Melody Maker, June 25, 1977: Difference between revisions
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{{magazine index}} | {{magazine index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> | <center><h3> The Elvis Interview </h3></center> | ||
<center>'''(Costello that is) </center> | <center>'''(Costello that is) </center> | ||
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<center> Allan Jones </center> | <center> Allan Jones </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
Elvis Costello was emphatic: he would volunteer no information about his past. " I don't," he said, adjusting his shades impatiently, "really think that the past -- my past - is all that interesting. | |||
"I don't see any point in talking about the past. I don't want to get into that. I mean, I haven't just learned the guitar in the last ten minutes, but I'm not going to get talking about what I've done in the past. | "I don't see any point in talking about the past. I don't want to get into that. I mean, I haven't just learned the guitar in the last ten minutes, but I'm not going to get talking about what I've done in the past. | ||
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"Nobody showed any interest in me then. If you weren't there, you missed it and that's it. It's gone. The people who were there then either appreciated it or they didn't. The past would only be relevant to them. As far as I'm concerned, it's pointless talking about the past. F--- it. I'd just rather talk about the future, you know." There. I told you he was emphatic didn't I? | "Nobody showed any interest in me then. If you weren't there, you missed it and that's it. It's gone. The people who were there then either appreciated it or they didn't. The past would only be relevant to them. As far as I'm concerned, it's pointless talking about the past. F--- it. I'd just rather talk about the future, you know." There. I told you he was emphatic didn't I? | ||
Elvis Costello and I are bickering this sundrenched Tuesday afternoon in an office above Stiff Records' London HQ because I had, accidentally, seen and been enthralled by his performance a week earlier at the [[Nashville Rooms]]. | |||
Friday, [[Concert 1977-05-27 London|May 27]], it was: I'd tubed over to West Kensington to catch [[the Rumour]] that night. The presence, at the bar of the Nashville, of Stiff executive [[Jake Riviera]], accompanied by an assorted crew of Stiff hirelings and lackeys, seemed, initially, to be of no profound consequence. | Friday, [[Concert 1977-05-27 London|May 27]], it was: I'd tubed over to West Kensington to catch [[the Rumour]] that night. The presence, at the bar of the Nashville, of Stiff executive [[Jake Riviera]], accompanied by an assorted crew of Stiff hirelings and lackeys, seemed, initially, to be of no profound consequence. | ||
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There exist, after all, several connections between Stiff, [[Graham Parker]] and the Rumour; and, anyway, Jake ain't the kind of cat who'd miss out on a decent lig should one appear on the horizon as it had that evening. Jake's appearance, however, was not on this occasion relegated to the pursuit of hedonistic adventures. He announced casually that one Elvis Costello, a recent Stiff protege, was to make a previously unscheduled debut as supporting attraction for the Rumour. This information I received with considerable interest. Elvis Costello, though not yet a name on the lips of the nation, had released two singles (" [[Less Than Zero]]" and, more recently, "[[Alison]]") of rare distinction. To see this enigmatic charmer in action was, unquestionably, a proposition not to be overlooked. Well, I dragged myself away from the bar as a brief whisper of applause signalled El's appearance. And there he stood, alone on the stage: black cropped hair swept back, the inevitable shades shielding his eyes, slickly cut Harry Fenton jacket, blue jeans and Fender guitar. His attitude and performance were both characterised by an aggressive conviction and, as the applause between songs intensified, a clear and thrilling confidence. | There exist, after all, several connections between Stiff, [[Graham Parker]] and the Rumour; and, anyway, Jake ain't the kind of cat who'd miss out on a decent lig should one appear on the horizon as it had that evening. Jake's appearance, however, was not on this occasion relegated to the pursuit of hedonistic adventures. He announced casually that one Elvis Costello, a recent Stiff protege, was to make a previously unscheduled debut as supporting attraction for the Rumour. This information I received with considerable interest. Elvis Costello, though not yet a name on the lips of the nation, had released two singles (" [[Less Than Zero]]" and, more recently, "[[Alison]]") of rare distinction. To see this enigmatic charmer in action was, unquestionably, a proposition not to be overlooked. Well, I dragged myself away from the bar as a brief whisper of applause signalled El's appearance. And there he stood, alone on the stage: black cropped hair swept back, the inevitable shades shielding his eyes, slickly cut Harry Fenton jacket, blue jeans and Fender guitar. His attitude and performance were both characterised by an aggressive conviction and, as the applause between songs intensified, a clear and thrilling confidence. | ||
Elvis Costello, let me tell you, bowled me out of my breeches that night. Why, I even swore that if a platter containing such Costello meisterwerks as "[[(The Angels Wanna Wear My) Red Shoes|(The Angels Wanna Wear) My Red Shoes]], "[[Mystery Dance]]," "[[I'm Not Angry]]" and "[[Waiting For The End Of The World]]," was not in the vicinity of my Dansette turntable by the end of the month I'd be around to Stiff looking for the head of Jake Rivieria. | Elvis Costello, let me tell you, bowled me out of my breeches that night. Why, I even swore that if a platter containing such Costello meisterwerks as "[[(The Angels Wanna Wear My) Red Shoes|(The Angels Wanna Wear) My Red Shoes]]," "[[Mystery Dance]]," "[[I'm Not Angry]]" and "[[Waiting For The End Of The World]]," was not in the vicinity of my Dansette turntable by the end of the month I'd be around to Stiff looking for the head of Jake Rivieria. | ||
The fact that Jake's head remains unsevered would suggest that the platter for which I yearned has been delivered: and so it has, to my immense delight. Trouble is that Stiff, after falling out with Island, are without a distribution organisation. El's album has been temporarily suspended - it was originally due for release this very week, actually. Fear not, however. It will be with you soon: in the meantime, I thought I'd bring you a despatch from the Elvis Costello front... | The fact that Jake's head remains unsevered would suggest that the platter for which I yearned has been delivered: and so it has, to my immense delight. Trouble is that Stiff, after falling out with Island, are without a distribution organisation. El's album has been temporarily suspended - it was originally due for release this very week, actually. Fear not, however. It will be with you soon: in the meantime, I thought I'd bring you a despatch from the Elvis Costello front... | ||
Here we go: Elvis Costello is 22. He's been writing songs for eight years. | |||
Since he first negotiated three juvenile chords on a battered guitar, in fact. He reluctantly admits to listening to the likes of [[the Beatles]], Cliff Bennett and [[Georgie Fame]] as an adolescent: "Standard stuff. Whatever was on the radio." | Since he first negotiated three juvenile chords on a battered guitar, in fact. He reluctantly admits to listening to the likes of [[the Beatles]], Cliff Bennett and [[Georgie Fame]] as an adolescent: "Standard stuff. Whatever was on the radio." | ||
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"They're not all classics. I mean, I've discarded songs I wrote last month because I thought they were inept or didn't match up to the best of what I've written. I wouldn't talk about them, let alone songs I wrote eight years ago." | "They're not all classics. I mean, I've discarded songs I wrote last month because I thought they were inept or didn't match up to the best of what I've written. I wouldn't talk about them, let alone songs I wrote eight years ago." | ||
I had been interested in these earlier songs, I explain, simply because I wanted to form some idea of the pattern and evolution of his writing. The songs collected on his forthcoming album, | I had been interested in these earlier songs, I explain, simply because I wanted to form some idea of the pattern and evolution of his writing. The songs collected on his forthcoming album, ''[[My Aim Is True]]'', for instance, are marked by a precocious maturity. Costello may deal principally with themes familiar in rock - the majority in fact, are concerned with fiercely detailed accounts of romantic encounters and failures - but he introduces a ruthless honesty to these themes and invests his observations and scenarios with perceptive insights and astonishingly vivid images. | ||
The insecurities and infidelities of relationships, adolescent attempts to attain a personal identity and independence, are examined with sensitive compassion and wit often quite acerbic, but equally as often, as on the classic "Alison," with an exquisite tenderness. Always, Costello retains his originality as a lyricist: he avoids conclusively the obvious and tiresome teendream preoccupations of comparative writers like [[Nils Lofgren]] (the midget Yank's recent work, at least), Elliott Murphy and [[Bruce Springsteen|Springsteen]]. No, Elvis' songs possess the cutting clarity of the best of Graham Parker and [[Van Morrison]]: indeed, like this latter pair, Costello's music refers constantly to the classic pop/rock standards of the last decade, each song being sharply defined and full of irresistible hooks and delightful instrumental phrasing (for the verve and incisiveness of the album's sound, some considerable credit must be attributed to [[Nick Lowe]], Elvis' producer). | The insecurities and infidelities of relationships, adolescent attempts to attain a personal identity and independence, are examined with sensitive compassion and wit often quite acerbic, but equally as often, as on the classic "Alison," with an exquisite tenderness. Always, Costello retains his originality as a lyricist: he avoids conclusively the obvious and tiresome teendream preoccupations of comparative writers like [[Nils Lofgren]] (the midget Yank's recent work, at least), Elliott Murphy and [[Bruce Springsteen|Springsteen]]. No, Elvis' songs possess the cutting clarity of the best of Graham Parker and [[Van Morrison]]: indeed, like this latter pair, Costello's music refers constantly to the classic pop/rock standards of the last decade, each song being sharply defined and full of irresistible hooks and delightful instrumental phrasing (for the verve and incisiveness of the album's sound, some considerable credit must be attributed to [[Nick Lowe]], Elvis' producer). | ||
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"I don't attempt to express their feelings. I only write about the way I, feel. I mean, I'm not arbitrator of public taste or opinion. I don't have a following of people who are waiting for my next word. I hope I never have that kind of following. People should be waiting for their own next word. Not mine." | "I don't attempt to express their feelings. I only write about the way I, feel. I mean, I'm not arbitrator of public taste or opinion. I don't have a following of people who are waiting for my next word. I hope I never have that kind of following. People should be waiting for their own next word. Not mine." | ||
Elvis approached Stiff Records last August: he arrived at their office in West London with a tape of his songs and the response of Jake Riviera and [[Dave Robinson]] (also manager of Graham Parker) was immediate and enthusiastic. | |||
They signed him to the label, in fact. | They signed him to the label, in fact. | ||
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"I couldn't give a s--- about the music business. They just don't know anything. That's all you've got to remember. They're irrelevant. I don't give any thought to any of those people. They're not worth my time." | "I couldn't give a s--- about the music business. They just don't know anything. That's all you've got to remember. They're irrelevant. I don't give any thought to any of those people. They're not worth my time." | ||
Elvis, who by this time seems to be metamorphising before my very eyes into the superhuman guise of Captain Verbals, is telling me about his album. It was recorded, he says, on his days off from work (he is a computer analyst in Acton), over a very brief period. | |||
He was fortunate, he readily admits, that Nick Lowe was so sympathetic a producer: their respective ideas were entirely compatible and there were few arguments about the sound and instrumentation employed. All the songs were written within weeks of the first session; "Less Than Zero," his first single, was written three days before it was recorded, for instance. | He was fortunate, he readily admits, that Nick Lowe was so sympathetic a producer: their respective ideas were entirely compatible and there were few arguments about the sound and instrumentation employed. All the songs were written within weeks of the first session; "Less Than Zero," his first single, was written three days before it was recorded, for instance. | ||
Elvis just says he felt inspired and excited. The hits just kept on coming ( | Elvis just says he felt inspired and excited. The hits just kept on coming (''My Aim Is True'', incidentally, is the first album I've heard for ages that sounds as if it is essentially a collection of Top Ten singles), as it were. | ||
"I just love the sound of the album," Elvis enthuses. "`Cos I love things that sound great on the radio. `Less Than Zero,' I thought sounded great on the radio. The record isn't for people with f------ great hi-fis. I'm not interested in those people, or that kind of mentality. I don't want my records to be used to demonstrate f------ stereos in Lasky's. I just want people to '''listen''' to the f------ music. | "I just love the sound of the album," Elvis enthuses. "`Cos I love things that sound great on the radio. `Less Than Zero,' I thought sounded great on the radio. The record isn't for people with f------ great hi-fis. I'm not interested in those people, or that kind of mentality. I don't want my records to be used to demonstrate f------ stereos in Lasky's. I just want people to '''listen''' to the f------ music. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1977-06-25 Melody Maker cover.jpg| | [[image:1977-06-25 Melody Maker cover.jpg|x120px]] | ||
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<br><small>Cover.</small> | <br><small>Cover.</small> | ||
Revision as of 18:03, 6 August 2013
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