jl
I don't know. It's haunting. It's true I've been on a bit of an EC kick of late. But his version of this song completely changed its meaning to me, which is why I listed it.
First of all, it's the way he sings it. To me, the original Rodgers Hart number and most of its early interpretations are pretty straightforward, soulful renditions. Elvis gives it an edge I had never previously considered. There's something about the way he screams "stay little valentine, stay" that completely flips the song on its lid for me. He can't bear to be without her, and he seems a bit peeved about it. Strikes me that at the end of that song, he's spent.
It genuinely stays with me for days at a time, and the other versions never did that. I sing it to my kid when he wakes up in the middle of the night, and I'm struck by the vocal range required to pull it off in the key Costello does it in. (Of course, this could be my own weakness of voice...)
Anyway, no other version of the song achieves that breakthrough for me. I never felt Sinatra endowed the song with the same passion. I mean, he's a great performer, but he's sort of a reader when it comes to interpreting a song. Either it's right for him or its not. (I can't dance... When I was 17...) And while this song is right for him, it doesn't leap out to me the same as it does from EC. Ella, well, she's incredible. But again, she never gave it that edge to me.
Second, I think Costello captures the writers' vision in a way they never would have expected. Those others essentially capture the simple message of the song: outward imperfection is no barrier to beauty and love. Costello seems to recognize that this also has the effect of pissing us all off.