Rolling Stone, November 28, 2018: Difference between revisions

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{{:Bibliography index}}
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{{:Rolling Stone index}}
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<center>'''Music Features'''</center>
<center><h3> Elvis Costello explains his songwriting secrets </h3></center>
<center><h3> Elvis Costello Explains His Songwriting Secrets</h3></center>
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<center> Brian Hiatt</center>
<center> Brian Hiatt </center>
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'''“I haven’t got a lot of time for the false snobbery of hipster music of any kind,Costello says
'''"I haven't got a lot of time for the false snobbery of hipster music of any kind," Costello says
{{Bibliography text}}
{{Bibliography text}}
The new episode of our podcast, Rolling Stone Music Now, features an extended interview with Elvis Costello, who just released ''Look Now'', his first album in five years. Costello talks about mortality, working with Paul McCartney and learning from Bruce Springsteen, as well as the evolution of his band and his songwriting over the years.   
The new episode of our podcast, ''Rolling Stone Music Now'', features an extended interview with Elvis Costello, who just released ''Look Now'', his first album in five years. Costello talks about mortality, working with Paul McCartney and learning from Bruce Springsteen, as well as the evolution of his band and his songwriting over the years.   


Some highlights are [https://www.rollingstone.com/music/music-features/elvis-costello-new-album-paul-mccartney-754980/ here]. More below:
Some highlights are [[Rolling Stone, November 13, 2018|here]]. More below:


'''Why swapping out one member — Davey Farragher joined on bass in 2001, replacing the Attractions’ Bruce Thomas — made the Imposters a different band altogether.'''<br>
''Why swapping out one member — Davey Faragher joined on bass in 2001, replacing the Attractions' Bruce Thomas — made the Imposters a different band altogether.
“The Imposters is a different group than the group I started out with. We have strengths in different areas than that first group, because obviously the three of us that have played together for forty years should’ve learned something, you know? We should have gathered some things and maybe put aside some other qualities of music that seemed all important when we started out. If you just stay with the same playbook, it wouldn’t be very interesting, and Davey brings a lot of different things to it, because he’s a guy who plays with a predominantly rhythmic feel. He can still come up with nice melodic inventions, but that isn’t his main thing. It’s the groove, and he’s a great singer – it’s arguable whether I was a singer early on.”


'''On ''Painted From Memory'', Costello’s classic 1998 album with Burt Bacharach, and his continuing collaboration with Bacharach'''<br>
"The Imposters is a different group than the group I started out with. We have strengths in different areas than that first group, because obviously the three of us that have played together for forty years should've learned something, you know? We should have gathered some things and maybe put aside some other qualities of music that seemed all important when we started out. If you just stay with the same playbook, it wouldn't be very interesting, and Davey brings a lot of different things to it, because he's a guy who plays with a predominantly rhythmic feel. He can still come up with nice melodic inventions, but that isn't his main thing. It's the groove, and he's a great singer — it's arguable whether I was a singer early on."
“They weren’t big commercial hits, but people know those tunes nonetheless – ‘God Give Me Strength.’ I Still Have That Other Girl,’ ‘This House is Empty Now,’ and ‘Toledo,’ those particularly. I think the songs that Burt and I wrote on this record are very different. They don’t stretch over such a wide musical compass; they’re much more intimate. The two, ‘Don’t Look Now’ and ‘Photographs Can Lie,’ are entirely his music. I was in a sort of puzzle of how to resolve ‘He’s Given Me Things’ and he suggested a change to the third stanza which changes the harmony, which sort of made that into some kind of bridge, and that allowed us to sustain this sort of slightly claustrophobic music. If we didn’t have that shift that he suggested it perhaps wouldn’t have been as strong a piece. That’s one of my favorite pieces on the record.


'''On being inspired to write 1980’s “Temptation” at a Bruce Springsteen show'''<br>
''On Painted From Memory, Costello's classic 1998 album with Burt Bacharach, and his continuing collaboration with Bacharach
“Bruce has got all of this mythology, and then I saw him in Nashville (in 1978) when all of that really had traction… I could see a trap that was being laid, and I suppose that’s as close to writing songs about the predicament of the performer as I did earlier on. I remember I wrote a few songs about what I’d observed around my dad. (1986’s) ‘Suit of Lights’  was inspired by watching my dad play around the clubs and this sort of loneliness and the presumption of the audience and the lack of respect, ’cause it’s still a working job! You’re still doing a job! You don’t come up to somebody and go ‘You see that pencil there? I’m going to knock it out of your hand. Now how good are you at writing?’ Nobody does that to you, and that’s not self-pity. I’m just saying that it’s acknowledging that it’s still a job. There’s part of it that’s a job, and there’s the other part of it that’s massively over-rewarded.”


'''On the influence of his journeyman musician father'''<br>
"They weren't big commercial hits, but people know those tunes nonetheless — 'God Give Me Strength.' I Still Have That Other Girl,' 'This House is Empty Now,' and 'Toledo,' those particularly. I think the songs that Burt and I wrote on this record are very different. They don't stretch over such a wide musical compass; they're much more intimate. The two, 'Don't Look Now' and 'Photographs Can Lie,' are entirely his music. I was in a sort of puzzle of how to resolve 'He's Given Me Things' and he suggested a change to the third stanza which changes the harmony, which sort of made that into some kind of bridge, and that allowed us to sustain this sort of slightly claustrophobic music. If we didn't have that shift that he suggested it perhaps wouldn't have been as strong a piece. That's one of my favorite pieces on the record."
“I don’t know. It does puzzle me that I knew so much about the workings of the business like from childhood. I could tell that there were people who were quite calculated. There were opportunities that came to my father that perhaps weren’t ones he should have taken. He was just trying to make a living, so I don’t judge anybody. I might’ve expressed strident opinions about things at different times about fashions of music. But in the long run, I tend to think, ‘Well you know, they’re just doing their job, whatever it is.I haven’t got a lot of time for the false snobbery of hipster music of any kind, whether it be jazz or rock and roll, because it’s just like, you don’t have the guts to try – that’s what it is, really. You’re holding yourself back because you think you’re going to be judged by some little chorus of people who couldn’t do what you’re doing anyway, so what does it matter?”


{{cx}}  
''On being inspired to write 1980's "Temptation" at a Bruce Springsteen show
 
"Bruce has got all of this mythology, and then I saw him in Nashville (in 1978) when all of that really had traction… I could see a trap that was being laid, and I suppose that's as close to writing songs about the predicament of the performer as I did earlier on. I remember I wrote a few songs about what I'd observed around my dad. (1986's) 'Suit of Lights'  was inspired by watching my dad play around the clubs and this sort of loneliness and the presumption of the audience and the lack of respect, 'cause it's still a working job! You're still doing a job! You don't come up to somebody and go 'You see that pencil there? I'm going to knock it out of your hand. Now how good are you at writing?' Nobody does that to you, and that's not self-pity. I'm just saying that it's acknowledging that it's still a job. There's part of it that's a job, and there's the other part of it that's massively over-rewarded."
 
''On the influence of his journeyman musician father
 
"I don't know. It does puzzle me that I knew so much about the workings of the business like from childhood. I could tell that there were people who were quite calculated. There were opportunities that came to my father that perhaps weren't ones he should have taken. He was just trying to make a living, so I don't judge anybody. I might've expressed strident opinions about things at different times about fashions of music. But in the long run, I tend to think, 'Well you know, they're just doing their job, whatever it is.' I haven't got a lot of time for the false snobbery of hipster music of any kind, whether it be jazz or rock and roll, because it's just like, you don't have the guts to try — that's what it is, really. You're holding yourself back because you think you're going to be judged by some little chorus of people who couldn't do what you're doing anyway, so what does it matter?"
 
{{cx}}
{{Tags}}[[Look Now]] {{-}} [[Paul McCartney]] {{-}} [[Bruce Springsteen]] {{-}} [[Davey Faragher]] {{-}} [[The Attractions]] {{-}} [[Bruce Thomas]] {{-}} [[The Imposters]] {{-}} [[Painted From Memory]] {{-}} [[Burt Bacharach]] {{-}} [[God Give Me Strength]] {{-}} [[I Still Have That Other Girl]] {{-}} [[This House Is Empty Now]] {{-}} [[Toledo]] {{-}} [[Don't Look Now]] {{-}} [[Photographs Can Lie]] {{-}} [[He's Given Me Things]] {{-}} [[Temptation]] {{-}} [[Suit Of Lights]]  
{{Tags}}[[Look Now]] {{-}} [[Paul McCartney]] {{-}} [[Bruce Springsteen]] {{-}} [[Davey Faragher]] {{-}} [[The Attractions]] {{-}} [[Bruce Thomas]] {{-}} [[The Imposters]] {{-}} [[Painted From Memory]] {{-}} [[Burt Bacharach]] {{-}} [[God Give Me Strength]] {{-}} [[I Still Have That Other Girl]] {{-}} [[This House Is Empty Now]] {{-}} [[Toledo]] {{-}} [[Don't Look Now]] {{-}} [[Photographs Can Lie]] {{-}} [[He's Given Me Things]] {{-}} [[Temptation]] {{-}} [[Suit Of Lights]]  
{{cx}}
{{cx}}


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{{Bibliography next
{{Bibliography next
|prev = Rolling Stone, November 27, 2018
|prev = Rolling Stone, November 27, 2018
|next = Rolling Stone, May 10. 2019
|next = Rolling Stone, November 29, 2018
}}
}}
'''Rolling Stone, November 28, 2018
'''Rolling Stone, November 28, 2018
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[[ Brian Hiatt]] interviews Elvis following the release of ''Look Now''.  
[[ Brian Hiatt]] interviews Elvis following the release of ''[[Look Now]]''.


{{Bibliography images}}
{{Bibliography images}}


[[image:2018-11-28 Rolling Stone sd.jpg|240px|border|EC]]<br>
[[image:2018-11-28 Rolling Stone photo 01 sd.jpg|380px]]
<small>Photo credit [[Stephen Done]].</small><br>
<br><small>Photo credit [[Stephen Done]].</small>


{{Bibliography notes footer}}
{{Bibliography notes footer}}

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Rolling Stone

US rock magazines

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Elvis Costello explains his songwriting secrets


Brian Hiatt

"I haven't got a lot of time for the false snobbery of hipster music of any kind," Costello says

The new episode of our podcast, Rolling Stone Music Now, features an extended interview with Elvis Costello, who just released Look Now, his first album in five years. Costello talks about mortality, working with Paul McCartney and learning from Bruce Springsteen, as well as the evolution of his band and his songwriting over the years.

Some highlights are here. More below:

Why swapping out one member — Davey Faragher joined on bass in 2001, replacing the Attractions' Bruce Thomas — made the Imposters a different band altogether.

"The Imposters is a different group than the group I started out with. We have strengths in different areas than that first group, because obviously the three of us that have played together for forty years should've learned something, you know? We should have gathered some things and maybe put aside some other qualities of music that seemed all important when we started out. If you just stay with the same playbook, it wouldn't be very interesting, and Davey brings a lot of different things to it, because he's a guy who plays with a predominantly rhythmic feel. He can still come up with nice melodic inventions, but that isn't his main thing. It's the groove, and he's a great singer — it's arguable whether I was a singer early on."

On Painted From Memory, Costello's classic 1998 album with Burt Bacharach, and his continuing collaboration with Bacharach

"They weren't big commercial hits, but people know those tunes nonetheless — 'God Give Me Strength.' I Still Have That Other Girl,' 'This House is Empty Now,' and 'Toledo,' those particularly. I think the songs that Burt and I wrote on this record are very different. They don't stretch over such a wide musical compass; they're much more intimate. The two, 'Don't Look Now' and 'Photographs Can Lie,' are entirely his music. I was in a sort of puzzle of how to resolve 'He's Given Me Things' and he suggested a change to the third stanza which changes the harmony, which sort of made that into some kind of bridge, and that allowed us to sustain this sort of slightly claustrophobic music. If we didn't have that shift that he suggested it perhaps wouldn't have been as strong a piece. That's one of my favorite pieces on the record."

On being inspired to write 1980's "Temptation" at a Bruce Springsteen show

"Bruce has got all of this mythology, and then I saw him in Nashville (in 1978) when all of that really had traction… I could see a trap that was being laid, and I suppose that's as close to writing songs about the predicament of the performer as I did earlier on. I remember I wrote a few songs about what I'd observed around my dad. (1986's) 'Suit of Lights' was inspired by watching my dad play around the clubs and this sort of loneliness and the presumption of the audience and the lack of respect, 'cause it's still a working job! You're still doing a job! You don't come up to somebody and go 'You see that pencil there? I'm going to knock it out of your hand. Now how good are you at writing?' Nobody does that to you, and that's not self-pity. I'm just saying that it's acknowledging that it's still a job. There's part of it that's a job, and there's the other part of it that's massively over-rewarded."

On the influence of his journeyman musician father

"I don't know. It does puzzle me that I knew so much about the workings of the business like from childhood. I could tell that there were people who were quite calculated. There were opportunities that came to my father that perhaps weren't ones he should have taken. He was just trying to make a living, so I don't judge anybody. I might've expressed strident opinions about things at different times about fashions of music. But in the long run, I tend to think, 'Well you know, they're just doing their job, whatever it is.' I haven't got a lot of time for the false snobbery of hipster music of any kind, whether it be jazz or rock and roll, because it's just like, you don't have the guts to try — that's what it is, really. You're holding yourself back because you think you're going to be judged by some little chorus of people who couldn't do what you're doing anyway, so what does it matter?"


Tags: Look NowPaul McCartneyBruce SpringsteenDavey FaragherThe AttractionsBruce ThomasThe ImpostersPainted From MemoryBurt BacharachGod Give Me StrengthI Still Have That Other GirlThis House Is Empty NowToledoDon't Look NowPhotographs Can LieHe's Given Me ThingsTemptationSuit Of Lights

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Rolling Stone, November 28, 2018


Brian Hiatt interviews Elvis following the release of Look Now.

Images

2018-11-28 Rolling Stone photo 01 sd.jpg
Photo credit Stephen Done.

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