Elvis Costello
This Year's Model (Extra Tracks) (Original Recording Remastered)

THE REVIEW

Elvis Costello doesn't abide by the rules; he's an unruly musician who doesn't stick to what his resemblance to Buddy Holly might suggest. His motto could be: not just r'n'r, not just little songs. Throughout his long career, he's moved freely among the various facets of rock, weaving together extremely different experiences. The pinnacle was when he ventured (accompanied by the Brodsky Quartet) into chamber sounds with "Juliet Letters", well-received by much of the critics and less by the public. He continued undeterred, finding in an autonomous and intellectual elaboration of musical ideas, constantly new opportunities to express his ever-changing artistic vein. The rock ballad is the terrain where he feels most comfortable, not as a mere revisitation, but as a constant search for alternative ways to breathe new life into pop.

Jake Riviera founded Stiff Records in 1976, a record label with an agile, efficient structure capable of skillfully fishing in the multitude of artists seeking a contract. Besides Costello, others enlisted included the "Damned", "Graham Parker", "Wreckless Eric", "Dave Edmunds", the "Pogues", and "Nick Lowe", a key figure in Elvis's career, who produced his early works. "My Aim Is True", the first album recorded by the artist in '77, also acclaimed by "Rolling Stone" magazine, immediately positioned him as one of the most promising artists of the latest generation.

"This Year's Model", his second album. Costello drew inspiration from the English beat of the sixties. (Stones, Kinks). The short, engaging, and gritty songs swiftly march towards the achievement of a unique language, a very personal sound. It ranges from the dry and sharp rock of "Pump It Up" to the dense melody of "(I Don't Want To Go To) Chelsea". The album, accompanied by a substantial extended play, features three demos, among which "Big Boss" and especially "Green Shirt" stand out, very seductive in this stripped-down version. A significant example of what Elvis meant in an interview by true song: a melody that comes across even with just the accompaniment of a guitar. That's enough. There's no need for extravagance, orchestras, or grand productions to bring it to life. (Unfortunately, I couldn't find the original). In this work, Costello manages to capture the spirit of that era marked by new trends, without slipping into the harshness and anger of punk bands, placing his compositions in a more fluid, more accessible musical context.