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

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.

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

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.

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 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

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-

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

Good background and gettin' things done music

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.

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

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

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.

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

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.

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.

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)]

Basic Indie Brit pop

not very memorable

2.5

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

is bri'ish bland they all sound the same

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.

Guter alter Brit-Pop. I Love it.

I love Elvis Costello and this is probably my favourite album full of gems. Pump It Up is a banger.

DNA everywhere. One of those albums you can hear in tons of modern pop, indie, and rock. Interesting rhythms. Catchy melodies. Soulful singing. It's easy to see how this album is such a strong influence.

God, what a great album!

What a banger from Elvis and company, solid from start to finish. The mix didn't age as well as the songs on it, sometimes sounding a little mid focused or over compressed, but that doesn't detract from the quality performances across the whole album. The issues in the mix actually do help to highlight just how awesome the bass lines are in every song bringing the instrument almost in front of the vocals at times. Check out "No Action", "This Year's Girl", "Pump It Up", "(I Don't Want To Go To) Chelsea", "Little Triggers", "Lipstick Vogue" and "Radio, Radio"

These early Elvis Costello albums are great fun, lots of energy, love the sound.

Excellent

Great

What a fun album. Radio Radio right at the end is spectacular and Elvis' voice is mesmerizing throughout. Great style, timeless.

Costello’s best album, full stop, and it’s largely thanks to the Attractions. They’re a phenomenal backing band—tight, precise, and woven impeccably with Costello’s vocals.

This guy was at the beginning of a creative explosion to where for many years he was practically farting out absolutely devastating tunes all day long. They are pretty much all very negative, desperate and cynical. Pissed at the world, pissed at himself, pissed at his ex (current and future), often all at the same time and all told incredibly cleverly, like a modern Cole Porter. I think this is the first album with The Attractions, Elvis's amazing backing band for an incredible run of perhaps half a dozen albums over the next 6-7 years, all produced by Nick Lowe, a legend in his own right. This run of records stands out as one of the truly great musical accomplishments of the twentieth century, in my opinion. I mean that seriously. Maybe I am forgetting someone but I would say maybe only the Beatles and Miles Davis had such a consistently fertile and productive period. Sounds like very few if any overdubs on this. Very straightforward production and arrangements. Just a basic capture of a sick band playing kick ass tunes like their lives depended on it. You can hear their youth in how far on top of the beat every song feels. I bet if they re-recorded this today every song would be 10 beats a minute slower. Lipstick Vogue is a young player's tune, for example. You don't hear midlife people writing or performing such fast, high energy and emotionally desperate songs. I think this is EC's second album? His songwriting has really tightened up here. He sounds like you don't want to piss him off or else you will be permanently eviscerated on wax in a cleverly biting way. But no one hates themselves as much as Elvis hates himself. He's the GOAT of cynical self-loathing. I dont want to kiss you I don't want to touch. And while we're at it, I don't wanna go to Chelsea, either! This record could have been named (almost Seussically) All The Things I Don't Want To Do. And I'm here for all of it. All the buttons of my overcoat They have fallen off one by one You wouldn't even like me if you'd never had a drink You wouldn't even like me if you never stopped to think Standing in the shadow, turning wives to widows Don't you know, big tears mean nothing You can count them as they fall Big tears mean nothing When you're lying in your coffin Tell me who's been taken in Tell me, who's been taken in Tell me, who, me or yous been taken in Tell me, tell me, tell me

What a great album, he redefined gritty yet refined pop. so many excellent songs on the album. Everything sounds tight. You get some hints of the coming sophistication his following efforts will contain.

Elvis prototypical angry young man record, he practically spits some of these songs. He was considered "punk" by some when he came on the scene that was based more on the attitude than the music. Top 3 EC record for me

I've always liked Elvis Costello. His music covers a spectrum of genres - rock, pop, punk, new wave, country, etc. I like his songwriting, his distinctive voice and his delivery always adds another interesting element to the music. This album is among his best if not THE best. It makes me want to dig out his CDs.

What genre does Elvis Costello go under??

Early Elvis Costello is my thing. Great new wavy - power poppy - punk-adjacent tracks that do not leave your brain. Love it!

That’s how you do inventive pop music. Flawless listen.

This is my second Elvis Costello album and I like this one even more than Imperial Ballroom. This is a really great album and I'm excited to see what other Elvis Costello albums will sound like. I have always listened to Costello's greatest hits but the songs are felt somewhat disconnected for me, though I did enjoy some of the tracks. It's better to hear Costello's albums, because it feels more cohesive to me and this album is no exception. Really great album with songs that clock in between 3 and 3.5 minutes. The organ and keyboards really stand out on this album, which I did not expect. Great surprise to me that I enjoy this album so much.

One of my favorite Elvis albums.

Fantastic!

I think it's easy to say this is Elvis Costello's best album. Every song is a banger. The drumming in particular is great and I love the keyboard. Costello also has his catchiest tunes here. Love this album, almost makes me "get" the whole Elvis Costello thing

When I first hit play I thought YouTube Music had somehow managed to cue up the wrong album. Then I heard Elvis' unmistakable voice and realised it's that rare beast: an upbeat Costello LP. I really like this. Maybe I should make an effort to listen to more of his stuff. I do tend to enjoy what I hear generally from him.

Great songs excellent recording amazing album five stars

the greatness of elvis costello on full display. although it is not my favorite album of his, it's pretty damn near the top. from front to back, it's oozing with cool. snide, clever attitude is dripping from this thing. the production is great, the now-iconic sound of the organ on this one holds up quite well. elvis' lyrics and songwriting are top notch and fun, sometimes with a bitter underside. just a great album overall.

Luego de un debut glorioso con "My Aim is True", Elvis Costello forma a "The Attractions" para la grabación de este LP. La decisión no pudo haber sido más acertada, ya que desde este disco en adelante, el británico llegaría a componer una seguidilla de discos que no se pueden considerar más que lo mejor que el género del "Power Pop" puede entregar. Un poco de New Wave, un poco de Punk, un poco de Pop, Costello te entrega eso y mucho más, con letras inteligentes y sarcásticas. Entiendo que algunas personas no entiendan el atractivo de este disco o de la discografía de MacManus, pero esta pieza musical definitivamente pertenece a esta lista. Un real indispensable del catálogo musical occidental.

Good stuff

Pump it up!

If his first album was a tribute to all of the music that influenced him, this second album would be the one that went on to influence so many other artists. You can hear The Replacements, Cocteau Twins, The Pixies and Smashing Pumpkins. It’s stupid how far this album reached.

What a killer album. Costello's acerbic lyrics and melodies are second to none. The Attractions are slayers-- the drums drive hard, bass lines are some of the best ever and the keyboards bring a frantic but poppy sound. It's pop, punk, new wave? It's all of those and more. Just great. 4.9 - deduction for non-album singles (and who else would do something so baller on SNL)

I really liked this one. Felt like a modern day indie album, as relevant today as ever.

Elvis Costello is a bit hit or miss for me, but I thoroughly enjoyed this album. It's an interesting musical bridge, where you can hear the influence of earlier British rock along with the sounds that would influence later punk and new wave bands in the 80s. Strong songwriting combined with great energy made this real treat.

I have owned a few of his records (My Ain is True, Armed Forces, Imperial Bedroom) and bought a best of (Girls, girls girls) but never heard this one all the way through although it has one of my all time favorite song of his: I dont want to go to Chelsea. Amazing how his sound matured from the debut album to this album. Great album.

Elvis Costello is genius.

He’s so cool. I don’t get it at first, but eventually it clicks and I just fall in love. I get why he’s divisive but I love him