Customer Reviews

All This Useless Beauty (With Bonus Disc)

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So, with this re-release we get another chance to pay homage to Elvis' latest (last?) foray with the Attractions. This is a wonderful album from start to finish, with Elvis sounding great as always, writing some of his most beautiful and consistently touching songs, the band sounding great, etc. etc. This was all shockingly obvious when the album was first released and time has already proved it. Sans frills, you've got a great album.
But oh my child, there are frills, thrills, and even some chills when you get to the absolutley invaluable second disc, overflowing with some of the best Elvis songs you've probably never heard. Here we've got his collaborations with Brian Eno(!), exploring the possibilities for pop in ambient with "My Dark Life"; the Fairfield Four on "That Day is Done," a track with so much soul it wouldn't have sounded too odd on the "Oh Brother Where Art Thou" soundtrack; the tossed off the album stunner "Almost Ideal Eyes," with Elvis switching tempo and style midway through the song, from bitter rock to sweet regret and never skipping a beat, and skatting(!!); "The Bridge I Burned," a freaky experimental rock piece that kicked off Extreme Honey and hopefully will get more attention here; Elvis' rendition of "The World's Own Optimist," a song penned with Aimee Mann for her Bachelor #2, and is astounding both places; the heart-breaking "What Do I Do Now," a song Elvis wrote with Paul McCartney; and a number of demo tracks from this album and of songs which Elvis wrote for other people, all of which are great on their own but when compared to their alter-egos on the album itself, really bring the listener into the gestation of the music.
Last but certainly not least is the stunning closer, "Distorted Angel" remixed and with backing vocals by that twisted trip-hopper Tricky. The idea of such a team-up may seem counter-intuitve, even slightly disturbing to any militant purists out there. Go with it guys. This is an incredible re-imagining of the song, and the mix highlights some of the emotional intesity and turmoil I find to be lost in the album version. Elvis is cast in the role of the innocent boy questioning his beliefs with Tricky playing the devil himself. It's a chilling, sexy mix, showing off Elvis' true genius: compatibility. This proves he could be working in any musical field he wants and still be producing incredible music.
I know I've been saying this the whole way, but this is GREAT stuff, nary a dud in the bunch, and well worth buying, whether you've got the initial release or not. All said, one of Elvis' best albums made better by the presence of these marvelous B-Sides.

Rykodisc had the right idea when they reissued Elvis Costello's early albums with B-sides, alternate versions of songs and outtakes. This already staggeringly prolific artist became new again with stripped down and passionate gems never heard before.

Luckily, Rhino has follwed suit, reissuing a highly underrated album, "All This Useless Beauty". The songs on the album run the gamut in a seamless way that only Costello can pull off, and the bonus disc is full of sweet and raw tracks that tug at heartstrings.

Highlights of the first disc include "Complicated Shadows," a track with the bile and vitriol that were Costello's trademarks in his earlier days. He's always managed to be able to juggle intelligent lyrics with catchy tunes, but this song out-and-out ROCKS--rare for our musically high-brow hero--as well as delights with the lyrics. Listen to him howl "GO!", and revel in the slippery guitars and the tight bassline. "Shallow Grave" is a two-minute track that packs quite a punch; classic Costello rockabilly, but with a more grown-up sound. "It's Time" is a foray into funky rock, while keeping in line with EC's love for nearly classical musical arrangements. I wouldn't mind if this song were played in a nightclub--it's quite danceable. "Distorted Angel" is a hell of a soul song, with a little of Rod Stewart's "Maggie Mae" mixed into the lyrics. A sultry bassline underlays a quiet storm of a melody. Costello's passionately controlled, understated vocals have never been sexier, and a plinky piano adds to the "pure illuminated sweetness".

The second disc is a patchwork of demos and unreleased songs. "That Day Is Done" is an old-fashioned gospel masterpiece, with Costello singing his heart out, accompanied by the formidable Fairfield Four. It seems the older Costello gets, the stronger his voice becomes: in earlier albums, his voice was charmingly flat, always just a hair below the pitch. In this song, however, he's dead on. A version of "The Comedians", with alternate lyrics and time signature, is much more chilling than the original. Roy Orbison recorded this alternate version, and one can hear the echo of Orbison's haunting voice while listening to Costello. "Mistress and Maid" is a clever, sadly sweet song, with spare arrangement to higlight the lyrics. "Hidden Shame" is a song showcasing his love of Country music--it's a jaunty tune, with haunting lyrics. Johnny Cash recorded this song as well, and while it certainly works for Costello, Cash's voice is best suited for it. One of my favorites is "The Bridge I Burned". It's a wickedly funny way of Costello flipping the musical bird to Prince, who refused to let Costello do a version of "Pop Life". Costello employs an almost hip hop beat for the song, and makes it work--the mocking "pop...life" in the chorus is a riot, and the bassline slips and slides around the track. Of course, this song sounds just a bit similar to Prince's "Pop Life", but it's a matter of a musician taking an idea and vastly improving it, while gleefully thumbing his nose. I'm sure The Artist is wishing he'd gone ahead and let Costello record the song instead.

This collection is superb, and show Elvis Costello's maturity. Anyone who's looking to introduce him/herself to Elvis Costello should probably start from the beginning, in order to appreciate how far the artist has come. Once you get to this album, however, you'll realize it was well worth the wait.

This record is a minor masterpiece. Initially released 7 years ago to universal apathy, this is E.C.'s last great record featuring The Attractions. Forget Sophie Von Otter and Burt Bacharach, this is his best offering next to WHEN I CRUEL since BLOOD & CHOCOLATE.

If there are any fans of THE JULIET LETTERS, they won't be disappointed with songs like "I Want To Vanish" either. From the baroque beauty of "The Other End Of The Telescope" to the white plastic soul of "Why Can't A Man Stand Alone" to the Kurt Weill sentiments of "Shallow Grave" ALL THIS USELESS BEAUTY stands out as one of Elvis' most ecclectic and diverse records.

The sharp, pop arrangements found on IMPERIAL BEDROOM are echoed in tight numbers like "You Bowed Down" and "It's Time". Another standout is the epic meloncholy of "Poor Fractured Atlas".

One of the fringe benefits of re-issues like this are ofcourse, the "bonus tracks". Unlike the Ryko re-issues in the 90's, Rhino has generously placed them on another whole disc, preserving the original album. That, said, most of the bonus discs have made for a particularly coherent listen. It's like rumaging around in the attic & finding a gem here & there. For once, the outtakes & rarities here nearly form another album.

"Almost Ideal Eyes", "The Bridge I Burned" & "My Dark Life" are all terrific. Other rarities like, "That Day Is Done" & "World's Greatest Optimist" give true fans their just desserts.

In the music business, timing is everything. Though this has been generally ignored at & since it's initial release, this particular reissue only enhances what should be more highly regarded.

This re-issued version of Elvis Costello's 1996 should have been classic "All this Useless Beauty" is a real treat--and the bonus disc is just that. Those who don't already own "All this Useless Beauty" should wait no longer--snap this 2CD set for the price of one right up and you won't be disappointed. Those wise souls already in possesion of ATUB may want to consider selling their old copy (or give it to the unenlightened). To begin: "All this Useless Beauty" is classic Costello. There are sublime pieces highlighted by Steve Nieve's faultless, gorgeous, classically-inspired piano (e.g., 'The Other End of the Telescope', 'All this Useless Beauty', 'Why Can't a Man Stand Alone', 'Poor Fractured Atlas', and 'I Want to Vanish'). These songs are terrific (lyrically, musically, and sonically) and Elvis' voice has never sounded better. Additionally, there are several tracks where the band quicken the pace--'Complicated Shadows' and 'Shallow Grave' spring to mind. Overall, this album rates with the greatness of early Costello (any of the albums thru "Trust" for example) and far surpasses his recent output. As for the bonus disc: It's a bit of a mixed bag. The first 5 tracks are of standard sound quality (they're not demos) and the inclusion of 'Almost Ideal Eyes' (which should have been on the album proper) and the ethereal 'My Dark Eyes' quickly give you your money's worth (of course the bonus disc really is free). The rest of disc 2 is not quite up to those standards, however. 'That Day is Done' with the Faifield Four almost sounds like a Barbershop Quartet with a piano in the background. 'The Bridge I Burned' (same version as that from the "Extreme Honey" compilation) does not fit the mood of ATUB and then you get to the demos. Sound quality varies drastically amongst these sparsely instrumented tracks (Costello plays all instruments--generally just an acoustic guitar or keyboards--on all but one of the demo tracks). 'Complicated Shadows' (stripped down solo acoustic), 'Mistress and Maid' (a McCartney/MacManus creation), 'Distorted Angel', and 'Hidden Shame' (Elvis as country star) betry the environment in which they were recorded (likely casette tape in most instances). The remaining demos are of a better quality and there are some gems to be found. 'You Bowed Down' (the only full-band demo) sounds terrific with a 70's feel (the version included was that written for Roger McGuinn), 'The Days Take Care of Everything' is another track that would meld perfectly with the ATUB tracks, and it is a shame 'World's Greatest Optimist' (another MacManus/Mann composition) wasn't recorded by the band--it is a great track and again, fits the spirit of the record. The bonus disc concludes with the bizarre, but eerily appealing Tricky remix of 'Distorted Angel' and tops out at a generous 68+ minutes. Overall, a great bargain and highly recommended--especially if you don't already own "All This Useless Beauty".

The album begins with Costello's voice, coming from almost nothing, to sing the biting opening lines: "Shall we agree that just this once/I'm going to change my life/Until it's just as tiny or important as you like." The song is "The Other End of the Telescope, co-written with Aimee Mann. Costello's angry, passionate reading here wipes the pedestrian 'Til Tuesday recording of this song from memory.

Many people, like the aliens in Stardust Memories, prefer Costello's "earlier, funnier" works. But the songs assembled here have all the bite and wit of his earlier albums, channeled through a more mature narrator. This is an album of collaborative works, or works written for other artists. Costello is so prolific a songwriter that his recording career can't contain it all.

All This Useless Beauty is introspective and literate, but never ponderous. The songs come alive, right out of your speakers. Costello's voice is front and center; every nuance of his performance is audible in this smartly-produced CD.

If you've lost track of Elvis Costello over the years, this CD is a fine place to catch up and check out his never-waning output of strong material. If you've never heard his work before, consider this as a place to start. Conventional wisdom will tell you to start with his early stuff. The conventional wisdom is wrong; All This Useless Beauty ties together the energy of his early work with the maturity and intelligence of his later work. In one sense, this is a collaborative album; in another, it's all Elvis.

Well who'da thought the grumpy old guy still had it in him? I wouldn't have! Actually, that's true only because I didn't know that he HAD lost "it" during the late 80's/early 90's - this was the first WB album I bought, after the best-of. But I wasn't expecting it to be half as rockin' as it is!

You see, All This Useless Beauty is always billed as the "ballad album" (that is, until Painted From Memory came out): that one where the Attractions sound all laid-back. And Extreme Honey (the "greatest hits" which covers this era) does absolutely NOTHING to dispel that view, since the three songs taken from here are the slowest, mopiest songs on the disc ("All This Useless Beauty," "Poor Fractured Atlas," and "I Want To Vanish," all of them simply exquisite songs and performances, especially from Steve Nieve).

Everything else here, however, is either loud or distorted or, in the case of "It's Time" and "Shallow Grave" both plus a shiny red cherry on top! Okay, so the two opening gambits, "The Other End Of The Telescope" and "Little Atoms" aren't rockers by any stretch of an imagination, but they're both so wonderfully bitter and majestic (although "Telescope"'s the better of the two) that you don't care. Not a whitsunday, sir.

You see, this is Costello's best album since King Of America, and I'm happy (and wary-no threats or flames, please) to say that I prefer it to Blood And Chocolate as well, which after all these years is still overrated as heck. I mean, come on, "Honey Are You Straight Or Are You Blind?" That's an embarassment, folks! There's nothing nearly so cringe-worthy on this album; in fact, the song that's mostly roughly analogous to it, "Starting To Come To Me," guns it down in cold blood! Of course, maybe that's because it's a... rewrite of Dylan's "Lily, Rosemary & The Jack Of Hearts" (anyone else hear that?), or maybe that's because it cuts off so suddenly and before you can say "arse-kicking rock song," in swoops "You Bowed Down," another nice little hate missive which Costello originally gave to Roger McGuinn but retakes here. Ooh, it's good! The whole album makes me blush with childlike happiness, because he hasn't lost the ability to make a consistently great album. And I haven't even mentioned the 6-minute-but-not-a-wasted-second epic "It's Time," or the pitchblack menacer "Complicated Shadows." Listen to the way starts off whispering, and then gets louder bit by bit, and then starts SCREAMING RIGHT IN YOUR EARS AND YOU LOVE IT!

Marvel at Elvis' sense of dynamics.

Wish you could write lines like "You think you're like iron and steel, but iron and steel will bend and break in these complicated shadows...."

I agree with previous reviewers that this is a wonderful collection of songs. When I first listened to it, I correctly guessed that Elvis had a hand in the production. Why? Because all the imaginative and insightful bass guitar work contributed by Ma'Man Bruce Thomas constitute the quietest sounds on the CD. As one previous reviewer mentioned, "Elvis' voice is front and center", and that too is no coincidence. It's Elvis' show after all, and if he wants to slightly sabotage its perfection by skewing the production because of his little feud with Bruce, well, he can of course. Our loss is his gain. But try this at home: Carefully adjust your equalizer to bump up the bass just a little bit, and then play a song like 'shallow grave' again. Feel gypped yet? Now you too have been reminded, it's Elvis' show.

I've been more or less a casual fan of Costello over the years.
Some of his work moves me and some does not. "All This Useless Beauty" is one that truly does. He's always written incredible lyrics. I remember catching him on Letterman when this came out. He did "It's Time" as a solo acoustic piece and completely blew me away. That song in my mind is so definitive of his dark lyricism and there's plenty of other great stuff here as well. "The Other End Of The Telescope", "Complcated Shaddows" and "Poor Fractured Atlas" are essential Costello in my book. His best work since "Spike"... Costello has been so prolific over the years. He doesn't always hit the nail on the head, but he certainly did so here.

Best Costello recording of all (except for maybe Armed Forces)...great variety, all the songs are good, no hoaky stuff, serious compositions....a treat for listeners and musicians alike....highly recommended!

This album is the bridge between Elvis and Burt Bacharach. It's easy to listen the main disc's "I Want To Vanish," "Why Can't A Man Stand Alone" and the title track and imagine them with the kind of lush arrangements that Bacharach would favor for the "Painted From Memory" album. But standing alone, "All This Useless Beauty" contains some of the finest of the Attractions' later day performances. Their live work on "Complicated Shadows" proves that they remained one of the best natural rock machines to ever call themselves a band.

As usual, though, the center of all this remains Elvis' wordplay. "All This Useless Beauty" started with EC's desire to produce a double disc that would encompass several of the songs he had either recorded with or for other people, and, meeting with the usual record company indifference, evolved into something completely different. You do get some of those songs that became well known for others (Til Tuesday for "The Other End Of The Telescope," Roger McGuinn for "You Bowed Down") but also brought to life a matured and wizened lyrical perspective. To wit: "Poor Fractured Atlas" always sounded like Hemmingway with a bout of depression.

The bonus disc is almost as good as the original album. (It helps to keep in mind that "All This Useless Beauty" started life as a two disc concept.) While the version of "That Day Is Done" won't make me forget Paul McCartney's from "Flowers In The Dirt," it will probably hit home with followers of "Oh Brother Where Art Thou." However, the haunting demo of "The Comedians" eventually became the version Roy Orbison chose to record, and it is easy to see why. Johnny Cash chose "Hidden Shame" (and from "King Of America," "The Big Light"). There's an early version of Aimee Mann's "World's Great Optimist" three years before her version appeared.

Like Bacharach, the songs on both the main disc and the bonus demos prove that Elvis could sit down and write a song with a target singer in mind and cast it well. "All This Useless Beauty" may have been underrated on its original 1996 debut, but this recasting of it by the great folks at Rhino make at all the more worth discovering, be it for the first or second time.