Get Happy!! (Elvis Costello album)

945:, and featuring a clash of changing colours, the geometric sleeve contains three identical images of Costello photographed from above, with his hands in the pockets of a buttoned-up coat and his face appearing "almost deformed". (This triplicate image is upside-down and taken from a photo of Costello laying down on a cobblestoned alley.) The UK release featured a "pre-worn" look on the sleeve: the center of the front cover showed label ring-wear, while the back featured a larger circle of ring-wear, giving the effect that the vinyl within had worn through the packaging. This effect also appeared on albums manufactured and sold in some European countries and in Japan (including some cassette and CD versions) and omitted from other editions. Original copies also lacked a lyric sheet. 895:. Described by McCullough as "a quivering skeleton of a song", the former is addressed to a woman, seemingly putting her down and casually hinting at violence. The latter song, while not as brutal, describes an unsatisfactory affair taking place in a motel room, and the story is delivered in such a way that Hinton says "emotion overtakes cleverness". Returning to ska rhythms in the ambivalent "Human Touch", the narrator is disgusted by his partner and the world, begins drinking heavily and physically assaulting her, yet he longs for her "human touch". Gouldstone finds that the music mimics the disintegration of the narrator's mind. Hinton likens the track to "Lip Service" from 777:", a 1982 UK number one. Nelson found the opening lines ("You won't take my love for tender?") set a precedent for the entire album, in which "one clever but fractious phrase after another unspools as though autogenerated from a demented mail-order catalog". "Opportunity" is the first of several cryptic songs on the album. The partly autobiographical number contains references to being watched or under surveillance, which the narrator is powerless to do anything about except wait for opportunities to come. Gouldstone gives an interpretation of the song as "a dissident aside on the values and organisation of post-war Britain". 523: 31: 884:

childhood. With a theme of nostalgia similar to "New Amsterdam", the song reflects on days of innocence gone by, and also combines ideals of time, the media and battles between the sexes set against, in Gouldstone's words, "powerful and gripping music". "5ive Gears in Reverse" implies that society is digressing rather than progressing, with the chorus relating hopelessness and futility. Driven by a guitar riff and bassline, it is sung "lustfully" rather than "lustily". Hinton finds the track also acts as a "

422: 872: 413:. It was supported by a UK tour and three singles, of which "I Can't Stand Up for Falling Down" reached the UK top five. The album received positive reviews from music critics. Many focused on the quantity of tracks, which they felt varied in quality, although others gave high praise to the record and to Costello himself. It is retrospectively viewed as one of his best works. Appearing on lists of the best albums of the 1980s, it has been reissued multiple times with bonus tracks. 694:, the artist invested in "soul sources with an introspection and bitterness previously alien to the genre". Costello said that not all the tracks took direct influence from R&B and soul: "Human Touch" was influenced by his recent work producing the Specials; "Men Called Uncle" and "Beaten to the Punch" owed a debt to the early-1960s Liverpool sound that also included The Merseybeats' "I Stand Accused". Some critics inferred the songs on 730:"Clowntime Is Over", "5ive Gears in Reverse" and "Temptation") and songs detailing personal conflicts (all other tracks). He notes that almost all the songs have narrators, with "King Horse" highlighting that they all have human failings. A theme of doomed romance, inspired by the artist's former relationship with Buell, appears in "Beaten to the Punch", "Riot Act", "Men Called Uncle", "New Amsterdam" and "B Movie". Additionally, 784:-ska groove. "Secondary Modern" utilises a slower soul groove with downbeat lyrics. Like other tracks, the narrator pleas for a woman to accept him. Interpreting the phrase "secondary modern"–former schools for children that failed grammar school–Gouldstone finds that the phrase might have appealed to Costello due to its "secondary importance" in modern times, which is the final fate of most of his songs' characters. 1692: 1604: 1780: 1775: 1770: 1765: 1760: 1730: 1725: 1720: 1715: 1710: 1687: 1682: 1677: 1672: 1654: 1649: 1644: 1639: 1634: 1599: 1594: 1589: 1584: 1554: 1549: 1544: 1539: 1521: 1516: 1511: 1506: 1501: 1483: 1478: 1473: 1468: 1463: 1178: 1173: 1168: 1163: 1158: 1128: 1123: 1118: 1113: 1108: 1851:. Nelson agreed, finding their performances stand out with individual styles that become "almost automated", thereby "embroidering Costello's frenzied impulses into supple, insinuating grooves that can seem at times almost oblivious to the man raving over them". Perone notes that Pete Thomas's bass drum is higher in the mix, giving the tracks a "four-on-the-floor style" that differentiates 1824:"may be his most jubilant LP ever", with all 20 tracks packing "more muscle, hooks, heart and, yes, soul than many of his more acclaimed records that followed." Discussing the album for its 40th anniversary, Nelson described the LP as "a bracing time capsule of a singer-songwriter at the height of his powers and coming apart under pressure", drawing comparisons to the Beatles' " 808:, the song concerns a failed relationship and implies that money be provided rather than love itself. In "Men Called Uncle", the narrator shows distaste for a woman and her older man. As in other tracks, he displays indifference toward her, but deep down he desires her love and affection. Perone finds the music similar to the pop styles of the 1960s 600:

emotional meltdown, and Bruce and Pete Thomas were unhappy with their bass and drum sounds. Lowe also found issues with the studio, even having Costello record his vocals in the booth designed for string instruments: " was extremely Euro. It was like trying to make a record as the Eurovision song contest was going on all around you."

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reissued the album in 2003 as a two-disc set; disc one contained the original 20-track album and disc two contained additional bonus tracks on top of the Rykodisc ones, one of which was a live version of "High Fidelity" that Costello states was his way of performing in the style of Bowie's 1976 album

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Like "The Imposter", "King Horse" is aimed at tough guys who harass waitresses and stewardesses. Gouldstone comments that "to call someone 'king horse' is in effect to accuse them of being driven by ruthless selfishness, of trampling over other people to reach their desires". Musically, the song uses

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being pulled from radio stations. By the tour's end, Costello's reputation in America was nearly destroyed. Bruce Thomas later admitted: "We never really recovered from that tour. Every time Elvis is doing something well, he kind of sabotages it." His reputation in the United Kingdom remained largely

390:' "I Stand Accused". In contrast to the upbeat music, the mostly downbeat lyrics concern doomed romances and other recurring themes. Initial album sleeves reversed the side listings, which was corrected for later reissues. The cover art reflects the soul influence and was designed to resemble a 1960s 1421:

remains a pivotal work in long career, an assured first step toward even more grandiose experiments to come – from jazz, classical and baroque pop to hip-hop, New Orleans groove and Americana. It's also a great album, an extension of his first three classic LPs that also happens to consciously move

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It might have been tempting to claim that I had some noble motive in basing this record on the music that I had admired and learned from prior to my brush with infamy. But if I was trying to pay respects and make such amends, I doubt if pride would have allowed me to express that thought after I had

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was a turning point in Costello's career, being the first step away from the angry persona that he had embodied up to that point. He began adding more of himself into the material, including "a bit more tenderness, a bit more regret, because you make mistakes in your life and you have to sing about

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tracks, and presumed by Gouldstone to concern the troubles of living in a competitive and bureaucratic society. The author also argues that the cover of "I Stand Accused" could pass as a Costello original due to its performance and use of thematic punning. The final track, "Riot Act", reflects on a

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The band recorded a large number of songs during the sessions, and almost all of the 20 tracks fitted onto the resulting album were under two-and-a-half minutes in length. According to Costello, the vinyl cutting and pressing process had to be precise to fit all of them onto the two sides of an LP.

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Opening side two is the cover of "I Can't Stand Up for Falling Down", a soul track that describes a hurtful love affair. Gouldstone stated that its presence adds "authentic sixties atmosphere" to the LP. The title of "Black and White World" recalls the early days of cinema and the simpler days of

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praised the Attractions: "I was amazed by them live. The power. They would just come out of the dressing room and attack." Due to his alcohol and drug abuse, Costello himself suffered several moments of instability during the shows, including forgetting lyrics, freezing in place and poor vocals.

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The lyrics of "Clowntime Is Over" are vague, but Gouldstone argues that it concerns "some kind of lament"; and words and phrases such as "blackmail", "ransom", "somebody's watching" and "a voice in the shadows" offer sinister undertones. Critic Dave McCullough wrote that the song has a "familiar

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were reversed; side one began with "I Can't Stand Up for Falling Down" and ended with "Riot Act", while side two started with "Love for Tender" and ended with "High Fidelity", which was corrected for later reissues. The author James E. Perone argues that the swapping is significant, as the album

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and was viewed as a commercial disappointment. According to Thomson, reasons for its lesser performance possibly included the incident with Stills, Costello's decision not to tour in America due to the incident, lack of promotion from Columbia and radio stations disliking the change in musical

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found the song titles hint at the "jarring encounters" described throughout, naming "Beaten to the Punch", "Temptation", "Possession", "Clowntime Is Over" and "High Fidelity". The biographer David Gouldstone splits the tracks on the album into songs concerned with public issues ("Opportunity",

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received generally positive reviews from music critics on release. Many commented on the amount of tracks present on the LP, finding they varied in quality. Hilburn said that "by including 20 tunes in the LP, demonstrated his disregard for critics and businessmen". Conversely, Ira Robbins of

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haze", adding: "It wasn't pleasant at all. You could see the seams coming apart at that point." Having played the majority of songs live before going into the studio on previous albums, the band now had little time to pause as the new songs were being rearranged frequently. Nieve suffered an

1062:. The promotional campaign included over 100,000 free posters, over 500 record store window displays, magazine adverts and radio and television ads, which proved fraught for financially struggling F-Beat Records. Lauder later admitted: "We had overpressed on the album based on the sales of 30: 1811:

as more than a "genre exercise". Finding the inconsistent quality of its tracks part of its overall charm, he ended that the album "bursts with energy and invention, standing as a testament to how Costello, the pop encyclopedia, can reinvent the past in his own image". Chris Jones of

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agreed, deducing: "What can you say about the new wave kingpin except that he gets better with age." The reviewer argued that the amount of tracks on the LP "should make any record buyer happy with the quality and quantity of the material", a sentiment echoed by Hilburn, who deemed

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past relationship with "abject desolation" rather than disdain. Costello gives a tender vocal performance that displays emotion and builds into a near-scream by the end. Hinton calls it the "first genuinely relaxed song on the whole LP" and compares the music to the English band

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those as well as the things you're very confident or cocky about." Throughout mid-1980, Costello began writing new songs and revising older, unused ones that reflected this new form of thinking, debuting a few during live performances during the summer. His next album,

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Throughout March 1980, Costello and the Attractions toured the UK for the first time in almost a year, playing in smaller venues in lesser-known cities compared to previous live outings. Drawing on material from his four albums up to that point—primarily

556:. Bad Elvis and the Attractions impersonators, basically, who played everything fast and in eights." Thomson noted that the band's classic sound was now outdated and the initial attempt at "B Movie" sounded like "a desperate attempt" at rewriting " 719:. The biographer Tony Clayton-Lea finds it an ironic comment on the LP's "steeped in discontent" lyrical content. The upbeat arrangements are in stark contrast to the lyrics, particularly on "King Horse". Reviewing the album on release, critic 1226:

s Tom Carson felt that "if the new album is hard to get into, it's also difficult to ignore", concluding that Costello has "succeeded in making his obsessions belong to us. For better or worse, we'll all ride them out together to the end".

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magazine, Al Shipley referred to it as "an incredible burst of energy" in which "the Attractions' manic performances and some of Costello's most deranged wordplay give the album a frenetic charge even beyond their other early albums."

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acknowledged the presence of "lotsa duds", but observed some memorable "tropes and hooks". Several critics also complained of "uneven" material that lacked a consistent theme and criticised the production as generally weaker than

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of the same name with bonus tracks Costello had recorded alone, including "Just a Memory", "Ghost Train" and "Dr. Luther's Assistant". "New Amsterdam" was also issued a single, backed by "Dr. Luther's Assistant", the same month.

1066:, which was a platinum album. We had a situation where we were shipping out lots of records and they were all coming back. Having paid for all the advertising and all the publicity, financially it was a tough one to make." 3887: 1273:

magazine's Dave McCullough was highly positive, writing that the album "soars to a pinnacle of Costello's combined creative force, by the end leaving the listener quite breathless." Paul Ramble was also positive in

475:: "So what if my career was rolled back off the launching pad? Life eventually became a lot more interesting due to this failure to get into some undeserved and potentially fatal orbit." Although he remained with 4496: 780:"The Imposter" is the narrator's attack on a man who has won the affection over a woman he is also in love with; to the narrator, he is an 'imposter' and is surprised no one else sees it. The tracks employs a 624:

marked the first appearance of non-original material on one of his UK studio albums. The Archipelago recording of "New Amsterdam" was kept for the final album, as Costello felt it could not be improved upon.

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In 2015, Gallucci wrote that the album contains some of the artist's best songs from the period. He continued that despite being dismissed as a novelty during discussions of Costello's works from the 1980s,

863:; its opening line also quotes a song title by them. The lyrics are addressed to an ex-partner who now has found a new lover and contain Costello's signature wordplay to reference radios and record players. 489:

and reconciled with his wife Mary. Apart from recording the occasional demo and doing promotional gigs, he and the Attractions took some time off from each other over the summer of 1979; Costello produced

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Recording took place throughout the remainder of October 1979. Despite the change in scenery, the sessions were enveloped with problems. The band drank frequently, while Béchirian recalled it being a "

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were a response to the events of the Armed Funk tour, although in his 2003 reissue liner notes, Costello said "Riot Act" was the only track on the album to refer to the incident, further commenting:

4825: 859:" into concert performances of "New Amsterdam". Hinton notes that it is the only song here that comes from a non-persona. "High Fidelity" marks a return to the soul influences, with a sound echoing 804:

the following year. "Possession" was written in Holland during a five-minute taxi ride heading back to the studio from a local café. Reassuring a recurring theme of finance and business throughout

4877: 4751: 451:, using racial slurs. Costello quickly acknowledged the incident without apology in a press conference when details became public, and he received further backlash including death threats and 4729: 3726: 4803: 435:, on the Armed Funk tour in America from February to April 1979. The tour was plagued with issues, including drug and alcohol problems, aggressive behaviour from Costello and his manager 510:", "Five Gears in Reverse", "Love for Tender", "King Horse", "New Amsterdam" and "Men Called Uncle". According to his biographer Graeme Thomson, Costello had grown to hate the sound of 580:, which he gave to the band as inspiration. They then went back and re-arranged many of the songs in a more rhythm-and-blues style. The band also grew tired of Eden and relocated to 4385: 1282:

and announcing: "It's a record you didn't expect. It looks like fun and it is. Maybe it's only a temporary lapse, but Elvis has gotten off the treadmill and gotten happy. Get it."

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also placed it among the artist's best work, highlighting the "distinctive" songwriting and Lowe's production, which he felt created a "sense of being both precise and off-hand".

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three days later and reached the UK top 30. The band were back on the road throughout Europe in mid-April, although a car accident resulted in Nieve being temporarily replaced by

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an album of chemistry rather than "individual cameos", Thomson states that the record showed the backing band at "their rawest and roughest", with "little sophistication" from

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in the US on CD came in April 1994. This reissue presented sides one and two in order of the record itself rather than the LP labels and came with a slew of bonus tracks.

2692: 1840:, ultimately appraising it as a successful comeback record: "a dizzying display of desperation and talent that remains a fascinating, frantic flare from a sinking ship." 4533: 4673: 2413:

was playing three-hour shows around this time, so American audiences were expecting longer shows. When Costello played sets less than an hour long, he drew criticism.

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Costello's most satisfying work up that point, commenting on the "stylistic range, emotional depth, melodic richness and verbal invention" inside strong songwriting.

2995: 3832: 3490: 3340: 977:, but Warner blocked its release due to the ongoing legal proceedings. Once resolved, the song, backed by "Girls Talk", was rush-released as the first single on 8 3961: 761:-style bass and Motown-era handclaps and percussion. The rushed song uses thematic punning to reference both affection and monetary advances. A reworking of the 544:

in September and October 1979 to rehearse the new tracks but, having written and performed some of the material during the preceding tour in a style similar to

969:, and Warner disliked both Costello and Lowe leaving without recompense. The dispute eventually went to court. Costello attempted to release the first chosen 1888:

placed it at number 65 on its list of the best albums of the past 20 years, in 1987. It was also placed at number 298 in the third edition of English writer

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Costello gave himself the moniker "The Imposter" in occasional production credits, while his later backing band—the Attractions minus Bruce Thomas and with

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February 1980, over a year after its predecessor, released with the catalogue number XXLP 1. In the US, it was issued through Columbia the week of 25

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Gouldstone comments that the album marked the beginning of Costello's "most fruitful period" that yielded the "trilogy of magnificent albums":

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magazine found the artist "hasn't lost any of his stunt or verve on this snappy LP", which they predicted would be "a sure bet for AOR radio".

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Both "B Movie" and "Motel Matches" feature wordplay referencing Costello's life while on the road for three years, complementing the lyrics on

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toward the press, and uneven performances that led to critical and audience backlash. In March, Costello engaged in a drunken exchange with

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made my rather contrived explanation ... I simply went back to work and relied on instinct, curiosity, and enduring musical passions.

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unaffected, mostly due to newspapers failing to pick up the story. The author Mick St. Michael compares it to the worldwide response from

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represents a departure from Costello's previous records, taking influences from the R&B and soul sound of the 1960s, as well as

5579: 5565: 5185: 4948: 3762: 3031: 1563: 3782: 355:(1979). The sessions were problematic but resulted in a large number of songs; the final album contains 20 tracks across a single 3318: 5894: 6120: 4065: 2684: 2327: 1009:—and covering various soul tunes to reflect Costello's renewed appreciation, the shows were greeted positively. Supporting act 3624: 6168: 5768: 5134: 5111: 5084: 5059: 5036: 5013: 4983: 4956: 4155: 2980: 816:

feeling of aggressive assurity, relayed in a sudden jerk at the end of every verse". Musically, Nelson compares the song to "

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Elizabeth Nelson retrospectively found that Costello intended "Temptation", "Opportunity" and "Possession" to be "a kind of

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around 1965 to 1968, but played by these maniacs who had just been flying around the world for two years, and going

6173: 5961: 5880: 5831: 5689: 2060: 741:-like, cut-up trilogy", dissecting them as "a tortured romance in three acts" or "a plan for military domination". 630: 6102: 5615: 3871: 1250: 485:. Following the disastrous tour, he decided to reevaluate himself and his career. He ended his relationship with 909:" (1968). Hinton also draws Beatles comparisons for "Beaten to the Punch", which contains the same bassline as " 502:. During his time working with the Specials, Costello taped demos at Archipelago, a small eight-track studio in 6183: 6178: 5782: 5675: 5445: 4899: 4105: 6188: 4921: 4272: 3436: 2351: 2011: 1795: 1701: 5954: 5873: 5410: 5354: 5305: 5178: 3822: 648: 481: 5933: 2167: 1933: 1326: 5696: 5205: 793: 757:

Opening track "Love for Tender" is an upbeat R&B track that demonstrates the soul influence with a

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We just changed direction completely. I said, 'Let's just play these songs as if we were a soul band,

5803: 5775: 620:' "I Stand Accused". Although covers had frequently appeared in Costello's live sets and as B-sides, 6198: 6077: 6049: 5901: 5852: 5424: 4608: 1894: 1816:

declared it Costello's finest album and "the greatest coherent statement he ever created" in 2008.

1828:" (1968). She further labelled it "a landmark in maximalist efficiency" that anticipated works by 5389: 5171: 3986: 3721: 3585: 3092: 2643: 1804: 1263: 766: 749:

makes "more rhetorical sense" with "Love for Tender" as the opener and "Riot Act" as the closer.

461: 4555: 3057: 5810: 5526: 4695: 4282: 4260: 4175: 506:, London, playing all instruments himself. This yielded versions of "Black and White World", " 471:

in 1982, feeling that it "outweighs my entire career", but later reflected in his 2015 memoir

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has made appearances on several lists of the best albums of the 1980s, including in 1989 by

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described it as "a throwback to '60s R&B music played with new wave bite". In his book

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Jeff Nesin proclaiming: "If you care about rock 'n' roll you must have this album." In

913:" (1966). The energetic song is an attack on a man and his "juvenile macho attitudes". 906: 774: 581: 92: 3314: 2155: 1030:, save for recent single "High Fidelity". In June, "New Amsterdam" was released as an 342: 5908: 5130: 5107: 5080: 5055: 5032: 5009: 4979: 4952: 4873: 4705: 4700: 4617: 4328: 4286: 4151: 3772: 3688: 3526: 3206: 2410: 2269: 2209: 1739: 1269: 1208: 1149: 961:

founder Andrew Lauder and Riviera left the label and formed a new independent label,

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would have been "incredible", but as it stands, "bad items detract from good ones".

6127: 6003: 5975: 5719: 5572: 5544: 5480: 5438: 5403: 5319: 5048: 4484: 4351: 3614: 1829: 1751: 1413: 1365: 1203: 982: 809: 708: 573: 557: 476: 367: 334: 219: 163: 126: 6031: 5968: 5845: 5796: 5789: 5754: 5452: 5340: 5326: 5239: 5126: 5070: 4910: 4480: 4416: 4268: 4264: 4209: 4110: 2466: 2455: 2280: 2046: 1857: 1625: 1530: 1350: 1043: 920:" (1969). As a song about alcoholism and defenselessness, it is similar to other 821: 617: 507: 387: 310: 188: 172: 47: 4941: 1026:. For these shows, the setlists were revised and featured almost no tracks from 800:'s Rick Anderson argued that it anticipated the sound Costello would explore on 522: 5940: 5887: 5607: 5505: 5277: 5230: 5194: 4993: 4560: 4278: 3768: 3515: 3195: 2432: 2221: 2161: 2114: 1945: 1880: 1370: 1023: 974: 970: 962: 942: 929:, while AllMusic's Stewart Mason considers the arrangement "almost bombastic". 833: 758: 720: 549: 440: 330: 306: 237: 184: 158: 116: 43: 3520: 3200: 651:, so we had a particular time frame in terms of arrangements. It was based on 6157: 6063: 5661: 5600: 5473: 5459: 5382: 5103: 4975: 4256: 4238: 4147: 3827: 3648: 2990: 2479: 2291: 2118: 2077: 1922: 1914: 1800: 1663: 1360: 1346: 1219: 1194: 1099: 1047: 1031: 958: 917: 876: 634: 609: 605: 548:, Costello was displeased with the results, finding them derivative and too " 402: 379: 4444: 5375: 5259: 5005: 4903: 4613: 4171: 4137: 4061: 3806: 2336: 2130: 1910: 1889: 1843:

Some commentators highlighted the performances of the Attractions. Deeming

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was designed to resemble a vintage Stax record from the 1960s. Designed by

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he'd enjoyed as a teenager, and purchased several soul records in London's

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dubbed it a "tour de force", a sentiment echoed by senior AllMusic editor

965:. Any UK signee to Radar's was also signed to the label's parent company, 5817: 5703: 5622: 5312: 5245: 5216: 4917: 4892: 4520:"The Top 100 Albums of the 1980s – Elvis Costello & the Attractions: 3706: 2484: 2124: 2007: 1375: 1258: 902: 852: 829: 716: 589: 565: 457: 448: 444: 346: 314: 109: 5586: 4224:

Abowitz, Richard (2 October 2003). "Elvis Costello and the Attractions:

2396:"New Amsterdam" was recorded as a demo at a small eight-track studio in 1917:

in January 1986. Its first extended reissue through Demon in the UK and

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Nesin, Jeff (June 1980). "Elvis Costello seeks the window up above".

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McCullough, Dave (23 February 1980). "Hit me with your rhythm Stax".

2149: 2070: 1813: 851:. Costello has acknowledged his musical inspiration by interpolating 848: 825: 789: 781: 585: 530: 338: 177: 96: 843:-like number, and was recorded by Costello alone as a demo. It is a 560:" (1979). Wanting a new direction, Costello immersed himself in the 409:

charted at No. 2 in the UK and No. 11 in the US, but sold less than

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after Costello found the material derivative of his previous album,

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has since been considered one of Costello's best works. Writing in

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Costello and the Attractions had supported his third studio album,

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from other albums Costello made with the Attractions. Writing for

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music critics' poll, beating out such better selling releases as

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Collis, Clark (June 1994). "Elvis Costello and the Attractions:

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on 6 November 2015, who spread the content across two LPs.

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in June while his band recorded an album released in September,

443:, where he insulted various American musical artists, including 3401: 3399: 3397: 910: 656: 633:", an alternate version of "Clowntime Is Over", and a cover of 529:

was the fourth of five consecutive Costello albums produced by

394:

record, with the UK release featuring a pre-worn sleeve image.

4900:"Canadian album certifications – Elvis Costello – Get Happy" 3382: 3135: 2644:"That Time Elvis Costello Incited a Brawl With Racist Remarks" 973:, "I Can't Stand Up for Falling Down", on the Specials' label 765:

outtake "Clean Money", Costello stated that he used the same "

4918:"British album certifications – Elvis Costello – Get Happy" 3856: 3561: 3559: 3557: 3542: 2954: 2952: 2950: 2948: 2946: 2944: 2942: 2940: 2938: 2936: 2934: 2932: 2930: 2928: 2926: 2924: 2922: 2920: 2832: 2550: 2548: 2546: 2544: 2542: 2540: 2538: 2536: 2534: 2532: 2530: 2528: 2526: 2524: 2245: 1236: 844: 38: 3394: 2918: 2916: 2914: 2912: 2910: 2908: 2906: 2904: 2902: 2900: 2522: 2520: 2518: 2516: 2514: 2512: 2510: 2508: 2506: 2504: 1316:

placed at number two on lists of the best albums of 1980 by

1038:

Aided by rising expectations and coverage on soul stations,

916:

Costello based "Temptation" on Booker T. & the M.G.'s' "

514:

and aimed to take a different direction for his next album.

305:

is the fourth studio album by the English singer-songwriter

5594:

The Very Best of Elvis Costello and The Attractions 1977–86

2734: 2707: 2625: 2623: 2621: 2619: 2617: 2615: 1187:

While not receiving the acclaim of its three predecessors,

875:

Costello's cover of "I Can't Stand Up for Falling Down" by

18:

1980 studio album by Elvis Costello and the Attractions

3554: 3231:"'Love For Tender' – Elvis Costello & the Attractions" 3171: 3169: 3167: 3165: 3163: 3161: 3159: 3157: 3155: 479:, he did not tour America again until 1981, in support of 5123:

Complicated Shadows: The Life and Music of Elvis Costello

3921: 3344: 2897: 2501: 677: 371: 3416: 3414: 3372: 3370: 3368: 3366: 3285:"'New Amsterdam' – Elvis Costello & the Attractions" 2808:"How Elvis Costello and the Attractions Got Sorta Happy" 2612: 592:, with producer Nick Lowe and engineer Roger Béchirian. 3646:

Nicholls, Mike (23 February 1980). "Sweet soul music".

3258:"'The Imposter' – Elvis Costello & the Attractions" 3152: 2786:(liner notes). Elvis Costello and the Attractions. US: 2592:(liner notes). Elvis Costello and the Attractions. US: 1285:

Other reviewers praised Costello himself as an artist.

953:

Originally intended for release in early January 1980,

5712:(What's So Funny 'Bout) Peace, Love, and Understanding 3123: 2724: 2722: 467:

Costello referenced the incident in an interview with

4020:. Vol. 8, no. 59. February 1981. p. 9. 3411: 3363: 3028:"'King Horse' – Elvis Costello & the Attractions" 2600: 4106:"The Sounds Of Elvis, From San Francisco And Beyond" 2095:"Black & White World (Demo Version)" – 1:53 4374:Nelson, Elizabeth; Bracy, Timothy (24 March 2021). 3804:Brazier, Chris (23 February 1980). "Stax o' Trax". 3315:"'Riot Act' – Elvis Costello & the Attractions" 2719: 2121:

on "Possession", all instruments on "New Amsterdam"

1789:Retrospective reviews have been very positive, and 957:was delayed due to legal issues. In December 1979, 839:Unlike the rest of the album, "New Amsterdam" is a 540:Costello and the Attractions regrouped at London's 6142:Bespoke Songs, Lost Dogs, Detours & Rendezvous 5095: 5047: 4997: 4967: 4940: 4863:"Elvis Costello and the Attractions – Get Happy!!" 4826:"Elvis Costello and the Attractions – Get Happy!!" 4789:"Elvis Costello and the Attractions – Get Happy!!" 4752:"Elvis Costello and the Attractions – Get Happy!!" 4344: 3910: 3875: 3710: 3582:"Elvis Costello and the Attractions – Get Happy!!" 3519: 3199: 2979: 1306:Hilburn felt it was not as "powerfully framed" as 1058:direction and less pop-friendly tunes compared to 2326: 824:" set against a "mechanized march" she likens to 6155: 345:, the sessions began in London but moved to the 4479: 3701: 3699: 3431: 3429: 2478:Gouldstone excludes the artist's 1981 album of 2367:Shipments figures based on certification alone. 690:, the biographer Brian Hinton states that with 5630:The Best of Elvis Costello: The First 10 Years 5559:The Best of Elvis Costello and the Attractions 5050:Let Them All Talk: The Music of Elvis Costello 4666:"Elvis Costello's Get Happy Gets Even Happier" 4207:Doyle, Tom (November 2018). "Band Substance". 3021: 3019: 3017: 1707: 888:" for the album, "backwards into the future". 847:, with nostalgic lyrics about arriving in the 5552:Ten Bloody Marys & Ten How's Your Fathers 5179: 4800:Recording Industry Association of New Zealand 3661: 3659: 4595:. No. 507. 27 August 1987. p. 129. 4587:"The Best Albums of The Last 20 Years – 65. 3696: 3472: 3470: 3426: 3058:"Elvis Costello Albums Ranked Worst to Best" 2133: – bass, harmonica on "I Stand Accused" 2101:"Love For Tender (Demo Version)" – 1:39 1757: 1669: 1631: 1581: 1536: 1498: 1460: 1422:away from them and into brave new territory. 1198:argued that with a condensed track listing, 1155: 1105: 378:of the 1960s. Two cover songs are included: 5093: 4965: 4373: 3405: 3388: 3308: 3306: 3146: 3087: 3085: 3083: 3051: 3049: 3014: 2713: 2110:According to the 1994 reissue liner notes: 1932:. The album was remastered and reissued by 937:According to Hinton, the cover artwork for 552:". Bruce Thomas recalled: "We sounded like 5186: 5172: 5022: 4704:. St Ives, N.S.W.: Australian Chart Book. 4376:"Elvis Costello Albums from Worst to Best" 3685: 3672:. Vol. 2, no. 5. pp. 30–31. 3656: 3609: 3607: 3576: 3574: 3201:"Getting Happy with Clash, Elvis Costello" 3190: 3188: 3186: 3184: 2973: 2971: 2969: 2967: 2891: 1426: 1230:Other critics offered high praise towards 29: 6071:Lost on the River: The New Basement Tapes 4818: 4436: 4367: 4255: 4251: 4249: 3987:"1980 Best Albums And Tracks of the Year" 3752: 3681: 3679: 3467: 3249: 2777: 2775: 2773: 2771: 2769: 2453:Langer later produced Costello's records 2080:, Tony Faehse, Jeff Burstin) – 3:26 1053:chart, although it sold less copies than 901:(1978) or, in theory, Costello's take on 707:The album's title is taken from the song 362:A departure from Costello's prior works, 5098:Elvis Costello: An Illustrated Biography 4992: 4718: 4663: 3941: 3666:Starr, Red (6–19 March 1980). "Albums". 3645: 3437:"WEA and Radar tangle ends in agreement" 3303: 3080: 3055: 3046: 2805: 2781: 2767: 2765: 2763: 2761: 2759: 2757: 2755: 2753: 2751: 2749: 2740: 2678: 2676: 2674: 2672: 2670: 2668: 2666: 2664: 2641: 2587: 989:followed it in the UK a week later on 15 981:February and reached number four on the 948: 932: 870: 521: 420: 397:Initially delayed due to a dispute with 6121:Unfaithful Music & Disappearing Ink 5120: 5000:Unfaithful Music & Disappearing Ink 4855: 4781: 4744: 4688: 4643:– Elvis Costello & the Attractions" 4409: 4405: 4403: 4223: 4054: 3912:"Elvis Costello & The Attractions: 3908: 3803: 3797: 3712:"Elvis Costello & the Attractions: 3604: 3571: 3565: 3548: 3514: 3194: 3181: 3101:– Elvis Costello & the Attractions" 2981:"Elvis Costello & The Attractions: 2977: 2964: 2583: 2554: 879:(pictured in 1967) appears on side two. 473:Unfaithful Music & Disappearing Ink 6156: 5068: 5045: 4605: 4599: 4517: 4317: 4246: 4136: 4032:"The 1980 Pazz & Jop Critics Poll" 3870: 3864: 3820: 3705: 3676: 3420: 3376: 3175: 3111:from the original on 12 September 2015 3056:Gallucci, Michael (15 February 2022). 2998:from the original on 19 September 2020 2958: 2806:Gallucci, Michael (15 February 2015). 2801: 2799: 2797: 2685:"Elvis Costello's 'Get Happy!!' at 40" 2683:Nelson, Elizabeth (19 February 2020). 2682: 2629: 2581: 2579: 2577: 2575: 2573: 2571: 2569: 2567: 2565: 2563: 629:that appeared as UK B-sides included " 5637:The Songs of Bacharach & Costello 5167: 5072:The Words and Music of Elvis Costello 4938: 4499:from the original on 27 November 2011 4442: 4424:from the original on 19 February 2022 4342: 4336: 4299:from the original on 13 December 2020 4206: 4170: 3853: 3847: 3755:"Elvis Costello and the Attractions: 3748: 3746: 3744: 3665: 3129: 3068:from the original on 25 February 2022 2746: 2728: 2661: 2606: 2170:as VAT 239 7568 14 – photography 2098:"Riot Act (Demo Version)" – 2:50 1441: 1338:), while the album placed seventh on 1084: 1069: 744:The original album sleeve labels for 5669:(The Angels Wanna Wear My) Red Shoes 5054:. London: Sanctuary Publishing Ltd. 4880:from the original on 11 January 2014 4694: 4636: 4445:"Elvis Costello and the Attractions 4412:"Every Elvis Costello Album, Ranked" 4400: 4388:from the original on 22 January 2022 4188:from the original on 21 October 2015 4118:from the original on 28 October 2020 4060: 3997:from the original on 31 October 2016 3967:from the original on 8 February 2022 3785:from the original on 25 January 2016 3496:from the original on 9 February 2022 3091: 3025: 2179: 2092:"Dr. Luther's Assistant" – 3:30 2066:"Clowntime Is Over No.2" – 3:47 325:(no relation). It was released on 15 4664:Smotroff, Mark (22 February 2016). 4274:(The New) Rolling Stone Album Guide 4100: 3902: 2794: 2560: 2020:"5ive Gears in Reverse" – 2:38 2017:"Black and White World" – 1:56 1796:(The New) Rolling Stone Album Guide 1709: 1702:(The New) Rolling Stone Album Guide 640: 13: 6204:Universal Music Enterprises albums 5193: 4568:from the original on 14 March 2012 4556:"The 100 Best Albums of the 1980s" 4518:Dahlen, Chris (20 November 2002). 4461:from the original on 26 March 2017 4164: 4094: 3975:– via worldradiohistory.com. 3909:Rambali, Paul (16 February 1980). 3877:"The Raw Vitality Of English Rock" 3835:from the original on 14 April 2008 3764:Christgau's Record Guide: The '80s 3741: 3639: 3627:from the original on 23 March 2022 3504:– via worldradiohistory.com. 3463:– via worldradiohistory.com. 2444:Attributed to multiple references: 2422:Attributed to multiple references: 1278:, drawing positive comparisons to 337:in the United States. Produced by 14: 6215: 6135:Now Ain't the Time for Your Tears 5734:I Can't Stand Up for Falling Down 5145: 4806:from the original on 29 June 2019 4676:from the original on 22 June 2021 4143:The Encyclopedia of Popular Music 4042:from the original on 8 March 2005 3592:from the original on 5 April 2015 3455:from the original on 19 June 2022 3321:from the original on 14 June 2022 3312: 3291:from the original on 14 June 2022 3282: 3264:from the original on 14 June 2022 3255: 3237:from the original on 14 June 2022 3228: 3034:from the original on 14 June 2022 2820:from the original on 11 June 2022 2642:Wawzenek, Bryan (15 March 2015). 2307: 2164:as VAT 245 4945 42 – artwork 2032:"Beaten to the Punch" – 1:49 2004:I Can't Stand Up for Falling Down 1759: 1671: 1633: 1583: 1576:The Encyclopedia of Popular Music 1538: 1500: 1462: 1157: 1107: 857:You've Got to Hide Your Love Away 614:I Can't Stand Up for Falling Down 384:I Can't Stand Up for Falling Down 255:I Can't Stand Up for Falling Down 4536:from the original on 4 July 2022 4443:Jones, Chris (8 February 2008). 4146:(5th concise ed.). London: 3929:from the original on 5 June 2022 3890:from the original on 6 June 2022 3729:from the original on 5 June 2022 2695:from the original on 6 June 2022 2184: 1939: 1778: 1773: 1768: 1763: 1758: 1728: 1723: 1718: 1713: 1708: 1690: 1685: 1680: 1675: 1670: 1652: 1647: 1642: 1637: 1632: 1602: 1597: 1592: 1587: 1582: 1552: 1547: 1542: 1537: 1519: 1514: 1509: 1504: 1499: 1481: 1476: 1471: 1466: 1461: 1176: 1171: 1166: 1161: 1156: 1126: 1121: 1116: 1111: 1106: 5683:(I Don't Want to Go to) Chelsea 5616:The Very Best of Elvis Costello 5446:Secret, Profane & Sugarcane 4701:Australian Chart Book 1970–1992 4657: 4630: 4580: 4548: 4511: 4473: 4410:Shipley, Al (30 January 2022). 4355:. No. 77. pp. 132–133 4311: 4217: 4200: 4130: 4024: 4009: 3979: 3814: 3508: 3333: 3276: 3222: 2472: 2447: 2438: 2425: 2416: 1978:"Clowntime Is Over" – 2:59 6113:Other works / related articles 5881:The Other End of the Telescope 3615:"Elvis Costello Chart History" 3448:. 2 February 1980. p. 4. 2635: 2403: 2390: 1975:"Men Called Uncle" – 2:17 1966:"Secondary Modern" – 1:58 608:made the final tracklist: the 425:Costello onstage in April 1978 1: 5825:Don't Let Me Be Misunderstood 4943:Elvis Costello's Armed Forces 4922:British Phonographic Industry 4726:"Library and Archives Canada" 4363:– via Rock's Backpages. 4078:. No. 34. Archived from 3937:– via Rock's Backpages. 3821:Carson, Tom (17 April 1980). 3737:– via Rock's Backpages. 2495: 2190:Weekly chart performance for 1957:"Love for Tender" – 1:57 1878:at number 26, and in 2012 by 1417:(1982). Gallucci summarised: 637:'s "Getting Mighty Crowded". 416: 401:and Costello's former label, 6169:Albums produced by Nick Lowe 4495:. No. 565. p. 53. 4242:. No. 932. p. 122. 4016:"TP's Best Albums of 1980". 3960:. 1 March 1980. p. 15. 3489:. 1 March 1980. p. 60. 2298: 2284: 2274: 2262: 2250: 2238: 2226: 2214: 2105: 2086:"Hoover Factory" – 1:47 1884:at number 68. Additionally, 1399:and the "rhythmic drive" of 517: 7: 5934:Welcome to the Working Week 5025:Elvis Costello: God's Comic 4970:Elvis Costello: A Biography 4343:Wilde, Jon (October 2003). 4213:. No. 300. p. 59. 4140:(2011). "Costello, Elvis". 3538:– via Newspapers.com. 3218:– via Newspapers.com. 2083:"Just A Memory" – 2:19 2026:"Motel Matches" – 2:30 1901: 866: 788:the guitar figure from the 752: 10: 6220: 6194:Rhino Entertainment albums 5762:From a Whisper to a Scream 5094:St. Michael, Mick (1986). 5023:Gouldstone, David (1989). 4966:Clayton-Lea, Tony (1999). 4931: 4641:Get Happy!! [2015] 4637:Erlewine, Stephen Thomas. 4332:. No. 49. p. 92. 3753:Christgau, Robert (1990). 2435:—are dubbed the Imposters. 2069:"Getting Mighty Crowded" ( 1963:"The Imposter" – 1:58 1042:reached number two on the 667:—Elvis Costello, Radio One 570:Motown Chartbusters Vol. 3 333:in the United Kingdom and 58:15 February 1980 6112: 6087: 6050:Terror & Magnificence 6041: 5925: 5874:London's Brilliant Parade 5804:Everyday I Write the Book 5776:A Good Year for the Roses 5646: 5536: 5490: 5269: 5201: 5069:Perone, James E. (2015). 4176:"Elvis Costello's albums" 3716:(Columbia Records 36347)" 2978:Robbins, Ira (May 1980). 2364: 2349: 2334: 2323: 2320: 2313:Sales certifications for 2289: 2279: 2267: 2255: 2243: 2231: 2219: 2207: 2200: 2197: 2174: 2089:"Ghost Train" – 3:06 2029:"Human Touch" – 2:30 1960:"Opportunity" – 3:13 1944:All songs are written by 1872:at number 11, in 2002 by 1449: 1446: 1436: 1382: 1092: 1089: 1079: 294: 260:Released: 8 February 1980 247: 236: 232: 195: 183: 171: 150: 134: 108: 77: 69: 54: 37: 28: 23: 6078:The Resurrection of Rust 5853:The Other Side of Summer 5121:Thomson, Graeme (2004). 4939:Bruno, Franklin (2005). 4612:(3rd ed.). London: 4609:All Time Top 1000 Albums 4277:(4th ed.). London: 3093:Erlewine, Stephen Thomas 2782:Costello, Elvis (2003). 2588:Costello, Elvis (1994). 2383: 2117: – vocals, guitar, 2035:"Temptation" – 2:33 1972:"Possession" – 2:03 1969:"King Horse" – 3:01 1895:All Time Top 1000 Albums 1564:Christgau's Record Guide 1046:and number 11 on the US 6174:Columbia Records albums 6025:I Hope You're Happy Now 5676:Watching the Detectives 5390:All This Useless Beauty 3722:San Francisco Chronicle 3586:Official Charts Company 1805:Stephen Thomas Erlewine 1427:Retrospective appraisal 1264:San Francisco Chronicle 794:Reach Out I'll Be There 500:Mad About the Wrong Boy 462:more popular than Jesus 5811:The Only Flame in Town 5527:Live at Hollywood High 5499:Live at the El Mocambo 5046:Hinton, Brian (1999). 4606:Larkin, Colin (2000). 2409:According to Thomson, 2040:Tony Colton, Ray Smith 1948:, except where noted. 1909:was first released on 1424: 880: 705: 680:. Michael Gallucci of 664: 537: 426: 329:February 1980 through 273:Released: 4 April 1980 6184:F-Beat Records albums 6179:Elvis Costello albums 5955:Stranger in the House 5727:Accidents Will Happen 5348:Blood & Chocolate 5075:. Santa Barbara, CA: 3062:Ultimate Classic Rock 2813:Ultimate Classic Rock 2784:Get Happy!! (reissue) 2648:Ultimate Classic Rock 2590:Get Happy!! (reissue) 2023:"B Movie" – 2:04 1913:through Columbia and 1437:Retrospective reviews 1419: 949:Release and promotion 933:Packaging and artwork 874: 700: 683:Ultimate Classic Rock 645: 525: 424: 309:, and his third with 6189:Hip-O Records albums 5513:Costello & Nieve 5432:The River in Reverse 4487:(16 November 1989). 4181:Entertainment Weekly 3518:(12 February 1980). 2244:New Zealand Albums ( 2127: – piano, organ 1834:They Might Be Giants 1614:Entertainment Weekly 1432:Professional ratings 1334:(behind the Clash's 1075:Professional ratings 767:You Can't Hurry Love 649:Booker T and the MGs 6011:Jack of All Parades 5916:Complicated Shadows 5520:My Flame Burns Blue 5397:Painted from Memory 5334:Goodbye Cruel World 4830:norwegiancharts.com 4038:. 9 February 1981. 3993:. 10 October 2016. 2788:Rhino Entertainment 2743:, pp. 336–339. 2462:Goodbye Cruel World 2317: 2208:Australian Albums ( 2194: 2038:"I Stand Accused" ( 1433: 1076: 286:Released: June 1980 6057:The Sweetest Punch 5867:13 Steps Lead Down 5369:The Juliet Letters 5362:Mighty Like a Rose 5160:(list of releases) 5029:St. Martin's Press 4732:on 24 October 2011 4082:on 4 February 2005 3883:The New York Times 2312: 2295:Top LPs & Tape 2256:Norwegian Albums ( 2189: 1929:Station to Station 1431: 1304:Los Angeles Times. 1246:The New York Times 1074: 1070:Critical reception 1051:Top LPs & Tape 907:Ob-La-Di, Ob-La-Da 881: 775:Town Called Malice 582:Wisseloord Studios 538: 534:(pictured in 2017) 427: 366:was influenced by 341:and engineered by 6151: 6150: 5909:Brilliant Mistake 5580:Girls Girls Girls 5285:This Year's Model 5136:978-1-84195-796-8 5113:978-0-7119-0772-0 5086:978-1-44083-216-1 5061:978-1-86074-196-8 5038:978-0-312-04309-4 5027:. New York City: 5015:978-0-241-00346-6 4985:978-0-233-99339-3 4976:Andre Deutsch Ltd 4958:978-0-82641-674-2 4947:. New York City: 4874:Sverigetopplistan 4870:swedishcharts.com 4670:Audiophile Review 4485:DeCurtis, Anthony 4157:978-0-85712-595-8 4066:"Elvis Costello: 4036:The Village Voice 3527:Los Angeles Times 3478:"Top Album Picks" 3408:, pp. 53–63. 3207:Los Angeles Times 3178:, pp. 34–41. 3132:, pp. 65–66. 2716:, pp. 44–52. 2609:, pp. 11–12. 2411:Bruce Springsteen 2380: 2379: 2373: 2372: 2368: 2303: 2302: 2270:Sverigetopplistan 2220:Canadian Albums ( 2210:Kent Music Report 2054:1994 bonus tracks 1787: 1786: 1340:The Village Voice 1209:The Village Voice 1185: 1184: 1007:This Year's Model 898:This Year's Model 726:Los Angeles Times 688:Let Them All Talk 298: 297: 228: 227: 6211: 6128:Live Stiffs Live 6004:Indoor Fireworks 5976:New Lace Sleeves 5714: 5697:This Year's Girl 5573:Out of Our Idiot 5545:Taking Liberties 5481:The Boy Named If 5425:The Delivery Man 5404:When I Was Cruel 5320:Imperial Bedroom 5188: 5181: 5174: 5165: 5164: 5140: 5117: 5101: 5090: 5065: 5053: 5042: 5019: 5003: 4989: 4973: 4962: 4946: 4926: 4925: 4914: 4908: 4907: 4896: 4890: 4889: 4887: 4885: 4867: 4859: 4853: 4852: 4850: 4848: 4842: 4836:. Archived from 4822: 4816: 4815: 4813: 4811: 4793: 4785: 4779: 4778: 4776: 4774: 4769:on 14 March 2014 4768: 4762:. Archived from 4748: 4742: 4741: 4739: 4737: 4728:. Archived from 4722: 4716: 4715: 4692: 4686: 4685: 4683: 4681: 4661: 4655: 4654: 4652: 4650: 4634: 4628: 4627: 4603: 4597: 4596: 4584: 4578: 4577: 4575: 4573: 4564:. 5 March 2012. 4552: 4546: 4545: 4543: 4541: 4515: 4509: 4508: 4506: 4504: 4481:Azerrad, Michael 4477: 4471: 4470: 4468: 4466: 4440: 4434: 4433: 4431: 4429: 4407: 4398: 4397: 4395: 4393: 4371: 4365: 4364: 4362: 4360: 4348: 4340: 4334: 4333: 4315: 4309: 4308: 4306: 4304: 4269:Hoard, Christian 4265:Brackett, Nathan 4261:"Elvis Costello" 4253: 4244: 4243: 4221: 4215: 4214: 4204: 4198: 4197: 4195: 4193: 4168: 4162: 4161: 4134: 4128: 4127: 4125: 4123: 4098: 4092: 4091: 4089: 4087: 4058: 4052: 4051: 4049: 4047: 4028: 4022: 4021: 4013: 4007: 4006: 4004: 4002: 3983: 3977: 3976: 3974: 3972: 3966: 3953: 3945: 3939: 3938: 3936: 3934: 3918: 3906: 3900: 3899: 3897: 3895: 3879: 3868: 3862: 3861: 3851: 3845: 3844: 3842: 3840: 3831:. No. 315. 3818: 3812: 3811: 3801: 3795: 3794: 3792: 3790: 3750: 3739: 3738: 3736: 3734: 3718: 3709:(9 March 1980). 3703: 3694: 3693: 3683: 3674: 3673: 3663: 3654: 3653: 3643: 3637: 3636: 3634: 3632: 3611: 3602: 3601: 3599: 3597: 3578: 3569: 3563: 3552: 3546: 3540: 3539: 3537: 3535: 3523: 3512: 3506: 3505: 3503: 3501: 3495: 3482: 3474: 3465: 3464: 3462: 3460: 3454: 3441: 3433: 3424: 3418: 3409: 3406:St. Michael 1986 3403: 3392: 3389:Clayton-Lea 1999 3386: 3380: 3374: 3361: 3360: 3358: 3356: 3351:on 20 March 2012 3347:. Archived from 3341:"Barney Bubbles" 3337: 3331: 3330: 3328: 3326: 3313:Mason, Stewart. 3310: 3301: 3300: 3298: 3296: 3283:Mason, Stewart. 3280: 3274: 3273: 3271: 3269: 3256:Mason, Stewart. 3253: 3247: 3246: 3244: 3242: 3229:Mason, Stewart. 3226: 3220: 3219: 3217: 3215: 3203: 3198:(2 March 1980). 3192: 3179: 3173: 3150: 3147:Clayton-Lea 1999 3144: 3133: 3127: 3121: 3120: 3118: 3116: 3089: 3078: 3077: 3075: 3073: 3053: 3044: 3043: 3041: 3039: 3026:Anderson, Rick. 3023: 3012: 3011: 3008:Rock's Backpages 3005: 3003: 2987: 2975: 2962: 2956: 2895: 2889: 2830: 2829: 2827: 2825: 2803: 2792: 2791: 2779: 2744: 2738: 2732: 2726: 2717: 2714:St. Michael 1986 2711: 2705: 2704: 2702: 2700: 2680: 2659: 2658: 2656: 2654: 2639: 2633: 2627: 2610: 2604: 2598: 2597: 2585: 2558: 2552: 2489: 2476: 2470: 2451: 2445: 2442: 2436: 2429: 2423: 2420: 2414: 2407: 2401: 2394: 2366: 2350:United Kingdom ( 2318: 2311: 2268:Swedish Albums ( 2195: 2188: 2180: 2158: – engineer 2152: – producer 1783: 1782: 1781: 1777: 1776: 1772: 1771: 1767: 1766: 1762: 1761: 1733: 1732: 1731: 1727: 1726: 1722: 1721: 1717: 1716: 1712: 1711: 1695: 1694: 1693: 1689: 1688: 1684: 1683: 1679: 1678: 1674: 1673: 1657: 1656: 1655: 1651: 1650: 1646: 1645: 1641: 1640: 1636: 1635: 1607: 1606: 1605: 1601: 1600: 1596: 1595: 1591: 1590: 1586: 1585: 1557: 1556: 1555: 1551: 1550: 1546: 1545: 1541: 1540: 1524: 1523: 1522: 1518: 1517: 1513: 1512: 1508: 1507: 1503: 1502: 1486: 1485: 1484: 1480: 1479: 1475: 1474: 1470: 1469: 1465: 1464: 1434: 1430: 1414:Imperial Bedroom 1366:Hotter than July 1344: 1242: 1225: 1204:Robert Christgau 1181: 1180: 1179: 1175: 1174: 1170: 1169: 1165: 1164: 1160: 1159: 1131: 1130: 1129: 1125: 1124: 1120: 1119: 1115: 1114: 1110: 1109: 1077: 1073: 996: 992: 983:UK Singles Chart 980: 810:British Invasion 736: 709:of the same name 668: 662: 641:Music and lyrics 574:Atlantic Records 477:Columbia Records 335:Columbia Records 328: 287: 284: 274: 271: 261: 258: 220:Taking Liberties 197: 196: 146: 145: 141: 65: 63: 33: 21: 20: 6219: 6218: 6214: 6213: 6212: 6210: 6209: 6208: 6199:Rykodisc albums 6154: 6153: 6152: 6147: 6108: 6103:Jake's Progress 6083: 6037: 6032:Next Time Round 5921: 5797:Man Out of Time 5790:You Little Fool 5769:Watch Your Step 5710: 5642: 5532: 5486: 5453:National Ransom 5341:King of America 5327:Punch the Clock 5265: 5240:The Attractions 5197: 5192: 5148: 5143: 5137: 5127:Canongate Books 5114: 5087: 5062: 5039: 5016: 4994:Costello, Elvis 4986: 4959: 4934: 4929: 4916: 4915: 4911: 4898: 4897: 4893: 4883: 4881: 4865: 4861: 4860: 4856: 4846: 4844: 4843:on 5 March 2014 4840: 4824: 4823: 4819: 4809: 4807: 4791: 4787: 4786: 4782: 4772: 4770: 4766: 4750: 4749: 4745: 4735: 4733: 4724: 4723: 4719: 4712: 4693: 4689: 4679: 4677: 4662: 4658: 4648: 4646: 4635: 4631: 4624: 4616:. p. 125. 4604: 4600: 4586: 4585: 4581: 4571: 4569: 4554: 4553: 4549: 4539: 4537: 4516: 4512: 4502: 4500: 4478: 4474: 4464: 4462: 4441: 4437: 4427: 4425: 4408: 4401: 4391: 4389: 4372: 4368: 4358: 4356: 4346:"High fidelity" 4341: 4337: 4316: 4312: 4302: 4300: 4293: 4254: 4247: 4234:Punch the Clock 4222: 4218: 4205: 4201: 4191: 4189: 4174:(10 May 1991). 4169: 4165: 4158: 4135: 4131: 4121: 4119: 4111:Chicago Tribune 4104:(2 June 1991). 4099: 4095: 4085: 4083: 4059: 4055: 4045: 4043: 4030: 4029: 4025: 4015: 4014: 4010: 4000: 3998: 3985: 3984: 3980: 3970: 3968: 3964: 3951: 3949:"Album Reviews" 3947: 3946: 3942: 3932: 3930: 3907: 3903: 3893: 3891: 3869: 3865: 3852: 3848: 3838: 3836: 3819: 3815: 3802: 3798: 3788: 3786: 3779: 3751: 3742: 3732: 3730: 3704: 3697: 3684: 3677: 3664: 3657: 3644: 3640: 3630: 3628: 3613: 3612: 3605: 3595: 3593: 3580: 3579: 3572: 3564: 3555: 3547: 3543: 3533: 3531: 3516:Hilburn, Robert 3513: 3509: 3499: 3497: 3493: 3480: 3476: 3475: 3468: 3458: 3456: 3452: 3439: 3435: 3434: 3427: 3419: 3412: 3404: 3395: 3387: 3383: 3375: 3364: 3354: 3352: 3339: 3338: 3334: 3324: 3322: 3311: 3304: 3294: 3292: 3281: 3277: 3267: 3265: 3254: 3250: 3240: 3238: 3227: 3223: 3213: 3211: 3196:Hilburn, Robert 3193: 3182: 3174: 3153: 3145: 3136: 3128: 3124: 3114: 3112: 3090: 3081: 3071: 3069: 3054: 3047: 3037: 3035: 3024: 3015: 3001: 2999: 2976: 2965: 2957: 2898: 2892:Gouldstone 1989 2890: 2833: 2823: 2821: 2804: 2795: 2780: 2747: 2739: 2735: 2727: 2720: 2712: 2708: 2698: 2696: 2681: 2662: 2652: 2650: 2640: 2636: 2628: 2613: 2605: 2601: 2586: 2561: 2553: 2502: 2498: 2493: 2492: 2477: 2473: 2467:Alan Winstanley 2456:Punch the Clock 2452: 2448: 2443: 2439: 2430: 2426: 2421: 2417: 2408: 2404: 2395: 2391: 2386: 2381: 2328:Certified units 2310: 2281:UK Albums Chart 2202: 2187: 2177: 2156:Roger Béchirian 2108: 1942: 1904: 1779: 1774: 1769: 1764: 1729: 1724: 1719: 1714: 1691: 1686: 1681: 1676: 1653: 1648: 1643: 1638: 1603: 1598: 1593: 1588: 1553: 1548: 1543: 1531:Chicago Tribune 1520: 1515: 1510: 1505: 1482: 1477: 1472: 1467: 1429: 1385: 1351:Michael Jackson 1342: 1240: 1223: 1177: 1172: 1167: 1162: 1127: 1122: 1117: 1112: 1080:Initial reviews 1072: 1044:UK Albums Chart 994: 990: 978: 951: 935: 869: 822:Weimar Republic 755: 734: 670: 666: 660: 643: 618:the Merseybeats 520: 419: 388:the Merseybeats 343:Roger Béchirian 326: 311:the Attractions 290: 285: 278: 277: 272: 265: 264: 259: 252: 251: 223: 214: 205: 189:the Attractions 143: 139: 138: 104: 61: 59: 50: 48:the Attractions 19: 12: 11: 5: 6217: 6207: 6206: 6201: 6196: 6191: 6186: 6181: 6176: 6171: 6166: 6149: 6148: 6146: 6145: 6138: 6131: 6124: 6116: 6114: 6110: 6109: 6107: 6106: 6099: 6091: 6089: 6085: 6084: 6082: 6081: 6074: 6067: 6060: 6053: 6045: 6043: 6042:Collaborations 6039: 6038: 6036: 6035: 6028: 6021: 6018:Suit of Lights 6014: 6007: 6000: 5993: 5986: 5979: 5972: 5965: 5958: 5951: 5948:Senior Service 5944: 5941:Lipstick Vogue 5937: 5929: 5927: 5923: 5922: 5920: 5919: 5912: 5905: 5898: 5891: 5888:You Bowed Down 5884: 5877: 5870: 5863: 5856: 5849: 5842: 5835: 5828: 5821: 5814: 5807: 5800: 5793: 5786: 5779: 5772: 5765: 5758: 5751: 5744: 5737: 5730: 5723: 5716: 5707: 5700: 5693: 5686: 5679: 5672: 5665: 5658: 5655:Less Than Zero 5650: 5648: 5644: 5643: 5641: 5640: 5633: 5626: 5619: 5612: 5608:Costello Album 5604: 5597: 5590: 5583: 5576: 5569: 5562: 5555: 5548: 5540: 5538: 5534: 5533: 5531: 5530: 5523: 5516: 5509: 5506:Deep Dead Blue 5502: 5494: 5492: 5488: 5487: 5485: 5484: 5477: 5470: 5463: 5456: 5449: 5442: 5435: 5428: 5421: 5414: 5407: 5400: 5393: 5386: 5379: 5372: 5365: 5358: 5351: 5344: 5337: 5330: 5323: 5316: 5309: 5302: 5295: 5288: 5281: 5278:My Aim Is True 5273: 5271: 5267: 5266: 5264: 5263: 5256: 5249: 5235: 5234: 5231:Davey Faragher 5227: 5220: 5213:The Imposters: 5209: 5208: 5202: 5199: 5198: 5195:Elvis Costello 5191: 5190: 5183: 5176: 5168: 5162: 5161: 5147: 5146:External links 5144: 5142: 5141: 5135: 5118: 5112: 5091: 5085: 5066: 5060: 5043: 5037: 5020: 5014: 4990: 4984: 4963: 4957: 4935: 4933: 4930: 4928: 4927: 4909: 4891: 4872:(in Swedish). 4854: 4817: 4780: 4756:dutchcharts.nl 4743: 4717: 4710: 4687: 4656: 4629: 4622: 4598: 4579: 4561:Slant Magazine 4547: 4510: 4472: 4435: 4399: 4366: 4335: 4310: 4291: 4279:Fireside Books 4257:Sheffield, Rob 4245: 4216: 4199: 4163: 4156: 4129: 4093: 4064:(March 2005). 4053: 4023: 4008: 3978: 3940: 3901: 3886:. p. 23. 3874:(4 May 1980). 3872:Palmer, Robert 3863: 3846: 3813: 3796: 3777: 3769:Pantheon Books 3740: 3695: 3675: 3655: 3638: 3603: 3570: 3553: 3541: 3507: 3466: 3425: 3423:, p. 427. 3410: 3393: 3381: 3379:, p. 435. 3362: 3332: 3302: 3275: 3248: 3221: 3180: 3151: 3134: 3122: 3079: 3045: 3013: 2963: 2896: 2831: 2793: 2745: 2733: 2718: 2706: 2660: 2634: 2611: 2599: 2559: 2499: 2497: 2494: 2491: 2490: 2471: 2446: 2437: 2433:Davey Faragher 2424: 2415: 2402: 2388: 2387: 2385: 2382: 2378: 2377: 2371: 2370: 2362: 2361: 2358: 2355: 2347: 2346: 2343: 2340: 2332: 2331: 2325: 2322: 2309: 2308:Certifications 2306: 2304: 2301: 2300: 2297: 2287: 2286: 2283: 2277: 2276: 2273: 2265: 2264: 2261: 2253: 2252: 2249: 2241: 2240: 2237: 2232:Dutch Albums ( 2229: 2228: 2225: 2217: 2216: 2213: 2205: 2204: 2199: 2186: 2183: 2178: 2176: 2173: 2172: 2171: 2165: 2162:Barney Bubbles 2159: 2153: 2141: 2140: 2134: 2128: 2122: 2115:Elvis Costello 2107: 2104: 2103: 2102: 2099: 2096: 2093: 2090: 2087: 2084: 2081: 2074: 2073:) – 2:18 2067: 2064: 2051: 2050: 2043: 2036: 2033: 2030: 2027: 2024: 2021: 2018: 2015: 1994: 1993: 1986: 1979: 1976: 1973: 1970: 1967: 1964: 1961: 1958: 1946:Elvis Costello 1941: 1938: 1903: 1900: 1881:Slant Magazine 1785: 1784: 1755: 1747: 1746: 1743: 1735: 1734: 1705: 1697: 1696: 1667: 1659: 1658: 1629: 1621: 1620: 1617: 1609: 1608: 1579: 1571: 1570: 1567: 1559: 1558: 1534: 1526: 1525: 1496: 1488: 1487: 1458: 1452: 1451: 1448: 1444: 1443: 1439: 1438: 1428: 1425: 1384: 1381: 1371:Pete Townshend 1347:Pazz & Jop 1336:London Calling 1183: 1182: 1153: 1145: 1144: 1141: 1133: 1132: 1103: 1095: 1094: 1091: 1087: 1086: 1082: 1081: 1071: 1068: 1024:Martin Belmont 975:2 Tone Records 963:F-Beat Records 950: 947: 943:Barney Bubbles 934: 931: 877:Sam & Dave 868: 865: 759:James Jamerson 754: 751: 721:Robert Hilburn 644: 642: 639: 610:Sam & Dave 606:cover versions 519: 516: 441:Stephen Stills 418: 415: 380:Sam & Dave 331:F-Beat Records 313:— keyboardist 307:Elvis Costello 296: 295: 292: 291: 289: 288: 275: 262: 248: 245: 244: 234: 233: 230: 229: 226: 225: 216: 207: 193: 192: 185:Elvis Costello 181: 180: 175: 169: 168: 167: 166: 161: 154: 148: 147: 136: 132: 131: 130: 129: 124: 119: 112: 106: 105: 103: 102: 101: 100: 90: 81: 79: 75: 74: 71: 67: 66: 56: 52: 51: 44:Elvis Costello 42: 35: 34: 26: 25: 17: 9: 6: 4: 3: 2: 6216: 6205: 6202: 6200: 6197: 6195: 6192: 6190: 6187: 6185: 6182: 6180: 6177: 6175: 6172: 6170: 6167: 6165: 6162: 6161: 6159: 6144: 6143: 6139: 6137: 6136: 6132: 6130: 6129: 6125: 6123: 6122: 6118: 6117: 6115: 6111: 6105: 6104: 6100: 6098: 6097: 6093: 6092: 6090: 6086: 6080: 6079: 6075: 6073: 6072: 6068: 6066: 6065: 6064:For the Stars 6061: 6059: 6058: 6054: 6052: 6051: 6047: 6046: 6044: 6040: 6033: 6029: 6026: 6022: 6019: 6015: 6012: 6008: 6005: 6001: 5998: 5994: 5991: 5987: 5984: 5983:Beyond Belief 5980: 5977: 5973: 5970: 5966: 5963: 5959: 5956: 5952: 5949: 5945: 5942: 5938: 5935: 5931: 5930: 5928: 5924: 5917: 5913: 5910: 5906: 5903: 5899: 5896: 5892: 5889: 5885: 5882: 5878: 5875: 5871: 5868: 5864: 5861: 5857: 5854: 5850: 5847: 5843: 5840: 5836: 5833: 5829: 5826: 5822: 5819: 5815: 5812: 5808: 5805: 5801: 5798: 5794: 5791: 5787: 5784: 5780: 5777: 5773: 5770: 5766: 5763: 5759: 5756: 5752: 5749: 5748:New Amsterdam 5745: 5742: 5741:High Fidelity 5738: 5735: 5731: 5728: 5724: 5721: 5720:Oliver's Army 5717: 5713: 5708: 5705: 5701: 5698: 5694: 5691: 5687: 5684: 5680: 5677: 5673: 5670: 5666: 5663: 5659: 5656: 5652: 5651: 5649: 5645: 5639: 5638: 5634: 5632: 5631: 5627: 5625: 5624: 5620: 5618: 5617: 5613: 5610: 5609: 5605: 5603: 5602: 5601:Extreme Honey 5598: 5596: 5595: 5591: 5589: 5588: 5584: 5582: 5581: 5577: 5575: 5574: 5570: 5568: 5567: 5563: 5561: 5560: 5556: 5554: 5553: 5549: 5547: 5546: 5542: 5541: 5539: 5535: 5529: 5528: 5524: 5522: 5521: 5517: 5515: 5514: 5510: 5508: 5507: 5503: 5501: 5500: 5496: 5495: 5493: 5489: 5483: 5482: 5478: 5476: 5475: 5474:Hey Clockface 5471: 5469: 5468: 5464: 5462: 5461: 5460:Wise Up Ghost 5457: 5455: 5454: 5450: 5448: 5447: 5443: 5441: 5440: 5436: 5434: 5433: 5429: 5427: 5426: 5422: 5420: 5419: 5415: 5413: 5412: 5408: 5406: 5405: 5401: 5399: 5398: 5394: 5392: 5391: 5387: 5385: 5384: 5383:Kojak Variety 5380: 5378: 5377: 5373: 5371: 5370: 5366: 5364: 5363: 5359: 5357: 5356: 5352: 5350: 5349: 5345: 5343: 5342: 5338: 5336: 5335: 5331: 5329: 5328: 5324: 5322: 5321: 5317: 5315: 5314: 5310: 5308: 5307: 5303: 5301: 5300: 5296: 5294: 5293: 5289: 5287: 5286: 5282: 5280: 5279: 5275: 5274: 5272: 5270:Studio albums 5268: 5262: 5261: 5257: 5255: 5254: 5250: 5248: 5247: 5243: 5241: 5237: 5236: 5233: 5232: 5228: 5226: 5225: 5221: 5219: 5218: 5214: 5211: 5210: 5207: 5204: 5203: 5200: 5196: 5189: 5184: 5182: 5177: 5175: 5170: 5169: 5166: 5159: 5155: 5154: 5150: 5149: 5138: 5132: 5128: 5125:. Edinburgh: 5124: 5119: 5115: 5109: 5105: 5104:Omnibus Press 5100: 5099: 5092: 5088: 5082: 5078: 5074: 5073: 5067: 5063: 5057: 5052: 5051: 5044: 5040: 5034: 5030: 5026: 5021: 5017: 5011: 5007: 5002: 5001: 4995: 4991: 4987: 4981: 4977: 4972: 4971: 4964: 4960: 4954: 4950: 4945: 4944: 4937: 4936: 4923: 4919: 4913: 4905: 4901: 4895: 4879: 4875: 4871: 4864: 4858: 4839: 4835: 4831: 4827: 4821: 4805: 4801: 4797: 4790: 4784: 4765: 4761: 4757: 4753: 4747: 4731: 4727: 4721: 4713: 4711:0-646-11917-6 4707: 4703: 4702: 4697: 4691: 4675: 4671: 4667: 4660: 4644: 4642: 4633: 4625: 4623:0-7535-0493-6 4619: 4615: 4611: 4610: 4602: 4594: 4593:Rolling Stone 4590: 4583: 4567: 4563: 4562: 4557: 4551: 4535: 4531: 4530: 4525: 4523: 4514: 4498: 4494: 4493:Rolling Stone 4490: 4486: 4482: 4476: 4460: 4456: 4455: 4450: 4448: 4439: 4423: 4419: 4418: 4413: 4406: 4404: 4387: 4383: 4382: 4377: 4370: 4354: 4353: 4347: 4339: 4331: 4330: 4325: 4321: 4314: 4298: 4294: 4292:0-7432-0169-8 4288: 4284: 4280: 4276: 4275: 4270: 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8–9. 3550: 3545: 3529: 3528: 3522: 3521:"Riding High" 3517: 3511: 3492: 3488: 3487: 3479: 3473: 3471: 3451: 3447: 3446: 3438: 3432: 3430: 3422: 3417: 3415: 3407: 3402: 3400: 3398: 3390: 3385: 3378: 3373: 3371: 3369: 3367: 3350: 3346: 3342: 3336: 3320: 3316: 3309: 3307: 3290: 3286: 3279: 3263: 3259: 3252: 3236: 3232: 3225: 3209: 3208: 3202: 3197: 3191: 3189: 3187: 3185: 3177: 3172: 3170: 3168: 3166: 3164: 3162: 3160: 3158: 3156: 3148: 3143: 3141: 3139: 3131: 3126: 3110: 3106: 3102: 3100: 3094: 3088: 3086: 3084: 3067: 3063: 3059: 3052: 3050: 3033: 3029: 3022: 3020: 3018: 3009: 2997: 2993: 2992: 2991:Trouser Press 2986: 2984: 2974: 2972: 2970: 2968: 2960: 2955: 2953: 2951: 2949: 2947: 2945: 2943: 2941: 2939: 2937: 2935: 2933: 2931: 2929: 2927: 2925: 2923: 2921: 2919: 2917: 2915: 2913: 2911: 2909: 2907: 2905: 2903: 2901: 2893: 2888: 2886: 2884: 2882: 2880: 2878: 2876: 2874: 2872: 2870: 2868: 2866: 2864: 2862: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2844: 2842: 2840: 2838: 2836: 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