This Year's Model
Elvis Costello & The Attractions
1978
Album Summary
This Year's Model is the second studio album by English singer-songwriter Elvis Costello, originally released on 17 March 1978 in the United Kingdom through Radar Records. After using the American band Clover for his debut album My Aim Is True (1977), This Year's Model marked Costello's first album with the Attractions–bassist Bruce Thomas, drummer Pete Thomas (no relation) and keyboardist Steve Nieve–whom he formed in mid-1977 as a permanent backing band. Recording sessions took place at London's Eden Studios in about eleven days from late 1977 to early 1978. Returning from the debut as producer was musician Nick Lowe, while Roger Béchirian acted as engineer. Most of the material was written prior to the sessions and debuted live throughout the latter half of 1977. Embracing new wave, power pop and punk rock, the songs on This Year's Model are primarily driven by the Attractions, with influences including works by the Rolling Stones and the Beatles. Meanwhile, the cynical lyrics reference subjects from technologies of mass control to failing relationships, which some reviewers found misogynistic. Like some of the tracks, the cover artwork, featuring Costello behind a camera on a tripod, emphasised observation. Designed by Barney Bubbles, the initial sleeves were off-centre and exposed a printer colour bar on the right, which was corrected for later releases. Accompanied by the successful singles "(I Don't Want to Go to) Chelsea" and "Pump It Up", This Year's Model was a commercial success, peaking at number four on the UK Albums Chart. The American LP, released in May 1978 through Columbia Records, substituted "(I Don't Want to Go to) Chelsea" and "Night Rally" for "Radio Radio" and peaked at number 30 on Billboard's Top LPs & Tape chart. This Year's Model also received critical acclaim, with many highlighting the songwriting, artist and band performances, and appeared on several year-end lists. In later decades, This Year's Model has continued to receive critical acclaim, with many praising the addition and performances of the Attractions, while some have commented on its influence on punk. It is regarded as one of Costello's best works and has appeared on several lists of the greatest albums of all time. It has since been reissued multiple times with bonus tracks. In 2021, Costello spearheaded a new version of the album titled Spanish Model, which featured songs from This Year's Model sung in Spanish by Latin artists over the Attractions' original backing tracks. It received favourable reviews and was packaged with a 2021 remaster of This Year's Model.
WikipediaElvis 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.
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.
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.
Diamond Dave once said "Music journalists like Elvis Costello because music journalists look like Elvis Costello" and I can not disagree.
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.
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-
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
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
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.
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.
This album was excellent. Not a single bad song on the record and I honestly liked how it made me feel.
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
Love this album! All of it! Favorites: No Action Pump it up The Beat You Belong to me Living in Paradise Radio Radio
tosi hyvä! tykkään! This year's girl oli The Deuce sarjassa ja on ihan huippu ja koko levy on pitkälti samaa settiä
I don’t personally like this one as much as My Aim Is True, but still - it’s Elvis Costello at the peak of his powers and it’s great.
9. good stuff again i liked it about as much as the last one. honestly if i liked his voice more it could be a 10.
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
What an incredible top 10 for me for sure. One great tune after another. And the Attractions COOK! Favorite songs; The Beat, lipstick Vogue, This Year's Girl. 5 BIG STARS
This is a second 5 stars in a row using this project and again it's an album that I knew just by the name before and never gets the necessary incentive to listen to it. This was a great experience. The only drawback here is the short length of the album. I'll sure listen to it again.
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
Revenge of the Nerd. Costello comes out swinging on his second album. Spiky punk/new wave with bitter nasty lyrics. It's probably not healthy if you recognise elements of your self within. Best Tracks: No Action; Pump It Up; (I Don't Want To Go To) Chelsea
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.
Excellent work, awesome energy and snarling, snarky attitude. I do prefer his 80s stuff, more complex and developed but it was cool to listen to this as a ‘basic’ 4 piece- the organ adding that extra dimension. While I enjoyed everything on here, they do get kind of similar, but I still listened twice in the day and didn’t lose interest for a second.
Happy to be reintroduced to Elvis Costello. Awesome album. Tons of fun
Had not listened to this album for at least a decade or so but it still great as expected (and I am not a major Elvis Costello fan, only know his late 70s - mid 80s output). Makes me want to finish his 2016 memoir. I also recommend to have a look at his list of "500 Must-Have Albums" on Vanity Fair - lots of interesting music recommendations.
I think this is the best Elvis Costello album that know well, though to be honest I don’t know much past the 80s. It has my tied for first favorite song of his, Lipstick Vogue, and even his worse tendencies (having the persona of a mopey, whiney lover with a pretentious voice, both in the literal and authorial senses) are displayed to at their best here in songs like Chelsea.
Consistently great album Surprised by how many songs I knew Will repay repeated listens I think
All the hits! A little formulaic and not as much fun as the live recordings, but great a great record.
What an incredible top 10 for me for sure. One great tune after another. And the Attractions COOK! Favorite songs; The Beat, lipstick Vogue, This Year's Girl. 5 BIG STARS
Tight, rollicking and sharp-edged, this is classic EC. Every song works, the sound is well unified, with the organ bleeping and swirliing making strong links and all sorts of nifty, biting guitar licks ("Chelsea" especially). There are almost too many highlights to name – “No Action,” “This Year’s Girl” "The Beat" "Don't ... Chelsea," “Lipstick Vogue” "Radio Radio." This was an artist moving from strength to strength and staying at the top of the game.
What a pleasant surprise in the rotation! I forgot how many songs of these I know and love
One of the greatest image/attitude/music look at me launches in music history. The Attractions replace Clover and the music is instantly more varied, textured and interesting - still anchored by Costello's brutal lyrics and sneer, and brilliant way with a melody. Two albums into his Imperial Period.
Fresh, dynamic, urgent and no track over 4 minutes. Mr Costello is on fine form supported by a great backing group. Some memorable songs - Lip Service, Chelsea, Radio, Pump it Up. Superb
This is stellar. Amazing how tight and smart this music is. There's also an underlying bite or anger in the way lyrics are delivered that increase the energy. Also impressed at how varied the song approaches are. Radio Radio is drop dead awesome, but songs like Living in Paradise and Chelsea just show how interesting the songs can be.
Love, love, love this. Fun, bouncy music with cutting lyrics. And that organ!
Elvis Costello has had a very varied and eclectic career with many highs, but goddamn if there ain’t a strong argument for this being his best album.
Went through a big Elvis Costello phase about 10 years ago. I never actually heard this album whole way through though- more rock than some of his other stuff. Love the energy on this record especially on tunes like Lipstick Vogue. Radio Radio is great. The attractions were a great band -Bruce Thomas is actually one of my favorite rock bass players his lines always add so much to the tunes.
This and “My Aim Is True” are two of the great rock albums of all time.
Excellent from start to finish. My favorites are The Beat, (I don’t want to) Go to Chelsea, and Little Triggers. It still sounds modern while retaining the same base in 50s and 60s rock found in the debut album, which if on here will be getting a 5 from me too.
No sophomore slump here. Enough classics to almost make this one a greatest hits records. One of his very best albums.
I was a huge fan of My Aim is True when it was released in 1977. This album, released less than a year later, upped the ante considerably. The same great songwriting and clever word play was present, but the use of The Attractions as his backing band added an edge which was not present on the first album. The twangy guitar was largely replaced by Steve Nieve's keyboards. Add to that tracks like Pump It Up which seem to spring forth from the drum and bass playing. Elvis Costello sounds angry throughout in the best possible way. He has attempted many styles through his long career, but this album may be the best he ever made. Magnificent.
The stride is hit in track four when the production switches to something vampy enough to blend with Costello's vocal affect. This is exemplary of the punk side of new wave, with a few references to other genres: I caught country and hard rock on a not-too-careful listen. The attitude is sneering, which is appropriate for the year and genre (I think new wave now is best melancholy). If there's any lack, it's in the relative simplicity of the arrangements. Melodies are spread out nicely across the band: Neither bass nor keyboard nor voice dominates the record.
I like this, usually find his voice annoying, but it's not too affected on this record. Some good, fun tunes.
I always forget that I like Elvis Costello. Peppy and fun, nerdy yet also dumb. Pump It Up is one of my fave pop songs I think?
Theres some real early signs of punk rock here, and according to the internet that is exactly what it is. My mum has always gone on about Elvis Costello and I just assumed he was some buddy holly type that wouldn't be up my street; however this was a surprise winner for me. I really enjoyed the guitar, synth and punky voice, plus I never knew "Pump It Up" was such an early song, it sounds like something from the 1990/2000s
This was far better than I expected. It felt like this could have been released today.
Finally been getting into Elvis recently and I like this one a lot. The guitar tone is so great to my ears. Jazzmasters for everyone!
A solid, early new wave record with some surprising instrumentation. STANDOUTS: -The Beat -Pump It Up -Hand in Hand -(I Don’t Want to Go to) Chelsea -Lip Service -Living in Paradise -Lipstick Vogue -Radio, Radio
Still Elvis Costello, still pretty good. I think I liked it a tad less than the other one but not very significantly. 8
“This Year’s Model” by Elvis Costello & The Attractions (1978) Now here’s some music with a real message: Clever, well-informed anger, with compositional features to match. Costello gets it. He puts the rock in rock & roll (and, of course, ‘rolling’ into it plenty of obscene innuendo). I hope serious listeners of the 21st century will not be misled by his dismissive and sarcastic denunciations of everything that brings power and pleasure to the definers (owners) of culture. Beneath his neo-prophetic blast is a mind seeking the good, the true, and the beautiful. He pisses off all the right people with extreme prejudice. Musically, Costello is fond of the compositional device of ‘bending’ classic rock & roll sonic tropes toward the irrational. It’s more sophisticated than mere mockery. It reflects a redemptive abandonment of mid-60s popular culture’s self inflicted illusion of hopefulness. It’s a musical expression of the reason why a question mark is curvy and an exclamation point is straight. Now, Costello’s voice is so-so, and he overuses cocky stylings to compensate (It would be interesting to hear Henry Rollins cover Costello tunes). But his band, The Attractions, is great, and his own guitar work is more than competent. Given the 1978 date of this album, I think it can be seen as a precursor to intelligent punk and grunge. This album is definitely worth a listen, and probably worth some thoughtful reflection. Unless you’re already familiar with the Book of Jeremiah. 4/5
This was a cool record, solid follow up to my aim is true. I can see how a lot of rock derived from this in the 80s.
Enpä muista että olisi koskaan aiemmin tullut tätä Elvistä kuunneltua, olisi varmaan pitänyt... Mielikuva oli, että Elvis Costello soittaisi jotain nyyhkymusaa keski-ikäisille mammoille. Kaikkea muuta! Menevää musaa tämä levy, melkein kuin punkkia. Lipstick Voguen bassokuviot olisin voinut kuvitella vaikka johonkin Rancidin biisiin.
Olis varmaan pitänyt arvostella sillon kun oli kuunnellut. No, muistaakseni mietin et ihan neloskamaa suhteessa aiempiin. Et mennään sillä. :D
Tuttu nimi, mutta ei ollut käryä musiikista. Yllättävän toimivaa tavaraa ja menevää rytkettä.
I feel mostly good things about this album. I like all the songs and it has a really cool energetic rocky vibe. The singer is pretty over the top with how he expresses himself, and sometimes his lyrics seem a bit weird and problematic. Will take more time to appreciate this, but overall I really dig these jams.
годно, мне зашло. Особенно вместе с фактом того, что это 78-й год. Мне кажется, это вот как раз переломный момент, когда совсем уж обскурная поп-музыка 60х-70х приобрела плюс-минус современные очертания (которые тоже уже уступили место новым трендам, но которые мне хотя бы полностью понятны). На самом деле это очень добротный поп-рок альбом, который вполне спокойно мог выйти и в 90-х и даже, может быть, в начале нулевых, если сдобрить его щепоткой эмо-стайла по принципу Фолаут Бой. Не сказать, что все песни прямо запали, но мотивы прикольные, теперь я понимаю, кем вдохновлялись, например, Weezer. Место среди обязательных к прослушиванию альбомов, на мой взгляд, имеет право занимать. За хорошее настроение поставлю даже 8
Another day, another Elvis Costello album. However, unlike yesterday's middling Brutal Youth, this was excellent. His band The Attractions are super-tight particularly on the jerkier, New Wave tracks (Pump It Up is close to perfect), and I can understand the credit Costello gets as a talented songwriter/lyricist. The production is much crisper than Brutal Youth too, everything sounds clear and sharp rather than the slightly muddy mastering of the later album - really brings out the way the band fit together so perfectly. Didn't tire after a few listens today, will return in the future. It also introduced me to their infamous fuck-you SNL performance - https://www.youtube.com/watch?v=eD_24nDzkeo Top Tracks: Pump It Up, (I Don't Want To Go To) Chelsea, Lipstick Vogue
Really liked this. Cool voice and playing was good. Not a song I would skip.
Costello’s best album. The band sounds great together. I love the stab of the organ over the punchy rhythm section and Costello’s breathless vocals. Classic tracks throughout.