Houma Today, November 6, 2010: Difference between revisions
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<center><h3> Costello: Make it a double (album) </h3></center> | <center><h3> Costello: Make it a double (album) </h3></center> | ||
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NEW YORK — In an iTunes world, Elvis Costello has come up with a double album — put the emphasis on album. | NEW YORK — In an iTunes world, Elvis Costello has come up with a double album — put the emphasis on album. | ||
Though it is available digitally and as a CD, vinyl is his delivery system of choice. His new 16-song | Though it is available digitally and as a CD, vinyl is his delivery system of choice. His new 16-song ''[[National Ransom]]'', produced by buddy [[T Bone Burnett]], is some of the widest-ranging music he's put out at one time — from a title cut that wails about a failed financial system to some that take inspiration from the days before rock 'n' roll. | ||
While on tour with his last album, made with an acoustic string band, the music took a different shape. He called Burnett excitedly after writing | While on tour with his last album, made with an acoustic string band, the music took a different shape. He called Burnett excitedly after writing "[[I Lost You]]" with [[Jim Lauderdale]] on a bus from Dallas to Tulsa, then performing it that night. | ||
"I said we've got to record the band again," he said. "It's different now. It's a rock 'n' roll band now." | |||
A slimmed-down Costello took time to talk recently. | A slimmed-down Costello took time to talk recently. | ||
'' | ''A couple of years ago you indicated you may be through making albums. What changed? | ||
I said it to scare away the demons a little bit. I think at that time I might have been a little too wrapped up in the business. The record companies seem to be turning the lights off pretty fast. My business is doing fine. | |||
'' | ''This is a challenging album that rewards people who spend time with it. | ||
' | There's beautiful playing on it. Some of the songs are of a light heart and some are not, and I make no apologies for that. These are not easy times. | ||
'' | ''On the lyric sheet, you assign a setting for most of these songs ( "A drawing room in Pimlico, London, 1919" or "1929 to the present day" for the title cut). Did you do it as an exercise or challenge for your writing? | ||
''' | I didn't really do it in advance. I sort of thought about these once I heard them. I thought, "What's an evocative location?" It's like a playwright's device. I'm a writer who holds a guitar, you know. I'm not a poet or a journalist or a novelist but I have some of those responsibilities. | ||
'' | ''With the title cut, did watching what's happened on Wall Street inspire you? | ||
''' | Inspire is not the right word. It's not a finger-pointing, sort of easy moral song. To my mind, although I don't think it's as good a song, it's certainly saying the same things as "Working Man's Blues" by [[Merle Haggard]]. ... The other thing contained in it is that we're all responsible. | ||
''' | ''Your album is filled with words that would send listeners to the dictionary — claxton, brazier, slattern, grenadine, farandoles, votive. Do you enjoy expanding the boundaries of what you'd see in typical popular songwriting? | ||
' | Claxton? You don't know what a claxton is? | ||
'' | ''You must be a mean Scrabble player. | ||
''' | I've never played it. It's never occurred to me as a responsibility. Some words just sound more attractive to the ear singing or saying them. I'm not doing it to be regarded differently ... There's a mischievous (aspect) to it — like fingersmith, a word for pickpocket. It's almost like onomatopoeia. I think that's enjoyable to do and listen to, just like certain harmonies are sweet to the ear and some are jarring, deliberately jarring. | ||
''Would you ever be interested in having your music featured in a show like ''Glee'' or ''American Idol''? | |||
I don't think it's ever been suggested. I'm not a big fan of shows where the stage directions are "Fill the arena with water and now release crocodiles" ... I don't know about ''Glee'', I haven't seen it. Sometimes if a beautiful song could be heard by a broader audience because it's attached to a show, that's OK. My songs are in movies. Sometimes they live a little longer than the films that they're in, but that doesn't matter, either. It's whether you're really hearing it or if it's just being played. That's the difference. | |||
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'''Houma Today, November 6, 2010 | '''Houma Today, November 6, 2010 | ||
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[[David Bauder]] interviews Elvis about ''[[National Ransom]]''. | [[David Bauder]] interviews Elvis about ''[[National Ransom]]''. Another version of this interview (in Spanish) was published in [[Santiago Mercurio, November 5, 2010|El Mercurio]]. | ||
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*[http://en.wikipedia.org/wiki/The_Houma_Courier Wikipedia: The Houma Courier] | *[http://en.wikipedia.org/wiki/The_Houma_Courier Wikipedia: The Houma Courier] | ||
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[[Category:Bibliography 2010 | [[Category:Bibliography]] | ||
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[[Category:Houma Today| Houma Today 2010-11-06]] | [[Category:Houma Today| Houma Today 2010-11-06]] | ||
[[Category:Newspaper articles | [[Category:Newspaper articles]] | ||
[[Category: | [[Category:Interviews]] | ||
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Latest revision as of 18:49, 26 July 2021
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