Elvis talks about country music
Lonesome Highway, 2001-11-01
- Steve Rapid
Elvis Costello Country
In your best albums list in Vonrty Fair you included some 50 classic
country or related albums. Do you still listen to the genre or do you
think it's best times are over?
My allergic reaction to the whole big black stetson-hairspray- lipgloss-let's-sing-like-Celine
Dion-Nashville music is pretty much like that song on Doug Sahm's last
album: "Oh no, not another one".
However every time you despair and think all the best times are gone,
something will happen to give hope. Ryan Adams' Heartbreaker,
Emmylou Harris' Red Dirt Girl, Laura Cantrell's Not The Tremblin'
Kind, Amy Allison's Sad Girl, Casey Chambers' The Captain
and, particularly, Lucinda Williams', incredible Essence are
wonderful records. They are as far from the country mainstream as Gram
Parsons was when he was doing his best work. It is a lot easier to drown
in the mainstream.
The massive success of the 0 Brother Where Art Thou? soundtrack
is introducing a lot a people to the amazing voices still to be found
in the traditional forms such as bluegrass and country gospel. Anything
that causes people to hear more of Suzanne Cox or Ralph Stanley has
got to be great.
You are on record as a devotee of George Jones. How do you rate
him alongside other vocal greats like Frank Sinatra?
George Jones, at his best, is working at the same level of distinctive
finesse and beauty as Sinatra or Billie Holiday. The same is true of
Merle Haggard. I never really think of George Jones singing "country
music". He sings "George Jones" songs, if you know what
I mean.
Have you ever considered doing another album collection like Almost
Blue?
I was probably twenty years too young to sing most of the songs on
Almost Blue. I was just in that mood. Or perhaps I was just in
"a mood". I think that if (I) were in a similar frame of mind
again, I'd probably write all the songs myself, which is what I started
out to do on the album King of America. I wouldn't go to other
people's songs unless I was playing live. I've been known to spend entire
soundchecks playing obscure George Jones, Starday sides and Conway Twitty
songs.
I did Ricky Skaggs' Monday Night Country Music Television programme
from the Ryman with George Jones a few years ago - a scary, twenty years
after we cut, my song, Stranger in the House for George's My
Special Friends album. On the T.V. show there was an "Unplugged"-style
segment where we tried to coax Jones to reminisce about his really early
records. Ricky reminded George that I had cut Good Year for the Roses
and asked me to sing a few bars. I then went on into Big Fool of
the Year and George looked astounded that anyone from my background
knew that song. I know a lot of those old songs, so who knows where
it will end?
Like a lot of us you turned toward country to investigate its sources
after The Byrds Sweetheart Of The Rodeo, where did you go to
from there?
I really just went back to the sources; Hank Williams, George Jones,
Merle Haggard and the Louvins, in particular. If I'm in the mood, I
can sing all the verses of Knoxville Girl. The process was repeated
with Gram Parsons solo albums and even the early Emmylou Harris records.
My recording of Too Far Gone had more to do with the versions
by Emmylou and the one by Bobby Bland than the original by Tammy Wynette.
At our first un-issued, trial session in Nashville, prior to Almost
Blue, we cut the Patsy Cline/Loretta Lynn hit He's Got You in
an r'n'b arrangement with Pete Drake on steel guitar. It's just a question
of mixing up the music.
Once I realised that the Everleys came from the Louvins, the Delmores
and the Stanley Brothers I was away down the trail. Around 1970, The
Band, The Basement Tapes songs and the Grateful Dead, on the
albums Workingmen's Dead and American Beauty, gave a deeper
sense of older American music (what is now sometimes called "Americana").
Garcia played bluegrass and that made me curious. The Nitty Gritty Dirt
Band triple album, Will the Circle Be Unbroken introduced me
to Merle Travis, Roy Acuff, Earl Scruggs and Doc Watson. That was a
revolutionary record, these longhair musician playing with the likes
of Vassar Clements. Mother Maybelle Carter was also on that album and
that was the start of listening to the Carter Family. I discovered Hoagy
Carmichael and Jimmy Rodgers around that time. Some people wouldn't
call Hoagy Carmichael "country" but now I think of him as
a country poet right in there with Jimmy Rodgers, Dock Boggs and Mose
Allison.
Johnny Cash had the occasional hit single in England when I was growing
up but they didn't give any sense of him as a great songwriter. When
I heard the International Submarine Band version of I Still Miss
Someone, I had to hear the original and one thing led to another.
Little did I know that he would become my pal's father-in-law and we'd
end up recording together in a basement in Shepherd's Bush! We cut a
rare George Jones' composition, We Ought To Be Ashamed, on St.
Stephen's Day I979 or I980 (I forget which) at the same session as he
did Nick Lowe's Without Love (it's on the album Highway Patrolman).
It was a vocal match on a par with that on Dylan's Girl of the North
Country from Nashville Skyline and was mercifully never issued
- although it was a gas to sing with the man. I think Johnny's version
of Nick's The Beast in Me is one of his great later recordings.
He also did a pretty fine job on my tune, Hidden Shame, so you
can never tell where records will lead you.
Later on, I got into Webb Pierce, Stonewall Jackson, Ray Price, Buck
Owens and Porter Waggoner - "Dolly and the Porter" as it says
in Emmylou Harris's Amarillo. When we were in Nashville to record
Almost Blue, I recall a girl coming by on skates or a bicycle
and joining us up, right there on the spot,
in the Loretta Lynn fan club - probably because I'd been playing her
records on some radio rock'n'roll radio station. In those days you could
visit the occasional F.M. station and still find Loretta records in
their library right next to Captain Beefheart and Groucho Marx singing
Lydia the Tattooed Lady. They'd let you play them too!
You were quoted in the advertising campaign for Merle Haggard's
latest album, how do you feel about the overall resistance to artists
like Merle, Johnny Cash and other veterans?
I remember watching them induct Kitty Wells into the Hall of Fame on
T.V. and wondering how the hell it had taken them so long. Columbia
Records actually dropped Cash around the time they let Miles Davis go.
Further proof that nobody knows anything. The industry didn't always
have this acute sense of the value of "classic" artists and
records. Still, they don't want any new records from these people. Why
would they bother with serious artists when they could be recording
the producer's girlfriend?
As a writer would you relate your work to what Hank Williams Snr.
was writing?
The only way that I would relate to Hank Williams as a writer is in
awe of his economy and vivid emotion. We live in different times and
we have admitted to different feelings, just it is hard to use words
in the exact way that Lorenz Hart might have done. Having said that,
you can do a lot worse than in trying to measure yourself against such
masters.
You were featured on the recent Gram Parsons tribute album with
your version of Sleepless Nights, do you think today he is underrated
or, that because of his death, he has become on icon beyond his actual
contribution to the music?
The doomed romantic myth is always playing somewhere in town. The only
"icons" I can think of are in Russian churches. I do hear
Gram Parson's influence in a lot of singers today (and in the last twenty-five
or so years) and I'm glad of that. If it wasn't for him I wouldn't be
answering these particular questions.
Removed from it's historic and rural roots do you think that Country
Music has a valid place in today's musical context?
Maybe "country" music has changed because "the country"
has changed. People have different aspirations and need different kinds
of song. On the other hand; what's great is great.
Have you ever considered producing or working with a country related
artist, a Coward Brothers album perhaps?
The Coward Brothers are probably edging toward their fourth (or is
it their fifth?) comeback tour. They are considering a Mini-Series of
their life story as we speak. Perhaps for the Hallmark channel or the
PAX network.
Do
you still keep on ear open for new artists via press reviews or recommendations,
and what usually draws you in the strength of the writing or the overall
sound?
Once again, I'd say "one thing leads to another". Friends
may tip you off to a new artist. Sometimes a cover or a title may just
appeal. I picked up Laura Cantrell's album because I liked the title,
then I saw that she had covered Amy Allison's The Whiskey Makes You
Sweeter. I thought "this girl's got taste" and she turned
out to be a great singer and writer.
Interview by Steve Rapid