Marking its 45th anniversary today is Elvis Costello’s sophomore LP, This Year’s Model, which was released in the UK on March 17th, 1978. Building on the success of his debut, My Aim Is True, and thanks to the arrival of his new backing band, The Attractions, Costello would perfect the tight, tough modern sound he had struggled to find the first time around.
For Elvis Costello’s first outing, he was working with a Californian country rock band, Clover, a pairing that struggled to align to Elvis’ vision, given the band’s west coast hippie disposition. Costello was eager to deliver a sound that put him in line with the punk & new wave edginess that was taking the UK & US music scenes by storm. After completing work on his first album, he immediately set about putting together his own band, hand picked to deliver the kind of music he wanted to play. His efforts produced The Attractions, with keyboardist Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas (no relation). Together, they would help him craft a sound that was contemporary, yet slightly nostalgic, bringing in a ‘60s pop quirkiness that fused with the raw edges of punk to become an entirely updated sound.
With a busy touring schedule, Costello and band were able to spend a lot of time perfecting their new songs on stage before bringing them into the studio. This Year’s Model was actually recorded very economically, with the band generally working live in the studio and nailing takes with few difficulties or internal conflicts. The mood in the studio was generally upbeat and productive. They all knew the songs so well that it was akin to the Motown methodology of bashing them out with precision and energy. Nick Lowe was back in the producers chair again and he worked perfectly with Costello and band to keep them hyped up and able to knock the songs out without any difficulty. The results are readily apparent in the album’s songs as they pump and snap through each piece, displaying a crackling sizzle of determination and intent.
Its release was met with immediate critical praise and, commercially, it ramped up sales. It’s hard to argue with either response given the remarkable consistency and perfection of what got captured on that record. On it’s cover, Costello glares out at the world from behind a camera, highlighting his role as cultural observer and social commentator, documenting the foibles and follies of humanity. Costello’s song writing was firing on all cylinders with the singer amassing a large stash of material to cherry-pick for the album, ensuring the best of the best made the cut. It remains my favorite of his records and is regularly cited as his best in critic’s poles and “best of” lists.
