." GB323. Mitchell, Rick. "Costello Shows Tiny Bit of Soul." Houston Chronicle May 24, 1994:D8. The present is a mixed review of the May 22, 1994 performance by Elvis Costello and The Attractions at the Cynthia Woods Mitchell Pavilion in Houston. (See also: GB324) GB324. Perry, Claudia. "Elvis Costello Redeems Flimself." Houston Post May 25, 1994:D 2. Elvis Costello and The Attractions' May 22, 1994 appearance at the Mitchell Pavilion in Houston receives favorable comment in the present review. (See also: GB323) GB325. Aiges, Scott. "Elvis Costello: Like He Never Left." Times-Picayune (New Orleans) May 27, 1994UAG 9. The present is a positive review of the May 24, 1994 performance by Elvis Costello and The Attractions at the Star Palace Theater in New Orleans. GB326. Gordinier, Jeff. "Absentee Ballad." Entertainment Weekly n224:10 (May 27, 1994). The present is a report on MTV's decision to edit out singer Evan Dando's performance from the "MTV Unplugged" program featuring Tony Bennett. Costello's performance is mentioned. GB327. Grobel, Lawrence. "Eternally Hip." TV Guide 42:22-3 (May 28-June 3, 1994). The present article profiles Tony Bennett's recent popular success and mentions Costello's appearance on Bennett's June 1, 1994 "MTV Unplugged" program.

156 General Bibliography GB328. Kot, Greg. "Costello Pumps Up the Nostalgia." Chicago Tribune May 30, 1994:1 12. The May 28, 1994 performance by Elvis Costello and The Attractions at Chicago's World Music Theater receives favorable commentary in the present review. GB329. Jubera, Drew. "Tony Bennett Plugs into the MTV Age." Atlanta Constitution June 1, 1994:B 10. (See: GB327) GB330. Howell, Peter. "Costello Explains His Latest Attractions." The Toronto Star June 2, 1994:H3. Coinciding with Elvis Costello and The Attractions Canadian tour, the present article profiles Costello's career, focusing on the band's recent reunion. One interesting tidbit from the interview with Costello is his admission that the Brutal Youth (A3 6) album was not entirely recorded at Pathway Studios, as had been stated in Warner Brothers' publicity announcements. Pathway Studios, incidentally, had been where the first Costello album, My Aim Is True (See: Al and A2), had been recorded in 1977. Costello also expresses a feeling of becoming used to being in and out of style as audience's tastes, and his compositions, change. GB331. Kelly, Brendan. "The Return of Elvis Costello: At 39, He's Not Big on Musical Nostalgia." The Gazette (Montreal) June 5, 1994:F1. The present article, a preview of a June 6, 1994 concert at the Theatre du Forum, recaps Costello's career, with a focus on his reunion with The Attractions for Brutal Youth (See: A36). Costello expresses the feeling that he will continue making music long after his 40th birthday, stating "nobody ever told Duke Ellington to stop writing, nobody ever told Vladimir Horowitz to stop playing the piano." He does state, however, that he has no interest in being an oldies act, much preferring to keep his music new and fresh. GB332. Cunningham, Michael. "This Year's Modem." The Irish Times (June 6, 1994). The present article deals with the author's experience with an e-mail discussion list on Elvis Costello. GB333. Strauss, Neil. "Down Memory Lane the Elvis Costello Way." New York Times June 10, 1994:C 27. The June 8, 1994 performance by Elvis Costello and The Attractions at the Central Park Summerstage in New York receives generally favorable comment in the present review. GB334. Morse, Steve. "Costello Pleases After Mid-Set Siesta." Boston Globe June 13, 1994:44. Elvis Costello and The Attractions are given a mixed review in the present medium-length article about the ensemble's June 12, 1994 performance at the Great Woods Center for the Performing Arts in Boston. GB335. Wright, Christian. "Pop Music." New York 27:68 (June 13, 1994).

General Bibliography 157 The present article provides a profile of Elvis Costello and David Byrne as the now "elder statemen" for the new wave of the 1970s. GB336. Leiby, Richard. "Elvis Lives: A Trip with the Angry '70s Rocker through the Ohio Of His Soul." Washington Post June 16, 1994:C 1. The present is a feature-length profile of Costello. The reference to "Ohio" in the title, of course refers to the infamous "Ray Charles incident." GB337. Dollar, Steve. "Tour Shows Other Elvis Is Alive, Evolving." Atlanta Constitution June 17, 1994:P 8. Dollar deals with the evolution of Costello's music in the present feature article. Costello's work with The Attractions is given particular attention, in light of the ensembles tour in support of the album Brutal Youth (See: A3 6). (See also: DB283) GB338. Kelly, John F. "Costello, Keeping Cool." Washington Post June 18, 1994.G 8. Elvis Costello and The Attractions receive positive reaction to a June 16, 1994 appearance at the Prince George's County Maryland Equestian Center in the present, medium-length review. GB339. Dollar, Steve. "Elvis Costello Is Attracted To His Glory Days." Atlanta Constitution June 20, 1994:C 7. The present is a positive review of a June 19, 1994 performance by Elvis Costello and The Attractions at the Chastain Park Amphitheatre in Atlanta. GB340. Scheck, Frank. "Summer Concert Season Blasts Off." Christian Science Monitor June 21, 1994:12. Tours by Elvis Costello and The Attractions and Pink Floyd are featured in the present article. GB341. Sweeting, Adam. "Working Glasses." The Guardian June 21, 1994:11 4. The author features Costello and The Attractions in light of their recent recording and touring reunion. GB342. "News." Melody Maker 71:4 (June 25, 1994). A brief report that Costello has released "You Tripped at Every Step" to coincide with the start of his current British tour. GB343. "And the Cheesy Award Goes to...Tony Bennett." Seventeen 53:15 (July 1994). GB344. Parkes, Taylor. "Main Stage - Saturday." Melody Maker 71:28 (July 2, 1994). The present article includes a review of Costello's appearance at the 1994 Glastonbury Festival. GB345. Sullivan, Caroline. "Pure Pop." The Guardian July 7, 1994. The present review is of a July 5, 1994 performance by Elvis Costello and The Attractions at the Royal Albert Hall in London.

158 General Bibliography GB346. Harris, Michael C. "Elvis Costello and The Attractions at The World Theater, Tinley Park, Illinois." Rolling Stone n686-7:36 (July 14, 1994). GB347. Nine, Jennifer; O'Connell, Sharon; et al. "It's a Shame About Cabaret." Melody Maker 71:18-29 (July 16, 1994). The present article includes a review of a performance by Elvis Costello and The Attractions at the Royal Albert Hall in London. GB348. LePunk, Pepe. "Elvis Costello." Melody Maker 71:59+ (July 23, 1994). The present is a fictional interview with Costello. GB349. Kozinn, Allan. "Rebels Marching To Their Own Tunes." New York Times August 21, 1994:24-5 (Section 2). The present article on young chamber music ensembles describes Costello's work with the Brodsky Quartet. GB350. Blum, David. "Not Your Father's Tony Bennett." New York 27:38 (August 22, 1994). The present article deals with singer Tony Bennett's recent collaborations with Evan Dando of the Lemonheads, k.d. lang, and Elvis Costello. The collaborations are said to "part of Danny Bennett's ten-year master plan to sell his dad to the hipoisie." GB351. "Coming Attractions." Melody Maker 34:4-12 (August 27, 1994). The present article details Elvis Costello and The Attractions' tour which coincides with the release of an extended play "album" featuring "London's Brilliant Parade." (See also: S102) GB352. Peden, Lauren David. "Songs Sung New." Us n200:74 (September 1994). The present article deals with the large number of recently released tribute albums, providing some general information on Costello's performance of Van Morrison material. (See: M51) GB353. Foege, Alec. "Tales of the Downside." Rolling Stone n690:27+ (September 8, 1994). New artist Freedy Johnston is placed into a category with Costello, Bob Dylan, and Neil Young, as composers whose songs "turn magical with the addition of a defiantly idiosyncratic singing voice." GB354. "Elvis Lives." Billboard 106:22 (September 17, 1994). The present includes a photograph of Costello performing in New York's Central Park. GB355. Ouellette, Dan. "Blindfold Test: Elvis Costello." Down Beat 61:78 (November 1994). Costello took part in Down Beat's famous blindfold test and correctly identified all six recordings played for him. He also expressed his admiration for an eclectic collection of musicians, including Charles Mingus, John Coltrane, Johnny Cash, and The Latin Playboys.

General Bibliography 159 GB356. Ellison, Mark. "Elvis Reanimated." The Guardian November 7, 1994:11 5. The present is a favorable review of an early November 1994 performance by Elvis Costello and The Attractions at the Shepard's Bush Empire in London. GB357. "No Justice, No Scruples." Melody Maker 71:8 (November 12, 1994). The present article lists celebrities and fads that are considered distasteful in Great Britain, including Elvis Costello. GB358. "Live!" Melody Maker 71:20 (November 19, 1994). GB359. Roland, Mark. "Foetal Attractions." Melody Maker 71:39 (December 17, 1994). The present article deals with frequently asked questions about Costello and his little known recordings. The present monetary value of the "Talking in the Dark" single (See: SI4) is also discussed. GB360. France, Kim and Norris, Chris. "Music." New York 27:138-40 (December 1926, 1994). Costello's appearance in Central Park is included as one of the musical highlights of 1994 in New York City. GB361. Brackett, David Robert. Interpreting Popular Music. New York: Cambridge University Press, 1995. The author deals with the relationship between contemporary cultural studies and music and the ways in which the recordings of Bing Crosby, Hank Williams, Elvis Costello, Billie Holliday, and James Brown can be interpreted. (See also: GB233) GB362. Groothuizen, Richard and den Heyer, Kees. Going Through the Motions: Elvis Costello 1982-1985. Rickmansworth, Hertforshire, Great Britain: ECIS, 1995. (See also: GB128;ER3) GB363. Jancik, Wayne and Lathrop, Tad. Cult Rockers. Simon & Schuster, 1995. Elvis Costello commands one brief, but very informative, chapter in the present book. The material is biographical and critically descriptive of Costello's material though Brutal Youth (See: A49). GB364. Smith, Giles. Lost In Music. London: Picador, 1995. The present book consists of rock musician Smith's views of various performers and songwriters. Interestingly, the chapter entitled "Elvis Costello" consists of a chronicle of the death of the vinyl 33-rpm phonodisc and the birth of the market for compact disc recordings; it contains no commentary on Costello. The only reference to Costello in the book is mention that the author owns Goodbye Cruel World (See: A18) and Spike (See: A25) on vinyl and plans to also purchase the CD versions. GB365. Sutcliffe, Phil. "Elvis Costello." Q Magazine nlOO (January 1995).

160 General Bibliography The present is a rather "off-the-cuff' interview, touching on a wide variety of seemingly unconnected topics from Costello's recent activities, to his reactions when he sees old photographs of himself, to the current price of milk! GB366. Costello, Elvis. "Book of the Year." Musician n 195:48 (January-February 1995). The present is Costello's review of the book Last Train To Memphis by Peter Guralnick. GB367. Daly, John. "Tony Bennett. Better Than Ever." The Saturday Evening Post 267:34-5 (January-February 1995). Costello's appearance with Bennett is mentioned in this profile. GB368. "Issue News." Vox p83 (February 1995). The present article deals with recent developments in the recording industry in Great Britain, including the series of reissues of Costello product on Demon Records. GB369. Beyond Belief. do Mike Bodayle, 110 Granburg Circle, San Antonio, Texas 78218/Mike Perry, 6 Hillside Grove, Taunton, Somerset, England TA2 4LA. February 1995-present. The present is an ongoing Elvis Costello fan-run magazine. GB370. Jenkins, Lucien. "Something Old, Something New." Early Music Today 3:1819+ (February-March 1995). The present article concerns Fretwork's commissions of new works for viol consort. Among the commissions is Costello's "Put Away Forbidden Playthings." GB371. Manning, Kara. Review of Just Can't Get Enough: New Wave Hits of the '80s. Rolling Stone n703:67 (March 9, 1995). In the present review, Costello's importance is mentioned, as is the author's surprise that his recordings are entirely missing from this ten volume collection. GB372. Flanagan, Bill. "Concert Gives McCartney a Stage for Fab Firsts." Billboard 107:8-9 (April 1, 1995). This report on Paul McCartney's scheduled royal charity performance with a string quartet and guest artist Elvis Costello includes Costello's views on performing for Prince Charles. GB373. "News." Melody Maker 72:6 (April 1, 1995). The present article reports that Costello will perform a "one-off date" at the London Shepherds Bush Empire on May 15, 1995. GB374. "News." Melody Maker 72:6 (April 8, 1995). The present includes a brief report on Costello's recording of cover versions of various songs by other composers for Kojak Variety (See: A45).

General Bibliography 161 GB375. Newman, Melinda. "WB Takes the Lid Off Costello's Covers Album." Billboard 107:8 (April 15, 1995). The present articles reports on Warner Brothers' planned release date of May 9, 1995 for Kojak Variety (See: A45). The article also states that Costello completed the recording of the album in 1990. (See also: DB305) GB376. Okamoto, David. "Costello Will Climb Onto the Net." Dallas Morning News May 7, 1995. A brief announcement of Costello's May 17, 1995 live computer chat sessions for America Online and CompuServe. (See also: DB314) GB377. Ashare, Matt and Carioli, Carly. "Music." The Boston Phoenix 24:12 (May 12, 1995). The present is a review of a concert by Elvis Costello. GB378. Yates, Robert. "Elvis and His New Distractions." The Guardian May 12, 1995:11 13. An interview with Costello. GB379. Duffy, Thom. "Elvis Is Everywhere." Billboard 107:45-49 (May 27, 1995). The present article reports on the global broadcast of Costello's concert at the Shepherds Bush Empire in London to showcase Kojak Variety (See: A45). There is a listing of markets due to air the show, as well as discussion of Costello's participation in Warner Brothers Records' live weekly interactive talk show "Cyber Talk." (See also: GB380) GB380. Duffy, Thom. "Home & Abroad: Costello's Variety Show Gets Worldwide Attention." Billboard 107:45 (May 27, 1995). (See also: GB379) GB381. Richardson, Derk. "Elvis Costello" San Francisco Bay Guardian 29:50 (May 31, 1995). GB382. Costello, Elvis. "I Can't Live Without..." BBC Music Magazine 3:14-17 (June 1995). Costello discusses his fascination with Franz Schubert's Sonata for Piano in B-flat, D960. GB383. Hanks, Robert. "Rocking the Cradle." BBC Music Magazine 3:90 (June 1995). The present article features Costello as program director for the 1995 Meltdown Festival on the South Bank in London. A listing of music included in the festival is provided, as well as a brief discussion of Costello's musical background. GB384. "Elvis, Presley are Top Winners at Ivor Awards." Billboard 107:71 (June 3, 1995). The present is a report that Elvis Costello and Reg Presley received 1995 Ivor Novello Awards.

7 62 General Bibliography GB385. Holden, Stephen. "Recycled Pop: New Life From Old Songs?" New York Times 144:28 (June 4, 1995). The present article discusses the rising popularity of remakes of popular songs by Costello (See: A45, Kojak Variety) and others. Note: Since this article is not primarily a review of the album, it is included only in the General Bibliography. GB386. Parkes, Taylor; O'Connell, Sharon; et al. "50 Million Elvis Fans Can Be Wrong." Melody Maker 72:26-28 (June 10, 1995). The present article is a review of a Costello performance at The Empire in London. GB387. Clements, Andrew. "This Year's Muddle." The Guardian June 20, 1995:11 9. The present is a commentary on the upcoming 1995 Meltdown Festival, organized by Costello. The author criticizes Costello's move from rock to classical music. (See also: GB388) GB388. Woolrich, John. "Second Opinion." The Guardian June 24, 1995:11 28. The present is a commentary on Andrew Clements' June 20, 1995 criticism of Costello. (See: GB387) GB389. Fordham, John. "Melting Pot." 77K? Guardian June 26, 1995:11 41. The present is a commentary on the "melting" of styles put together by Costello for the 1995 Meltdown Festival. GB390. Clements, Andrew. "Composers' Ensemble." The Guardian June 28, 1995:11 10. The present is a brief, favorable review of Costello's theme for the 1995 Meltdown Festival, "Composers' Ensemble." GB391. Cury, James. "Elvis Costello!" FAD Magazine (July 1995?). Also printed in Hits Magazine. In the present interview with Costello, the musician discusses the songs of Kojak Variety (See: A45), his multimedia concert, and his views on computers, CD-ROMs, and the Internet. Costello's insight on his data entry work on an IBM 360 mainframe computer and the ways in which he uses "outmoded" sequencing and musical notation software are of particular interest, as they are not discussed in much detail elsewhere. On the subject of the Internet and the Elvis Costello Home Page (See: ER2), Costello states that he doesn't see the value for all of the information contained therein and that "there are lines that you have to draw for sanity," adding that he doesn't think that "if you do something in public that everything about you becomes public property." GB392. "Elvis Costello." Musician n200:50 (July 1995). The present is a reprint of an earlier interview with Costello. GB393. Yates, Robert. "A Note of True Fusion." The Guardian July 1, 1995:11 28. The present is an overview of the June 1995 Meltdown Festival, directed by Elvis Costello.

General Bibliography 163 GB394. Edwards, Mark. "Version Therapy." Arena pp72-74 (July-August 1995). In the present interview, Costello discusses his career, views on various other performers, and his views on songwriting. GB395. Flanagan, Bill. "Paul McCartney, Elvis Costello, and All the Other Princes." Musician n201:58 -60+ (August 1995). GB396. Pareles, Jon. "Costello Sings of Romance and Betrayal." New York Times August 4, 1995:C2. The present is a favorable review of an August 2, 1995 performance at the Beacon Theatre in New York. (See also: GB397 and GB400) GB397. Scheck, Frank. "Concert Review." Hollywood Reporter 338:10-11 (August 4, 1995). The present is a review of Costello's August 2, 1995 performance at the Beacon Theater in New York. (See also: GB396 and GB400) GB398. "Cue." New York 28:79 (August 7, 1995). GB399. Harvey, Dennis. "Film Reviews." Variety 360:35-6 (August 7, 1995). The present includes a review of the documentary film September Songs (See: VI4), which includes a performance by Elvis Costello. GB400. "Cue." New York 28:79 (August 7, 1995). Contains a review of Costello's recent appearance at the Beacon Theatre. (See also: GB396 and GB397) GB401. Pareles, Jon. "Costello Sings of Romance and Betrayal." New York Times August 8, 1995. Positive review of Costello and The Attractions' first Beacon Theatre show in New York. At the concert, Costello concentrated on songs written for others (All This Useless Beauty material). Costello's "husky baritone voice had depth and nuance, from a whisper to near-operatic projection," and the new songs are described as "first-rate material." GB402. "Voice Choices." Village Voice 40:59-61 (August 8, 1995). This survey of cultural events in New York City for the week of August 2, 1995 includes Costello's concert at the Beacon Theatre. GB403. Bosveld, Jane; Fischer, Matthew; and others. "Sound Booth." NetGuide 2:113 (September 1995). The present article includes a review of the Elvis Costello Home Page (See: ER2) on the World Wide Web. GB404. "And We Bid You Goodnight." Rolling Stone n717:30-2 (September 21, 1995). The present article consists of tributes for the deceased Grateful Dead guitarist and leader Jerry Garcia, including one from Costello. (See also: GB406)

164 General Bibliography GB405. Matthews, Philip. "Insider." New Zealand Listener 151:78 (October 28, 1995). This interview with Costello deals with the musician's musical influences and such unusual topics as his choice of American television programs and a quiz on familiar faces on television! GB406. "And We Bid You Goodnight." Rolling Stone Australia n514:39 (October 1, 1995). The present article consists of tributes for the deceased Grateful Dead guitarist and leader Jerry Garcia, including one from Costello. (See also: GB404) GB407. Barber, Nicholas. "How We Met." The Independent (London) (October 8, 1995). In the present interview, Costello and American singer Chrissie Hynde of The Pretenders talk about meeting and working together. Costello mentions record producer Clive Langer's theory that Hynde was responsible for the return of vibrato in popular music, after it had been lost in the punk singing style, and describes Hynde as "one of the greatest pop singers that has ever lived." GB408. Interview With Elvis Costello [in two parts]. Record Collector (late 1995). In the present, extensive interview, which Schnitzius (See: ER2) reports is roughly equivalent to the Blood & Chocolate interview album (See: A48), Costello discusses his influences, the meaning of many of his songs from 19761995, his relationships with Columbia and Warner Brothers, the differences he has felt in working with various groups of backing musicians, among other things. Also included is a price guide for mint condition copies of Costello's releases. GB409. Budofsky, Adam. "Pete Thomas." Modern Drummer 19:56 (December 1995). The present is an interview with The Attractions' drummer concerning his recent activities. GB410. Duchen, Jessica. "Reviews: Concerts." The Strad 106:1323-5 (December 1995). The present article reports in part on the "Meltdown" festival, which was directed by Costello. Performers included Alexander Balanescu and the London Philharmonic Orchestra. GB411. And Then I Wrote: The Song-Writer Speaks. Edited by Tom Russell and Sylvia Tyson. Vancouver, British Columbia, Canada: Arsenal Pulp Press, 1996. The present book features insights by songwriters, including Elvis Costello, into their own work. Costello also praises the directness of Hank Williams' songwriting and comments on the work of Paul McCartney, praising him for adopting a new melodic and lyrical style after the breakup of the Beatles. GB412. McNeil, Legs and McCain, Gillian. Please Kill Me: The Uncensored Oral History Of Punk. Grove Press, 1996. Costello is mentioned in a number of locations in the present book.

General Bibliography 165 GB413. Gustafson, K. "Profilen." Musik (Stockholm) nl:7 (January 1996). The present is a brief biographical profile of Elvis Costello. GB414. "News." Melody Maker 73:3-11 (February 3, 1996). Page 3 of the present article includes a brief report that Costello and Brian Eno have collaborated on a track for the "X-Files" album (See: M73). GB415. Flaherty, Mike. "Meet the Beatles and Blowfish - Again." Entertainment Weekly n315-316:73-4 (February 23, 1996). The present article includes a review of a concert by Costello. GB416. Review of The Dark Stuff by Nick Kent. Musician n208:100 (March 1996). (See: GB302) GB417. Review of The Dark Stuff by Nick Kent. Village Voice 41:57+ (March 12, 1996). (See: GB302) GB418. "The Grievous Angel: What They Say About Gram." The Guardian April 12, 1996:11 16. Mick Jagger, Emmylou Harris, and Elvis Costello (among others) comment on the influence Gram Parsons had on their careers. GB419. "Feud's Corner." Compiled by David Bennun and Allan Jones. Melody Maker 73:62-3 (April 17, 1996). GB420. Hilburn, Robert. "Costello's Still the Bard of the Bittersweet." Los Angeles Times May 16, 1996:F 1. The present is a favorable review of Costello and Nieve's May 14, 1996 appearance at the Troubadour in Los Angeles. GB421. "Cue." New York 29:147 (May 20, 1996). The present article is a preview of Costello and Nieve's May 22, 1996 appearance at the Supper Club in New York City. GB422. Kot, Greg. "Into the Lounge." Chicago Tribune May 20, 1996:V 2. The present is a favorable review of Costello and Nieve's May 18, 1996 performance at the Park West in Chicago. GB423. Sullivan, Jim. "Costello: This Year's Model Is a Classic." Boston Globe May 22, 1996:66. The present is a favorable review of Costello and Nieve's May 20, 1996 performance at the Paradise in Boston. GB424. Strauss, Neil. "A Songwriter's Odyssey To Points Of View He Once Observed." New York Times May 25, 1996:A 13. The present is a favorable review of Costello and Nieve's May 22, 1996 performance at the Supper Club in New York City.

166 General Bibliography GB425. Yaffe, David. "This Year's Costello. Elvis Is King." Village Voice 41:8-10 (June 4, 1996). The present is a review of Costello and Nieve's appearance at the Supper Club in New York City on May 30, 1996. The author also discusses Costello's ability to sustain himself as one of the favorite songwriters and performers of critics. GB426. Sweeting, Adam. "The Attractions of an Older Man." The Guardian July 8, 1996:11 11. The present is a favorable review of a July 1996 performance by Costello at London's Roundhouse. GB427. "Live!" Melody Maker 73:37 (July 20, 1996). GB428. "Costello's Attractions." Entertainment Weekly p54 (July 26, 1996). In the present article, Costello discusses the music he currently enjoys listening to, including recordings by The Fugees and Anne Sofie von Otter, and the recording The Real Kansas City by various artists. GB429. French, Sean. "Sean French." New Statesman 125:26-28 (August 2, 1996). The present article deals with the author's enjoyment with a July 1996 Costello appearance at the Roundhouse in London. The author also discusses the masterplan for Costello's career in the late 1970s. GB430. Himes, Geoffrey. "Elvis Costello." Washington Post August 12, 1996:D 7. The present is a favorable review of an August 9, 1996 performance by Elvis Costello and The Attractions at the Capitol Ballroom in Washington, D.C. GB431. Sullivan, Jim. "Elvis Costello: Shiny, Happy People's Punk." Boston Globe August 15, 1996.E 1. The present is a mixed review of an August 14, 1996 performance by Elvis Costello and The Attractions at Harborlights Pavilion in Boston. GB432. Rosen, Steven. "Costello Mixes Old and New in Showing Array of Talent." Denver Post August 25, 1996:B 2. The present is a favorable review of an August 23, 1996 performance by Elvis Costello and The Attractions at the Paramount Theater in Denver. GB433. Crisafulli, Chuck. "Costello, Attractions Explore Old Favorites." Los Angeles Times August 29, 1996:F 5. The present is a favorable review of a performance by Elvis Costello and The Attractions at the Universal Amphitheatre on August 27, 1996. GB434. "News." Melody Maker 73:4 (August 31, 1996). The present is a very brief report on Costello's recording of Sleeper's "What Do I Do Now?" (See: M84). GB435. Luscombe, Belinda. "The New Odd Couple." Time 148:75 (September 9, 1996).

General Bibliography 167 The present brief article reports on the Costello/Burt Bacharach collaboration for the film Grace Of My Heart, and the way in which the two composers left bits of the song on each other's telephone answering machines. GB436. "From the Heart." Billboard 108:86-94 (September 14, 1996). The present article deals with Costello's collaboration with Burt Bacharach on "God Give Me Strength," from the soundtrack to Grace Of My Heart. A photograph is included. GB437. Hunter, James. "Burt Bacharach." Us (October 1996). The present interview deals in part with the Bacharach/Costello collaboration "God Give Me Strength" for the film Grace Of My Heart. GB438. Kamp, David. "Pop, in the Name of Love." Vanity Fair (October 1996). In the present review of the film Grace Of My Heart, the Costello/Burt Bacharach collaboration "God Give Me Strength" is described as "the best thing Bacharach has done in years," and is further described as a "standout track." GB439. Duffy, Thom; Macdonald, Bob, et al. "Reprise's Lush Builds On Early Momentum." Billboard 108:1-2 (October 26, 1996). The present article discusses the building success of the group Lush, and their recording of Costello's "All This Useless Beauty" (See: SI 07 and SI 09). (See also: DB378) GB440. Duffy, Thom; Macdonald, Bob, et al. "Warner Launches Costello Blitzkrieg." Billboard 108:1-2 (October 26, 1996). The present article discusses the marketing strategy for Costello's All This Useless Beauty (See: A49) and presents Costello's opinions of the plan. Also discussed are the plans for marketing Costello's duet recordings with Steve Nieve and other limited releases. GB441. Interview with Jay Leno. "Tonight Show with Jay Leno," November 1996. Costello talked about his recent work and about the possibility of retiring from live performing. Text available on Elvis Costello Home Page (See: ER2). GB442. Rosen, Steven. "Sound Tracks Solid, Even When the Flick Flounders." Denver Post November 6, 1996:G3. In the present review of the film Grace Of My Heart, songs such as the Bacharach/Costello collaboration "God Give Me Strength" succeed even when the film's storyline becomes improbable. GB443. Fordham, John. "Big, Bad John." The Guardian November 9, 1996:11 7. John Harle's work with Costello is the present profile of the saxophonist. GB444. Rowland, Mark. "Songwriting: This Year's Models - Burt Bacharach's Strange Communion With Elvis Costello." Musician n217:25-6+ (December 1996). The present article, full of commentary from Costello and Bacharach is about their collaboration for the film Grace Of My Heart.

168 General Bibliography GB445. Corliss, Richard and Ressner, Jeffrey. '"60s Going On '90s." Time Australia n51:89 (December 16, 1996). A small portion of the present article describes Costello's collaboration with Burt Bacharach. GB446. Sullivan, Caroline; Bennun, David. "Music: This Week's Pop CD Releases." The Guardian January 10, 1997:FRIDAY 14. Costello's influence on the group Popsicle is mentioned in the present review of the Swedish group's new release. GB447. Kot, Greg. "Carry Some Big Sticks: Steve Goulding Pounds Out His Role In Rock's Key Moments." Chicago Tribune January 31, 1997: VII 49. Steve Goulding's early work with Elvis Costello ("Watching the Detectives," specifically) is mentioned in this feature article on the former drummer of The Rumour. GB448. "Sorted!" Vox n76:90-93 (February 1997). The present article deals with (in part) Costello's appearance at the Brixton Academy in 1996 with Bob Dylan. (See also: M191) GB449. Romney, Jonathan. Review of the film Grace of My Heart. The Guardian February 21, 1997:FRIDAY 6. GB450. "George, Meet Elvis." Billboard 109:27 (March 8, 1997). The present article includes a picture of George Jones and Costello and details the performance by the two on the TNN cable television program "Monday Night Concerts With Ricky Skaggs." GB451. Price, Deborah. "They're Playing My Song." Billboard 109:34 (March 8, 1997). The present article deals with Sarah Masen's decision to record Costello's "Veronica." GB452. Hainer, Cathy and Steams, David Patrick. uRiverdance: Spirited Show of Bravura, Pop Savvy." USA Today March 17, 1997:D 1. Uilleann piper Davy Spillane's work with Elvis Costello is briefly mentioned in the present feature article on the Irish show. GB453. "Elvis Costello Exits Warner Brothers." Microsoft Music Central (April 11-13, 1997). GB454. Kreck, Dick. "Eye Doctors Keep 'A Serious Hobby' In Sharp Focus." Denver Post April 14, 1997: A 2. In the present short feature article on Toasterheads, a rock group consisting of four faculty members from the Colarado University Health Sciences Center and one non-faculty member, Dr. David Johnson is quoted as describing the band's sound as "a street rumble between The Rolling Stones, Elvis Costello, and Steely Dan. The Stones usually win, but they steal the Dan's chord book and Elvis' rhyming dictionary."

General Bibliography 169 GB455. Poole, Steven. "Stand Up and Be Counted..." The Guardian April 25, 1997:FRIDAY20. The present review of the group Supergrass briefly mentions Leonard Cohen and Elvis Costello as two literate, ironic songwriters. GB456. Hamilton, Doug. "Kinda Like a Rolling Stone." Atlanta Constitution May 2, 1997:P 6. Bruce Springsteen, Mark Knopfler, and Elvis Costello are mentioned as songwriters who were at one time referred to as "the next Dylan" in the present feature article on Bob Dylan's son Jakob, lead singer with The Wallflowers. GB457. Harrington, Richard; Joyce, Mike; Himes, Geoffrey. "Pop Recordings." Washington PostMay 25, 1997:G 10. Jeff Lynne, of The Electric Light Orchestra and The Traveling Wilburys, is described as "clearly the best collaborator McCartney has worked with since Elvis Costello" in the present, glowing review of Paul McCartney's album Flaming Pie. GB458. Gooch, Marsh. "Bruce Thomas: Attraction For Hire." Bass Player (June 1997). Thomas discusses his work with The Attractions and his personality conflicts with Elvis Costello extensively in the present, feature-length article. GB459. Hilburn, Robert. "His Imperfect World." Los Angeles Times June 1, 1997:CAL8. According to the present feature article, "Freedy Johnston writes such hauntingly original and affecting songs about longing and need that his work has been frequently compared to such pop-rock masters as Randy Newman, Elvis Costello and Joni Mitchell." GB460. Nelson, Sue. "The Show Ain't Over Till the Fat Lady Quivers." The Guardian June 19, 1997.0NLINE 5. That Costello and his music has become part of general consciousness is shown by the present article on a new holographic technique which shows symmetrical vibrations on a singer's face when he or she sings in tune. The article begins, "Elvis Costello once sang 'My Aim Is True' but science can now detect if he was really hitting the right note." GB461. Clements, Andrew. "Music: Technowarrior. The Annual South Bank Festival Of Experimental Music, Meltdown, Looks Set To Attract Its Biggest Audience Yet - Thanks to the Humanist Electronic Genius of Laurie Anderson." The Guardian June 20, 1997:12. In describing the adventurousness of the selection of artistic directors for the Meltdown Festival, Costello's 1995 work is briefly mentioned in the present article. GB462. "Costello Among Brits Lauded At 1997 Silver Clef Awards." Billboard (June 23, 1997). The present is a brief article about Costello receiving a Silver Clef Award for outstanding service to British music.

7 70 General Bibliography GB463. "Esky." Esquire 128:26 (July 1997). GB464. Lea, Tony Clayton. "Elvis: The Next 20 Years." Irish Times (July 1997). The present is in part a tribute, and in part a retrospective of Costello's first twenty years in the music business. GB465. Shrock, Rob. "That Bacharach Touch." Electronic Musician 13:38 (July 1997). Burt Bacharach details the arrangement for the Bacharach/Costello composition "God Give Me Strength" in the present profile/interview. GB466. Ratliff, Ben. "Varied Influences Converge in the New Country Music." New York Times July 3, 1997:C21. The music of songwriter Rodney Crowell of The Cicadas, shows the influence of The Band, The Byrds, and the "crisply written English pop" music of Elvis Costello and Squeeze. GB467. Winer, Laurie. "Theater Review: Rent." Los Angeles Times July \5, 1991 :¥ I. The character "Mark" in the play Rent is described as "wearing Elvis Costello glasses" in the present review. GB468. Sullivan, Caroline. "The Geeks: Mr. Weird and Mr. Wonderful: Caroline Sullivan Chills Out With the Coolest Singers From the States." The Guardian July 19, 1997:WEEK 7. M. Doughty of the group Soul Coughing is compared to early Elvis Costello in his "random jerks.. evidently awaiting a straitjacket." GB469. Hilburn, Robert. "Exile In Sensitive Guyville." Los Angeles Times July 20, 1997:CAL9. Costello's support of Ron Sexsmith is mentioned in the present profile of the Canadian musician. Costello had refered to Sexsmith's first album as his favorite of 1995. GB470. "Elvis Costello Burns The Artist's Bridges." Microsoft Music Central (August 6-10, 1997). The present, on-line article deals with Costello's attempt to cover the Prince song "Pop Life," and "The Artist's" refusal to allow the cover to be released on Costello's Extreme Honey (See: A56). Costello reworked the song extensively into "The Bridge That I Burned." GB471. BeDell, Andrew. "Some Other Sucker's Parade." Saint Louis Post-Dispatch August 7, 1997:G0 9. In the present profile of the group Del Amitri, songwriter Justin Currie is compared with Nick Lowe and Elvis Costello in the way in which he can "write about the down side of life with humor and candor " GB472. Steams, David Patrick. "Restless Joe Jackson Returns To His Roots In Classical Music." USA Today September 10, 1997:D 3. Costello's work with the Brodsky Quartet is briefly mentioned in the present article.

General Bibliography 171 GB473. Harden, Mark. "Bosstones Well-Suited To Lead Ska Charge." Denver Post October 4, 1997:E 12. Burton, a member of the Bosstones is quoted as saying that, at age 17, he started listening to the pioneering British punk groups (who were in part influenced by Jamaican ska music) and ska bands. "I didn't really delineate so much between ska and Elvis Costello and the Clash; it was all English music to me." Note that the Jamaican influence can be heard most clearly in Costello's compositions "Watching the Detectives" and "(I Don't Want To Go To) Chelsea." GB474. Hamilton, Doug. "A World Of Changes In David Byrne." Atlanta Constitution October 24, 1997:P3. Byrne's "detached irony" is contrasted with Costello's "naked invective" in the present article on the former member of Talking Heads. GB475. Bessman, Jim. "Elvis Costello Ends WB Stint With Compilation." Billboard 109:9-10 (October 25, 1997). In the present feature article on Costello's exit from Warner Brothers, the musician declares the his years at the label were "pretty far estranged from pop music and the continuum of pop success which I never had in America." Costello states that he was completely involved in putting the compilation Extreme Honey (See: A56) together and that it represents his personal favorites from the Warner Brothers years. Norm Winer, Vice President of Programming at Chicago radio station WXRT, is quoted as saying that "it's a shame" to see Costello leave the label, as Costello was "making very solid strides, branching out and challenging himself... and not just resting on his laurels." (See also: DB393) GB476. Kot, Greg. "Everclear Ever Savvy Art Alexakis Talks About Moneymaking and Musicmaking." Chicago Tribune October 31, 1997:VII 17. In present article on the group Everclear's new album So Much For the Afterglow, group member Art Alexakis is quoted as saying that Elvis Costello, in addition to a number of other acts, had "a big impact on this record." GB477. Bauder, David. "Elvis Costello: A Versatile Singer." The Associated Press (wire service) (December 22, 1997). The present press release deals with Costello's dissolution of Elvis Costello and The Attractions, the musician's anticipated continuation of work with the Brodsky Quartet and Burt Bacharach, and his desire to prove his compositional "chops" by making an instrumental record that is "really, really moving and does the same thing as a record with songs on it." GB478. "Elvis Costello Signs Innovative Multi-Label Deal With PolyGram Worldwide." Entertainment Wire (wire service) (February 2, 1998). The present wire service release details Costello's deal with PolyGram which will see his recordings channeled through the company's various labels, depending on the style of the product. Costello's first project for PolyGram will be a collaborative effort with Burt Bacharach, due to be released in Fall 1998.

7 72 General Bibliography GB479. Hinton, Brian. Let Them All Talk. Sanctuary. Scheduled for fall 1998 publication. A biography of and study of the work of Elvis Costello. According to the preview of the book in the Costello fan magazine Beyond Belief (March 1998) (See: GB369), it promises to be a study of major importance.

Electronic Resources ERl.

Elvis Costello FAQs [World Wide Web Resource]. http:/buast7.bu.edu;80/lister/FAQhtml#bio. The present web page includes frequently asked questions about Elvis Costello, a bibiography of books and links to other electronic resources on Costello, a readers' poll ranking of Costello's albums, and a listing of Costello's top 40 albums and singles in both the United States and the United Kingdom.

ER2.

Elvis Costello Home Page [World Wide Web Resource]. http://east.isx.com/~schnitzi/elvis.html. The present web page, maintained by Mark Schnitzius provides regularly updated information on Costello's activities. The present page, with its biography, discography, and various links, should be considered, like a number of print sources, an essential source of information on Costello. (See also: GB220, GB391, GB403, GB441)

ER3.

Elvis Costello Information Service [World Wide Web Resource]. http://east.isx.com/~schnitzi/ec/information.html. The present web page provides details about the "Elvis Costello Information Service," a fanzine devoted to Costello. Among the items to be found are set lists for Costello concerts and lyrics for Costello songs.

ER4.

Fans of the Singer Elvis Costello [Online]. Available e-mail: USENET Newsgroup: alt.fan.elvis-costello.

ER5.

Hosken, Paul. Elvis Costello Discography. Electronic information. [email protected]. Last modified March 12, 1996. As a world wide web source, it seems likely that the present discography will be periodically updated. The author provides detailed commentary on the differences between the various mixes and releases of Costello's recordings. The author lists information for the many international releases of Costello's recordings. Critical commentary about sound quality and the visual presentation of the recordings is valuable and no-holds-barred. For example, the promotional release S3 6 is said to have "sounded as if it had been pressed during an artillery exercise and mastered in a frying pan."

7 74 Electronic Resources ER6.

Microsoft Encarta '95. s.v. "Rock and Roll " CD-ROM. Microsoft, 1996. The present CD-ROM includes approximately 40 seconds worth of the Elvis Costello and The Attractions recording of "Pump It Up."

ER7.

Microsoft Music Central. On-Line Magazine. http://MusicCentral.msn.com/Default/Home. The present on-line magazine contains a number of news items related to Elvis Costello.

ER8.

Microsoft Music Central 96. CD-ROM. Microsoft Home 0895, 1996. The present CD-ROM includes a video clip of Costello performing "Everyday I Write the Book" from a 1983 BBC-TV telecast. Also included are a biography and pictures of Costello's album covers.

ER9.

MTV Unplugged. CD-ROM. Viacom Newmedia, 1996. The present CD-ROM includes information about Costello's 1991 appearance on "MTV Unplugged."

ER10.

Musicnet. CD-ROM. Volume 1, issue 4, 1996. The present CD-ROM magazine includes a preview of the compact disc reissue of Blood & Chocolate (See: A48), along with the Rolling Stone review (See: DBl00).

ERl 1.

Surf This Disc. CD-ROM. Rykodisc/Hanmbal/Grammavision VCDR 9501, 1995. The present CD-ROM, a sampler from Rykodisc, includes various short (15-30 seconds) audio and video clips of Costello's performances.

ER12.

Warner Brothers Records Home Page [World Wide Web Resource]. http://www.wbr.com. The present web page provides an Elvis Costello page, featuring his work on Warner Brothers Records.

Works List and Works Index "Accidents Will Happen" (Costello). See: A6, A7, A14, A19, A20, A28, A33, A42; S16, S18, S19, S35, S85;V11;MS1. "After the Fall" (MacManus). See: A29. "Alison" (Costello). See: Al, A2, A14, A19, A20, A24, A26, A28, A31, A33, A42, A53, A55; S2, S4, S6, S16, S30, S35, S68, S85; M5, M i l , M12, M37, M91, M94, M95;MS1. "All Grown Up" (MacManus). See: A29;M134. "All the Rage" (MacManus). See: A36, A37, A54, A55, A56; MS4. "All This Useless Beauty" (Costello). See: A49, A51, A55, A56; S107, S108, S109; M82, M92, M122, M136. "All You Thought of Was Betrayal" (MacManus). Performed live at the Miners' Benefit, Logan Hall, London, March 9, 1985 (See: ER3). Unreleased. This song later was reworked into "Tramp the Dirt Down." "Almost Blue" (Costello). See: A15, A16, A19, A28, A41; S83, S84; Ml 15; VIO; MS2. "Almost Ideal Eyes" (Costello). See: S105, S106, S107, S108, S109. "American Without Tears" (MacManus). See: A21, A46. "American Without Tears #2 (Twilight Version)" (MacManus). See: A23, A48; S76, S77. "...And In Every Home" (Costello). See: 3; A15, A16, A41; MS2. "Another Time, Another Place" (MacManus, Richard Harvey). See: A58. "Any King's Shilling" (MacManus). See: A25; MS3; DB138.

176 Works List and Works Index "Are You Afraid Of Your Children" (MacManus). 1972-1973. Unreleased. "Aubergine" (Costello, Brad Jones). See: Ml90. "B Movie" (Costello). See: A8, A38;MS1. "Baby Pictures" (Costello). Performed live at the Royal Albert Hall, London, December 1982 (See: ER3). Unreleased. "Baby Plays Around" (Cait O'Riordan, MacManus). See: A25, A47; S83, S84; MS3. "Baby's Got a Brand New Hairdo" (MacManus). See: A23, A48; S69, S70. "Back On My Feet" (Paul McCartney, MacManus). See: 7; Ml 12. "Banquo" (MacManus, Richard Harvey). See: A60. "Barbara Douglas: Assassin" (MacManus, Richard Harvey). See: A58. "Basement Kiss" (MacManus). See: S96, S106; M132. "Battered Old Bird" (MacManus). See: A22, A48. "Beat, The" (Costello). See: A3, A4, A5, A32, A34; MSI. "Beaten To the Punch" (Costello). See: A8, A38;MS1. "Beyond Belief (Costello). See: A15, A16, A19, A20, A28, A41, A42; S64, S65, S66, S101;MS2. "Big Boys" (Costello). See: A6, A7, A32, A33; MSI. "Big Light, The" (MacManus). See: A21, A46. "Big Nothing" (MacManus). See: M26. "Big Sister" (Costello). See: 7; A23, A39; S41; M13. "Big Sister's Clothes" (Costello). See: 7; Al 1, A28, A39; MS2. "Big Tears" (Costello). See: A9, A10, A28, A32; S10, Sll; M60; MSI. "Birds Will Still Be Singing, The" (MacManus). See: A30, A56; M139; MS5. "Black and White World" (Costello). See: A8, A9, A10, A28, A38; MSI. "Black Sails in the Sunset" (Costello). See: A23, A39, A53, A55; S74. "Blame It On Cain" (Costello). See: Al, A2, A24, A31; S5, S30; MSI.

Works List and Works Index 177 "Blue Chair" (MacManus). See: A22, A23, A48; S76, S77. "Boy with a Problem" (Costello, Chris Difford). See: A15, A16, A39, A41; MS2. "Bridge I Burned, The" (MacManus). See: 10; A56; GB470. "Brilliant Mistake" (MacManus). See: A21, A28, A42, A46; M61. "Bubbles" (MacManus, Richard Harvey). See: A58. "Busy Bodies" (Costello). See: A6, A7, A33; MSI. "Charm School" (Costello). See: A17, A43;MS2. "Cheap Reward" (Costello). The present song, unreleased at the time of recording, was later reworked into "Lip Service." See: A31. "(I Don't Want To Go To) Chelsea" (Costello). See: A3, A4, A5, A9, A20, A28, A32, A34, A42; S7, S8; M6, M7, M38, M64, M66, M70; VI1; MSI; GB473. "Chemistry Class" (Costello). See: A6, A7, A33; MSI. "Chewing Gum" (MacManus). See: A25;MS3. "'Cisco Kid" (MacManus, Richard Harvey). See: A60. "Clean Money" (Costello). See: A9, A10, A33; S29; MSI. "Closing Titles" (MacManus, Richard Harvey). See: A58. "Clown Strike" (MacManus). See: A36, A37; MS4. "downtime Is Over" (Costello). See: A8, A9, A10, A38, A53, A55; S24; MSL "Clubland" (Costello). See: A l l , A19, A20, A28, A39, A42; S29; MS2. "Coal-Train Robberies" (MacManus). See: A25; S80, S82; MS3. "Comedians, The" (Costello). See: 7; A18, A44; S59, S60; Ml 16, Ml 17; V7; DB136. "Complicated Shadows" (Costello). See: A49; SI06; M90. "Couldn't Call It Unexpected No. 4" (MacManus). See: A29, A56; S86, S88, S89, S90; DBl 66. "Crawling to the U.S.A." (Costello). See: A9, A10, A32; M7; MSL "Crimes of Paris" (MacManus). See: A22, A48. "Damnation's Cellar" (MacManus). See: A30; MS5.

178 Works List and Works Index "Daybreaks" (MacManus). 1972-1973. Unreleased. "Dear Sweet Filthy World" (MacManus, Ian Belton, Michael Thomas). See: A30; MS5. "Death Of Alex/Closing Titles" (MacManus, Richard Harvey). See: A60. "Deep Dark Truthful Mirror" (MacManus). See: A25, A26, A56; M53, M134; MS3. "Deep Dead Blue" (MacManus, Bill Frissell). See: A47. "Deliver Us" (MacManus). See: A30; MS5. "Deportee" (Costello). See: A44. "Deportees Club, The" (Costello). See: A18, A44; Ml 18. "Different Finger" (Costello). See: All, A39; S32; MS2. "Dirty Rotten Shame" (Costello). See: M138. "Distorted Angel" (Costello). See: A49, A52, A55; S107, S108, S109; M79. "Do You Know What I'm Saying?" (MacManus). See: S97;M132. "Dr. Luther's Assistant" (Costello). See: A9, A10, A38; S25, S26; MSL "Don't Be Careless Love" (Paul McCartney, MacManus). See: Ml 19. "Drunken Man's Praise Of Sobriety, A" (W.B. Yeats, MacManus). See: S93, S94, S95. "Dull Echoes" (MacManus). 1972-1973. Unreleased. "Earthbound" (MacManus, Cait O'Riordan). See: M132. Edge of Ugly (MacManus). Short orchestral composition. Performed by the London Philharmonic Orchestra under conductor Gunther Schuller at the 1994 Meltdown Festival. See: 9. "Element Within Her, The" (Costello). See: A17, A43; MS2. "Eliot's Heartbreak and Flashback" (MacManus, Richard Harvey). See: A60. "Everyday I Write the Book" (Costello). See: 3; A17, A19, A20, A26, A42, A43; S48, S49, S50;M17;MS2;ER8. "Expert Rites" (MacManus). See: A30; MS5. "Fall From Grace" (MacManus, Richard Harvey). See: A60. "Favourite Hour" (MacManus). See: A36, A37; MS4.

Works List and Works Index 179 "Fill in the Blanks" (MacManus). See: M132. "First to Leave, The" (MacManus). See: A30; MS5. "Fish 'n' Chip Paper" (Costello). See: A l l , A39; MS2. "5ive Gears In Reverse" (Costello). Note: The title of this song is sometimes listed as "Five Gears In Reverse." I have used the unusual "5ive..." as that is the spelling used for the listing on Get Happy!! See: A8, A3 8; MS 1. "The Flirting Kind" (Costello). See: A23, A43; S51, S52. "For Miles I See" (MacManus). 1972-1973. Unreleased. "For Other Eyes" (MacManus, Paul Cassidy, Michael Thomas). See: A30; MS5. "Forgive Her Anything" (MacManus). See: A48. "Friend In Need, A" (MacManus, Richard Harvey). See: A60. "From a Whisper to a Scream" (Costello). See: Al 1, A39; S31, S32; MS2. "Furinal Music" (MacManus). See: A57; M29. "G.B.H. Opening Titles: The Life and Times of Michael Murray" (MacManus, Richard Harvey). See: A58. "Georgie And Her Rival" (MacManus). See: A29. "Ghost Train" (Costello). See: A9, AlO, A38; S26; MSL "Girls Talk" (Costello). See: A9, AlO, A26, A38; S20, S21, S22; M43, M97, M98; MS1;DB278. "Glitter Gulch" (MacManus). See: A21, A46. "God Give Me Strength" (Costello, Burt Bacharach). See: 9; M78, M85; GB436, GB437, GB438, GB442, GB465. "God's Comic" (MacManus). See: A25;MS3. "Going Home Service" (MacManus, Richard Harvey). See: A58. "'Goldilocks' Theme, The" (MacManus, Richard Harvey). See: A58 "Goodbye Florence" (MacManus). 1972-1973. Unreleased. "Goon Squad" (Costello). See: A6, A7, A33; M8; MSL "Grave Dance" (MacManus, Richard Harvey). See: A60.

180 Works List and Works Index "Grave Music" (MacManus, Richard Harvey). See: A58. "Graveyard Waltz" (MacManus, Richard Harvey). See: A60. "Great Unknown, The" (Costello). See: A18, A44. "Greatest Thing, The" (Costello). See: A17, A43;MS2. "Green Shirt" (Costello). See: A6, A7, A14, A20, A28, A32, A33; S64, S65, S66; MSL "Hand In Hand" (Costello). See: A3, A4, A32, MSI. "Harpies Bizarre" (MacManus). See: A29. "Having It All" (MacManus). Written for, and performed and recorded by Patsy Kensit, for the film Absolute Beginners. "Heathen Town" (Costello). See: A23, A43; S48, S49, S50. "'He's So Easy'" (MacManus, Richard Harvey). See: A58. "Hidden Shame" (MacManus). See: M121. "High Fidelity" (Costello). See: A8, A20, A28, A38, A42; S23, S24; MSL "Home Is Anywhere You Hang Your Head" (MacManus). See: 6; A22, A48. "Home Truth" (Costello). See: A18, A44. "Honey, Are You Straight Or Are You Blind?" (MacManus). See: A22, A48. "Hoover Factory" (Costello). See: 7; A9, AlO, A38; S29; MSL "Housewarming" (MacManus, Richard Harvey). See: A60. "How To Be Dumb" (MacManus). See: A29; GB221. "Howling at the Moon" (MacManus, Richard Harvey). See: A60. "Human Hands" (Costello). See: A15, A16, A41; MS2. "Human Touch" (Costello). See: A8, A38;MS1. "Hurry Down Doomsday (The Bugs Are Taking Over)" (MacManus, Jim Keltner). See: A29, A56; S89. "I Almost Had a Weakness" (MacManus, Michael Thomas). See: A30; S92; MS5. "I Hope You're Happy Now" (Costello). See: A22, A28, A44, A48; S75.

Works List and Works Index 181 "I Thought I'd Write To Juliet" (MacManus). See: A30;MS5. "I Turn Around" (Costello). See: A41. "I Want To Stand Forever" (MacManus). See: Ml32. "I Want To Vanish" (Costello). See: A49, A53, A55, A56; M135. "I Want You" (MacManus). See: 6; A22, A28, A42, A48; S75; M89; DB100. "I Wonder How She Knows" (Costello, Charles Brown). See: Ml27. "Idiophone" (MacManus). See: S93. "Idle Hands" (Costello). Unreleased. The present song was later reworked into "Temptation." "I'll Wear It Proudly" (MacManus). See: A21, A46. "I'm Having It All" (MacManus). Unreleased. Written for Patsy Kensit. "I'mNot Angry" (Costello). See: Al, A2, A24, A31; M2; MSL "Image Of Me" (MacManus). Unreleased. Reportedly performed by Costello at the Apollo, Oxford, October 1984. "Imagination (Is a Powerful Deceiver)" (Costello). See: A31. "Imperial Bedroom" (Costello). See: A23, A41; S43, S46. "Imposter, The" (Costello). See: A8, A38; M10; MSL "In a Cemetery Garden" (MacManus, Richard Harvey). See: A58. "Inch By Inch" (Costello). See: A18, A44. "Indigo Moon" (Paul McCartney, MacManus). 1987. Unreleased. "Indoor Fireworks" (MacManus). See: A21, A28, A42, A46; MHO. "Interlude: Couldn't Call It Unexpected No. 2" (MacManus). See: A29. "Invasion Hit Parade" (MacManus). See: A29. "Invisible Man, The" (Costello). (See also: "Seconds Of Pleasure") See: 7; A17, A43; M17;MS2. "Tt Wasn't Me'" (MacManus, Richard Harvey). See: A58. '"It's Cold Up There'" (MacManus, Richard Harvey). See: A58.

182 Works List and Works Index "It's Not Too Late" (MacManus, T-Bone Burnett, Bob Neuwirth). See: Ml25. "It's Time" (Costello). See: A49, A50, A55; S104. "Jack Of All Parades" (MacManus). See: A21, A46. "Jacksons, Monk and Rowe" (MacManus, Michael Thomas, Jacqueline Thomas). See: A30;S91;M57;MS5. "Jake's Progress Opening Sequence" (MacManus, Richard Harvey). See: A60. "Joe Porterhouse" (Costello). See: A18, A44. "Julie's Pregnant Pause" (MacManus, Richard Harvey). See: A60. "Jump Up" (Costello). See: A31. "Just a Memory" (Costello). Note: This song title was given as "Losing You (Just a Memory)" on Dusty Springfield's cover version (See: Ml07). See: A9, AlO, A38, A53, A55; S26; M104, M107; MSI; DB278. "Just About Glad" (MacManus). Note: The present song is variously credited to Costello and MacManus. See: A36, A37, A51, A55; S105, S109; M83. "Kate's Abuse" (MacManus, Richard Harvey). See: A60. "Kid About It" (Costello). See: A15, A16, A41; MS2. "Kinder Murder" (MacManus). See: A36, A37, A56; MS4; DB279. "KingHorse" (Costello). See: A8, A28, A38; S22; MSI. "King Of Confidence" (Costello). See: A46; M80. "King Of Thieves" (Costello). See: A17, A43;MS2. "King of the Unknown Sea, The" (MacManus, Michael Thomas). Unreleased. Performed live by Costello with the Brodsky Quartet on the 1993 Juliet Letters tour. "Lambs to the Slaughter" (MacManus, Richard Harvey). See: A58. "Last Boat Leaving" (MacManus). See: A25, A57; M29; MS3. "Last Time You Were Leaving Me" (MacManus). Unreleased. Performed live by Costello, 1986 U.S. tour. "Leaving Home" (MacManus, Richard Harvey). See: A60.

Works List and Works Index 183 "Less Than Zero" (Costello). See: 4; Al, A2, A5, A24, A28, A31, A34; SI, S30, S68; M1,M5,M37;MS1;GB214. "Let Him Dangle" (MacManus). See: 8; A25; S82; MS3. "Let Them All Talk" (Costello). See: A17, A43; S51, S52, S53; M17; MS2. "Letter Home, The" (MacManus, Paul Cassidy, Ian Belton). See: A30; MS5. "Life Shrinks" (MacManus). See: S104. "Lifeboat" (Costello). Unreleased. Reportedly performed live at the Hammersmith Odeon, December 1983. Some of the lyrics were later used in "Worthless Thing." "Lip Service" (Costello). Note: The present song developed from "Cheap Reward." See: A3, A4, A5, A32, A34; MSL "Lipstick Vogue" (Costello). See: 1; A3, A4, A5, A28, A32, A34; MSL "Little Atoms" (Costello). See: A49, A52, A55; S105, S107. "Little Goody Two Shoes" (Costello). See: A23. "Little Palaces" (MacManus). See: A21, A46. "Little Savage" (Costello). See: A15, A16, A41; MS2. "Little Triggers" (Costello). See: A3, A4, A5, A32, A34; MSL "Living In Paradise" (Costello). See: A3, A4, A32; MSI. "London's Brilliant" (MacManus, Cait O'Riordan). See: S102, S103; M132. "London's Brilliant Parade" (MacManus). See: A36, A37, A56; SlOO, SlOl, S102, S103;MS4. "Long Honeymoon, The" (Costello). See: 11; A15, A16, A41, A52, A54, A55; MS2. "Long Journey Home (Anthem)" (Costello, Paddy Maloney). See: Ml99. "Lovable" (MacManus, Cait O'Riordan). See: A21, A28, A46; S72. "Love Field" (Costello). See: A18, A28, A42, A44, A47; S58. "Love For Tender" (Costello). See: A8, A38; MSL "Love from a Cold Land" (MacManus, Richard Harvey). See: A58. "Love Went Mad" (Costello). See: A17, A43; MS2.

184 Works List and Works Index "Loved Ones, The" (Costello). See: A15, A16, A28, A41; SlOO; MS2. "Lovers That Never Were, The" (Paul McCartney, MacManus). See: M129, M130. "Lover's Walk" (Costello). See: Al 1, A28, A39; MS2. "Luxembourg" (Costello). See: All, A39; S31, S33; MS2. "Mad Dog" (MacManus). See: A57; M29. "Malicious Observer" (MacManus). Unreleased. Reportedly performed at the June 1995 Meltdown Festival in England. "Man Being Devoured By His Destiny" (MacManus). Solo piano piece. Unreleased. Reportedly performed on Costello's November 1984 European tour. "Man Out Of Time" (Costello). See: A15, A16, A19, A28, A41, A42, A50, A55; S42, S43, S44; MS2. "Map Of Africa" (MacManus, Richard Harvey). See: A60. "Maureen & Sam" (MacManus, Allan Mayes). See: Ml 11. "May 17th" (MacManus). See: M41. "Men Called Uncle" (Costello). Note: The present song is listed incorrectly as "Man Called Uncle" on a number of releases. See: A8, A28, A3 8; MS2. "Men Of Alloy" (MacManus, Richard Harvey). See: A58. "Miracle Man" (Costello). See: Al, A2, A5, A24, A31, A34; S4; M4, M31; MSL "Miranda Syndrome, The" (Costello, Ruben Blades). See: Ml 13. "Miss Mary" (MacManus, Zucchero Fornaciari). See: M128. "Miss McBeth" (MacManus). See: A25;MS3. "Mistress and Maid" (Paul McCartney, MacManus). See: M129, Ml30. "Monica's Fortune Telling" (MacManus, Richard Harvey). See: A60. "Moods For Moderns" (Costello). See: 7; A6, A7, A33; MSI. "Morning Changes" (MacManus). 1972-1973. Unreleased. "Motel Matches" (Costello). See: A8, A28, A38, A44; MSL "Mouth Almighty" (Costello). See: A17, A43;MS2.

Works List and Works Index 185 "Moving In" (MacManus, Richard Harvey). See: A60. "Mrs. Rampton Reminisces" (MacManus, Richard Harvey). See: A60. "My Brave Face" (Paul McCartney, MacManus). See: Ml 19; DB143. "My Dark Life" (Costello). See: A51, A55, A56; M73; DB388. "My Mood Swings" (Costello, Cait O'Riordan). See: M93. "My Science Fiction Twin" (MacManus). See: A36, A37; MS4. "Mystery Dance" (Costello). See: Al, A2, A5, A26, A28, A31, A34; S3, S5, S30; M5; MSL "Nameless One, The" (MacManus). See: Ml32. "New Amsterdam" (Costello). See: A8, A20, A28, A38, A42; S25, S26, S27, SlOl; M126, M134;MS1;DB24. "NewLace Sleeves" (Costello). See: All, A20, A28, A39; MS2. "Next Time Around" (MacManus). See: A22, A48. "Night Rally" (Costello). See: 4; A3, A9, A32; S8; MSI. "No Action" (Costello). See: A3, A4, A32; MSL "No Dancing" (Costello). See: Al, A2, A24, A31; MSL "No Reason To Quit" (MacManus). Unreleased. Reportedly performed live at London University, March 1985. "Oliver's Army" (Costello). See: A6, A7, A19, A20, A26, A28, A33, A42; S15, S65; M36, M39, M47, M54, M68, M77; VI1; MSL "Only Flame In Town, The" (Costello). See: 10; A18, A19, A44; S59, S60, S61, S62, S63; M20. "Opportunity" (Costello). See: A8, A38;MS1. "Other End Of the Telescope, The" (Costello, Aimee Mann). See: A49, A54, A55; S106, S108;M120, M181. "Other Side Of Summer, The" (MacManus). See: A29, A56; S86, S87, S88; M62. "Our Little Angel" (MacManus). See: A21, A46; DB92. "Our Wedding Day" (MacManus). Unreleased. Reportedly performed live at the Sydney Opera House, June 1985.

186 Works List and Works Index "Pads, Paws and Claws" (Paul McCartney, MacManus). See: A25, A26; MS3. "Painted Villain" (MacManus). See: A57; M29. "Party Girl" (Costello). See: A6, A7, A28, A33; M102; MSL "Party Party" (Costello). See: S46;M16. "Pay It Back" (Costello). See: Al, A2, A24, A31; MSL "Peace In Our Time" (The Imposter). Note: The compositional credit on the Goodbye Cruel World album is given to Elvis Costello. See: A18, A44; S54. "People's Limousine, The" (Henry & Howard Coward [Costello, T-Bone Burnett]). See: A23, A46; S67. "Perfume - The Odour Of Money" (MacManus, Richard Harvey). See: A58. "Pidgin English" (Costello). See: A15, A16, A41; MS2. "Pills and Soap" (Costello). See: 5; A17, A20, A28, A43; S47; MHO; MS2; DB65. "Play With Me, Mummy" (MacManus, Richard Harvey). See: A60. "Playboy to a Man" (Paul McCartney, MacManus). See: A29;DB161. "Poison Moon" (Costello). See: A31. "Poisoned Rose" (MacManus). See: A21, A28, A46; S83. "Pony St." (MacManus). See: A36, A37; MS4; DB279. "Poor Fractured Atlas" (Costello). See: A49, A50, A55, A56. "Poor Napoleon" (MacManus). See: A22, A47, A48. "Possession" (Costello). See: A8, A28, A38; MSL "Pretty Words" (Costello). See: Al 1, A39; MS2. "Prufrock Quartett: The Roaring Boy" (MacManus, Richard Harvey). See: A58. "Pump It Up" (Costello). See: A3, A4, A5, A14, A19, A20, A26, A28, A32, A34, A42; S10, S61, S62; M9, M35, M58, M59, M76, M86; VI1; MSI; ER6. "Punishing Kiss" (MacManus, Cait O'Riordan). See: M133. "Puppet Girl" (MacManus). See: S96; M132. "Puppet Masters' Work, The" (MacManus, Richard Harvey). See: A58.

Works List and Works Index 187 "Pursuite Suite" (MacManus, Richard Harvey). See: A58. "Put Away Forbidden Playthings" (MacManus). Unreleased. Commissioned by, and performed by the group Fretwork, London, April 1995. See: GB370. "Put Your Big Toe in the Milk of Human Kindness" (MacManus). See: Ml 86. "Radio Radio" (Costello). See: 4; A4, A5, AlO, A19, A32, A34, A42; S12; M46; VI1; MS1;GB214. "Radio Sweetheart" (Costello). See: 11; A9, AlO, A31; SI, S28, S30, S68; M3, MlOl; MSL "(The Angels Wanna Wear My) Red Shoes" (Costello). See: Al, A2, A19, A24, A28, A31, A52, A55;S3, S30;MS1. "Remembering Alex" (MacManus, Richard Harvey). See: A60. "Return To Big Nothing" (MacManus). See: A48; S78, S79. "Riff, Riff, Riff' (Costello). Unreleased. Reportedly performed live in Allentown, Pennsylvania, August 1983. "Riot Act" (Costello). See: 4; A8, A28, A38; MSL "Rocking Horse Road" (MacManus). See: A36, A37; MS4. "Romeo's Seance" (MacManus, Michael Thomas). See: A30;MS5. "Room with a Number" (Costello). See: A18, A44. "Running Out of Angels" (Costello). See: A32. "St. Stephen's Day Murders" (Costello, Paddy Maloney). See: M67, M123, M183. "Satellite" (MacManus). See: A25;MS3. "Secondary Modern" (Costello). See: A8, A38; S22; MSL "Seconds Of Pleasure" (Costello). Note: The present song was later reworked into "The Invisible Man." See: 7; A39, A41. "Senior Service" (Costello). See: A6, A7, A33; MSL "Seven Day Weekend" (Costello, Jimmy Cliff). See: A23, A48; M21, M22. "Shabby Doll" (Costello). See: 10; A15, A16, A28, A41; MS2. "Shadow and Jimmy" (Costello, David Was). See: Ml 14.

188 Works List and Works Index "Shallow Grave" (Paul McCartney, MacManus). Note: The present song is credited to McCartney and Costello on A50 and A55. See: A49, A50, A55. "Shamed Into Love" (Costello, Ruben Blades). See: A47; Ml 13. "Shatterproof' (Costello). See: A43;M109. "Shipbuilding" (Costello, Clive Langer). See: 5; A17, A19, A20, A28, A42, A43; S53, SlOl; M105, M106, M134, M145; MS2; DB65, DB67; GB80. "Shoes Without Heels" (MacManus). See: A23, A46; S77. "Shot With His Own Gun" (Costello). See: 11; A l l , A39;MS2. "Show Must Go On, The" (MacManus). Unreleased. 1972-1973. "Sleep of the Just" (MacManus). See: A21, A46. "Sleeper At The Wheel" (MacManus). Unreleased. 1972-1973. "'Smack 'Im!'" (MacManus, Richard Harvey). See: A58. "Sneaky Feelings" (Costello). See: Al, A2, A24, A31; M87; MSL "... So I Used Five" (MacManus, Richard Harvey). See: A58. "So Like Candy" (Paul McCartney, MacManus). See: A29, A56; S89, S90. "Sour Milk-Cow Blues" (Costello). See: A18, A44. "Stalin Malone" (MacManus). See: 8; A25; MS3. "Stalking" (MacManus). See: A57; M29. "Stamping Ground, The" (Costello). See: A23, A41; S41. "Starting To Come To Me" (Costello). See: A49, A54, A55. "Still Too Soon To Know" (MacManus). See: A36. "Stranger in the House" (Costello). See: 11; A9, AlO, A31; S9; M96, M99, M103, M144; MSI; DBll. "Strict Time" (Costello). See: Al 1, A28, A39; MS2. "Suffering Face" (Costello). Note: Part of the lyrical content of the present song was later developed into "Crimes Of Paris." See: A46. "Suit Of Lights" (MacManus). See: A21, A46; DB98.

Works List and Works Index 189 "Sulky Girl" (MacManus). See: A36, A37, A56; S93, S94; M65; MS4. "Sunday's Best" (Costello). See: 7; A6, A9, A28, A33; S19; MSL "Sunflower Lancers" (MacManus). Unreleased. 1972-1973. "Sweet Convincer" (MacManus). Unreleased. 1972-1973. "Sweet Pear" (MacManus). See: 11, 12; A29; DB173. "Swine" (MacManus, Paul Cassidy). See: A30; MS5. "Taking My Life In Your Hands" (MacManus, Jacqueline Thomas, Michael Thomas, Paul Cassidy). See: A30; MS5. "Talking in the Dark" (Costello). See: A9, AlO, A33; S14, S18; M102; MSL "Tears Before Bedtime" (Costello). See: A15, A16, A40, A41; MS2. "Temptation" (Costello). Note: The present song developed from the unissued "Idle Hands." See: A8, A26, A28, A38, A50, A55; MSL "That Day is Done" (Paul McCartney, MacManus). See: Ml 19, M180, M198. "That's What Friends Are For" (Costello). See: M100, M137. "13 Steps Lead Down" (MacManus). See: A36, A37, A56; S95, S96, S97; M56; MS4; DB279. "This Is Hell" (MacManus). See: A36, A37; MS4; DB279. "This Is a Test" (MacManus). See: Ml32. "This Offer Is Unrepeatable" (MacManus, Paul Cassidy, Jacqueline Thomas, Michael Thomas). »See: A30; MS5. "This Sad Burlesque" (MacManus, Paul Cassidy). See: A30; S91; MS5. "...This Town" (MacManus). See: A25, A26, A27; MS3. "This Year's Girl" (Costello). See: A3, A4, A28, A32; SI 1; MSL "Tiny Steps" (Costello). See: A9, AlO, A28, A33; S8, S12; MSL "TKO (Boxing Day)" (Costello). See: A17, A43;MS2. "Tokyo Storm Warning" (MacManus, Cait O'Riordan). See: A22, A28, A48; S73, S74. Tom Thumb Orchestral Suite (MacManus). See: A59.

190 Works List and Works Index "Tommy's Coming Home" (Paul McCartney, MacManus). Unreleased. "Town Called Big Nothing (The Long March), A" (MacManus). See: S79. "Town Called Big Nothing (Really Big Nothing), A" (MacManus). See: A23, A48; S78, S79. "Town Cryer" (Costello). See: A15, A16, A41; S42, S43; M15; MS2. "Town Where Time Stood Still" (Costello). See: A43. "Tramp the Dirt Down" (MacManus). See: 8; A25, A26, A56; DB138; MS3. "Turning the Town Red" (Costello). See: A23, A44; S55, S56, S57, S63. "20% Amnesia" (MacManus). See: A36, A37; MS4; DB263. "Twenty-Five To Twelve" (Costello). See: 7; A39; M55. "Two Days Rain" (MacManus). Unreleased. 1972-1973. "Two Little Hitlers" (Costello). See: 3; A6, A7, A33; MSL "Uncomplicated" (MacManus). See: A22, A28, A48; M23. "Unfailing Welcome To the Voice" (Costello, Steve Nieve). Unreleased. Reportedly performed on Costello and Nieve's Italian concert tour, February 1998 (See: GB369). "Unhappy Home Service" (MacManus, Richard Harvey). See: A60. "Unpainted Villain" (MacManus). See: A57; M29. "Unwanted Number" (MacManus). See: M141. "Upon a Veil of Midnight Blue" (Costello). Note: The present song was later revised and issued as "I Wonder How She Knows." See: M131;V17. "Ursine Variations" (MacManus, Richard Harvey). See: A60. "Veronica" (Paul McCartney, MacManus). See: 8; A25, A26, A56; S80, S81, S89; M72;MS3;GB451. "Waiting for the End of the World" (Costello). See: Al, A2, A5, A24, A31, A34; MSL "Warm House" (MacManus). Unreleased. 1971. "Watch Your Step" (Costello). See: Al 1, A19, A28, A39, A42; S33; MS2.

Works List and Works Index 191 "Watching the Detectives" (Costello). See: 2; A2, A5, AlO, A19, A20, A24, A26, A28, A31, A33, A34, A42, A54, A55; S5, S6, S16, S30, S68; M6, M25, M37, M40, M48, M91; VI1; MSI; GB62, GB447, GB473. "Wave a White Flag" (Costello). See: A26, A31. "We Despise You" (MacManus). See: S96. "We Don't Even Try Anymore" (MacManus, John Doe). Unreleased. Reportedly performed live at the Miners' Benefit, Logan Hall, London, March 1985. "Wednesday Week" (Costello). See: A9, AlO, A33; S14, S18, S27; MSL "Weeper's Dream" (Costello). See: A39. "Welcome to the Working Week" (Costello). See: Al, A2, A5, A24, A31, A34; S2, S30;M45;MS1. "(I Love You) When You Sleep" (Costello). See: M108. "White Knuckles" (Costello). See: A11,A39;MS2. "Who Do You Think You Are?" (MacManus, Michael Thomas). See: A30; MS5. "Why?" (MacManus, Ian Belton). See: A30;MS5. "Why Can't a Man Stand Alone?" (Costello). See: A49, A51, A55; S105. "Woodlands - 'Oh Joy!'" (MacManus, Richard Harvey). See: A58. "World and His Wife, The" (Costello). See: A17, A43; MS2. "Worthless Thing" (Costello). Note: Some material from "Lifeboat" was incorporated into the present song. See: A18, A44. "You Belong To Me" (Costello). See: A3, A4, A5, A32, A34; S7; MSL "You Bowed Down" (Costello). See: A49, A52, A55; S109; M74, M81, M124, M184. "You Little Fool" (Costello). See: A15, A16, A41; S41; M52; MS2. "You Tripped At Every Step" (MacManus). See: A36, A37; S98, S99; MS4. "You Want Her Too" (Paul McCartney, MacManus). See: Ml 19, Ml80; DBl43. "You'll Never Be a Man" (Costello). See: Al 1, A39, A53, A55; MS2.


Ind ex Abba, GB291. Adamson, Harold, A102. Ahlert, R., A45. Aiges, Scott, DBl76; GB325. Aizelwood, John, GB303. Alexakis, Art, GB476. Alexander, Arthur, A26; M49. Ali, Lorraine, GB321. Alias, Don, Ml85. Alkyer, Frank, DBl74. Allison, Mose, A45, A46. Altaian, Billy, DB31. Anderson, Al, Ml96. Anderson, Bill, A45. Anderson, Laurie, GB461. Andrews, Jon, DB387. Archer, Tasmin, M134; DB240, DB275. Artist Formerly Known As Prince, The, See: Prince. Arundel, Jim, DB274. Ashare, Matt, DB315; GB377. Asher, Tony, S92; M42; V17. Attractions, The, 2, 3, 4, 5, 6, 7, 9, 10; A19, A20, A57;S4, S5, S6, S7, S8, S9, S10, S11,S12, S13, S14, S15, S16, S17, S18, S19, S20, S21, S22, S23, S24, S25, S26, S27, S28, S29, S30, S31, S32, S33, S35, S36, S37, S38, S39, S40, S41, S42, S43, S44, S45, S46, S47, S48, S49, S50, S51, S52, S53, S55, S56, S57, S58, S59, S60, S61, S62, S63, S64, S65, S66, S72, S73, S74, S75, S83, S85, S94, S95, S96, S97,

S98, S99, SlOO, SlOl, S102, S103, S105, S106, S107, S108, S109; M4, M6, M7, M8, M10, M13,M15,M16, M17,M18, Ml9, M20, M21, M22, M23, M25, M27, M28, M30, M31, M35, M36, M37, M38, M39, M43, M44, M45, M46, M47, M54, M55, M56, M60, M64, M65, M66, M68, M70, M71, M76, M77, M79, M81, M86, M90;V1, V4, V5, V16, V17; DB24, DB76, DB98, DBl02, DB228, DB242, DB254, DB267, DB268, DB269, DB271, DB294, DB356, DB394; GB131, GB147, GB202, GB309, GB312, GB315, GB320, GB321, GB322, GB323, GB324, GB325, GB328, GB330, GB331, GB333, GB334, GB337, GB338, GB339, GB340, GB341, GB345, GB346, GB347, GB351, GB356, GB401, GB430, GB431, GB432, GB433, GB477. Ayers, Anne, DB322. Babbington, Roy, A49. Bacharach, Burt, 9; A23, A44, A45, A50, A55; S61, S62; M4, M37, M78, M85, M163;GB435, GB437, GB438, GB442, GB444, GB445, GB465, GB477, GB478. Baird, Jock, DB66. Baker, Chet, 5; A17, A43; Ml 15; V6. Baker, D.,A45;M63.

194

Index

Balanescu, Alexander, GB410. Baldauf, Scott, DB260. Ballard Jr., Clint, A26; S80, S81, S82. Bambarger, Bradley, DB356. Band, The, GB466. Banks, Homer, A8, A14, A19, A20, A3 8, A42; S20, S21, S22; M43, M44, M71. Barber, Nicholas, GB407. Barnacle, Gary, A18, A44. Barol, B., GB183. Baron, Art, Ml85. Barry, Trevor, SI04. Bartholomew, Dave, A46; Ml82. Basie, William "Count," 9; GB204. Bass, Paul, A40, A41; S45, S49, S50. Bauder, David, GB477. Baxter, Nicky, DB369. Beach Boys, The, 4; DB60. Beatles, The, 1, 3, 4, 5, 8; GB307, GB308, GB411. Beatles Costello, The, 2; M200. Bechirian, Roger, All, A39; S32, S33; M146, M147, M148, M149, M150, M155. BeDell, Andrew, GB471. Bedford, David, A17, A43. Behan, Brendan, Ml54. Bell, Derek, A25. Bell, Thom, A53, A55; M172, M173, M174, M193. Belmont, Martin, A5, Al 1, A34, A39; S31, S32. Belton, Ian, as performer, A30, A49; as songwriter, A30; See also: Brodsky Quartet, The. Benjamin, Bennie, A21, A46; S69, S70, S71;V8. Bennett, Danny, GB350. Bennett, Tony, 9, 12; M187; V13; GB93, GB235, GB317, GB318, GB319, GB326, GB327, GB329, GB343, GB350, GB367. Bennun, David, GB419. Bentkowski, Tom, DB47. Bertando, Paolo, GBl76. Bessman, Jim, DB206, DB393; GB292, GB475. Bialik, Mayim, GB297. Big Heat, M165, M166.

Birch, Ian, GB46. Birnbaum, Larry, GB270. Bjurman, Per, DB311. Blackwell, Mark, DBl60. Blades, Ruben, 7; A47; Ml 13; GB169, GB173, GB174; W226, W304. Blair, Ian, DBl25. Blair, Michael, A21, A25, A46; M185; See also: Confederates, The. Bleasdale, Alan, M190. Blockheads, The, M4; VI. Blondie, 3, 9. Bluebells, The, M151, M152, M153, M159. Blum, David, GB350. Blur,DB314. Blythe, Jeff, A17, A43. Bodayle, Mike, GB369. Bodnar, Andrew, A2, A31; See also: Rumour, The. Boehm, Mike, GB211. Bon Jovi, A26. Booker T. and The MGs, DB235. Boot, Adrian, GB126. Booth, Daniel, DB357. Bosstones, The, GB473. Bosveld, Jane, GB403. Botzman, Thomas, Bowie, David, 6. Boxes, The, M145. Brackett, David Robert, GB233, GB361. Bradbury, John, M161; See also: Special A.K.A.; Specials, The. Bradley, Jeff, DB213. Bragg, Billy, GBl59. Bramlett, Bonnie, 4; GB32. Brazier, Chris, DB21. Bremner, Billy, M109. Brennun, David, GB446. Brinsley Schwarz, 1. Brodsky Quartet, The, 8, 9; GB274, GB349, GB472, GB477; as performers, A30, A49; S91, S92; M42, M57, M69, M88, Ml88; V12, V17;DB203,DB216, DB217, DB218, DB219; GB277, GB279, GB280, GB281, GB282, GB283; as producers, S91; M57, M88.

Index 195 Brown, Brown, Brown, Brown,

Charles, M127. Elizabeth A., DBl82. G., DB198; GB208, GB237. James, 4; GB32, GB233, GB361. Brown, Ray, A21, A46. Browne, David, DB102, DB234; GB173. Bruce, Lenny, GB89. Bryant, Boudleaux, A44. Bryant, Felice, A44. Bryant, Ivy J., A46. Bucknall, Nicholas, A29. Budofsky, Adam, GB409. Buonaiuto, Claudia, DB203, GB274. Burgoyne, Mary, See: MacManus, Mary. Burnett, J. Henry (T-Bone), 6; as performer, A25, A46; M30, M125; as producer, A21, A23, A25, A46, A48; S67, S69, S70, S71, S72, S74, S76, S77;M61, M93; DB122, DB294; GB109, GBl70, GB272; as songwriter, A46;S67;M125;&?eaZso: Confederates, The. Burstin, J., A23, A38. Burton, James, 6; A21, A29, A45, A46; M34; DB92; See also: Confederates, The; Rude Five, The. Bush, Kate, DB300. Butler, Larry, A3 7. Byrds, The, GB466. Byrne, David, DB282, GB335, GB474. Byron, Don, Ml85. Caldwell, Gloria, A21, A46; S69, S70, S71; V8. Call, Alex, See also: Clover. Callery, Phil, M51; See also: Voice Squad, The. Camilleri, J., A23, A38. Canning, Tom, A21, A46. Capobianco, Donald Marc, GB53. Capobianco, Ken, DB292. Carioli, Carly, DB315; GB377. Carman, Charles, DBl2, DB29. Carmichael, Hoagy, A102; DB279. Carney, Ralph, A46; See also:

Confederates, The. Caro, Mark, DB319, DB349. Carrack, Paul, DB79; GBl 16. Carson, Tom, 4; DB9, DB24. Carter, Carlene, MlOl; DB79; GBl 16. Cash, Johnny, GB355; as performer, M121; GB319; as songwriter, A40; S39. Cassidy, Paul, as perfomer, A30, A49; as songwriter, A30; S91; See also: Brodsky Quartet, The. Catingub, Matt, M201, M202, M204. Cerio, Gregory, GB307. Chambers, Patrick, A41; S49. Charles, Prince of Wales, GB372. Charles, Ray, 4; GB32, GB40, GB41, GB139, GB336. Chesnut, Jerry, A12, A13, A19, A20, A40, A42; S36, S37, S65. Chevron, Philip, Ml54. Chieftans, The, M67, Ml23, Ml83, M199. Christgau, Georgia, GB138. Christgau, Robert, GB286. Christian, Barry, M94. Ciabattoni, Steve, DB327. Ciambotti, Johnny, Al, A2, A31; See also: Clover. Cicadas, The, GB466. Cioe, Crispin, DB59. Clapton, Eric, GB308. Clark, Rick, GB312. Clash, The, GB473. Clements, Andrew, GB387, GB388, GB390, GB461. Cleese, John, A59; V15. Cliff, Jimmy, as performer, A23; M21, M22; as songwriter, A23, A48; M21,M22;W300. Clover, 2, 3; Al, A2, A24, A31; S2, S3, S4, S6, S30, S35, S68, S85;M1, M2, M5, M i l , M12, M37, M87, M91. Cochran, Hank, A40. Cockburn, Bruce, DBl 12. Cocks, Jay, DB89; GBl74. Cohen, Debra Rae, DB34. Cohen, Greg, M93, Ml85. Cohen, Leonard, GB455. Cohen, Mitchell, DB5, DB32, DB67,

196

Index

DB76. Coleman, Mark, DB92, DB214. Collins-Sibley, Michelle, Colton, T., A8, A38. Coltrane, John, GB355. Confederates, The, 7; A46; GB147. Connelly, Christopher, DB65; GB71, GB93, GB113. Connolly, Rachel, DB218. Considine, J.D., DB156, DB231, DB278;GB106. Cooper, Mark, GBl79. Coppage, Noel, DB27. Corbijn, A., GB181. Corcoran, Michael, GB322. Corliss, Richard, GBl41, GB445. Cosby, Henry, A53, A55. Costello, Elvis, as author, DB235, DB236, DB237, DB238, DB293, DB294, DB295, DB296, DB301, DB353; GB271, GB366, GB382; as performer, DBl3, DBl4, DB16, DB36, DB55, DB62, DB72, DB91, DB137, DB171, DB173, DB211, DB218, DB268, DB316, DB346, DB380; GB62, GB255; as producer, DB145, DB148; GB175; as songwriter, DB7, DBIO, DBll, DB12, DB16, DB17, DB19, DB42, DB58, DB59, DB65, DB72, DB93, DB134, DB138, DB143, DB147, DB160, DB161, DB164, DBl73, DBl74, DB209, DB259, DB263, DB284, DB357; GB227, GB465, GB466, GB471. Costello Show, The, A21, A46; S69, S70, S71, S72, S76, S77; M80. Coughlan, Mary, M33, M131. Coulter, Phil, M51. Count Basie Orchestra, The, 9, 12; GB204. Coward Brothers, The, 6; S67; M30; See also: Costello, Elvis and Burnett, T-Bone. Cox, Alex, GBl68. Crane, Tony, A41;M19. Crawford, Steve, DB390. Creed, Linda, A53, A55; M172, M173, M174,M193.

Crenshaw, Holly, GB226. Crenshaw, Marshall, GB138. Crisafulli, Chuck, GB433. Cromelin, Richard, DB 111. Crosby, Harry Lillis (Bing), GB235, GB361. Crowell, Rodney, GB466. Cullen, Gerry, M51; See also: Voice Squad, The. Cunningham, Michael, GB332. Currie, Justin, GB471; See also: Del Amitri. Curry, Mickey, A21, A46. Cury, James, GB391. Daly, John, GB367. Dammers, Jerry, Ml42, M161; See also: Special A.K.A; Specials, The. Damsker, Matt, GB289. Dando, Evan, GB326, GB350. Daniel, Jeff, DB364. Dave Clark Five, The, 3. David, Hal, A23, A44, A45, A50, A55; S61, S62;M4, M37, M163. Davies, Ray, A45; M32; V9. Davis, Gregory, A25; See also: Dirty Dozen Brass Band, The. Dawes, Biff, M53. DeCurtis, Anthony, DBl43. Dee, Johnny, DB343. Del Amitri, GB471. den Heyer, Kees, GB128, GB362. Dennis, Malcolm, A31; See also: Flip City. Denselow, Robin, DBl 14, DB150, DB361. Detroit Spinners, The, A26. Dieckmann, Katherine, GB224. Difford, Chris, A15, A16, A39, A41; M146, M148, M149, M150; DB145; See also: Squeeze. DiMartino, Dave, DB161. Dimit, M126. Dire Straights, GB269. Dirty Dozen Brass Band, The, A25; M182; DB122, DB138; GB204. Dixon, Don, DB322. Dixon, Willie, A45. DJFood, S107;DB378. Dollar, Steve, DBl55, DB200, DB252,

Index 197 DB283, DB312, DB350, DB383; GB337, GB339. Donnelly, Steve, SI04. Doors, The, 4. Dorn, Adam, M191. Dorn, Joel, Ml91. Doughty, M., GB468; See also: Soul Coughing. Doyle, Tom, DB302, DB303. Dozier, Lamont, A45; DB58, DB313. Drennen, Eileen M., DB395. Drew, Ronnie, Ml38. Drury, Ian, M4; VI. Duchen, Jessica, GB410. Duffy, Thom, DB378; GB379, GB380, GB439, GB440. Dulli, Greg, DB244. Duran Duran, DB306, DB314. Dylan, Bob, 12; GB307, GB353; as performer, M191;DB210; GB183, GB448; as songwriter, A45;M191;DB19, DB58, DB279;GB313,GB456. Dylan, Jakob, GB456; See also: Wallflowers, The. Edelstein, David, DB93; GBl43. Edmunds, Dave, A9, AlO; M97, M98; DB79;GB116. Edwards, Mark, GB394. Ehrlich, Dmitri, DB316. Elder, Sean, GB240. Electric Light Orchestra, The, GB457. Ellington, Edward Kennedy "Duke," GB331. Ellison, Mark, GB356. Emerick, Geoff, 5; A15, A16, A41, A49; S41, S42, S43, S44, S64, S66, S104, S106; M90; DB55, DB57, DB379. Emotional Toothpaste, The, See: Costello, Elvis. Ennist, Holly, DB351. Eno, Brian, M73; GB414. Etheridge, Chris, A12, A13, A14, A40; S39, S40; M52. Eurythmics, Ml70. Everclear, 12; GB476. Faehse, T., A23, A38.

Fagan, Eleanora, See: Holliday, Billie. Fairfield Four, The, Ml98. Fairley, Colin, A17, A20, A22, A43, A48; S46, S47, S54, S73, S80, S81, S84, S87, S88; M21, M22, M154. Fame, Georgie, M100, M137. Farber, J, DB 162. Farber, Jim, DB360. Faulkner, Dickie, A31; See also: Flip City. Feldman, G., GB265. Ferrar, Ann, GB 131. Ferrington, Danny, GBl20. Findon, Andrew, A29. Fine Young Cannibals, GBl82. Fischer, Matthew, GB403. Fissinger, Laura, DB68. Flaherty, Mike, DB254; GB415. Flanagan, Bill, A27, A37; GB127, GB133, GB219, GB276, GB311, GB372, GB395. Flat, Lester, Ml75. Flick, Larry, DB271, DB277. Flip City, 1,2; A31;GB130. Foege, Alec, GB353. For Real, M141. Forbes, Ralph, A25. Fordham, John, GB389, GB443. Fornaciari, Zucchero "Sugar", Ml28. Forte, Dan, GBl57. Fountaine, Claudia, A17, A43. France, Kim, GB360. Frank, Virginia, A12, A13, A40. Franklin, Aretha, Ml70; DB69. Fraser-Crook, Janet, VI7. French, Sean, GB429. Fretwork, GB370. Fricke, David, GB58, GB137, GB146, GB165. Fried, Stephen, DB135, DB149. Friedman, Richard, DB43. Frisell, Bill, 9; as performer, A47; Ml85; as songwriter, A47; W67. Frith, Simon, GB27. Froom, Mitchell, as performer, A21, A25, A29, A46; as producer, A29, A36, A37; S86, S87, S88, S90, S93, S94, S95, S96, S97, S98, S99; M56, M62, M65;

198

Index

GB284, GB312; See also: Confederates, The. Fugees, The, GB428. Gabriel, Peter, DB300. Gaines, Jeffrey, GB266, GB268. Garbarini, Victor, DBl66. Garcia, Guy, DB270; GB254. Garcia, Jerome J. (Jerry), A51, A55; M34; GBl95, GB235, GB404, GB406; See also: Grateful Dead, The. Gardner, Elysa, DB215, DB300. Gates, David, 8; DB91, DB209. Gavin, Frankie, A25. Gaye, Marvin, GB78. Gee, Mike, DB391. Gehr, Richard, DBl22. George, Nelson, GB 163. George, Steve, A29. George, Terry, GBl75. Gershwin, George, M50, Ml87; VI3. Gershwin, Ira, M50, Ml87; VI3. Gibson, Don, A12, A13, A40; S38, SlOO. Gilmore, Mikal, DB163. Gilyard, Burl, DB309. Gimarc, George, GB301. Gittins, Ian, DBl40. Givens, Ron, DB219; GBl83. Goffin, Gerry, S84. Goldberg, Michael, GBl21, GB225. Goldstein, Patrick, GBl8. Gooch, Marsh, GB458. Goodman, Fred, GB169, GB294. Gordinier, Jeff, GB326. Gorme, Eydie, DB387. Gosse, Van, DB22. Goulding, Steve, A2, A31; GB447; See also: Rumour, The. Gouldstone, David, GBl77, GB220, GB229. Graff, Gary, DB201, DB347. Graham, Samuel, GB109. Grateful Dead, The, DB158; GB78, GB404, GB406. Graue, Marc, A3 7. Green, A18, A44. Grobel, Lawrence, GB327. Groothuizen, Richard, GB128, GB362.

Gundersen, Edna, DBl33, DB272, DB322, DB359, DB389. Guralnick, GB366. Gustafson, Johnny, A41; Ml9. Gustafson, K, GB413. Haggard, Merle, A12, A13, A40. Hainer, Cathy, GB452. Hall, Daryl, 6; A18, A44; S59, S60, S61, S62, S63. Hamilton, Doug, GB456, GB474. Hampton, Howard, DB90. Handelman, David, GBl59, GBl71, GB209. Hanks, Robert, GB383. Harden, Mark, GB473. Harding, John Wesley, 12; GB223, GB225, GB226, GB237. Harle, John, M189; GB443. Harrington, Richard, GB457. Harris, Emmylou, GB418. Harris, Kevin, A25; See also: Dirty Dozen Brass Band, The. Harris, Michael C , GB346. Harry, Deborah, 9; M191; DB385, DB387; See also: Blondie; Jazz Passengers, The. Hart, Hugh, GB313. Hart, Lorenz, A9, AlO, A52, A55; S15, SI7, S83, S84;DB42. Hart, Steve, A49; S78, S79; See also: Nieve, Steve. Harvey, Dennis, GB399. Harvey, Richard, 9; A58, A60. Hasted, Nick, DB394. Hawkins, Walter, A45. Hazelhurst, Steve, A31; See also: Flip City. Head, Gary, GBl23. Heckman, Don, DBl88. Heine, Heinrich, 6. Henderson, Richard, DB225. Hendrix, Jimi, 11;DB322. Henken, John, GB279. Hermann, Brenda, GB228, GB269. Hewitt, Paulo, GB60, GB65. Heywood, Frank, A23, A44; S70, S72. Hiatt, John, M172, M173, M174, M193. Hidalgo, David, A21, A46. Hilburn, Robert, DBl54, DB190,

Index 199 DBl92; GB223, GB239, GB280, GB420, GB459, GB469. Hill, Dave, GBl29. Hill, Susan, DB 13. Himes, Geoffrey, DBl 12, DBl72, DBl97, DB232, DB374; GB247, GB430, GB457. Himmelman, Peter, 12; GB253, GB313. Hinton, Brian, GB479. Hirsch, Larry Kalman, A21, A46, A48; M61. Hochman, Steve, DBl58, DB377, DB392. Hodgens, R , M151, M152. Hoffert, B., GB265. Hogan, Peter, DB298, DB326. Holden, Stephen, DB202, DB328; GB250, GB283, GB385. Holdship, Bill, GB158. Holland, Brian, A45; DB58, DB313. Holland, Eddie, A45; DB58, DB313. Holliday, Billie, GB361. Holly, Buddy, 10, 12; GB269. Hopper, Sean, Al, A2, A31; See also: Clover. Horowitz, Vladimir, GB331. Howard, Lucy, GB307. Howell, Peter, GB330. Hume, Martha, DB46. Humphreys, Patrick, DB308. Humphries, Patrick, DB299. Hunter, James, GB437. Hunter, Robert C , A51, A55; M34. Hynde, Chrissie, A25; DB137; GB407. Imposter, The, S47, S54; Ml54; See also: Costello, Elvis. Ince, Austin, A60. Irwin, Colin, GB203. Isler, Scott, DB60, DB94, DB205. Jacket, Illinoise, M190, M197. Jackson, Joe, GB472. Jackson, Michael, DBl89. Jacobs, Jon, A15, A16, A41; DB379. Jacobson, Mark, DB262; GB314. Jaggar, Mick, GB418. Jakeman, Andrew, See: Riviera, Jake. James, Bob, DB314. James, Hilary, DB314.

James, Wendy, M132; DB222; GB299. Jancik, Wayne, GB363. Janich, Kathy, DB395. Jardim, Luis, A18, A44. Jazz Passengers, The, 9; M190, M197. Jenkins, Farnell, A18, A19, A20, A44; S55, S56, S57, S58. Jenkins, Lucien, GB370. Jenkins, Mark, DB248. Jennings, Dave, DBl 15, DBl59, DB291. Jennings, Nicholas, GBl60, GBl82, GB213. Jett, Joan, GBl84. Joe Loss Orchestra, The, 1; DB296. Joel, Billy, GB138. John, Elton, 6; DB69, DBl52. John, Little Willie, A45; M28. Johnson, David, GB454. Johnston, Freedy, GB353, GB459. Jones, Allan (author), 11; DBl, DB7, DB36, DB44, DB74, DB195; GBl, GB2, GB4, GBl5, GBl9, GBl35, GBl67, GBl98, GB200, GB419. Jones, Allan (songwriter), A8, A14, A19, A20, A38, A42; S20, S21, S22;M43, M44, M71. Jones, Brad, M190. Jones, George, 12; GB271; as performer, M99, M103, M144; GBl83, GB450; as songwriter, A12, A13, A40;S36;M104. Jones, James T., IV, DB123, DB322. Jones, Mick, A9, AlO; S10, S l l . Jones, Steve, DB389. Joseph, Kirk, A25; See also: Dirty Dozen Brass Band, The. Joy Division, GB263. Joyce, Mike, GB457. Jubera, Drew, GB329. Kalogerakis, George, DB263; GBl70, GB268, GB290, GB315. Kamp, David, GB438. Kelly, Brendan, GB331. Kelly, John F., DB178; GB338. Keltner, Jim, as performer, A21, A25, A29, A45, A46; M34, M93; as songwriter, A29, A56; S89; See

200 Index also: Confederates, The; Rude Five, The. Kemp, Wayne, A40. Kennedy, Lisa, DBl79; GB255. Kensit, Patsy, Kent, Mich, A31; See also: Flip City. Kent, Nick, 3; DB87; GB3, GB10, GB16, GB37, GB42, GB302, GB416, GB417. Kermode, Deborah, V8. Kern, Jerome, S92; M69. Killen, Kevin, A25, A29, A30, A45; S86, S87, S88, S90, S91, S92, S93, S94; M32, M34, M57, M62, M72;DB122. King, Carole, 9; S84. King, Neil, A39, A41. King, Philip, VI2. Kirby, Robert, A14; S39, S40. Kirkeby, GB32. Kirsch, Michele, DB331, DB338. Kluger, Bruce, GB267. Knechtel, Larry, A29, A45; M34, M53; See also: Rude Five, The. Knopfler, Mark, GB269, GB456. Korman, Kenneth, DB216. Kosman, Joshua, GB281, GB320. Kostakis, Peter, DB81. Kot, Greg, DBl67, DB249; GB241, GB242, GB245A, GB272, GB328, GB422, GB447, GB476. Kozinn, Allan, GB349. Kreck, Dick, GB454. Lababedi, Iman, DBl03; GB73. Lane, Red, A40. lang, k.d., GB350. Langer, Clive, 5; GB407; as perfomer, M145; as producer, A17, A18, A19, A20, A43, A44; S48, S49, S50, S51, S52, S53, S54, S55, S56, S57, S58, S59, S60, S61, S62, S63; Ml7; as songwriter, A17, A19, A20, A28, A42, A43; S53, S101;M105, M106, M134; W306. Larson, Mark, GBl 17. Laswell, Mark, GB214. Lathrop, Tad, GB363. Latin Playboys, The, GB355.

Law, Marshal, GBl25. Lawrence, Steve, DB387. Lea, Tony Clayton, GB464. Leclerc, Anita, GB314. Led Zeppelin, DB69. Leiby, Richard, GB336. Leland, John, DBl80. Lemonheads, The, GB350. Lennon, John, 3, 8, 12; DB269; GB307, GB308; as songwriter, A45; S98, S99. Lennon, Julian, GB307, GB308. Lennox, Annie, DB306. Leno, Jay, GB441. Lenoir, J.B., A21, A46. LePunk, Pepe, GB348. Lerner, Alan J., A47. Lester, Paul, DBl21, DBl84. Levesley, Neil, A29. Levin, Eric, GB139. Levine, Al, DB395. Lewis, Huey, 3; M97. Lewis, Roger, A25, A29; See also: Dirty Dozen Brass Band, The. Lewis, Sam, A39. Light, Alan, DBl87. Little Hands of Concrete, The, 10; See: Costello, Elvis. Livingstone, David, DB56. Lobos, Los, GB121. Loder, Kurt, DBl89. Loesser, Frank, DB279. London Philharmonic Orchestra, 9; GB410. Long, Robert, DB288. Low Note Quintet, Ml33. Lowe, Frederic, A47. Lowe, Kelly, Lowe, Nick, 1, 2, 3, 4, 6, 7, 9; DB79; as performer, A22, A29, A31, A36, A37, A44, A48; SI, S13, S28, S61,S62;M3,M4, MHO, M162, M163,M171; VI; GBl 16, GB 171; as producer, Al, A2, A3, A4, A5, A6, A7, A8, A9, AlO, A l l , A14, A19, A20, A22, A24, A31, A32, A33, A38, A39, A48; SI, S2, S3, S4, S5, S6, S7, S8, S9, S10, S l l , S12, S13, S14, S15, S16, S17,

Index 201 S18, S19, S20, S21, S22, S23, S24, S25, S26, S27, S28, S29, S30, S31, S32, S33, S35, S41, S61, S62, S64, S65, S66, S68, S70, S73, S74, S75, S85;M1, M2, M3, M4, M5, M6, M7, M8, M9, M11,M12, M13,M21, M22, M35, M37, M38, M39, M40, M43, M44, M45, M46, M47, M48, M54, M58, M60, M64, M66, M68, M70, M71, M86, M87, M91, M162, M163; DB7, DB18, DB25, DB38; GB171; as songwriter, A7, AlO, A14, A19, A33, A42; S13, S17, S82, S87, S88;M163; VI1; DBl8; GBl 16, GB471; See also: Nick Lowe and His Cowboy Outfit. Lunny, Donal, A25. Luscombe, Belinda, GB435. Lush, S107, S109;DB378. Lynn, Loretta, S40. Lynne, Jeff, GB457. McCain, Gillian, GB412. McCartney, Paul, 3, 7, 8; DBl42, DB269; GB202, GB213, GB372, GB395; as performer, A25; Ml 12, Ml 19, M129, M130, Ml80; DBl80, DB208; GBl83; as songwriter, A25, A26, A29, A45, A49, A50, A56; S80, S81, S89, S90, S98, S99; M72, Ml 12, Ml 19, M129, M130, M180, M198; DB138, DB143, DB161, DB208, DB279; GBl83, GB229, GB302, GB411,GB457. McClusky, K, Ml51, Ml59. McCormick, D , A45; M63. McCormick, Moira, GB266. McCoy, Van, A9, AlO; S23, S24, S28. Macdonald, Bob, GB439, GB440. McDougall, Charles, V8. McFee, John, Al, A2, A12, A13, A31, A40;S1, $2%;M3; See also: Clover. McGuinn, Roger, A25; M124, M184; DB137, DB157 Mcllheney, Barry, DB82.

MacManus, Declan Patrick, See: Costello, Elvis. MacManus, Lillian, 1. MacManus, Mary, 1; GB 13 7, GB 151. MacManus, Matthew, 1, 2; A49. MacManus, Ross, 1; GB78; as author, GB40; as performer, A29; S78, S79; See also: Joe Loss Orchestra, The; MacManus Gang, The. MacManus Gang, The, S78, S79; M26. McNeil, Legs, GB412. Maconie, Stuart, GB303. McPhail, Fran, M51; See also: Voice Squad, The. Madness, Ml60. Maloney, Paddy, M67, M123, Ml83, M199. Mann, Aimee, A49, A54, A55; SI06, S108; M120, M181; See also: 'Til Tuesday. Manning, Kara, GB371. Marcus, Greil, 12; DB3, DB35, DB72, DB275, DB276, DB388; GB78, GB103, GB216, GB273, GB285, GB288, GB289, GB295. Marcus, Sol, A21, A46; S69, S70, S71; V8. Marotta, Jerry, A25. Marsh, David, GB20, GB54, GB304. Martin, George, 5. Martin, Janis, S40. Masen, Sarah, GB451. Maslin, Janet, DBl9. Mathur, Paul, DB273. Matt Catingub Big Band, The, M202. See also: Catingub, Matt. Matthew, B., GB65. Matthews, Philip, GB405. Mayes, Alan (Allan), 1; Ml 11; See also: Rusty. Meltdown Festival, A47. Mental As Anything, M158, M177, M178. Mercer-Taylor, Peter Jameson, DB307. Mieses, Stanley, GB7, GB13, GB21 Milano, Brett, DB246, DB376. Milkowski, Bill, DB96; GBl54. Miller, Barry X., GB285. Miller, Jim, DB39, DBl29; GB76,

202

Index

GB105. Miller, Martin, GB59. Miller, Tommy, A12, A13, A40. Millman, Joyce, DB78, DB84, DB352. Milward, John, DB123. Mingus, Charles, A47; Ml85; GB270, GB355. Mitchell, Joni, GB459. Mitchell, Rick, DB384; GB323. Moody Blues, The, GB204. Moore, Christy, A25; Ml 18, M179. Moore, Warren, A53, A55. Morgan, Richard, A29. Morris, Chris, DB230; GB142. Morris, Gina, DB79; GBl 16. Morrison, Van, M51; V6; GB230, GB352. Morse, Steve, DB142, DB313; GB215, GB334. Moses, Mark, DBl34. Mueller, Andrew, DB323. Muirhead, Bert, GB84. Mullins, Johnny, A12, A13, A40. Murray, Sonia, DB395. Nadelson, Regina, GB132. Naive, Steve, See: Nieve, Steve. Nash, Alanna, DB136. Nashville Edition, A12, A13, A40. Nason, Steve, See also: Nieve, Steve. National Front, GB302. Nelson, C , DB287. Nelson, Michael J., GB305. Nelson, Prince Rogers, See: Prince. Nelson, Sue, GB460. Nesin, Jeff, DB28, DB45, DB97; GBl 80. Neuwirth, Bob, Ml25. Newman, Melinda, DB240, DB305; GB375. Newman, Randy, A45; DB279; GB459 Newton-John, Olivia, DB69. Nichols, Natalie, DB396. Nick Lowe and His Cowboy Outfit, M162, M163; DB84; See also: Lowe, Nick. Nickson, Chris, DB371. Niedlinger, Buell, A25. Nieve, Steve, 2, 3, 6, 10; GB310; as performer, A2, A3, A4, A5, A6,

A7, A8, A9, AlO, A l l , A12, A13, A14, A15, A16, A17, A18, A21, A22, A31, A32, A33, A34, A36, A37, A38, A39, A40, A41, A42, A43, A44, A46, A48, A49, A50, A51, A52, A53, A54, A55; S104, S105, S109;M83;DB11, DB14, DB17, DB25, DB38, DB55, DB374; GB420, GB421, GB422, GB423, GB424, GB425; as songwriter, A39; W361; See also: Attractions, The. Nine, Jennifer, GB347. Nine Inch Nails, DB249. Noble, Ray, A45. Norris, Chris, GB360. Northern Colorado Jazz Lab Band I, M201. O'Brien, Conan, M92. O'Connell, Sharon, DB274; GB347, GB386. O'Connor, Rob, DB259. Okamoto, David, DB314; GB376. O'Kane, Dan, DB211. Oldham, Spooner, A46. Ono, Yoko, A23, A43; M18; GBl 13. Orbison, Roy, 7; Ml 16, Ml 17; V7; DB136; GB161, GB166, GB178, GBl 80. O'Riordan, Cait, 6; GB137, GB139, GBl50; as perfomer, A22, A25, A48; S78, S79; as songwriter, A22, A25, A28, A29, A46, A47, A48; S72, S73, S74, S83, S84, S102, S103; M93, M132, M133; DB 173; See also: MacManus Gang, The; Pogues, The. Otter, Anne Sofie von, GB428. Ouellette, Dan, 8; DB217, DB381; GB355. Page, Richard, A29. Palmer, Earl, A21, A46. Pareles, Jon, DBIO, DBl 18; GB122, GB184, GB191, GB396, GB401. Parker, Graham, 3; DB3, DB232; GB236, GB253, GB313. Parkes, Taylor, GB344, GB386. Parkyn, Geoff, DB70; GB98.

Index 203 Parsons, Gram, A12, A13, A14, A40; S39, S40;M52;GB418. Partch, Harry, Ml 85. Paterson, Jim, A17, A43, A44. Patterson, Rob, DB372. Paul Kelly and The Messengers, GBl65. Payne, Davey, S9. Payne, Leon, A40, A46; S38, S67; M14, M30. Peden, Lauren David, GB316, GB352. Perm, Dan, A46. Penniman, Richard W. (Little Richard), A45. Perry, Claudia, DB181, DB223, DB258; GB324. Perry, Mike, GB369. Pert, Morris, Al 7, A43. Petty, Tom, 7; DBl80; GB307. Piccarella, John, DB38. Pick, Steve, DBl 19, DB170, DB193, DB227, DB257, DB336; GB246. Pink Floyd, GB340. Plews, Dave, A17, A43. Plummer, Kim, GB31. Pogues, The, Ml64, Ml67, Ml68, M169, M176;GB175. Police, The, GB46. Pollock, Ian, GBl40. Pomus, Doc, A41; S45. Pond, Steve, DB152; GB147, GB178. Poole, Steven, GB455. Popsicle, GB446. Popson, Tom, DB286. Porter, Cole, A39; DB42. Powers, Ann, DB268. Powling, Ian, A31; See also: Flip City. Presley, Elvis, 6. Presley, Reg, GB384. Pretenders, The, GB407. Price, Deborah, GB451. Prince, 6, 10; DB295; GB138, GB470. Puterbaugh, Parke, DB55, DB183, DB208, DB284, DB332, DB373; GB253. Quilty,P.M.,DB75. Rachlis, Kit, DBll, DBl6. Raitt, Bonnie, DBl80; GBl83. Ralph Sharon Trio, Ml87.

Rambali, Paul, GB89. Ratliff, Ben, GB466. Rayner, Simon, A29. Rayns, Tony, DB 14. Reagan, Ronald, GB216. Reece, Doug, DB375. Reed, Lou, GBl84. Reese, Krista, GB55, GB68, GB74. Ressner, Jeffrey, GB287, GB445. Reynolds, Simon, DB99. Ribot, Mark, A25, A29, A45; M34, M53, M93, M186;GB209, GB224, GB226; See also: Rude Five, The. Rich, Charlie, A12, A13, A40. Richardson, Derk, GB381. Richardson, Sy, S78, S79; See also: MacManus Gang, The. Rifkin, Pam, A12, A13, A40. Riley, Paul, SI02, SI04. Ripley, Jack, A40; S37. Riviera, Jake (real name Jakeman, Andrew), 2, 3; S7; GB45, GB130. Robb, John, DB285. Robbins, Ira, DB222. Roberts, Chris, DBl71, DB224, DB245. Robicheau, Paul, DBl96, DB253. Robinson, Stuart, A17, A43. Robinson Jr., William "Smoky," A23, A41, A53, A55; S45, SlOO. Roca, Octavio, DBl24. Rodgers, Richard, A9, AlO, A52, A55; S15, S17, S83, S84. Rogers, Forrest, DBl28, DBl32; GBl 87. Rogers, K, A45. Rogers, Sheila, GBl66, GBl90. Roland, Mark, GB359. Rolling Stones, The, GB454. Romney, Jonathan, GB449. Ronstadt, Linda, M95, Ml02. Rose, Frank, GB35. Rosen, Steven, GB432, GB442. Rosenberg, Scott, DB368. Rosenbluth, Jean, DB317. Ross, Annie, Ml33. Ross, Jonah, DB367. Ross, Lee, A40; S40. Rowland, Mark, GB181, GB235,

204 Index GB444. Royal Guard Horns, S46. Royal Philharmonic Orchestra, A14; S39, S40. Rude 5, The (a.k.a. Rude Five, The), S89;M34, M53; GB248. Rumour, The, 2, 3; A2, A24, A31, A42; S5, S6, S30, S68; M37, M48, M91;GB447. Russell, Tom, GB411. Rusty, 1;W369. St. John, Allen, DB342. St. Michael, Mick, GB55, GBl30. Salewicz, Chris, GBl26. Sandow, Greg, DBl99. Santoro, Gene, DB279. Scheck, Frank, GB340, GB397. Scheff, Jerry, 6; A21, A25, A29, A45, A46;M34, M53; See also: Confederates, The; Rude Five, The. Schell, Orville, GBl20. Scheuer, Dorothy, GB149. Schimke, David, DB329. Schnitzius, Mark, 10; ER2, ER3. Schoemer, Karen, DBl64. Schruers, Fred, GB39, GB61. Schubert, Franz, GB382. Schuller, Gunther, 9. Schumann, Robert, 6. Scott, Casey, 12; GB287. Scribner, Sara, DB348. Scruggs, Ernest, Ml75. Sebastian, John, S80. Segedin, Benjamin, GB288. Seldeman, Tony, DB86. Selvin, Joel, DB126, DBl77, DB325, DB354; GB29, GB195, GB243. Seress, Rezso, A39. Sexsmith, Ron, 11; GB469. Shakespeare, William, Ml89. Shakin' Pyramids, The, Ml04. Shamrocks, The, See: Clover. Sherrill, Billy, as producer, 5; A12, A13, A19, A20, A40; S36, S37, S38, S39, S40, S65; DB44; as songwriter, A12, A13, A40. Shewey, Don, DB73. Shine, Micky, Al, A2, A31; SI, S28;

M3; See also: Clover. Shrock, Rob, GB465. Shuman, Mort, A41; S45. Shutkever, Paula, DB299. Sigerson, Davitt, DB58. Silverman, David, GB194. Simels, Steve, DB6, DB20, DB98, DB137. Simon, Paul, S102. Sinatra, Frank, 11; DB36, DB302, DB310, DB346; GB235, GB307. Skaggs, Ricky, 7; M175; DB91; GB450. Sleeper, S108; DB378; GB434. Smith, Giles, GB364. Smith, Ken, See also: Flip City. Smith, R., A8, A3 8. Smith, R.J., GB92. Smith, Ray, M204. Smith, Shawnee, DB375. Snyder, Michael, DB210, DB250; GB210, GB212, GB238. Snyder, Tom, S34; GB58. Soles, Steven, A29. Sonnier, Lo-El, A21, A46. Soul Coughing, GB468. Soundgarden, DB249. Speare, Paul, A17, A43. Special A.K.A., The, M161; DB81; See also: Specials, The. Specials, The, 4; M142, M143; DB148; See also: Special A.K.A, The. Spector, Phil, DB58. Spera, Keith, DB385. Spice Girls, The, viii. Spillane, Davy, A25; GB452. Springfield, Dusty, Ml07. Springsteen, Bruce, SI04; DB280; GB105, GB253, GB456. Squeeze, M146, M147, M148, M149, M150,M155, M156,M157; DB79, DB145;GB63, GBl 16, GB131,GB466. Stansfield, Lisa, DB300. Steams, David Patrick, DB322, DB389; GB452, GB472. Steely Dan, 3; GB454. Stephen, Bill, GB64. Stills, Stephen, 4; GB40. Sting, DB300; See also: Police, The. Stock, Jeffrey, DB265.

Index 205 Stolder, Steven, DB363. Strauss, Neil, GB333, GB424. Stuart, K.L., GB232. Sullivan, Caroline, DB247, DB320; GB345, GB446, GB468. Sullivan, Jim, DBl 13, DB168, DB226; GBl86, GBl89, GB205, GB234, GB248, GB263, GB282, GB423, GB431. Supremes, The, DB235. Sutcliffe, Phil, GB365. Sutherland, Sam, DB4, DBl7, DB26, DB49, DB80;GB63. Sweet, Rachel, M96. Sweeting, Adam, DB64, DB71, DBl69, DB191, DB194, DB290, DB320; GB67, GBl97, GB252, GB256, GB277, GB341,GB426. Synthesis (The Brigham Young University Big Band), M204. Tabor, June, M122, M135, M136; GB234. Talking Heads, GB474. Tannenbaum, Rob, DBl00. Tarplin, Marvin, A53, A55. Tearson, Michael, DB229, DB281. Teller, DB220. Tench, Benmont, A25, A29. Thatcher, Margaret, 8. Thomas, Bruce, 3, 4, 6, 9, 10, 11; GBl57; as author, GB221, GB261, GB262; as bass guitarist, A3, A4, A5, A6, A7, A8, A9, AlO, A l l , A12, A13, A14, A15, A16, A17, A18, A21, A22, A32, A33, A34, A36, A37, A38, A39, A40, A41, A42, A43, A44, A46, A48, A49; DB394; GB225, GB458; See also: Attractions, The. Thomas, Jacqueline, as performer, A30, A49; as songwriter, A30; S91; M57; W161, W332, W341; See also: Brodsky Quartet, The. Thomas, KeithL, GB231. Thomas, Michael, as perfomer, A30, A49; as songwriter, A30; S91, S92; M57; W64, W93, W132, W161, W174, W292, W332,

W341, W380; See also: Brodsky Quartet, The. Thomas, Pete, 3, 6, 10; A3, A4, A5, A6, A7, A8, A9, AlO, A l l , A12, A13, A14, A15, A16, A17, A18, A21, A22, A25, A29, A32, A33, A34, A36, A37, A38, A39, A40, A41, A42, A43, A44, A45, A46, A48, A49, A50, A55, A60; S78, S79, S102, S104; M53; GB225, GB310,GB409; See also: Attractions, The; Rude Five, The. Thompson, Richard, A23, A44; S54; M24, M142; DB172, DB232, DB248; GB290. Thumm, Francis, Ml85. Thurber, James, DB244; GB89. 'Til Tuesday, M120, M181. Tilbrook, Glenn, A l l , A39; S31, S32; M146, M148, M149, M150; DBl45; See also: Squeeze. Tiven, Jon, M49; DB37, DB51. Tiven, Sally, M49; DB37, DB51. TKO Horns, A17, A43; M18. Toasterheads, GB454. Tomashoff, Craig, DBl73, DB267, DB318. Toussaint, Allan, A25; DB122, DB138. Towns, Efrem, A25; See also: Dirty Dozen Brass Band, The. Townshend, Pete, GB307. Tracie, Ml08. Trakin, Roy, DB25. Traveling Wilburys, The, GB457. Traxler, Lisa, GBl 18. Trench, Fiachra, A29. Tricky, S108, S109; M79, MHO, M192, M194, M195;DB378. Tucker, Ernest, A23, A44; S70, S72. Tucker, Ken, DB8, DB42, DB88, DB256. Turner, Lou Willie, A12, A13, A40. Turner, Titus, A45; S98; M28. Tutt, Ron, 6; A21, A46. Tyson, Sylvia, GB411. U2, 6. University of Northern Colorado Jazz Lab Band I, M202.

206 Index Valentine, Penny, GB38. Vanderhayden, David, S71. Vare, Ethlie, GB297. Verna, Paul, DB230, DB255, DB324, DB365, DB382. Vernier, David, DB211. Voice Squad, The, M51. Waits, Tom, 7; S92; GBl84, GB204. Walker, T-Bone, A21, A46. Wallflowers, The, GB456. Wallis, Larry, M4; VI. Walls, Richard C , DB61, DBl38, DB330, DB334. Was, David, Ml 14; See also: Was (Not Was). Was (Not Was), Ml 14. Wasserman, Robert, A29; Ml86. Waterson, Norma, Ml39. Webber, Chris, GB308. Weill, Kurt, M88; V14. Weisbard, Eric, DB233. Weller, Paul, DB320. Wener, M84. Werner, J., S39. Wheeler, Caron, A17, A43. Whelan, Mike, See also: Flip City. Whitall, Susan, DBl 16, DB153, DB266, DB321; GB41, GB52, GB192, GB244, GB308. White, Timothy, A26; GB94, GBl55, GB222, GB231,GB306. White City Septet, The, VI7. Whyman, Pete, A49. Wickham, Steve, A25. Wieseltier,L.,DB139. Wild, David, DBl27, DBl57; GB202, GB230, GB236, GB259. Wilde, Jonh, DBl08, DB144. Williams, Barney, A23, A44; S61, S62; M163. Williams, Hiram (Hank), A12, A13, A40;S36;GB233,GB361, GB411. Williams, Joe, DBl 17. Williams, K. Leander, DB386. Williams, Lawton, A12, A13, A40; S36.

Williams, Richard, GB43. Williamson, Sonny Boy, A46. Willman, Chris, DB130, DB165, DB207, DB251, DB355; GB185. Willner, Hal, M88, Ml85; DB204; GB270. Wills, Bob, A40; S40. WiUwerth,!, GBll. Wilonsky, Robert, DB310. Wilson, Brian, 8, 9; S92; M42; VI7; See also: Beach Boys, The. Wilson, Tony, M59. Winchester, Jesse, A45. Winer, Laurie, 10; GB467. Winer, Norm, GB475. Winner, Langdon, DB62; GB82. Winstanley, Alan, 5; A17, A18, A19, A20, A43, A44; S48, S49, S50, S51, S52, S53, S54, S55, S56, S57, S58, S59, S60, S61, S62, S63;M17. Wolk, T-Bone, A25, A29, A46; See also: Confederates, The. Wonder, Stevie, A53, A55; Ml70. Woolrich, John, GB388. Worm, Maurice, See: Nieve, Steve. Wreckless Eric, M4; VI. Wright, Christian, DB282; GBl96, GB335. Wright, Gavyn, A29. Wyatt, Robert, M105, M106. Wyman, Bill, DB297, DB335. Wynette, Tammy, GBl83. Yachts, The, A7. Yaffe, David, GB425. Yates, Robert, GB378, GB393. Yeats, W.B., S93, S94, S95. Young, Jon, DBl8, DB52, DB69. Young, Neil, GB3 53. Zacharek, Stephanie, DB346, DB380. Zamitt, Dave, SI06. Zeller, Craig, DB54. Zimmerman, David, DB389. Zimmerman, Robert, See: Dylan, Bob.

About the Author JAMES PERONE is Assistant Professor of Music and Chair of the Music Department at Mount Union College. His previous books include Howard Hanson: A Bio-Bibliography (Greenwood, 1992), Musical Anthologies for Analytical Study: A Bibliography (Greenwood, 1995), Orchestration Theory: A Bibliography (Greenwood, 1996), Harmony Theory: A Bibliography (Greenwood, 1997), and Form and Analysis Theory: A Bibliography (Greenwood, 1998).


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