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Elvis Costello is one artist never shy of innovation in his artistic work. For the past 27 years, he has incorporated reggae, soul and pop into his own form of music while maintaining the song-writing he is known for. For his 21st album, “The Delivery Man,” Costello blends his old musical styles with new approaches to tone, narrative and production.
Departing from jazz undertones that were on his previous album (2003’s “North”). “The Delivery Man” is a return to his roots. The album tends to reflect the sounds of his 1977 debut “My Aim Is True,” yet departs from the angry young man attitude he retained throughout the late ‘70s and early ‘80s new wave.
In addition to this, the album could be regarded as his most ambitious work, since his previous roots rock approach on 1986’s “King of America” or 1981’s “Almost Blue” (a country cover album).
Costello’s new album sounds like previously mentioned works, however, has a distinct sound in and of itself. This of course is coming from the man whose most recent album does not resemble his last.
He adjusts this form on his most recent album by what he knows best – expansion. “The Delivery Man” is not a collection of country-tinged songs about the south, but rather a loose concept album. The concept circulates around the internal lives of three different small town women who encounter an outsider who changes their lives. Like a rock opera, the album contains certain songs that describe situations and emotions the characters go through.
To complicate matters further, Costello states that some songs that were part of the concept were removed from the album or switched in the song arrangement.
Disregarding the semi-complex narrative and the album is one of his most entertaining, instrumentation wise. “The Delivery Man” is the first album featuring his most recent backing band, The Imposters (his previous backing band, The Attractions, sans bassist Bruce Thomas). Costello and the Imposters are able to play with fierce energy (duet with Lucinda Williams, “There’s A Story In Your Voice”) or unhurried passion (“Nothing Clings Like Ivy”) to create variability in their songs.
Although not his most consistent album regarding song cycle, the album does prove Elvis can deliver.
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