Elvis Costello, born Declan MacManus, is a name synonymous with sharp wit, musical innovation, and an impressive catalog of songs that span genres and decades. The moniker itself, adopted around the time of Elvis Presley’s death, was initially a stroke of marketing luck, adding a rebellious edge to the emerging artist. While some might have seen the timing as insensitive, it perfectly complemented Costello’s persona as a fiery and intellectual newcomer. The anecdote, whether true or embellished, about NME considering an “Elvis vs Elvis” editorial only underscores the immediate buzz and controversy surrounding him.
Costello’s rise wasn’t overnight. Years spent grinding in pubs like the Half Moon in Putney, playing weekly gigs for a pittance, honed his craft. By the time Stiff Records signed him, he was a fully formed artist, blending erudite lyrics with raw energy. His debut single, “Less Than Zero,” perfectly encapsulated this, a scathing attack on British fascist leader Oswald Mosley. Costello himself admitted it was “more of a slandering fantasy than a reasoned argument,” fueled by a recent TV documentary that presented a nostalgic view of Mosley’s Blackshirts. Interestingly, the song title resonated across the Atlantic, inspiring Bret Easton Ellis to name both his debut novel and its sequel after it, even pluralizing Costello’s album title Imperial Bedroom for the latter. “Less Than Zero” the single is undeniably catchy, bordering on manic, and its raw simplicity aligned with the burgeoning punk movement. In contrast, more musically complex tracks like “Wave a White Flag,” with its 1940s influences, were initially overlooked.
1. Less Than Zero
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“Less Than Zero” is more than just a debut single; it’s a statement of intent. The song’s aggressive energy and politically charged lyrics immediately established Costello as a force to be reckoned with. The driving rhythm and Costello’s sneering vocals create a sense of urgency and anger, perfectly capturing the rebellious spirit of the late 70s. While the lyrical target, Oswald Mosley, might be specific to British history, the song’s broader themes of political disillusionment and social commentary resonate universally. Its inclusion in Bret Easton Ellis’s literary works further cements its cultural impact, bridging music and literature.
2. Radio Radio
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Costello’s backing band, The Attractions, proved to be a crucial element in his sound. Formed somewhat fortuitously, they debuted on his hit single “Watching the Detectives,” a track echoing The Clash’s energy. By the This Year’s Model album sessions, their chemistry was undeniable, churning out classics like “Pump It Up” and “(I Don’t Want to Go to) Chelsea” with remarkable speed and precision. “Radio Radio,” a song resurrected from Costello’s pre-punk band Flip City, was revitalized to critique the very media that was promoting him. “And the radio is in the hands of such a lot of fools,” he snarls, highlighting his distrust of mainstream media’s power to manipulate. With its infectious hook, pounding beat, and Steve Nieve’s signature swirling organ, the song was tailor-made for performance. The band famously performed it on Top of the Pops, directing the pointed lyrics at host Tony Blackburn. The controversy escalated when Costello and The Attractions played “Radio Radio” on Saturday Night Live in the US, defying the show’s planned song, “Less Than Zero.” This act of rebellion resulted in a temporary ban from the show, lasting a symbolic 12 years, further solidifying Costello’s reputation as an uncompromising artist.
3. Oliver’s Army
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Alt text: Elvis Costello Oliver’s Army performance 1979, Kenny Everett Video Show, Elvis Costello and The Attractions on stage.
Growing up a Beatles devotee, Costello must have been thrilled when Paul McCartney reached out in 1987 for a songwriting collaboration. While McCartney’s own protest song, “Give Ireland Back to the Irish,” was arguably weak, Costello demonstrated his protest songwriting prowess with “Oliver’s Army.” Its brilliance lies in its subtlety; many listeners initially missed its anti-colonial and anti-war message. Instead, they were drawn to the irresistible melody, singalong chorus, and Steve Nieve’s piano, reminiscent of Abba’s “Dancing Queen.” This catchy accessibility propelled it to No. 2 in the UK charts. Despite its popularity, “Oliver’s Army” is a scathing commentary on British imperialism and the recruitment of working-class youth into the army. The controversial lyric “one more widow, one less white nigger” went largely unnoticed at the time, but Costello’s subsequent use of a racial slur in a drunken argument in 1979 caused significant damage to his US reputation. While he initially defended himself, he has since expressed regret for his actions. According to Graeme Thomson’s biography, Complicated Shadows, the band initially considered “Oliver’s Army” a B-side contender, showcasing the song’s unexpected journey to becoming a hit and a defining Elvis Costello song.
4. Man Out of Time
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As the 1980s progressed, Costello’s “angry young man” persona began to evolve. While flashes of his earlier anger remained, directed at figures like Margaret Thatcher and former bandmate Bruce Thomas, his music became more introspective. By the time he recorded Imperial Bedroom in 1982 with Beatles engineer Geoff Emerick, Costello, approaching 28, was exploring new musical territories. He later reflected on this period, acknowledging a shift away from prioritizing tempo and aggression towards nuanced songwriting. “Man Out of Time,” from Imperial Bedroom, exemplifies this change. It’s a slower, more deliberate track, driven by a Dylanesque Wurlitzer organ and a noir-tinged narrative about a politician embroiled in a sex scandal. The lyrics are characteristically sharp and witty, as seen in the couplet: “H’s got a mind like a sewer and a heart like a fridge / He stands to be insulted and he pays for the privilege.” Imperial Bedroom marked a period of artistic maturation for Costello, with “Man Out of Time” serving as its introspective centerpiece. While Costello’s ambition sometimes led to overcomplicated arrangements, “Man Out of Time” strikes a perfect balance, showcasing his evolving songwriting prowess.
5. Shipbuilding
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“Shipbuilding” stands as another powerful Elvis Costello protest song, this time addressing the Falklands War. It poignantly connects the pride of a thriving shipbuilding industry with the tragic reality of sending working-class sons to war. Costello himself has repeatedly lauded “Shipbuilding” as one of his finest lyrical achievements. The music, composed by Clive Langer with Robert Wyatt in mind, was initially recorded by Wyatt. However, Costello’s version, produced by Langer for the Punch the Clock album, arguably surpasses Wyatt’s rendition, largely due to Chet Baker’s haunting trumpet solo. Bruce Thomas described Baker’s contribution as deeply moving, highlighting the raw emotion conveyed by the “wizened corpse on death’s door” through his simple yet soulful playing. “Shipbuilding” is a testament to Costello’s ability to blend political commentary with profound human emotion, creating a song that is both timely and timeless, and a key track in any exploration of Elvis Costello Songs.
6. I Want You
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Costello has often expressed admiration for artists who convey a sense of desperation in their work, citing figures like Bruce Springsteen, Van Morrison, and Jeff Buckley. Perhaps Costello’s own most desperate and unsettling song is “I Want You.” This intensely personal narrative delves into the dark territory of obsession. It begins deceptively, like a lullaby, before morphing into a disturbing portrayal of unwelcome desire. The verses, delivered over muted chords, barely conceal the narrator’s simmering anger and desperation. Each verse intensifies the unsettling atmosphere, escalating the sense of unease with the repeated refrain “I want you.” The lyrics are visceral and claustrophobic, creating a sense of invasion and discomfort. Lines like “It’s knowing that he knows you now after only guessing, It’s the thought of him undressing you or you undressing,” are chillingly direct. Despite its unsettling nature, the song’s melody is undeniably compelling, drawing the listener into its disturbing world. “I Want You” showcases Costello’s willingness to explore uncomfortable emotional depths, making it a standout track in his catalog.
7. Veronica
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If Costello was adept at embedding complex and often dark themes into commercially successful songs, “Veronica” is a prime example. This 1989 hit subtly addresses the sensitive subject of Alzheimer’s disease. The song’s narrative is inspired by Costello’s grandmother, Mabel, whose middle name was Veronica. The lyrics paint a poignant picture of her fragmented memories and the disorienting nature of the disease: “She’d talk about who knows what and the next minute it’d be 40 years later.” The chorus, instantly memorable and emotionally resonant, becomes profoundly moving when understood in the context of the song’s subject matter. “Veronica” was a collaboration with Paul McCartney, who co-wrote the song and played Hofner bass on the track. While the Flowers in the Dirt album, their larger collaborative project, faced production challenges and Costello’s contributions were somewhat diluted, “Veronica” remains a testament to their songwriting partnership and Costello’s ability to tackle difficult subjects with sensitivity and melodic brilliance.
Alt text: Elvis Costello Paul McCartney 1999 performance, Costello and McCartney smiling on stage together.
8. The Other Side of Summer
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In 1991, Costello released Mighty Like a Rose, an album notable for his adoption of a beard, a stark contrast to his clean-shaven punk era image. During the writing process, Costello experimented with computer software, which may explain the album’s dense arrangements and layered melodies. “The Other Side of Summer,” the opening track, exemplifies this sonic complexity. It’s a sardonic pastiche of Brian Wilson’s style, a biting critique of Los Angeles culture and environmental degradation. Costello’s lyrics are laced with sarcasm: “From the foaming breakers of the poisonous surf, to the burning forests in the hills of Astroturf.” The song carries an undercurrent of environmental concern, culminating in the apocalyptic warning: “Goodnight, God bless, and kiss goodbye to the earth.” Many lyrics on Mighty Like a Rose reflect similar apocalyptic themes, sometimes bordering on paranoia, as seen in “Hurry Down Doomsday (The Bugs Are Taking Over).” While the album’s dense production and Costello’s beard might have obscured some lyrical clarity, “The Other Side of Summer” stands out as a brilliantly crafted song, showcasing his ability to blend complex arrangements with sharp social commentary.
9. London’s Brilliant Parade
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In the ever-evolving world of rock and roll, comeback narratives are commonplace. Costello’s forays into classical music and his album for Wendy James had, for some, diverted attention from his core rock work. Therefore, the news of him reuniting with Nick Lowe and former Attractions members for Brutal Youth was met with considerable anticipation. While the “reunion” aspect was perhaps overemphasized, Brutal Youth proved to be a career highlight. Tracks like “Still Too Soon to Know,” “Kinder Murder,” and “Sulky Girl” are all standouts. “London’s Brilliant Parade” earns its place on this list as a nostalgic and tender love letter to a bygone London, largely devoid of Costello’s characteristic cynicism. The lyrics evoke a cinematic nostalgia, painting a vivid picture: “She’s one of those girls that you just can’t place / You feel guilty desiring such an innocent face, but of course they knew that when they cast her / Along with the red Routemaster.” “London’s Brilliant Parade” is a glorious example of Costello’s songwriting versatility, showcasing his ability to move beyond irony and deliver genuine emotional resonance.
10. When I Was Cruel No 2
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When I Was Cruel, released in 2002, was hailed as another return to form, or at least a reaffirmation of Costello’s core musical identity. Introducing his new band, The Imposters, the album also showcased his burgeoning interest in looped drumbeats, most notably on the epic “When I Was Cruel No 2.” This seven-minute track ventures into ambient and trip-hop territories, featuring repetitive loops and a ghostly female vocal sample reminiscent of Serge Gainsbourg and Brigitte Bardot’s “Bonnie & Clyde.” Released on Def Jam, When I Was Cruel reflected Costello’s growing fascination with hip-hop, which later culminated in a collaboration with The Roots in 2013. While Costello has explored diverse musical landscapes throughout his career, his acerbic and intelligent rock and roll remains his defining strength. This list primarily focuses on his rock-oriented work because, despite his eclecticism, it is arguably where Elvis Costello truly excels and has made his most lasting impact.
This selection of ten songs only scratches the surface of Elvis Costello’s rich and varied discography. From punk-infused anthems to introspective ballads and genre-bending experiments, his catalog is a testament to his enduring creativity and lyrical genius. Exploring these ten tracks offers a compelling entry point into the world of Elvis Costello, a world that continues to reward repeated listens and deeper exploration.
