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Month: October 2018

Extra: Elvis Costello Full Interview

Posted on October 28, 2018 By webcatt_admin

A conversation with the iconic singer-songwriter, recorded for the Freakonomics Radio series “How to Be Creative.”

Stephen DUBNER: If you would just say your name and what you do. However you’d like to describe that.

Elvis COSTELLO: Hello, I’m Elvis Costello, and I am some kind of musician and a writer.

DUBNER: So, let’s start with your new record, which I love. Congratulations. I think it’s remarkable. It’s rich and dense, but also gritty and funny, and it’s modern and traditional, and it’s a record that no one in the world but Elvis Costello could have written.

COSTELLO: That’s a pretty good compliment. But that’s what I hoped to do, to be really truthful. I had these songs, some of them I’d written a while ago, some of them were written in collaboration, some of them were written very recently. And I knew that they were songs that would be served by my band, but they would give us an opportunity to show everything that we can do, not just one aspect. A four-piece rock-and-roll band is often just asked to be a four-piece rock-and-roll band. And that’s great fun, but it’s also great to be able to bring to anything that which you’ve learned, that which you’ve come to understand, be able to quiet yourself to the mood of a ballad, and in this case playing in collaboration with Burt Bacharach. I couldn’t imagine us pulling that off 20 years ago or longer.

DUBNER: You write in the liner notes, “I wanted to make a record that we couldn’t have made back then.”

COSTELLO: Yeah. To me there’s never been any point in making the previous record again. So, each one has, to my ear, been quite different. To people who don’t hear those increments change, or don’t have the same appreciation, probably all my record sounds the same. But they’re attuned to different things than I am. And the great thing is we’re totally spoiled for choice. We have so much stuff we can listen to: from the past; from the present; stuff that’s secret; stuff that’s right in the headlines. You don’t have to have one above the other. It isn’t necessarily a hierarchy. One of the only positive things about the changes in the way music is heard is that the hierarchal aspect of it has become less oppressive.

There are still people that sell massive amounts of records and people are obsessed with those achievements. But some of the most interesting things are happening in little corners. And that’s not to say, “Well, I’m making the best of it, because I used to sell records and now there aren’t records to sell.” It’s just that that’s the way it is. I find that the records that really interest me by other people — whether they’re people of my generation or whether they’re brand new artists — they tend to be things you stumble upon, and it reminds me of how wonderful it was to feel as if you had personal possession of a record that nobody else knew about, which was the way it was when I started out.

DUBNER: So when you were a kid, your dad was a singer for what sounds to be a pretty wonderful dance band, you call them.

COSTELLO: Yeah, nobody would regard them as hip in the slightest way, but the leader, Joe Loss, he managed to front a band from the late 20’s to the 80’s. He was a remarkable character in English light entertainment, and he had a very good ear for two things: people, talented singers — I mean, Vera Lynn made her debut with him; my father later had good singers. And my dad had two other singing partners, and they were on the model of the Glenn Miller band. They weren’t by any means up with the rock-and-roll vibe or anything like that. But as time went on, because of the curious way radio was set up in England, the way we heard a lot of popular songs were as they were interpreted by dance bands and light music ensembles of all dimensions.

DUBNER: What do you mean, “the way radio was set up in England?”

COSTELLO: There was an agreement between the BBC and the musicians’ union that there were only five hours of recorded music allowed a day.

DUBNER: Oh, the musicians’ union being live music, like, “Don’t put us out of business, BBC.”

COSTELLO: You couldn’t play recorded music for more than five hours a day. So bear in mind that there was only the BBC. There was no commercial radio in England. There was one station which we could beam in from Luxembourg which broadcast in English and played continuous pop music. But it wasn’t until the pirate stations started up in the mid-60’s that the revolution to the American model of 12- to 24-hour radio took hold in England, and therefore we heard a lot of things filtered. And that’s why you see, in archival clips, The Beatles, and very big bands like that, appearing on light entertainment shows with comedians. And they would have to get their music out somehow and the opportunities to play on television were limited to maybe one or two pop shows a week on television. I’m talking about all of recorded music, so you are dividing up the classical music, the pop music, jazz. So, there were a lot of broadcasts of live music, whether they they were bands interpreting the hits of the day, or little shows that presented people playing music for broadcast like jazz ensembles or folk singers.

DUBNER: I never knew that. So that’s fascinating. I wonder if you believe in retrospect that that scarcity retarded a certain kind of original British music making.

COSTELLO: No, it had the opposite effect. I would say that the rarity of it sharpened the wits of the people that got through, although there were obviously contradictions in it. A lot of the rock-and-roll singers that were on the radio when I — because my parents didn’t really listen to rock-and-roll, they were jazz fans. Rock-and-roll seemed a bit flimsy, I have to be honest, because I never heard any of the really original exciting stuff because it didn’t get played. We heard this vanilla version of it. They were local acts that had been styled and given names to sound like American acts.

It was The Beatles really that blew that up, and The Beatles came and signed to, they were turned down by the first label that they auditioned for. And then they went to Parlophone which was an E.M.I. label, but think of the name. What does it mean? It’s a talking label. It was a comedy label. I don’t think they really knew what they had. Nobody has ever said this that much, but I think they might have thought they were a novelty act initially. I’m sure the people up at the top of the company like George Martin obviously understood what they were, but I think they thought that they’re probably a one hit wonder. And people that spoke in northern English accents in those days were mostly comedians.

You’ve got to remember that we’re talking about the BBC, where they still put on evening dress dinner jackets, to read the news on the radio. I mean they’ve always had services, that broadcast in different languages, but the home broadcasting was very much two things: what they call BBC English, which was a kind of formalized English, and mostly northern English comedians, or people from at a musical, who were genial hosts of things. But the idea that it would reflect real life was not really —

DUBNER: As a kid in the north — I mean, you were from London originally, and then when your parents split —

COSTELLO: Yeah, we stayed in London. I grew up in the suburbs, in the western suburbs, and you wouldn’t call it London because we were out so far. And it wasn’t a bleak place at all. It was very leafy. But I spent a lot of school holidays on Merseyside. So, my dad from Birkenhead, my mother from Liverpool, I spent a lot of holidays staying at my grandmother’s house. I felt as much at home there.

I was actually taken north as a baby and christened there. So, I had this feeling of belonging to both places. It’s hard to feel you come from London because it’s such a mixture of neighborhoods and overlays of culture. If you come from one of the old neighborhoods, particularly in the east or the north of the town, people say “I’m North London” or “I’m East London.” West London, it gets a little bit more foggy about identity. We just live out there.

DUBNER: Who do you support football-wise?

COSTELLO: I’ve always supported Liverpool.

DUBNER: Well, that was easy.

COSTELLO: We were in second division when I started.

DUBNER: Is that right?

COSTELLO: Yeah. I went to see them the year before they came up.

DUBNER: Well, you’re having a very nice season this year, and last year was exciting. So, why so long between records? I’m just curious, Elvis Costello is a musician that those who love him, love him very, very, very much, and yet you’ve never been the mega-sized star that you threatened to become once, years ago, and I’d like to talk about that.

COSTELLO: Well, it was threatened by other people.

DUBNER: Threatened upon you, perhaps.

COSTELLO: I made a conscious decision about the use of my time. 2010, 2011, I had an enforced little bit of time off. I released a record in 2010 which I really loved. It didn’t seem to demand that the music be played live. There was no demand for me to perform those songs, and it coincided also with my father’s passing, and maybe that just made me take stock. And I started to think that maybe records were a vanity that I shouldn’t indulge. That brought home how limited time was, and with having young children, I decided that if I was going to be away from home, I had better be really be bringing home my share of our family income.

It was a much more certain bet to go out and play concerts and I also felt that maybe I had an opportunity, now I really did have too much material for one evening of songs, that I could create shows that — I ended up creating two or three shows, stage shows, I’m talking about. They weren’t elaborate productions with huge expensive values; they were cheap carnival tricks that I used to frame what I had, which is my songbook. The first one was called, “Spectacular Spinning Songbook,” it was a revival of a show I did first as a kind of dare in the mid-80’s where we used a game-show wheel to select the next song, and I had a beautiful assistant like a magician.

DUBNER: And it was real, not rigged?

COSTELLO: It was real, and I mean sometimes we rigged it towards the end of the show to get a number to get offstage. But now, we let it go as it was. It was a tremendous challenge for the band because they had to know somewhere around 150 songs at the drop of a hat. And you could get a run of three finale numbers to open the show, and then you would have to find how you could continue the mood.

Everything conceivable happened; you’d have people that would come up and we had a very good cast members. We had a dancer who was really sympathetic. She was really good, she was doing a parody of it like a go-go dancer. Some people didn’t realize the whole thing was a satire. They thought we were actually serious. The whole point of it was to bring people on the stage and invite them. You never could guess how many people really want to be a go-go dancer. And there were people on stage who should never dance that did. And that’s a great moment because I’m the worst dancer in the world, so I really have sympathy for people who come up. They threw themselves into it and we’d have mothers and sons come up and do it together, and married couples, we had a couple, one guy propose to his fiancée. I started to claim that I was actually ordained at one point. It really, it was a semi-invented character I was playing. It was partly me and partly this character I was inhabiting.

And then, well, I applied myself to finishing a book I’d been working on for 12 years called Unfaithful Music and Disappearing Ink. And I then worked up another show over a couple of tours where I gradually gathered props. Started out with an on-air light like you find in an old radio studio, like the kind I saw when I would go with my dad to the radio broadcast. And then I added a television set which had a screen onto which I could project cues to the songs; sometimes there were old advertisements, sometimes there were family photographs. I could also get inside this TV and appear, as it were, on television on the stage. It was again semi-theatrical, semi-scripted, the anecdotes told by way of introduction were frivolous versions of more serious stories that appeared in the book.

Sometimes the manuscript version was a lot more heartbreaking and I would tell a lighthearted version — a lot of the things were about, some of the things about family were quite dark. There were there were some things about my parents’ relationship, my dad’s more wayward nature which I unfortunately inherited for a period of my life. I suppose I was working all of that stuff out because it was all in the songs already, and all I did was point people to maybe what they had only suspected about the songs.

DUBNER: But the book, I gather, is real to the core. Yes? Everything in the book is you?

COSTELLO: Yeah. I chose to put it out of chronological sequence, because I thought, “Well, Wikipedia does that.” I mean, you want the emotional sense of it. And I fictionalized a few episodes, not because I was being evasive, because I was trying to use fiction to summon up the mood. Rather than identify people, because it wasn’t their identity that was the point of the story, it was the feeling of the room I was in, and I only used that twice in the book.

DUBNER: Your songs are all, as far as I know, copyrighted Elvis Costello. Your book, however, is copyrighted by your given name, Declan MacManus.

COSTELLO: Some of my songs are copyrighted — I changed it for a little while, and then I found that when people wanted to write with me or do my songs, of course, nobody had any idea who Declan MacManus was, so they wanted an Elvis Costello song. Again, that’s one of those things that I did kind of as a, just a little marker. It’s a gift to music critics to see something like that, because they want a real sense of psychological significance into it. It really isn’t that — I was aware of the fact that the brand of my original appearance on the music scene was quite that. It was a brand in some people’s view, even though to me it wasn’t. It was my life.

And the name was idiotic, and the appearance was idiotic. I played up to it, and I leaned into the character that was invented around me. But then, after a little while, it’s a bit boring and it gets in there and it gets dangerous as well you start to live it out, and make the wrong choices in so many different ways. You’ve got to get out of it. Maybe part of it was reasserting there was a person who was completely on the outside of all of this ridiculous showbiz stuff that made the little tapes that got me my first record. I mean, I was making those in my bedroom. I still sing some of the other songs that I was writing then, and it was just the few that caught people’s ear were the ones that coincidentally landed me in the studio right when this supposed new thing was happening in rock and roll. I never really identified myself with it. Other people said, “You’re part of this new wave thing.” It was just a label somebody made up as a matter of convenience. It wasn’t a game plan.

more @Source: Extra: Elvis Costello Full Interview – Freakonomics Freakonomics

Music, People

Diana Krall, The World Series And Meyer’s Deli | FYIMusicNews

Posted on October 28, 2018 By webcatt_admin
Photo: Bill KingPhoto: Bill King

Diana Krall, The World Series And Meyer’s Deli

Oct 26, 2018 by Bill King

How does one correlate the emergence of an aspiring jazz singer/pianist with the anniversary of Joe Carter’s walk-off home run, October 23, 1993, that gave the Toronto Blue Jays their second World Series trophy? Meyer’s Deli, a once popular delicatessen at 69 Yorkville Avenue.

Meyer’s, in its day, had a late-night jazz policy, one embraced by the local jazz establishment and booked by the late Dave Caplan, known to many as the “jazz tailor.” Caplan did business from the trunk of his car. He’d show samples, then take your measurements, return to his apartment and sew to a ‘not so perfect’ fit.

Caplan had booked me and my piano jazz trio for the 9:30 set up against the Blue Jays and Philadelphia Phillies. The trio arrives to find every seat filled and crowd focused on the big screen – that early version of flat screen – the projection kind. 9:30 nears when a floor manager walks over and informs me, “no need to play until the game is over.” Nothing sweeter resonated to the ears of three baseball fanatics.

Corn beef is flowing, beers hoisted, a young crowd of university/college students are in for the big bang, and its all settled in one earth-shattering swing. Carter smacks a Mitch ‘Wild Thing’ Williams pitch over the seats then takes a ‘fist-pumping’ victory lap around the bases. The house explodes in celebration. Pandemonium breaks out. In one mad rush to the streets and victory lap, Meyer’s empties and left behind uneaten portions of fries and beef and coleslaw. Most revellers fail to pay, leaving staff looking as if the soles of their shoes had been nailed to the floor. Moments later, the floor manager returns and releases us from a night’s work, brings the band check and thanks us for dropping by.

Back in 1988, Caplan invited me to drop in for the 1:00 a.m. set to catch a newly certified ‘star -in-waiting’ and former student of local jazz legend, Don Thompson – Diana Krall. As much as I loathed catching a group after midnight, I made the date. I’m certainly glad I did. This was my first view of a promising newcomer, Diana Krall. Krall was all inside her jazz self. No singing, just her, a Fender Rhodes piano – bass and drums. Krall played a mix of originals and jazz standards. It was heady stuff and a chance for her to play Toronto. The late-night crowd of jazz chasers bought in – this coming on the doorsteps of the release of her debut recording, Stepping Out, recorded with jazz greats John Clayton bass and Jeff Hamilton drums.

Then came the showcase at the Underground Railroad, a soul food restaurant that underwent several incarnations over the years. That occasion sealed the deal and Krall’s future. The room was jammed with anyone and everyone that could advance her career.

Five years later, the spring of 1998 I would interview Krall and get a chance to hear in her own words about the slow, carefully planned arc to her career. It has been a magnificent journey. Eight albums debuting top of the Billboard Jazz Albums chart and over 15 million albums sold worldwide and currently riding high with 92-year-old Tony Bennett, Love Is Here to Stay. There are also three Grammy awards and eight Juno Awards in the mix.

I’ve photographed Krall on several occasions – the first being in 1998 at Molson Place, so memorable Krall asked for a 11X14 to be framed for her home. The occasion, Oscar Peterson’s 80th birthday celebration at HMV, August 2005. Also, on hand, Bell Media’s Randy Lennox –to present Oscar with a citation commemorating his newly minted image on the Canadian 50-cent postal stamp, and soon-to-be husband, Elvis Costello. Here’s that conversation from twenty years back and photos.

Source: Diana Krall, The World Series And Meyer’s Deli | FYIMusicNews

Blog, Music, People

Iman Says She ‘Will Never Remarry’ Following David Bowie’s Death | Billboard

Posted on October 28, 2018 By webcatt_admin
Former supermodel Iman has opened up about the pain and loneliness following the death of her legendary husband David Bowie, who passed away January 2016 after a battle with cancer.

The 63-year-old fashion icon, who was married to Bowie for 24 years, says the past two years without her husband have been difficult. One thing she hasn’t gotten used to is fans sharing their condolences.

“People take pictures of me in the street, and say (touching my arm), ‘I am so sorry for your loss,’” she told fashion site Porter Edit. “I’m like, don’t touch me. You just took pictures of me, how can you be sorry?”

more @ Source: Iman Says She ‘Will Never Remarry’ Following David Bowie’s Death | Billboard

Blog, Music, Uncategorized

Bruce Springsteen on the Stone Pony: ‘Just a Very Down-Home Place’ – The New York Times

Posted on October 17, 2018 By webcatt_admin
Springsteen at the Wonder Bar for a Stone Pony reunion show.CreditBobby Bank/WireImage, via Getty Images

So as I went about telling the oral history of the Stone Pony, the legendary rock club in Asbury Park, N.J., an interview with Bruce Springsteen was essential.

Here’s the full transcript of what he said.

NICK CORASANITI When was the first time you ever set foot in the Stone Pony?

BRUCE SPRINGSTEEN Well, the Pony was Mrs. Jay’s, you know? And Mrs. Jay’s had that corner spot and then right next to it was a Mrs. J’s Beer Garden. And we were down the street in a club called the Student Prince, and at some point Mrs. Jay’s turned into the Stone Pony. I don’t remember when that happened. And I guess I went up there to see Steve [Van Zandt] and Southside Johnny because they actually started at the Pony. We started at the Student Prince. So I might have went up there to see them, or to see some local bands, local guys. And so they had a regular residence at the Pony, I think three nights a week, and so we used to all go and hang out there and play. That’s my recollection of when I started to go to the Pony — basically somewhere in 1975 or 1976 or something.

more @ Source: Bruce Springsteen on the Stone Pony: ‘Just a Very Down-Home Place’ – The New York Times

Blog, People, Review

Forgotten Rebels still wild, still kicking | TheRecord.com

Posted on October 16, 2018 By webcatt_admin
Mickey DeSadist

Mickey DeSadist from The Forgotten Rebels – Courtney Michaud / Indoor Shoes

The band released their groundbreaking album debut “In Love With The System” in 1980 followed by “This Ain’t Hollywood” in 1982. Most recently came DIY live recording, “Last One Standing,” in 2011.

“We have a bunch of new material,” hints DeSadist. “We have not recorded anything yet but we will probably record some of it. We have nine new songs but we only play about four of them live. I wrote a few songs the other day and presented them to the guys to see what they think. They take the basic parts, fix them up and make them Rebels songs,” says DeSadist.

The Rebels’ roll call features DeSadist, guitar/vocals; Jeffrey Campbell, guitar; Shawn Maher, bass; and Dan Casale on drums.

more @ Source: Forgotten Rebels still wild, still kicking | TheRecord.com

Music, People

Can Canada’s artistic middle class be saved?

Posted on October 15, 2018 By webcatt_admin
A study by the Writers’ Union of Canada says an author’s average annual income from writing is just $9,380, a drop of 27 per cent from a decade ago.

A study by the Writers’ Union of Canada says an author’s average annual income from writing is just $9,380, a drop of 27 per cent from a decade ago.  (BARRY GRAY / THE HAMILTON SPECTATOR FILE PHOTO)

“I don’t know how you would make a living today as a young composer or writer,” says Quan. “They’re writing for free and putting their material on social media and in some cases don’t expect to be compensated. It’s the new normal and that shouldn’t be. That really has to change.”

Proposed legislation by European Union lawmakers has given Quan and many in Canada’s creative community hope in the digital age.

Source: Can Canada’s artistic middle class be saved? | The Star

Blog, Music, News

A Walk Through Velvet Underground History With John Cale – The New York Times

Posted on October 11, 2018 By webcatt_admin
John Cale at a new 12,000-square-foot exhibition dedicated to his former band, the Velvet Underground.CreditCreditRebecca Smeyne for The New York Times

By Andrew R. Chow

Oct. 11, 2018

John Cale didn’t spend very long in the Velvet Underground. Four years after he co-founded the band in 1964, Lou Reed unceremoniously kicked him out.

“It was undisciplined art,” he said while surveying “The Velvet Underground Experience,” an exhibition about the famously influential rock group that opened on Wednesday at 718 Broadway. “It was very energetic and frivolous and enjoyable.”

The two-story, 12,000-square-foot exhibition is finally arriving in the band’s hometown, mere blocks from the group’s original Lower East Side rehearsal space, after transferring from Paris, where it was seen by 65,000 visitors, according to organizers. Like the band, it’s unruly, with blaring concert footage competing for attention with pornographic videos and kaleidoscopic posters. Black-and-white footage flashes across dozens of screens; solemn voice-overs are nearly drowned out by throbbing live-concert audio amid towering visual homages to filmmakers, painters and classical composers.

Over the weekend, Cale, the only surviving member of the group’s original lineup, walked through the still-unfinished exhibition, stopping in front of displays that triggered recollections of the whirlwind era: “There are a flood of memories.”

more @ Source: A Walk Through Velvet Underground History With John Cale – The New York Times

Blog, People, Review

Tom Petty’s death is still a hard reminder for aging rockers about the downside of life on the road

Posted on October 9, 2018 By webcatt_admin

A year after Tom Petty died at age 66 of an accidental medication overdose, his family members, band mates and others discuss what went wrong and what, if anything, can be done to save others from the same fate.

When Tom Petty was rushed to a hospital one year ago in full cardiac arrest, two words immediately sprang to many minds: Not again.

Weeks later, the Los Angeles County Medical Examiner-Coroner’s report confirmed what many family members, friends and fans feared: Petty had accidentally overdosed.

Among the combination of sedatives, anti-depressants and pain killers was the opiod fentanyl, the same drug on which Prince overdosed in 2016. According to his wife, Dana, Petty endured the pain of a fractured hip throughout a 40th anniversary tour with his longtime band, the Heartbreakers.

“If he hadn’t gone on tour and [instead] had the hip replacement surgery, he would still be with us,” Dana said at the Malibu home she shared with the Rock and Roll Hall member, who finished up nearly six months of shows the week before he died.

more at Source: Tom Petty’s death is still a hard reminder for aging rockers about the downside of life on the road – Los Angeles Times

Blog, Music, People

Has 10 years of Spotify ruined music? | Music | The Guardian

Posted on October 6, 2018 By webcatt_admin

Has 10 years of Spotify ruined music?

The streaming service is a decade old on Sunday. So has it created a post-CD paradise for listeners – or turned today’s music into a grey goo? Our music editors argue for and against

Ben Beaumont-Thomas and Laura Snapes

Stars of Spotify: Stefflon Don, Daddy Yankee, BTS, R Kelly, Ed Sheeran and Drake
Stars of Spotify:Stefflon Don, Daddy Yankee, BTS, R Kelly, Ed Sheeran and Drake. Photograph: Guardian Design Team

more at Source: Has 10 years of Spotify ruined music? | Music | The Guardian

Blog, Music, News

The Myth of Sex, Drugs and Rock ‘n’ Roll is Not an Excuse For Being A Terrible Person

Posted on October 5, 2018 By webcatt_admin
The Myth of Sex, Drugs and Rock 'n' Roll is Not an Excuse For Being A Terrible Person

While the music world is still yet to have its full-fledged #MeToo moment of reckoning, there have been a few instances where an artist has actually faced consequences as a result of their actions—though unfortunately, nowhere near enough. One of the reasons that rock music’s abusers and harassers remain unscathed is because the myth of sex, drugs and rock ’n’ roll is still often seen as an acceptable excuse for this behavior.

Most recently, Chicago rock outfit, The Orwells split up amid a mounting list of disturbing sexual misconduct allegations. The victims of the three accused members of the band may never see justice, feel fully comfortable at a show again or recover from their horrible experiences, but as Paste contributor Justin Kamp reported, Chicago is now supporting organizations to prevent something like this from happening again and fans are realizing the power of their voices on social media to call out abusers, crowdsource for shared experiences and pressure venues, festivals, promoters and fellow bands to disassociate themselves with abusers.

One of the most disheartening things about instances like The Orwells is a segment of their fanbase condoning the band’s actions because they think the myth of “sex, drugs and rock ’n’ roll” somehow gives bands a hall pass to be terrible human beings and commit crimes against innocent victims.

more at Source: The Myth of Sex, Drugs and Rock ‘n’ Roll is Not an Excuse For Being A Terrible Person :: Music :: Features :: #MeToo :: Paste

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