Discoveries, August 1992

Bibliography   72 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 UK & Ireland weeklies UK & Ireland magazines UK & Ireland newspapers US newspapers US rock magazines US music magazines US magazines US alternative weeklies European magazines European newspapers Canada  •  Mexico  •  Asia Australia  •  New Zealand South America  •  Africa Blogs  •  Fanzines  •  Books Online publications Discoveries   1992 August 1996 October 1997 April Magazines  Concerto Details Entertainment Weekly Esquire Forbes Il giornale della musica GQ Interview magazine Life Music Maker The Nation New Yorker Newsweek Nöjesguiden Opera News People Spy Time Total Guitar Uncut Vanity Fair Village Voice Vox The Word — Elvis is everywhere A look at "The Other Elvis" Mark Smotroff It has been said that for every death, a new baby is born. In 1977, Elvis Presley died and another Elvis arrived on the music scene — Elvis Costello. Riding the new wave of punk rock merchandising and sensibility, Costello both encouraged outrage and won admiration from the front lines of music — kids and critics alike. Despite inevitable gripes from some Presley loyalists dismayed at the comic use of the King's name (particularly so soon after his death), the support for Costello was undeniable — musicians and pop music fans around the world knew something was afoot. Costello was an oddball among the aggressive new bands on the music scene between 1975 and 1977. Punk rock music spit openly in the face of what had become commercial rock, long stalled creatively and generally overproduced. These new young artists clearly aimed to shake up and invigorate all who dared to listen. Elvis, however, did all that and more. He admittedly embraced the arrogant punk attitude for marketing purposes, but he protected his artistic integrity by contradicting the entire concept — simplistic themes, inadequate musicianship, loudness for the sake of loudness — with a knack for melody, harmony, and lyricism. Elvis wasn't really a punk, he was the rebirth of the creative spirit begun 30 years earlier with Buddy Holly, Bob Dylan, and the Beatles. Comparisons of the new Elvis with these artists were justified. He was compared with the Beatles for his distinctive knack for clever melodies and with Bob Dylan for his uncanny ability to write lyrics that jumped out of your speakers and into your brain, inviting repeated plays to figure out if he really said that. Comparisons with Buddy Holly were more basic — he had the look, complete with horn-rimmed glasses, pigeon-toed, knock-kneed stance, and otherworldly, geekier-than-thou, fly-on-steroids image. Some time ago, J. Geils Band vocalist Peter Wolf summed him up in one statement, made to critic Robert Palmer, "You'd really like Elvis Costello. He'll listen to an old rock and roll record and then turn around and want to hear some bebop, then maybe some African music, then Billie Holiday." Indeed, looking back on his 15 years as an internationally recognized pop star, Elvis has explored virtually all genres of popular music, recording and writing with stars such as Paul McCartney, Jerry Garcia, Elvis Presley's band, including Jerry Scheff and James Burton, T. Bone Burnett, Tom Waits, Bruce Springsteen, and Roy Orbison. He's recorded an entire album of country and western music, performed with late jazz trumpet legend Chet Baker, and once played a disastrous big band gig with Tony Bennett (to his credit he has admitted that he was nervous and ill, but didn't want to miss the opportunity). Costello was a singles man. Even more, he was a believer in the craft of songwriting. He once said, "When people ask me what a great song is, I name something like 'Love For Sale,' or 'Someone to Watch Over Me.' In the last 20 years or so, very few people have been up to writing great songs, they've been making great records." Taking it from the top Like many stars before him, Elvis Costello chose a stage name. He was born in London, August 25th, 1955, as Declan Patrick MacManus. The son of English big band singer/trumpeter Ross MacManus, Declan had music in his blood from the start, writing lyrics and playing guitar at age 12. His father followed the new music of the '60s, exposing Elvis to widely varying talents from Dusty Springfield to Marvin Gaye, from the Grateful Dead to the Beatles. Ross MacManus would often get records from the record company and publishing representatives who were courting his big band to cover the hits of the day. Elvis remembers his dad bringing home acetates from Northern Songs (the Beatles' publishing house) as late as 1966. These were sent out to orchestras so they could cover the would-be next big hit. "I've still got them at home," Costello told Rolling Stone in 1982. Even though American music was his favorite — particularly soul and R&B — Beatles connections keep coming back throughout his career (or so it seems). One of the first records he owned was "Please Please Me." He moved to Liverpool (birthplace of the Beatles) in 1968 after a period in West Kensington and East Twickenham. It was here that he first saw future label mate and producer Nick Lowe play at the famed Cavern Club (the legendary club where the Beatles were discovered). In 1973, Declan returned to London to work as a computer programmer in the Elizabeth Arden cosmetics factory. He married his girlfriend Mary and formed his first band, Flip City. They played bluegrass and country-style music at popular venues, but achieved only limited success. Declan was 20 years old. Flip City disbanded in 1976, and Declan joined the folk music circuit, performing under the pseudonym D.P Costello; a surname borrowed from his grandmother. He recorded some rough demos at home and through persistent badgering got six of his songs played over BBC's Capitol Radio, on Charlie Gillett's popular Honky Tonk show. Ultimately, several of these songs, including an early version of "Lip Service"/"Mystery Dance" and "Blame it On Caine" would resurface on future LPs in wildly reworked and pop-like versions. These recordings were firmly rooted in country and western, certainly not punk or even pop. From the start, it was apparent that Elvis was much more than your standard amateur — this guy had scope. Nonetheless, years later when he recorded an album of country and western robbers, many fans were surprised and some were alarmed. The rebirth of the single In the late '70s, the punk/new wave movement opened many new doors for artists and labels. One of the great benefits was the reappearance of records made specifically for single release, a once common practice that all but disappeared with the mid-'60s and long format albums. The proud rebirth of the 45 rpm single was highlighted by the birth of the short-lived but great Stiff Records, a small English independent label interested in the new pop/punk scenes on both sides of the Atlantic. Its first release, "So It Goes"/"Heart of the City" was by former Brinsley Schwarz bassist, vocalist Nick Lowe. Stiff was a company on the edge and taking chances. True, it had to produce, but it distanced itself from the major labels (and to some extent influenced them) with a combination of brash humor-filled ads, flippant promo deals and gut-instinct-directed good taste. Declan landed a contract with Stiff in 1976 based on his acoustic demos. Although Stiff had pegged Declan's demo of "Mystery Dance" as a favorite, particularly for Dave Edmunds, it was not until about a year later that Stiff actually figured out what to do with him. In 1976, Elvis and his wife had a son, and even though he was signed to the label, he was still working at the cosmetics factory. In late 1976 and early 1977 sessions were organized at Pathway Studios in London with U.S. pop up-and-comer, Clover, serving as backup band. Historically this band is notable for its members Huey Lewis and slide guitar great John McFee. Also contributing to the album were Sean Hooper, Mickey Shine, John Ciambotti, Alex Call, Dave Edmunds, and Nicke Lowe. These sessions produced the LP My Aim Is True. Declan was officially dubbed Elvis Costello on release of the album's first single, ("Less Than Zero"/"Radio Sweetheart"). The record was released to solid reviews although it was just an okay seller. The hits were yet to come. From B-side to B-side Stiff's mystique grew rapidly, and with it, its roster of bands with wonderfully demented names, many of them important movers and shakers in the punk movement, including the Damned, Motorhead, Richard Hell (from NYC), Sean Tyla (later with the Motors), Pink Fairies, Roogolator, and Devo. Fans on both sides of the Atlantic snapped up the singles as they were released. Stiff slogans rang true with the fans, from the on-target "We're not the same, you're not the same," to the perverse "Undertakers to the industry — If they're dead, we'll sign 'em." Then there was the brutally honest "Surfing the new wave." (Elvis has taken credit for developing that one — "not being really involved in it, just riding on it.") My Aim Is True was issued in England with a spate of singles. The first 1000 copies of the album in the U.K. came with a special sleeve liner entitling the buyer to have a copy of the album sent free to a friend. How could you not like this label? Elvis quit his day job on its release. The album cover brazenly declared "Elvis is King" alongside his haunting Buddy Holly look. Elvis Presley was dead from drugs. Long live the king. Thus a new lean and mean Elvis was born and the press latched onto him immediately. In Britain, and ultimately in America, he was almost universally compared to Dylan, Van Morrison, and even Springsteen. The album remained on the U.K. charts for 12 weeks, peaking at No. 14. Despite critical acclaim, the single "Alison" wasn't a huge seller. In response, Elvis pumped up his touring schedule. Until this time, concerts were Spartan affairs; he played mostly the little clubs of the London club scene. It was time for Elvis to get out and play more aggressive live shows to support the records. The star making machinery was beginning to churn. A band is born Although the first LP's sound and music packed a solid pop wallop, Elvis needed a hot live band if he was going to make it to the top. A crack band of trained and talented musicians was formed. Included were the thundering bass of ex-Sutherland Brothers and former Quiver bassist Bruce Thomas; Steve Naive from the Royal College of Music, with no experience in rock music; and Pete Thomas (no relation) from Chili Willi and the Red Hot Peppers. Although they were assembled solely to back Elvis, the Attractions turned out to be a very hot rhythm section. Elvis spent the remainder of the year on tour in England, including a special Live Stiffs allstar package that included Nick Lowe, Ian Dury and Wreckless Eric. Elvis' fourth single, "Watching the Detectives" (a new song) reached No. 15 on the charts. The singles, the concerts, and the critical acclaim grew. Legend grew of this angry geek singer who played songs to which you could hum and dance. In a review of Elvis' second concert with the Attractions, A Plymouth, England reviewer wrote of Elvis' second concert, "Elvis looks like a slightly stroppy creep of a school prefect — the type that gets beaten up after school hours. But once on stage, he takes over the minds and the eardrums of the audience without ever resorting to clever tricks or smooth talking between numbers ... He kept flashing up images of what used to be known as rhythm and blues in the days of the Cavern." The chemical attraction The intensity of their concerts fostered the Attraction's reputation as the hottest new band in the new wave. In America, word was getting out about this guy called Elvis that looked like Buddy Holly on acid and who sang fast angry pop songs. His sound couldn't help but make your head spin, the mix of pure guitar, bass, drums, piercing Farfisa organ, and the lyric of his new writing was riveting. The sound was clearly a throwback to an early pre-psychedelic '60s sound, but the playing was tighter and more aggressive. Progressive crashed into regressive. U.S, import sales of My Aim Is True were strong. Ultimately, the first U.S. single, "Alison" (with synthesized strings added), paved the way for Elvis' first American tour in late November. The tour opened at the Old Waldorf in San Francisco, and like much of the tour, it was broadcast on the radio. In America, Columbia Records did an admirable job of promoting Elvis in the carefree independent Stiff Records spirit. Concert and album promo posters boasted lines like "Elvis Costello: Until he picks up his guitar he's just another Joe," or "If he didn't exist, someone would have invented him," or "Someone no one predicted." You had to laugh. The tour wrapped up with a notorious appearance on Saturday Night Live that stands today among the great moments in rock and roll broadcast history. The Sex Pistols were supposed to have appeared, but couldn't keep the date. Elvis and company quickly seized the opportunity. Pete Thomas even wore a T-shirt bearing the words "Thanks Malc" (short for Pistols' producer, Malcolm McClaren). Ever the rebel, Elvis, made the most of this live TV opportunity. The show's producer, Lorne Michaels, wanted them to play the hits. But Elvis had written a song dedicated to lackluster U.S. radio stations — as yet unreleased and unrecorded. Midway through "Less Than Zero," Elvis announced, "I'm sorry ladies and gentlemen, there's no reason to do this song," and launched into a scathing version of "Radio Radio." The situation was outrageous; the camera was on but totally out of control! NBC was furious and promised Elvis would not work again! Elvis knew about taking chances and who was in control. Since that time, he appeared, in the late '80s, on all of NBC's talk shows (Tom Snyder, the Tonight Show, Late Night With David Letterman) and Saturday Night Live several more times. By year end, My Aim Is True was on everybody's Top 10. Rolling Stone named it album of the year. Record World named it import album of the year, and Crawdaddy named Elvis new artist of the year. Time Magazine dedicated a full page feature to the new Elvis. Elvis '78 Elvis was a hit. Sellout crowds and strong record sales fueled the next LP, This Year's Model. Originally slated to be called Girls Girls Girls, (in mock allegiance to Presley), this new album was a much bigger step forward than anyone expected. This Year's Model was a slam dunk of scathing pop angst that spelled out his message loud and clear for anyone who might have missed his point: "I want to bite the hand that feeds me." Elvis has claimed it was modeled after the Stone's Aftermath. Like Dylan on speed, the album was a rush from the start, opening with "No Action" and kicking right into "This Year's Girl." It was a complete statement and a diverse musical experience, which even featured a country western tune, "Little Triggers," as well as the powerhouse "Lipstick Vogue" (still a concert favorite). The album entered the album charts at No. 4 in England and stayed in the Top 50 for 4 months. The first new single was "(I Don't Want to Go to) Chelsea," which reached No. 16 in England. The months of touring had helped shape the Attractions into a confident, tightly knit unit. Elvis came back to North America in early 1978 for 3 months of intense touring, culminating in a two night sold out stand at Canada's El Mocambo Club (which became Elvis' first and only complete live album). Collector's bounty Surprisingly, This Year's Model also brought about a label change to Radar Records, a new company distributed by Warner Brothers everywhere but America. The fun did not stop for Elvis collectors. In fact, it got better. Elvis carried on the Stiff tradition of issuing records only for single releases. It became an almost 24-hour avocation for many fans. There were nifty picture covers, deleted issues, non-LP tracks on the B-sides, alternate mixes, and freebies; it was unbelievable! If you wanted to know about all those other songs heard at his concerts, you had to collect everything. The first 5000 copies of This Year's Model came with a free single, the country and western upbeat sobber "Stranger in the House," contrasted with the live burner "Neat Neat Neat" on the flip side, featuring Mick Jones of the Clash on guitar. Columbia Records, keenly aware of Elvis' collector's status, issued initial copies of This Year's Model with the name Costello replacing the gold-orange company logo on the red record label. The U.S. version also featured "Radio Radio," the new song Elvis debuted on Saturday Night Live months earlier. In England, the song came out as a single and the album featured "Night Rally" and "(I Don't Want to Go to) Chelsea" instead. Elvis came back to tour America, sharing a multi-label promo tour with Mink DeVille (on Capitol) and Rockpile (then unrecorded). Rockpile featured Nick Lowe (on Columbia) and Dave Edmunds (who recorded on Swan Song). 1978 was a very busy year. Yet somehow, amidst all the promos, TV, and worldwide concert appearances, Elvis and the Attractions recorded their next album and released numerous singles. The year wrapped up with seven sold-out nights at London's Dominion Theater (where a now-rare single, "Talking in the Dark"/"Wednesday Week," was given away to concert goers. January saw the release of Armed Forces, a brand new LP that reached No. 2 in England and stayed on the charts on the strength of its Top 30 single hit, Oliver's Army. Armed Forces was a charming, yet alarming, slice of pop bile, covering everything from the frightening reemergence of the British Nazi party and escalating militarism to broken love. Originally titled Emotional Fascism, the new LP refined the loose anger of the first two records into a new pop mix. The album delivers songs about love and murder, international politics, apathy, and militarism, all delivered in radio-ready pop formats — music that matters in 3 minutes or less! Musically, the album is diverse, ranging from the Beatles-type "Oliver's Army" and "Party Girl" (with its blatant ripoff from Abbey Road), to the Euro-tech of "Green Shirt," and the funk light of "Moods for Moderns." The original European pressing of Armed Forces was an astounding package, featuring an unusual four-panel fold-up sleeve, a set of postcards, and a custom picture label. The U.S. release was a more lackluster affair, simply reproducing the British version's inside liner art on the front cover and putting the British front cover on the back. Both included a live three-song EP taped at Hollywood High School in California. The U.K. version included Sundays Best, replaced in America by the single "(What's So Funny About) Peace, Love and Understanding?" Early February saw the issuance of a promo-only single, "My Funny Valentine," on red vinyl with little hearts on the label, backed with "(What's So Funny About) Peace, Love and Understanding." "Accidents Will Happen" was ultimately released as a single. Armed and dangerous The subsequent Armed Funk tour was enthusiastically received despite the album's extreme militaristic theme. I was fortunate to have caught the show at the Capitol Theater in Passaic, an experience I will never forget and which I have heard was representative of the tour. Picture this Warhol-inspired scenario — outside the hall waiting on line, tall, buxom women garbed in tight leather outfits were pacing and scoping out the crowd. One bearing a whip took my then-appropriate punk glasses off my face (of course, without asking) proclaiming simply: "mine." I was not about to question! At first I thought that these were just Passaic locals hanging out, but inside we found more of these vixens with "Armed Forces" stitched into their leathers. Everyone was given two full body searches and was made aware of signs prohibiting photographs. (I later saw a camera smashed to bits by a bouncer.) The show was an assault on the senses: fast, furious and without hesitation. It ended in piercing feedback, with a huge spotlight blaring into the crowd. Some people were angry, anticipating material from the LP — like Dylan fans a year earlier when Bob radically restructured his arrangements. Others, like me, were exhilarated that finally someone was saying "stand up and do something" at a time when pacifism was the accepted norm. The concert was about an hour long but felt a lot longer. About this time in New York mysterious posters appeared, announcing Elvis' shows, with April 1 listed as "nowhere." That night, Elvis and the Attractions achieved the near impossible, playing three sets at three clubs (Great Gildersleeves, the Lone Star Cafe and the Bottom Line) in one night! The shows were announced shortly before showtime and each sold out immediately. The tour ended two weeks later and Elvis would not tour the U.S. again for nearly 2 years. Clowntime is over: Brilliant mistake The end of 1979 saw Elvis splitting off from Radar Records due to a series of frustrating legal wrangles. He formed a new label to rectify the problem — F-Beat Records. He also made his debut as producer of the Specials' first LP, on Two Tone. The 1979 tour, although critically acclaimed and generally appreciated by U.S. audiences had a nasty glitch, possibly the equivalent of John Lennon's much publicized "we're bigger than Jesus" statement. The topic has been widely covered so we won't belabor it here. Quite simply, Elvis got into a drunken brawl with a now Grammy winning female slide guitarist (she punched him out) and the band members of a certain seminal California folk-rocker. Drunk out of his mind, Elvis made some very stupid racial remarks about Ray Remaining text and scanner-error corrections to come... Discoveries, August 1992 Mark Smotroff profiles Elvis Costello. Images Page scans.