6 keepers
keeper avg .300
Costello's fourth album seems significant for being his first with many nods to R&B, including "Temptation", "B Movie", the Motown-influenced album opener "Love For Tender", the impeccably-played soul "Opportunity"****, and especially his energetic cover of Sam & Dave's "I Can't Stand Up for Falling Down"*****. As Jamaican music was getting around the punk world at the time it's not too surprising that ska was also a prominent influence on tracks including "The Imposter", "Human Touch", and the "Radio Radio"-like "I Stand Accused" (originally by Tony Colton and Ray Smith of Heads Hands & Feet and played about half-speed).
But it's not a purely genre-exploration album. "Man Called Uncle", "Possession", "Clowntime is Over", and "King Horse" are all in his mid-tempo melodic groove similar to "Oliver's Army" from the previous album Armed Forces. The relatively mellow "Clowntime is Over"**** is the best of this bunch, building subtly to the chorus, ending with the Beatle-esque punchline. The satisfyingly dramatic "King Horse" would be better if its driving chorus made more obvious sense, as "Now I know that you're all King Horse, Between tenderness and brute force" sounds awkward walking around singing it to myself (I saw no interpretation online other than unsubstantiated speculation about heroin and "king horse" doesn't appear to be a thing). Bar-rocker "5ive Gears in Reverse," closely resembling "Pump It Up," and total Beatles homage "Beaten to the Punch" (similar to "I Saw Her Standing There") are straight from Costello's new wave meets 60's British pop playbook. And no discussion of Get Happy!! can omit mention of Costello's driving hit "High Fidelity"***** or the wistful "New Amsterdam"****. Though for every "I Can't Stand Up for Falling Down" there are at least a couple middling "Black and White World"s and a dud like "Possession," fortunately, with only 3 tracks over 3-minutes, the lackluster few of the generous 20 tracks fly before they overstay their welcome.
"Riot Act"*****, the last track and one of two true ballads on a nearly hyperactive album, is perhaps the song most integral to the album's genesis; this was supposedly an altercation between Costello and Steven Stills where Costello made some offensive (and racist) remarks which were soon picked up by the music press (uh oh). Apparently he took some (probably well-deserved) heat for the comments, which he claimed were only meant to deliberately offend Stills and his buddies while in a drunken haze and not his true feelings. Whether interpreted as a relationship song or a literal depiction of his feelings of persecution at the time, his impassioned performance makes it the most powerful Elvis Costello song I can think of.
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