Must avoid The Beatles reference…must avoid the cliche way to flashback … fighting … struggling … must avoid the obvious …

It was 25 years ago today …

Updated Sgt.. Pepper’s references aside, it was 25 years ago this week that Elvis Costello released his third, and most prolific record, “Armed Forces.” On the heals of his first two masterpieces, and only months before indulging himself in cheeky lounge music and jazz, Costello pieced together 13 tracks of subtle – and sometimes not so subtle – political, sociological and personal anguish.

Compiled in the back of tour busses, or by dimly-lit hotel rooms, “Forces” showed Costello’s emergence from an angst-ridden lad, into a twenty-something songwriter. Nearing the age of 24, he began to embrace his over night success, understand the concept of an audience, and battle the highs and lows which come with each.

Produced by the legendary Nick Lowe, “Forces” songs were its strong point. Whereas his two prior releases relied on persona as much as musicianship, this release witnessed a substantial lyrical and musical growth. His band, The Attractions, was as solid players as they come – both in the studio and on the road. When they were in top form, Costello was forced to elevate his performance to not be outdone. The expansive collaboration is evident during “Forces” 40-minute span.

Over the course of his 27 year career, Costello has provided as much greatness and mediocrity. Yet, “My Aim Is True,” “This Year’s Model” and “Armed Forces” are traditional staples of outsider expressionism and genuine post-punk rock’n’roll – each elevated higher than the preceding release.

In light of the 25-year anniversary, here is a song-by-song review of the Hall Of Famer’s most important and thorough output.

Accidents Will Happen - The first notes, Costello’s breathy vocals proclaiming “Oh I just don’t know where to begin,” seem as right, and as ironic, of way as any to open. Though originally not the first track, Costello has gone on record saying “It is hard to imagine this record opening with anything rather than the blindingly obvious first line.” Possessing one of Bruce Thomas’ most creative and eager bass-lines, and showing a hint of doo-wop influence, the sincere, mid-tempo pleasure sets the tone for the remaining dozen. Inspired by a newfound life away from home and his family, it was penned as a declaration to the inevitable slips of Costello’s morality. Split between preempted defense and the outright acknowledgment of his rapidly growing disdain for corporate politics, the lyrics seem as unapologetic as they do guilty. Most Memorable Lyric: “It’s the damage that we do/ And never know/ It’s the words we don’t say/ That scare me so”

Senior Service - Taking its cues from albums such as “Heroes” by David Bowie – which the band had been listening to heavily while on the road – it captivates within seconds with the Nintendo-like sounds of Steve Nieve’s keyboard. Costello begins to show his interest in expanding his vocal approach by switching between his murky low tones, to an upbeat, higher pitch during the songs monolithic chorus and bridge. The manic synthesizers get lost behind the lyrical redundancy, yet still create a subtle urgency found without the remainder of the album. Most Memorable Lyric: “Senior service/ Junior dissatisfaction/ Though it may be second hand/ It’s by no means second rate”

Oliver’s Army - The albums most specific subject matter falls within its three catchiest moments. Inspired by Costello’s first trip to Belfast in 1978, which he saw children decorated in full military fatigues brandishing automatic weapons, the song was one of the few not written on a tour bus. Instead, it was written it its entirety on the return flight to London. The song was designed around the quote “They always get a working class boy to do the killing.” Steve Nieve’s elegant piano work, coupled with the underlying acoustic guitar, and Costello’s hopeful demeanor tend to be misleading – it is as lyrically serious as songs can get. Most Memorable Lyric: “If you’re out of luck/ Or out of work/ We could send you to Johannesburg”

Big Boys - This song was written as Costello’s self-help group, in an attempt to come to grips with his avid attempt to avoid and dissuade praise. Modeled as a confession, it relays a tale of actively choosing a fall from grace by associating with a new image and group of friends. Heavy echoing guitars and large drums create the background for this quick, tell-all rocker. Most Memorable Lyric: “And you try so hard to be like the big boys”

Green Shirt – Looping samples and space-age sythns lead Costello slightly down the New Wave trail. The albums shortest track hints at the deep-rooted paranoia that is the product of sleep deprivation and childhood angst. Most Memorable Lyric: “Better cut off all identifying labels/ Before they put you on the torture table”

Party Girls – Written as an homage to a mid-western art student whom Costello barely knew. A newspaper saw the two spending time together after a concert at a local diner, and proceeded to call him a “typical rock star” while also questioning whether or not the girl was a hooker. The song serves as a nice change of pace for a record which has, up until this point, been rather political. Though the message is still proactive and aggressive, it contains a sense of vulnerability missing from the rest of the record. Most Memorable Lyric: “They say you’re just a party girl/ Just like a million more all over the world”

Goon Squad - Guitars don’t get much spookier than this, and vocals rarely seem as haunting. The title is whispered again and again in the background of the song that Costello referred to as a “black comedy.” A dark tale of his own thrust into the spotlight and the new faces he met while consumed by it. Most Memorable Lyric: “Mother, Father, I’m here in the zoo/ I can’t come home/ I’ve grown up too soon”

Busy Bodies - The simple message that “promiscuity kills” is jumbled around and distorted in this bizarre and convoluted verse structure. With so many words, and so little time, Costello condensed several shortened verses into a few longer diatribe, while also experimenting with a guitar piece designed to emulate Roy Orbison’s “Pretty Woman.” Most Memorable Lyric: “You want attention/ You try my patience/ With the best of intentions/ You are nothing but a nuisance”

Sundays Best - A waltz containing lyrics from store signs, headlines and newspaper ads that caught Costello’s attention while on tour. Most Memorable Lyric: “Don’t look now/ Under the bed/ An arm, a leg, a severed head”

Moods For Moderns - Another song inspired by David Bowie’s most recent release, “Heroes.” Combining elements of contemporary funk and New Wave synths, the Attractions are this tracks most compelling element. Most Memorable Lyric: “What if none of your dreams come true/ I can never run from you”

Chemistry Class - Written as a reaction to the numerous campuses Costello visited while on his early US tours. After hearing tales of student protests and other activist groups during the mid 70′s, he was disappointed with the complacency he witnessed during 1978. Instead of seeing groups of students together in competition against “the man,” Costello found himself faced with, as he called them, “people suited for jobs in advertising.” In response to the students lack of energy, Costello penned the albums most sedated song. Most Memorable Lyric: “People pleasing people/ Pleasing people like you/ You’ve been around so long/ But still don’t know what to do”

Two Little Hitlers - Aside from a reference to a Charlie Chaplin film, the song is surprisingly void of 20th century history. The song refers to an egotistical couple unable to successfully manage a relationship. Choppy guitar chords and sparse riffs fall atop a carnival-like organ, as Costello eases in and out of the personal tale. Most Memorable Lyric: “Two little Hitlers/ Will fight it out until/ One little Hitler/ Does the other Hitlers will”

(What’s so funny ‘bout) Peace, Love and Understanding – The albums high-water mark, revisited and revived by Bill Murray in the 2003 film, “Lost In Translation.” The only song not written by Costello – it was written by producer Nick Lowe and intended for his own band. In fact, Lowe recorded a previous version of this track in the band Nick Lowe & His Sound. Though the album maintained a political motif throughout, as well as being recorded the day after Costello participated in an anti-racist festival, this is the only song overtly political. The song contains a smug sense of irony, as the simple question proposed in the title cannot be answered. The albums most consistent and up-tempo track combines the strongest elements of Costello’s social awareness and the Attractions superb musicianship. Not only the most recognizable song for its undeniable pop sense at the time of its release, it is also its longest lasting impression. Most Memorable Lyric: “So where are the strong/ And who are the trusted/ And where is the harmony/ The sweet harmony”

Northern Star Online, Feb. 25, 2004