(Okay, I know I'm like 30+ years late on this... be nice)
These are really quite fascinating recordings. Besides just the inherent coolness of it all (Third Rate Romance is honky tonky storytelling at its finest...plus those horns and handclaps on 'Pay it Back' really cook), I think what interests me the most about them is that hearing them, you really get an understanding that 'Elvis Costello' was more than just a cool sounding name change. It really was a character/stage persona as well (Which Costello himself has said a couple times before, but still, it's nice to hear it in the music like this)
For one, just in the vocal tones, you can tell there's a lot less sneering here. Don't get me wrong, I love the sneering. I'm just pointing it out for the sake of having some semblance of a discussion here.
The musical arrangements are a lot more R&B/Pub Rock than "Punk" or New Wave, which in my mind I associate with being a happier, less edgy sound. Though that's entirely subjective and I think is more a sign of the times than a sign of McManus's state of mind.
But what's really telling is the lyrics. Just listen to 'Radio Soul' in contrast to 'Radio, Radio'. It's amazing, really. Now I can't say how tongue in cheek 'Radio Soul' was meant to be, but it sure doesn't sound as bitter, and doesn't carry nearly as much of the anti-media sentiment. In fact it almost sounds like it's celebrating the very things 'Radio, Radio' would seek to skewer. But I guess you can't want to bite the hand that feeds you until it's actually feeding you, right?
Another bit, maybe less notable but still very telling, is the third verse on Pay it Back. Now, on these Demos, the lyric goes as follows:
I wouldn't say that I was raised on romance,
I wouldn't say that at all,
But if you give me just a half a chance
I'll be over as soon as you call
Not what I'd call superb songwriting or anything, not bad but pretty much a typical lyric, I'd say.
It would appear on 'My Aim is True' as this, though:
I wouldn't say that I was raised on romance.
Let's not get stuck in the past.
I love you more than everything in the world.
I don't expect that will last.
Starts out nice enough, but then does a 180 right there in the last line. Now that's some coldblooded stuff right there. I mean it's one thing for a song to change over time... naturally there was gonna be some improvements in the musicianship and songwriting over the course of 2 or so years. But this is almost a complete reversal in meaning. The snark factor increased like, 500 percent.
I dunno where I'm going with this. Just bored I guess.
But I do think these tapes provide perspective on the argument that Costello somehow softened or mellowed out with age. I guess the burning question is where McManus ended and Costello began.
In other words, just how angry was he, really?
Listening to the Flip City Demos...
-
Poor Deportee
- Posts: 671
- Joined: Sun Jan 01, 2006 7:30 pm
- Location: Chocolate Town
I can't pretend to answer that, but it wouldn't be the first time that a stage persona got out of hand, to the point of consuming the performer's life - nor the first time that an ambitious young talent reacts badly to sudden fame and (relative) fortune, coupled with massive expectations. It's certainly hard to believe that EC would have imploded as spectacularly - or played and spewed venom as relentlessly and ferociously - as he did during the 'Rock against racism' debacle if it had all remained 'just an act' by that point. I always take as a key the remark on the sleevenote to the Blood and Chocolate reissue, about him deciding no longer to wreck his life just so he could write stupid little songs about it.
Speed may have had something to do with it, too...
BTW, how does one get to hear these demos?
Speed may have had something to do with it, too...
BTW, how does one get to hear these demos?
When man has destroyed what he thinks he owns
I hope no living thing cries over his bones
I hope no living thing cries over his bones
I'd like to hear those as well -- aside from "Imagination is a Powerful Deceiver", I don't know where to find any of EC's Flip City stuff.
As to the difference in tone between "Radio Soul" and "Radio Radio" -- I'd guess that it's probably that "Radio Radio" was about the already lousy state of U.S. radio in 1978 (much worse now) and how EC and many other great acts couldn't get broadcast on it in major outlets to save their lives. When EC wrote "Radio Soul," (assuming he did actually write it -- don't know this song) I'd guessed he'd never been to the states and only knew the BBC, pirate stations, etc.
As to the difference in tone between "Radio Soul" and "Radio Radio" -- I'd guess that it's probably that "Radio Radio" was about the already lousy state of U.S. radio in 1978 (much worse now) and how EC and many other great acts couldn't get broadcast on it in major outlets to save their lives. When EC wrote "Radio Soul," (assuming he did actually write it -- don't know this song) I'd guessed he'd never been to the states and only knew the BBC, pirate stations, etc.
http://www.forwardtoyesterday.com -- Where "hopelessly dated" is a compliment!
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
The "tone"/"climate" of the Flip City stuff, I think, is dictated largely by the fact that this was a "Band Situation" -- largely influenced by Brinsley Schwarz and the other "Pub Rockers" of the time. Sure, McManus was the driving force, certainly, but that situation didn't really lend itself to him asserting his agenda as much as it otherwise might be.
Plus, it was 1975, after all. The edginess of it all hadn't really hit the mainstream yet.
Then take the Honky Tonk Demos, after his move to go solo. While the musical treatment is still pretty tame (particularly because the are solo/acoustic), but there is a definite escalation in the imagery and tone of the lyrics, and a subtle, but distinct change in his vocal delivery and mannerisms.
Rather than seeing the progression as an affectation, or contrived, or whatever, I think it's just more of a natural process that occurred along with his maturation and greater sense of his capabilities.
Toss in the changing climate with the Punk stuff, etc., and you end up with Elvis Costello.
Pretty cool really.
(I gotta admit it was sort of a letdown when I 1st became acquainted with the earlier stuff. Not because I don't enjoy the material and performances, but it took the mystery out of it. While it was all unfolding, I had thought he had dropped in from Mars, or something. All part of the experience and perspective that comes with age, I suppose...)
Plus, it was 1975, after all. The edginess of it all hadn't really hit the mainstream yet.
Then take the Honky Tonk Demos, after his move to go solo. While the musical treatment is still pretty tame (particularly because the are solo/acoustic), but there is a definite escalation in the imagery and tone of the lyrics, and a subtle, but distinct change in his vocal delivery and mannerisms.
Rather than seeing the progression as an affectation, or contrived, or whatever, I think it's just more of a natural process that occurred along with his maturation and greater sense of his capabilities.
Toss in the changing climate with the Punk stuff, etc., and you end up with Elvis Costello.
Pretty cool really.
(I gotta admit it was sort of a letdown when I 1st became acquainted with the earlier stuff. Not because I don't enjoy the material and performances, but it took the mystery out of it. While it was all unfolding, I had thought he had dropped in from Mars, or something. All part of the experience and perspective that comes with age, I suppose...)
Thanks for contributing, Dr. Luther. Good thoughts, good thoughts.
The only Honky Tonk Demo material I've heard is what Rhino has re-issued on their bonus discs. I need to get my hands on more of that stuff. Obviously Elvis did his best work with The Attractions backing him, but I dunno man, there's something about that early stuff that really gets me.
I understand what you're saying about the disappointment thing though. Listening to these kinds of recordings has sort of a genie-unbottling effect. Once you've taken a look at the man behind the curtain, there's really no going back. It's like... I dunno... finding out how hot dogs are made or something. Sure you can still enjoy a hot dog afterwards...but it's never quite the same, once you know where they come from.
But on the plus side, you get some good music out of it as well as a better perspective of an artist.
The only Honky Tonk Demo material I've heard is what Rhino has re-issued on their bonus discs. I need to get my hands on more of that stuff. Obviously Elvis did his best work with The Attractions backing him, but I dunno man, there's something about that early stuff that really gets me.
I understand what you're saying about the disappointment thing though. Listening to these kinds of recordings has sort of a genie-unbottling effect. Once you've taken a look at the man behind the curtain, there's really no going back. It's like... I dunno... finding out how hot dogs are made or something. Sure you can still enjoy a hot dog afterwards...but it's never quite the same, once you know where they come from.
But on the plus side, you get some good music out of it as well as a better perspective of an artist.
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
That's all there is -- 6 songs.Hank wrote:The only Honky Tonk Demo material I've heard is what Rhino has re-issued on their bonus discs.
There was a Virgin Demo that circulated many years back that was similar, in that it was acoustic demos. The sound was nowhere near the quality of the Honky Tonk boots that made the rounds. Pretty poor. Listenable, barely.
Different songs, largely.
If I recall correctly, it included:
Mystery Dance
Radio Sweetheart
Living in Paradise
...Ah, I don't know. Not sure now.
I've got it on a reel to reel somewhere...
This new compilation shows what Flip City was a part of -
http://www.sanctuaryrecords.co.uk/index ... &lastpage=
Goodbye Nashville, Hello Camden Town: A Pubrock Anthology
Release date - 9 April 2007
Pub Rock laid down many of the roots for Punk. This is the first comprehensive, in-depth Pub Rock compilation. The scene was at its peak between 1971-76, when all but a couple of these sides were recorded. All the genre’s big names are here, viz: Kilburn & The High Roads (featuring Ian Dury), Eggs Over Easy, Dr Feelgood, The Kursaal Flyers, Mickey Jupp, Brinsley Schwarz (featuring Nick Lowe), Bees Make Honey, The Pirates, Chilli Willi & The Red Hot Peppers, Eddie & The Hot Rods, Chas & Dave, The Count Bishops, Meal Ticket, Nine Below Zero, The Cartoons, etc. Conceived, compiled and annotated by intrepid Pub Rocker David “mine’s a ciderâ€
http://www.sanctuaryrecords.co.uk/index ... &lastpage=
Goodbye Nashville, Hello Camden Town: A Pubrock Anthology
Release date - 9 April 2007
Pub Rock laid down many of the roots for Punk. This is the first comprehensive, in-depth Pub Rock compilation. The scene was at its peak between 1971-76, when all but a couple of these sides were recorded. All the genre’s big names are here, viz: Kilburn & The High Roads (featuring Ian Dury), Eggs Over Easy, Dr Feelgood, The Kursaal Flyers, Mickey Jupp, Brinsley Schwarz (featuring Nick Lowe), Bees Make Honey, The Pirates, Chilli Willi & The Red Hot Peppers, Eddie & The Hot Rods, Chas & Dave, The Count Bishops, Meal Ticket, Nine Below Zero, The Cartoons, etc. Conceived, compiled and annotated by intrepid Pub Rocker David “mine’s a ciderâ€
I presume so . If so it is , of course, another cover of a song originally done by The Amazing Rhythm Aces.Is the Fabulous Poodles track on this comp, Third Rate Romance, the same Flip City song???
http://www.theacesforreal.com/
Re: Listening to the Flip City Demos...
http://www.countryhound.com/(X(1)A(ZneKrgS9yAEkAAAANDJiNTA2OWYtYjJhNy00YmEzLThhYWUtMGNlMTYxM2NjNTE28Qzy7ja0MJlAcabgvcRgDl8BKuY1))/News/Article.aspx?p=1402&AspxAutoDetectCookieSupport=1
Barry "Byrd" Burton, who played on country classics including the Amazing Rhythm Aces' "Third Rate Romance" and Don Williams' "Tulsa Time," died Monday evening after a long bout with leukemia, according to The Tennessean. Byrd, who lived in the Nashville suburb of Hendersonville, was 61.
Burton, who was adept on electric, acoustic, or steel guitar, played on tour with Brooks & Dunn, Dan Fogelberg, Dolly Parton, Nanci Griffith, and many others. He was a part of albums including Emmylou Harris' Cimarron, The Oak Ridge Boys' Fancy Free, Williams' Expressions, Griffith's Late Night Grand Hotel, and the Aces' breakout effort, Stacked Deck.
"In the studio, he was so easy to get along with," said Bob Babbitt, the famed Motown bass player who began working with Mr. Burton after Babbitt moved to Nashville. "He came in knowing the song, and he was great at writing out the charts. He took care of business. And then he sat down and played his butt off."
Burton was discovered by legendary producer Sam Phillips (Elvis Presley, Jerry Lee Lewis), who hired Mr. Burton to play at his studio in Memphis. He joined the Amazing Rhythm Aces during the recording of 1975's Stacked Deck and stayed with the band for three years. After that, he became an in-demand touring and studio musician, thanks to his soulful playing and a personality that helped keep things at an even keel.
"He had a calmness about him, and he helped others feel relaxed," said drummer Craig Krampf. "Byrd was one of the greatest human beings I've ever met. And as a musician, he was incredible."
A memorial service will be held on Saturday.
Barry "Byrd" Burton, who played on country classics including the Amazing Rhythm Aces' "Third Rate Romance" and Don Williams' "Tulsa Time," died Monday evening after a long bout with leukemia, according to The Tennessean. Byrd, who lived in the Nashville suburb of Hendersonville, was 61.
Burton, who was adept on electric, acoustic, or steel guitar, played on tour with Brooks & Dunn, Dan Fogelberg, Dolly Parton, Nanci Griffith, and many others. He was a part of albums including Emmylou Harris' Cimarron, The Oak Ridge Boys' Fancy Free, Williams' Expressions, Griffith's Late Night Grand Hotel, and the Aces' breakout effort, Stacked Deck.
"In the studio, he was so easy to get along with," said Bob Babbitt, the famed Motown bass player who began working with Mr. Burton after Babbitt moved to Nashville. "He came in knowing the song, and he was great at writing out the charts. He took care of business. And then he sat down and played his butt off."
Burton was discovered by legendary producer Sam Phillips (Elvis Presley, Jerry Lee Lewis), who hired Mr. Burton to play at his studio in Memphis. He joined the Amazing Rhythm Aces during the recording of 1975's Stacked Deck and stayed with the band for three years. After that, he became an in-demand touring and studio musician, thanks to his soulful playing and a personality that helped keep things at an even keel.
"He had a calmness about him, and he helped others feel relaxed," said drummer Craig Krampf. "Byrd was one of the greatest human beings I've ever met. And as a musician, he was incredible."
A memorial service will be held on Saturday.