フォーマット | CDアルバム |
発売日 | 2008年03月07日 |
国内/輸入 | 輸入(アメリカ盤) |
レーベル | Universal |
構成数 | 2 |
パッケージ仕様 | - |
規格品番 | B001068102 |
SKU | 602517606319 |
構成数 : 2枚
合計収録時間 : 02:09:55
THIS YEAR'S MODEL is packaged with a 28-page booklet that includes rare photos and printed song lyrics.
Elvis Costello & The Attractions: Elvis Costello (vocals, guitar); Steve Nieve (keyboards); Bruce Thomas (bass); Pete Thomas (drums).
Additional personnel: Mick Jones (guitar); Davey Payne (saxophone).
Producer: Nick Lowe.
Reissue producers: Gary Stewart, Val Jennings.
Recorded between August 1977 and October 1978. Originally released on Columbia (35331). Includes liner notes by Elvis Costello.
All tracks have been digitally remastered.
Personnel: Elvis Costello (vocals, guitar); Elvis Costello; Mick Jones (guitar); Davey Payne (saxophone); Steve Nieve (keyboards); Bruce Thomas (bass guitar); Pete Thomas (drums, drum).
Recording information: Basing Street Studios (1977-1978); Eden Studios, London, England (1977-1978); Leicester University, England (1977-1978); Warner Theater, Washington DC (1977-1978); Waterloo Studios, Sydney, Australia (1977-1978).
Photographers: Roberta Bayley; Chris Gabrin.
For his second album, Elvis Costello fine-tuned his aesthetic by abandoning the California studio cat accompanists of his debut for the more aggressive, quirky and very British Attractions, who would define EC's sound over the next several years. Where MY AIM IS TRUE highlighted Costello's rootsy influences (the Band, etc.), THIS YEAR'S MODEL wholeheartedly embraces the "new wave" out-with-the-old mindset, favoring tightly wound ferocity over back-porch-isms.
Irresistibly catchy, in a twitchy, neurotic, white-knuckled way, THIS YEAR'S MODEL is Costello at his edgiest. The classic "Pump It Up" pummels the listener with garage-band organ, pounding drums, and HIGHWAY 61 REVISITED-style ranting. "Radio, Radio" turned into something of an anti-authoritarian anthem for Costello. The snaky guitar and reggae-tinged drums of "I Don't Want to Go to Chelsea" complement his verge-of-a-nervous-breakdown vocal performance nicely. Come to think of it, so does nearly everything else here.
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