The Angry Young Man Hits The Lists
Pitchfork Media's Top 100 LPs of the 70s.
037: Elvis Costello - My Aim Is True - [Columbia; 1977]
If substance always won out over style, the world would endure fewer arguments about the significance of this album, held by many as the most impressive debut in pop music history. Though Costello had spent years honing his craft-- stealing early-70s off-hours from his day job and family life and later working as a roadie for Nick Lowe's band-- My Aim Is True is so far beyond clichés like "arrives fully formed" and "hits the ground running" that it's agonizing to hear them used. Costello enjoyed the prevailing punk prototypes-- he listening to The Clash constantly while recording My Aim Is True-- but stuck to his folk and blues roots, slashing through 13 heartbroken rock 'n' roll rants in just over half an hour.
Made a star by the AOR vibes ballad "Alison", the song's dolled-up presentation can't even dent the resilience of Costello's stunning narrative gift (made clearer in menacing solo performances). Even at this early stage, Costello rivals Bob Dylan in his poetics and damning insight, delivered in alternately seething and sorrowful tones ("revenge and regret" were his exact words regarding inspiration). From its hilarious alarm clock opening ("Welcome to the Working Week") to the dub-doting send-off "Watching the Detectives", there's just one song on My Aim Is True anyone could say a bad word about ("I'm Not Angry"). In every other regard, this album's title is deadly accurate. -Chris Ott
052: Elvis Costello - This Year's Model [Columbia; 1978]
While in his late-70s prime, Elvis Costello was one of pop's most winning characters: Ever dejected yet stubbornly undeterred, the unobtrusive troubadour turned his calamities of love into ingratiating melodies. One of his most deceptive rock records, This Year's Model avoids the oft-cloying bitterness of emotional politics by erecting an unflappable façade of proto-punk virtuosity. Unless you're listening carefully, it"s difficult to recognize the venom behind the limpid cadence of "Hand in Hand" or the deconstructed balladry of "Little Triggers". But at this album's core are lyrics sharper than an Iggy Pop needle. Costello always got the last word, and This Year's Model features some of his most searing (and underhanded) indictments. --Sam Ubl
(Submitted by Micheal Hernandez)