Customer Reviews

This Year's Model (With Bonus Disc)

5 star:		(79)
4 star:		(6)
3 star:		(4)
2 star:		(1)
1 star:		(0)

 

 

If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces" "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The liner notes, as Elvis describes the whirlwind of forming The Attractions and heading for the US, are fun as well as the pictures. (I do wish the US album cover shot of Elvis with his face partially obscured by the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

The Rhino two disc reissue has everything contained on the first disc and then some. The re-mastering is fine on the Rhino release and this does not improve on it. The packaging and liner notes are much better in the Rhino release. The live concert on the second disc would be the only reason to purchase this release if you already have the Rhino release. The concert was originally a radio broadcast from the Warner Theater in Washington DC a week or so before the officially released El Mocambo concert. It contains an early solo version of "Chemistry Class" that was previously released on a different Rhino re-release (Armed Forces?). The rest of the concert is presented here for the first time in its entirety. So what are the differences between the Warner Theater concert and the El Mocambo concert? The set lists are close though I've always thought that "Live at the El Mocambo" was edited to fit on one vinyl disc. Here are a few differences: Lip Service is only on El Mocambo and No Action, Red Shoes, Hand in Hand, Blame it on Cain and Chemistry Class are only on the Warner Concert. Both have the Dallas version of Less than Zero and the Wipeout drum roll version of mystery dance. The Warner concert appears to be the whole show and I suspect that "Live at the El Mocambo" has the song order altered in addition to having a few songs cut. Both concerts are about equal in the quality of the performance. The band sounds deranged and hungry for success on both. It is "pull out the stops" rock and roll in its purest form. Both have mistakes in playing and sound quality-wise the Warner concert has more stage buzzes. There's no doubt that Elvis Costello and the Attractions are at their aggressive cocky best on both shows (The Warner show features Elvis stating, "Are some of you unimpressed?... cause I don't believe you!"). I would rate the Warner concert better as it sounds more "in the moment" than "Live at the El Mocambo" does. It's a tough call for the dedicated fan as they could have released the concert as a single disc instead of attaching it to something we already have and charging a premium price. I give it three stars cause it's all good stuff.

The first three albums by Elvis Costello are not only his three best albums ever---they are three of the finest albums released by any artist of that era. While "My Aim Is True" stands as one of the greatest debut albums ever, I feel that his next two releases, "Armed Forces" and "This Year's Model," were even better than his first excellent work.

"This Year's Model" is the peak of Elvis Costello's angry and cynical lyrical database, with fast, raucous music that ups the intensity like only Elvis could. When I think of the numerous punk groups of that era that I enjoyed like Black Flag, Sex Pistols and The Dead Kennedys, I take the odd step of lumping "This Year's Model" in with the same sarcastic emotion backing the music. While the abovementioned Punk groups may have marketed themselves to the kids who fancied themselves raw, gritty, and streetwise, Elvis seemed geared toward the everyday middle-class Joe who, despite no torn jeans or Mohawks, still possessed that bitterness toward commercialism and the rat race.

This album has classic Costello rants that range from relationships gone sour to the greedy corporate world, with some songs like "Living in Paradise" seemingly combining both. The tunes grow increasingly intense with each track, with "Hand in Hand" and "Lipstick Vogue" grabbing most of the glory in the second half of the album. No resting, no misleading Guajardian twists, just sharp music and seething lyrics.

"Radio, Radio" is the appropriate finale of "This Year's Model," which is a loud, fast, break-free tune that totally bashes the formula based model of commercial radio. I remember when this song was released, and how much I loved it every time I heard it played on one of the same commercial radio stations he was thumbing his nose at; it was like hearing an employee cursing out his boss and receiving a promotion for it.

Elvis Costello has since released quite a diverse array of music since "This Year's Model." Some of it I love, some I don't get... but there is nothing quite like his first three albums. If you want to buy a "Best Of" Elvis Costello compilation, then STAY AWAY from his "Best Of" compilations. Buy his first three releases instead, because they truly are the very best of Elvis Costello.

This Year's Model was Elvis Costello's second album and his first with the Attractions. Mr. Costello embodied the angry attitude of punk rock, but unlike most punk bands that were unskilled musicians that thrived on energy, he has an unbelievable sharp pen and a great ear for melody. The album opens with the fierce "No Action" that in fine punk form clocks in at less than two minutes. "This Year's Girl" is wry take on the fame machine. "The Beat" has a catchy organ riff and is Mr. Costello's look at self-gratification. "Pump It Up" is a fiery track as is "Lip Service". "(I Don't Want To Go To) Chelsea" has a manic verve while "Little Triggers" slows things down. "Radio Radio" is the most famous off the album, but the album's best track is "Lipstick Vogue". The song has a thumping bass line that shuffles along until a frenzied close. This Year's Model gave further proof that Elvis Costello may well be the king.

Elvis Costello's second album, "This Year's Model" has received the re-release treatment before, most recently in 2001, but this truly must be regarded as the ultimate 30th anniversary deluxe reissue treatment.

CD1 (23 tracks, 70 min.) first brings the original album, and what a delight it remains 30 years later. It almost sounds like a greatest hits album in and of its own, with classics like "Pump It Up", "(I Don't Wanna Go to) Chelsea" and "Radio Radio", but the non-single tracks just sounds as good in retrospect (such as "No Action", "You Belong To Me", etc.). There are 10 bonus tracks, including delightful b-sides like "Big Tears", "Crawling to the USA" and "Tiny Steps". Several other tracks are repeats from the 2001 re-release, including the delightful alternate version of "Chelsea".

CD2 (17 tracks; 63 min.) brings the complete show of the band at Washington's Warner Theatre, and what an absolute delight that is. This was recorded in February 1978, a couple of months before "This Year's Model" was released, and the set mixes then-old (from "My Aim Is True") and then-unheard (from the upcoming album) tracks, and it is just fabulous. Costello and his band are at their absolute best throughout. The highlight for me is the expanded (6 min.) version of "Watching the Detectives" but there isn't a single weak moment on here, and any serious music fan will want to have this, both for the quality of the concert and for its historical value. Not to be missed.

It's easy to see why this is usually listed as among the best albums of the 70's. Coming off a very decent debut album, few could have been ready for this brilliant follow-up which reminds me a lot of Tom Petty's best work with the Heartbreakers. The musicianship and songwriting has improved greatly over the debut effort due no doubt to the more polished backing band that represents the Attractions as well as Costello himself imcreasing in confidence and maturing in ability. The sound quality of this remastered version is also brilliant and together with the wonderful mini-lp sleeve design which includes all the lyrics in English and Japanese as an insert make this the best version of this album that is out there at the moment. Highly recommended!

With 'This Year's Girl,' Elvis Costello takes the 3 minute pop song and makes it into an art form. Nothing about the album is revolutionary on the surface, but each song is dexterous and complex within its own simplistic framework. The melodies never feel calculated or mechanical despite how expertly they are crafted. Each note that Costello sings seems like the natural progression from the previous note. Track 7, "Hand in Hand" is a particularly good example of Costello's fluidity as a songwriter. There was a time where I literally listened to this song on repeat over and over. "You Belong To Me" and "This Year's Girl" are sugary pop on the surface, but over repeated listens, they're marked by an incredible attention to melodic detail.

The lyrics are witty and thematically hit upon the notion of fleeting coolness. Costello seems jaded by how hipness corrupts. He cynically sings about Chelsea, radio, and "paradise" and the sad notion that love is as vapid and fleeting as the culture of models or celebrity. Costello's raspy but superbly endearing voice convey this edginess and disenchantment without coming across as pretentious. It's interesting that this album still seems so hip because, at least I interpret it, it is an indictment of hipness.

The production is pitch-perfect. It was released in 1978, but it could have been released yesterday. That's how fresh this album is. The harmonies are there, but they're not syrupy. And the band: the Attractions brings an energy and musicianship that is uncharacteristic to an album that is so songwriting-focused. "(I Don't Want To Go To) Chelsea" has one of the best and most driving drumbeats in a pop song. So does "No Action," the album's fantastic opener. The keyboard work throughout is also stellar, though it may take a little while to get used to that cheesy organ sound.

This Year's Model is definitely one of the best albums, the more endearing because of its outward simplicity and accessibility. It is a work of craft, sincerity, and vision. I love it.

Most people considering buying this disc are already well aware of this album as a masterpiece in EC lore. Thus, the real question is, whether the updated/remastered version of this classic is really worth it. The answer is a resounding YES.

I do not have the Ryko reissue, so I purchased the Rhino reissue and did not even have to do an A/B test with the original release to see if I could hear a difference. The sound is light years better on this Rhino release. The songs feel much more expansive and there is much more detail. Songs like Chelsea, Radio Radio, Pump it Up and Big Tears really shine. Especially if you are used to listening to Chelsea and Big Tears from the Taking Liberties album -- those versions of the songs always sounded muffled to me. Here they are clean and focused. You can hear every thump of Bruce Thomas' bass and it is much easier to hear EC's efforts on the guitar (which are too often mixed to the back).

The bonus disc is also a treat. New and fun versions of the classics. But the first disc is the real gem. The same songs you know and love, remastered in a crisp, clear and powerful way.

Elvis is King.

I'll only comment on the concert recording.Good,sometimes suprising seperation and arrangments.The band sound like they just discovered, or were slipped some speed.Almost worth buying for people who have both US and import LP's and 3 different Cd versions already. Man, its starting to suck being middle class.

The album proper is great, but for the bonus material the leaner Ryko release is better.

While the new releases of Spike, Brutal Youth, and All This Useless Beauty are generally fine complements to Rykodisc's re-releases of Elvis' first 10 years, the re-re-release of This Year's Model (much like My Aim Is True) suffers by comparison to the earlier revision. Aside from the fact that the combined length of the two discs is enough to fit on one, the extra material here isn't essential. The demo versions aren't all that illuminating, and both they and the live songs suffer from weak sound quality. It seems Rhino is going for something of a "Beatles Anthology" approach in including so many alternate and live bits of lesser quality. The good bonus stuff was already included in Ryko's version of eight years ago, so if you have that, keep it. Buy this only if you haven't already upgraded from the lp or original CD.

The one benfit this version offers is much lengthier liner notes than before, penned in EC's usual witty style. He is just as sarcastically bitter here about himself as anyone else. It would be nice to see this stuff collected in some other form.