London Telegraph, May 11, 1996: Difference between revisions
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It is impossible to contain him, to keep the encounter in shape or pursue particular lines of inquiry. You get about halfway through a question when he picks up on some key phrase and runs off with it, dribbles down an unexpected avenue, scores a couple of outrageous goals at either end, then boots the topic clear out of the stadium (and don't get him started on football!). By the time be reaches wherever it is he is going, you have strayed so far from your original point you can no longer see how to get back and are equally baffled about where to go next. But silence is not an option. If you don't say something he will. | It is impossible to contain him, to keep the encounter in shape or pursue particular lines of inquiry. You get about halfway through a question when he picks up on some key phrase and runs off with it, dribbles down an unexpected avenue, scores a couple of outrageous goals at either end, then boots the topic clear out of the stadium (and don't get him started on football!). By the time be reaches wherever it is he is going, you have strayed so far from your original point you can no longer see how to get back and are equally baffled about where to go next. But silence is not an option. If you don't say something he will. | ||
At one point, in the middle of a discourse on the relative merits of different art forms, Costello excused himself to go to the toilet. When he returned | At one point, in the middle of a discourse on the relative merits of different art forms, Costello excused himself to go to the toilet. When he returned, a minute later, he started talking as soon as be opened the door: "That's why I wrote '[[All This Useless Beauty (song)|All This Useless Beauty]].' Sometimes you look at every wonderful thing that's ever been made and you wonder, what's the point of it? Why did they make it?" His train of thought seemed to have moved on, as if he had been continuing the conversation in his head while attending to his bodily functions. | ||
But then | But then, Costello is known as something of a wordsmith. On the title track of his new album. he describes someone as ''"part ugly beast and Hellenic deceased",'' not perhaps a metaphor you would expect to find in the average pop song. In "[[Poor Fractured Atlas]]," a ballad poking fun at masculinity, he juxtaposes quotes from soul legend James Brown and literary legend Oscar Wilde. The playful "[[Little Atoms]]" is constructed as a musical riddle around girls' names that are either flowers or graces. But when I suggested to him that his songs were sometimes a little impenetrable, he appeared genuinely offended. | ||
'I think if the songs on this album share one thing. it is that they have a very dim' way of speaking and are quite easy to understand." Costello insisted. "I'm just musing on things. I try not to erect songs like big statues to how I feel. They are just a series of thoughts that occurred to me and I put them to music. Sometimes particular | 'I think if the songs on this album share one thing. it is that they have a very dim' way of speaking and are quite easy to understand." Costello insisted. "I'm just musing on things. I try not to erect songs like big statues to how I feel. They are just a series of thoughts that occurred to me and I put them to music. Sometimes particular lines are just allusions They're not there to be admired. They are there because they make sense to me as I'm trying to make my way through the thought." | ||
Then | Then he quoted a line from "Little Atoms" that he might have specifically designed to make critics uncomfortable: ''"And if you still don't like my songs, then you can just go to hell."'' | ||
In a business characterised by false modesty, it is unusual to find a songwriter who quotes his own lyrics. Costello justifies this with another quote: ''"Pride is a sin which we tend to forgive."'' from his song "Why Can't a Man Stand Alone." "I could carry on all day," he warns. | In a business characterised by false modesty, it is unusual to find a songwriter who quotes his own lyrics. Costello justifies this with another quote: ''"Pride is a sin which we tend to forgive."'' from his song "Why Can't a Man Stand Alone." "I could carry on all day," he warns. | ||
With a body of work and breadth of musical vision that should make him the envy of most of his peers. Costello can be justifiably proud of his accomplishments. His defensiveness. however, verges on paranoia. He is deeply mistrustful of the media ("All magazines and newspapers tell lies where it suits them and tell the truth occasionally"), and almost wilfully dismissive of any notion of critical standards ("Pointless debate by people who are infinitely less talented than those they're reviewing"). He behaves as if he has been criminally misunderstood and misrepresented, yet during our encounter. he constantly misinterpreted questions by jumping in too quickly. I intended to ask if | With a body of work and breadth of musical vision that should make him the envy of most of his peers. Costello can be justifiably proud of his accomplishments. His defensiveness. however, verges on paranoia. He is deeply mistrustful of the media ("All magazines and newspapers tell lies where it suits them and tell the truth occasionally"), and almost wilfully dismissive of any notion of critical standards ("Pointless debate by people who are infinitely less talented than those they're reviewing"). He behaves as if he has been criminally misunderstood and misrepresented, yet during our encounter. he constantly misinterpreted questions by jumping in too quickly. I intended to ask if he felt free to move in any direction he pleased, or whether he was constrained by the expectations of his record-buying public. But I only got as far as the word "free" before he cut me down with a terse: "If you can't hear it on this record, you can't hear it " | ||
But perhaps it is Costello's antagonism that keeps him alive. or at least lively. He has always seemed as much ''agent provocateur'' as pop star, never a pin-up even an a chart-topper, just too viciously anti-establishment to win the respect of the respectable. He may now attend concerts in the Wigmore Hall and admire Shostakovich far more than the Sex Pistols, but get him on to politics and he will soon be suggesting bringing back capital punishment — if only for members of the Royal Family ("I wait for the day when they announce that they are going to publicly behead the Duke of Westminster in Parliament Square"). | |||
Costello's work may now span a much wider range of emotions than guilt and revenge, but it is still fuelled by bile. "I really like writing songs, and there's plenty left." he said, on the subject of future ambitions. "I hate to keep quoting my lyrics to you, but there's a line on "Little Atoms" that explains the way I feel: <i>'There's still some pretty insults left and such sport in threatening.'</i> I mean it, you know. But, you see, I'm very driven... I'm so driven, I don't know how to stop." | |||
Costello's work may now span a much wider range of emotions than guilt and revenge, but it is still fuelled by bile. "I really like writing songs, | |||
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Revision as of 12:36, 23 September 2015
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