Elvis Costello, “This Year’s Model”

Tom Heerman:

This is the second album by Elvis, and the first one produced by Nick Lowe, who was the staff producer for Stiff Records at the time. It is considered one of the most fantastic producer/artist combinations in history. Yet when asked what he brought to Costello as his producer, Lowe said, “I really can’t remember doing anything. He had a fabulous group, The Attractions. They were volatile. I spent a lot of time trying to mend fences. That’s what I enjoyed.” Hmmm, maybe Elvis was even greater than we thought.

The record itself is ridiculously good. “The Beat,” “Pump It Up,” “Chelsea,” “Lip Service,” “Night Rally.” The lyrics are clever, and yet, somehow very hard to grasp, edgy, full of phrase turns and British expressions. And the melody and beat is so punky and pert, it never gets dull. This is about as good as it gets, baby. If you have not heard this record, you are lucky, because you have got a classic waiting for you. 32.

Chris McJaggerly:

I’m a sucker for Elvis Costello’s first three albums. The most amazing thing EC ever achieved (though not on this album) was to take utopian, age of Aquarius lyrics and sing them pissed off. I’m talking about “(What’s So Funny ‘Bout) Peace Love and Understanding?,” which has got to be the greatest political song ever, alongside the Beatles’ “Revolution.” But that’s an aside. The album at issue is This Year’s Model. I’m going to agree with you that it’s incredible no matter what, but then I’m going to hit you with a question.

First, why it’s incredible. One word: spite. As much as I love it when EC is spiteful toward women (as in “Lipstick Vogue” – “You say I’ve got no feelings, this is a good way to kill them”), I think I love it even more when he’s spiteful toward other men for being spiteful toward women (as in “This Year’s Girl” – “You think you all own little pieces of this year’s girl.”) Better yet is when he’s spiteful toward authority (as in “Radio Radio” — “I want to bite the hand that feeds me, I want to bite that hand so badly”). It’s so damn fun to sing along to spiteful songs.  It makes you feel empowered. Then there’s the wordplay and sexual innuendo (“You Belong to Me” — “You act dumb, you say you’re so numb, you say you don’t come under his thumb.”) EC did better than anybody.

Also, the Attractions are damn good. This record has really good bass lines (especially “Pump It Up”). Some might say the New Wave keyboard sound is dated, but I think it holds up. If there’s a weakness to the album, it’s probably the lack of good guitar riffs (exception: “Lip Service”) and solos. But that’s nitpicking. Here’s one criticism that isn’t a nit: “Living in Paradise” sucks.

Now for the question: Which version are we reviewing? The one on my iTunes is the CD re-issue from sometime in the 2000s, which includes five bonus tracks.  Three of them aren’t very good. But two of them (“Green Shirt” and “Big Boys”) are acoustic versions of songs that appeared on his next album, Armed Forces, and they’re great! For a guy who is not known for singing accompanied by only a guitar, I’ll take EC in this genre over Cat Stevens and James Taylor any day of the week. If you count those two songs as part of This Year’s Model, I might have to give it a perfect 33 1/3, but if you also count the other three bonus tracks, I might drop it to the high 20s.

Assuming we’re not supposed to review the CD re-issue, are we reviewing the original British version, or the original U.S. version? It makes a difference. The British version did not include “Radio, Radio,” and the U.S. version did not include “(I Don’t Want To Go To) Chelsea.” Both songs are fantastic, so a version of This Year’s Model with both would be the ultimate (see the CD re-issue, if it weren’t for those bonus tracks!) But I think the U.S. version is superior, because “Radio, Radio” is even more brilliantly spiteful than most EC songs, and it makes one hell of a closing track.

Assuming we’re reviewing the original U.S. version, I give This Year’s Model a 32 2/3.

Tom Heerman:

Which version is a good question, in the case of Elvis Costello and potentially the Beatles. I guess since we are in the U.S., we should be talking about the U.S. release. I can remember buying another Elvis Costello record called Taking Liberties just to get the song “(I Don’t Wanna Go To) Chelsea.” So back then I knew it was not on This Year’s Model. For me, having “Radio, Radio” instead is just fine. My suggestion for going forward it to try to use the www.allmusic.com site as the source for song listings.  They sometimes discuss later releases and addenda, but they show the standardized sequencing.

Kevin Decker:

Well, I will not go anywhere near the depth of your assessment – both because I do not have the ammunition and my grading is far more superficial. This Year’s Model is a nice album. The songs work well together. “Little Triggers” is great, particularly on the heels of the harder charging “Pump It Up.” Tracks like “Lip Service” and obviously “Radio, Radio” are really good. Beat, lyrics, guitar, it’s all there.

With that said, it strikes me that this album could be performed by Mssr. Costello at a local bar and if no one knew any better they’d say the music was very good and Costello has a bright future. Compare that to something like Revolver or Highway 61 or Pet Sounds. People would immediately recognize the genius of those albums and know that they stumbled upon to something musically earth shattering. My point is that This Year’s Model is not mind blowing. It’s a great album, but not the greatest or even among the top 20 greatest. I give it a 29..

Tom Heerman:

It blows my mind a hell of a lot more than the Beach Boys.

Kevin Decker:

You’re entitled to your opinion, wrong as it may be.

Chris McJaggerly:

True. It isn’t a game changing album in rock history. But it gets better with repeated listenings. And that’s as important to me as the “if you walked into a bar and heard it performed for the first time” test.

Also, I take issue with calling TYM a “nice” album. See my discussion of EC’s glorious spitefulness. Pet Sounds is a “nice” album. Compare “Wouldn’t It Be Nice” to “Little Triggers.”

Kevin Decker:

This Year’s Model is emotionally pleasing; an album like Pet Sounds changes your mind. Regardless, I take issue with both of your grades. Are you saying this is one of the top 5 albums of all time? Really? If this is a 32 what, pray tell, is Exile on Main Street?

I think TYM will end up around 20th on my list. I think a 32 is about right for the 20th best album ever recorded!

Chris McJaggerly:

You’ll see soon enough what I say about Exile.