The Elvis Costello album-by-album thread

Now this is the album that convinced me to dig deeper into Elvis Costello's work. The previously mentioned manager would cycle "This Year's Model" and "Get Happy!!" on the CD player where I worked and I realized there was a lot more to Elvis than just some good singles. In fact, I like a lot of album tracks more than some singles.

I enjoy even the weaker songs on "This Year's Model", to a degree. "Little Triggers" and "Lipstick Vogue" harken back to the rock and roll roots I mentioned before, but with a better edge, thanks to the Attractions. Costello's transition toward a completely original sound (which he achieved on "Armed Forces") reminds me of the transition of the Beatles away from cover songs to all-original material. And like the Beatles, it proved difficult (if not impossible) to consistently innovate. Costello, however, didn't self-destruct with uncertainty of the next move but began to embrace different forms of music and find a place in many different idioms. Paul McCartney has headed in this direction (albeit after a long, long period), but not as interestingly. But I digress...

Admittedly, "This Year's Model" is the kind of album that plays right to my tastes. It's a fun, bouncy, quirky record. When you peek under the fast-paced melodies, however, you find a dark underbelly. That's part of the appeal. I love the stop and start rhythms on this record. I love the keyboard parts Steve Nieve adds to the songs. I love the kinda sloppy backing vocals. I love that several songs exhibit (for lack of better, more accurate terminology) a herky-jerky, stop and start style. I love how the record feels spontaneous and raw but sounds very produced when you dig deeper.

"No Action" is a great album opener and I consistently search in vain for this level of energy in other, newer bands. The original "Eden Studios" version of "This Year's Girl" has this feel as well. I find the drone in the chorus on "Lip Service" intriguing. Is it a keyboard? Is it a guitar? Fuzz bass? Though I get sick of the fact that "Pump It Up" is the only song from Elvis' early catalog that seems to still get played, I still like it (and I think Escape Club's "Wild Wild West" blatantly ripped it off). I love how "Night Rally" builds up into something epic. I think "Big Tears" was good enough to appear on the album in the first place.

And lastly, "Radio Radio" is one of my favorite songs, period. There was something really special about Costello and Co.'s ability to craft pop hooks with an edge in this period. The opening keyboard hook is unforgettable. I love the feeling in the bridge that Costello is gritting his teeth and barely restraining his ire, and as they lead into the final verse, it almost explodes.

 

As I mentioned earlier, I had purchased This Year's Model & My Aim Is True together as I did not know the name of a song that I'd heard on the radio (Living In Paradise). But, I remember very well my first impressions. You must remember that, at the time, I hadn't heard much "new wave" or "punk" music at all. I was still very much in the ELO / McCartney frame of mind so This Years Model floored me! I'd never heard anything like it. The energy was staggering. The attitude was unlike anything I'd heard before. But, underneath it all, was a tunesmith. So, it wasn't THAT far off, structurally & melodically, from the Beatlesque music that I grew up on. It was the IMPACT of it that was new to me.

There were two albums that really changed my tastes in music - This Years Model was one of them. I became enamored of that hard, aggressive sound which, oddly, was keyboard based. It's such a tough record, it presents like a guitar album, but it really isn't. This Year's Model primed me for the next life changing album (that I didn't get to hear until a year later): The Ramones Rocket To Russia.

Even though the "sound" (or presentation) of Elvis' music is fully formed on TYM, his songwriting was still transitioning. On Armed Forces his love of wordplay would be placed front & center. But what TYM lacks in sophistication, it makes up for in sheer energy. It is one of my very favorite albums & a great document of an artist just on the edge of creative "maturity".

Thirty years on (geez!) it still sounds fresh, mostly because it is still a unique sound. There were so many bands who were influenced by Elvis in the next two years, (hell, the Jags wouldn't exist were it not for TYM), but no one has ever come close to duplicating that "sound". So, to my ears, it has aged very well. Armed Forces & My Aim Is True sound more of thier time. TYM is out of time, it is it's own document.

At first I owned the US edition & later purchased the UK album for the alternative tracks, and because I'd worn down the grooves of my first copy. I have always found "Chelsea" to be the only weak track in the bunch - don't flame me - your mileage may vary. But Night Rally is a powerful recording & a great ending to the album.

No Action, Living In Paradise, Hand In Hand, Radio Radio, Lip Service, You Belong To Me, Little Triggers & of course Pump It Up are still big faves of mine. The few remaining tracks are all very good as well, but the ones mentioned above are stellar. What a lineup.

I didn't catch Big Tears & Crawling To The USA until Taking Liberties (or was it Bloody Marys?), but both are worthy of inclusion. He didn't write a bad song from 1978 through 1980. Everything is worth owning.

 

That reminds me that I've written at least one article about this over the years. VH-1 also contacted me about it back in the day when they were doing some retrospective (probably easier for them than doing actual research).

So, here's a link to the article. Mind you this was written 8 years ago, and I'd probably correct one or two little things in this if I had the chance now (and certainly there'd be actual video, not just stills and Real Audio files):

http://www.ecostello.com/audience/990906.shtml

So, yes, planned move.

 

I've prepared some images that might be of interest. In the first pic is a 7" test pressing of "(I Don't Want to Go to) Chelsea". Its catalogue number was ADA 3, and was the first single from TYM (RAD 3) and preceded the album's release. It had a release date of March 3rd 1978. The album was released on March 17th. Next to the test pressing is the UK sleeve (front and back), and the standard green Radar label. In the second row is a UK test pressing for TYM. The lettering is not in George Peckham's hand, but, interestingly sports a date of February 16th, one month and one day from the album's official release. Next to that is the US release. As many of you are aware, the 1st pressing had custom labels where "Costello" was substituted for "Columbia". By 1979 or 1980, the regular Columbia label was on the LP. Next to the Columbia labels is Random Radiations, a press release from Radar Records announcing that EC had signed to the label. It's from January 1978 and mostly talks about MAIT and has blurbs from various papers.

The 2nd pic shows a 7" acetate for "Pump it Up" (ADA 10) with labels written in George Peckham's hand, the UK sleeve (front and back), and regular green labels. In the 2nd row is a German single, and EC and Nick Lowe promotional postcards with facsimile signatures printed on the backs. Note that the EC postcard uses the back sleeve photo from ADA 10, and the inscription reads, "This Minute's Model From Elvis Costello".

In the top row of the 3rd pic, are the front and back of the 7" UK picture sleeve for the "Radio Radio" single (ADA 24), with its white label variant. There is also a tan version of this label design (not shown). For whatever reason, the green Radar label version in black company sleeve, shown on the far right, is much tougher to find. There just might be less of them circulating. The middle row has the Italian sleeve, the Dutch sleeve (which uses the ADA 10 photo), and the incredibly rare red and yellow Belgian picture sleeve -- I suspect only the BUY 20 DJ of "Watching the Detectives" and the South African "Alison" singles will be harder to locate. Next to that is a press release for "Radio Radio" that gives the release date of October 27th 1978. I have an Armed Forces press release that gives a history of release dates, and this lists the date for "Radio Radio" as October 20th. In the last row, is one of the rare instances where I have all the major states of a record: the acetate, test pressing and final release. This is the 12" of "Radio Radio" (the other set where I have all 3 states is EC's debut single, "Less than Zero".) In the right corner is a promotional flyer for ADA 24, designed by Barney Bubbles.

 

Thanks for posting those Jeff! Very cool.

 

Man this was the album that did it for me. Became a lifelong fan with the purchase of this album.

I also spent years looking for Neat Neat Neat that finally appeared on the bonus disc! That might have been the holy grail of record collecting for me. It was just impossible to find legitimate or bootleg.

there isnt a bad song on this record for me for me either. This is probably the Elvis album that i pull out the most at this point.

 

I once had the "50,000,000 Fans Can't Be Wrong" 2-lp set that had one of my fave early EC live tracks, a cover of Ian Drury's "Roadette Song" aka "Young Man". When Rhino released the deluxe edition, I was ecstatic that it was included as a bonus track! Imagine my dismay when I listened to it and discovered that it was a different version, much slower and drenched in horns.
The one on "50 Million..." was recorded Dec.12,1977 at the 4 Acres Club in Utica, according to the indespensible "EC Homepage" website.
Has this version ever popped up on cd anywhere?

By the way, Jeff - thanks for taking the time and effort to post all of your fantastic scans of rare releases. Some of this stuff I remember seeing, a lot of it not - EC is a great artist to collect - SO much stuff out there, esp. from the Stiff & Radar days....

 

Well, having given MAIT a 5/5, my score here is pretty obvious.

Many of the posts here speak of TYM's "energy," which I hear as anxiety -- it is one of the most "nervous" records out there (which I mean as a complement). This is EC in full "guilt and revenge" mode, with the Attractions playing at their most unmediated. While not my favorite among the "big five" when it first came out (that would have been either Get Happy!! or Imperial Bedroom), it's perhaps the one I play the most today.

I had the American version, my college roommate the UK. I prefer the latter, partly because I'm a big fan of Night Rally. Others have pointed this out before, I think, but Night Rally also works really well as a preview of the themes (and to a more limited extent, the musical direction) of Armed Forces.

Oh, and the title has to be just about the greatest second-album title ever. No sophomore slump for Elvis!

 

I remember listening to TYM when it came out: put the LP on, sit on the sofa, fasten the seat belt tight and go!: from the first word of "no action" it was a kick in the stomach and then a huge rush of adrenalyne, no time to take the breath until "Radio, radio".
Compared to MYT, in this one Elvis sounded as if he had swallowed the entire tube of steroids and sniffed glue for hours.
One of my favourite albums ever, the one that made me a true fun of Elvis, up there with Get happy! as my EC No 1.
After listening to Elvis first three and Talking Heads first three, I knew immediately that I could never listen again to anything pre 1977 and I never did ever since (well until this year).
I gave 5/5 to MAIT, TYM deserves much more

 

I remember buying this lp here in the US, then picking up the UK vinyl edition at Peaches, I think, on one of my trips to Atlanta. SO superior to the US version in every way - the cover pic was better, AND laminated, the entire lp packaging was on heavier paper/stockboard, different pic on the rear sleeve and on the tiny tv on the inner sleeve. I remember wondering why they <the US record company> deleted those 2 wonderful songs, I thought <still do> they were great. Plus the great Radar label on the record itself.
Also, I couldn't help but notice the UK version sounded a LOT better! Boy, I played this record a lot. I don't own it anymore, but it's just as well - I'm sure it was totally wore out. This is also when I became aware about the differences in pressings, b-sides not available anywhere else, extensive press/magazine ads that had unusual pictures, etc. EC propelled me into the vast world of music variations. There's an excellent book that came out in the UK by Geoff Parkyn, "The Illustrated Disco/Biography" on Omnibus in 1984 that I still have, a rather small thin paperback that has great b&w illustrations of a lot of the ads and lp/single pic sleeves, etc. A great little book that oddly, has never been bettered. I guess with the Internet now, one can find all this and more, in color yet, but I just dug this out due to this thread and was amazed at how good it is. Very comprehensive in it's scope. I think I paid $2 for it a used book store. Below is a pic borrowed from an EC website:

 

A taste of ads from UK and USA mags that Radar and his other record labels put out during this period...some of them are Ebay ads that collect various period ads, so not all of them are from the really early days, but included ads that were very relevant...

 

A few more...

 

My two promotional EC standees/stand-ups from this era:

 

And finally, my fave EC full-page ad for "Pump It Up", from the UK mag New Musical Express and yet another Ebay "cuttings" collected pic.

 

The Australian version also had "Watching The Detectives", so yes, I heard that version first.

It is an awesome album. It's quite impressive how EC talked up his "persona" in interviews in the UK press in mid 77 and then actually made this album which fulfilled the perceptions he had created.

As to why Chelsea was left off the US version - that is puzzling as it's such an impressive groove by the Attractions and also includes one of Elvis' better guitar licks. Night Rally, on the other hand, almost sounds like it would fit better on Armed Forces. It's almost a close relation of "Chemistry Class"

 

bump

Where's the love for EC around here?

 

Had to dig back to page 9 to find this thread. Did someone "pee in the pool"?

If so, I hope it wasn't me....

 

JayB & jsayers - Thanks! It's nice to know who's looking. I like the idea of someone besides just me getting to see stuff hidden away on my shelves. BTW - Cool ads. There's an actual small poster for the "Pump it Up" single that that ad is based on that I've always wanted. I was sent a "PAY ATTENTION" multi-coloured poster by a dealer, but, it was badly sun faded and I returned it. I'd like to get those two someday. I have a small collection of Barney Bubbles designed flyers I'll post as the appropriate records come along.

stereoptic - Yes, the oral themes do seem to dominate this period. Over the years, "clown" or "fool" themes factor in quite often. I'm sure we could find many more if we thought about it, but, your list of examples is worthy of a college paper.

 

You know, I'm certainly not one of those annoying people who thinks his greatness ended in the early '80s, but I often think those first five records are one of the most incredible runs in rock history. If he had followed "Trust" with "Blood & Chocolate" and ended his career right then and there, he'd still be a legend...in my book, at least.

 

"This Years Model" was definitely an improvement over MAIT, IMHO. It's interesting to note how much his voice changed and how much the Attractions added to his music as a backing group. They really seemed to compliment his sound and his vision.

I don't reach for it nearly as much as I did when I first got it back in '93 (it was the second EC record I owned and was very instrumental in making me a fan), but whenever I hear it I am knocked out by how strong it is, track for track.

This was EC's response to albums like the Rolling Stones' "Aftermath" and it shows. The songs are generally basic rock songs, just with his incredible lyrics and the Attractions fierce and studied backing. Nieve's kitschy keyboard work adds to the retro '60s feel. "You Belong To Me" is the greatest song the Stones never wrote. "Pump It Up" seems a pretty obvious tip of the hat to Dylan's "Subterranean Homesick Blues." I also like how a lot of the songs are downright harrowing: "Night Rally," "The Beat" (which amazed me every time) and the frenetic "Lipstick Vogue" (did the Attractions EVER play better than this?). There really isn't one song I'd ditch here.

I personally like the three that come after this even more, and I feel like critics tend to focus on this album too much at the expense of his other work, but there is no denying that this is one incredible rock album.

Damn, this is making me want to pull the album out again.

 

Well, to be fair, he was drunk and has apologized for this incident countless times.

I don't think that kind of behavior necessarily makes him a jerk.

Let's also not forget EC was quite fond of the nose candy back then...and probably some other substances as well. I have an interview disc where he is asked about something off of "Trust" and he replies something like "I can't remember. I was doing lots and lots of drugs back then."

 

Erm, yes. He did indeed, but I'd rather not go into all the sordid details here.

He started to settle down a bit post-Armed Forces, but fell back into bad habits during the "Get Happy!!" sessions, due to the influence of a certain person who also had a taste for white powders.

 

Thanks Jeff. Can't get enough of those Barney Bubbles designs! I have a fair selection myself, but a lot are only photocopies, not originals.

Nonetheless, I'll have a look through my scrapbook and see if I've got anything worth posting.

 

was this a member of the attractions? any clues as to whom this person might be. I didnt realize he was a bit of a party doll during this period. thought he was just a drinking kinda a guy....