New Musical Express, October 29, 1977: Difference between revisions
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<center><h3> We here at | <center><h3> We here at NME say Elvis is Declan and{{nb}}Ross{{nb}}is{{nb}}Day </h3></center> | ||
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<center> Phil McNeill </center> | <center> Phil McNeill </center> | ||
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'''So who the heck is Patrick? | |||
{{Bibliography text}} | {{Bibliography text}} | ||
"Excuse me a moment — I've got a baby in my arms." | "Excuse me a moment — I've got a baby in my arms." | ||
Elvis Costello's father interrupts our Sunday morning telephone conversation to put the baby down. "There. We've just come back from church. What can I do for you?" | Elvis Costello's father interrupts our Sunday morning telephone conversation to put the baby down. "There. We've just come back from church. What can I do for you?" | ||
Elvis's dad is actually Ross | Elvis's dad is actually Ross MacManus — who, some of you may recall, was a singer with the Joe Loss Orchestra throughout the late '50s and the '60s. | ||
The showbiz skeleton in the mystery punk's wardrobe came to light recently when the northern edition of the ''News Of The World'' ran a brief article on the true identity of "the singer who drives kids wild" — much, let be said, to the chagrin of ''Thrills'', as we had also uncovered the Joe Loss connection by separate enquiries, and were even then preparing to splash our shock wor1d exclusive, etc. | The showbiz skeleton in the mystery punk's wardrobe came to light recently when the northern edition of the ''News Of The World'' ran a brief article on the true identity of "the singer who drives kids wild" — much, let be said, to the chagrin of ''Thrills'', as we had also uncovered the Joe Loss connection by separate enquiries, and were even then preparing to splash our shock wor1d exclusive, etc. | ||
Still, never mind. It seems the ''NOTW'''s | Still, never mind. It seems the ''NOTW'''s revelations may have loosened up the net around the Costello enclave because when ''Thrills'' contacted Ross MacManus he was only too happy to give us the Costello scam. It makes an interesting saga. | ||
So, Elvis's real name is Declan Patrick | So, Elvis's real name is Declan Patrick MacManus — though Costello, Ross tells us, is "a family name." | ||
Indeed, he himself used the Costello monicker on more than one occasion — not least when he called himself Day Costello to cut "The Long And Winding Road" for Spark in 1970 (see ''Blackmail Corner'' 17.9.77). | Indeed, he himself used the Costello monicker on more than one occasion — not least when he called himself Day Costello to cut "The Long And Winding Road" for Spark in 1970 (see ''Blackmail Corner'' [[New Musical Express, September 17, 1977|17.9.77]]). | ||
Yes, we here at ''NME'' no longer think Elvis is Day. We ''know'' it was Ross, and he confirms the fact. | Yes, we here at ''NME'' no longer think Elvis is Day. We ''know'' it was Ross, and he confirms the fact. | ||
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"That wasn't Elvis aged 16," Ross laughs. "That was me aged 42! I often used the name Day Costello for writing." | "That wasn't Elvis aged 16," Ross laughs. "That was me aged 42! I often used the name Day Costello for writing." | ||
He explains how Joe Loss almost came to co-own the name Ross | He explains how Joe Loss almost came to co-own the name Ross MacManus, so it made life easier for Ross (real name Ronnie MacManus) if he used his mother's name, Costello. | ||
Ross | Ross MacManus joined the Joe Loss band in 1955, and enjoyed a fair amount of success. Not only did he place in the ''NME'' polls of the time, making 10th top big band vocalist in '55, but he stayed with Loss for 14 years. | ||
Back in the '50s, of course, big bands were real hip, and the paper was full of them until rock 'n' roll came along. Thus Elvis — | Back in the '50s, of course, big bands were real hip, and the paper was full of them until rock 'n' roll came along. Thus Elvis — or rather, Declan — was brought up in a house full of jazz records, with a father who knew and worked with British jazz stars like Ronnie Scott, Phil Seamen, Joe Timperley, Tubby Hayes and Bill McGuffie. | ||
On top of that, Ross used to take Elvis along to the studios in the early '60s, and there he met the likes of | On top of that, Ross used to take Elvis along to the studios in the early '60s, and there he met the likes of the Stones, Hollies, Mojos, Merseybeats, Beatles and so on when they recorded their spot for the ''Joe Loss Show''. | ||
Loss may latterly have slipped into | Loss may latterly have slipped into full-time schmaltzerama, but in the early '60s rock and Tin Pan Alley still rubbed shoulders quite happily. "I'd be a bit pissed off if anyone suggested that Elvis's influence were only ''Come Dancing''," Ross says fiercely. | ||
In the late '60s Ross had a German hit with a song called "Patsy Girl" | In the late '60s Ross had a German hit with a song called "Patsy Girl," and in '69 he and Loss parted company. Nowadays he works the northern cabaret circuit, singing and playing trumpet and piano, and is apparently a big name still. | ||
"The only time I see Elvis now is when we meet at Watford Gap service at six o'clock in the morning, on the way home from our gigs." | "The only time I see Elvis now is when we meet at Watford Gap service at six o'clock in the morning, on the way home from our gigs." | ||
Declan, we had heard, took his name from a Ross | Declan, we had heard, took his name from a Ross MacManus album called ''Day Costello Sings Elvis Presley''. | ||
Not quite. There was an album called ''Ross | Not quite. There ''was'' an album called ''Ross MacManus Sings Elvis Presley's Greatest Hits'', but Ross thinks Declan may have been calling himself Elvis before that. As for when he decided to use it as a stage name: "You'd have to ask Stiff Records. | ||
"It's a difficult position," Ross muses. "Elvis wanted to keep his image to himself — not because there was any rift between us, but just because it was a slightly mysterious image. It went well." | "It's a difficult position," Ross muses. "Elvis wanted to keep his image to himself — not because there was any rift between us, but just because it was a slightly mysterious image. It went well." | ||
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Furthermore, he insists that Elvis's image as the guy who gets sand kicked in his face is quite misleading. Elvis is tough, he tells us — and in this aspect he takes after his grandfather. | Furthermore, he insists that Elvis's image as the guy who gets sand kicked in his face is quite misleading. Elvis is tough, he tells us — and in this aspect he takes after his grandfather. | ||
Patrick | Patrick MacManus was a jazz player who left Ireland after the 1916 Rebellion and went to New York. There he became caught up on the fringe of the Prohibition era gang world. "It was all boxers, musicians and bootleggers," Ross says. | ||
At one time, apparently, he went to stay with a boxer friend on the west side — and found himself sharing a house with Legs Diamond, the notorious gangster. | At one time, apparently, he went to stay with a boxer friend on the west side — and found himself sharing a house with Legs Diamond, the notorious gangster. | ||
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Ross's father is also credited with helping to bring the blues to Britain. Ross makes a lot of the fact that both Elvis and his grandfather were born on the Leo/Virgo cusp, seven days apart, and that they look alike (as if he and Elvis don't!) | Ross's father is also credited with helping to bring the blues to Britain. Ross makes a lot of the fact that both Elvis and his grandfather were born on the Leo/Virgo cusp, seven days apart, and that they look alike (as if he and Elvis don't!) | ||
He also tells us Elvis had some great songs about his grandfather which have yet to be unveiled in public — especially one called "My Friend" | He also tells us Elvis had some great songs about his grandfather which have yet to be unveiled in public — especially one called "My Friend," about his grandad's New York experiences. | ||
"I think Elvis has got a touch of the old 'Legs Diamond'," he chuckles. | "I think Elvis has got a touch of the old 'Legs Diamond'," he chuckles. | ||
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Meanwhile, we've deliberately saved the best bit till last. | Meanwhile, we've deliberately saved the best bit till last. | ||
The ''real'' secret in this most secretive of families is this: Ross | The ''real'' secret in this most secretive of families is this: Ross MacManus is The Secret Lemonade Drinker! | ||
Don't say you don't get your 18 pees' worth. | Don't say you don't get your 18 pees' worth. | ||
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{{tags}}[[Ross MacManus]] {{-}} [[Watching The Detectives]] {{-}} [[Nick Lowe]] {{-}} [[Flip City]] {{-}} [[Joe Loss Orchestra]] {{-}} [[New Musical Express, September 17, 1977|Blackmail Corner]] {{-}} [[The Rolling Stones]] {{-}} [[The Hollies]] {{-}} [[The Merseybeats]] {{-}} [[The Beatles]] {{-}} [[Stiff Records]] {{-}} [[Pat MacManus]] {{-}} [[Secret Lemonade Drinker]] {{-}} [[Blame It On Cain]] {{-}} [[Mystery Dance]] {{-}} [[Pub rock]] {{-}} [[Eggs Over Easy]] {{-}} [[Brinsley Schwarz]] {{-}} [[The Brecknock]] {{-}} [[The Lord Nelson]] {{-}} [[Hope And Anchor]] {{-}} [[The Greyhound]] {{-}} [[Nashville Rooms|The Nashville]] {{-}} [[Dr. Feelgood]] {{-}} [[Kilburn & The High Roads]] {{-}} [[Roogalator]] {{-}} [[Chilli Willi & the Red Hot Peppers]] {{-}} [[Hammersmith Odeon]] {{-}} [[The Clash]] {{-}} [[Joe Strummer]] {{-}} [[Martin Belmont]] {{-}} [[Andrew Bodnar]] {{-}} [[Steve Goulding]] {{-}} [[Bob Andrews]] {{-}} [[Brinsley Schwarz (musician)]] {{-}} [[Graham Parker]] {{-}} [[The Rumour]] {{-}} [[Ian Dury]] {{-}} [[Flip City]] {{-}} [[The Damned]] {{-}} [[The Sex Pistols]] {{-}} [[The Jam]] {{-}} [[Philip Rambow]] | |||
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'''New Musical Express, October 29, 1977 | '''New Musical Express, October 29, 1977 | ||
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[[Phil McNeill]] | [[Phil McNeill]] talks to [[Ross MacManus]]. | ||
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[[Roy Carr]] reviews the [[Single: Watching The Detectives|single]] for "[[Watching The Detectives]]. | [[Roy Carr]] reviews the [[Single: Watching The Detectives|single]] for "[[Watching The Detectives]]"; a half-page ad for "Watching The Detectives" and [[Nick Lowe]]'s "Halfway To Paradise" runs on page [[:image:1977-10-29 New Musical Express page 28 advertisement.jpg|28]]. | ||
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Roy Carr's feature on Pub Rock includes a brief mention of [[Flip City]]. | Roy Carr's feature on Pub Rock includes a brief mention of [[Flip City]]. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-10-29 New Musical Express page 09.jpg| | [[image:1977-10-29 New Musical Express page 09.jpg|x300px|border]] | ||
[[image:1977-10-29 New Musical Express photo 01.jpg| | [[image:1977-10-29 New Musical Express photo 01.jpg|x300px|border]] | ||
<br><small>Page scan and photo.</small> | <br><small>Page scan and photo.</small> | ||
{{Bibliography box | {{Bibliography box}} | ||
<center><h3> From pub rock to dub rock </h3></center> | <center><h3> From pub rock to dub rock </h3></center> | ||
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<center> Roy Carr </center> | <center> Roy Carr </center> | ||
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''' Elvis Costello & The Attractions <br> | |||
Watching The Detectives | |||
{{Bibliography text}} | {{Bibliography text}} | ||
[[image:1977-10-29 New Musical Express page 28.jpg|border| | [[image:1977-10-29 New Musical Express page 28.jpg|border|140px|right]] | ||
Single Of The Week! Wins hands down, no contest. Single Of The Year! ... definitely on the short list. This record comes at a crucial juncture in Costello's career. From obscurity to fast-approaching media overkill in less than a year place's Costello in the unenviable position of having to qualify his success or bear the full brunt of a backlash. "Watching The Detectives" both affirms his credentials and silences those waiting in the wings for the kill. | Single Of The Week! Wins hands down, no contest. Single Of The Year! ... definitely on the short list. This record comes at a crucial juncture in Costello's career. From obscurity to fast-approaching media overkill in less than a year place's Costello in the unenviable position of having to qualify his success or bear the full brunt of a backlash. "Watching The Detectives" both affirms his credentials and silences those waiting in the wings for the kill. | ||
With the ubiquitous Nick Lowe at the production controls, this is innovative stuff, for Costello and Lowe have perfected what an best be | With the ubiquitous Nick Lowe at the production controls, this is innovative stuff, for Costello and Lowe have perfected what an best be described as dub rock — not a blatant rip-off of ethnic mores, but a highly personalised adaptation. The stylus catches the run-in groove, drums rattle like a stack of half-filled oil drums being kicked over in an underground car park, and all four musicians are transmogrified into a sinister dub maelstrom. Against the throb of the bass the organ pipes and guitar deviates from a chucka-chucka and James Bondian twang, while the drums carry the same hefty clout that Bowie attained on ''Sound And Vision''. Other comparisons are meaningless. | ||
"Watching The Detectives" is like nothing you've heard before. Instruments and voices zoom in an out of focus and reappear without warning as, with menace in his heart, Costello narrates a bizarre scenario about a boy desperately trying to attract his girl's attention away from the television, to no avail. She gazes at one cop show after another. The situation becomes blurred, the tension unbearable, roles are exchanged and you're not certain that if the girl who gets wasted is in the teleplay or watching it. | "Watching The Detectives" is like nothing you've heard before. Instruments and voices zoom in an out of focus and reappear without warning as, with menace in his heart, Costello narrates a bizarre scenario about a boy desperately trying to attract his girl's attention away from the television, to no avail. She gazes at one cop show after another. The situation becomes blurred, the tension unbearable, roles are exchanged and you're not certain that if the girl who gets wasted is in the teleplay or watching it. | ||
Powerful stuff. I don't think I'm going over the top when I state that "Watching The Detectives" is one of the most important singles of the '70s. I'd be interested to hear some of the out-takes. Live versions of "Blame It On | Powerful stuff. I don't think I'm going over the top when I state that "Watching The Detectives" is one of the most important singles of the '70s. I'd be interested to hear some of the out-takes. Live versions of "Blame It On Cain" and "Mystery Dance" make up the{{nb}}flip. | ||
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[[image:1977-10-29 New Musical Express page 28 advertisement.jpg| | |||
[[image:1977-10-29 New Musical Express page 28 advertisement.jpg|380px|border]] | |||
<br><small>Ad for "Watching The Detectives" single.</small> | <br><small>Ad for "Watching The Detectives" single.</small> | ||
{{Bibliography box | {{Bibliography box}} | ||
<center><h3> Pub Rock </h3></center> | <center><h3> Pub Rock </h3></center> | ||
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Later it became evident that pub rock was a geographical reality rather than an artistic one and, with few exceptions, proved to be the downfall of most bands working the circuit. | Later it became evident that pub rock was a geographical reality rather than an artistic one and, with few exceptions, proved to be the downfall of most bands working the circuit. | ||
American country-rock band Eggs Over Easy were the precursors of the movement when sometime in late '71/early '72 they broke the jazz-only policy of The Tally Ho pub in Kentish Town | American country-rock band Eggs Over Easy were the precursors of the movement when sometime in late '71/early '72 they broke the jazz-only policy of The Tally Ho pub in Kentish Town, North London. They were quickly joined by another country-rock outfit Bees Make Honey. Aussie expatriates Max Merritt & The Meteors, and the nomadic Brinsley Schwarz, who had suffered from precisely the big venue hype-a-star style which Pub Rock was a reaction. | ||
At the peak of popularity (1973-75), it seemed that nearly every large pub in London, especially north of Regents Park where the supply of unspoiled Victorian pubs was plentiful, was supplying live music along with hot snacks and the occasional stripper. Following the Tally Ho came The Cock, The Brecknock, The Lord Nelson, | At the peak of popularity (1973-75), it seemed that nearly every large pub in London, especially north of Regents Park where the supply of unspoiled Victorian pubs was plentiful, was supplying live music along with hot snacks and the occasional stripper. Following the Tally Ho came The Cock, The Brecknock, The Lord Nelson, The Hope and Anchor, The Greyhound, The Red Lion, The Rochester Castle and more. (Later the Albion Agency took over the bookings for The Hope, The Red Lion, and The Nashville.) | ||
The whole premise of Pub Rock was to inject an atmosphere of "good-time" into a music scene that had begun to take itself far too seriously for its own health. | The whole premise of Pub Rock was to inject an atmosphere of "good-time" into a music scene that had begun to take itself far too seriously for its own health. | ||
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Except for a few mavericks, most pub bands chose to mine three motherlodes. | Except for a few mavericks, most pub bands chose to mine three motherlodes. | ||
Hard-nosed R & B revivalism (Dr. Feelgood, Kilburn & The Highroads, Ace, Ducks Deluxe, The Winkies, Roogalator, Michigan Flyers); Fatback Funk (Kokomo, Clancy, FBI, Moon, Cado Belle, G.T. Moore & His Reggae Guitars, Palm Beach Express); Country Rock (The Brinsleys, Kursaal Flyers, Byzantium, | Hard-nosed R & B revivalism (Dr. Feelgood, Kilburn & The Highroads, Ace, Ducks Deluxe, The Winkies, Roogalator, Michigan Flyers); Fatback Funk (Kokomo, Clancy, FBI, Moon, Cado Belle, G.T. Moore & His Reggae Guitars, Palm Beach Express); Country Rock (The Brinsleys, Kursaal Flyers, Byzantium, Chilli Willi & the Red Hot Peppers). | ||
Fundamentally, the pub circuit was (and is) a training ground where only the very strong survived. Bands proliferated by the score, many disbanding and reforming under different names between gigs. It was music for bellying-up-to-the | Fundamentally, the pub circuit was (and is) a training ground where only the very strong survived. Bands proliferated by the score, many disbanding and reforming under different names between gigs. It was music for bellying-up-to-the-bar, but aggressive enough to make itself heard over chit-chat, pulling birds, rumbles and throwing up. | ||
In reality, after a few pints even the most mediocre and derivative bands sounded much better than they really were (''Depends whether you can take your drink squire — Ed'') while with few exceptions, most pub bands were visually dull. That didn't prevent the copy-hungry media latching onto Pub Rock and promoting it as The Next Big Thing. | In reality, after a few pints even the most mediocre and derivative bands sounded much better than they really were (''Depends whether you can take your drink squire — Ed'') while with few exceptions, most pub bands were visually dull. That didn't prevent the copy-hungry media latching onto Pub Rock and promoting it as The Next Big Thing. | ||
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As a result, most pub rock releases died the death. | As a result, most pub rock releases died the death. | ||
Ace were a prime example. That one good song, "How Long" | Ace were a prime example. That one good song, "How Long," may have been a transatlantic chart-topper but they had little with which to follow it. Kokomo's recording career was as shortlived as the band itself, and the same applied to Clancy, The Kilburns, The Winkies and Chilli Willi. | ||
The Brinsleys and Ducks Deluxe were just unlucky, and their records deserved a better response than they received. | The Brinsleys and Ducks Deluxe were just unlucky, and their records deserved a better response than they received. | ||
The only band that appeared to be able to operate on all levels was Dr Feelgood, yet it wasn't until they released their third album, their concert souvenir | The only band that appeared to be able to operate on all levels was Dr. Feelgood, yet it wasn't until they released their third album, their concert souvenir ''Stupidity'', that they fulfilled their potential. | ||
As quickly as bands like the Brinsleys and Ducks Deluxe folded, they were replaced by much younger aggregations such as The Count Bishops, Eddie & The Hot Rods and the 101'ers — the latter spawning Clash-man Joe Strummer. | As quickly as bands like the Brinsleys and Ducks Deluxe folded, they were replaced by much younger aggregations such as The Count Bishops, Eddie & The Hot Rods and the 101'ers — the latter spawning Clash-man Joe Strummer. | ||
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Despite the demise of many pub bands, many of their musicians went on to achieve greater success elsewhere. | Despite the demise of many pub bands, many of their musicians went on to achieve greater success elsewhere. | ||
A prime example was when ex-Ducks | A prime example was when ex-Ducks Deluxer Martin Belmont, ex-Bontemps Roulets' Andrew Bodnar and Steve Goulding, and Brinsley Schwarz himself, assisted by former employee Bob Andrews, amalgamated behind Graham Parker to form The Rumour. | ||
Ducks Deluxe bar-room bully Sean Tyla re-appeared with the Tyla Gang, while his former cohorts Nick Garvey and Andy McMaster went on to mastermind The Motors. | Ducks Deluxe bar-room bully Sean Tyla re-appeared with the Tyla Gang, while his former cohorts Nick Garvey and Andy McMaster went on to mastermind The Motors. | ||
Recently ex-Kilburn | Recently ex-Kilburn Ian Dury staged a spectacular comeback, while The Winkies' Phil Rambow looks like being a favourite in the current list of runners. | ||
One person who certainly made good was Brinsley stalwart | One person who certainly made good was Brinsley stalwart Nick Lowe, who, apart from establishing a reputation as Stiff Records' house producer, has also become a solo artist to be reckoned with. Flip City may have been one of the more obscure pub attractions, but their singer, Elvis Costello has also done quite well for himself. | ||
What was originally typecast as being pub rock may have, in many instances, promised much more than it delivered, but as an assault course for young groups the circuit has by no means outlived its initial purpose. | What was originally typecast as being pub rock may have, in many instances, promised much more than it delivered, but as an assault course for young groups the circuit has by no means outlived its initial purpose. | ||
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[[image:1977-10-29 New Musical Express cover | <small>Cover and clipping.</small><br> | ||
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[[image:1977-10-29 New Musical Express page 11 clipping.jpg|x120px|border]] | [[image:1977-10-29 New Musical Express page 11 clipping.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.nme.com/ NME.com] | *[http://www.nme.com/ NME.com] | ||
*[http://en.wikipedia.org/wiki/NME Wikipedia: NME] | *[http://en.wikipedia.org/wiki/NME Wikipedia: NME] | ||
*[https://www.flickr.com/photos/littletriggers/51107757049/ Flickr] [[Stephen McCathie]] | |||
{{DEFAULTSORT:New Musical Express 1977-10-29}} | {{DEFAULTSORT:New Musical Express 1977-10-29}} |
Latest revision as of 23:42, 14 August 2023
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