Article and interview
Sunday Tribune, 1983-05-29
- B.P. Fallon
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Elvis Costello celebrates his Dublin visit |
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Declan
(Elvis? The King? The Count?)
McManus
B. P. FALLON talks to Elvis Costello who plays In Ireland this week
with the Attractions.
ELVIS Costello is somewhat uncertain about his stage name. He thinks
the associations of "Elvis Costello and The Attractions" are
those of a few years ago, in England at least. "I thought of possibly
changing my name to King, from Elvis Costello to King Costello, like
Count Basie. Now, Count Costello, that sounds a bit Transylvanian,"
he says. He started out 28 years ago as Declan McManus, son of Ross
McManus, singer with the Joe Loss Orchestra. He was surrounded by the
music of Frank Sinatra, Nat King Cole, Billy Eckstine, Sarah Vaughan,
Ella Fitzgerald. "That music was going on in the background and
it didn't jump out at me because as a child it probably wouldn't, it's
not that kind of music. Jazz and all that was just a sound to me. Pop
beat groups, they really did hit me hard." Before he was struck
down, he had met Máire ("with a fada," she insists) Borgoyne,
also of a musical family, and of Irish background. Her father ran the
Vic Borgoyne Dance Band but the tourist high jinks at Seapoint in front
of his daughter persuaded him to move to England. Declan and Maire,
or Mary; met at school when he was
14 years old. Now they have a son, Matthew, aged eight. Before he did
the rounds of the record comnpanies with tapes of his own songs, Declan/Elvis
worked as a computer operator at Elizabeth Arden's in London. Stiff
Records was one of Costello's later targets - after he had tried his
tapes unsuccessfully on the major record companies. He was attracted
to Stiff by its quirkiness. At that time, the company was run by stroke-pulling
Irishman, Dave Robinson and the speedy Jake Riviera, now Elvis's manager.
"Stiff was just three people and a few boxes of records. It wasn't
like going into Atlantic or Warner Brothers where they have potted plants
and secretaries every where," Elvis recalls.
Having failed with the main records companies, he had already moved
on to the publishing companies with the hope of being accepted as a
writer. "Then I ended up at Stiff where they seemed to recognise
both things at once and where they were prepared to record people who
didn't simply write formula songs."
When he recorded his first LP, My Aim Is True, which met with
critical and commercial success, Elvis was recognised as an important
new discovery. Then Elvis Presley dies and the American media, in particular,
seized on the possibility of spinning out the story of Elvis Presley's
death with the story of someone who had taken over his name, or, as
Elvis puts its, "someone who has a dog that can whistle all of
Presley's hits." The new Elvis explains. "It was not intended
either as an offence or a tribute taking the name Elvis. But, at the
time, they were reading all kinds of interpretations into it so in the
end we had to shut down all media."
That legacy remains. Elvis very rarely talks to the media. The interview
he gave me in Dublin recently was his fourth in all, his second with
me, in two years. He was in this country on holidays, having previously
visited his wife's home ground of Galway. This week, he starts a tour
- premiering new material - in Ireland. His musical references extend
over 40 years of popular music. He has even recorded the Rodgers &
Hart number, My Funny Valentine. The first record he owned was
the Beatles' Please Please Me and he has paid his tribute to
early British beat with his own version of The Merseybeats' I Stand
Accused and the recent single, From Head To Toe, which he
got from the early 1960s cover by Liverpool group, The Escorts, and
not from the Smokey Robinson Tamla Motown original.
Lately, Elvis has gone back to the music of his parent's era, through
his contact with mainstream jazz trumpeter and singer, Chet Baker. He
plays on the recording of Shipbuilding, a song by Robert Wyatt,
which will also be featured on the new LP by Elvis and the Attractions.
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...and meets B.P. ... who took the photos |
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It is one of his proudest achievements of the past year to have contributed
to Wyatt's recording of that song for a single, now back in the charts
a year later. Clive Lange, who is one of the producers of the next Elvis
Costello album, had given him a backing track of the song and asked
him to write lyrics.
He took the tape with him to Australia, where he was touring while
the Falklands conflict swept through Britain. "I saw it as a horrific
exercise in the worst kind of patriotism - people, being distracted
from the political inadequacies of the government, drumming up a phoney
militarism. One of the ideas I had was the irony - as we kept hearing
of ships going down every day - that work might come back to those yards
only to be transporting the children of the shipyard workers to their
deaths."
Elvis was well chuffed with the result of his collaboration with Wyatt,
for whom he did the vocal production. "It was a marvellous experience.
He's a beautiful singer. I was almost in tears. Listening to it, it
sounds corny to say it now, but it was so moving to have written something
that I feel very strongly about and then hear it done so exquisitely."
Clive Lange, who had arranged that teaming up had also been largely
responsible for having Elvis sing with Madness both on a 12-inch single
version of Tomorrow's Just Another Day and in concert in London
and Brighton. Along with Alan Winstanley, Lange has been working on
the forthcoming Elvis Costello album. "I admire the way they can
adapt SO well to different artists. If you compare Too-Rye-Aye
(Dexy's Midnight Runners) and Rise and Fall (Madness), you wouldn't
deduce that they were done by the same producers except for the excellence
of the records. I needed someone to push me around a bit," says
Elvis.
Elvis regards his adventure into country music, with the LP Almost
Blue, as almost a diversion. But it did take him to Johnny Cash's
mansion. While on a guided tour ("it's so full of things, you wouldn't
believe it"), Elvis noticed a copy of Johnny Cash's very first
records, Cry, Cry, Cry. Spotting Costello's joy at seeing this
artefact, Cash insisted on giving it to him, and signed it "To
Elvis".
Word came through the grapevine - from Cash's wife, June Carter, to
her daughter, Carlene, to Carlene's husband, Nick Lowe - that June was
hoppin' mad at her husband. That record had been Johnny's first-ever.
Cash also took Elvis and the Attractions through his acres. Elvis grins
as he imitates Cash's dark brown voice: "And see that hill over
there? Bob Dylan was building a house a-top of that and the wind clean
blew it away. I guess the Lord never intended for Bob to live there."
I happened to be in Stiff Records' office when Elvis Costello came
in with his tapes all those years ago. I came to know him as brittle,
tense, nervous, agitated. Paranoid would not have been too strong a
word. Today, Elvis Costello sleeps less often with clenched fists. His
talent as a writer and singer doesn't seem to hurt so much. And he laughs
a lot.
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SEARCH THIS ONE OUT
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A single released on Imp Records next week, called
`Pills and Soap' gives an idea of what to expect from
Elvis and the Attractions. It is a limited-edition
45 of 15,000 copies, and the performance is credited
to "The Impostor".
'Pills and Soap' is a fine ominous composition with
Elvis Costello singing his song darkly "the King
is in the counting house some folk have all the luck/And
all we get is pictures of Lord and Lady Muck/they
come from lovely people with a hard line in hypocrisy/there
are ashtrays of emotion with the fag ends of' aristocracy."
The Attractions' Steve Nieve provides swirling organ
and stabbing piano. Search out this record fast.
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