Record Mirror, November 26, 1977: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{:Record Mirror index}} | {{:Record Mirror index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Elvis Costello — anti-star of the new wave </h3></center> | <center><h3> Elvis Costello — anti-star of the new wave </h3></center> | ||
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Diverse weirdnesses have surfaced in rock 'n' roll, usually connected with the whole new wave bit, that just aren't going to lie down and go away. By now that much is obvious. | Diverse weirdnesses have surfaced in rock 'n' roll, usually connected with the whole new wave bit, that just aren't going to lie down and go away. By now that much is obvious. | ||
No, the only way they're going to become unweird is by being acknowledged and assimilated and thus they'll have done their bit to transform the face of things, generally for the better. And who's to say that something won't have the strength, cunning and resilience to go that bit further to change things on a wider scale? | No, the only way they're going to become unweird is by being acknowledged and assimilated — and thus they'll have done their bit to transform the face of things, generally for the better. And who's to say that something won't have the strength, cunning and resilience to go that bit further — to change things on a wider scale? | ||
The proliferation of independent labels, most of 'em into one form of weirdness or another, has been integral and essential to the flowering of new wave kulchur. Such development automatically poses a challenge to the existing majors, throwing them back on fundamental resources in an attempt not to lose their foothold. Labels like Island and Virgin, who themselves grew up on the tide of cultural wave which was similarly building to a crescendo a decade or so ago above all must feel the wind of change as a potential danger flashpoint. | The proliferation of independent labels, most of 'em into one form of weirdness or another, has been integral and essential to the flowering of new wave kulchur. Such development automatically poses a challenge to the existing majors, throwing them back on fundamental resources in an attempt not to lose their foothold. Labels like Island and Virgin, who themselves grew up on the tide of cultural wave which was similarly building to a crescendo a decade or so ago above all must feel the wind of change as a potential danger flashpoint. | ||
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Maybe not so much Virgin indeed, since they're still small enough to be able to roll with the punches and then come up with their own angle. Their successful courting (so far) of the Sex Pistols and on a similar scale, their brilliant recent advertising job on the Motors first album testifies to their ability to match weirdness with weirdness. | Maybe not so much Virgin indeed, since they're still small enough to be able to roll with the punches and then come up with their own angle. Their successful courting (so far) of the Sex Pistols and on a similar scale, their brilliant recent advertising job on the Motors first album testifies to their ability to match weirdness with weirdness. | ||
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'''Danger | '''Danger | ||
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Indeed what labels really are in danger may not become clear for another six months or thereabouts. But what can't be denied is that change is in the air. | Indeed what labels really are in danger may not become clear for another six months or thereabouts. But what can't be denied is that change is in the air. | ||
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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. | ||
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'''Suffer | '''Suffer | ||
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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. | 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 — and I've tended to come over as a bit paranoid about the music business — is that the music business | 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 — 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. | ||
"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 | "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 came 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. " | ||
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. | ||
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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. | 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 | "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. | ||
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'''Peculiar | '''Peculiar | ||
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"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." | ||
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"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 — 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. | 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. | ||
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'''Revenge | '''Revenge | ||
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Like recall the [[New Musical Express, August 27, 1977|interview]] Costello did with 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 — like, who am I going to get next? It's not really like that. | |||
"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 — 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. | "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. | ||
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"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." | "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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"From the point of view of a show, I really like the idea of being able to go out and do something fresh, 'cos it keeps people on their toes. They're not just coming along to see you do a live version of the album, which is what it's like with a lot of bands." | "From the point of view of a show, I really like the idea of being able to go out and do something fresh, 'cos it keeps people on their toes. They're not just coming along to see you do a live version of the album, which is what it's like with a lot of bands." | ||
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'''Art | '''Art | ||
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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? | 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? | ||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | {{Bibliography next | ||
|prev = Record Mirror, October | |prev = Record Mirror, October 22, 1977 | ||
|next = Record Mirror, | |next = Record Mirror, December 3, 1977 | ||
}} | }} | ||
'''Record Mirror, November 26, 1977 | '''Record Mirror, November 26, 1977 | ||
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[[Niall Stokes]] interviews Elvis Costello. | [[Niall Stokes]] interviews Elvis Costello. <span style="font-size:92%">{From [[Hot Press, September 17, 1977|''Hot Press'', Sep. 17, 1977]].}</span> | ||
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"[[Watching The Detectives]]" is No. 22 on the singles chart (page [[:image:1977-11-26 Record Mirror page 02.jpg|2]]). | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-11-26 Record Mirror | [[image:1977-11-26 Record Mirror page 33.jpg|360px|border]] | ||
[[image:1977-11-26 Record Mirror | <br><small>Page scan.</small> | ||
<br><small> | |||
[[image:1977-11-26 Record Mirror page 34.jpg|360px|border]] | |||
<br><small>Page scan.</small> | |||
<small>Photo by [[Ian Dickson]].</small><br> | |||
[[image:1977-11-26 Record Mirror photo 02 id.jpg|360px|border]] | |||
<small>Photo by [[Chris Gabrin]].</small><br> | |||
[[image:1977-11-26 Record Mirror photo 01 cg.jpg|230px|border]] | |||
[[image:1977-11-26 Record Mirror cover.jpg|x120px]] | [[image:1977-11-26 Record Mirror cover.jpg|x120px|border]] | ||
<br><small>Cover.</small> | [[image:1977-11-26 Record Mirror page 02.jpg|x120px|border]] | ||
<br><small>Cover and page scan.</small> | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://en.wikipedia.org/wiki/Record_Mirror Wikipedia: Record Mirror] | *[http://en.wikipedia.org/wiki/Record_Mirror Wikipedia: Record Mirror] | ||
*[http://www.elviscostello.info/articles/r/record_mirror.771126a.html elviscostello.info] | *[http://www.elviscostello.info/articles/r/record_mirror.771126a.html elviscostello.info] | ||
*[http://scans.chartarchive.org/UK/1977/ chartarchive.org] | |||
*[http://www.americanradiohistory.com/Record_Mirror.htm americanradiohistory.com{{t}}][http://www.americanradiohistory.com/Archive-Record-Mirror/70s/77/Record-Mirror-1977-11-26.pdf {{t}}] | |||
{{DEFAULTSORT:Record Mirror 1977-11-26}} | |||
[[Category:Bibliography 1977 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1977]] | |||
[[Category:Record Mirror| Record Mirror 1977-11-26]] | [[Category:Record Mirror| Record Mirror 1977-11-26]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:Interviews | [[Category:Interviews]] | ||
[[Category:1977 interviews]] |
Revision as of 15:38, 10 April 2018
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