New Musical Express, January 27, 1979: Difference between revisions
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<center><h3> Elvis Army | <center><h3> Elvis Army is here to stay </h3></center> | ||
<center>''' The | <center>''' The horn rimmed heavy makes a hit </center> | ||
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<center> Nick Kent </center> | <center> Nick Kent </center> | ||
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'''Nick Kent serves time with the EC Goon Squad and learns about Emotional Fascism | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Chaperoned in the back of a hire car, taking in the sights, partaking in entertaining chit-chat about the industry with fellow passengers, I shouldn't feel this damned uneasy. But impending duties weigh heavy and a sizeable part of me is getting more and more dispirited about the deal I've gotten into. | Chaperoned in the back of a hire car, taking in the sights, partaking in entertaining chit-chat about the industry with fellow passengers, I shouldn't feel this damned uneasy. But impending duties weigh heavy and a sizeable part of me is getting more and more dispirited about the deal I've gotten into. | ||
The brief was simple enough: an interview with Costello was all that was required by the firm, the only problem being the subject had spent the past year making it plain to the world's press that he didn't wish to converse whatsoever, to the point where recourse to physical violence had not been uncommon as a final solution in nailing the point home. Manager | The brief was simple enough: an interview with Costello was all that was required by the firm, the only problem being the subject had spent the past year making it plain to the world's press that he didn't wish to converse whatsoever, to the point where recourse to physical violence had not been uncommon as a final solution in nailing the point home. Manager Jake Riviera once defined a potent side of the Costello personality when he pinpointed that line from The Talking Heads' "Psychokiller" – "Say something once, why say it again" – as being his protege's essential credo. Thus, when the obstreperous, over zealous Jimmy Olsens of this world have found their way backstage at an E.C. gig and ignored that first denial for a quick quote from the star, the outcome has turned distinctly ugly, with fists flying and subsequent reportage of the contretemps making for depressing reading. | ||
Speaking to Riviera on the phone a couple of days before this drive up to snowbound Sheffield, he was amenably adamant about the no-go interview situation: "We've finally reached the stage where they've all got the message and nobody bothers us for interviews." | Speaking to Riviera on the phone a couple of days before this drive up to snowbound Sheffield, he was amenably adamant about the no-go interview situation: "We've finally reached the stage where they've all got the message and nobody bothers us for interviews." | ||
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From there on out, the sky seemed the limit. Costello and the Attraction's toured all over the world ceaselessly. The 52 states of America were all traversed unrelentingly, in Australia Costello's feisty manner caused a nasty little riot, and finally in Japan The Attractions scored yet another accolade by being the first New Wave band both to visit the country and play small clubs instead of large halls. | From there on out, the sky seemed the limit. Costello and the Attraction's toured all over the world ceaselessly. The 52 states of America were all traversed unrelentingly, in Australia Costello's feisty manner caused a nasty little riot, and finally in Japan The Attractions scored yet another accolade by being the first New Wave band both to visit the country and play small clubs instead of large halls. | ||
When not doing concerts, the band were in Eden studios for two weeks, knocking out 17 tracks, 12 of which formed the "next album", tentatively titled ''Emotional Fascism'' but finally known to all as '' | When not doing concerts, the band were in Eden studios for two weeks, knocking out 17 tracks, 12 of which formed the "next album", tentatively titled ''Emotional Fascism'' but finally known to all as ''Armed Forces'' (title gratis Attractions drummer Pete Thomas), Another cut – "[[(What's So Funny 'Bout) Peace, Love And Understanding?|What's So Funny 'Bout Peace, Love And Understanding]]" – was cheeklly released under the name of the song's composer, one [[Nick Lowe]], as a single late last year. Another, "[[Tiny Steps]]", made an impromptu appearance on the B-side of "[[Radio, Radio|Radio Radio]]" and another two peaches ("[[Wednesday Week]]" and "[[Talking In The Dark]]") emerged on a collector's only item handed out to the lucky folk who made it to the Dominion gigs over Christmas. Only one song, "[[Clean Money]]" remains unreleased in any form whatsoever, going the way of other stray Costello items like "[[Dr. Luther's Assistant]]" and "[[Crawling To The USA]]" which somehow don't quite cut the final test with their creator. | ||
Meanwhile '78 also saw Elvis getting chummy with many of his peers and even some heroes of yore. The cryptic country waltz – "[[Stranger In The House]]" – last sited on the ''Model'' freebie 45 was chosen by [[Billy Sherrill]], producer of country music giant George Jones, as a suitable number for inclusion on a special [[George Jones]] Duets With His Contemporaries album, Costello was thus elected to join the likes of | Meanwhile '78 also saw Elvis getting chummy with many of his peers and even some heroes of yore. The cryptic country waltz – "[[Stranger In The House]]" – last sited on the ''Model'' freebie 45 was chosen by [[Billy Sherrill]], producer of country music giant George Jones, as a suitable number for inclusion on a special [[George Jones]] Duets With His Contemporaries album, Costello was thus elected to join the likes of Willie Nelson, Dolly Parton and Linda Ronstadt out in Nashville for the sessions, although an elated El never got to meet his hero as Jones, pretty much a ruined man owing to chronic alcoholism, was too sick to make the session, appearing later to overdub his vocals to Costello's counterpoint. | ||
And then there was | And then there was Bob Dylan who'd been introduced to Costello's music by the Alpha Band's (and current Dylan sideman) [[Steven Soles]] and, impressed with what he heard, went out of his way to meet this young contender, Costello and Dylan first met in Los Angeles and struck up a friendship that apparently blossomed when the two outfits by chance found themselves touring Europe at the same time (at an Amsterdam gig, The Attractions' backstage list credited "Bob Dylan plus 30"). Dylan, by all accounts a pretty fastidious sort who chose to while away the hours sequestered in his hotel room obsessively reading his Tarot cards, even fell in love with the relatively outrageous (compared to the dour, timid bunch the Big D was toting around anyway) behaviour of The Attractions and seemed an all round decent sort of chap. | ||
As did one Bruce Springsteen, another burgeoning E C. fan who came backstage to acquaint himself and to find out, apparently how, Elv got the sound on his Aim album. A remarkably mild-mannered sort, he only got visibly upset when addressing the subject of Patti Smith's | As did one Bruce Springsteen, another burgeoning E C. fan who came backstage to acquaint himself and to find out, apparently how, Elv got the sound on his ''Aim'' album. A remarkably mild-mannered sort, he only got visibly upset when addressing the subject of Patti Smith's "Because The Night," apparently procured by Easter producer and the Jerseyites' old engineer Jimmy lovine in a decidely dodgy fashion. | ||
Even Linda Ronstadt undeterred by Elvis' documented broadsides against her in the past, made overtures about having a tentative tete a tete with the man behind the horn rims. Costello may yet condescend to the encounter if only because Ronstadt's pathetic mis-reading of "Alison," more than any other endeavour, has lined his wallet with an unexpected royalty cheque of at least some 60,000 dollars. However, it would be wise for her not to hold her breath... | Even Linda Ronstadt undeterred by Elvis' documented broadsides against her in the past, made overtures about having a tentative tete a tete with the man behind the horn rims. Costello may yet condescend to the encounter if only because Ronstadt's pathetic mis-reading of "Alison," more than any other endeavour, has lined his wallet with an unexpected royalty cheque of at least some 60,000 dollars. However, it would be wise for her not to hold her breath... | ||
All this flashy foldirol is only one side of the overall picture, however. Over these past 12 months, whilst manager Riviera and bassist Bruce Thomas both chose to wed their respective ladies, Costello's marriage collapsed in circumstances that are obviously nobody else's business. In what many viewed as a particularly bizarre move, Costello left his house in Whitton to move into a flat in Kensington with Bebe Buell, one time ''Playboy'' pin-up, well known model and former girlfriend of such as | All this flashy foldirol is only one side of the overall picture, however. Over these past 12 months, whilst manager Riviera and bassist Bruce Thomas both chose to wed their respective ladies, Costello's marriage collapsed in circumstances that are obviously nobody else's business. In what many viewed as a particularly bizarre move, Costello left his house in Whitton to move into a flat in Kensington with Bebe Buell, one time ''Playboy'' pin-up, well known model and former girlfriend of such as Todd Rundgren and most recently, until her meeting with Costello, Rod Stewart. As the year ended harried lawyers were seen attempting to track down Costello in order to serve divorce papers. A particularly touchy situation as it stands, the affair has made Elvis even more determinedly guarded about his privacy than ever. | ||
Meanwhile amid this personal strife, Costello, his band and manager Riviera have to face up to easily the heaviest professional manoevres of their career. Having viewed Costello as very much in the Springsteen mould of burgeoning megastar, US Columbia are determined to go all out on their third shot in much the same way as they did with ''Born To Run''. Riviera knows the score exactly "We either make it all the way with ''Armed Forces'' or we don't. If this album doesn't break in America, then Columbia will still keep us but we'll be considered pretty much a spent force." | Meanwhile amid this personal strife, Costello, his band and manager Riviera have to face up to easily the heaviest professional manoevres of their career. Having viewed Costello as very much in the Springsteen mould of burgeoning megastar, US Columbia are determined to go all out on their third shot in much the same way as they did with ''Born To Run''. Riviera knows the score exactly "We either make it all the way with ''Armed Forces'' or we don't. If this album doesn't break in America, then Columbia will still keep us but we'll be considered pretty much a spent force." | ||
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As far as prior Stateside form goes, it's intriguing to note that ''This Year's Model'' didn't sell as well as ''My Aim is True'' (Aim by the way holds the record for being the all-time biggest selling 'import' of this decade) due mostly to the lack of that one track that radios can pick up on en masse to use to push the album. | As far as prior Stateside form goes, it's intriguing to note that ''This Year's Model'' didn't sell as well as ''My Aim is True'' (Aim by the way holds the record for being the all-time biggest selling 'import' of this decade) due mostly to the lack of that one track that radios can pick up on en masse to use to push the album. | ||
In this country, after arduous double-checking, the choice for the new single has settled on "Oliver's Army," although ''Forces'' has at least four other tracks with equally nagging hook-lines and all round high-grade commercial potential. In its own intimate way ''Armed Forces'' is Costello's most fervent declaration of intention yet for the title of great '70s pop subversive. The old parallels with Van Morrison, | In this country, after arduous double-checking, the choice for the new single has settled on "Oliver's Army," although ''Forces'' has at least four other tracks with equally nagging hook-lines and all round high-grade commercial potential. In its own intimate way ''Armed Forces'' is Costello's most fervent declaration of intention yet for the title of great '70s pop subversive. The old parallels with Van Morrison, Graham Parker, etc., now seem doubly redundant – the only comparisons even worth making are with The Beatles (the quote from ''Abbey Road'' is no mere coincidence) and Bowie (again that "Rebel Rebel" coda on "Two Little Hitlers" replete with its stylistic nod to "TVC15" in the vocal inflexions) and they scarcely scratch the surface. | ||
In the current set that Costello and the Attractions are playing around Britain, amid the invigorating versions of ''Forces'' material and stalwarts like "Chelsea," "Detectives" and "Radio Radio," Costello plays a new song entitled "I Stand Accused" (a vintage B-side to a Merseybeats' single) which in many ways eclipses the rest of the set simply because it reminds one again just how exceptional this band is. | In the current set that Costello and the Attractions are playing around Britain, amid the invigorating versions of ''Forces'' material and stalwarts like "Chelsea," "Detectives" and "Radio Radio," Costello plays a new song entitled "I Stand Accused" (a vintage B-side to a Merseybeats' single) which in many ways eclipses the rest of the set simply because it reminds one again just how exceptional this band is. | ||
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[[Nick Kent]] profiles Elvis Costello, including a brief report on EC & [[The Attractions]] at Sheffield City Hall, Thursday, [[Concert 1979-01-18 Sheffield|January 18, 1979]]. | [[Nick Kent]] profiles Elvis Costello, including a brief report on EC & [[The Attractions]] at Sheffield City Hall, Thursday, [[Concert 1979-01-18 Sheffield|January 18, 1979]]. | ||
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''[[Armed Forces]]'' is No. 7 on UK the album chart [[:image:1979-01-27 New Musical Express page 02 clipping 01.jpg|(page 2)]]. | |||
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<br><small>Page scans.</small> | <br><small>Page scans.</small> | ||
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<br><small>Clipping.</small> | |||
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Revision as of 19:31, 11 June 2015
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