Elvis Costello & The Attractions: Live At El Mocambo - 1978

This album was initially around as a bootleg and then (I think) as an addition on the deluxe version of My Aim Is True. Then, finally, it got released in its own right, and a fine example of Costello’s punkily energetic, committed live performances it is too. I remember seeing him live in both 1977 and 1978 and they were exciting, electric, sweaty affairs. Although Costello was far more new wave than punk, there was a definite punky verve to his live shows, he was bristling and often surprisingly aggressive. He is exactly that here as he thrashes out material from his first two albums at breakneck speed to a raucous and enthusiastic Canadian audience (although telling them he was there on behalf of Britain to reclaim the country didn’t get too many cheers). A press article called him "Prince Charmless", incidentally. 

If you have ever wondered what material from My Aim Is True would sound like played by The Attractions as opposed to session band Clover (who played on the original studio album), then here is your answer. Bruce Thomas’s Bass is deeply throbbing, Pete Thomas’s drums pounding and Steve Nieve’s organ suitably swirling behind Elvis’s often caustic vocal delivery. The Attractions give the songs a new, punky re-birth. Gone is the jangly, semi-country style of Clover’s sound and we hear Elvis and his band as they should be. The set kicks off with storming versions of Mystery Dance, Waiting For The End Of The World and Welcome To The Working Week. We also get Less Than  Zero with alternative, apparently US friendly lyrics, including a line about a woman looking up while she was giving head. Hmmmm. Then it’s time for several numbers from This Year’s Model, including the title track performed in wonderfully dubby style and big, bassy deliveries of The Beat and Lip Service. Little Triggers slows things down to a smoky night club vibe, before a visceral Radio Radio and equally powerful Lipstick Vogue kick serious ass once again. The latter is so nostalgic for me, summing up those times magnificently. Watching The Detectives is essential listening for anyone wondering what Costello was all about in this period.

Have you ever heard The Attractions play as heavily as they do on Miracle Man, by the way? Turn this up loud - you won’t regret it. It’s got the lot, including band introductions. This was a band at their youthful, exuberant peak. That is carried on into You Belong To Me, where an ok album track is turned into an all-Out assault on your senses. A bellicose Pump It Up sends everyone home buzzing

Regarding the sound, played on an optimum system, it’s flaws can be shown up somewhat - it is a bit rough and ready, but in my view, that makes for a good live album. Played on my smaller Sonos Roam portable speaker, however, it sounds bloody great, so up yours, audiophiles! Some of them have criticised it for its sound, but I feel it’s rawness contains its grab you by the balls appeal. It takes me right back to those wired gigs at Aylesbury and Hemel Hempstead. The audience shrieking can grate at times, but that was what it was like, so keep them in. It makes you feel you are right in among them.

There aren’t any “official” live Costello albums in the traditional sense of the word, so this semi-bootleg does the trick perfectly. Indeed, AllMusic say of it - "if you want to hear what Elvis Costello sounded like on stage when he was still pop music's angriest man, this is the best place to go". I couldn't have put it better myself - in fact I have tried to do so throughout this review!