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Elvis Costello
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Elvis Costello When I Was Cruel

Release Date: Apr 23, 2002
Record Label: Island Records (USA)
Personnel includes: Elvis Costello (vocals, arranger, electric guitar, Spanish guitar, harmonica, melodica, piano, Fender Rhodes piano, harmonium, bass, cymbals, loops); Steve Nieve (melodica, piano, Clavinet, Hammond B-3 organ, keyboards, vibraphone); Roy Nathanson (alto saxophone); Jay Rodriguez (tenor saxophone); Ku-umba Frank Lacy (trumpet, flugelhorn); Curtis Fowlkes (trombone); Bill Ware (vibraphone); Davey Faragher (bass); Pete Thomas (drums, shaker, tambourine, percussion); Leo Pearson (tabla, programming); Steven Kennedy (background vocals).
Producers include: Elvis Costello, Ciarin Cahill, Leo Pearson, Kieran Lynch.
Recorded at Windmill Lane, Dublin, Ireland; Avatar Studios, New York, New York.
WHEN I WAS CRUEL was nominated for the 2003 Grammy Awards for Best Rock Album. "45" was nominated for the 2003 Grammy Awards for Best Male Rock Vocal Performance.
Though he was involved in worthy collaborations (Burt Bacharach, Anne Sofie Von Otter in the interim, the notoriously prolific Elvis Costello didn't release a proper solo album between 1996's triumph ALL THIS USELESS BEAUTY and this 2002 effort, the longest gap of his career. WHEN I WAS CRUEL is a return to visceral, rock-oriented production and songwriting after the more complex, sophisticated pursuits of his aforementioned collaborative works, and one can feel Costello's joy at getting back to his roots for a while. The maturation of the previous decade isn't invisible here--this is not the sturm und drang of THIS YEAR'S MODEL (or even BLOOD & CHOCOLATE), but this as electric-guitar-based as latter-day EC gets, and the likes of "Tear Off Your Own Head" and "Daddy Can I Turn This" are as hard-hitting as anything he's done.
Two-thirds of the Attractions (occupying the drum and keyboard stools) are on hand to provide that classic sound, but new arrival Davey Farragher impressively emulates disgruntled bassist Bruce Thomas's McCartney-on-speed licks. Tasteful horns add effective coloring to the quartet sound, and Costello's own tremolo-drenched guitar has never been so prevalent. Despite a couple of long, moody songs (the title track and the closing "Radio Silence"), the overwhelming feeling here is one of unbridled energy of the sort Costello hadn't let out for quite a while. "Every Elvis has his army," sings Mr. Costello on "Episode of Blonde," and it appears that his is well trained enough to mobilize effectively even after long periods of rest.


Editorial reviews
Included in Rolling Stone's 50 Best Albums of 2002
Rolling Stone (12/26/2002)

...Costello has blessed us with a motherlode of tunes, concetrating on crafting self-proclaimed rowdy rhythm ballads shaded with subtle textures and vibes...
CMJ (04/29/2002)

6 out of 10 - ...CRUEL is ultimately a welcome return to the office...
Alternative Press (06/01/2002)

6 out of 10 - ...There are reassuringly unhealthy signs of life...
NME (04/20/2002)

...Costellar...
Mojo (05/01/2002)

3 out of 5 stars - ...Raw and lengthy....the veins at Costello's temples are throbbing again...
Q (04/01/2002)

7 out of 10 - ...The professor [has] his groove back....46-year-old Elvis sneers, snipes, and snaps like it's '77....the music-ranging from twangy jazzisms...to raucous blues rock...lets Costello honor his roots...
Spin (05/01/2002)

4 out of 5 stars - ...Costello still records...with care and creativity....WHEN I WAS CRUEL is a collection of tough tunes and textures that recalls-but doesn't recycle-the records that endeared him to his earliest admirers...
Rolling Stone (05/09/2002)

Ranked #4 on CMJ's Top 10 of 2002
CMJ (12/30/2002)

Ranked #2 on EW's list of 2002's Albums of the Year - ...Packed with bristling spews, noir soundscapes, and cutting autobiographical sketches that reveal a man grappling with the onset of middle age...
Entertainment Weekly

Ranked #33 in Mojo's Best Albums of 2002
Mojo (01/01/2003)

Elvis Costello Brutal Youth

Release Date: Mar 04, 1994
Record Label: Warner Bros. Records

This is a used cd in excellent condition

BRUTAL YOUTH is packaged with a 28-page booklet that includes rare photos and printed song lyrics.
Personnel includes: Elvis Costello (vocals, guitar, piano, bass); Steve Donnelly (guitar); Andy Findon (piccolo); Steve Nieve (piano, harmonium, organ, keyboards); Bruce Thomas, Matt MacManus, Nick Lowe (bass); Pete Thomas (drums, percussion).

Recorded between 1992 and 1996. Originally released on Warner Brothers Records (45535). Includes liner notes by Elvis Costello.
After the rococo indulgences of MIGHTY LIKE A ROSE, Costello decided to return to his roots with BRUTAL YOUTH. Re-uniting with the Attractions, whose quirky, angular sound powered his finest albums, Elvis scaled down the arrangements to a more manageable level and brought his songwriting back to basics as well. The tunes here were the closest he'd come to rock & roll in several years, and there's a feeling of abandon that energizes the proceedings. As in the glory days, Steve Nieve's spindly keyboards provide most of the instrumental color as Elvis sings his spleen out on hard-hitting tunes like "Kinder Murder" and "13 Steps Lead Down." The black humor of "This is Hell" recalls the career-peak songwriting of Costello's SPIKE days, and the British Invasion-style raveup "Just About Glad" steals the show while exposing Costello's '60s influences.
This is a bracing set, picking up as if eight years hadn't even passed since their previous outing (BLOOD & CHOCOLATE). Now expanded to a two- disc set, it's rich with alternate or early versions, a couple previously released B-sides (including the brilliant "Life Shrinks"). The version of "Favourite Hour" (the song from which came the album's title) recorded at an earlier session shows it to be brilliantly close to Procol Harum. While the formative takes offer some potent glimpses of the arrangement process, the officially released versions are a testament to Costello knowing what he was after. In addition, his liner notes are revealing and--not surprisingly--very well written.


Editorial reviews
Ranked #31 in the Village Voice's 1994 Pazz & Jop Critics Poll.
Village Voice (02/28/1995)

3 Stars - Good - ...yet another avalanche of wordplay and woodshedding, of lyrics rushing into each other and instruments vying for musical space....
Rolling Stone (03/24/1994)

...a return to Mr. Costello's earliest, rawest method of record making....Brutal Youth consists of skillful, enjoyable songs...what increases their worth is the slashing interplay between his vocal performances and the blasting noise of the Attractions...
New York Times (03/13/1994)

...he refines and clarifies his art by focusing sharply on what he does best--boring through the thicket of human interactions with lacerating wit and a musical attack to match...From start to finish, BRUTAL YOUTH reveals an artist fully in control....This Elvis, I'm pleased to note, has not left the building...
Stereo Review (07/01/1994)

...a long hoped-for return to form...
Audio Magazine (06/01/1994)

...this is an emotional whirlwind, a disciplined stab at perfection of form, a jaded howl of unabated anguish and a bloody good beat record....
Melody Maker (02/26/1994)

...For those alienated by his C&W and classical forays, this is a reminder of the black-hearted virtuoisty they fell for in the forst place. - Rating: A-
Entertainment Weekly (02/22/2002)

...[Elvis] alone can answer whether it was the return of the Attractions which got his bark biting again, or simply their proximity. Either way, it reminds us why we loved him in the first place and he still hates us in return....
Alternative Press (04/01/1994)

Elvis Costello North

Release Date: Sep 23, 2003
Record Label: DG Deutsche Grammophon (USA)
Great CD & DVD in MINT condition

Personnel: Elvis Costello (vocals, piano); Pamela Sklar (alto flute); John Moses (clarinet); Roger Rosenberg (bass clarinet); Dave Mann, Lee Konitz (alto saxophone); Andy Snitzer (tenor saxophone); Lew Soloff (flugelhorn); Bobby Routch, Bob Carlisle (French horn); Conrad Herwig, Dave Tahlor (trombone); Steve Nieve (piano, celeste); Bill Ware (vibraphone); Michael Formanek, Brad Jones (bass); Peter Erskine (drums); Brodsky Quartet.
Recorded at Nola Studios, Avatar Studios, New York, New York and Air Studios, London, England.
NORTH was nominated for the 2004 Grammy Award for Best Engineered Album, Non-Classical.
This limited edition includes a bonus DVD.
Few artists in pop history have displayed as many different musical sides as Elvis Costello. Over the years, he's ventured in new wave, country, jazz, R&B, and more, and collaborated with everyone from Burt Bacharach to opera star Anne Sofie Von Otter. So those who've followed his twists and turns shouldn't be taken aback by EC following his excellent, groove-based rock album WHEN I WAS CRUEL with a disc full of gently orchestrated piano ballads.
This is Costello's debut release on the classical Deutsche Grammaphon label, and though he's ventured into the classical world on such projects as his JULIET LETTERS album with the Brodsky Quartet, this is a different beast. With a muted backing that splits the difference between jazzy combo and modern orchestra, NORTH finds Costello aiming for a modern variation on the classic standard format. Using traditional structures, he spices things up by adding seemingly Schubert-inspired art song-like harmonies and melodic intervals. The lyrics follow a man on the path from romantic disillusionment to the sparks of a new love, mirroring the songwriter's personal journey at the time of the recording. The only question at the end is--where to next?
NORTH, his first full-length foray into jazz crooning, should eventually be regarded as the apex of the 49-year-old musical chameleon's mid-career. JazzTimes (11/01/2003)

Elvis Costello Imperial Room

Release Date: Aug 30, 1994
Record Label: Rykodisc USA

Great 1987 Columbia CD in MINT condition

Full performer name: Elvis Costello & The Attractions.
Elvis Costello & The Attractions: Elvis Costello (vocals, guitar); Steve Nieve (accordion, keyboards); Bruce Thomas (bass); Pete Thomas (drums, percussion).
Recorded at Air Studios, London, England. Includes liner notes by Elvis Costello.
All tracks have been digitally remastered.
Elvis clearly had a lot to get off his chest on this album dealing with emotional turmoil. While much of its lyrical brilliance deals with his thoughts, a small percentage slipped through with which we mortals could empathize. Now, having shown us he can tackle humour, politics and romance like no other, Imperial Bedroom was his most substantial album, as the issues covered will always be relevant and important. Chris Difford pitched in with one composition, `Boy With A Problem'; perhaps Elvis found it too painful to write so directly about himself? Every track is powerful, simply read the lyrics. A gigantic record.


Editorial reviews
Ranked #38 in Rolling Stone's 100 Best Albums Of The 80s survey.
Rolling Stone Magazine (11/01/1989)

5 Stars - Indispensable - ...Costello's masterpiece. Rich in musical styles, baroque, Beatlesque and unstoppable...the most endlessly rewarding of all Costello's albums...
Q Magazine (11/01/1994)

Ranked #41 in NME's list of The 50 Greatest Albums Of The '80s.
New Musical Express (09/25/1993)

Ranked #38 in Rolling Stone's 100 Best Albums Of The 80s survey. Q Magazine (11/94, p.136) - 5 Stars - Indispensable - ...Costello's masterpiece. Rich in musical styles, baroque, Beatlesque and unstoppable...the most endlessly rewarding of all Costello's albums...New Musical Express (9/25/93, p.19) - Ranked #41 in NME's list of The 50 Greatest Albums Of The '80s.
Rolling Stone (11/01/1989)

Ranked #38 in Rolling Stone's 100 Best Albums Of The 80s survey. Q Magazine (11/94, p.136) - 5 Stars - Indispensable - ...Costello's masterpiece. Rich in musical styles, baroque, Beatlesque and unstoppable...the most endlessly rewarding of all Costello's albums...New Musical Express (9/25/93, p.19) - Ranked #41 in NME's list of The 50 Greatest Albums Of The '80s.Uncut (01/03, p.138) - 5 stars out of 5 - ...It's baroque majesty still thrills....Elegant, expansive, knotted with concealed emotional conflict, exciting, beautiful...
Rolling Stone (11/01/1989)

Elvis Costello Mighty Like A Rose

Released: May 14, 1991
Label: Warner Bros. Records

This is a used cd in excellent condition

Personnel: Elvis Costello (vocals, guitar, keyboards); Jim Keltner (vocals, percussion); Richard Page, Steve Soles, Steve George (vocals); Marc Ribot (guitar, banjo, cornet, Eb horn); James Burton (guitar); Nicholas Bucknall (clarinet); Richard Morgan (oboe); Andrew Findon (flute); Simon Rayner (French horn); Neil Levesly (bassoon); Roger Lewis (baritone saxophone); Ross MacManus (trumpet); Charles Joseph (trombone); Kird Joseph (sousaphone); Benmont Tench (tack piano); Mitchell Froom, Larry Knetchel (keyboards); T-Bone Wolk, Jerry Scheff, Nick Lowe, Rob Wasserman (bass); Pete Thomas (drums, percussion); Jenell Marshall, Lionel Batiste (snare & parade drum).
Producers: Mitchell Froom, Kevin Killen, D.P.A. MacManus.
Recorded at Ocean Way, Hollywood, California and Westside Studios, London, England.
By the early '90s, Elvis Costello had forgotten more about songcraft and record production than most musicians would ever learn, earning him titles like "modern-day Gershwin."  MIGHTY LIKE A ROSE is where he starts showing off his smarts.  It's far and away Elvis' most elaborate effort, both in terms of composition and arrangement, making his collaboration with the Brodsky Quartet sound like a Ramones album.  Aided by Mitchell Froom and innovative guitarist Marc Ribot, Costello turns out arty, harmonically sophisticated tunes that never go where you expect them to, either musically or lyrically.  Ironically, it's the simplest tunes on what could fairly be called Costello's SERGEANT PEPPER that make the most impact, like the very Leonard Cohen-ish "After the Fall" and the elegant melancholy of the McCartney collaboration "So Like Candy."

Editorial reviews

5 Stars - Indispensable ..unleashes the barking mad but inspired Costello of TRUST, IMPERIAL BEDROOM and BLOOD AND CHOCOLATE, where the chainsaw slashes through dictionary and the tunes pile on pastiche and parody...Bitter and twisted...inventive music with cryptic meanings...Classic Costello, perhaps even his best yet.. One of Q Magazine's 50 best albums of 1991. Musician (5/91) ...probably his best album in years...A significant move forward for Costello...sprawling and dense musically and lyrically, it at once contains Costello's punchiest melodies since ARMED FORCES and some of his most convoluted ever..
Q Magazine  (06/01/1991)

3.5 Stars - Good plus - ...contains some of the finest individual songs he's recorded...complex, well-crafted pop music...
Down Beat  (06/01/1991)

5 Stars - Indispensable ..unleashes the barking mad but inspired Costello of TRUST, IMPERIAL BEDROOM and BLOOD AND CHOCOLATE, where the chainsaw slashes through dictionary and the tunes pile on pastiche and parody...Bitter and twisted...inventive music with cryptic meanings...Classic Costello, perhaps even his best yet..One of Q Magazine's 50 best albums of 1991.Musician (5/91) ...probably his best album in years...A significant move forward for Costello...sprawling and dense musically and lyrically, it at once contains Costello's punchiest melodies since ARMED FORCES and some of his most convoluted ever..Down Beat (6/91) - 3.5 Stars - Good plus - ...contains some of the finest individual songs he's recorded...complex, well-crafted pop music...
Q Magazine  (06/01/1991)

5 Stars - Indispensable ..unleashes the barking mad but inspired Costello of TRUST, IMPERIAL BEDROOM and BLOOD AND CHOCOLATE, where the chainsaw slashes through dictionary and the tunes pile on pastiche and parody...Bitter and twisted...inventive music with cryptic meanings...Classic Costello, perhaps even his best yet..Mojo (12/02, p.126) - ...A very fine record...One of Q Magazine's 50 best albums of 1991.Musician (5/91) ...probably his best album in years...A significant move forward for Costello...sprawling and dense musically and lyrically, it at once contains Costello's punchiest melodies since ARMED FORCES and some of his most convoluted ever..Down Beat (6/91) - 3.5 Stars - Good plus - ...contains some of the finest individual songs he's recorded...complex, well-crafted pop music...
Q Magazine  (06/01/1991)


1. Other Side Of Summer, The
2. Hurry Down Doomsday (The Bugs Are Taking Over)
3. How To Be Dumb
4. All Grown Up
5. Invasion Hit Parade
6. Harpies Bizarre
7. After The Fall
8. Georgie And Her Rival
9. So Like Candy
10. Interlude: Couldn't Call It Unexpected No.2
11. Playboy To A Man
12. Sweet Pear
13. Broken
14. Couldn't Call It Unexpected Number 4

Elvis Costello Spike

Released: Aug 21, 2001
Label: Rhino Records (USA)

This is a used 2 CD set in excellent condition

The 2001 edition of SPIKE comes with a bonus disc of rare material including demos and alternative versions of songs.
Personnel includes: Elvis Costello (vocals, guitar, mandolin, keyboards, percussion); Chrissie Hynde (vocals); T-Bone Burnette (acoustic guitar, bass); Donal Lunny (guitar, bouzouki, bodhran); Marc Ribot (guitar); Steve Wickham, Frankie Gavin (fiddle); Derek Bell (Irish harp, tiompan); Davy Spillane (low whistle, Uilleann pipes); Roger Lewis (soprano saxophone, baritone saxophone); Kevin Harris (tenor saxophone); Gregory Davis, Efrem Towns (trumpet); Charles Joseph (trombone); Kirk Joseph (sousaphone); Allen Toussaint (piano); Mitchell Froom (harmonium, keyboards); Benmont Tench (keyboards); Nick Lowe, Paul McCartney (bass); Jim Keltner, Jerry Marotta, (drums); Ralph Forbers (electronic drums, programming); Cait O'Riordan (maracas, bells).
Producers include: Kevin Killen, T-Bone Burnett, Elvis Costello.
Recorded at Ocean Way, Hollywood, California; Southlake, New Orleans, Louisiana; Windmill Lane, Dublin, Ireland; Air Studios, London, England. Includes liner notes by Elvis Costello.
On his first album for Warner Brothers, Costello lived up to his new role as "the beloved entertainer", moving further away from his new-wave background with a sprawling collection of songs in a diverse range of musical styles. Spike takes in pure pop ("Veronica"), cod-funk ("Chewing Gum"), gospel ("Deep Dark Truthful Mirror"), Irish folk ("Any King's Shilling") and rockabilly ("Pads, Paws And Claws"), alongside the venomous politicizing of "Let Him Dangle" and "Tramp The Dirt Down". Not everything works, and in fact the strongest song on the album is the simple acoustic ballad "Baby Plays Around", co-written with his ex-wife Cait O'Riordan.

Editorial reviews
4 Stars - Excellent
Q  

3 stars out of 5 - ...His songs were as dark as ever....SPIKE reeks of ingenuity and the malice is positively forensic...
Rolling Stone - 4 Stars - ExcellentQ  (10/01/2001)

Ranked #17 in CMJ's Top 20 Most-Played Albums of 1989
CMJ  (01/05/2004)

DISC 1:
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

DISC 2:
1. Miss Macbeth - (demo)
2. This Town... - (demo)
3. Deep Dark Truthful Mirror - (demo)
4. Coal-Train Robberies - (demo)
5. Satellite - (demo)
6. Pads, Paws And Claws - (demo)
7. Let Him Dangle - (demo)
8. Veronica - (demo)
9. Tramp The Dirt Down - (demo)
10. Baby Plays Around - (demo)
11. Put Your Big Toe In The Milk Of Human Kindness - (demo)
12. Last Boat Leaving - (demo)
13. Ugly Things, The
14. You're No Good
15. Point Of No Return
16. Room Nobody Lives In, The
17. Stalin Malone - (vocal version)

Elvis Costello Punch the Clock

Released: Mar 07, 1995
Label: Rykodisc USA

Full performer name: Elvis Costello & The Attractions.
Elvis Costello & The Attractions: Elvis Costello (vocals, guitar, keyboards); Steve Nieves (piano, organ, keyboards); Bruce Thomas (electric bass); Pete Thomas (drums).
TKO Horns: Jeff Blythe (alto & baritone saxophones, clarinet); Paul Speare (tenor saxophone, flute); Dave Plews (trumpet); Jim Paterson (trombone).
Additional personnel: Stuart Robson (trumpet, flugelhorn); Chet Baker (trumpet); Morris Pert (percussion); Claudia Fontaine, Caron Wheeler (background vocals).
Producers: Clive Langer, Alan Winstanley, Allen Toussaint, Elvis Costello.
Principally recorded at AIR Studios, London, England in 1983.  Originally released on Columbia (38897).  Includes liner notes by Elvis Costello.
PUNCH THE CLOCK is Costello's most commercial, accessible pop album.  Producers Clive Langer and Alan Winstanley had brought chart success to other early-'80s Brits like Madness, and they endeavored to do the same with Elvis.  While an artiste like Costello proved not as easily malleable as their other clients, he was willing to meet his producers in the middle.  The results, while markedly slicker than any other EC album, are far from overblown or saccharine.  The arrangements add a bright pop sheen to R&B-influenced tracks like "Everyday I Write the Book" (the greatest song Smokey Robinson never wrote) and the bouncy, horn-driven "Let Them All Talk."  Tunes such as "Pills and Soap" and "Shipbuilding" showcase Elvis at his most socio-political, with cutting lyrics that skewer their subjects, and gorgeous, elegant melodies that belie the songs' ominous nature.

Editorial reviews
3 Stars (out of 5) - ...reflects the reluctant labour of its title and features a crisp pop soul production provided by early '80s favourites Langer/Winstanley which attempts to polish a set of overwroughtly arranged and generally hook-free Costello compositions...
Q Magazine  (05/01/1995)

 

Track listing

1. Let Them All Talk
2. Everyday I Write The Book
3. Greatest Thing, The
4. Element Within Her, The
5. Love Went Mad
6. Shipbuilding
7. TKO (Boxing Day)
8. Charm School
9. Invisible Man, The
10. Mouth Almighty
11. King Of Thieves
12. Pills And Soap
13. World And His Wife, The
14. Heathen Town
15. Flirting Kind, The
16. Walking On Thin Ice
17. Town Where Time Stood Still
18. Shatterproof
19. World And His Wife, The - (live)
20. Everyday I Write The Book - (live)

Elvis Costello The Delivery Man

Released: Sep 21, 2004
Label: Lost Highway Records
Track listing
1. Button My Lip
2. Country Darkness
3. There's A Story In Your Voice
4. Either Side Of The Same Town
5. Bedlam
6. Delivery Man, The
7. Monkey To Man
8. Nothing Clings Like Ivy
9. Name Of This Thing Is Not Love, The
10. Heart Shaped Bruise
11. Needle Time
12. Judgement, The
13. Scarlet Tide, The

Details
Producer: Dennis Herring, Elvis Costello
Distributor: Universal Distribution
Recording type: Studio
Recording mode: Stereo
SPAR Code: n/a

Album notes
Elvis Costello & The Imposters: Elvis Costello (vocals, guitar, ukulele, Wurlitzer piano, tambourine).
Personnel: Emmylou Harris (vocals); John McPhee (pedal steel guitar); Steve Nieve (melodica, piano, Wurlitzer piano, harmonium, organ, Hammond b-3 organ); Davey Faragher (Fender Rhodes piano, bass guitar); Pete Thomas (drums, percussion); Lucinda Williams.
Recording information: Delta Recording, Clarksdale, Mississippi; The Village Recorder, Los Angeles, California; Ocean Way Studios, Nashville, Tennessee.
In between Elvis Costello's 2003 album of jazzy, piano-based ballads (NORTH) and his 2004 album of orchestral, neo-classical compositions (IL SOGNO), rock's original Renaissance man somehow found the time to journey down to Oxford, Mississippi with his band the Imposters (essentially the Attractions with a different bassist) for the follow-up to his masterful 2002 pop album, WHEN I WAS CRUEL. There are some parallels to that record; a similar sense of raw immediacy, spare arrangements, and a couple of songs that echo WHEN I WAS CRUEL's churning, cyclical feel.
For the most part, however, THE DELIVERY MAN, with its prevalence of rootsy country and soul influences (and duets with Lucinda Williams and Emmylou Harris), is closer in style to the much-loved 1986 Costello album KING OF AMERICA. "The Name of This Thing Is Not Love" sounds like it ought to be powering a Sam Moore comeback album, and "The Judgement" was, in fact, recorded by Solomon Burke for his 2002 comeback record, DON'T GIVE UP ON ME. Some cuts leave the rootsiness behind (the slinky, image-laden title song; the pounding, urgent "Bedlam"), but THE DELIVERY MAN is ultimately a deep bow to the American musical inspirations that are a huge part of Costello's vision.