Record Mirror, November 26, 1977: Difference between revisions
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<center><h3> Elvis Costello | <center><h3> Elvis Costello — anti-star of the new wave </h3></center> | ||
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<center> Niall Stokes </center> | <center> Niall Stokes </center> | ||
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Nineteen seventy seven has been a weird year, I'll tell you that. | |||
Weird, that is, in the real meaning of the term. | Weird, that is, in the real meaning of the term. | ||
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Between them, however, for downright weirdness, Stiff take the proverbial biscuit. | Between them, however, for downright weirdness, Stiff take the proverbial biscuit. | ||
Just look at their advertising. The flair which has marked their promotional work, both graphically and linguistically makes them a far more interesting label to work, or deal with than any of the boring old farts responsible for promotion generally. They've got a sense of humour that literally mocks at the serioso gunge churned out for the likes of Harley, Yes, Wakeman and so on . . . and on . . . | Just look at their advertising. The flair which has marked their promotional work, both graphically and linguistically makes them a far more interesting label to work, or deal with than any of the boring old farts responsible for promotion generally. They've got a sense of humour that literally mocks at the serioso gunge churned out for the likes of Harley, Yes, Wakeman and so on ... and on... | ||
Interestingly, both labels straddle in a laudably maverick fashion the whole new wave bandwagon, when it comes down to the music. But what makes their success so intrinsic to the rise of the 'new music' is the set of attitudes which go to create their respective characters. In particular, both acted as pioneers for the movement away from costly budgets and over-elaborate productions, which, as a general phenomenon were getting in the way of the unearthing and recording of new talent. | Interestingly, both labels straddle in a laudably maverick fashion the whole new wave bandwagon, when it comes down to the music. But what makes their success so intrinsic to the rise of the 'new music' is the set of attitudes which go to create their respective characters. In particular, both acted as pioneers for the movement away from costly budgets and over-elaborate productions, which, as a general phenomenon were getting in the way of the unearthing and recording of new talent. | ||
The unearthing and recording of new talent . . . a vital function for the ongoing health of the music and the major labels more or less give it up as a bad job. Maybe it's just as well. If it hadn't happened that way Stiff Records mightn't exist or even if they did, they mightn't have the name of one Elvis Costello on their books. That'd be some loss. | The unearthing and recording of new talent ... a vital function for the ongoing health of the music and the major labels more or less give it up as a bad job. Maybe it's just as well. If it hadn't happened that way Stiff Records mightn't exist or even if they did, they mightn't have the name of one Elvis Costello on their books. That'd be some loss. | ||
'''Suffer | '''Suffer | ||
On the whole subject E. C. himself feels strongly . . . 'cos he did suffer at the hands of A & R departments who didn't want to know. And let's set it down straight away that he's both intelligent and articulate | On the whole subject E. C. himself feels strongly ... 'cos he did suffer at the hands of A & R departments who didn't want to know. And let's set it down straight away that he's both intelligent and articulate — and a formidable critic for lethargic sods everywhere. | ||
Elvis: "That's their loss. They couldn't work it out first time round. But the point is, without getting too heavily into territory I've covered in other interviews | Elvis: "That's their loss. They couldn't work it out first time round. But the point is, without getting too heavily into territory I've covered in other interviews — and I've tended to come over as a bit paranoid about the music business — is that the music business Is very, very lazy. They can't be bothered to find out about things and their attitudes are very cloistered... | ||
"They're not at all open minded unless you've got a track record. The only time in the last 10 years that the music business has actually come out to take a look at what's going on in clubs has been the — I don't know what you want to call them — punk bands, new wave bands or whatever label they care to stick on them in order to sell them. | |||
"They're not at all open minded unless you've got a track record. The only time in the last 10 years that the music business has actually come out to take a look at what's going on in clubs has been the | |||
"It's only that they've got scared that something's going on that they don't know about, that people might actually make some money out of it without them being in on it. But when it carne to actually finding out about something that didn't have a huge sticker or a huge uniform "This is the New Thing, " when it's a question of sussing out individuals, then they couldn't really be bothered. " | "It's only that they've got scared that something's going on that they don't know about, that people might actually make some money out of it without them being in on it. But when it carne to actually finding out about something that didn't have a huge sticker or a huge uniform "This is the New Thing, " when it's a question of sussing out individuals, then they couldn't really be bothered. " | ||
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Thing is though that Elvis Costello fits so well into the Stiff weird scheme of things. | Thing is though that Elvis Costello fits so well into the Stiff weird scheme of things. | ||
Because he's weird. And before anyone's head goes off on one of those 'oh yeah . . . the weed | Because he's weird. And before anyone's head goes off on one of those 'oh yeah ... the weed ... the Buddy Holly / Hank Marvin connection ... I know ... weird ... ha ha! — tangents, forget it. I'll let Elvis himself pass comment there. | ||
"I think that's just . . . it's a question of 'oh well, it's not really punk, so what is it? We'd better get something a bit peculiar out of It. And they're making something out of nothing because of a lack of imagination. They don't want to work their heads too hard on thinking about . . . (laughs) . . . music or anything. | "I think that's just ... it's a question of 'oh well, it's not really punk, so what is it? We'd better get something a bit peculiar out of It. And they're making something out of nothing because of a lack of imagination. They don't want to work their heads too hard on thinking about ... (laughs) ... music or anything. | ||
'''Peculiar | '''Peculiar | ||
"In some cases it's a question. of thinking 'Oh let's get some kind of peculiar angle' 'Oh sure, he looks a bit odd because he's got those funny glasses and he seems to wear some funny clothes. Well, we could make it lot of copy out of that," rather than actually straining themselves and really listening to the records. " | "In some cases it's a question. of thinking 'Oh let's get some kind of peculiar angle' 'Oh sure, he looks a bit odd because he's got those funny glasses and he seems to wear some funny clothes. Well, we could make it lot of copy out of that," rather than actually straining themselves and really listening to the records." | ||
Yeah, laziness and ignorance all round . . . | Yeah, laziness and ignorance all round ... | ||
"With most journalists, it's been a case of the same old questions being trotted out repeatedly. People have come along not actually knowing anything about me . . . people come along that haven't even heard the record, they're just sent along on the assignment. I'm not interested in talking to them . . . there's just no point." | "With most journalists, it's been a case of the same old questions being trotted out repeatedly. People have come along not actually knowing anything about me ... people come along that haven't even heard the record, they're just sent along on the assignment. I'm not interested in talking to them ... there's just no point." | ||
So we're not going to do the weed number here | So we're not going to do the weed number here — it's a load of rubbish, based on a bunch of stupid assumptions anyway. No when I say that Elvis Costello is a weird man I mean that he's highly individual, idiosyncratic and independent, both as a writer and a person. I mean weird in the positive sense that implies someone who's found a niche that's entirely his own, which is likely to arouse the nosey, uncomprehending disapproval of your average (meaning paranoid) person. | ||
'''Revenge | '''Revenge | ||
Like recall the interview Costello did with Nick Kent | Like recall the [[New Musical Express, August 27, 1977|interview]] Costello did with [[Special:WhatLinksHere/Nick Kent|Nick Kent]] in ''NME''. In it, the fact that E.C. is into revenge was stated. Rampant Paranoia! Get that weirdo off the screen! Snuff 'im! Revenge ... I mean, you just don't say things like that, Elvis. | ||
"That's being played up in a very one dimensional way | "That's being played up in a very one dimensional way — like, who am I going to get next? It's not really like that. | ||
"It just happens to be something that came out on a lot of the songs on the album, so it's something that I felt needed to be explained. But you're somewhat at the mercy of the journalist, when you say things, to understand the full implications of what you're saying. (Incidentally Costello selected Nick Kent as the one journalist he'd met whom he respected. ) | "It just happens to be something that came out on a lot of the songs on the album, so it's something that I felt needed to be explained. But you're somewhat at the mercy of the journalist, when you say things, to understand the full implications of what you're saying. (Incidentally Costello selected Nick Kent as the one journalist he'd met whom he respected.) | ||
"I don't want to sound one dimensional in any way. I tended to make a point of it to draw a contrast with the majority of singers who are interviewed and talk about various other aspects of their personality like how good looking they are or whatever. Or what strings the bass player uses or various other boring things. | "I don't want to sound one dimensional in any way. I tended to make a point of it to draw a contrast with the majority of singers who are interviewed and talk about various other aspects of their personality like how good looking they are or whatever. Or what strings the bass player uses or various other boring things. | ||
"It was something that was definitely important, but it's not something that I necessarily want to glorify. I'm very anti this glorification of more | "It was something that was definitely important, but it's not something that I necessarily want to glorify. I'm very anti this glorification of more — or — less anything, that's rampant now. The whole point of the album is that it's aside from the usual things that are glorified in rock 'n' roll songs. | ||
"But I'm not any more into glorifying these rather negative things. I don't like this feeling for revenge. I just haven't been strong enough to put it down." | "But I'm not any more into glorifying these rather negative things. I don't like this feeling for revenge. I just haven't been strong enough to put it down." | ||
The trouble is that Nick Kent's piece did tend to glorify | The trouble is that Nick Kent's piece did tend to glorify — and possibly exaggerate the impulse. So let's get Costello's feelings on it down for once and for all... | ||
"In a way you're just getting at yourself 'cos it comes down to trivial levels. I will do trivial things to hurt people who in the past might have got in my way. I have had people taken off guest lists and things like that because I don't think I want to see them now that it's fashionable to come to me, when they couldn't even give me the time of day last year. | "In a way you're just getting at yourself 'cos it comes down to trivial levels. I will do trivial things to hurt people who in the past might have got in my way. I have had people taken off guest lists and things like that because I don't think I want to see them now that it's fashionable to come to me, when they couldn't even give me the time of day last year. | ||
"I can see how someone could quite easily criticise me for it but I don't give a shit 'cos I'm quite enjoying it. They equally enjoyed their position of privilege when they closed the door In my face | "I can see how someone could quite easily criticise me for it but I don't give a shit 'cos I'm quite enjoying it. They equally enjoyed their position of privilege when they closed the door In my face — so I'm showing them what it feels like. I don't think It's a particularly virtuous thing to do. | ||
"It's just a question of giving them a taste of what they do to other people. It's not just me, there's a lot of other people they treat like | "It's just a question of giving them a taste of what they do to other people. It's not just me, there's a lot of other people they treat like that ... | ||
Costello's ability to see himself objectively and his evident honesty in relating his feelings pre-empt any righteous moralising on the subject. | Costello's ability to see himself objectively and his evident honesty in relating his feelings pre-empt any righteous moralising on the subject. | ||
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Significantly the same kind of current runs through his music. Rather than painting relationships in a rosy light that obscures so much of the reality of how people feel and interact, Costello lets out the bitterness and the sarcasm, which so many suppress. | Significantly the same kind of current runs through his music. Rather than painting relationships in a rosy light that obscures so much of the reality of how people feel and interact, Costello lets out the bitterness and the sarcasm, which so many suppress. | ||
"If something really unpleasant happens to you and you keep dragging it up for the sake of putting the person that did it to you through it, it might not affect them that much but it probably makes you feel miserable. I've had that feeling about some of the songs on 'My Aim Is True' | "If something really unpleasant happens to you and you keep dragging it up for the sake of putting the person that did it to you through it, it might not affect them that much but it probably makes you feel miserable. I've had that feeling about some of the songs on ''My Aim Is True'' — things like 'I'm Not Angry' and 'Alison'.' They're quite hard to sing, and I don't mean that to sound ultra-sensitive — I was consciously trying to avoid self-pity on the record." | ||
In that, Costello succeeded. As with his conversion, there's a weird kind of distance and objectivity involved, which nevertheless burns with feeling. Nobody emerges from the following passage in 'Alison' looking any the better. "Well, I see you got a husband now / I believe your pretty fingers lying in the wedding cake / You used to hold him right in your hand / Until he took all that he could take . . . Sometimes I wish that I could stop you from talking / When I hear the silly things you say / Sometimes I wanna put out the Big Light / 'cos I can't stand to see this way. . ." | In that, Costello succeeded. As with his conversion, there's a weird kind of distance and objectivity involved, which nevertheless burns with feeling. Nobody emerges from the following passage in 'Alison' looking any the better. ''"Well, I see you got a husband now / I believe your pretty fingers lying in the wedding cake / You used to hold him right in your hand / Until he took all that he could take ... Sometimes I wish that I could stop you from talking / When I hear the silly things you say / Sometimes I wanna put out the Big Light / 'cos I can't stand to see this way. . ." | ||
Down on record, those lines are devasting. | Down on record, those lines are devasting. | ||
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"There's a lot of things there that I wanted to write 'cos they hadn't been written before. Like 'Sneaky Feelings' (the title says it all) there's no song like that to my knowledge. | "There's a lot of things there that I wanted to write 'cos they hadn't been written before. Like 'Sneaky Feelings' (the title says it all) there's no song like that to my knowledge. | ||
Conventionally, even if people do write put-downs, they're frames | Conventionally, even if people do write put-downs, they're frames — as a glorification of the put-down, whereas I was trying to get into areas that are uncomfortable to look at areas which people feel embarrassed about revealing." | ||
Despite this highly original streak, people have so far tended to lump Costello into 'the Morrison school' along with Parker, Seger, Lynott, Armatrading and others | Despite this highly original streak, people have so far tended to lump Costello into 'the Morrison school' along with Parker, Seger, Lynott, Armatrading and others — as a convenient means of labelling him. Elvis is balanced in his rejection of the notion. | ||
"There's no point in denying that you've listened to people | "There's no point in denying that you've listened to people — and they must have some effect on you. But I've never listened to anyone obsessively so that it would have totally dominated the way I think. The next record, I think it'll sound very different to some of the people who've got a set idea about what little pigeon-hole they've got me In. On the tracks we've already recorded, to my ears the vocal sound is quite different. I don't see any point in making another record that sounds like ''My Aim Is True''. Also it's the Attractions who are doing the backing, which changes the sound." | ||
The commitment to continuing to evolve runs deep with Costello. Already he's playing a substantial amount of new material on stage. "We do about 50/50 old and new now and it's getting more biased towards the new." He often refers to established stars as boring | The commitment to continuing to evolve runs deep with Costello. Already he's playing a substantial amount of new material on stage. "We do about 50/50 old and new now and it's getting more biased towards the new." He often refers to established stars as boring — clearly he'll go to some pains to avoid that judgement. | ||
"When the new album comes out I want to have another half set of new material again, so we're always pushing on and doing new stuff. I do write quite a lot so it shouldn't be a problem. | "When the new album comes out I want to have another half set of new material again, so we're always pushing on and doing new stuff. I do write quite a lot so it shouldn't be a problem. | ||
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'''Art | '''Art | ||
Don't let the word 'show' deceive you either: "I don't like theatrical things. I'm not very into show business. Well, I'm not very into it | Don't let the word 'show' deceive you either: "I don't like theatrical things. I'm not very into show business. Well, I'm not very into it — I hate it. I don't regard myself as being in showbusiness at all. I'm just playing songs. I don't think of rock 'n' roll in the Nils Lofgren sense — trampolines and scarves. I don't think of it as another world. — Art? | ||
"No I don't give art any thought at all. If I worried about art I'd really be in a bad way. Just songs and the effect they can have on people." | "No I don't give art any thought at all. If I worried about art I'd really be in a bad way. Just songs and the effect they can have on people." | ||
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He can't really be more specific than that. But the basic point is that it'd be a mistake to inflate the importance of his work. | He can't really be more specific than that. But the basic point is that it'd be a mistake to inflate the importance of his work. | ||
"I don't expect anything to change anybody's life or change the world. I'm not interested in that. But people can make what they want to of them . . . equally, I'm not into entertaining people the sense that they come and say 'Oh yes, it was a nice show, dear. Let's go and have a Wimpy.' Like, fit in with your evening along with a family movie or something. I don't mind what people get from it, but if it's unsettling, then it's probably good for them. " | "I don't expect anything to change anybody's life or change the world. I'm not interested in that. But people can make what they want to of them ... equally, I'm not into entertaining people the sense that they come and say 'Oh yes, it was a nice show, dear. Let's go and have a Wimpy.' Like, fit in with your evening along with a family movie or something. I don't mind what people get from it, but if it's unsettling, then it's probably good for them. " | ||
He doesn't, above all, want to be elevated to the status of demi-god. | He doesn't, above all, want to be elevated to the status of demi-god. | ||
"I don't pretend to have any big 'in' into all this information. I'm not saying | "I don't pretend to have any big 'in' into all this information. I'm not saying — 'Listen, 'cos now I'm going to tell you the way it is.' I hope people don't take my word for everything. In the '60's people were built up into kind of gurus but one by one they fell to pieces, or copped out or died or something. Everybody was left mourning them and really they should have said they're just human beings and they're fallible. | ||
"I hope people would never take anything I write seriously in that sense. I am serious about what I'm doing but I hope they'll never come and say 'Oh yes, he knows. He's got The Word.' 'cos I haven't got 'The Word' anymore than anybody else." | "I hope people would never take anything I write seriously in that sense. I am serious about what I'm doing but I hope they'll never come and say 'Oh yes, he knows. He's got The Word.' 'cos I haven't got 'The Word' anymore than anybody else." | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-11-26 Record Mirror photo 01.jpg| | [[image:1977-11-26 Record Mirror photo 01.jpg|x180px]] | ||
[[image:1977-11-26 Record Mirror photo 02.jpg| | [[image:1977-11-26 Record Mirror photo 02.jpg|x180px]] | ||
<br><small>Photos.</small> | <br><small>Photos.</small> | ||
[[image:1977-11-26 Record Mirror cover.jpg| | [[image:1977-11-26 Record Mirror cover.jpg|x120px]] | ||
<br><small>Cover.</small> | <br><small>Cover.</small> | ||
Revision as of 18:58, 8 September 2013
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