Creem, May 1979: Difference between revisions
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<center><h3> Elvis Costello </h3></center> | <center><h3> Elvis Costello </h3></center> | ||
<center>''' Ask | <center>''' Ask him no questions he'll tell you no lies </center> | ||
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<center> Nick Kent </center> | <center> Nick Kent </center> | ||
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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' "Psycho Killer" — "Say something once, why say it again — as being his protege's essential credo. Thus, when the obstreperous, overzealous 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." | ||
Approximately a year before, however, Costello did break his silence to give me an interview just as '' | Approximately a year before, however, Costello did break his silence to give me an interview just as ''This Year's Model'' hit the stores — the only interview he consented to in '78 despite apparently unrelenting pressure from record companies and the like. (Without going into details that have as much to do with coincidence as anything flattering in reality, Costello deemed yours truly the only journalist worthy of his trust and consequent occasional documenting of his intentions and so forth after our first interview in the summer of '76.) | ||
At first it seemed straightforward; just latch onto the Costello UK tour at some likely whistle-stop, infiltrate the camp and having once lucked out on some sympathetic little scenario wherein El and I would be alone, coax the prized confessional and return triumphant to headquarters. Hit, git and split, the name of the game is professional journalism and it was my turn to play it like the big boys. | At first it seemed straightforward; just latch onto the Costello UK tour at some likely whistle-stop, infiltrate the camp and having once lucked out on some sympathetic little scenario wherein El and I would be alone, coax the prized confessional and return triumphant to headquarters. Hit, git and split, the name of the game is professional journalism and it was my turn to play it like the big boys. | ||
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It was the veritable hailstrom of activity surrounding and being perpetuated by Costello and his crew in the last 12 months or so that provided one with the basic bait for this whole affair. No one else is currently working at such an audacious pace. ''This Year's Model'' was released at the outset of '78 and left virtually everybody reeling, except for the artist himself who was already putting the final syntax on his next little volume. | It was the veritable hailstrom of activity surrounding and being perpetuated by Costello and his crew in the last 12 months or so that provided one with the basic bait for this whole affair. No one else is currently working at such an audacious pace. ''This Year's Model'' was released at the outset of '78 and left virtually everybody reeling, except for the artist himself who was already putting the final syntax on his next little volume. | ||
From there on out, the sky seemed the limit. Costello and | From there on out, the sky seemed the limit. Costello and the Attractions toured all over the world ceaselessly. The 50 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 ''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 cheekily 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 make it to the [[Dominion Theatre|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. | 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 cheekily 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 make it to the [[Dominion Theatre|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 sighted on the ''Model'' freebie 45 was chosen by | 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 sighted on the ''Model'' freebie 45 was chosen by Billy Sherrill, producer of country music giant [[George Jones]], as a suitable number for the inclusion on a special ''[[George Jones: My Very Special Guests|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 sessions, appearing later to overdub his vocals to Costello's counterpoint. | ||
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|Steve 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) behavior of the Attractions and seemed an all round decent sort of chap. | 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|Steve 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) behavior of the Attractions and seemed an all round decent sort of chap. | ||
As did one | As did one Bruce Springsteen, another burgeoning E.C. fan who came backstage to acquaint himself and to find out, apparently, how Elvis 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 Iovine in a decidedly dodgy fashion. | ||
Even Linda Ronstadt, undeterred by Elvis' documented broadsides against her in the past, made overtures about having a tentative ''tête à tête'' with the man behind the horn rims. Costello may yet condescend to the encounter if only because Ronstadt's pathetic misreading of "[[Alison]]", more than any other endeavour, has lined his wallet with an unexpected royalty check of at least some $60,000. 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 ''tête à tête'' with the man behind the horn rims. Costello may yet condescend to the encounter if only because Ronstadt's pathetic misreading of "[[Alison]]", more than any other endeavour, has lined his wallet with an unexpected royalty check of at least some $60,000. However, it would be wise for her not to hold her breath... | ||
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[[image:1979-05-00 Creem cover.jpg| | [[image:1979-05-00 Creem cover.jpg|x240px]] | ||
[[image:1979-05-00 Creem page 40.jpg| | [[image:1979-05-00 Creem page 40.jpg|x240px]] | ||
<br><small>Cover and page scan.</small> | <br><small>Cover and page scan.</small> | ||
<br> | <br> | ||
{{Bibliography box 360}} | {{Bibliography box 360}} | ||
<center><h3> Armed Forces </h3></center> | <center><h3> Armed Forces </h3></center> | ||
<center>''' Elvis Costello </center> | |||
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<center> Robert Christgau </center> | <center> Robert Christgau </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
Like his predecessor, | Like his predecessor, Bob Dylan, this ambitious tunesmith offers more as a phrase-maker than as an analyst or a poet, more as a public image than as a thinking, feeling person. He needs words because they add color and detail to his music. I like the more explicitly sociopolitical tenor here— "the boys from the Mersey and the Thames and The Times" evokes the conscripts in Her Majesty's Senior Service more directly than any lover he's inclined to pick on. But I don't find as many memorable bits of language as I did on ''This Year's Model''. And though I approve of the more intricate pop constructions of the music, I found <i>TYM</i>'s relentless nastiness of instrumental and (especially) vocal attack more compelling. A good record, to be sure, but not a great one. '''A-'''</span> | ||
{{cx}} | {{cx}} | ||
{{cx}} | {{cx}} | ||
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<center><h3> Waiting for the end of the world </h3></center> | |||
<center><h3> Waiting | |||
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<center> Penny Valentine </center> | <center> Penny Valentine / Letter From Britain </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
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Having to have an opinion, I decided I probably didn't like Costello at all. Repressed little bloke with his paranoia. It Wasn't just that I had a sneaky feeling he didn't like women much — he didn't like anyone. But he didn't dislike them the way Johnny Rotten did — positive, angry. Costello was just plain spiteful. Like the kid at school you feel sorry for because he hung around the playground banging the chalk brushes on the wall to feel useful — until he sneaked to teacher because you wouldn't let him join your gang. | Having to have an opinion, I decided I probably didn't like Costello at all. Repressed little bloke with his paranoia. It Wasn't just that I had a sneaky feeling he didn't like women much — he didn't like anyone. But he didn't dislike them the way Johnny Rotten did — positive, angry. Costello was just plain spiteful. Like the kid at school you feel sorry for because he hung around the playground banging the chalk brushes on the wall to feel useful — until he sneaked to teacher because you wouldn't let him join your gang. | ||
With all that going against him, why can't I stop playing '' | With all that going against him, why can't I stop playing ''Armed Forces''? Definitely the element of surprise; the music winking its allegiances back to early 60's U.S. groups, even Phil Spector; spreading his voice ... I was corrupted and I don't hold it against him at all. Yet he's still full of sly fear — a more positive paranoia than Stephen Stills ever showed on "For What It's Worth". Maybe ''Armed Forces'' is really an overtly political album in a way that his others weren't. | ||
I liked Joe Jackson's first single. "Is She Really Going Out With Him?" came out late last year and I thought it sounded a lot like "[[Watching The Detectives]]" (even if I didn't ''like'' Costello I had to admit he wrote clever songs) except that it was cheerful. Back from America after three weeks, I found that the British music papers had gone Joe Jackson crazy, the single was in the charts, and I'd realised he sounded a lot like Steve Miller and used [[Steely Dan]] chords. One minute Jackson was just a funny little bloke with a record about standing in his room looking out the window (and a great first line: "Pretty women out walking with gorillas down my street" — not Costello's armed boys, the furry kind). Now he's The Next Big Thing. Even ''NME'''s [[Special:WhatLinksHere/Charles_Shaar_Murray|Charles Shaar Murray]] can't find anything bad to say about Jackson's new album ''Look Sharp'' — except that it's time Joe bought a new tie. | I liked Joe Jackson's first single. "Is She Really Going Out With Him?" came out late last year and I thought it sounded a lot like "[[Watching The Detectives]]" (even if I didn't ''like'' Costello I had to admit he wrote clever songs) except that it was cheerful. Back from America after three weeks, I found that the British music papers had gone Joe Jackson crazy, the single was in the charts, and I'd realised he sounded a lot like Steve Miller and used [[Steely Dan]] chords. One minute Jackson was just a funny little bloke with a record about standing in his room looking out the window (and a great first line: "Pretty women out walking with gorillas down my street" — not Costello's armed boys, the furry kind). Now he's The Next Big Thing. Even ''NME'''s [[Special:WhatLinksHere/Charles_Shaar_Murray|Charles Shaar Murray]] can't find anything bad to say about Jackson's new album ''Look Sharp'' — except that it's time Joe bought a new tie. |
Revision as of 14:43, 6 April 2015
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