Billboard, February 7, 1998: Difference between revisions
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<center><h3> Costello signs unorthodox | <center><h3> Costello signs unorthodox multi-label{{nb}}PolyGram{{nb}}pact </h3></center> | ||
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<center> Bradley Bambarger </center> | <center> Bradley Bambarger </center> | ||
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Starting off in a low-key way, Costello makes his Mercury bow with the sly new rocker "My Mood Swings," the first single from the soundtrack to the Coen Brothers film ''The Big Lebowski'', due Feb. 24. But the first full-fledged Costello album will feature his much-touted collaboration with tunesmith Burt Bacharach and is due later this year on Mercury. Along with that release there may be a pendant project on PolyGram's Verve label that features jazz interpretations of those Costello/Bacharach compositions. | Starting off in a low-key way, Costello makes his Mercury bow with the sly new rocker "My Mood Swings," the first single from the soundtrack to the Coen Brothers film ''The Big Lebowski'', due Feb. 24. But the first full-fledged Costello album will feature his much-touted collaboration with tunesmith Burt Bacharach and is due later this year on Mercury. Along with that release there may be a pendant project on PolyGram's Verve label that features jazz interpretations of those Costello/Bacharach compositions. | ||
Next year may bring an encore of Costello's surprise '93 hit ''The Juliet Letters'' with the Brodsky Quartet, perhaps via Decca/London or a Philips Music Group imprint. Or, first perhaps, the song cycle he has been writing for mezzo-soprano Anne | Next year may bring an encore of Costello's surprise '93 hit ''The Juliet Letters'' with the Brodsky Quartet, perhaps via Decca/London or a Philips Music Group imprint. Or, first perhaps, the song cycle he has been writing for mezzo-soprano Anne Sofie von Otter will see light on her label, Deutsche Grammophon. | ||
In a way, it was von Otter who was the catalyst for Costello's PolyGram deal. He was in London to present ''Gramophone'' magazine's 1996 artist of the year award to the renowned Swedish singer — a longtime favorite of his — when he began a discussion with PolyGram Classics & Jan worldwide chief Chris Roberts. It was those initial, informal talks with Roberts — as well as a pleasant experience working with classical saxophonist John Harle on his Argo/Decca album ''Terror | In a way, it was von Otter who was the catalyst for Costello's PolyGram deal. He was in London to present ''Gramophone'' magazine's 1996 artist of the year award to the renowned Swedish singer — a longtime favorite of his — when he began a discussion with PolyGram Classics & Jan worldwide chief Chris Roberts. It was those initial, informal talks with Roberts — as well as a pleasant experience working with classical saxophonist John Harle on his Argo/Decca album ''Terror And Magnificence'' last year (''Billboard'', [[Billboard, April 26, 1997|April 26, 1997]]) — that eventually yielded Costello's unique new arrangement. | ||
"I'm not going to be flitting from label to label within PolyGram, flooding the market with all these different records," Costello says. "But this multifaceted deal does afford us an opportunity: to have the people who are the smartest about whatever kind of music that I may happen to make be the ones to help get the records across to the public that most wants to hear it." | "I'm not going to be flitting from label to label within PolyGram, flooding the market with all these different records," Costello says. "But this multifaceted deal does afford us an opportunity: to have the people who are the smartest about whatever kind of music that I may happen to make be the ones to help get the records across to the public that most wants to hear it." | ||
One of the frustrating elements of Costello's Warner Bros. tenure, he says, was a dearth of cross-audience promotion. "Although the Brodskys and I reached a lot of people with ''The Juliet Letters'', we didn't | One of the frustrating elements of Costello's Warner Bros. tenure, he says, was a dearth of cross-audience promotion. "Although the Brodskys and I reached a lot of people with ''The Juliet Letters'', we didn't do it using the resources of Teldec, Warner's classical arm, at all," he says. 'That seems bizarre to me, because although it wasn't a classical record, strictly speaking, it obviously holds an appeal for those people who enjoy chamber music. | ||
"Perhaps PolyGram is special in that there could be some real cooperation between arms of the company," Costello adds. "And there's diversity there, certainly. A company that has outlets to accommodate everything from Hanson to Cake, from Bryn Terfel to an Allen Ginsberg record, sounds like a place for me." | "Perhaps PolyGram is special in that there could be some real cooperation between arms of the company," Costello adds. "And there's diversity there, certainly. A company that has outlets to accommodate everything from Hanson to Cake, from Bryn Terfel to an Allen Ginsberg record, sounds like a place for me." | ||
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Roberts adds that while there's a certain expectation of success for all of Costello's projects, the pop efforts aren't necessarily assumed to be the best bet. "It's often the things that seem left of center that are just what the market wants," he says. "Really, Elvis' attitude toward music is refreshing. Conservatism is not something this business needs." | Roberts adds that while there's a certain expectation of success for all of Costello's projects, the pop efforts aren't necessarily assumed to be the best bet. "It's often the things that seem left of center that are just what the market wants," he says. "Really, Elvis' attitude toward music is refreshing. Conservatism is not something this business needs." | ||
Costello and Warner Bros. agreed to disagree last year, after a round of mounting, mutual recrimination over the commercial disappointment of his last album, | Costello and Warner Bros. agreed to disagree last year, after a round of mounting, mutual recrimination over the commercial disappointment of his last album, ''All This Useless Beauty''. The label released Costello from his commitment for one more new album, instead electing to compile the retrospective set ''Extreme Honey'' with his full participation (''Billboard'', [[Billboard, October 25, 1997|Oct. 25, 1997]]). The disc was released last fall in conjunction with an intimate Attractions concert video, ''Live—A Case For Song''. | ||
''Live—A Case For Song'' is probably the last you'll see of the Attractions, by the way: Costello promises that no matter what pleasures his PolyGram future may hold, an album with his old group won't be one of them. (The tour for ''All This Useless Beauty'' wasn't much of an interpersonal or musical success, he says.) But definitely ongoing is Costello's work with Attractions keyboardist Steve Nieve, with whom he has been touring off and on as a duo for several years. Look for a Mercury album featuring Nieve's music and Costello's lyrics around the turn of the century. | ''Live—A Case For Song'' is probably the last you'll see of the Attractions, by the way: Costello promises that no matter what pleasures his PolyGram future may hold, an album with his old group won't be one of them. (The tour for ''All This Useless Beauty'' wasn't much of an interpersonal or musical success, he says.) But definitely ongoing is Costello's work with Attractions keyboardist Steve Nieve, with whom he has been touring off and on as a duo for several years. Look for a Mercury album featuring Nieve's music and Costello's lyrics around the turn of the century. | ||
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"'The grand, dramatic pop ballad is such an endangered species these days, at least in terms of sincerity," Costello says. "All these songs and their singers are so hollow. But I feel strongly that there's still a place for real feeling in the pop ballad. Let's just say that Burt and I are here to kick Celine Dion's ass." | "'The grand, dramatic pop ballad is such an endangered species these days, at least in terms of sincerity," Costello says. "All these songs and their singers are so hollow. But I feel strongly that there's still a place for real feeling in the pop ballad. Let's just say that Burt and I are here to kick Celine Dion's ass." | ||
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{{tags}}[[My Mood Swings]] {{-}} [[The Big Lebowski: Original Motion Picture Soundtrack|The Big Lebowski]] {{-}} [[Burt Bacharach]] {{-}} [[The Juliet Letters]] {{-}} [[The Brodsky Quartet]] {{-}} [[For The Stars]] {{-}} [[Anne Sofie von Otter]] {{-}} [[Deutsche Grammophon]] {{-}} [[Warner Bros.]] {{-}} [[John Harle: Terror And Magnificence|Terror And Magnificence]] {{-}} [[John Harle]] {{-}} [[All This Useless Beauty]] {{-}} [[Extreme Honey: The Very Best Of The Warner Bros. Years|Extreme Honey]] {{-}} [[Live: A Case For Song]] {{-}} [[The Attractions]] {{-}} [[:Category:1996 US Tour|1996 US Tour]] {{-}} [[Steve Nieve]] {{-}} [[Bob Dylan]] {{-}} [[Paul Simon]] {{-}} [[Paul McCartney]] {{-}} [[Mingus Big Band]] {{-}} [[God Give Me Strength]] {{-}} [[Grace Of My Heart: Original Motion Picture Soundtrack|Grace Of My Heart]] {{-}} [[Live On Letterman: Music From The Late Show|Live On Letterman]] {{-}} [[Painted From Memory]] {{-}} [[Long Journey Home (soundtrack)]] {{-}} [[Paddy Moloney]] {{-}} [[Long Journey Home]] {{-}} [[Anúna]] {{-}} [[Vince Gill]] {{-}} [[The Chieftains]] {{-}} [[Van Morrison]] {{-}} [[Derek Bell]] {{-}} [[The Chieftains: The Bells Of Dublin|The Bells Of Dublin]] | |||
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{{Bibliography next | {{Bibliography next | ||
|prev = Billboard, October 25, 1997 | |prev = Billboard, October 25, 1997 | ||
|next = Billboard, | |next = Billboard, August 29, 1998 | ||
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'''Billboard, February 7, 1998 | '''Billboard, February 7, 1998 | ||
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<center><h3> Long Journey Home </h3></center> | |||
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<center> Paul Verna </center> | |||
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<!-- VARIOUS ARTISTS Long Journey Home PRODUCER: Paddy Moloney Unisphere/BMG 09026.68963 -->The maiden release on Paddy Moloney's Unisphere label, appropriately, is the audio companion to the acclaimed PBS documentary ''The Irish In America'', which examines the influence of Irish immigrants in the New World, from the ghettos to the White House. Among the participants on this album of traditional Celtic music are many of Moloney's friends and frequent collaborators, including his own band, the Chieftains; fellow Grammy winners Van Morrison, Sinead O'Connor, Elvis Costello, Mary Black, and Eileen Ivers; and Vince Gill; the Irish Film Orchestra; Derek Bell; and Anuna. Like all of Moloney's work, especially such recent Chieftains albums as "The Long Black Veil," "Santiago," and "The Bells Of Dublin," "Long Journey Home" exudes passion and authenticity and reminds us that Ireland's musical heritage is in safe hands. The project's intrinsic quality is enhanced by the PBS broadcast, a home video release through Buena Vista, and an accompanying book. | |||
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*[http://en.wikipedia.org/wiki/Billboard_(magazine) Wikipedia: Billboard] | *[http://en.wikipedia.org/wiki/Billboard_(magazine) Wikipedia: Billboard] | ||
*[http://www.elviscostello.info/articles/a-c/billboard.971025a.txt elviscostello.info] | *[http://www.elviscostello.info/articles/a-c/billboard.971025a.txt elviscostello.info] | ||
*[http://www. | *[https://worldradiohistory.com/Billboard-Magazine.htm americanradiohistory.com][http://www.worldradiohistory.com/Archive-Billboard/90s/1998/BB-1998-02-07.pdf {{t}}] | ||
{{DEFAULTSORT:Billboard 1998-02-07}} | {{DEFAULTSORT:Billboard 1998-02-07}} |
Latest revision as of 11:39, 12 December 2020
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