RockBill, September 1983: Difference between revisions
(+remaining text) |
(formatting / linkage) |
||
(3 intermediate revisions by 3 users not shown) | |||
Line 13: | Line 13: | ||
Ah, the facts: born Declan McManus, 1954, London. Father Ross was a big band singer, mother worked in a record department. Studied English in school, eyes are astigmatic, first played in folk clubs at 16. Wife Mary, son Mathew. Signed to Stiff Records in 1976 by Jake Riviera. Produced by Nick Lowe until ''Almost Blue'' produced by country great Billy Sherrill. ''Imperial Bedroom'' produced by self and Geoff Emerick. ''Punch the Clock'' produced by Clive Langer and Alan Winstanely. Reads biographies. Swims, plays tennis. Released nine albums in six years. The greatest songwriter you can think of, off hand. If ''Imperial Bedroom'' is Elvis's masterpiece, ''Punch the Clock'' is the only and best possible follow-up. New tour bursting with the TKO horns the incredible, world renowned Attractions (Steve Nieve, Bruce Thomas, Steve Thomas) tight as... arrangements and ladies and gentlemen in the center ring, Mr. EL-vis cos-TELL-o! | Ah, the facts: born Declan McManus, 1954, London. Father Ross was a big band singer, mother worked in a record department. Studied English in school, eyes are astigmatic, first played in folk clubs at 16. Wife Mary, son Mathew. Signed to Stiff Records in 1976 by Jake Riviera. Produced by Nick Lowe until ''Almost Blue'' produced by country great Billy Sherrill. ''Imperial Bedroom'' produced by self and Geoff Emerick. ''Punch the Clock'' produced by Clive Langer and Alan Winstanely. Reads biographies. Swims, plays tennis. Released nine albums in six years. The greatest songwriter you can think of, off hand. If ''Imperial Bedroom'' is Elvis's masterpiece, ''Punch the Clock'' is the only and best possible follow-up. New tour bursting with the TKO horns the incredible, world renowned Attractions (Steve Nieve, Bruce Thomas, Steve Thomas) tight as... arrangements and ladies and gentlemen in the center ring, Mr. EL-vis cos-TELL-o! | ||
There he is peering from out of those trademarked black-rimmed eyeglasses in the lobby of the Allentown, PA Hilton, only hours before the first Clocking In show of the USA tour. Elvis is omni-aware, slick, fast, neat, warm, humane, thoughtful, gracious, you think somewhat psychic, probably thinking of six things at once, like Caesar could He indicates a perfectionist streak when he often mentions wanting the best in the production of his albums. His suit is black. His shoes are checkered. | There he is peering from out of those trademarked black-rimmed eyeglasses in the lobby of the Allentown, PA Hilton, only hours before the first Clocking In show of the USA tour. Elvis is omni-aware, slick, fast, neat, warm, humane, thoughtful, gracious, you think somewhat psychic, probably thinking of six things at once, like Caesar could. He indicates a perfectionist streak when he often mentions wanting the best in the production of his albums. His suit is black. His shoes are checkered. | ||
He talks well with wit and a piercing sense of the ironic, almost as crafty as in his songs. Like Sidney Greenstreet in ''The Maltese Falcon'', you like talking to a man who likes to talk but you feel he in control He seems most comfortable when an argument gathers in the wind. What a great bar-mate he probably his words digging canals through which logic flows. He talks with such energy that you can't let your mind stray from the stories he's telling. The suspense rises and lowers like heavy breathing. He taps his fingernails on the formica table top as he describes his first "bang bang bang bang" shows. You don't know how much more of this you can take. You sit there stricken, eyes firmly on the page as Elvis Costello writes the book. | He talks well with wit and a piercing sense of the ironic, almost as crafty as in his songs. Like Sidney Greenstreet in ''The Maltese Falcon'', you like talking to a man who likes to talk but you feel he in control. He seems most comfortable when an argument gathers in the wind. What a great bar-mate he probably is,his words digging canals through which logic flows. He talks with such energy that you can't let your mind stray from the stories he's telling. The suspense rises and lowers like heavy breathing. He taps his fingernails on the formica table top as he describes his first "bang bang bang bang" shows. You don't know how much more of this you can take. You sit there stricken, eyes firmly on the page as Elvis Costello writes the book. | ||
Line 32: | Line 32: | ||
''Is rock music important? | ''Is rock music important? | ||
I don't see rock music as being that important, really. I think it's very over-rated. It's a self-perpetuating myth. People like to invent the idea of rock culture because it reinforces their own beliefs. There isn't | I don't see rock music as being that important, really. I think it's very over-rated. It's a self-perpetuating myth. People like to invent the idea of rock culture because it reinforces their own beliefs. There isn't any real rock culture. It's a very limited thing. I don't see that the condition or the nature of their work or these people are that exalted. I don't see that they're that influential, either. Don't tell me that Bruce Springsteen is influential. | ||
''Is Bowie? | ''Is Bowie? | ||
Line 52: | Line 52: | ||
''But he sells more records than you. Is the future going to be based on people who listen to heavy metal? | ''But he sells more records than you. Is the future going to be based on people who listen to heavy metal? | ||
I think that's an amusing thing to say That's exactly what they said about people who grew up listening to the Grateful Dead. | I think that's an amusing thing to say, That's exactly what they said about people who grew up listening to the Grateful Dead. | ||
''And what happened to them? | ''And what happened to them? | ||
They're still listening to the Grateful Dead. But, I think that's a very narrow observation. All of the people who were once held up as going to change the world are now the good old, beloved good old good ones, all of the hippie rebels. I dare say, that if they stay on the treadmill long enough, all of the people from 1978 are going to look just as tame. A Clash fan now looks at Crosby Stills and Nash and says well, that's really tame. In 1990, somebody is going to be looking at the Clash, if they still exist, and say exactly the same thing. It's inevitable. When rock 'n' roll replaced swing, they said this is the end of music. They burned records, broke records. Now, rock 'n' roll is a tame animal. There's no real dangerous rock 'n' roll. | They're still listening to the Grateful Dead. But, I think that's a very narrow observation. All of the people who were once held up as going to change the world are now the good old, beloved good old good ones, all of the hippie rebels. I dare say, that if they stay on the treadmill long enough, all of the people from 1978 are going to look just as tame. A Clash fan now looks at Crosby, Stills and Nash and says well, that's really tame. In 1990, somebody is going to be looking at the Clash, if they still exist, and say exactly the same thing. It's inevitable. When rock 'n' roll replaced swing, they said this is the end of music. They burned records, broke records. Now, rock 'n' roll is a tame animal. There's no real dangerous rock 'n' roll. | ||
What I think is a bit depressing is that rock music, as it's known now has no roots, it's not based on anything. Original rock 'n' roll was traditional in that it came directly from folk music. The folk music of today is goodness knows what, it's probably heavy metal. Or country music. Or disco. Because those records are bought unconsciously. They're just filler. They're air time. They're not the ones that the long boring essays are written about. These people | What I think is a bit depressing is that rock music, as it's known now has no roots, it's not based on anything. Original rock 'n' roll was traditional in that it came directly from folk music. The folk music of today is goodness knows what, it's probably heavy metal. Or country music. Or disco. Because those records are bought unconsciously. They're just filler. They're air time. They're not the ones that the long boring essays are written about. These people are not lionized. Or only occasionally. | ||
I think that music was very important in 1955. That year, the original rock 'n' roll shook the attitude of young people. It was important in 1964. It was probably important in England in 1977. But other than that, no. And that's a limited thing as well. The '55 thing was very big and the '64 thing was extremely big. The 1977 thing was over in a couple of months. It was just a phenomenon. We have a lot of phenomenon in England, so we're pretty much used to it by now It didn't exactly bring down the government. | I think that music was very important in 1955. That year, the original rock 'n' roll shook the attitude of young people. It was important in 1964. It was probably important in England in 1977. But other than that, no. And that's a limited thing as well. The '55 thing was very big and the '64 thing was extremely big. The 1977 thing was over in a couple of months. It was just a phenomenon. We have a lot of phenomenon in England, so we're pretty much used to it by now. It didn't exactly bring down the government. | ||
''People had expectations — | ''People had expectations — | ||
Line 74: | Line 74: | ||
There are too many records made. That's the trouble. If the record companies weren't so wasteful and didn't take so many drugs, and didn't sign so many bands that were useless, then the record stores wouldn't be filled with records that you didn't want in your house. That's not to say that you couldn't have a record store filled with good records, it's just that record companies invariably aren't signing those people because they're too greedy and they want to sign somebody that's a bit like the last act that were successful. They would rather go with a safe formula than anybody who's got a little imagination or real new idea. | There are too many records made. That's the trouble. If the record companies weren't so wasteful and didn't take so many drugs, and didn't sign so many bands that were useless, then the record stores wouldn't be filled with records that you didn't want in your house. That's not to say that you couldn't have a record store filled with good records, it's just that record companies invariably aren't signing those people because they're too greedy and they want to sign somebody that's a bit like the last act that were successful. They would rather go with a safe formula than anybody who's got a little imagination or real new idea. | ||
It's like all this nonsense about new music that you seem to be having over here now | It's like all this nonsense about new music that you seem to be having over here now. This New Music Seminar. I could not believe it. I laughed myself sick. It's absolutely ludicrous because none of the music is related, so to be bracketed together is insulting to those individuals in there that have got any talent, which, god knows, are precious few. On top of which, most of it is so conservative and being held up as new. By English standards, most of it is the boring end of pop, not the new fresh, unusual. Some of it is good, but still very staid. The only group of any substance that I understand is being held up as new music is Culture Club. They're the only ones of any worth that I could have any interest in having their records or wanting to hear their records next week or in ten years time. | ||
''What do you listen to? | ''What do you listen to? | ||
I buy a lot of records when I'm in England. I try to seek out new things that must be here, because I'm not writing off the possibility that, against all the odds there might be a group working against the grain here, in America. I'd like to find a great group here. The two best groups in America, as I understand it, are both very traditionally based, the Fabulous Thunderbirds and the Blasters. I think they do what they do excellently, though they don't have tremendous range. l liked one track of Rank and File. I quite like a track by REM, but I don't know much more about them. There's a lot of English groups that I think | I buy a lot of records when I'm in England. I try to seek out new things that must be here, because I'm not writing off the possibility that, against all the odds there might be a group working against the grain here, in America. I'd like to find a great group here. The two best groups in America, as I understand it, are both very traditionally based, the Fabulous Thunderbirds and the Blasters. I think they do what they do excellently, though they don't have tremendous range. l liked one track of Rank and File. I quite like a track by REM, but I don't know much more about them. There's a lot of English groups that I think are really interesting. I love Aztec Camera. Their record is my favorite album that's come out in the last year. I'm really glad they're on the tour. | ||
''I can see why you like them. Like you, they're song-oriented. | ''I can see why you like them. Like you, they're song-oriented. | ||
Line 98: | Line 98: | ||
By no means have we calmed down. I still want the show to have as much intent in there. In fact, I think it's better if you can sit on the tempo and play at the tempo the song was written to be played at. That shows more belief in the song than rattling through it as if you're not confident about it. | By no means have we calmed down. I still want the show to have as much intent in there. In fact, I think it's better if you can sit on the tempo and play at the tempo the song was written to be played at. That shows more belief in the song than rattling through it as if you're not confident about it. | ||
I enjoy doing the shows because each night is different. There's always one song that you sing completely differently than you've ever sung it. There's always a chance with any song that you might hit upon a new inflection of a line that might change the whole meaning. It could be something quite obscure and be totally lost on anybody in the audience, but, of, course, you are paying that kind of close attention to the details When you're singing I'm not just opening my mouth so words can come out. I find it very unsatisfactory to sing on automatic pilot. It's even quite comforting when you forget the words because it means you can't just recite them like a school poem. | I enjoy doing the shows because each night is different. There's always one song that you sing completely differently than you've ever sung it. There's always a chance with any song that you might hit upon a new inflection of a line that might change the whole meaning. It could be something quite obscure and be totally lost on anybody in the audience, but, of, course, you are paying that kind of close attention to the details When you're singing. I'm not just opening my mouth so words can come out. I find it very unsatisfactory to sing on automatic pilot. It's even quite comforting when you forget the words because it means you can't just recite them like a school poem. | ||
''Are there any plans to do another album like ''Almost Blue'', songs you love? | ''Are there any plans to do another album like ''Almost Blue'', songs you love? | ||
Line 138: | Line 138: | ||
Everything is as I expect it. | Everything is as I expect it. | ||
It's really a too complicated question to go into. I don't think of things in terms of philosophy like you'd find in a book, but that is like a philosophy in a sense. It's something that I just carry with me. I don't really analyze my own feelings that much. I think I do enough exploring them in the songs and in the performance to last me a lifetime. I don't need to sit around asking what's happened to my life, head in hands. All care about is doing my work well and staying alive. | It's really a too complicated question to go into. I don't think of things in terms of philosophy like you'd find in a book, but that is like a philosophy in a sense. It's something that I just carry with me. I don't really analyze my own feelings that much. I think I do enough exploring them in the songs and in the performance to last me a lifetime. I don't need to sit around asking what's happened to my life, head in hands. All I care about is doing my work well and staying alive. | ||
''You might notice more about your life in the songs. | ''You might notice more about your life in the songs. | ||
Line 146: | Line 146: | ||
''Wasn't ''Imperial Bedroom'' originally called ''A Revolution of The Mind''? | ''Wasn't ''Imperial Bedroom'' originally called ''A Revolution of The Mind''? | ||
There's a James Brown album called that. I just discovered it the other day. I didn't know it at the time. He says it at the end of "King Heroin." He says, ''"Get away from drugs this is a revolution of the mind."'' What a great thing. Sounds like the title of a Moody Blues album. Let's call it something really pretentious. I thought it was quite funny. I wanted to call ''Imperial Bedroom Music to Stop Clocks'' at one point. The idea then carried on, got modified through train | There's a James Brown album called that. I just discovered it the other day. I didn't know it at the time. He says it at the end of "King Heroin." He says, ''"Get away from drugs this is a revolution of the mind."'' What a great thing. Sounds like the title of a Moody Blues album. Let's call it something really pretentious. I thought it was quite funny. I wanted to call ''Imperial Bedroom Music to Stop Clocks'' at one point. The idea then carried on, got modified through train of thought to lead to the ''Punch the Clock'' idea. I think all our titles were good. ''Emotional Fascism'' was the best title for ''Armed Forces'', but it would have been too good a title for that album. You'd be too disappointed in the songs. They were too bland for that title. It's the glibbest album we've ever made because I really thought I knew every thing. And now that I do, I realize,... only kidding. | ||
''Does cleverness sometimes draw attention to the cleverness and away from the song itself? | ''Does cleverness sometimes draw attention to the cleverness and away from the song itself? | ||
Line 160: | Line 160: | ||
---- | ---- | ||
[[Stuart Matranga]] interviews Elvis Costello. | [[Stuart Matranga]] interviews Elvis Costello. | ||
<span style="font-size:92%">(Partly reprinted in [[Talking In The Dark, December 1984|''Talking In The Dark'', No. 10, Dec. 1984]].)</span> | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1983-09-00 RockBill pages 22-23.jpg| | [[image:1983-09-00 RockBill pages 22-23.jpg|380px]] | ||
<br><small>Page scans.</small> | <br><small>Page scans.</small> | ||
[[image:1983-09-00 RockBill pages 24-25.jpg| | [[image:1983-09-00 RockBill pages 24-25.jpg|380px]] | ||
[[image:1983-09-00 RockBill pages 26-27.jpg| | [[image:1983-09-00 RockBill pages 26-27.jpg|380px]] | ||
<br><small>Page scans.</small> | <br><small>Page scans.</small> | ||
[[image:1983-09-00 RockBill photo 02.jpg| | [[image:1983-09-00 RockBill photo 02.jpg|320px]] | ||
<br><small>Photos.</small> | <br><small>Photos.</small> | ||
[[image:1983-09-00 RockBill photo 01.jpg|280px | [[image:1983-09-00 RockBill photo 01.jpg|280px]] | ||
[[image:1983-09-00 RockBill cover.jpg|x120px | <small>Cover and contents page.</small><br> | ||
[[image:1983-09-00 RockBill page 03.jpg|x120px | [[image:1983-09-00 RockBill cover.jpg|x120px]] | ||
[[image:1983-09-00 RockBill page 03.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 16:28, 18 December 2021
|