Kojak Variety (2004) liner notes: Difference between revisions
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<center><h3> Kojak Variety </h3></center> | <center><h3> Kojak Variety </h3></center> | ||
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I hadn't come to Barbados to fool around even though I was bidding a light-hearted farewell to a group of musicians with whom I'd recorded and toured for the previous five years. | I hadn't come to Barbados to fool around even though I was bidding a light-hearted farewell to a group of musicians with whom I'd recorded and toured for the previous five years. | ||
The | In fact, I had planned to record an entirely different album in 1990. The album that would become ''[[Mighty Like A Rose]]'' was originally intended to feature [[the Attractions]] for the first time since 1986. Unfortunately, the contractual negotiations became a theatre for delusions and long harboured grudges and that version of the record was never made. By contrast, the simple idea to going to a Caribbean island to record "some of my favourite songs with some of my favourite musicians" — as the original sleeve note defined this record — seemed like an inviting prospect. | ||
Jerry and Jim were among the many players involved in the 1988 sessions for ''Spike'', which also heavily featured the guitar playing of Marc Ribot and included a small cameo appearance by Pete Thomas. When it came time to tour, I invited Jerry and Pete to be the rhythm section and asked Marc to play guitar and Eb Horn. Mitchell Froom, who had played keyboards on both albums and toured in the original Confederate line-up, was now so involved in production that he was unable to join the ''Spike'' tour. At Jerry Scheff's suggestion we enlisted Larry Knechtel, who probably has some of the heaviest session credits in popular music. Having left behind both the security and the creative impasse of a permanent group, I thought myself lucky to be able to call on such a rich group of players in both the studio and during live adventures. | The sessions for ''[[King Of America]]'' in 1985 had been my first experience of recording original material with musicians other than the Attractions since 1977. The line-up of "Elvis Costello and His [[The Confederates|Confederates]]" changed during three subsequent tours but guitarist [[James Burton]], bassist [[Jerry Scheff]] and drummer [[Jim Keltner]] were common to all of them. | ||
Jerry and Jim were among the many players involved in the 1988 sessions for ''[[Spike]]'', which also heavily featured the guitar playing of [[Marc Ribot]] and included a small cameo appearance by [[Pete Thomas]]. When it came time to tour, I invited Jerry and Pete to be the rhythm section and asked Marc to play guitar and Eb Horn. [[Mitchell Froom]], who had played keyboards on both albums and toured in the original Confederate line-up, was now so involved in production that he was unable to join the ''Spike'' tour. At Jerry Scheff's suggestion we enlisted [[Larry Knechtel]], who probably has some of the heaviest session credits in popular music. Having left behind both the security and the creative impasse of a permanent group, I thought myself lucky to be able to call on such a rich group of players in both the studio and during live adventures. | |||
When planning the Barbados trip, I knew I could rely entirely on Jerry Scheff for the bass playing but decided to invite both Pete Thomas and Jim Keltner, scheduling five days with each drummer, making sure that they overlapped for a couple for sessions in case we wanted to attempt anything unusual. I also guessed that the contrast of styles between Marc Ribot and James Burton was bound create some heat but really only got to know Larry during the sessions. I soon discovered that he always knew the right thing to play. | When planning the Barbados trip, I knew I could rely entirely on Jerry Scheff for the bass playing but decided to invite both Pete Thomas and Jim Keltner, scheduling five days with each drummer, making sure that they overlapped for a couple for sessions in case we wanted to attempt anything unusual. I also guessed that the contrast of styles between Marc Ribot and James Burton was bound create some heat but really only got to know Larry during the sessions. I soon discovered that he always knew the right thing to play. | ||
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''Kojak Variety'' was the name of a grocery store on the route to the studio. I imagine that the sign was put up during the "Who loves you baby?" craze, it being the catchphrase of Telly Savalas' lollipop-sucking television detective. Somehow it seemed to fit my arcane selection of songs and the sleeve design was to even made it look like the logo of an old soap powder.
| ''Kojak Variety'' was the name of a grocery store on the route to the studio. I imagine that the sign was put up during the "Who loves you baby?" craze, it being the catchphrase of Telly Savalas' lollipop-sucking television detective. Somehow it seemed to fit my arcane selection of songs and the sleeve design was to even made it look like the logo of an old soap powder.
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An early bout of laryngitis lent a unique vocal tone to a couple of cuts. It was brought on by over enthusiastic rehearsals and then falling asleep in the icy air conditioning of our hotel blowing full blast. Nevertheless, we cut the songs pretty fast. In every case we listened to a recorded version of the song and decided if there was anything essential that we should preserve from the original arrangement. I knew I could count on my own voice and the personality of the players to provide a new fresh take on the material. It was pretty uncomplicated work. | An early bout of laryngitis lent a unique vocal tone to a couple of cuts. It was brought on by over enthusiastic rehearsals and then falling asleep in the icy air conditioning of our hotel blowing full blast. Nevertheless, we cut the songs pretty fast. In every case we listened to a recorded version of the song and decided if there was anything essential that we should preserve from the original arrangement. I knew I could count on my own voice and the personality of the players to provide a new fresh take on the material. It was pretty uncomplicated work. | ||
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I've tried not to cut songs that are too familiar. I found "Strange" on the b-side of a Screaming Jay Hawkins single on Roulette. It asks the musical questions: "How many wrinkles in a pickle? How many hairs in a head? How many waves in the ocean? How many crumbs in bread? ... How many bubbles in soap? How many chewings in gum? How many rolls in wheel?" and most importantly ... "Where did eyeballs come from?" Marc Ribot takes full advantage of the invitation to "go strange" during the solo and fade. | I've tried not to cut songs that are too familiar. I found "Strange" on the b-side of a Screaming Jay Hawkins single on Roulette. It asks the musical questions: "How many wrinkles in a pickle? How many hairs in a head? How many waves in the ocean? How many crumbs in bread? ... How many bubbles in soap? How many chewings in gum? How many rolls in wheel?" and most importantly ... "Where did eyeballs come from?" Marc Ribot takes full advantage of the invitation to "go strange" during the solo and fade. | ||
At different times in my life I have haunted such shops as Potter's Music in Richmond, where I also bought my first proper guitar and still get many of my favourite jazz and ballad recordings; Probe in Liverpool, where I stumbled through a teenage crisis brought on by trying to like psychedelic music; Rock On in Camden Town, where I bought the pile of Stax singles that helped shape the album ''Get Happy'' and, from the first time I traveled across America, the countless thrift stores and pawn shops which offered the chance of discovering an entire album by some group or singer that I had previously only known from singles or a scrappy compilation record. | On "Hidden Charms" Larry Knechtel's wah-wah Hammond organ shadows Ribot as he delivers a long, swinging solo which tips a hat to Hubert Sumlin (the guitar player on the Howlin' Wolf original). Marc takes several choruses courtesy of some fine brushes work by Pete Thomas. "[[Hidden Charms]]" was written by the great [[Willie Dixon]]. | ||
At different times in my life I have haunted such shops as Potter's Music in Richmond, where I also bought my first proper guitar and still get many of my favourite jazz and ballad recordings; Probe in Liverpool, where I stumbled through a teenage crisis brought on by trying to like psychedelic music; Rock On in Camden Town, where I bought the pile of Stax singles that helped shape the album ''[[Get Happy!!|Get Happy]]'' and, from the first time I traveled across America, the countless thrift stores and pawn shops which offered the chance of discovering an entire album by some group or singer that I had previously only known from singles or a scrappy compilation record. | |||
Some of my best discoveries have been made in what may be the greatest record collecting store in the world: Village Music in Mill Valley, California. Any shop that confronts you with its own ever-changing "Hall of Fame" (which might include a Lester Young, The Fairfield Four, some Bill Monroe and a great Otis Rush anthology) AND a rack called "Sometimes the cover is enough," featuring such classics as ''Music for Sleepwalkers'', must be doing something right. | Some of my best discoveries have been made in what may be the greatest record collecting store in the world: Village Music in Mill Valley, California. Any shop that confronts you with its own ever-changing "Hall of Fame" (which might include a Lester Young, The Fairfield Four, some Bill Monroe and a great Otis Rush anthology) AND a rack called "Sometimes the cover is enough," featuring such classics as ''Music for Sleepwalkers'', must be doing something right. | ||
It was here that I bought | It was here that I bought ''The Supremes Sing Holland/Dozier/Holland''. It included some of their own best-sellers and "covers" of other Motown artists' hits such as "Same Old Song" and "Heatwave". The odd song out was "[[Remove This Doubt]]". There's a touch of film music about this one. The thing that sounds like a big zither in the solo is actually a plucked piano string. | ||
One of the better known songs included here is Bob Dylan's "I Threw It All Away" | |||
One of the better known songs included here is [[Bob Dylan]]'s "[[I Threw It All Away]]." It comes from his album ''Nashville Skyline''. Such was the departure of that record's vocal and writing style that the simple beauty of this song seems to have been overlooked. I performed the song on my very first solo tour in 1984. Larry Knechtel leads the way in this arrangement with some mighty piano and organ. | |||
One of the great albums in my parents' collection when I was very young was a ten-inch album by Peggy Lee called "Black Coffee". I'm not sure whether "Fever" was on that disc but I've listened to Peggy Lee all my life and somewhere along the way I got curious about the Little Willie John version. The only other time I had even seen his name was as writer of "Need Your Love So Bad". Peter Green cut a superb rendition of this with the "original" Fleetwood Mac. If you don't already know Little Willie John's stuff I would suggest any anthology with such sides as "All Around The World", "Big Blue Diamonds" and the "answer-songs" to "Fever": "Spasms," "My Nerves" and "I'm Shakin'". He also recorded "Leave My Kitten Alone," although I have heard it by The Beatles. I've played it with both The Attractions and The Rude Five. Our recorded account was cut with Pete Thomas and Jim Keltner sharing parts of a dismantled drum kit. Pete played snare, hi-hat and tom-tom while Jim played bass drum with a hand-held beater — telling Pete he would give him "the best right foot he'd ever had". James Burton takes the solo. | One of the great albums in my parents' collection when I was very young was a ten-inch album by Peggy Lee called "Black Coffee". I'm not sure whether "Fever" was on that disc but I've listened to Peggy Lee all my life and somewhere along the way I got curious about the Little Willie John version. The only other time I had even seen his name was as writer of "Need Your Love So Bad". Peter Green cut a superb rendition of this with the "original" Fleetwood Mac. If you don't already know Little Willie John's stuff I would suggest any anthology with such sides as "All Around The World", "Big Blue Diamonds" and the "answer-songs" to "Fever": "Spasms," "My Nerves" and "I'm Shakin'". He also recorded "Leave My Kitten Alone," although I have heard it by The Beatles. I've played it with both The Attractions and The Rude Five. Our recorded account was cut with Pete Thomas and Jim Keltner sharing parts of a dismantled drum kit. Pete played snare, hi-hat and tom-tom while Jim played bass drum with a hand-held beater — telling Pete he would give him "the best right foot he'd ever had". James Burton takes the solo. | ||
I learned the name Mose Allison from Georgie Fame's records. His | I learned the name [[Mose Allison]] from [[Georgie Fame]]'s records. His ''Fame At Last'' and ''Sound Venture'' introduced me to the music of Lambert, Hendricks and Ross, [[Gerry Goffin|Goffin]] and [[Carole King|King]]'s "[[Point Of No Return (Gerry Goffin and Carole King song)|Point Of No Return]]" and [[Neal Hefti]]'s "[[Li'l Darlin'|Lil' Darlin']]." Later I realised that the Georgie Fame record of Willie Dixon's "[[I Love The Life I Live (I Live The Life I Love)|I Love The Life I Live]]" was actually modelled on the Mose Allison version. Although Georgie did several Mose Allison tunes I don't think he ever cut "[[Everybody's Crying Mercy]]." I found it first on [[Bonnie Raitt]]'s third album: ''Taking My Time''. Marc Ribot leads this version which features a fine, funny coda from the whole band. | ||
I don't know if many people will be familiar with Randy Newman's "I've Been Wrong Before." It was written before he started his own recording career and cut by both Dusty Springfield and [[Cilla Black]]. I learned it from the Dusty Springfield version. In fact she recorded two of Randy Newman's pop masterpieces on her great album "Dusty in Memphis": "Just One Smile" and "I Don't Want To Hear It Anymore" — a song which I half-quote in my song "Accidents Will Happen." Larry and Marc combine well for the broken musical-box accompaniment in this new arrangement. | I don't know if many people will be familiar with [[Randy Newman]]'s "[[I've Been Wrong Before]]." It was written before he started his own recording career and cut by both [[Dusty Springfield]] and [[Cilla Black]]. I learned it from the Dusty Springfield version. In fact she recorded two of Randy Newman's pop masterpieces on her great album "Dusty in Memphis": "Just One Smile" and "I Don't Want To Hear It Anymore" — a song which I half-quote in my song "[[Accidents Will Happen]]." Larry and Marc combine well for the broken musical-box accompaniment in this new arrangement. | ||
I first heard Little Richard's "Bama Lama Bama Loo" in 1964. It was released on a yellow "London American Recordings" 45. I have the record in front of me now. It's an "A" label copy which means I got it from my father. | I first heard Little Richard's "Bama Lama Bama Loo" in 1964. It was released on a yellow "London American Recordings" 45. I have the record in front of me now. It's an "A" label copy which means I got it from my father. | ||
During my Dad's time singing with The Joe Loss Orchestra he used to bring home all kinds of "A" label advance copies and even acetates of songs he was to learn for that week's radio broadcast. The process of securing "live" or radio covers was still crucial to both record companies and music publishers. As late as the release of The Beatles' | During my Dad's time singing with The Joe Loss Orchestra he used to bring home all kinds of "A" label advance copies and even acetates of songs he was to learn for that week's radio broadcast. The process of securing "live" or radio covers was still crucial to both record companies and music publishers. As late as the release of The Beatles' ''Rubber Soul'', when they hardly needed a helping hand, their publishers, Northern Songs, were still sending out acetates of non-single tracks such as "[[Girl]]" and "Michelle" so that the songs were covered by the radio dancebands. When my Dad had finished learning the song he gave me the record. This meant that I had far more singles than pocket money would have bought. It also meant that I used to keep my fingers crossed so that, out of the three band singers, my Father would be allotted my favourites from each batch of the new releases. It also certainly means that I am actually the second member of the MacManus family to perform "Bama Lama Bama Loo." | ||
I cannot attempt the famous Penniman "Whoooo!" so James Burton provides The Voice Of Lucinda. Once again Pete Thomas and Jim Keltner share parts of a drum kit. Ribot takes the first solo and James the second. | I cannot attempt the famous Penniman "Whoooo!" so James Burton provides The Voice Of Lucinda. Once again Pete Thomas and Jim Keltner share parts of a drum kit. Ribot takes the first solo and James the second. | ||
In some cases I've changed the style of the song quite a bit. Bill Anderson's "Must You Throw Dirt In My Face" was originally recorded by the Louvin Brothers but we did it as an R'n'B ballad. | In some cases I've changed the style of the song quite a bit. [[Bill Anderson]]'s "[[Must You Throw Dirt In My Face]]" was originally recorded by the Louvin Brothers but we did it as an R'n'B ballad. | ||
When I was growing up most "country" hits were novelty records. I didn't get curious about country until I heard The Byrds' ''Sweetheart of the Rodeo'' and started seeking out the original versions by the artists they had covered. These included the Louvins' "Christian Life" but I didn't get the bug for them until I heard their songs cut by Gram Parsons. There's still a record exchange in Wandsworth where I picked up a bargain-priced import copy of ''G.P.'', his first solo album. It was the first record that I actually owned featuring James Burton and here he is playing on this arrangement. | When I was growing up most "country" hits were novelty records. I didn't get curious about country until I heard [[The Byrds]]' ''Sweetheart of the Rodeo'' and started seeking out the original versions by the artists they had covered. These included the Louvins' "Christian Life" but I didn't get the bug for them until I heard their songs cut by [[Gram Parsons]]. There's still a record exchange in Wandsworth where I picked up a bargain-priced import copy of ''G.P.'', his first solo album. It was the first record that I actually owned featuring James Burton and here he is playing on this arrangement. | ||
Having recorded an entire album in Nashville I wanted to do something different with this song and took a cue from the way Percy Sledge approaches country ballads. Anyway, I didn't have anyone to harmonise with. Even though I have performed the Louvins song "My Baby's Gone" with Nick Lowe, he does it much better on his own. I've also been known to reel off their very grim murder ballad "Knoxville Girl." If you're a fan of The Everly Brothers or any of the great vocal duos who went before them then you probably know the Louvin Brothers' records. If you don't know their tunes then try to find "Tragic Songs Of Life" or one of the many re-issues now available. | Having recorded an entire album in Nashville I wanted to do something different with this song and took a cue from the way [[Percy Sledge]] approaches country ballads. Anyway, I didn't have anyone to harmonise with. Even though I have performed the Louvins song "[[My Baby's Gone]]" with [[Nick Lowe]], he does it much better on his own. I've also been known to reel off their very grim murder ballad "[[Knoxville Girl]]." If you're a fan of The Everly Brothers or any of the great vocal duos who went before them then you probably know the Louvin Brothers' records. If you don't know their tunes then try to find "Tragic Songs Of Life" or one of the many re-issues now available. | ||
Some years ago when I was in Japan I discovered "Pouring Water On A Drowning Man" by James Carr on a brand new Goldwax Records issue. This was at a time when his records were shamefully absent from catalogues in the US and Britain. For years I've taken it to be another of the great Dan Penn songs. Perhaps this is because Carr shares the Moman/Penn classic "Dark End Of The Street" with Percy Sledge (who also cut Penn and Oldham's "Out Of Left Field" and "It Tears Me Up"). In fact "Pouring water..." was written by the team of Baker and McCormick. | Some years ago when I was in Japan I discovered "Pouring Water On A Drowning Man" by James Carr on a brand new Goldwax Records issue. This was at a time when his records were shamefully absent from catalogues in the US and Britain. For years I've taken it to be another of the great Dan Penn songs. Perhaps this is because Carr shares the Moman/Penn classic "Dark End Of The Street" with Percy Sledge (who also cut Penn and Oldham's "Out Of Left Field" and "It Tears Me Up"). In fact "Pouring water..." was written by the team of Baker and McCormick. | ||
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"Ship Of Fools" was cut during the Blue Wave sessions but was made exclusively for ''[[Deadicated]]'', an album of Grateful Dead songs. The track is slightly more ordered and arrangement than the tracks on the album. James Burton plays the guitar tag of the cut that begins with the opening statement Jerry Garcia's original guitar solo and then goes somewhere that is entirely "James". | "Ship Of Fools" was cut during the Blue Wave sessions but was made exclusively for ''[[Deadicated]]'', an album of Grateful Dead songs. The track is slightly more ordered and arrangement than the tracks on the album. James Burton plays the guitar tag of the cut that begins with the opening statement Jerry Garcia's original guitar solo and then goes somewhere that is entirely "James". | ||
Perhaps the strangest group of songs is those from Track 2 to Track 11 of CD2. Perhaps I should explain them. I have worked with George Jones on three separate occasions over twenty years but we have always lost touch in between times. Nevertheless, I was approached in 1993 by ''[[Interview | Perhaps the strangest group of songs is those from Track 2 to Track 11 of CD2. Perhaps I should explain them. I have worked with George Jones on three separate occasions over twenty years but we have always lost touch in between times. Nevertheless, I was approached in 1993 by ''[[Interview magazine, November 1992|Interview]]'' magazine to present a series of questions to the great man. | ||
Our telephone conversation began bizarrely. I enquired as to George's wellbeing and he replied that he was doing well with the dog food. It was not until later on that I found out he was referring to a product endorsement that he had made. Eventually, the topic came around to songs from outside of country music that I imagined might very well suit such a fine singer, thereby turning them into "George Jones songs". It didn't seem as if George had been doing too much broad listening, as he had apparently never heard of some of the composers, let alone their songs. | Our telephone conversation began bizarrely. I enquired as to George's wellbeing and he replied that he was doing well with the dog food. It was not until later on that I found out he was referring to a product endorsement that he had made. Eventually, the topic came around to songs from outside of country music that I imagined might very well suit such a fine singer, thereby turning them into "George Jones songs". It didn't seem as if George had been doing too much broad listening, as he had apparently never heard of some of the composers, let alone their songs. | ||
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Tracks 13, 14 and 16 were recorded for ''The Family'', a dark and harrowing BBC/RTE television drama series by Roddy Doyle. Each episode ended with a song that echoed the tone of the final scene. Given that the drama was about abuse and domestic violence (and that fourth episode ended with "Kinder Murder" from ''Brutal Youth'') it is probably not too hard to imagine how "You've Got To Hide Your Love Away" and "Sticks And Stones" – a Titus Turner song best known by Ray Charles – fitted into the story. "Step Inside Love" was obviously used in more ironic fashion. This wonderful Paul McCartney song was originally made famous by Cilla Black as the theme tune to her late 60s/early 70s TV show. The band line-up on these songs included Pete Thomas, Steve Nieve together with bassist Trevor Barry and guitarist Steve Donnelly. | Tracks 13, 14 and 16 were recorded for ''The Family'', a dark and harrowing BBC/RTE television drama series by Roddy Doyle. Each episode ended with a song that echoed the tone of the final scene. Given that the drama was about abuse and domestic violence (and that fourth episode ended with "Kinder Murder" from ''Brutal Youth'') it is probably not too hard to imagine how "You've Got To Hide Your Love Away" and "Sticks And Stones" – a Titus Turner song best known by Ray Charles – fitted into the story. "Step Inside Love" was obviously used in more ironic fashion. This wonderful Paul McCartney song was originally made famous by Cilla Black as the theme tune to her late 60s/early 70s TV show. The band line-up on these songs included Pete Thomas, Steve Nieve together with bassist Trevor Barry and guitarist Steve Donnelly. | ||
I first heard Arthur Alexander's song "Anna" as recorded by The Beatles on their 1963 EP "Beatles No. 1". Having always loved his songs whenever I came across them, I was happy to contribute this version of "Sally Sue Brown" to the 1994 tribute album ''Adios Amigo''. It is a solo cut with an overdubbed guitar solo. | I first heard Arthur Alexander's song "[[Anna (Go To Him)|Anna]]" as recorded by The Beatles on their 1963 EP "Beatles No. 1". Having always loved his songs whenever I came across them, I was happy to contribute this version of "Sally Sue Brown" to the 1994 tribute album ''Adios Amigo''. It is a solo cut with an overdubbed guitar solo. | ||
"That's How You Got Killed Before" is a Dave Bartholomew song from the 1950s that served as the opening (and sometimes also the closing) number of every "Confederate" show in the late 80s. This version was produced in New York by Scott Billington for the Dirty Dozen Brass Band's ''New Orleans Album''. This album was issued in 1990, in between our collaborations on the ''Spike'' and ''Mighty Like A Rose'' albums. | "That's How You Got Killed Before" is a Dave Bartholomew song from the 1950s that served as the opening (and sometimes also the closing) number of every "Confederate" show in the late 80s. This version was produced in New York by Scott Billington for the Dirty Dozen Brass Band's ''New Orleans Album''. This album was issued in 1990, in between our collaborations on the ''Spike'' and ''Mighty Like A Rose'' albums. | ||
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'''Kojak Variety liner notes''' (2004) | '''Kojak Variety liner notes''' (2004) | ||
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Elvis Costello's liner notes for the 2004 [[ | Elvis Costello's liner notes for the 2004 [[Kojak Variety (2004 Rhino/Edsel Bonus Disc)|Rhino/Edsel]] reissue of ''[[Kojak Variety]]''. | ||
{{Bibliography no images}} | {{Bibliography no images}} |
Latest revision as of 20:00, 26 February 2021
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