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It has always mystified me that the same sonic disparity that critics had decided marked "Imperial Bedroom" as a great record was largely considered a liability on this record. The arrangements here always seem to support the songs well; giving an understated, folk-protest feel to the acerbic anti-Thatcher diatribe "Tramp The Dirt Down"; bluesy piano for the superb "Deep Dark Truthful Mirror"; spare, nervous bursts of noise on "Pads, Paws & Claws" (one of two songs co-written with Paul McCartney on the record); or the all-out studio gloss of "Satellite" and the aforementioned "Veronica." It never feels as if a horn section was added superfluously, or an orchestra was thrown in simply because he had the budget for it. The songwriting is top-notch, and the arrangements are judiciously eclectic.

My only real criticism of the proper album is rather nit-picky: it's so long that the last three songs have always felt like some sort of extended post-script. The songs are fine when I listen to them, but they've never sunk into my subconscious the way the rest of the album has.

As for this bonus disc with this new Rhino reissue, it gives an interesting insight into the album that could've been. Only five of the seventeen songs on the disc are not represented on the first disc. Consisting almost entirely of guitar-and-voice demos, these tracks highlight how strong the songs are, and that Elvis did not have to resort to studio indulgences to prop up weak material. In fact, if you were one of those who thought of "Spike" as too scattered, you may prefer these stripped versions to some of the final takes. Elvis's liner notes in the expanded booklet make for interesting reading, too. Rhino once again earns my vote as the vanguard label for high-quality reissues.

In short, "Spike" is an excellent album that, in my opinion, stands toe-to-toe with his most critically acclaimed work.


One of the best records to ever feature a Sousaphone!   November 21, 2003
 9 out of 11 found this review helpful

I remember being completely bowled over when this album came out, to the point that I wedged "Veronica" onto the radio station playlist I worked for at the time and giving copies of the CD to a whole mess of people on my Holiday Gift list that year. In the dozen years since its original release, my appreciation of "Spike" has not diminished in the least.

Stylistically (and from the liner notes, geographically) all over the map, it holds together almost on the sheer force of the songwriting. Freed from Sony/CBS, he embarked on a record that was easily as ambitious as "Imperial Bedroom," but this time with a greater cast of players. "This Town," the disc's opener, featured Paul McCartney playing a trademark propulsive bass line and Roger McGuinn on his 12 String Rickenbacker. It kicks the album off with a bitter rant worthy of the trinity of Elvis' first three albums and a classic put down line "You're nobody till everybody in this town thinks you're a ba...rd."

But that kind of bitterness is nothing compared to "Tramp The Dirt Down," quite simply the angriest, harshest anti-Thatcher rant ever laid to tape. It is also, oddly enough, set to a gorgeous arrangement that includes Irish fiddles, pipes and a bouzouki. It may also be the saddest song EC has ever recorded. "God's Comic," in comparison, is almost cinematic in its scope and nearly as marvelously arranged. "God's Comic" is as wickedly sly in its humor as "Tramp The Dirt Down" is critically indicting.

Oh yes, and The Dirty Dozen Brass Band made "Spike" field such marvelous curves in "Deep Dark Truthful Mirror," "Stalin Malone," and the aforementioned referenced Sousaphone on "Chewing Gum." New Orleans piano legend Allen Toussaint's playing on "Mirror" is one of the many of "Spike's" instrumental highlights.

Of the six CD's Elvis recorded for the WB, "Spike" was the best. Rhino's addition of a cleaned up mix makes it indispensable. As for the bonus disc, it is basically a blueprint of the album, plus B-sides of singles, the most noteworthy of which was the well known "You're No Good." This belongs in your library.


Driving In The Spike   April 17, 2002
 5 out of 7 found this review helpful

1989's Spike was Elvis Costello's first release for Warner Brothers and on it he collaborated with another famous English songwriter, Paul McCartney. It is an interesting team because it reminds one of the Lennon-McCartney team with Mr. Costello playing the cynical, vicious side to Mr. McCartney's optimistic, upbeat side. The first song they team up on is "Veronica" which became Mr. Costello's biggest hit in the U.S. The song is a look at Alzheimer's Disease but it's dark subject matter is masked by a bright and catchy melody (obviously Mr. McCartney's influence). Their second song is a bit of a throwaway, "Pads, Paws & Claws". Mr. McCartney also shows up on the album's opener, "...This Town", playing some great bass. The two continued the partnership on Mr. McCartney's Flowers In The Dirt album. The rest of Spike is a fine release including the acidic "Deep Dark Truthful Mirror", "God's Comic", "Tramp The Dirt Down" and "Any King's Shilling".


An overlooked masterpiece gets a new coat of paint   August 23, 2001
 4 out of 6 found this review helpful

When "Spike" came out, it signalled a major change in direction for EC. Obviously influenced by Tom Waits' mid-80's recording, EC even hired some of Mr. Waits' best sidemen. In fact, the presence of the great Marc Ribot on guitars is but one of the many treats this album offers. Elvis got really experimental on many of these tracks, stretching with long songs, complicated structures, tempo changes etc. But, the album still manages to cohere in a meaningful way. Stylistically, it's all over the place-- the country-blues thunder of "let him dangle", the glossy pop of "Veronica", the creepy show-tune-like "God's Comic"... the list goes on. My personal highlights are "Tramp the Dirt Down": one of the most angry and hate-filled political songs ever recorded-- but also one of the most beautiful and emotionally charged. Also, check out the simple, sad heartbreak probed on "baby plays around". There really isn't bad track on the disc. As a bonus, disc 2 features and hour's worth of demos, outtakes, etc. which are welcome and interesting.


Rhino re-releases a gem   September 5, 2001
 4 out of 4 found this review helpful

I am a huge EC fan and I own every album he has put out. This one has always been in the top five for me. Spike was an album I listened to not only for the great lyrics and music but it felt like I was getting an education as well. This album took experimental leaps and bounds that are still very fresh and daring today. "God's Comic", ".....This town...." and "Deep dark truthful mirror" are standouts among a truly great set. It was surprising to me that in the liner notes Elvis said that he thought the album might have been one of his most obscure if not for the "Veronica" single. I listen to this one so much more than a lot of his better known records it is impossible for me to not think of this as a classic. This also provided me with a blueprint to follow in finding other music. I "discovered" Marc Ribot, Mitchell Froom, and that whole entourage that made some great albums in the 1990's. The bonus disc contains some nice no-frills versions of the songs plus a donwright creepy version of "You're no good".