29 ago. 2011

ELVIS COSTELLO






Biography
by Stephen Thomas Erlewine
When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. A cursory listen to My Aim Is True proves that the main connection that Costello had with the punks was his unbridled passion; he tore through rock's back pages taking whatever he wanted, as well as borrowing from country, Tin Pan Alley pop, reggae, and many other musical genres. Over his career, that musical eclecticism distinguished Costello's records as much as his fiercely literate lyrics. Because he supported his lyrics with his richly diverse music, Costello emerged as one of the most innovative, influential, and best songwriters since Bob Dylan.

The son of British bandleader Ross McManus, Costello (born Declan McManus) worked as a computer programmer during the early '70s, performing under the name D.P. Costello in various folk clubs. In 1976, he became the leader of country-rock group Flip City. During this time, he recorded several demo tapes of his original material with the intention of landing a record contract. A copy of these tapes made its way to Jake Riviera, one of the heads of the fledgling independent record label Stiff. Riviera signed Costello to Stiff as a solo artist in 1977; the singer/songwriter adopted the name Elvis Costello at this time, taking his first name from Elvis Presley and his last name from his mother's maiden name.

With former Brinsley Schwarz bassist Nick Lowe producing, Costello began recording his debut album with the American band Clover providing support. "Less Than Zero," the first single released from these sessions, appeared in April of 1977. The single failed to chart, as did its follow-up, "Alison," which was released the following month. By the summer of 1977, Costello's permanent backing band had been assembled. Featuring bassist Bruce Thomas, keyboardist Steve Nieve, and drummer Pete Thomas (no relation to Bruce), the group was named the Attractions; they made their live debut in July of 1977.

My Aim Is True, his debut album, was released in the summer of 1977 to positive reviews; the album climbed to number 14 on the British charts but it wasn't released on his American label, Columbia Records, until later in the year. Along with Nick Lowe, Ian Dury, and Wreckless Eric, Costello participated in the Stiffs Live package tour in the fall. At the end of the year, Jake Riviera split from Stiff Records to form Radar Records, taking Costello and Lowe with him. Costello's last single for Stiff, the reggae-inflected "Watching the Detectives," became his first hit, climbing to number 15 at the end of the year.

This Year's Model, Costello's first album recorded with the Attractions, was released in the spring of 1978. A rawer, harder-rocking record than My Aim Is True, This Year's Model was also a bigger hit, reaching number four in Britain and number 30 in America. Released the following year, Armed Forces was a more ambitious and musically diverse album than either of his previous records. It was another hit, reaching number two in the U.K. and cracking the Top Ten in the U.S. "Oliver's Army," the first single from the album, also peaked at number two in Britain; none of the singles from Armed Forces charted in America. In the summer of 1979, he produced the self-titled debut album by the Specials, the leaders of the ska revival movement.

In February of 1980, the soul-influenced Get Happy!! was released; it was the first record on Riviera's new record label, F-Beat. Get Happy!! was another hit, peaking at number two in Britain and number 11 in America. Later that year, two collections of B-sides, singles, and outtakes called Taking Liberties was released in America; in Britain, a similar album called Ten Bloody Marys & Ten How's Your Fathers appeared as a cassette-only release, complete with different tracks than the American version.

Costello and the Attractions released Trust in early 1981; it was his fifth album in a row produced by Nick Lowe. Trust debuted at number nine in the British charts and worked its way into the Top 30 in the U.S. During the spring of 1981, Costello and the Attractions began recording an album of country covers with famed Nashville producer Billy Sherrill, who recorded hit records for George Jones and Charlie Rich, among others. The resulting album, Almost Blue, was released at the end of the year to mixed reviews, although the single "A Good Year for the Roses" was a British Top Ten hit.

Costello's next album, Imperial Bedroom (1982), was an ambitious set of lushly arranged pop produced by Geoff Emerick, who engineered several of the Beatles' most acclaimed albums. Imperial Bedroom received some of his best reviews, yet it failed to yield a Top 40 hit in either England or America; the album did debut at number six in the U.K. For 1983's Punch the Clock, Costello worked with Clive Langer and Alan Winstanley, who were responsible for several of the biggest British hits in the early '80s. The collaboration proved commercially successful, as the album peaked at number three in the U.K. (number 24 in the U.S.) and the single "Everyday I Write the Book" cracked the Top 40 in both Britain and America. Costello tried to replicate the success of Punch the Clock with his next record, 1984's Goodbye Cruel World, but the album was a commercial and critical failure.

After the release of Goodbye Cruel World, Costello embarked on his first solo tour in the summer of 1984. Costello was relatively inactive during 1985, releasing only one new single ("The People's Limousine," a collaboration with singer/songwriter T-Bone Burnett released under the name the Coward Brothers) and producing Rum Sodomy and the Lash, the second album by the punk-folk band the Pogues. Both projects were indications that he was moving toward a stripped-down, folky approach and 1986's King of America confirmed that suspicion. Recorded without the Attractions and released under the name the Costello Show, King of America was essentially a country-folk album and it received the best reviews of any album he had recorded since Imperial Bedroom. It was followed at the end of the year by the edgy Blood and Chocolate, a reunion with the Attractions and producer Nick Lowe. Costello would not record another album with the Attractions until 1994.

During 1987, Costello negotiated a new worldwide record contract with Warner Bros. Records and began a songwriting collaboration with Paul McCartney. Two years later, he released Spike, the most musically diverse collection he had ever recorded. Spike featured the first appearance of songs written by Costello and McCartney, including the single "Veronica." "Veronica" became his biggest American hit, peaking at number 19. Two years later, he released Mighty Like a Rose, which echoed Spike in its diversity, yet it was a darker, more challenging record. In 1993, Costello collaborated with the Brodsky Quartet on The Juliet Letters, a song cycle that was the songwriter's first attempt at classical music; he also wrote an entire album for former Transvision Vamp singer Wendy James called Now Ain't the Time for Your Tears. That same year, Costello licensed the rights to his pre-1987 catalog (My Aim Is True to Blood and Chocolate) to Rykodisc in America.

Costello reunited with the Attractions to record the majority of 1994's Brutal Youth, the most straightforward and pop-oriented album he had recorded since Goodbye Cruel World. The Attractions backed Costello on a worldwide tour in 1994 and played concerts with him throughout 1995. In 1995, he released his long-shelved collection of covers, Kojak Variety. In the spring of 1996, Costello released All This Useless Beauty, which featured a number of original songs he had given to other artists, but never recorded himself. Painted from Memory, a collaboration with the legendary Burt Bacharach, followed in 1998.

The album was a success critically, but it only succeeded in foreign markets, outside of their home countries of the United States and Britain. A jazz version of the record made with Bill Frisell was put on hold when Costello's label began to freeze up due to political maneuvering. Undaunted, Costello and Bacharach hit the road and performed in the States and Europe. Then after Bacharach left Costello added Steve Nieve to the tour and traveled around the world on what they dubbed the "Lonely World Tour." This took them into 1999, where both Notting Hill and Austin Powers: The Spy Who Shagged Me featured significant contributions from Costello. In fact, he appeared with Bacharach in the latter as a pair of Carnaby Street musicians, albeit street musicians with a gorgeous grand piano at their disposal.

Continuing his tour with Nieve, he began singing the last song with a microphone, forcing the audience to sit in complete silence as he usually performed "Couldn't Call It Unexpected, No. 4" with nothing but his dulcet baritone filling the auditorium. After the record company's various mergers ended, Costello found himself on Universal Records and tested their promotional abilities with a second "greatest-hits" record (The Very Best of Elvis Costello). The label promoted the album strongly, making it a hit in his native Britain. Unfortunately, they also made it clear that they had no intention of giving a new album the same promotional push, leaving him to venture into other fields as he awaited the end of his record contract. His first project was an album of pop standards performed with Anne Sofie Von Otter, which included a few songs originally written by Costello. The album was released in March 2001 on the Deutsche Grammophon label, neatly coinciding with the extensive re-release of his entire catalog up to 1996 under Rhino Records. Each disc included an extra CD of rare material and liner notes written by Costello himself, making them incredible treats for fans.

In 2001, he found himself with a residency at UCLA, where he performed several concerts and was instrumental in teaching music during the year. He also began work on a self-produced album that featured Pete Thomas and Nieve -- now billed as a band called the Imposters -- entitled When I Was Cruel, and the album finally found release via Island Records in the spring of 2002; at the end of the year, he released a collection of B-sides and leftovers from the album's sessions entitled Cruel Smile.

When I Was Cruel kicked off another productive era for the ever prolific Costello. In 2003, he returned with North, a collection of classically styled pop songs pitched halfway between Gershwin and Sondheim. The next year, he collaborated with his new wife, Diana Krall, on her first collection of original material, The Girl in the Other Room. That fall, Costello released two albums of his own original material: a classical work entitled Il Sogno and the concept album The Delivery Man, a rock & roll record cut with the Imposters. 2006's My Flame Burns Blue was a live album with Costello fronting the 52-piece jazz orchestra the Metropole Orkest; the release featured classic Costello songs (with new orchestral arrangements) alongside new compositions and a performance of the entire Il Sogno. The River in Reverse, a collaboration with R&B legend Allen Toussaint, arrived in 2006, followed by Momofuku, another effort credited to Elvis Costello & the Imposters, in 2008. That same year, Costello teamed up with veteran producer T-Bone Burnett for a series of recording sessions, the results of which were compiled into Secret, the Profane and Sugar Cane and readied for release in early 2009. The pair also recorded a second album, National Ransom, which appeared the following year.

77 Bombay Street - Up In The Sky

7 ago. 2011

JULIAN COPE





by James Christopher Monger
Musician, writer, historian, and cosmic shaman Julian Cope was born in October 1957 in Deri, South Glamorgan, Wales. He was raised in Tamworth, England, and like many a young artist, suffered through academia as a perpetual outsider. In 1976, upon attending college in Liverpool, Cope found himself part of a community of musicians -- and kindred souls -- including Ian McCulloch, Pete Burns, and Pete Wylie. After various incarnations and not so amicable departures (McCulloch went on to fame with Echo & the Bunnymen), the Teardrop Explodes were formed. One of the more influential bands of the late '70s, the group delivered a volatile mix of neo-psychedelic rock and electro-pop. As the band's success grew, so did Cope's reputation for debauchery, resulting in erratic, drug-addled stage behavior that occasionally led to bloodletting. In 1983, after numerous lineup changes and legendary feuds between Cope and Zoo Records figurehead Bill Drummond, the band ceased operations.

By 1984, Cope's love of hallucinogenics -- as well as a toy car collection that occupied nearly an entire year of his life -- was at an all-time high. Despite his altered state, he released World Shut You Mouth, his solo debut on Mercury Records. An elegant collection of chamber pop and Teardrop-fueled electricity, the album divided critics and fans alike, especially upon the release of director David Bailey's macabre video for the first single, "Sunshine Playroom." Not to be deterred, Cope retreated to Cambridge and recorded the follow-up, Fried, a chilling chronicle of self-oblivion that included cover art of the artist in a sandbox wearing nothing but a gigantic turtle shell. It was a fitting image, as Cope -- despite getting married -- spent the following year in utter seclusion, half-heartedly laying down tracks of Syd Barrett-inspired acoustic lunacy for what would eventually become 1989's Skellington LP.

In 1986 Cope signed with Island Records and released his most successful record to date, Saint Julian. The album's crisp production and modern rock sensibilities brought the artist out of his shell -- so to speak -- resulting in an exhaustive tour and numerous television appearances, including a memorable gig on The Tonight Show that found the singer becoming quite intimate with his patented jungle-gym mike stand. The disappointing My Nation Underground followed in 1988, resulting in three years of supplemental releases that included a collection of Teardrop Explodes B-sides, the aforementioned Skellington, and the highly collectible Droolian -- the latter was released in Austin, TX, as part of a campaign to release Thirteenth Floor Elevator Roky Erickson from jail.

In 1991 Cope released the ambitious double-LP Peggy Suicide. Inspired by a vision the artist had of Mother Earth throwing herself off a cliff to her death, the record came as a revelation to many. Gone were the slick arrangements of his previous Island releases, replaced here by the brooding funk, soul, folk, and cosmic garage rock that would follow him into the new millennium. His refusal to submit to more than one vocal take, the inclusion of Michael "Moon-Eye" Watts on guitar, and the raw production/organ/bass provided by longtime collaborator Donald Ross Skinner became the bedrock on which his subsequent work depended. Cope's obsessions with Krautrock and pagan history -- only briefly hinted at on Peggy Suicide -- were brought to the forefront on 1992's Jehovahkill, another creative triumph that unfortunately failed to connect with the public at large, resulting in his forced "departure" from the label.

He released his next two recordings, the angular and cautionary ecological rave-up Autogeddon (1994) and the fatherhood-inspired 20 Mothers (1995) on the Echo label in the U.K. and on American in the States. Cope spent a great deal of this period purging himself of his seemingly endless creative energy through side projects on his mail-order-only label Ma-Gog, a creative outlet that eventually morphed into the website/community/record label Head Heritage. He released Interpreter in 1996, a return to pop form that saw the self-described "Arch Drude" tackling both environmental and social issues with renewed vigor. His most recent project is Brain Donor, a four-piece, face-painted, triple double-neck guitar-playing garage rock-punk outfit that released its debut, Love, Peace & Fuck on Head Heritage in 2001, followed by Too Freud to Rock 'n' Roll, Too Jung to Die in 2003. Citizen Cain'd and Dark Orgasm, both of which relied on two discs of sonic fury and pop mayhem, were released in 2005, followed by You Gotta Problem with Me (no question mark) in 2007.

Cope had been compiling his memoirs into book form throughout the '90s; Head On, a chronicle of his life up to the demise of the Teardrop Explodes, was published in 1993, followed by its sequel, Repossessed, in 2000. He also trudged all over the country in search of stone circles while researching his exhaustive coffee table book, The Modern Antiquarian: A Pre-Millennial Odyssey Through Megalithic Britain, and wrote Krautrock Sampler, a critically acclaimed guide to German space rock. He has spoken at numerous festivals, museums, and universities on both topics.