Unfaithful Music & Disappearing Ink started off well, but when Costello got to 1990, I started to get bored. Costello starts to get full of himself; although he made plenty of self-deprecating remarks, the book screamed: “Look at me.. I’m an Artist.” It seemed the more I liked one of his songs or albums the less he would discuss it. Costello would go on and on about some obscure artist and then cover his work with Paul McCartney in a few paragraphs. One of the best song writing partnerships Elvis ever had was with Aimee Mann on the ‘Til Tuesday album “Everything’s Different Now“.. no mention at all. The book jumps back and forth in time. I thought it was a valid choice made to deal with subjects and people he meet over a long period of time.
Still it was a good book, well written, with lots of interesting stories, just a little disappointing.
Excerpts From My Kindle
Thanks to Nick Lowe’s insistence that we finish a track that I was about to scrap, and Steve Nieve modeling his sparkling piano part on an ABBA record, “Oliver’s Army” became our biggest hit single, stalling at number two on the charts while records by Blondie, Boney M., and the Bee Gees all overtook us at the top of the hit parade. – location 545-548
I thought briefly about changing my name again to something beginning with a B. Still, they gave me a gold record for five hundred thousand sales. If you did that now, you’d be number one for a whole year. – location 548-550
Early in 1964, the Joe Loss Orchestra starred in a short cinema release called “The Mood Man”, in which my Dad reprises the number that he had sung by Royal Command. – location 655-657
We were out at the racetrack in Minneapolis, in 1982, having played our set shortly after Duran Duran and prior to the headliners for the day, Blondie. – location 1096
Dad’s gone down the dog track, Mother’s playing bingo. Sister’s smooching on the sofa, You oughta hear their lingo. No one seems to notice me, Isn’t it a sin? What a crazy world were living in. – location 2140-2144
Secret Lemonade Drinker Ad (with Elvis’ dad singing) – location 2158-2158
I once referred to this process as ‘Messing up my life, so I could write stupid little songs about it’, and I cant improve on that description here, but then songs are never exactly taken from life. – location 4955-4956
Sometimes it is hard to persuade people to listen to something different and have them believe it is founded in curiosity rather than perversity or hubris, but this alliance outdistanced such suspicion. – location 7332-7333
For all the suspicion that these endeavors were about grandiose ambitions and desire for under served status, this was just some other music that I wrote. – location 7722-7723
Elton, about whose kindness and generosity I could easily fill a book, can easily talk about rare records for hours. It was in this easy way that we fell into conversation on Spectacle, Elton recalling the more modest days prior to his recording career when he worked as a sideman backing visiting soul and R&B artists, like the irascible and gargantuan Billy Stewart, who he described pursuing a heckler through the audience while the band was left to play on. – location 8395-8398
I offered to rescue our shortage of shows by interviewing myself in character. I’d done a short form of this for French television with the help of a fake mustache and had seen Oliver Reed do another edition of the same show to spectacular effect, ridiculing himself in a way that made Howard Stern sound like Mr. Rogers. I wanted to put myself on the spot, ask myself those big English philosophical questions like: Who do you think you are? What year did it all go wrong for you? Don’t you agree, you’re a sellout, a hypocrite, a charlatan, a dilettante, a bigot, a socialist, an elitist, a misogynist, a has-been, and a talentless egotist? I would have liked to see how Id have wriggled out of that kind of interrogation. – location 8719-8725
I’d sampled the Italian singer Minas 1960s recording of “Un Bacio é Troppo Poco” as the foundation for “When I Was Cruel No. 2”, but “Can You Hear Me?” took a two-bar bass figure from “Radio Silence” and told the same story on a six-minute canvas. – location 8850-8852
Clips from our rehearsal jams recorded while preparing for my appearances on the Jimmy Fallon show on NBC became the foundation of new tracks: “High Fidelity” yielding Cinco Minutos con Vos, four bars from “The Stations of the Cross” unpinning “Viceroys Row”, and Quests rendition of the intro to “(I Don’t Want To Go To) Chelsea” anchoring “My New Haunt”. – location 8855-8857