Billy Bragg meets Elvis Costello , early 1995

Pretty self-explanatory
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Billy Bragg meets Elvis Costello , early 1995

Postby johnfoyle » Thu Dec 29, 2005 8:53 pm

Another scan from my Costello cuttings file , this from Dazed And Confused ( undated , texts indicates early/mid. 1995)

Straight To The Point - Billy Bragg meets Elvis Costello

Elvis Costello: I can’t think of anybody I want to meet. I’ve met a couple of people I admire for one reason or another, or because I’ve liked their records, and wished I hadn’t met.

Billy Bragg: What about Bob Dylan?

EC: I met him in ‘78. I went along.., in fact, it’s a really long, convoluted story...

BB: So what did you say?

EC: He said, ‘Hey, I’ve heard a lot about you’, and my mind went blank. And then I said, ‘Well, you know what? I’ve heard a lot about you too’. (both laugh) But he was good, you know, and we sort of looked at each other a bit like a young boxer and middleweight. And then I ran into him quite a lot on that tour, like two or three times. Then a few years later we ended up with a party of us in Minneapolis, but that’s the only time we really talked.

BB: And you’ve just been playing with him now?

EC: Yeah, we went out after one of the shows in Dublin, but the conversation is always enigmatic. But he’s a great guy. I think he’s a good spirit, and won’t have a bad word said against him. I think all of his songs are just like works in progress. I saw him do a show at the Hollywood Bowl, where he did a version of ‘Gates Of Eden’ that was hair-curling. Somehow it was completely new and every night of that tour I did with him he did something that was extraordinary.

BB: Do you think he’s doing it for his own benefit, or do you think he’s challenging the audience to walk out? That’s the thing.

EC: I don’t know what it is; I can’t pretend I can let inside what it is. I think a lot of these people who were really famous in the ‘60s, I think they’re only... well, it doesn’t matter how many records Michael Jackson will ever sell in the history of his life, it doesn’t make any difference. The Beatles, Dylan, they’re the only people who really understand what it feels like. That’s how kind of famous they were. Being a movie star, in the ‘40s was probably easier, and more equivalent to being a video star now, or being a pop star now. Where’s the surprise? How can it be that Kylie Minogue has hit records? She’s cute, she can sing enough, and she’s incredibly photogenic, and she was first of all on TV twice a day, and, you know, apparently, she’s got a sense of humour. But where’s the shock? I mean, what’s harming anyone?

BB: I thought the reaction to Brutal Youth, of this whole thing of going back to 1978, was just bullshit. I couldn’t believe it. It was such an easy shot...

EC: ...depending on whether it was pitched as a criticism or a compliment, because it was used as both. In England it tended to get everybody rather overexcited for about 20 minutes, about the prospect, and it was never conceived as an Attractions record, and therefore it had the same sense of discovery. In fact, it was almost exactly the same format as This Year’s Model in the sense that half the songs already existed when we started the record, but the band didn’t exist. And when I started I was only actually speaking to one of the Attractions and by the end of it we were a band again. What it lacks in clout, it has in a sense of discovery.

BB: I don’t know anybody who makes albums at the rate you do, and takes as many turns between the way you record them. Do you think people who perhaps first plugged into you from earlier albums might think, ‘I don’t understand what’s going on now’?

EC: I can’t complain about making an impression with an early record. I’m not embarrassed by it, and I’m very proud of a lot of my stuff, but from time to time I’ve obviously gone out of my way to dismantle that imagery, not musically but physically. I really freaked people out with the old beard and everything, which I really enjoyed doing.

BB (laughing): Like, there have never been beards in pop. It’s another one of those things like ‘Oh my God, he’s got a beard. Oh my God, he’s playing with a string quartet’.

EC: It’s just a question of timing. Liam Gallagher’s 23, or something; he grows a beard, and admittedly he’s got a pretty great beard, one of the real, full, Celtic beards which I’m not blessed with, despite my heritage. I tend to look like an old tramp; he does look pretty cool with it.

BB: Do you think it’s because you’ve defined yourself so clearly in the first place? I mean, you have a very strong visual image.

EC: What I didn’t realise was how sentimental people were about music that I thought we had no sentiment about. I was never really into the punk thing, as you know, but I did assume that it was being done at the moment. And when we were making stuff on Stiff, I had no idea that it would be going on for five years, let alone 15, 20 years, so it wasn’t made to last.

BB: There ain’t no one way, but how do you write your songs? Hank Williams, on the road, used loads and loads of little notes. Do you make notes?

EC: I try different bloody ways. I don’t know, I try not to think of it. If I knew it, then I’d keep on doing it like that, and things would really start to get redundant. I tried big bits of paper for a while, I tried little bits of paper; I tried carrying a notebook, then not carrying one, carrying a Dictaphone or something.

BB: I think it’s much more satisfied when a song comes all in one go. Songwriting is so difficult to explain

EC: I always quote this line that Calton and Simpson wrote in The Rebel, when the Hancock character is asked how he mixes his paints, because he’s such a great painter. And he says: ‘In a bucket, with a big stick’! That’s about what it comes down to at the end.

BB: Yeah, that’s where I am at the moment, with my record.

EC: The worst thing is when you’re falling asleep, and you tell yourself you’ll remember that line...

BB Yeah, you have to get out of bed and write it down, and wake up the baby.

EC: Well if you don’t, you’ll be tortured forever by the thought of what it was.

BB: It happens all the time, ‘I’d wish I’d written that line down’. So do you consider Meltdown as something outside of your career as a pop singer, or do you consider it as an extension?

EC: I don’t even think it’s an extension. I just think it’s kind of a byway in the highway of life. (laughs)

BB: The South Bank seemed to like it.

EC: I started by saying, ‘consider less what we call “contemporary” music’, which is a group of the usual suspects, the names which have agreed to be the representatives of the boundaries of ‘contemporary’ music; what about contemporaneous music? I don’t want to be pedantic, but there is a distinction, because contemporary has been appropriated on behalf of these composers whether they like it or not, just the same way that Blur and Menswear are described as ‘Britpop’, but they’re very different. I wanted to go further, but we just didn’t get the right people. I wanted to have Ray and Philomena on there; I wanted to have some things that people would never in a million years say is ‘art music’, because it’s all happening now. But it just became impossible to embrace everything, and then it looked like we were doing it in some kind of arch way. So I got the things I could get, and we did all sorts.

BB: Have you ever fancied doing anything like writing a piece that’s a play with songs?

EC: Yeah, actually I did. A couple of years ago. I got commissioned for one pound, because I didn’t want the burden of a real commission to write, for the Nottingham Playhouse, which is still in the works. Unfortunately I realised that once I’d written one draft - old clever clogs here wanted to write the play, the libretto, the music and orchestrate it! I wasn’t prepared to compromise, which means my abilities as an orchestrator would have to keep pace. You can’t. I wrote this song on Brutal Youth called ‘My Science Fiction Twin’, taking the piss out of myself for this tendency to try and do everything at once.

BB: Was it a play with songs?

EC: I was trying to find a new form which hadn’t been thought of yet.

BB: Everyone thinks that as soon as you say you’re going to do something that’s not a record, it’s got to be a musical or a rock opera or something shit.

EC: Yes, that’s the problem... I wanted to have something that wasn’t quite like anything else in as much as everybody tries to do that. Then there’s the musical style that dominates the West End, which obviously conforms to the template. And we’ll probably never be free of the Lloyd Webber sugar or the revival mania. There’s a possibility that at the end of this year I might change the way I work, to allow me some flexibility. I’ve had a couple of discussions with different people in film, and things are opening up all the time.

BB: Are you a good flyer? Do you like flying?

EC: No, I’m a rotten flyer, but I’m not as bad as I used to be. I used to have to get really drunk to get on a plane. If I’m tired I get more nervous.

BB: Do you think it’s a trick of the imagination?

EC: Why?

BB: Because a lot of the people I know who write songs hate flying, or are very nervous about flying. Having an imagination is a boon, but it’s also a curse isn’t it?

EC: Yeah, but I don’t start thinking about all the things that can happen. I actually have a problem with the equilibrium. Once I get unsettled, I can’t get steady again. I haven’t got the greatest sense of balance. I could never ride a bike.

BB: When the plane starts shaking I really start thinking about my mortality...

EC: (laughing): Mmm, I do too, but I think about that enough without being up in a plane. But in every other respect I think I’m OK. I don’t get too bad now... I got on a plane coming back from Los Angeles the other week, and I picked up a paper, and it said, ‘Major To Play Class Card’. And it said he was going to accentuate his working class background, because now we have a middle class Labour party. I thought, Fuck it. I’m in bizarro world now. I feel like I’m in a Superman comic’.

BB: It is worrying when you look at where the Labour party is. It doesn’t seem to be drifting towards much; it seems to be dashing off there. There was a thing in the NME a couple of weeks ago, where I had inadvertently given the wrong impression in a press conference in Australia about Red Wedge. Someone asked me about Red Wedge and they said, ‘Would you do it again?’ and I said: ‘Yeah, if the situation was similar, of course’, and I laid out why the situation would have to be different. But it ended up in the NME that, yes, I was up for doing it again, so I had to do a little bit of press about why I wasn’t doing it again.

EC: You couldn’t deal with that Mandelson guy. He’d be in there, you know? Fucking crawling up your ass. I wait for the day when they announce that they are going to publicly behead the Duke of Westminster in Parliament Square. Tony Blair is going to wield the axe himself, you know. Followed by the entire Westminster council. And the day that they announce that they’re going to do that - that’s the day they get my Vote. I mean, they have my sympathy, they have my support. If I’m in the country I’ll vote for them because I don’t want the other fuckers to win again.

BB: But it shouldn’t have to be like that; it shouldn’t be that kind of choice.

EC: I mean it. They should fucking behead those bastards.

BB: ...and it would make great telly...

EC: I do believe in capital punishment, not for murderers and drug dealers but for those fuckers..

BB: For the the Duke of Westminster. If only for the fact that he’s got everything off William the Conqueror.

EC: Well that’s a good enough reason right there.

BB: Do you define yourself in any political way?

EC: No I never did. I’ve never actually belonged to any organisation. I don’t trust them. I think.., well the worst thing that ever happened in this country was Michael Foot becoming leader of the party; not because he wasn’t a good man but because he was unelectable. And when he was young enough, if Tony Benn had been prime minister everything might have been a lot different.

BB: Even if Healey had been prime minister at least he would have fucking had a go.

EC: He was a big enough bastard.

BB: He would have got hold of Thatcher by the scruff of the neck. And it was a really sad old Labour party compromise. Michael Foot is a lovely bloke, but he’s not the sort of leader the party needed.

EC: Not against the Force of Nature, and that’s what it was, you know.

BB: It was like Callaghan, you know; he’s like this sort of avuncular character.

EC: Wilson was a bastard but he was our bastard. That’s why I live in Ireland, because I have a real problem with the undiluted strain of English Tory. It’s not conservative with a small ‘c’ but there’s a strain: I believe there is almost a race of people that live in middle England. That they look different, they think different and they are hostile to the rest of us in this country, let alone everybody else.

BB: And they are afraid of Europe, but they’re also afraid of any form of regional devolution. They don’t want to be in Europe and they don’t want people in Scotland having their own assembly, or Wales, or Northern Ireland, which is I think why the peace process in Northern Ireland is so important. Because if, fingers crossed, something happens and they do get some form of assembly together then the Scots and the Welsh will be able to turn round and say, ‘Look, we haven’t been at war with you for 25 years, and we’ve been offered nothing’.

EC: And the only reason we’re even considering it is because all the other options are so unthinkable. I mean, we can’t sort that out now. I wish we could.

BB: You mean me and you as songwriters? (laughs)

EC: We can’t sort it out either.

BB: There’s this great line in ‘Tokyo Storm Warning’ about protest singers still shooting us, which always gets me. In my heart, Elvis, thanks, mate...

EC: I might have written that one exclusively for you.

BB: There are a number of lines that go straight to my heart but that is one that sticks out.

EC: You know, I’m sure you get to the point where you’ve met most of the people you ever admired. And I’m very glad to say that most of the people I’ve met that I’ve admired were not a disappointment. A couple of them have been almost frighteningIy as much like I wanted them to be, both good and bad, like Jerry Lee Lewis - fairly frightening experience.

BB: Yeah, I bet it was. It must have been really scary.

EC: Yeah, but he’s sort of so much himself; he’s just like that. He doesn’t scare me, I’m not intimidated by him, I’m not in awe of him.

BB: I mean who do you measure yourself against as a songwriter?

EC: I don’t think of myself in competition with anyone.

BB: Are there any songs where someone’s said in two verses what it took you five to say in your own work?

EC: No, because it would be different if I was trying to write songs like a lot of other people write but I think they’re fairly individual to me. I know how the mechanism works, which is more than a lot of people do. I actually know how to do it. I think that has caused some resentment in the business even among some people that support me because they almost wish I did it, just to prove it, but I can’t be bothered. Life is too short to waste your time doing something like that.

BB: You can find yourself giving in to make those compromises. It’s so easy to do something in your career that the public just suddenly latch on to, like poor old Jarvis is going to forever be known by the greater public, but for...

EC: ...the wrong reasons, but I think he’ll enjoy that, I think he’s smart enough. I don’t know him; I’ve never met him, but I love that reference to the wood chip in ‘Disco 2000’, because it seems like something he’s filed away from a personal experience, but he’s put it in this song that is really universally understandable and I think that’s his main strength.

BB: He seems to be head and shoulders above the other so-called Britpop writers. What do you think of the Sex Pistols revival? Are you going to see them in Finsbury Park?

EC: No... I mean I’ve got nothing against it, I just think it’s like another trip to the pantomime. I dug ‘em the first time, and I think they made some great records. It’s like pushing the joke. They’ve already made a record called Flogging A Dead Horse, so what can you say to them that’s gonna hurt them? They can just say ‘Well, we told you; ever had the feeling you’re being cheated?’.And whereas that seemed like a great line thrown away, now I see it as the headline. Everything we ever said in these circumstances has now become a script where it’s become history... Do you get weird mail?

BB: Yeah I do occasionally get weird mail, not so much ‘cos I haven’t put an album out for a while and it’s kind of dying off a bit now. But in what way do you mean ‘weird’?

EC: Just people thinking that you wrote the song for them, that kind of thing.

BB: Oh yeah, I get a lot of that. I tend to not take any notice.

EC: I never write back.

BB: On a few occasions I have and I find that if you do write back, they just cling on and they never ever let go.

EC: I’ve had some remarkable ones. Somebody wrote a letter to me, using lines from my songs to complete sentences. They’d taken a lot of thought, it wasn’t just titles, it was whole lines, and the thing made sense. It’s a bit like the internet; it’s a bottomless well of pointless thought, there’s no reason for it to exist - it’s a self-perpetuating delusion, and people say, ‘well, I’m obsessed, because I am obsessed’, you know.

BB: What do you do with people when you’ve written a song that does mean so much to them, about a particular time in their lives? I mean, what responsibility do you have as a songwriter?

EC: I think the main responsibility is not to betray the character they imagine you to be. You wouldn’t sing a song that didn’t ring true to you, so even if you wrote one once that meant something and then you lost the meaning of it somewhere, you wouldn’t just sing it as a matter of course. There’s a few you can’t go back to, and the responsibility is not always yours.

BB: It’s like Jimi Hendrix setting fire to his guitar at every gig, after a while you can’t do that, for yourself.

EC: It’s not that you no longer have the edge, or the willingness to go there, but you need to use that ability to go on somewhere else that you’ve never been before. I suppose that’s what I’ve tried to do on this record.

BB: Do you have a favourite album?

EC: Of mine? I don’t know. It changes all the time. I have some that I’ve fallen out of love with, and like better. Like Trust - for a long time, I couldn’t listen to, because I was in such a terrible frame of mind, in such terrible shape by the end of it that I got really ill. I was actually frightened to listen to it. Nervous, I should say.

BB: I think the King of America/ Blood and Chocolate year must have been very interesting...

EC: It was pretty intense but in kind of strange ways. It was a crossroads in my personal life. We all kind of knew that the image of that fitted the mood of the record, in a number of ways; the bitter tone, the bitter sound. It’s no accident that the last number we played at Glastonbury at the last gig we played, was ‘Instant Karma’. (Both laugh loudly).

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Postby randrew » Sat Dec 31, 2005 12:41 am

Coolness. I love interviews that aren't by the usual bastards.

I love even more the interviews where he specifically talks about his songs.

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Re: Billy Bragg meets Elvis Costello , early 1995

Postby Otis Westinghouse » Sat Dec 31, 2005 4:58 am

Good interview.

johnfoyle wrote:And when I started I was only actually speaking to one of the Attractions and by the end of it we were a band again.

Only talking to Pete? I should check Thomson on this, but did he not talk to Steve for several years?
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Postby anjabro » Sat Dec 31, 2005 8:02 am

This is from a little further back, but doesn't sound too friendly...

".....there's not much point us getting together just to do old stuff, and they're not playing as a band on the new record, so for the time being until we get back and do something else together we won't be going out on tour. Pete plays on the record, but with no disrespect to Steve he sees Elvis and the Attractions differently to me. And he didn't see being what he regarded as a sideman on a record as what he wanted to do. I said I wanted to do some cuts with the four of us, and he was the one that really stopped it, because he said he either wanted to play on the whole record or . . . so the door's open to him, if we come up with a good idea.
"But obviously that was a little disappointing because he does do sessions, he plays with that idiot Jonathan Ross every Friday. I don't see the difference between playing on somebody else's record and playing on mine really. But he has a different view of it, like it's a 'band', like we're The Rolling Stones or something. I don't see it that way, I think we're individuals.
Therefore we disagree, but I don't think there's any animosity. You'd have to ask them, really; they might fucking hate me !"

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Postby Otis Westinghouse » Sat Dec 31, 2005 9:03 am

Thanks. Funny to see the Ross slag off. Now, of course, he's to luvvied up to come out with such stuff and normally appears on Ross's radio show when in the UK.
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Postby johnfoyle » Sat Dec 31, 2005 5:47 pm

From the Brutal Youth ( 1993/4) sleevenote - ... php?t=3479

Although Pete Thomas and I had continued to work together since the apparent demise of The Attractions, my relationship with Steve Nieve and Bruce Thomas was pretty non- existent. In the intervening years, Steve had enjoyed a career as a television chat-show bandleader and contributed to a great number of recordings. Bruce Thomas had also worked occasionally as a session player and made a not entirely successful venture into the world of pulp fiction. After my attempt to reassemble the band for the recording of Mighty Like a Rose had ended in an unseemly legal squabble, I assumed that we had cut our last record together.

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Postby anjabro » Sun Jan 01, 2006 5:45 am

johnfoyle wrote:After my attempt to reassemble the band for the recording of Mighty Like a Rose had ended in an unseemly legal squabble....

Legal..?? The squabbles are well known, I didn't realise they'd ever got legal, though...Any more on that..?

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Postby Otis Westinghouse » Sun Jan 01, 2006 7:55 pm

Some complicated contractual issue that meant he couldn't play with them on the record. I think he goes into some detail in the MLAR reissue notes. Sorry, too tired to check out at this late hour...!
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Postby johnfoyle » Fri Mar 17, 2006 9:19 am ... 1-sun.html

Toronto Sun

17 March '06

BRAGG SLAGS COSTELLO: Speaking of which, you can take Billy Bragg out of punk rock, but you can't take the punk out of the British singer-songwriter.

Playing a sold-out show at the Opera House last weekend, Bragg -- who's now a politically charged folkie -- good-naturedly took a shot at fellow former punk Elvis Costello, who's since ventured into country, classical and big band jazz.

"I was in a punk band for a while," said Bragg, according to the Sun's Bill Harris who was in the audience. "In my younger days, I was trying to find the space between Nick Lowe and Elvis Costello. But it turns out there was no space between Nick Lowe and Elvis Costello."

Bragg paused before adding, "There is now."

The audience laughed but Bragg wasn't sure how Costello would feel about the dig.

"At any moment, Elvis could appear at one of these windows and sing an aria or something," said Bragg pointing up to the Opera House's juliet balconies.

----------------------------------------------------------------------------------- ... 33-0730305

March 9 '06

Singer/songwriter Billy Bragg is no stranger to controversy. Outspoken and intelligent, Bragg has earned a reputation as one of the UK's most vocal social critics. So it comes as a bit of a surprise that on his 2002 album England, Half English, Bragg is also an ardent and proud Englishman. As guest editor, he takes us through some the albums that influenced him.

' I found this album A Quiet Riot a few weeks ago and bought it out of curiosity. People sometimes look at the charts and assume that the singer/songwriting tradition is dead but this LP suggests otherwise. Its full of beautiful songs by some bands I'd heard of but a lot I hadn't. Badly Drawn Boy, Turin Brakes, Kings of Convenience, Mull Historical Society and Lambchop are all here, but the cuts from Tom McRae, Sigur Ros and the Zephyrs are standout tracks. My favourite though is "Silence Seems To Say" by the Last Post. All these sad ballads left me longing to hear my old singer/songwriter albums. Here's what I was listening to alone in my room for much of the 70s:'


This Year's Model

I was shaken out of my self-absorption in 1977 by the arrival of a new kind of singer/songwriter: Elvis Costello. Out went all that sensitive shit and in came a sneering anger at the world. Elvis showed me how to focus my frustrations and forge them into punk songs. This Year's Model shows him at his glaringly articulate best.

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Postby johnfoyle » Sun Apr 09, 2006 3:05 pm

"That's How You Got Killed Last Time" - huh? ... w/node/170

'Every Sunday from 10:00pm to 11:00pm ET Grammy Award winner Steve Earle hosts a music show where a renowned guest brings in about 6 songs to play, sharing what moves him/her and what music made a difference in his/her life.'

Sunday, April 9th: Billy Bragg

by David Fazekas on April 6, 2006 - 4:05pm.

This week on The Revolution Starts Now, Steve talks to musician Billy Bragg. Finding inspiration in the righteous anger of punk rock and the socially conscious folk tradition of Woody Guthrie and Bob Dylan, Billy Bragg was the leading figure of the anti-folk movement of the '80s. For most of the decade, Bragg bashed out songs alone on his electric guitar, singing about politics and love. While his lyrics were bitingly intelligent and clever, they were also warm and humane, filled with detail and wit. Even though his lyrics were carefully considered, Bragg never neglected to write melodies for songs that were strong and memorable. Playlist:

* Chris Wood, "Hard"
* Alpha Boys School Band, "Rocket Ships"
* Hard-fi, "Stars of CCTV" (Stars of CCTV)
* Editors, "Bullets" The Back Room
* Elvis Costello, "That's How You Got Killed Last Time" (My Flame Burns Blue)
* Billy Bragg, "Like Soldiers Do" (Brewing Up With Billy Bragg)

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Postby johnfoyle » Mon Apr 10, 2006 1:07 am

Mike on listserv -

I managed to grab their discussion from the stream: ... 3ZKIKTLRTM

I left out the song because, well, hopefully you've all heard it
already. Enjoy!

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Re: Billy Bragg meets Elvis Costello , early 1995

Postby Mechanical Grace » Tue Apr 11, 2006 7:34 am

johnfoyle wrote:
EC: ... It’s a bit like the internet; it’s a bottomless well of pointless thought.

Now, now...

Also, I don't see where BB saying "there is now [space between EC & NL]" is a dig. I think BB's bit about the Aria means something more like "Elvis is doing so much that there's space between him and anyone". Is that a bad thing? Am I being a dullard, or is this a case of a dopey journalist not getting the joke, and so wishfully assuming it's some bit of trash-talk?

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Postby alexv » Tue Apr 11, 2006 9:54 am

I also don't see any fighting words in BB's comment, MG. The only way to interpret it as a dis is to assume that BB is automatically critical of any former role model who ventures into far flung musical fields. That seems awfully narrow minded and would only make sense if while taking his excursions EC had abandoned pop music or had put it down as irrelevant. Obviously, he hasn't so at worst I interpret his comments as a jokey gibe at EC's gargantuan ego and ambition.

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Postby johnfoyle » Fri Jan 26, 2007 1:31 pm ... death.html

Friday, January 26, 2007

The Touch of Death

Fiona Phillips is the embodiment of car-crash daytime television. Crass, ill-informed and fundamentally moronic, no-one escapes from an encounter with the haggard sunbed disaster untainted. Not even Billy Bragg. I had switched over to GMTV just as Fiona was in the middle of a live two-way interview with Billy from Hive Beach, one of the beaches affected by the oil slick from the damaged SS Napoli.

Billy was wearing a semi-Barbour jacket and has clearly been on the pies so it took me quite a while to be certain that this man who was appealling for local residents to come and help with the clean-up of the beach at the weekend.

So the interview comes to an end and it goes something like this:

FP: Well, thanks Billy for coming on the show and good luck with the clean-up. In fact I've been humming one of your songs all morning. Shipbuilding.

BB: (looks embarassed.)

FP (to co-host Andrew Castle): such a good song

BB: it was Elvis Costello

FP: (aghast) oh gosh. Sorry my researcher told me it was one of your songs.

BB: (embarassed) I wish it was. It's a great song.

FP: Oh well thanks Billy anyway.

FP: (to AC) so what are Billy's most famous tunes ?

AC: (looks flustered)

FP: Never mind. Anyway. This morning you could be winning £20,000.....

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Postby Jackson Monk » Fri Jan 26, 2007 6:18 pm

I saw his and was in hysterics....fucking superb. Those two are right knobs. I loved the way smarmy Castle was taking the piss out of Phillips for her mistake and then she said "you said it he wrote it (Shipbuilding) too!!". Cue mutual embarrassment!!
corruptio optimi pessima

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verbal gymnastics
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Postby verbal gymnastics » Tue Jan 30, 2007 11:02 am

international laughing stock...

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Re: Billy Bragg meets Elvis Costello , early 1995

Postby johnfoyle » Sat Oct 05, 2013 12:51 pm

The EC/Bragg interview is now on wiki - ... ,_May_1996

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