New Elvis Costello interview re: McCartney collaboration

Pretty self-explanatory
The Gentleman
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New Elvis Costello interview re: McCartney collaboration

Postby The Gentleman » Tue Aug 14, 2018 1:48 pm

Very in-depth interview, with details I've never seen before (including the fact EC believes they recorded demos of "Veronica" and "Back On My Feet" that got misfiled):

https://www.rockcellarmagazine.com/2018 ... -the-dirt/

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Re: New Elvis Costello interview re: McCartney collaboration

Postby Top balcony » Tue Aug 14, 2018 4:41 pm

Cheers Gent

That's a really interesting read!

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Re: New Elvis Costello interview re: McCartney collaboration

Postby verbal gymnastics » Tue Aug 14, 2018 4:47 pm

And who of us can honestly say that we have not been obsessed at one time or another by Albanian choral music :lol:
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Re: New Elvis Costello interview re: McCartney collaboration

Postby Neil. » Wed Aug 15, 2018 3:52 am

verbal gymnastics wrote:And who of us can honestly say that we have not been obsessed at one time or another by Albanian choral music :lol:


:lol:

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Re: New Elvis Costello interview re: McCartney collaboration

Postby emotional_fascism076 » Thu Aug 23, 2018 12:43 am

That was great. Paul was at his best with Lennon EC Linda and Eric Stewart.

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Re: New Elvis Costello interview re: McCartney collaboration

Postby And No Coffee Table » Tue Sep 11, 2018 10:15 am

Amusing EC mention in new McCartney interview...

https://www.gq.com/story/the-untold-sto ... -mccartney

To illustrate this point, McCartney proceeds to tell me that he recently used Auto-Tune on a song—one that's not even on his new album—and how he worried for a moment about it. "Because I know people are going to go, 'Oh no! Paul McCartney's on bloody Auto-Tune! What have things come to?'… At the back of my mind I've got Elvis Costello saying, 'Fucking hell, Paul!'" But then he considered it some more, and what he thought was: "You know what? If we'd had this in the Beatles, we'd have been—John, particularly—would be so all over it. All his freaking records would be…"

McCartney demonstrates a version of how he'd imagine a modern-day John Lennon singing in an extreme Auto-Tune warble, and then he gets out his iPhone and plays me some of the song in question, another collaboration with Ryan Tedder, called "Get Enough," which has an emphatically full-on Auto-Tuned McCartney vocal, plenty more than would be required to horrify any passing purists. It also sounds pretty good.

"Come on, man," says McCartney. "You can't be so straitlaced to not expose yourself to experiences in life."

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Re: New Elvis Costello interview re: McCartney collaboration

Postby And No Coffee Table » Tue Sep 11, 2018 3:00 pm

I remembered a similar McCartney quote from 2013:

"I wanted to try lots of things, see what would come out of working with different people. But I never liked the idea that you made a record and it doesn't sit with modern records. With The Beatles you were always trying to sit with The Supremes, Phil Spector, the Isleys. But I needed to resist sounding like I was trying too hard to be contemporary. You know the Ibiza thing, if you're in a club and dancing, that thud-thud stuff works. But I've got to resist that as I'll have people like Elvis Costello calling me up going, 'Fucking hell Paul, what are you doing?!' But in the '60s we were listening to Motown, which was modern, we were listening to James Brown, Stevie Wonder. And I don't want to be shy of using some modern devices because we weren't into all that in The Beatles — the moment the mellotron came out we just embraced it. "Yeah! We'll have a go at that." We were always trying to create different sounds which now are like traditional sounds. Tomorrow Never Knows, the drum sound, still works great."

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Re: New Elvis Costello interview re: McCartney collaboration

Postby Poor Deportee » Tue Sep 11, 2018 9:35 pm

He is surely right about Lennon using auto-tune - apparently Lennon was always demanding that George Martin 'smother his voice with ketchup.'

I revile the abuse of auto-tune. But there's no reason it can't be used to achieve a specific effect (as Macca seems to have done), or tastefully - as Bob Rock's album with Ron Sexsmith shows. Heck, that very discreet usage actually lent a warmth to the vocal track.

McCartney's amusing reference to Elvis calling him up actually gets to something that bugs me about EC's later work, i.e. its conservatism. Apart from Wise Up Ghost, he seems to have moved toward a kind of purism that eschews studio trickery and contemporary sonics and technology. I preferred the EC whose work was in direct musical dialogue with the contemporary (even if it was a critical dialogue). Just a thought.
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Re: New Elvis Costello interview re: McCartney collaboration

Postby verbal gymnastics » Wed Sep 12, 2018 4:12 am

Elvis (like Paul Weller) has an inquisitive mind and is happy to try all kinds of experimental things - different musicians, musical styles, influences etc.

However, in the main I'm not a fan of his non-Attractions/Imposters projects.
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Re: New Elvis Costello interview re: McCartney collaboration

Postby Poor Deportee » Thu Sep 13, 2018 8:58 am

Oh, Elvis is certainly adventurous - only a loon would deny that. What I'm saying is that he mostly ignores contemporary sonic pallettes and options, in stark contrast to the EC who materialized with the Attractions and had a cutting-edge sound for a while. At some point in the early '90s he seems to have decided to give up, and that he wanted only to sound like his vast record collection rather than engaging the current sonic landscape. His one foray into technological options, WIWC, was a hesitant and unconvincing disaster (the confusion being underscored by an interview where he proudly claimed there was no treatment on the vocals, as though such 'authenticity' was the aim). However, the fabulous WUG suggests the awesomeness he could deliver if he fully embraced contemporary options. This is what I meant by identifying a certain conservatism underpinning all the adventuousness. I think it's too bad; acts like Belle and Sebastien or The Shins show what can be accomplished when you mix the contemporary studio with smart songwriting, of which EC is the master.
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Re: New Elvis Costello interview re: McCartney collaboration

Postby Hawksmoor » Thu Sep 13, 2018 11:30 am

Poor Deportee wrote:Oh, Elvis is certainly adventurous - only a loon would deny that. What I'm saying is that he mostly ignores contemporary sonic pallettes and options, in stark contrast to the EC who materialized with the Attractions and had a cutting-edge sound for a while. At some point in the early '90s he seems to have decided to give up, and that he wanted only to sound like his vast record collection rather than engaging the current sonic landscape. His one foray into technological options, WIWC, was a hesitant and unconvincing disaster (the confusion being underscored by an interview where he proudly claimed there was no treatment on the vocals, as though such 'authenticity' was the aim). However, the fabulous WUG suggests the awesomeness he could deliver if he fully embraced contemporary options. This is what I meant by identifying a certain conservatism underpinning all the adventuousness. I think it's too bad; acts like Belle and Sebastien or The Shins show what can be accomplished when you mix the contemporary studio with smart songwriting, of which EC is the master.

Well, up to a point, although I'd argue that for an artists of his age (and career-point), Elvis is still more interested in the 'contemporary sonic palette' than most. I don't really know much about the Shins, but I get your point about (the wonderful) Belle and Sebastian, sure. But then, they can afford to do that kind of stuff on every LP because...that's what they do. They're not trying to fit LPs like Momofuku, Secret Profane and National Ransom into their release schedule, and they're not trying to launch a musical or score a ballet at the same time. So they can devote their time to being 'sonically adventurous'.

And sure, LPs like Momofuku, Secret Profane and National Ransom are old-fashioned, they're singer/songwriter-esque in a kind of 1970s way. But at least, alongside those, Elvis is still doing stuff like WUG. He's still up for it, he still knows those people and is prepared to work with them. Absolutely, WIWC is the most wonderfully conceived disaster in his catalogue, and that's not least because of his indecisiveness over whether he wanted a solo/avant-garde/beatbox thing or a rock'n'roll band thing. But it's still an amazing, and eternally rewarding, LP. And Elvis was, what, in his late 40s then?

Listen to what McCartney, Paul Simon, Springsteen, Dylan are producing (OK, they're mostly a decade older, but you can adjust the timings to look at what they were producing when they were Elvis' age). Who else, in their late 40s, was producing anything as remotely sonically 'current' as WIWC? Who else, in their early 60s, was producing anything as faintly 'modern' as WUG? Weller, maybe, on a good day. Tom Waits, maybe, on a good day. I honestly think Elvis' ears and attitude are better-tuned than most of his generation. OK, this time it's an LP of songs from the personal archive done in a straight rock-band and/or orchestral style. But next up is a musical (if he can get the finance, which seems to be receding into the distance). And next up after that could be some scratchy hip-hop thing. I honestly think it might.


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