Elvis Costello - "New Lace Sleeves"

As if Costello has a problem with language - mumbling, babbling, failing to make any sense - the song starts with the band gently trying to coax him into articulating his point, careful not to disturb him, not to get in his way. Then his story is born fully realized, completely cogent. The drums untighten, the bass and guitar unmute. Everyone relaxes. It opens up, unfolds sideways. It develops and builds in ways never expected but always satisfying.

And as Costello's vocal performance becomes more and more soulful and expressive, the organ and the rest of the band become increasingly enthusiastic. "Yes, this is what we wanted."

Like a classic soul cut, but not.

***

Roxy Music - "Re-Make/Re-Model"

After the party and the Elton John piano intro, the song starts in earnest. The instruments are full-out from the start (the earnest one) and don't co-operate, but play against each other; the sax, guitar and electronics battling it out for supremacy in the backwards polity that is this song.

Brian Ferry sings like a cabaret Lou Reed; raising his eyebrows and bouncing his shoulders. Sometimes he praises, but mostly he admonishes.

Then everyone gets a solo. And we get the sense that whereas after every other instrumentalist solos, the band smiles and quietly applauds, after Eno's blazing electronic assault, there is only stunned silence and confusion. But they play on, anyway. Because they're abnormal.