Musician, August 1995: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
{{Bibliography index}} | {{:Bibliography index}} | ||
{{Musician index}} | {{:Musician index}} | ||
{{ | {{:US rock magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3>Paul McCartney, Elvis Costello, | <center><h3> Paul McCartney, Elvis Costello, and all the other{{nb}}princes </h3></center> | ||
---- | ---- | ||
<center>Bill Flanagan</center> | <center> Bill Flanagan </center> | ||
---- | ---- | ||
{{Bibliography text}} | {{Bibliography text}} | ||
At St. James' Palace where he lives, just over the road from Buckingham Palace where his mother lives, Prince Charles stands up in the middle of his guests and says, "Paul McCartney put so much into this evening." The honored friends all clap their hands and Charles adds, "As somebody who was born a little bit later than he was..." McCartney holds up his forefinger and thumb a fraction of an inch apart to denote a real little as the Prince goes on, "I remember when I was at school and he was at the height of his fame. I was getting out of an aeroplane and a strong gust of wind blew my hair down into my eyes. In the papers the next day it said, 'Prince has Beatles Hairstyle.'" Ho ho ho, the gentry get a big kick out of that one! One Lord laughs so hard that his cummerbund snaps like a slingshot, almost taking out the eye of the bejeweled woman sitting next to him. | |||
To be sitting in the palace patting palms with the aristocracy while the Prince makes jokes and the bourgeoisie cackle is a stretch even for Musician. But this is where McCartney has led, so this is where we follow. Charles seems like a good fellow, even if he does add a few inches to his height by standing on the neck of Ireland. It's unfair to make fun of him for that, though — it's an inherited characteristic. McCartney warned me yesterday that the palace security would peg me as IRA the minute I stepped through the royal door. "You've got a semtex face," McCartney said. | |||
To be sitting in the palace patting palms with the aristocracy while the | |||
Prince makes jokes and the bourgeoisie cackle is a stretch even for Musician. | |||
But this is where McCartney has led, so this is where we follow. Charles | |||
seems like a good fellow, even if he does add a few inches to his height by | |||
standing on the neck of Ireland. It's unfair to make fun of him for that, | |||
though | |||
the palace security would peg me as IRA the minute I stepped through the | |||
royal door. "You've got a semtex face," McCartney said. | |||
As it turned out, the palace could not have been nicer. Elvis Costello (who | As it turned out, the palace could not have been nicer. Elvis Costello (who | ||
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My favorite was a big canvas titled "The Defense of Zululand" that showed a | My favorite was a big canvas titled "The Defense of Zululand" that showed a | ||
squad of heroic British soldiers slaying wave after wave of wild Africans. | squad of heroic British soldiers slaying wave after wave of wild Africans. | ||
Oh man. "Better move that one back to the servant's quarters, Jeeves | Oh man. "Better move that one back to the servant's quarters, Jeeves — don't | ||
want company to see it." | want company to see it." | ||
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that McCartney has his own music academy going. The Liverpool Institute for | that McCartney has his own music academy going. The Liverpool Institute for | ||
the Performing Arts, the "Fame" school opening in the old building where | the Performing Arts, the "Fame" school opening in the old building where | ||
McCartney and George Harrison went to high school | McCartney and George Harrison went to high school — begins its first term in | ||
September. McCartney's devoted a lot of time to LIPA, fundraising, lending | September. McCartney's devoted a lot of time to LIPA, fundraising, lending | ||
his name and image to promotions, and doing all he can to proselytize the | his name and image to promotions, and doing all he can to proselytize the | ||
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lately been put to good use. It is a coincidence that since they began | lately been put to good use. It is a coincidence that since they began | ||
writing songs together seven years ago both Costello and McCartney have gone | writing songs together seven years ago both Costello and McCartney have gone | ||
off and worked on classical pieces | off and worked on classical pieces — Paul's Liverpool Oratorio, Elvis's | ||
collaboration with the Brodsky Quartet, ''The Juliet Letters''. As Costello has | collaboration with the Brodsky Quartet, ''The Juliet Letters''. As Costello has | ||
continued to work in the classical world, he has run into the sort of snooty | continued to work in the classical world, he has run into the sort of snooty | ||
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man who failed his O-levels in music!" | man who failed his O-levels in music!" | ||
It occurred to me listening that one reason for the Beatles appeal is never | It occurred to me listening that one reason for the Beatles appeal is never mentioned. We think of the Beatles as great melodists, but while Paul's melodies were quite sophisticated, John's were often very narrow and plain, almost folkie. Now there are advantages and disadvantages to both plain and elaborate vocal melodies. The good thing about a plain melody is that it tends to suggest that the lyrics are true, that the singer is speaking directly to you without ornamentation. That's why polemicists, leftists, and country singers like conversational melodies. Such tunes can, however, get boring. The good thing about ornate melodies is that they excite the ear and keep the listener's attention, but they can also erect a distance from the lyric and make the listener suspect that the blatant craft of the musical construction means that the singer is not speaking his heart, is putting on affectations. Bruce Springsteen and Johnny Cash, who favor plain melodies, sound very sincere but risk being repetitious. The Beach Boys are musically compelling, but the words and sentiments often come off as artificial or banal — disconnected from the voice singing them. What was remarkable about the Lennon/McCartney team was that the main melody, often sung by John, had that simple, plain-speaking directness that suggests this is true, while the harmonies, often sung by Paul, were innovative and aurally exciting. The combination (and each was capable of taking on the other's role) produced songs that felt both musically compelling and lyrically sincere, innovative craftmanship married to heartfelt delivery. | ||
mentioned. We think of the Beatles as great melodists, but while Paul's | |||
melodies were quite sophisticated, John's were often very narrow and plain, | |||
almost folkie. Now there are advantages and disadvantages to both plain and | |||
elaborate vocal melodies. The good thing about a plain melody is that it | |||
tends to suggest that the lyrics are true, that the singer is speaking | |||
directly to you without ornamentation. That's why polemicists, leftists, and | |||
country singers like conversational melodies. Such tunes can, however, get | |||
boring. The good thing about ornate melodies is that they excite the ear and | |||
keep the listener's attention, but they can also erect a distance from the | |||
lyric and make the listener suspect that the blatant craft of the musical | |||
construction means that the singer is not speaking his heart, is putting | |||
on affectations. Bruce Springsteen and Johnny Cash, who favor plain melodies, | |||
sound very sincere but risk being repetitious. The Beach Boys are musically | |||
compelling, but the words and sentiments often come off as artificial or | |||
banal — disconnected from the voice singing them. What was remarkable about | |||
the Lennon/McCartney team was that the main melody, often sung by John, had | |||
that simple, plain-speaking directness that suggests this is true, while the | |||
harmonies, often sung by Paul, were innovative and aurally exciting. The | |||
combination (and each was capable of taking on the other's role) produced | |||
songs that felt both musically compelling and lyrically sincere, innovative | |||
craftmanship married to heartfelt delivery. | |||
I spun this whole theory out for Costello who listened patiently and then | I spun this whole theory out for Costello who listened patiently and then said, "Which is why they were the best." | ||
said, "Which is why they were the best." | |||
On the rehearsal room stage McCartney was at the piano, leading the Brodskys | On the rehearsal room stage McCartney was at the piano, leading the Brodskys through a rip-roaring "Lady Madonna," after which he called a break. "It's wild," McCartney laughed. "Anything with a string quartet — it completely turns the stuff on its head. And I've never done it before outside of a movie or recording session. Actually doing it live is interesting." | ||
through a rip-roaring "Lady Madonna," after which he called a break. "It's | |||
wild," McCartney laughed. "Anything with a string quartet — it completely | |||
turns the stuff on its head. And I've never done it before outside of a | |||
movie or recording session. Actually doing it live is interesting." | |||
"This is the first time you've played in public with a quartet?" I asked. | "This is the first time you've played in public with a quartet?" I asked. | ||
"Yeah. And it's the first time Elvis and I have played live. We've written | "Yeah. And it's the first time Elvis and I have played live. We've written together, we've made demos together, we've done a bit of recording together and we've always enjoyed it. But we've not actually played live together. It's a bit of a first." | ||
together, we've made demos together, we've done a bit of recording together | |||
and we've always enjoyed it. But we've not actually played live together. | |||
It's a bit of a first." | |||
McCartney requested that Costello and the Brodskys do a couple of songs and | McCartney requested that Costello and the Brodskys do a couple of songs and they played "I Almost Had a Weakness" and "The Birds Will Still be Singing" the former the funniest song from ''The Juliet Letters'' and the latter the most beautiful. Next they did a showstopping version of Brian Wilson's "God Only Knows," the best encore number from their tours. | ||
they played "I Almost Had a Weakness" and "The Birds Will Still be Singing" | |||
the former the funniest song from ''The Juliet Letters'' and the latter the most | |||
beautiful. Next they did a showstopping version of Brian Wilson's "God Only | |||
Knows," the best encore number from their tours. | |||
"I suggested the Brods do something of their own choice," McCartney explained | "I suggested the Brods do something of their own choice," McCartney explained "Which was 'Harold.' Then I asked Elvis if he would do a couple of things off ''Juliet Letters'' because I really like that. I think I expressed that those two were my favorites, so I kind of chose them. Then he said, 'Well, I'll tell you what. We should do 'God Only Knows' cause it's a good | ||
"Which was 'Harold.' Then I asked Elvis if he would do a couple of things | |||
off ''Juliet Letters'' because I really like that. I think I expressed that | |||
those two were my favorites, so I kind of chose them. Then he said, 'Well, | |||
I'll tell you what. We should do 'God Only Knows' cause it's a good | |||
showstopper.'" | showstopper.'" | ||
With that McCartney went up and joined Costello onstage for some two acoustic | With that McCartney went up and joined Costello onstage for some two acoustic guitar Everly Brothers action. They played and sang the Beatles' "One After 909" and the McCartney/MacManus song "Mistress and Maid." It was interesting that of the dozen or so songs they've co-written they chose to perform that one for their duet debut, rather than the better known "My Brave Face" or "Veronica." | ||
guitar Everly Brothers action. They played and sang the Beatles' "One After | |||
909" and the McCartney/MacManus song "Mistress and Maid." It was interesting | |||
that of the dozen or so songs they've co-written they chose to perform that | |||
one for their duet debut, rather than the better known "My Brave Face" or | |||
"Veronica." | |||
"Mistress and Maid" is a hard dark song, a lament for a marriage as cold as | "Mistress and Maid" is a hard dark song, a lament for a marriage as cold as "For No One" and considerably more acerbic. The refrain is the wife saying to her oafish husband, "Look what you've done to me, I'm just your mistress and maid." On the recorded version, on McCartney's Off the Ground, the song was overproduced and Paul sang it like a lip-smacking movie villain, as if worried that people might miss the point. Singing it stripped down with Costello, McCartney held back and in doing so made the lyric much more powerful. Scarier, too. | ||
"For No One" and considerably more acerbic. The refrain is the wife saying | |||
to her oafish husband, "Look what you've done to me, I'm just your mistress | |||
and maid." On the recorded version, on McCartney's Off the Ground, the song | |||
was overproduced and Paul sang it like a lip-smacking movie villain, as if | |||
worried that people might miss the point. Singing it stripped down with | |||
Costello, McCartney held back and in doing so made the lyric much more | |||
powerful. Scarier, too. | |||
"It's lesser known than some of the others but it's one that we enjoyed | "It's lesser known than some of the others but it's one that we enjoyed writing," he said. "It's tempting on a short show to just pack it with your hits that everyone knows. But we decided it would be nice to stick that one in. One of the reasons we wanted to do it is because I did record it up. I sort of made more of a record of it when we did it. Afterward I remembered how it was when we demo'd it. For one thing it was a completely different key. We're singing it really low here and I think I put it up from D to G, I whapped it right up. So it is a more intimate version, which is what the original song was. It got lighter when we recorded it. | ||
writing," he said. "It's tempting on a short show to just pack it with your | |||
hits that everyone knows. But we decided it would be nice to stick that one | |||
in. One of the reasons we wanted to do it is because I did record it up. I | |||
sort of made more of a record of it when we did it. Afterward I remembered | |||
how it was when we demo'd it. For one thing it was a completely different | |||
key. We're singing it really low here and I think I put it up from D to G, I | |||
whapped it right up. So it is a more intimate version, which is what the | |||
original song was. It got lighter when we recorded it. | |||
Hearing "Mistress and Maid" next to "Eleanor Rigby," "For No One" and | Hearing "Mistress and Maid" next to "Eleanor Rigby," "For No One" and "Yesterday," I realized that McCartney's public image as an eternal optimist is not supported by his work. It was something I'd been circling around since I heard Steve Earle's new version of "I'm Lookin Through You," as bitter a put-down song as ever got softened in the studio. McCartney has certainly written lots of positive songs, but from "Hey Jude" and "Let It Be" to "That Day is Done" and "Put It There," his optimism is always in the face of a shadow. There is always some awful thing that has to be overcome. If there's a defining subtext in McCartney's music it's probably "Take these broken wings and learn to fly." | ||
"Yesterday," I realized that McCartney's public image as an eternal optimist | |||
is not supported by his work. It was something I'd been circling around since | |||
I heard Steve Earle's new version of "I'm Lookin Through You," as bitter a | |||
put-down song as ever got softened in the studio. McCartney has certainly | |||
written lots of positive songs, but from "Hey Jude" and "Let It Be" to "That | |||
Day is Done" and "Put It There," his optimism is always in the face of a | |||
shadow. There is always some awful thing that has to be overcome. If there's | |||
a defining subtext in McCartney's music it's probably "Take these broken | |||
wings and learn to fly." | |||
"Yeah, well," McCartney said quietly, "that's me I suppose. I think that the | "Yeah, well," McCartney said quietly, "that's me I suppose. I think that the danger is if you just get into the happy songs then it can be a little bit music hall. It can get a little bit light. So I like to always have a little bit of edge, or else a little bit of tongue-in-cheek. You know, 'When I'm 64' isn't really a song about growing old, although on the surface it is. It's a joke song, but it has serious concerns in it, a little melancholy. | ||
danger is if you just get into the happy songs then it can be a little bit | |||
music hall. It can get a little bit light. So I like to always have a little | |||
bit of edge, or else a little bit of tongue-in-cheek. You know, 'When I'm 64' | |||
isn't really a song about growing old, although on the surface it is. It's a | |||
joke song, but it has serious concerns in it, a little melancholy. | |||
'Yesterday' — she went away and all that shit. 'Suddenly I'm not half the man | 'Yesterday' — she went away and all that shit. 'Suddenly I'm not half the man I used to be.' But if you think about it, I was writing those in my early 20s! Talking about not half the man I used to be when I was barely a man!" | ||
I used to be.' But if you think about it, I was writing those in my early | |||
20s! Talking about not half the man I used to be when I was barely a man!" | |||
I said, if you'd been half that man you'd have been eleven. | I said, if you'd been half that man you'd have been eleven. | ||
"They have more poignancy now," McCartney said, "just because of the water | "They have more poignancy now," McCartney said, "just because of the water that's been under all our bridges. So we all now relate to those lyrics a little bit more seriously. Perhaps." He changed gears and said, "But you know, my composing has always been made up, it's a fantasy. I remember George Harrison saying to me when I did 'Ob-La-Di, Ob-La-Da,' 'How'd you do that? You don't know anyone named Desmond or Molly, you don't know any of these people.' | ||
that's been under all our bridges. So we all now relate to those lyrics a | |||
little bit more seriously. Perhaps." He changed gears and said, "But you | |||
know, my composing has always been made up, it's a fantasy. I remember George | |||
Harrison saying to me when I did 'Ob-La-Di, Ob-La-Da,' 'How'd you do that? | |||
You don't know anyone named Desmond or Molly, you don't know any of these | |||
people.' | |||
"I said, 'I just like making up a story.' A short story writer doesn't | "I said, 'I just like making up a story.' A short story writer doesn't necessarily know the pit and the pendulum, he hasn't necessarily been to Dracula's castle. But he makes it up as an escape in a way. I think a lot of my songwriting always was, and still is, an escape." | ||
necessarily know the pit and the pendulum, he hasn't necessarily been to | |||
Dracula's castle. But he makes it up as an escape in a way. I think a lot of | |||
my songwriting always was, and still is, an escape." | |||
From? | From? | ||
"From the harsh realities of the world. If I'm in a bad mood, I always find | "From the harsh realities of the world. If I'm in a bad mood, I always find that a good time to write a song. Go off on your own and put the feelings in a song rather than in someone's face. The fact that it's a musical vehicle seems to defuse it a bit. Rather than just shouting at someone or wagging a finger, you can get those emotions out. | ||
that a good time to write a song. Go off on your own and put the feelings in | |||
a song rather than in someone's face. The fact that it's a musical vehicle | |||
seems to defuse it a bit. Rather than just shouting at someone or wagging a | |||
finger, you can get those emotions out. | |||
"I think 'For No One' was probably an argument with a girlfriend. I think that | "I think 'For No One' was probably an argument with a girlfriend. I think that was a little bit of a tough time. But 'Eleanor Rigby' was completely fictitious. When I grew up I remember hearing from various people that people like sad songs. It had not really occurred to me. So as I became a songwriter I always remembered, 'People liked sad songs. I don't know why, but they just like 'em. They work in music.' I now know why. It's because it's a powerful medium to put those emotions in. But 'Eleanor' was completely fictitious. There is a grave up in Liverpool..." | ||
was a little bit of a tough time. But 'Eleanor Rigby' was completely | |||
fictitious. When I grew up I remember hearing from various people that | |||
people like sad songs. It had not really occurred to me. So as I became a | |||
songwriter I always remembered, 'People liked sad songs. I don't know why, | |||
but they just like 'em. They work in music.' I now know why. It's because | |||
it's a powerful medium to put those emotions in. But 'Eleanor' was completely | |||
fictitious. There is a grave up in Liverpool..." | |||
Oh yes, the famous story of the grave of an Eleanor Rigby in the churchyard | Oh yes, the famous story of the grave of an Eleanor Rigby in the churchyard where McCartney met Lennon. "I think I made the name up!" McCartney said. "But right there in Woolton in the church John and I used to hang out near... It's all pretty spooky but as far as I'm concerned it was just a matter of chance." | ||
where McCartney met Lennon. "I think I made the name up!" McCartney said. | |||
"But right there in Woolton in the church John and I used to hang out near... | |||
It's all pretty spooky but as far as I'm concerned it was just a matter of | |||
chance." | |||
It was about 11 PM when the rehearsal broke up. A while later I was walking | It was about 11 PM when the rehearsal broke up. A while later I was walking back toward Hyde Park, toward my hotel, when a car pulled up alongside me and McCartney stuck his head out of the window. "Hey, want a ride?" I climbed in and he said, "Just push that junk over." A lyric book and an acoustic guitar. The next evening at the Palace Prince Charles' guests stood around drinking champagne and waiting for the royal gig to begin. As everyone filed into a drawing room where a makeshift stage had been erected under a particularly porcine portrait of Henry VIII, Paul Cassidy — the Irish Brodsky — spotted the Prince's butler telling four crestfallen teenage girls who had played violin music while the guests arrived that in spite of what they had been promised they would not be allowed to go in and watch McCartney play after all. The only chairs not taken by guests were close to the Prince and Charles could not be seated within eyesight of the help. Cassidy's Irish ears turned red at this insult to the only other musicians in the place. Pretty soon the kids found themselves seated behind the curtain with the McCartneys, while Elvis went and found programs for them. They got the best seats in the house. | ||
back toward Hyde Park, toward my hotel, when a car pulled up alongside me and | |||
McCartney stuck his head out of the window. "Hey, want a ride?" I climbed in | |||
and he said, "Just push that junk over." A lyric book and an acoustic guitar. | |||
The next evening at the Palace Prince Charles' guests stood around drinking | |||
champagne and waiting for the royal gig to begin. As everyone filed into a | |||
drawing room where a makeshift stage had been erected under a particularly | |||
porcine portrait of Henry VIII, Paul Cassidy — the Irish Brodsky — spotted | |||
the Prince's butler telling four crestfallen teenage girls who had played | |||
violin music while the guests arrived that in spite of what they had been | |||
promised they would not be allowed to go in and watch McCartney play after | |||
all. The only chairs not taken by guests were close to the Prince and Charles | |||
could not be seated within eyesight of the help. Cassidy's Irish ears turned | |||
red at this insult to the only other musicians in the place. Pretty soon the | |||
kids found themselves seated behind the curtain with the McCartneys, while | |||
Elvis went and found programs for them. They got the best seats in the house. | |||
McCartney says he doesn't think young Prince Charles was at the famous Royal | McCartney says he doesn't think young Prince Charles was at the famous Royal Variety Performance in 1963 when the Beatles played for the Queen and her court. That was the night that John Lennon told the people in the cheap seats to clap "and the rest of you just rattle your jewelry." But you know who was there, also on the bill? The Joe Loss Orchestra with singer Ross MacManus — who got John, Paul, George, and Ringo to sign autographs for his eight-year-old son Declan, a very big Beatles fan. The other day Declan, who now calls himself Costello, told his dad he was playing the palace with McCartney. Ross replied, "Stealing my gig!" | ||
Variety Performance in 1963 when the Beatles played for the Queen and her | |||
court. That was the night that John Lennon told the people in the cheap seats | |||
to clap "and the rest of you just rattle your jewelry." But you know who | |||
was there, also on the bill? The Joe Loss Orchestra with singer Ross MacManus — who got John, Paul, George, and Ringo to sign autographs for his eight-year | |||
-old son Declan, a very big Beatles fan. The other day Declan, who now calls | |||
himself Costello, told his dad he was playing the palace with McCartney. Ross | |||
replied, "Stealing my gig!" | |||
Watching from behind the curtain as McCartney sings a heartbreaking | Watching from behind the curtain as McCartney sings a heartbreaking "Yesterday" Costello says quietly, "Listen to that. That's why this guy is in the business." | ||
"Yesterday" Costello says quietly, "Listen to that. That's why this guy is in | |||
the business." | |||
The morning after the palace show, I follow Costello down to Paris where he | The morning after the palace show, I follow Costello down to Paris where he has agreed to play his first-ever opening act slot, for Bob Dylan. Elvis has his new album of cover songs, ''Kojak Variety'', to promote, but with his perverse ambition he instead treats the French crowd to a set full of new material, what will presumably make up his next album which he will begin recording in August. | ||
has agreed to play his first-ever opening act slot, for Bob Dylan. Elvis has | |||
his new album of cover songs, ''Kojak Variety'', to promote, but with his | |||
perverse ambition he instead treats the French crowd to a set full of new | |||
material, what will presumably make up his next album which he will begin | |||
recording in August. | |||
When he finishes Costello stands behind the curtain watching Dylan weave | When he finishes Costello stands behind the curtain watching Dylan weave through inspired versions of "I Want You," "[[It's All Over Now, Baby Blue|It's All Over Now Baby Blue]]," and a fair chunk of ''Blood on the Tracks''. Studying Dylan this close makes you conscious of what a commanding performer he can be when he chooses and how this endless tour has resulted in his developing, at this late date, unexpected if eccentric skill as a lead guitarist. He plays in blue lights, backlit with a white spot to disguise the lines on his face and emphasize the thin frame and halo of hair. He looks just like the cover of ''Bob Dylan's Greatest Hits''. | ||
through inspired versions of "I Want You," "[[It's All Over Now, Baby Blue|It's All Over Now Baby Blue]]," and | |||
a fair chunk of ''Blood on the Tracks''. Studying Dylan this close makes you | |||
conscious of what a commanding performer he can be when he chooses and how | |||
this endless tour has resulted in his developing, at this late date, | |||
unexpected if eccentric skill as a lead guitarist. He plays in blue lights, | |||
backlit with a white spot to disguise the lines on his face and emphasize | |||
the thin frame and halo of hair. He looks just like the cover of Bob Dylan's | |||
Greatest Hits. | |||
As he comes off stage Dylan confers with Costello, the two of them laughing. | As he comes off stage Dylan confers with Costello, the two of them laughing. I look around and see an unlikely handful of guests gathering behind the stage, including expatriate Americans Elliot Murphy and Ernie Brooks, incoming Attractions Pete Thomas and Steve Nieve, and guitarists Marc Ribot and James Burton. | ||
I look around and see an unlikely handful of guests gathering behind the | |||
stage, including expatriate Americans Elliot Murphy and Ernie Brooks, | |||
incoming Attractions Pete Thomas and Steve Nieve, and guitarists Marc Ribot | |||
and James Burton. | |||
Those last four are here for rehearsals for Costello's ''Kojak Variety'' shows in | Those last four are here for rehearsals for Costello's ''Kojak Variety'' shows in London next week. The next day the Attractions, Ribot, and Burton set up in a Paris rehearsal studio and blast through hours of oldies. It's a gas to watch Burton — who played guitar with Ricky Nelson and Elvis Presley — and avant-gardist Ribot trade licks, work out arrangements, and find common ground. "Better be careful here," Ribot cracks after they practice some harmony lines on the guitar, "We don't want to be mistaken for the Allman Brothers!" Burton is a pure pleasure to watch. He maintains eye contact with all the other musicians like a secret service agent and as hard as he works, he rarely stops smiling. | ||
London next week. The next day the Attractions, Ribot, and Burton set up in | |||
a Paris rehearsal studio and blast through hours of oldies. It's a gas to | |||
watch Burton — who played guitar with Ricky Nelson and Elvis Presley — and | |||
avant-gardist Ribot trade licks, work out arrangements, and find common | |||
ground. "Better be careful here," Ribot cracks after they practice some | |||
harmony lines on the guitar, "We don't want to be mistaken for the Allman | |||
Brothers!" Burton is a pure pleasure to watch. He maintains eye contact with | |||
all the other musicians like a secret service agent and as hard as he works, | |||
he rarely stops smiling. | |||
And here's what it leaves me thinking: if you love rock 'n' roll and all the | And here's what it leaves me thinking: if you love rock 'n' roll and all the music that has grown out of rock 'n' roll, you are very lucky to be around in 1995. | ||
music that has grown out of rock 'n' roll, you are very lucky to be around in | |||
1995. | |||
There will never again be a moment when so many of the giants are alive and | There will never again be a moment when so many of the giants are alive and operating at the same time...[long list of big names] What a great time to be a music lover! | ||
operating at the same time...[long list of big names] What a great time to | |||
be a music lover! | |||
At least that's what I was thinking when I went from watching Paul McCartney | At least that's what I was thinking when I went from watching Paul McCartney singing "For No One" on Thursday to Bob Dylan singing "All Along the Watchtower" on Friday to Elvis Costello jamming with James Burton in a little room on Saturday. How lucky we all are. Leave the complaints to the kids who'll come next, the ones who'll miss what we take for granted. We cats here in the 1990s, we've got it made. | ||
singing "For No One" on Thursday to Bob Dylan singing "All Along the | |||
Watchtower" on Friday to Elvis Costello jamming with James Burton in a little | |||
room on Saturday. How lucky we all are. Leave the complaints to the kids | |||
who'll come next, the ones who'll miss what we take for granted. | |||
We cats here in the 1990s, we've got it made. | |||
{{cx}} | {{cx}} | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1995-08-00 Musician cover.jpg|x120px]] | [[image:1995-08-00 Musician cover.jpg|x120px|border]] | ||
<br><small>Cover.</small | <br><small>Cover.</small> | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://www.elviscostello.info/articles/m/musician.950801a.html elviscostello.info] | *[http://www.elviscostello.info/articles/m/musician.950801a.html elviscostello.info] | ||
{{DEFAULTSORT:Musician 1995-08-00}} | |||
[[Category:Bibliography 1995 | [[Category:Bibliography]] | ||
[[Category:Bibliography 1995]] | |||
[[Category:Musician| Musician 1995-08-00]] | [[Category:Musician| Musician 1995-08-00]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:1995 concert reviews | [[Category:1995 concert reviews]] |
Latest revision as of 00:11, 7 June 2019
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