This Year's Model

this is the best elvis costello album i've ever heard

Diamond Dave once said "Music journalists like Elvis Costello because music journalists look like Elvis Costello" and I can not disagree.

Elvis Costello does not deserve this many goddamn places on this list. 1

What was missing every other time I've listened to Elvis Costello (and thought "sheeesh, this guy needs to stop singing for just a couple measures")? This Elvis Costello sounds so much better than the other Elvis Costello I've been listening to. I think The Attractions could be the game changer. Somewhere between punk and pub. Bringing just the right amount of heat to boil over. Enough urgency to feel insecure. They toy with chaos but never take it there. The bass player is all over the neck. Keyboard guy brings some strangely-necessary 7th inning ballpark energy. Drummer is unimpeachable. The whole thing works with Elvis' nonstop intelligent, lyrical sushi train. Toss in some reggae-ish business (Chelsea) for good measure and I'm converted. A+

You'd think a record that's almost assuredly hugely influential and even pioneering would be a little more interesting. You can practically hear new wave being birthed in a lot of tracks, and the Smiths' sound may as well have originated from Lip Service, but the album overall is just kind of, I don't know, milquetoast. I don't really care for Costello's voice, but it doesn't outright grate, and the music is performed well enough (especially by the drummer), but I felt like I was waiting nearly the entire length of the album for things to pick up. It does so by the time Lipstick Vogue starts, but it feels like too little too late. True to its title, This Year's Model was a big deal at the time, but not quite a necessity 40 years later. Key Tracks: Pump It Up, Lipstick Vogue

Of course, the songs on This Year's Model are typically catchy and help the vicious sentiments sink into your skin, but the most remarkable thing about the album is the sound -- Costello and the Attractions never rocked this hard, or this vengefully, ever again.

This album is wild. Another one I'd only heard the singles from. You might as well classify this as a 1977 record, but I'd really love to play this blind for someone and ask them what year it was recorded. Amidst the elders of the British Invasion, California rock, disco, prog and punk, Elvis decides to just do his own mashup of 60s R&B, vintage Stones, reggae and punk without a hint of The Beatles (consider ELO at the time). But you can still hear the crooner in him that would lead to the Bacharach collab. Quite a flex not to open with "Pump It Up," which has a hint of the MC5. Elvis seems to have a lot in common with Springsteen tonally and lyrically, see "Lip Service." "Chelsea" has that nice reggae groove the Police would use to great effect. Then "Lipstick Vogue" tosses in a Motorhead beat before closing triumphantly on "Radio, Radio." Incredible. The SNL ban is laughable, of course, in hindsight.

Sounds like what Pop Punk is obvs inspired by. The guy knows how to play his voice’s character to create these very cheeky niche love lines that feel oddly endearing. Every single song just gets better and better. forsure a classic and the only elvis i’ll prolly ever acknowledge

I hate this guy. No reason for him to be on here 6 separate times

Costello is indie rock before it was called that way. Can't believe how recent this album feels. It could come out straight from Weezer

The opening track so perfectly encapsulates what Elvis Costello does well - the desperate, breathy opening vocal, the pulsing explosion of sound, the sneer and scorn of "I don't wanna see you 'cause I don't miss you that much", the layered poppy backup vocal on the chorus, the swirly carnivalesque feel of the instrumentation, all this happening in a 2 minute track.. a track that packs in more than most songs in the first 1:40.. but then gives you an extra 20 seconds of vamp and swell and crash to wrap it all up perfectly. I wouldn't even say it's my favorite track on the album but it's such a great encapsulation of his ability to grab you by the collar and take you on a surprising ride. (I Don't Want To Go To) Chelsea is another standout. The rest of the album - I don't think there's a bad song here, though there's some that work better as part of the album than they would as singles. In some ways, I think this might be the strongest complete album of the era for him. There's bigger hits on some of the other ones, but this is the most cohesive feel overall. To own my bias, this is definitely one of the records that got me into him. I think I first discovered him through a good review of Spike (also a great album) when it came out, and then found a copy of this one, maybe on vinyl? Anyhow, I've spent more time with it than either My Aim is True before it or Armed Forces after, but I've definitely given good listens to all three and still think this one is the most compelling. This anecdote (from Wikipedia listing) is a good one: ""The concept of him behind a camera for the sleeve of This Year's Model had already been chosen, so I decided to equip Elvis with exactly the same tripod and camera as I was using to create a 'mirror' for him. Alongside a powerful stereo I kept a large record collection at my Camden Studio, and artists would choose music they enjoyed or were interested in for their sessions. Just as we were about to start shooting, Elvis asked me if I had "Hotel California" by The Eagles, and could I play it? I was puzzled by his choice – until he told me that he loathed the record, but wanted to look really pissed off and angry in the shots! We played the record several times during the session and whilst I directed him, I was also aware of his copying some of my own actions as I took the photographs"" Also from Wikipedia, Robert Smith (from The Cure) listed this as one of his 5 favorite albums on a French TV show in 1985.

Ah, Elvis Costello, my old nemesis. After Blood and Chocolate, I had hoped we’d never meet again. I see that this record finds you more tolerable and a bit more concise. Still, I find you off putting and I’m not quite sure why.

Caught me off guard. This album was awesome. Sounds like it could have been made today. This sounds like classic punk. I can hear how he may have influenced Bad Religion and the bass style of Flea.

The best way to describe this is timeless. Influences from the decades before, sounds yet to come - No Action and Radio Radio feels a bit pop punk in a way? - and production that sounds like it came out in the past few years. Songs are great too of course, everything well played. Chelsea might be the highlight, and Lipstick Vogue is a great energetic track followed by the calmer Night Rally

Second album from the second Elvis. I definitely liked this one more than the first. I still find his voice to be a little strange and whiny, but there were more engaging songs on this album. Also, I may have heard "Pump It Up" before, that riff sounded very familiar. Overall, still not a fan of Mr. Costello but this album was alright to me. I will say it sounds a few years ahead of its time--I would've guessed this came out in the '80s. Favorite tracks: The Beat, Pump It Up, Lipstick Vogue. Album art: It's a pretty good picture, but he honestly looks like a hipster version of Mr. Bean. Also the color and centering of him in the cover reminds me of that Al Green greatest hits album. 3/5

Done just over 100 albums and 3 of them have been Elvis Costello. I mean really? One Elvis Costello album in the 1001 would have been plenty. 4/10

I can't believe this community bitches about Costello so much. Yes, he does have too strong a presence on this list but this one absolutely deserves it. If someone told me that they didn't like this album my face would scrunch up and I would wonder what was wrong with them. I mean enjoy what you do, but this shit rules.

It’s crazy how prolific Elvis Costello was and how high the quality of his records were in the early years. Yet another excellent record mixing pop hooks, his brilliant lyrics, inimitable vocals, and punk influence on the edges.

One of the more visually-striking albums of the 1st New Wave wave, you get notes of The Kinks, CCR, Springsteen, and The Specials. It sneers at everyone and everything, so I can’t call it misogynistic as much as misanthropic. I love it.

Love this album! All of it! Favorites: No Action Pump it up The Beat You Belong to me Living in Paradise Radio Radio

It’s like a hybrid of Buddy Holly and Bruce Springsteen and Proto Weezer—if you put distortion on and removed the keys it could be weezer. I’m also hearing King Kahn and The Shrines. Elvis Costello has always been on the periphery for me, I’ve never really dug in so was pleasantly surprised. The Attractions are tight AF. First half was a 5, second half was a 4. A-

Good background and gettin' things done music

Sometimes I think some albums are critically acclaimed because they remind the reviewer of a certain time in their life rather then it being exceptional. This album I feel is a case in point. Perfectly fine, enjoyable in parts but was not crazy about it 3.5*

Suite aux émeutes qui ont fait rage ces derniers jours dont la raison est évidemment l'omniprésence d'Elvis Costello dans la liste des 1001, je tenais à rappeler le conflit qui a opposé Elvis Costello et Ray Charles le 15 mars 1979. .................... Les personnages: ROBERT DIMERY ELVIS COSTELLO STEPHEN STILLS (LEADER) STEPHEN STILLS (GUITARISTE) STEPHEN STILLS (PIANISTE) STEPHEN STILLS (BATTEUR) STEPHEN STILLS (BASSISTE) STEPHEN STILLS (XYLOPHONISTE) STEPHEN STILLS (VOCALISTE) STEPHEN STILLS (MANDOLINISTE) STEPHEN STILLS (HARMONICISTE) STEPHEN STILLS (VIOLONISTE) STEPHEN STILLS (PERCUSSIONISTE) STEPHEN STILLS (TROMPETTISTE) STEPHEN STILLS (BIOLOGISTE) STEPHEN STILLS (SAXOPHONISTE) STEPHEN STILLS (ANESTHÉSISTE) BONNIE BRAMMLET RAY CHARLES CÉLINE DION Robert Dimery et Elvis Costello sont assis à une table du Holiday Inn bar à Colombus dans l'Ohio. ROBERT.— Je t'en remets une, Elvis ? ELVIS COSTELLO.— T'es fou, je suis complètement bourré mec. Tu veux me tuer ou quoi ? ROBERT.— Allez je vais te chercher une pinte. Robert se dirige vers le comptoir. BONNIE BRAMMLET.— Qu'est-ce qu'il vous fallait ? ROBERT.— Je vais vous prendre deux pintes, s'il vous plaît. BONNIE BRAMMLET.— Ça vous fera onze dollars. ROBERT.— Voilà pour vous. D'ailleurs, j'ai une question, est-ce que vous savez si c'est bien Ray Charles roulé en boule dans le coin là-bas ? BONNIE BRAMMLET.— Oui c'est bien lui. ROBERT, en direction du chanteur.— Eh ça va Ray Charles ?! RAY CHARLES.— Laissez-moi tranquille… Stephen Stills rentre alors à quinze dans le bar. Stephen Stills (harmoniciste) et Stephen Stills (mandoliniste) aperçoivent Elvis Costello et interpellent Stephen Stills (bassiste) qui propose à ses collègues de les rejoindre. STEPHEN STILLS (LEADER).— Alors Costello, t'as trouvé ton premier fan ? ROBERT.— Vous moquez pas de lui, il a du talent... STEPHEN STILLS (BATTEUR).— Ah ouais, elle est bonne celle-là ! STEPHEN STILLS (GUITARISTE).— Excellent ! ELVIS COSTELLO.— Allez vous-en... J'en ai marre que vous me suiviez partout pour me frapper. STEPHEN STILLS (PERCUSSIONISTE).— Tu vas pas te débarrasser de nous si facilement, mon pote. STEPHEN STILLS (BIOLOGISTE).— On va te régler ton compte. ELVIS COSTELLO.— Eh bah vous savez quoi ? Ray Charles je le trouve super timide. STEPHEN STILLS (TROMPETTISTE).— Hein ?! STEPHEN STILLS (PIANISTE).— Quoi ?! CÉLINE DION.— Hein ?! STEPHEN STILLS (VIOLONISTE).— Qu'est-ce que tu viens de dire ?! STEPHEN STILLS (VOCALISTE).— T'es raciste ou quoi, mec ?! RAY CHARLES.— J'ai entendu, hein... Robert va chercher Ray Charles et le traîne jusqu'à la table en le tenant par le col. RAY CHARLES.— Lâchez-moi ! ROBERT.— Viens leur dire qu'Elvis est pas raciste, vas-y, dis-le à tout le monde ! RAY CHARLES.— Mais si vous me forcez à le dire je ne vais pas y arriver, je suis timide. STEPHEN STILLS (SAXOPHONISTE).— Laisse tomber, venez les Stephen Stills, on se tire. STEPHEN STILLS (XYLOPHONISTE).— Ciao les nazes. Ray Charles se recroqueville et fond en larmes. Stephen Stills (anesthésiste) s'approche de lui et le pique avec une seringue. Ray Charles perd alors connaissance. .................... Le lendemain, la presse sera informée de l'intégralité de l'échange par le biais du témoignage de Céline Dion et provoquera un véritable tollé médiatique.

Elvis Costello possède une voix absolument ignoble. Sa musique s'en trouve forcément impactée, et sa multiple présence dans la liste est donc difficilement explicable. Une émeute a d'ailleurs débuté à ce sujet dans la matinée du Lundi 31 Janvier 2022, vite désamorcée par les multiples CRS envoyés par Robert pour rétablir l'ordre. Vous vous demandez surement également, comme tous ces émeutiers, pourquoi Elvis Costello est autant protégé par Robert? C'est très simple, ces deux hommes, très amis, partagent un lourd secret. Suite à une rixe avec les 15 membres de Stephen Stills dans un bar londonien, Costello se vit contraint de kidnapper Ray Charles. Afin de l'incarcérer, Costello se tourna vers son ami de toujours, Robert, qui fit préparer une celulle pour l'occasion dans la cave de son domicile (mitoyenne à celle des New York Dolls, mais tout ça, vous le saviez déjà si vous lisez mes reviews). En échange, Elvis Costello donna plusieurs de ses albums à la liste des 1001, un échange de bon procédé somme toute. Mais revenons sur cet album. Il est, comme attendu, absolument moyen, Elvis Costello se contentant de tordre sa voix horrible dans tous les sens pendant plusieurs longues dizaines de minutes. Le problème, et ce qui n'aide d'ailleurs pas notre ami Elvis, c'est que je débutais cet album de très mauvaise humeur. Et pour cause. Cela fait plusieurs semaines que je tente de réintégrer le top 10 des meilleurs critiques du générateur. Je vérifie par conséquent régulièrement la 10ème place de ce classement, pour voir si une évolution a eu lieu. Or, à chaque fois que je clique sur le bouton me présentant le 10ème meilleur critique du générateur, la face ridicule de Elvis Costello, prostré derrière son appareil photo apparaît sur mon écran. Et oui, le soit disant 10ème meilleur critique du générateur, ayant abandonné l'aventure depuis longtemps, nous a quitté en laissant un 5/5 final à cet album ridicule de Elvis Costello. Ceci en dit long sur les réels goûts de ce petit con, et sur ses potentiels liens avec Robert. Malgré tout, j'accorde à cet album la note de 3/5, les Attractions n'ayant rien demandé à personne.

Not for me. Might be a bit biased as I had a headache. Then again I didn't have it before I started listening to this album so it might have caused it.

Sorry, I tried. I really, really tried. But Elvis Costello does nothing for me, and this album as a whole did not even interest me enough to make me want to write a complete review. It's not even that it's bad (sometimes it's interesting to explain *why* you think a record is not for you). It's just that, apart from very, very rare highlights towards the end ("Lipstick Vogue", "Night Rally" ), the music on *This Year's Model* is neither groundbreaking nor particularly well written. For an album with such a reputation, I found the whole thing a bit tame, honestly (God, how downright *cheesy* those organ's 7th chords trimmings are sounding now). One quickly suspects that the critical sucess of this rockabilly rehash was just a fluke, Costello being just lucky enough to profit from the convenient coincidence of playing so-called "unpretentious" music at the exact same time punk surged. The problem is that, as unpretentions as the music is, it is neither powerful, nor sophisticated, nor subtle, nor anything else, to be frank (part from "Lipstick Vogue"'s conclusion maybe). And Costello's voice can be annoying at times, even though I admit it may become an acquired taste for some listeners. As for the lyrics, they're fine overall, with some striking one-liners here and there (a lot of them about Elvis' jealous obsessions, which got me worried for his partner, to be honest). Yet most of the compositions are just too linear and predictable to seal the deal for me. They simply don't make me feel anything, and "lip service" won't be something you'll ever get for me here. I always try to keep an open mind, but clearly, I don't see what the fuss was all about. What we have is more than competent musicianship, of course, even talent. But if you want to select a list of 1001 albums you should absolutely listen to, there are probably twice as many albums worthier of your time out there. Life's too short to waste it on stuff you consider bland. My loss, maybe. But that's the way it is for me. [Number of albums left to review or just listen to: 987 Number of albums from the list I find relevant enough to be mandatory listens: 5 Albums from the list I *might* include in mine later on: 5 Albums from the list I will certainly *not* include in mine (as I think many others are more important): 4 (including this one)]

Put this on and promptly forgot it was playing until it was almost done. Musically about as interesting as the Jitterbug song from the commercials. The inferior Elvis by far

Well this was NOT a good start to the week. After slagging off EC not two days earlier at a party, I was punished yet another album is did not like from him. Jaunty and irritating. Same old

This Year’s Model Nice to have this after My Aim is True last week, you can hear the development between the two and it really showcases what was great about Costello in this perido. The Attractions definitely have a rougher, more punk edge, eschewing some of the more 50s touches for a spikier and more aggressive, more angular new wave energy, which suits the mean spirited sentiments of the songs. There’s some very good bass playing and I love the drum sound that Nick Lowe gets on here, that echoey tom is great, particularly on This Year’s Girl and Pump It Up. And Steve Nieve’s keyboards are excellent, and really make the album what it is, the organ on The Beat is fantastic and you can hear echoes of that almost seaside sound in Modern Life is Rubbish and Parklife. It’s a great set of songs too, although written around the same time as My Aim is True they feel more developed and considered with better arrangements and some great catchy melodies. No Action has a similar function to Welcome to the Working Week on My Aim is True, a short sharp burst of energy, setting the snarky tone of the record. This Year’s Girl is great, with that Ringo-esque drum pattern and the taut angular guitar. I love The Beat, great chorus and that keyboard pattern. Pump it Up is of course an absolute stomping banger, Subterranean Homesick Blues-esque in its rapid fire verses, great keyboard riff and just a great song. Little Triggers is another superb track, harking back to some of the doo-wop and 50s influences on My Aim is True, but another truly great song and highlight of the album. You can hear The Beatles in the opening riff to You Belong To Me, before the keyboard kicks the pace up and it becomes a taut little rocker. Hand in Hand had a nice gentleness to it’s opening, recalling Alison, before the drums kick in and it settles in with some great organ and guitar and catchy chorus. I Don’t Want to Go to Chelsea is another absolute banger, with that great spiky riff and rhythm echoing the lyric. Love the drums, bass and acoustic guitar on Lip Service, and that piano picking out the way to the chorus is great. Living in Paradise has more fantastic keyboards, dripping between the lines like honey through the gaps in the floorboards. Excellent song. Lipstick Vogue is also great, with that almost East Asian sounding intro before the frantic bass driven edgy verses. I love the atmospheric intro to Night Rally, echoing the unseen oppressive theme of the song, some superb playing and and the abrupt cut out is great. I know Big Tears and Radio Radio are additions on the re-issue but they are also great tracks, love Mick Jones’s guitar on Big Tears and Radio Radio of course is another classic early Costello single. Love the version from Saturday Night Live My Aim is True was and is a 5 and this is better, so it can only be a 5. Great album, no weak tracks and right at the peak of the Attractions and Costello’s fraught, tense, energetic yet melodic powers. Have always loved the cover too. 📷📷📷📷📷 Playlist Submission: Pump it Up

This album is so good. It was a complete surprise to me when I heard it 20 years ago and liked it so much. It of course still holds up. 4.75/5

One of the first artists to define the modern hipster sensibility - wordy, bitter, jealous power pop that wears its influences on its sleeves like a badge of honour. He even named himself Elvis and wore thick-rimmed Buddy Holly specs for goodness sake (take that, Rivers Cuomo!).

Unexpectedly loved this. I remember sticking Elvis Costello in the "formulaic standard rock" category when I first checked his music out, but I was mistaken. Great songwriting all around. With time, this could potentially be a 5 for me.

It's my 5th Elvis Costello album on this list and while he is not among my favorite artists, 'This Year's Model' is certainly the best album so far. The songwriting is good, the production also stands out and he is a great lyricist. It's somewhere between 3 and 4 for me, but since this is better than his 3 star albums, I'm round it up to 4.

Hell yeah

The man himself! Definitely a fan of THIS Elvis. This is yet another one I never sat down with start to finish but I’ve always enjoyed the hits from this record. It’s post punk but kinda not really? I think this was the breakout record but 1978 was a fucking banner year for a lot of bands lol. I’m a sucker for the Hammond organ sound and it’s all over this album. It’s fun, funky and is great for a nice sunny day. It has a timeless feel that is kind of hard to capture for post punk BUT it isn’t really post I guess? I remember as a kid hearing Radio Radio and liking it but I didn’t appreciate him until much later. Songs like (I don’t want to go to) Chelsea have a fun ska beat and are just cool little stories. Top notch stuff here, great tunes and production. Gonna add this to my regular rotation for sure!

Hands down the best Costello album I've listened to thus far. He really embraced the power pop genre for this one moreso than the weird ass new wave horseshit he did later in his career. Favourite songs: Pump it Up, (I Don't Want to Go to) Chelsea, Lipstick Vogue, The Beat, You Belong to Me, No Action, Living in Paradise Least favourite songs: Night Rally 4/5

Unique vibe, great voice, still fresh after all the years - really fun listen.

Sort of stunning that is album number 1,050 for me. But seeing another Elvis Costello album at this point got me thinking about levels, at least in terms of this list. Through the powers of Excel and being able to sort artists I've awarded multiple 5 ratings, some things are obvious. The Beatles, Stones and Dylan are what I thought they were. But there have also been some pleasant surprises, like giving both Bowie and PJ Harvey 5 ratings for 4 of their albums (so far, although at this point I'm thinking I've listened to all of the Bowie and PJ albums on the list). So if I go create a mythic level that's reserved for artists who I awarded multiple 5's (and again, I realize this is completely subjective and only my opinion, but hang with me for a second), that level would include the Beatles, Stones, Dylan, Bowie, PJ Harvey, Jimi Hendrix, Springsteen, Nirvana, Prince, Johnny Cash, REM and Stevie Wonder. That's a pretty goddamn elite list - oh sure, you might argue against PJ being included, but I'll also argue that her reputation will continue rise over the years and eventually warrant mention with those others. Plus the mythic level needs female representation - and I think I've got a few more Joni Mitchell albums to listen to, and she undoubtedly deserves mythic status. This is a long way of saying that Elvis Costello belongs in one of the two levels below the mythic level. That's not a diss at all. That second level alone includes artisits like Aretha Franklin and Simon & Garfunkel. He's just not at that mythic level, and probably has one or two too many albums on this list. But "This Year's Model" absofuckinglutely should be included. Some might argue it's his best work. I won't stand in your way of making that argument.

Although a pioneering showcase of the new wave sound and influential with blending elements of several pop genres, this album was not as enjoyable a listen as I remember it to be. It is not a bad record, there are some really great songs, I would say quite overrated for what is presented overall based on the legacy it has. Costello’s voice was a challenge to endure at times, especially on “Lip Service”. 🎧 Classic Track- Pump it Up 🎧 Hidden Gem Track- Lipstick Vogue 🚫 Skip Track- Lip Service I appreciate the lyrical themes of Costello’s songwriting and the musicianship of what The Attractions brought to the recording! 🖼️ Album Artwork: Loved 💿 Worthy of including in your vinyl collection! Click the thumbs up icon below if you enjoyed my take on the album :)

I get it. His music was important and he inspired lots of more entertaining artists that came after him. I promise to give at least 3 stars if you don't put anymore of his albums on the list

I can definitely hear the influences on later indie rock and britpop. Hard to believe this came out in the 70s, it sounds much more modern. Some good tracks scattered around but on the whole it’s not interesting enough to make me want to listen to again and again. Lipstick Vogue is brilliant though.

Not bad never listened to Elvis Costello

Much better than Blood and Chocolate.

First time listening: 6/12 songs liked Elvis Costello made me like british new wave. That is quite hard to do. Some songs are a little odd for my tastes perhaps they reference culture I am not familiar with. But all in all, solid. 5 songs saved

This is my last album of 2024 and I think it sums up my experience of this past year of life pretty well. All around a bit shit, glimpses that things might turn around but ultimately you wish you could have skipped this year, I mean album. Not the worst, not the best - bring on 2025 and albums 313-570ish - I’m optimistic

I've never been a fan of Elvis's voice. His band is undeniably talented and his songs are catchy but his vocals just sorta wreck this for me.

Meh

Kinda irritating.

Don't get on with his voice and music is basic

boring

Unremarkable

extremely dull

Not very good. It's like a bad 90s album but from 78.

Basic Indie Brit pop

not very memorable

2.5

is bri'ish bland they all sound the same

Excellent. Little filler, great lyrics and banging rhythms

This is really good. Does Elvis Costello need 6 albums on this list? Maybe not, but This Year's Model is the one that deserves a place the most Recruiting a new band makes a big difference and gives this album much more of a new wave type sound than his debut. It's less guitar focused and feels bouncier and fun than some of his other work. I especially like the keyboards on a lot of these songs, really cool

Love listening to Elvis Costello. This album was the sound of the 80’s before the 80’s arrived. So good.

This album is full of bangers. I forgot how much I love Elvis Costello.

The other two Elvis Costello albums I've had thus far ("Blood and Chocolate" and "Imperial Bedroom") were really disappointingly and unfortunately underwhelming. I really, really wanted to love them both but there wasn't enough really wowing me. But this is a different beast. This was incredible. The music aside for a minute, the sheer attitude that oozes throughout this album makes it fun from the start. Sometimes he's tender, sometimes he's snotty, sometimes he's being a jerk but no matter what it's a fun time. Punk and New Wave share a lineage and some of the same traits. But they are distinct genres, without a doubt. But when they come close together, when a band or artist can overlap elements of both such that the result is a hard New Wave sound that is still soft enough for most, that's the sweet spot. Talking Heads nailed that on their first album. But Costello completely masters that delicate balance here. Sure, sometimes the songs sound a little samey (upbeat, organ/keyboard riff, witty lyrics from Costello, etc.), but there's enough variety both within and without that mold that it doesn't matter. Hell, there were elements of singer-songwriter, reggae, punk, new wave, rock, and honestly even some ska here. Wonderfully done. Did I know half the time what he was singing about? No, not really. Sometimes that was because he was hard to understand, and sometimes that was because the words didn't necessarily make immediate sense. I don't care. The music was all I needed. This is an easy five stars. What a fantastic album. This is what I wanted from him all along, and I'm so glad to have been able to listen to it. Wow. Standout Tracks: No Action, This Year's Girl, Pump It Up, You Belong to Me, (I Don't Want to Go to) Chelsea, Living in Paradise, Lipsitck Vogue, Radio, Radio

Well, I've reached the third Elvis Costello album of the project. I feel like this would be a pretty good place to leave off for the guy, especially considering that (spoilers for later in the review) this is the best album of his that I've listened to yet. Unfortunately (or fortunately depending on how you feel), I've only listened to half of the albums the guy has on this list. There are still 3 more of these I have to listen to. Look. I've really enjoyed all of the albums I've heard, but 6 albums is insane. Whatever. What I will say is that This Year's Model is not to blame for this. If there's one Costello album that earns its spot on this list entirely, it's This Year's Model. This was his first album with the Attractions, and it's excellent. Speaking of the Attractions, the instrumental sound is probably my favorite part of the album. Stuff like the basslines and general style really appeal to me. This Year's Model is a very tight album. This album doesn't have time to mess around. It has a goal with its music and it achieves that in a blazing fast 35 minutes. Costello's singing is basically the same as it is on the other albums of his around this time, which isn't a bad thing. The songwriting is quite interesting. There's a considerable bite to this album that makes it stand out in comparison to other albums of the time. Some people have criticized this album's lyrics, calling the album misogynistic. However, while there's certainly a level of frustration behind the lyrics, I definitely think there's a level of self-awareness behind this album that makes me feel that this criticism is a bit overblown. Songs like "This Year's Girl" seem to be fairly critical of men who are misogynistic, which is a label that I would not put on Elvis Costello himself. Overall, This Year's Model is an album that, for many reasons, feels like an album that one should definitely listen to before dying. Though it has its roots in classic 60s bands like The Rolling Stones and The Who, the album also feels considerably more modern than 1978. This album has aged considerably well as far as its presentation is concerned. I don't know if I could call it a total masterpiece, but I would say that it is probably Elvis Costello's magnum opus. This is an album with no fluff whatsoever. This Year's Model rocks. Low 5/5.

super nice vibe! I should listen to this more

One of my favorite albums. Great songs, production by Nick Lowe, and Bruce Thomas' bass lines are wonderfully melodic and buoyant.

since first hearing blood and chocolate via This Project it has grown on me to become a minor but memorable all-time fave....the chemistry between being emotionally unlistenable with a level of musical rawness thats just super comforting and inviting for me is unmatched by anything else ive ever heard. apply the same rubric to this record would probably lead to unnecessary disappointment, as its Fun Bouncy Music Undercutting The Worst Guy Youve Ever Met dynamic is a bit less personally vital lol. but i cant begrudge anyone who thinks the songwriting is even better...it bops, it bangs, sometimes it even Swings which is often sorely neglected by these quirky white boy rock music singer-songwriters. even the pastichey retro stylings feel of a piece with the misogynist character portraits, thats the 1950s baby! almost certainly one of the most fun records ever made lol

I’ll straight up say it: this album fucks. This is the quintessential Elvis Costello sound with those bassy guitar tones and nasally vocals and it all works so well. It has a few bigger tunes like Pump it Up, (I Don’t Want to Go to) Chelsea, and on the US Version: Radio Radio, but I think my favorite is Lip Service. Fantastic record all the way through and unless we get to Armed Forces, I don’t have to deduct any points for slurs. 5 stars for a slur free album.

Fantastic

Most excellent

Probably the second best Elvis Costello record IMO, but this is the album where the Attractions are a settled formed band that will be with Elvis through some of his best work and still tour with him.

Great listen

great

Brendon Urie of 70s

Saw the other reviews hating on this so went in expecting to hate it but I actually really enjoyed it, fun listen

I'm old. So I remember this album from when it first came out. And Elvis is one of my all-time faves. I understand you younguns might not appreciate how truly influential this album is, but his songwriting married punk, new wave and power pop. And he still got better! 5 Stars.

Amazing New wave album.

He rhymes like a rapper: 'Those disco synthesizers / And those daily tranquilizers / Those body building prizes / Those bedroom alibis'; 'We're all going on a summer holiday / Vigilante's coming out to follow me / Heard somebody said they're out to collar me / Anybody wanna swallow me.' He has the courage for half-rhymes, internal rhymes, multisyllabic rhymes, like 'cheek to be' and 'weaken these' ('Little Triggers'), 'silent' and 'hydrant' ('You Belong to Me'), 'cuddle,' 'waddle,' and 'model' ('Chelsea'), and these bangers: 'movements,' 'amusements,' 'choosy,' 'above me,' 'shoes' ('Lip Service'). This is to say nothing of the music, which is authentic pop that tenders a punky dynamism (check out rhythm section on 'Lipstick Vogue'). And the best: 'I wanna bite the hand that feeds me / I wanna bite that hand so badly.' So yeah, I couldn't say enough. This is superb.

Pretty good album. Talked with Albert about it too. Idk if kf i should rate 4 or 5 stars.

This Year’s Model is a standout album and remains a pivotal work in Costello’s career. The influence its had on pop and rock music cannot be understated, so feel free to recommend it to just about anyone with two working ears. Except my two-year-old daughter. She didn’t want anything to do with it and much preferred “Old MacDonald Had a Farm” on the car ride home.

I had no clue who Elvis Costello was when I found this album digging in my early 20s. As collectors are want to do, the cover immediately spoke to me so I bought it, an instinct that never fails to deliver interesting music — and evidence of the integral relationship between visuals and sound in contemporary popular music. The now iconic sleeve art was designed by Barney Bubbles, the influential resident designer at Stiff records who helped pioneer artistic-driven album artwork through his work in the independent music coming out of England during the mid to late 70s. I hauled my records home that day, threw This Year’s Model on first and was so taken by its sound. It sparked a longtime love for label mates Elvis Costello and Nick Lowe, who produced the entire album and whose debut Jesus of Cool came out the same month in 1978, another record I adore. Over the next couple of years I filled my collection with many of Costello and Lowe’s early works, and they remain some of my all time favs. These two bespectacled british guys exuded a coolness I had never encountered before. They were close collaborators, and they both cultivated a distinctive blend of two burgeoning styles of the time, punk and new wave. Other notable UK bands working in the same vein included The Clash, the Buzzcocks, The Jam, Siouxsie and the Banshees, The English Beat, and The Specials to name a few, the last of which Costello produced their debut, and whose release was only a few months after this record. Sheesh so many “The”s lol, and so many great bands coming on the scene! That period from 1976-1980 was such an energetic moment in rock and pop music, from which those two genres punk and new wave were sprouting from. In America bands like Devo, Talking Heads, and Blondie were channeling similar energy, and on the international stage Fela’s afrobeat and Marley’s reggae were huge influences on this scene’s sound. One key aspect of was the importance of powerful rhythm sections paired with catchy riffs and songwriting, and Costello’s mastery of both aspects is on full display. The trio backing Costello, The Attractions, also played a huge part in the record’s sound, sonically and literally the driving force behind Costello’s songwriting. What’s so striking about the instrumentation is how de-prioritized the guitar is in the arrangements and mixes, and just how good they are. “(I Don’t Want To Go To) Chelsea” is easily my favorite song on this record, and it’s a perfect example of what incredible musicians they are. They are regarded as one of the best backing rhythm sections of all time — the music speaks for itself. Pete Thomas’ drumming is so iconic and technically perfect, and Bruce and Steve’s bass and keys, respectively, are locked into such pleasing grooves the entire time. The keyboards are also stylistically distinct: the constant organ throughout is arguably one of the most recognizable parts of this record, always funky and insistent and sounding so much like electronic synths, at times even resembling yet-invented video game sounds, as heard on “Living in Paradise”. And of course Costello’s vocals are so energetic and insistent — iconic. Elvis Costello is such a singular voice. The hallmark of great artists is their ability to rise above trends and styles. His influences are clearly on display, but he merges and synthesizes them into something greater, something all his own. He straddles the precarious line between mainstream success and artistic authenticity with such style and grace. What a legend!

Another awesome Elvis Costello album.

An absent possessive apostrophe on the cover notwithstanding – YES. This is such a great record. “The Beat”; “Lipstick Vogue”; “Big Tears” (and the ones I’ve heard before) … it’s just tune after tune. Musically it feels so in conversation with its influences – punk, reggae, Beatles – while also, somehow, knowingly portentous (is all of pop punk contained in that first song?); perhaps easier to just say ‘a musician who loves music’. The best part of 50 years after it was released, it still sounds so fresh and immediate.

How the dub gave I been missing this

A classic of New Wave, This Year's Model is packed with some of Costello's most oconic and subversive songs. Pump It Up, (I Don't Want To Go To) Chelsea, and the especially rebellious Radio Radio. The latter song caused a stir on Saturday Night Live when Costello was told not to play it, ironically an indictment of broadcast censorship, but did so anyway. This Year's Model catches Costello and New Wave in general, at it's true height - just before it all went corporate - when it was still on message. Musically, his later album Armed Forces may have been better, but it was also much more polished, the antithesis of the Punk/New Wave DIY ethos. This Year's Model is a snapshot of a rare moment when music and social conscienceness melded into the perfect synthesis of both.

Loved. Classic Elvis

As some wise guy once said, "Razor sharp slices of neo-garage rock, fueled on amphetamine and Aftermath, quick-witted and tight—and an object lesson that the New Wave could compete on the old school’s field." (This is the second album I've been dealt in a row where I've been cited as a source on Wikipedia. Spooky.)

Classic Elvis!

Desde que vi que era el disco que traía Pump it up, una de mis canciones favoritas ever, me emocioné. Y resultó genial que descubrí al menos 4 canciones más que me encantaron también, y el resto del disco no está lejos. Me encanta Costello, escuché el disco dos veces seguidas y me dejó con muchas ganas de echarle una repasada a toda su carrera. El tipo hace música genial.

Costello es especial, deambula entre el pop, rock, jazz y vertientes niveles que no desafinan para nada. Poseedor de una voz tan natural engarza en sus arreglos y melodías su genial y personal toque. Siempre me gustó y mi nota es 5

Hard to believe Elvis Costello followed up his excellent debut with a possibly better album. Or maybe not, but it’s extremely good nonetheless.

What I really like about this album, beyond the energy and recording quality, is how each member is giving it their all and work tightly together as a single unit.

Great getting ready to go out album for some reason

I have been enlightened. If My Aim Is True was Elvis Costello’s Blue Album then this would be his Pinkerton, and not just because I think he and Rivers Cuomo look kinda similar. This is a really great album. It combines pop-rock, reggae, new-wave, R&B, and many more styles. You can hear the style of The Smiths and The Police in some of these songs. The lyrics are hard hitting as expected.

No filler, all killer!

Loved it

Lively and well put together , excellent bass 4.6

My favorite Elvis Costello album. More cohesive sounding than the first one. No skippers on this one!

Fan Tas Tic. The drive and excitement. The angst. Elvis loves music, and if you don't love this, you don't love music.

Such a fun record. Looks ahead to Spoon (sounds like Britt Daniel's raspy howl on "The Beat") and back to The Rolling Stones ("You Belong To Me" recalls "The Last Time"). Fully sixteen tracks, but it rolls by and you turn it over again.