New Musical Express, June 9, 1979: Difference between revisions
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{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Murder on the Liverpool Express </h3></center> | <center><h3> Murder on the Liverpool Express </h3></center> | ||
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<center>Nick Kent</center> | <center>Nick Kent</center> | ||
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'''Nick Kent takes a train. E. Costello takes the strain | |||
{{Bibliography text}} | {{Bibliography text}} | ||
So there I was at Euston station, seated comfortably in the first class compartment waiting for the Inter City to speed me to my destination — Liverpool's Lime Street. | |||
So there I was at Euston station, seated comfortably in the | |||
My thought processes revolved around whether to peruse a copy of the latest ''Rolling Stone'' or wade into a hefty-looking biography of John Coltrane. | My thought processes revolved around whether to peruse a copy of the latest ''Rolling Stone'' or wade into a hefty-looking biography of John Coltrane. | ||
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Anyway, I was digging into a piece on Steve Dunleavy, the blood and guts reporter for Rupert Murdoch's tabloids, when I felt a hand touch my shoulder. Looking up I was face to face with the most reclusive rock star media-wise currently in existence. He was wearing a polka dot shirt, like the one Bob Dylan used to wear. He was wearing shades very similar to the ones Bob Dylan used to wear. And he sported the ubiquitous Johnson & Johnson jacket. There he was, smiling, nay virtually beaming ... Elvis Costello!! | Anyway, I was digging into a piece on Steve Dunleavy, the blood and guts reporter for Rupert Murdoch's tabloids, when I felt a hand touch my shoulder. Looking up I was face to face with the most reclusive rock star media-wise currently in existence. He was wearing a polka dot shirt, like the one Bob Dylan used to wear. He was wearing shades very similar to the ones Bob Dylan used to wear. And he sported the ubiquitous Johnson & Johnson jacket. There he was, smiling, nay virtually beaming ... Elvis Costello!! | ||
Not a sign of the cagey figure of our last encounter a few months back. This was not a man living on his nerve ends, but an amiable soul offering hospitality via the compartment it turned out he was sharing with his wife Mary, an extremely attractive, bright girl with sandy-coloured hair, and the couple's son Matthew, whose face was virtually hidden by a Fidel Castro cap. It goes without saying that a reconciliation had taken place, and throughout the three hour journey, er, what's-her-name wasn't even mentioned. | Not a sign of the cagey figure of our last encounter a few months back. This was not a man living on his nerve ends, but an amiable soul offering hospitality via the compartment it turned out he was sharing with his wife Mary, an extremely attractive, bright girl with sandy-coloured hair, and the couple's son Matthew, whose face was virtually hidden by a Fidel Castro cap. It goes without saying that a reconciliation had taken place, and throughout the three-hour journey, er, what's-her-name wasn't even mentioned. | ||
Other matters however ''were'' discussed — topics ranging from Costello following the J. Geils Band around Europe (he'd been at the final stages of mixing ''Sanctuary'', Geils' last album, got pally with the group and made the trip from France to London to watch them play, so enraptured was he with them) to animated impersonations of Robert De Niro in ''Mean Streets''. | Other matters however ''were'' discussed — topics ranging from Costello following the J. Geils Band around Europe (he'd been at the final stages of mixing ''Sanctuary'', Geils' last album, got pally with the group and made the trip from France to London to watch them play, so enraptured was he with them) to animated impersonations of Robert De Niro in ''Mean Streets''. | ||
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"Yeah, I said at one point though it wasn't recorded as far as I know: 'That woman has made one reputation off one E.C. (Eric Clapton, whose impromptu gigging with Delaney and Bonnie helped break the pair initially). She's fuckin' well not going to get more publicity off of another one!" | "Yeah, I said at one point though it wasn't recorded as far as I know: 'That woman has made one reputation off one E.C. (Eric Clapton, whose impromptu gigging with Delaney and Bonnie helped break the pair initially). She's fuckin' well not going to get more publicity off of another one!" | ||
The "racist" charge — which drew such negative reaction (including numerous death threats) that Costello was constantly accompanied by two plain clothes policemen — wasn't the only incident of consequence to happen to our El in the U.S. What with every rock star, new or old wave, making movies these days, the Elvis film — mentioned in the piece by yours truly earlier this year — was completed somewhere amidst the mayhem. Entitled ''[[Americathon: Music From The Original Motion Picture Soundtrack|Americathon]]'' — about a giant telethon held to save America from bankruptcy — it has | The "racist" charge — which drew such negative reaction (including numerous death threats) that Costello was constantly accompanied by two plain clothes policemen — wasn't the only incident of consequence to happen to our El in the U.S. What with every rock star, new or old wave, making movies these days, the Elvis film — mentioned in the piece by yours truly earlier this year — was completed somewhere amidst the mayhem. Entitled ''[[Americathon: Music From The Original Motion Picture Soundtrack|Americathon]]'' — about a giant telethon held to save America from bankruptcy — it has Costello starring opposite Meatloaf, and playing an invented English rock star. It's a portrayal that caused our hero to dust off one of his golden — though — unused oldies for the final fitting touch. | ||
Back when "[[Watching The Detectives]]" was conceived musically as a cop from Don Covay's "It's Better To Have (And Don't Need)" (before [[Steve Nieve|Steve Naive]] added his Bernard Herman touches, thus altering the arrangement totally), one of the songs written alongside "[[Lip Service]]" and "[[Lipstick Vogue]]" was "[[Crawling To The USA]]." | Back when "[[Watching The Detectives]]" was conceived musically as a cop from Don Covay's "It's Better To Have (And Don't Need)" (before [[Steve Nieve|Steve Naive]] added his Bernard Herman touches, thus altering the arrangement totally), one of the songs written alongside "[[Lip Service]]" and "[[Lipstick Vogue]]" was "[[Crawling To The USA]]." | ||
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Also featured is another song from that period, entitled "[[Hoover Factory]]," which Costello had intended to use as the B-side of "[[Oliver's Army]]" before the idea of doing "[[My Funny Valentine]]" took precedence. | Also featured is another song from that period, entitled "[[Hoover Factory]]," which Costello had intended to use as the B-side of "[[Oliver's Army]]" before the idea of doing "[[My Funny Valentine]]" took precedence. | ||
("Hoover Factory" also turns up on the ''[[Bootleg: 50,000,000 Elvis Fans Can't Be Wrong|50,000,000 Elvis Fans Can't Be Wrong]]'' bootleg which has lately been soiling certain hands. It was recorded when [[Jake Riviera]] sent El and the newly-formed Attractions to a make-shift four-track studio in Cornwall to make some demos. The title is, of course, a swipe from one of the original Elvis records, another of which, ''Girls, Girls, Girls'', was once mooted as the title for ''[[This Year's Model]]''. ) | ("Hoover Factory" also turns up on the ''[[Bootleg: 50,000,000 Elvis Fans Can't Be Wrong|50,000,000 Elvis Fans Can't Be Wrong]]'' bootleg which has lately been soiling certain hands. It was recorded when [[Jake Riviera]] sent El and the newly-formed Attractions to a make-shift four-track studio in Cornwall to make some demos. The title is, of course, a swipe from one of the original Elvis records, another of which, ''Girls, Girls, Girls'', was once mooted as the title for ''[[This Year's Model]]''.) | ||
In between eluding the flack and making his screen debut, Elvis also found time whilst in the States to meet with country singer [[George Jones]] — one of Dave Edmunds' big heroes. Elvis and Jones dueted on Jim Reeves' "[[He'll Have To Go]]" at the Palomino, fabled haunt of the late Gram Parsons, and also cut a version of Costello's "[[Stranger In The House]]." | In between eluding the flack and making his screen debut, Elvis also found time whilst in the States to meet with country singer [[George Jones]] — one of Dave Edmunds' big heroes. Elvis and Jones dueted on Jim Reeves' "[[He'll Have To Go]]" at the Palomino, fabled haunt of the late Gram Parsons, and also cut a version of Costello's "[[Stranger In The House]]." | ||
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'''''[Note: There is no page 65] | |||
''[Note: There is no page 65] | |||
{{Bibliography notes header}} | {{Bibliography notes header}} | ||
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EC is mentioned in T-zers. | EC is mentioned in T-zers. | ||
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Also included are ads for Nick Lowe's ''[[Nick Lowe: Labour Of Lust|Labour Of Lust]]'' and Dave Edmunds' ''[[Dave Edmunds: Repeat When Necessary|Repeat When Necessary]]''. | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1979-06-09 New Musical Express page 11 clipping.jpg| | [[image:1979-06-09 New Musical Express page 11 clipping.jpg|380px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
<br><br> | <br><br> | ||
{{Bibliography box | {{Bibliography box}} | ||
<center><h3> T-zers </h3></center> | <center><h3> T-zers </h3></center> | ||
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<center> | <center> NME </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
[[image:1979-06-09 New Musical Express clipping 02.jpg|right|border| | [[image:1979-06-09 New Musical Express clipping 02.jpg|right|border|170px]] | ||
Punk rocker Elvis Costello turned down a chance to gig with the New Barbarians (same as the Old Barbarians etc). This further blow to Stateside Showbiz morale resulted from Elv feeling that he deserved a rest ... | Punk rocker Elvis Costello turned down a chance to gig with the New Barbarians (same as the Old Barbarians etc). This further blow to Stateside Showbiz morale resulted from Elv feeling that he deserved a rest ... | ||
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<small>Photo by [[Pennie Smith]].</small><br> | <small>Photo by [[Pennie Smith]].</small><br> | ||
[[image:1979-06-09 New Musical Express photo 01 ps.jpg| | [[image:1979-06-09 New Musical Express photo 01 ps.jpg|380px|border]] | ||
<small>Ads for ''[[Nick Lowe: Labour Of Lust|Labour Of Lust]]'' and ''[[Dave Edmunds: Repeat When Necessary|Repeat When Necessary]]'' on pages 16-17.</small><br> | |||
[[image:1979-06-09 New Musical Express pages 16-17.jpg|380px]] | |||
<small>Cover and page scan.</small><br> | |||
[[image:1979-06-09 New Musical Express cover.jpg|x120px]] | [[image:1979-06-09 New Musical Express cover.jpg|x120px]] | ||
[[image:1979-06-09 New Musical Express page 11.jpg|x120px]] | [[image:1979-06-09 New Musical Express page 11.jpg|x120px]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.elviscostello.info/articles/n/nme.790609a.html elviscostello.info] | *[http://www.elviscostello.info/articles/n/nme.790609a.html elviscostello.info] | ||
*[http://www.flickr.com/search?safe_search=3&sort=date-posted-desc&text=N.M.E.%2009%3A06%3A1979 Flickr: littletriggers] | *[http://www.flickr.com/search?safe_search=3&sort=date-posted-desc&text=N.M.E.%2009%3A06%3A1979 Flickr: littletriggers] | ||
*[https://www.flickr.com/photos/nothingelseon/28979748997/in/album-72157671956816408/ Flickr: nothingelseon] | |||
{{DEFAULTSORT:New Musical Express 1979-06-09}} | {{DEFAULTSORT:New Musical Express 1979-06-09}} |
Latest revision as of 21:34, 23 June 2021
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