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Charted: Feb. 25, 1989

Rating: 3.156 (average of 9 ratings)

Genre: new wave

Quotable: --

Album Tracks:

  1. This Town
  2. Let Him Dangle
  3. Deep Dark Truthful Mirror
  4. Veronica
  5. God’s Comic
  6. Chewing Gum
  7. Tramp the Dirt Down
  8. Stalin Malone
  9. Satellite
  10. Pads, Paws and Claws
  11. Baby Plays Around
  12. Miss Macbeth
  13. Any King’s Shilling
  14. Coal-Train Robberies
  15. Last Boat Leaving


sales in U.S. only ˝ million
sales in U.K. only - estimated --
sales in all of Europe as determined by IFPI – click here to go to their site. --
sales worldwide - estimated ˝ million


peak on U.S. Billboard album chart 32
peak on U.K. album chart 5

Singles/Hit Songs:

  • Veronica (2/4/89) #19 US, #31 UK, #10 AR, #1 MR
  • This Town (4/8/89) #41 AR, #4 MR
  • Baby Plays Around (5/20/89) #65 UK

Elvis Costello
“Following a pair of near-masterpieces in 1986, Elvis Costello went into semi-seclusion, separating from the Attractions (once again) and Columbia Records, emerging three years later on Warner Brothers with Spike. Mockingly billing himself as ‘the Beloved Entertainer’ on the album’s front cover, there’s nevertheless a real sense of showbiz pizzazz here, as he tries on a little bit of everything. You like Costello the soul singer? Try Deep Dark Truthful Mirror, recorded with the Dirty Dozen Brass Band. Costello the pop sophisticate? How about the torch song Baby Plays Around or God’s Comic, a tune that mocks Andrew Lloyd Webber, while aching to eclipse him. The angry young man? There’s Tramp the Dirt Down, perhaps the nastiest anti-Thatcher song ever waxed. Costello the witty wordsmith? Well, there’s Pads, Paws and Claws, a rockabilly tune overflowing with labored puns. Costello the gifted pure pop tunesmith? There’s plenty of that here, from This Town with Roger McGuinn and Paul McCartney and the lovely Veronica, a tune co-written with McCartney that became one of his biggest hits” (Erlewine).

“So, there’s a lot here – everything except focus, actually. And Costello certainly likes to indulge himself here, throwing in the awkward Chewing Gum and the instrumental Stalin Malone for good measure. There are some moments that work quite well, but there’s nothing connecting them, and if anything, he’s trying way too hard – and, for all of the overarching ambition of his early-‘80s recordings, that criticism never applied before. Certainly, there are cuts for cultists to enjoy, but Spike’s sprawl works against it, resulting in a maddeningly diffuse listen” (Erlewine).

Review Source(s):

Last updated January 18, 2009.