rock and roll musings by Tim Byrnes

MEANWHILE,  I'M STILL THINKIN': THE MAN WHO WOULD BE ELVIS

     Back in the day, I hate that expression but when yr talking about 1977 and thereabouts the phrase qualifies, back in the day(s) of the first bloom of the punk rose, shufflemarketed amidst all the pistol packin' ramonesclones was an angry young man who called himself Elvis Costello. His 1st record 'My Aim is True' may have lacked the frenzy of Bollocks but more than made up for it with it's wit and cunning. More importantly, MAIT, even as a debut record, had the ring of an established artist at work to it. One could easily guess that the Pistols et al were likely to burn bright and hot for a short time, make a little history, get co-opted and wind up in phone commercials.

     (And don't call/write in about 'Watching the Detectives' being the theme song for History Detectives. That's on PBS and, as such, exempt.)

     But Elvis brought more than rage to the table. Of course he brought mucho rage and guilt and revenge and the basic spit and vinegar that marked punk, but even that early on, it was evident, at least to this reporter, that we had a live one on our hands. Perhaps the 1st lomg term artist since Dylan. I'll let the real rockcrits battle that one out. Suffice to say, the works of Elvis Costello throughout the years can hold it's own against the best rock has had to offer and frankly, in terms of both quality and quantity, decimates most of the competition. Now I know it's not a competition and I often rail against the 'my punk rock can beat up yr punk rock' contingency, but just try to sing 'At the Other End of the Telescope' from 'All This Useless Beauty'. Go ahead. I'll wait.

     Didn't think so. The man's talent as a vocalist, composer, arranger and especially lyricist are mind boggling. And, as a guitar player myself, I am always surprised and delighted with the things this E.C. comes up with on the Fender Jazzmaster. OK, enough of the technical drooling. Let's get to the meat of the matter: what does it represent? To me, growth. Or to be more precise, the overwhelming possibilities for growth when a great talent trusts itself. In the beginning (lightning flashes) Elvis played into the punk mien, exhibiting the requisite antisocial behavior, usually fueled by alcohol. But rather than the cartoon antieverything pose of much of our forefathers, Elvis was truly ugly. The most infamous incident was when he, drunk in a bar in the middle of America while on tour, he dissed Ray Charles w/the N-word and wound up getting decked by Bonnie Bramlett, a footnote in the then'declining hippierock scene.

     He also blasted tapes of  white noise through his pa system in small clubs to clear the crowd out. What I drew from THAT move was the realization that punk rock hatred extended to me as a member of the audience. I was immedietly reminded of Dylan at Newcastle urging Robbie Robertson to "...play fucking LOUD.' as the crowd booed. There's another Dylan comparison and we're not even up to the 2nd record, which was 'This Year's Model' and featured the debut of the band that would back Costello through the heights of his early career, the magnificent Attractions. Steve Naive is the mad piano player from hell, Bruce Thomas the most lyrical bassist this side of (gulp) McCartney and Bruce Thomas a strong and inventive drummer, kinda like Keith Moon without the drugs. Over the course of the next 15 or so years, they hugged the corners of Costello's ever-increasing stylistic Tour Le Monde with grace, wit and fire. I'll go down on record as saying NEVER has/had a singer/songwriter had a more sympathetic or hotter 'back up band' than Elvis when he rode with the Attractions.

      'This Year's Model' was another bucket o' spite for the punkpunters, containing the blistering 'Radio, Radio', as righteously angry a song as ever recorded and, for int's inclusion alone, guarantees 'TYM' it's place in the rock and roll sun. Costello put records out every 6 months back then, just like the Beatles had and KISS continued to do. The music changed abrubtly, often from cut to cut, let alone record to record. 'Armed Forces' ( the Attraction's muscles flexing under tales of political and personal paranoiac rage), 'Trust", (enter the supper club of Costello's soul), 'Get Happy" (the funky cocaine record), 'Taking Liberties' (the 20 song b-side set running the gamut from white noise to 'My Funny Valentine'). The records kept coming, each one revealing another layer in the sound and psyche of one of rock's true geniuses.

     Along the way the blind rage subsided, as it must, allowing gentler and more complex emotions to slither and flash amongst Costello's wordplay. He's released whole CDs of country and western covers ('Almost Blue' a wonderful introduction to great American songwriting among other things). A collaboration with the Brodsky Quartet ('The Juliet Letters) and collaborations with artist as diverse as Bill Frissel, Burt Bacharach and Marian McPartland. Just a few weeks ago, his duet with Allen Toussaint on 'Lord Have Mercy' was THE highlight of Wynton Marsalis' Katrina benefit aired on PBS (still exempt, mind you.) I know the word 'mature' is verboten in rock and roll (hell it killed the Replacements) but Costello is a shining example of the beauty of the artist who allows him or herself to develop by not accepting any restrictions on their art, be they from an audience, a record company or even the artist's own sense of survival.

       To buy into any myth concerning creativity, either the one that says 'ya gotta be wasted to make great art' to 'don't fix what ain't broke' (although I love both the Ramones and ACDC for following that one...) is a sure way to cripple one's work. Safely stagnant but stagnant none the less and I prefer my art alive, thank you very much. There's a line from the song 'My Science Fiction Twin' from 1993's 'return to form' CD 'Brutal Youth' where Costello sums up all that I find admirable in his work. To wit:

"His almost universal excellence
Is starting to disturb me
They asked how in the world he does all these things
And he answered "Superbly"" 

     That's the secret to Costello's greatness: he accepts it, trusts it and runs like a motherhubbard with it. Having suffered crises of confidence almost continuosly all my life, I find that now, at this late stage of the old existence, to be ready to take this advice to heart. Under the 'links' section page leftwards, there's a link to 'tim's music'. I've been recording my own tunes as a one man band to 4 track cassette for way too many years now with only 7 or 8 people ever hearing them. At the page the link takes you to are 2 of my more recent songs available for free download with more to come soon. No I am NOT equating my work to that of Costello's, I haven't exercised my hubris bone enough for that (yet), but I'm tired of being what I'm not and find now that maybe the songs I've been carrying around on tapes for all this time might just be my own light under the bushel and what I truly have to offer.

     And if you don't like my rock and roll, do what millions of others have done before ye: blame Elvis.

Posted by: timbyrnes at 18:19 | link | comments (13)

Comments:

#1  20 October 2005 - 19:02

 

A few quibbles and thoughts:

1) Anyone who says they predicted that Elvis would be a long-term artist based on My Aim Is True has the benefit of hindsight -- a) it had its moments, but wasn't nearly as good as came in its wake, and even then, b) it didn't really become clear until Trust.

2) Regardless of whatever falling-out they had, Bruce Thomas is the best bass player on the planet. Even Tim Chandler had to admit THAT. :)

3) Brutal Youth is vastly underrated. (And for that matter, All This Useless Beauty goes the other way.)

4) If you ever finally put out the hubris-filled, transformational kickin' album I know y'r perfectly capable of, t'ain't nobody's fault but yrs. :PPP

Anonymous

#2  20 October 2005 - 20:59

 

No quibbles for this fan.

Before I head over to listen to your music Tim, I just have to say, from the first utterance of Mr. M., I was a goner. When I sing along with Costello, I channel him. Transformational. Longlasting. I think the Dylan analogy is apt. I lurve Mr. Costello. I lurve him.

My first big night out, after the birth of my first baby, was at Symphony Hall in Boston, to hear him with The Brodsky Quartet. We had an adult dinner, we had a babysitter (as opposed to a relative) and we heard E. Costello doing something different. It was March, and on the ride home it snowed lightly. Magical.

Leigh

#3  20 October 2005 - 21:19

 

Is anything as Catholic as Hell? Hehe.
I hear a little Leonard Cohen. Nice. So to hear all the songs, we put the five bucks on our credit card? So when is that transformational kickin' album coming out?

Leigh

#4  20 October 2005 - 21:42

 

i saw the juliet letters concert in milan, it was actually one of the first of the tour and was considered a kind of practice gig -- they were all in informal dress and chatting amiably in between songs. it kicked ass, big time. i count myself among all of you unrepentant super fans.

i also love the songs with Anne Sofie von Otter.

hey i just listened to Brick and am delighted to hear the disembodied voice of TB, punk farmer! yes, i hear some leonard cohen (a high compliment) and would love to hear more.

howard

#5  20 October 2005 - 22:02

 

loved EC -- a big fan, especially THEN -- the first three records were just one right after the other of tight great stuff and it was fresh and new and it had snap and pop like nothing else. and in colorado, the airwaves were just packed with old worn-out stuff and middle of the road 70's schlock and there was all this great stuff happening out there but it was being completely and sytematically ignored and disregarded. EC's Alison was one of the only things that finally managed to break through into the vapid void of FM radio.

wow i completely forgot about the drunken slur on Ray . . not cool, but oh how i do remember the way the anti-punk media feasted on that one!

you either shut up or get cut out
they don't wanna hear about it
you're only inches on a reel to reel
and the radio is in the hands
of such a lot of fools
trying to anesthetize the ways that you can feel
radio is the sound of salvation
radio is cleaning up the nation
they say you better listen to the voice of reason
and they don't give you any choice 'cause they think that it's treason
so you had better do what you were told
you'd better listen to the radio

ever listen to nick lowe's "jesus of cool" -- great record. and what's so funny 'bout peace love and understanding . . .

limine

#6  20 October 2005 - 22:15

 

It's interesting to read EC's extended comments on the Rhino Get Happy re: Ray, amounting to "If there was just ONE thing I could take back...."

And yeesh, Tim, send all these guys copies of Debut CD and/or 1900 (which should pacify them while you dedicate "the transformational kickin' album" :) to CD). Or I could renew my offer here to ship the fruits of Tension Envelopia to anyone who wants them. In short: Y'all ain't heard NOTHIN'....

Anonymous

#7  21 October 2005 - 15:36

 

wow. thanks, gang. hindsight, schmindsight, Carl, My Aim Is True was one of like 7 records I got tht Xmas and I knew.. I just knew. If anyone would like copies of Debut CD/1900 please send land addresses to my email timbyrnes@antimusic.net and I'll dig some out and send them gratis. The Envelopes stuff is kicking indeed and I'd take old unlogged (Carl Simmons TE bassist) up on his offer. The new 'hubris filled transformational' CD is so slow in comin 'cause everything I've been writing lately is too negative (even for me) and I'd like to think I'm past the point of whining. Besides, the way life's been this past year I'm too busy gathering material to properly write it! I am humbled by the Leonard Cohen comparisons. Again, thanks.
tb

timbyrnes

#8  24 October 2005 - 14:30

 

"wow. thanks, gang. hindsight, schmindsight, Carl, My Aim Is True was one of like 7 records I got tht Xmas and I knew.. I just knew."

If you say so, schmay so, tim.... :P

"If anyone would like copies of Debut CD/1900 please send land addresses to my email timbyrnes@antimusic.net and I'll dig some out and send them gratis. The Envelopes stuff is kicking indeed and I'd take old unlogged (Carl Simmons TE bassist) up on his offer."

The e-mail is ringing off the hook. No, not really. That number again, kids: burninglight@earthlink.net

"The new 'hubris filled transformational' CD is so slow in comin 'cause everything I've been writing lately is too negative (even for me) and I'd like to think I'm past the point of whining."

Well, that's the thing about kickin' transformational albums, innit? They start from where you DON'T want to be (or where you find out halfway through you really didn't want to be...)

And just for you, tim -- and once more courtesy Loveland Public Library -- this week's rotation (starting with the ones that will most pique yr interest):
Sonic Youth -- Murray Street (i'm tryin', tim, i'm tryin....)

Sex Pistols -- Never Mind the Bollocks (Jessica was laughing pretty hard at this -- you can't blame her, in a way)

Graham Parker -- Squeezing Out Sparks (still sounds great -- never got the credit Costello or even Joe Jackson did, but the guy's still crankin' 'em out -- Songs of No Circumstance is actually pretty cool)

Richard Thompson & Danny Thompson -- Industry

Steve Earle -- Essential Steve Earle (liberal lyrical badass -- c'mon tim, i'm tellin' you you'd like him)

Uncle Tupelo -- 89/93: An Anthology (let's just say Wilco + Son Volt equals more than the sum of its parts)

Sufjan Stevens -- Come on Feel the ILLINOISe (They Might Be Giants meets Steve Reich and together writes better and with more emotion than both combined)

Anonymous

#9  24 October 2005 - 18:20

 

Carl I already like Steve Earle a lot, don't worry, you still know how to pick 'em. Murray Street is a great record, my favorite of the post 9-11 thingies everybody put out back then. Has Richard Thompson done anything since 'Old Kit Bag' and how come nobody commented on the Kate piece? Just wondering
tim

timbyrnes

#10  24 October 2005 - 18:32

 

Yeah, Steve's become one of my musical heroes as of late (particularly the recent 7-year stretch from El Corazon to the completely sublime Jerusalem -- boy was pushing it with The Revolution Starts Now, IMHO, but sounds like that was deliberate to get it out before the 2004 election, so I'm not worried. Although I have to wonder if "Condi, Condi" turned JUST enough Ohioans off to.... nahhhh.... :D).

As far as I know, no newer Richard Thompson stuff. I've heard a few bashes on TOKB, but I thought it still had more than its share of moments (esp. "Gethsemane" and "Word Unspoken Sight Unseen"). Industry's from 1997 -- pretty interesting; kinda a kinder, gentler French Frith Kaiser Thompson.

Re: Kate: I'm anticipating it, but I'm not getting my hopes too far up. The last few albums before her disappearance also had moments but also were kinda spotty. But hopefully that's why she took 12 years off rather than cranked out (for Kate) another 3-4 albums. Maybe I'll take out The Red Shoes from the LPL next, though, just to make sure I didn't miss anything the first time around (and yes, they DO have it). :D

Anonymous

#11  24 October 2005 - 18:41

 

cool. hope all is well. i'm still spinning my wheels here in the sticks. trying to find a way to get moving. got a line on another conv. store gig, but i'm really looking to broaden my horizons. oh well, guess i'll write about it!

timbyrnes

#12  24 October 2005 - 19:07

 

oh and here's one I heard on tv last week. "She's so dumb she thinks Condaleeza Rice is a cajun side dish."
Would that she were, America, would that she were.

timbyrnes

#13  24 October 2005 - 20:37

 

Well, Steve apparently thinks she is. :D

Anonymous

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