As a musical experience, Eddie Howlloway Live at the Silver Lounge was a jolt. Two songs, originals, were vehicles for Eddie to describe, simply and sincerely, his enormous lovemaking abilities. These didn't interest me except as examples of fine lyrics and vocal delivery. Three other originals, however, provoked me in other ways. These not only referred to me by name, but described my lifestyle ("dull as a mole in his dark hole"), career ("he strikes a pose, this writer of indifferent prose"), and way with women ("slick and insincere, don't let him call you dear") in outrageous terms. Here then was another artist who, like Kelly, was able and willing to insert personal notes about me and girlfriend into his music, to make a point. But while Kelly's personal references were true, as I myself had verified, Eddie's were false as could be. Both artists, however, were true song stylists who succeeded in making genuine music. I couldn't overlook that, for all my personal involvement in their sounds.
The dangerous singers By Michael Fowler ( it's from one of my old magazines on English-learning, but sorry I couldn't find it on the Internet.)
Why false as could be, not as false as they could be? I've never come across such structure before. Is it an ellipsis?
Please help clarify it.