London Times, February 5, 2005: Difference between revisions
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Costello is on good form. With ''North'' being a No 1 jazz album and ''Il Sogno'' reaching the top of the classical charts, it's particularly satisfying that ''The Delivery Man'' so successfully pulls together the energy, style and lyrical genius of the other side of his work. "Three albums in two years appears more hyperactive than it is," he shrugs. "''Il Sogno'' was written in 2000. It's only because it was performed at the Lincoln Centre in New York last summer that there was an excuse to release it. People who came to the concert were a little curious, bordering on sceptical, but by the end it was well received. Some of the praise was a bit of a pat on the head. But I was ready for that. | Costello is on good form. With ''North'' being a No 1 jazz album and ''Il Sogno'' reaching the top of the classical charts, it's particularly satisfying that ''The Delivery Man'' so successfully pulls together the energy, style and lyrical genius of the other side of his work. "Three albums in two years appears more hyperactive than it is," he shrugs. "''Il Sogno'' was written in 2000. It's only because it was performed at the Lincoln Centre in New York last summer that there was an excuse to release it. People who came to the concert were a little curious, bordering on sceptical, but by the end it was well received. Some of the praise was a bit of a pat on the head. But I was ready for that. | ||
"Sometimes it takes a while for something to sink in. If you read the clippings on ''Juliet Letters'' (his 1993 album), it was like the world was coming to an end. The year that I was the artistic director of the Meltdown festival on the South Bank, there were arts editorials about whether this was the beginning of the end of culture!" Far from it; Costello's 1995 Meltdown festival included appearances by classical and jazz artists alongside rock legends. There was a memorable performance by Jeff Buckley. "Yeah," Costello sighs, "Jeff sang Dido's Lament. Nobody could have known it would have such poignancy. He originally wanted to sing part of Kindertotenlieder by Mahler. And I had to say: 'Jeff, that's in German, and you don't speak German!' | "Sometimes it takes a while for something to sink in. If you read the clippings on ''Juliet Letters'' (his 1993 album), it was like the world was coming to an end. The year that I was the artistic director of the Meltdown festival on the South Bank, there were arts editorials about whether this was the beginning of the end of culture!" Far from it; Costello's 1995 Meltdown festival included appearances by classical and jazz artists alongside rock legends. There was a memorable performance by Jeff Buckley. "Yeah," Costello sighs, "Jeff sang 'Dido's Lament.' Nobody could have known it would have such poignancy. He originally wanted to sing part of Kindertotenlieder by Mahler. And I had to say: 'Jeff, that's in German, and you don't speak German!' | ||
"From Paul McCartney and Burt Bacharach to Bill Frisell and the Charles Mingus Orchestra to, on his latest album, Lucinda Williams and Emmylou Harris, Costello has collaborated with as many artists as such a varied career demands. "A Costello album is anything I say it is. You make yourself up. Rock 'n' roll is a funny business and my definition of what can be included in what is nominally a rock 'n' roll record has broadened a lot." | "From Paul McCartney and Burt Bacharach to Bill Frisell and the Charles Mingus Orchestra to, on his latest album, Lucinda Williams and Emmylou Harris, Costello has collaborated with as many artists as such a varied career demands. "A Costello album is anything I say it is. You make yourself up. Rock 'n' roll is a funny business and my definition of what can be included in what is nominally a rock 'n' roll record has broadened a lot." | ||
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Given the range of Costello's repertoire, occasionally causing artistic outrage and using a familiar ensemble at the core of his work, I pluck up the courage to suggest that perhaps he's the Woody Allen of popular music. Costello laughs and puts his fork down. "Oh God. You mean, except the unpleasant bit about marrying your stepdaughter? The one film in which he really spoke — and I am a fan, so I don't mean any disrespect — is ''Stardust Memories''. He tells the truth about the mob aspect, the unpleasant side of an audience. | Given the range of Costello's repertoire, occasionally causing artistic outrage and using a familiar ensemble at the core of his work, I pluck up the courage to suggest that perhaps he's the Woody Allen of popular music. Costello laughs and puts his fork down. "Oh God. You mean, except the unpleasant bit about marrying your stepdaughter? The one film in which he really spoke — and I am a fan, so I don't mean any disrespect — is ''Stardust Memories''. He tells the truth about the mob aspect, the unpleasant side of an audience. | ||
"Your analogy of the | "Your analogy of the filmmaker is quite accurate, but an independent one. I need to make enough money to justify making the next record. If I do something expensive that doesn't pay off at all, then it makes the next thing that much more difficult. We're looking at a business that is shrinking. And my place in it is by no means certain and secure." | ||
It's true that a Costello album is no guaranteed hit, but isn't it time he was regarded as one of our great British musical institutions, alongside Bowie and Jagger? "I have been over-praised at times and underrated at others. I've been through that cycle about 15 times, so I don't lose a lot of sleep!" So he's unperturbed not to have been measured up for a plinth to celebrate his greatness now he's turned 50? "That's handy for people who are a little less, er, robust than I am. Take Morrissey. For me, he's been singing the same tune for 20 years. I just don't get it. But he's clearly an interesting character and means a lot to people. He seems to be of a disposition that is very sensitive to criticism and therefore it's appropriately English that he becomes cherished in that kind of Frankie Howerd, Tony Hancock way. Those who are fragile, who need to be cosseted, maybe their shortcomings or their excellence in their field is then woven into the fabric along with Albert Tatlock and Hobnobs." | It's true that a Costello album is no guaranteed hit, but isn't it time he was regarded as one of our great British musical institutions, alongside Bowie and Jagger? "I have been over-praised at times and underrated at others. I've been through that cycle about 15 times, so I don't lose a lot of sleep!" So he's unperturbed not to have been measured up for a plinth to celebrate his greatness now he's turned 50? "That's handy for people who are a little less, er, robust than I am. Take Morrissey. For me, he's been singing the same tune for 20 years. I just don't get it. But he's clearly an interesting character and means a lot to people. He seems to be of a disposition that is very sensitive to criticism and therefore it's appropriately English that he becomes cherished in that kind of Frankie Howerd, Tony Hancock way. Those who are fragile, who need to be cosseted, maybe their shortcomings or their excellence in their field is then woven into the fabric along with Albert Tatlock and Hobnobs." | ||
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So, no statue in Trafalgar Square or floating down the Thames? "I'm enjoying myself too much to worry about it. Of course, sometimes you get ticked off if you feel someone's showing their ignorance. That's why the concerts are so much more valuable than the critical discourse of my work. | So, no statue in Trafalgar Square or floating down the Thames? "I'm enjoying myself too much to worry about it. Of course, sometimes you get ticked off if you feel someone's showing their ignorance. That's why the concerts are so much more valuable than the critical discourse of my work. | ||
"It's like Tom Waits. People only describe him in specific clichéd terms. "I Don't Wanna Grow Up" is a very wise song. But nobody ever talks about that aspect of his writing. They just talk about the | "It's like Tom Waits. People only describe him in specific clichéd terms. "I Don't Wanna Grow Up" is a very wise song. But nobody ever talks about that aspect of his writing. They just talk about the bullshit stuff because they've read one book of philosophy." | ||
Without feeling a duty to defend every dodgy review that Costello has had, I observe that perhaps some fans of his work attach greatest value to those songs they first fell in love with. Like eight-year-olds and their football teams. "Yeah. I guess Roger Hunt is still my hero," he smiles. | Without feeling a duty to defend every dodgy review that Costello has had, I observe that perhaps some fans of his work attach greatest value to those songs they first fell in love with. Like eight-year-olds and their football teams. "Yeah. I guess Roger Hunt is still my hero," he smiles. | ||
When it comes to music, however, Costello's not one for looking back. His rowdy new single, "There's a Story in Your Voice," features Lucinda Williams and is available only as a download. "I don't feel defeatist about new technology. The record company will say something like: We'll release the record and see how the radio airplay goes.' I'm like, what | When it comes to music, however, Costello's not one for looking back. His rowdy new single, "There's a Story in Your Voice," features Lucinda Williams and is available only as a download. "I don't feel defeatist about new technology. The record company will say something like: We'll release the record and see how the radio airplay goes.' I'm like, what fucking century are you living in? God bless 'em; nobody has told these huge, multi-label international record companies that gathering together in large groups is how the dinosaurs died!" | ||
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'''"There's a Story in Your Voice" is available by download from elviscostello.com and the deluxe edition of ''The Delivery Man'' is out on Lost Highway. Costello starts his UK tour at Brighton Dome on Wed Feb 9. | '''"There's a Story in Your Voice" is available by download from elviscostello.com and the deluxe edition of ''The Delivery Man'' is out on Lost Highway. Costello starts his UK tour at Brighton Dome on Wed Feb 9. | ||
{{tags}}[[North]] {{-}} [[Il Sogno]] {{-}} [[The Delivery Man]] {{-}} [[Diana Krall]] {{-}} [[The Attractions]] {{-}} [[Copenhagen]] {{-}} [[Hans Christian Andersen]] {{-}} [[The Juliet Letters]] {{-}} [[Meltdown Festival]] {{-}} [[Jeff Buckley]] {{-}} [[Gustav Mahler]] {{-}} [[Paul McCartney]] {{-}} [[Burt Bacharach]] {{-}} [[Bill Frisell]] {{-}} [[Charles Mingus Orchestra]] {{-}} [[Lucinda Williams]] {{-}} [[Emmylou Harris]] {{-}} [[Diana Krall: The Girl In The Other Room|The Girl In The Other Room]] {{-}} [[The Imposters]] {{-}} [[Pete Thomas]] {{-}} [[Steve Nieve]] {{-}} [[Davey Faragher]] {{-}} [[Shipbuilding]] {{-}} [[William Shakespeare]] {{-}} [[Bruce Thomas]] {{-}} [[The Who]] {{-}} [[Get Happy!!]] {{-}} [[David Bowie]] {{-}} [[Mick Jagger]] {{-}} [[Tom Waits]] {{-}} [[There's A Story In Your Voice]] {{-}} [[Concert 2005-02-09 Brighton|Brighton Dome]] | {{tags}}[[North]] {{-}} [[Il Sogno]] {{-}} [[The Delivery Man]] {{-}} [[Diana Krall]] {{-}} [[The Attractions]] {{-}} [[Copenhagen]] {{-}} [[Hans Christian Andersen]] {{-}} [[The Juliet Letters]] {{-}} [[Meltdown Festival]] {{-}} [[Jeff Buckley]] {{-}} [[Gustav Mahler]] {{-}} [[Paul McCartney]] {{-}} [[Burt Bacharach]] {{-}} [[Bill Frisell]] {{-}} [[Charles Mingus Orchestra]] {{-}} [[Lucinda Williams]] {{-}} [[Emmylou Harris]] {{-}} [[Diana Krall: The Girl In The Other Room|The Girl In The Other Room]] {{-}} [[The Imposters]] {{-}} [[Pete Thomas]] {{-}} [[Steve Nieve]] {{-}} [[Davey Faragher]] {{-}} [[Shipbuilding]] {{-}} [[William Shakespeare]] {{-}} [[Bruce Thomas]] {{-}} [[The Who]] {{-}} [[Get Happy!!]] {{-}} [[David Bowie]] {{-}} [[Mick Jagger]] {{-}} [[Tom Waits]] {{-}} [[There's A Story In Your Voice]] {{-}} [[The Smiths|Morrissey]] {{-}} [[Concert 2005-02-09 Brighton|Brighton Dome]] | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = London Times, October 13, 2003 | |||
|next = London Times, May 30, 2005 | |||
}} | |||
'''The Times, The Eye, February 5-11, 2005 | '''The Times, The Eye, February 5-11, 2005 | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2005-02-05 London Times, The Eye cover.jpg|380px | [[image:2005-02-05 London Times, The Eye cover.jpg|380px]] | ||
<br><small>Cover.</small> | <br><small>Cover.</small> | ||
<small>Pages 4-5.</small><br> | |||
[[image:2005-02-05 London Times, The Eye pages 04-05.jpg|380px]] | |||
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{{Bibliography box}} | {{Bibliography box}} | ||
<center><h3> Elvis essentials </h3></center> | <center><h3> Elvis essentials </h3></center> | ||
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<center> Laura Lee Davies </center> | <center> Laura Lee Davies </center> | ||
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'''Five albums to get your costello collection started | |||
{{Bibliography text}} | {{Bibliography text}} | ||
My Aim Is True (1977)<br> | My Aim Is True (1977)<br> | ||
You really should get all of the first seven albums, but this debut contains Alison, a moment of staggering emotion in an era when punk and new wave were more preoccupied with noise and novelty. | You really should get all of the first seven albums, but this debut contains Alison, a moment of staggering emotion in an era when punk and new wave were more preoccupied with noise and novelty. | ||
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<small>Table of contents page.</small><br> | |||
[[image:2005-02-05 London Times, The Eye page 03.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 22:55, 27 January 2024
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