Declan McManus toiled away in his pub rock band Flip City and part of the duo Rusty during the mid 70′s.  Then punk hit and it gave him the impetus to become Elvis Costello and he hit the ground running releasing an album a year from 1977 to 79.  I have outlined the releases from this era below.  Please note what I deem to be the ESSENTIAL releases.

	1977 – Elvis Costello – My Aim Is True: Elvis’s debut, originally released on Stiff Records. First appearance of the production team of Roger Bechirian and Nick Lowe. Elvis was not backed up by The Attractions right out of the gate. On his debut he is backed up by the Stiff Records Rock Band in residence – American band Clover which was later known as Huey Lewis & The News. How bizarre! Contains some of Costello’s most loved songs including “Allison”, “Watching The Detectives”, and “Mystery Dance”.  ESSENTIAL
	1978 – Elvis Costello – This Year’s Model: His first record with The Attractions and their signature keyboard driven sound. Written and recorded after their first UK and US tours. As you can tell from the record it is fuelled by a generous helpings of sex, drug, and Rock & Roll debauchery. Released on Radar Records. The great songs just don’t stop on this record which makes it my all time favorite Costello record.  ESSENTIAL
	1979 – Elvis Costello & The Attractions – Armed Forces: A more sophisticated album, but still with a little edge.  This release dwells on military imagery, originally titled “Emotional Facism”.  A mixture of material dealing with both his failing marriage and his affair with American model Bebe Buell.  ESSENTIAL

Here is a playlist I have put together featuring my favorites from this era.  If you can not see the playlist below, please follow this link.

This Biography on Elvis Costello was written by Brit music journalist Graeme Thomson and published in 2006.  Thomson is no stranger to the music biopic as he has written books on a couple of other luminaries such as Kate Bush and Willie Nelson.  He has also written for Esquire, MOJO, Maxim, Rolling Stone, and Time Out magazines.

This book brought me along on a journey through Costello’s recorded output and shined a light on his background.  The book has its weaknesses just like any, in particular my major complaints would be it wasn’t detailed enough and it was a pretty straight chronological reporting of his life up to 2004.  The major setback for the author was his inability to land an interview with the subject of the biography.  Even though the book suffers from not getting some imput directly from “the horse’s mouth” per say, he does a pretty good job reconstructing Costello’s history through other source material.  He then very resourcefully and resoundingly relies upon interviews with the other characters in Costello’s life and the deep catalog of established interviews and other material published over Costello’s then 30 year career in the music business.  The author focuses quite a bit on Costello’s the countless live shows and tours he has ventured on throughout the years, and although the information is much appreciated it gets a little heavy when he brings up slight set list changes that happened between dates.

The book very happily enlightened me to many aspects and happenings in Costello’s life.  I had always been a very cursory fan of Elvis since first hearing his music in the later 80′s, but I had become more and more interested after continuing to hear new and compelling compositions from him throughout the years.  Through this book I was able to re-experience his music from the beginning and give myself a depth of knowledge to what was going on in the background while all this wonderful music was being created and performed.  Among the aspects of Elvis’s life that gets a lot of coverage (much to his chagrin) is his romantic life.  From Elvis’s failed first marriage to Mary, to his high-profile affair with Bebe Buell, and beyond to his unofficial marriage to former Pogue Cait O’Riordan and finally up to date with his current wife jazz pianist Diana Krall.  Now, I’m totally understanding to his personal right to privacy in these matters but you have to understand that the friction from these relationships makes up the majority of the emotional backbone to his music.

Other great focuses are his surprising influences (Country-Western), his professional relationship with Stiff Records co-founder and eventual manager Jake Riviera, his early public abrasive-ness including his bout with the media in 1979 after an incident in which a drunken Elvis uttered some offensive racial slurs to members of the Stephen Stills band.

Overall in the face of a few short comings it is an insightful and enjoyable read which I would suggest to any one who considers themselves of Elvis Costello fan.

Usually I would follow a book review up with a playlist to highlight the music covered in the book, but because of the wealth of great material I will be posting a series of playlists split by distinct eras.  Stay tuned.

First of all, this book first published in 1981 was not written by Robert Palmer, the singer that brought you the hit song “Addicted to Love”.  The Robert Palmer that wrote this book was a distinguished music journalist from the 1970s to the 1990s.  He covered music for the New York Times, Rolling Stone, and many other publications alongside his two non-fiction music books:  Deep Blues and Rock & Roll: an Unruly History. Palmer died in 1997 leaving behind a large body of work including his work in music production, film, and his own music, of which this book is his crowning achievement.  Palmer is a hugely important music journalist as he bridged the gap between rock journalism and ethnomusicology.  He had a unique perspective as a talented and successful musician in his own right who was able to hang with the rocks greats while still giving you an insight into the history of the subject he was covering.  Beyond that short intro I would direct those that want to find out more about him to this link if it so pleases.

The books caption, “A Musical and Cultural History, From The Mississippi Delta to Chicago’s South Side to the World”  actually sums up the books composition quite well.   Among the cast of characters that is covered in the book is Muddy Waters, which Palmer relies on heavily on to move along his telling of the Blues history.  The term “Deep Blues” is actually something that Muddy used to describe blues of high emotional quality which was highly influenced by the sounds coming from the Mississippi Delta.  Palmer picked up on this and his interview with Muddy act as the backbone of this book. 

The book is split into 5 sections:  a prologue, three main parts and an epilogue.  The prologue acts as an overview of the musical form.  Part I delves deeply into the genesis of the form and its original practitioners.  Palmer also focuses heavily on one of the Blues most interesting and important early figures, Charley Patton.  Part II then focuses on the next big player in the history of the blues, Robert Johnson.  One of the major draws of this book is the detailed history of Patton and Johnson, who previously and still are to a certain extent, mysteries.  Also covered in part two is Muddy Waters, and early Chicago Blues.  In Part III things get a little more involved, starting with the history of the highly influential radio program King Biscuit Time at Helena, Arkansas radio station KFFA. That radio program then acts as a connection point for the next handful of the musicians that are covered in this part of the book, as most of them played on the program at some point or played with the programs original stars Aleck “Rice” Miller (aka Sonny Boy Williamson II) and Robert Lockwood Jr.  Among those that are covered are the two aforementioned players and Little Walter, Junior Wells, Elmore James, and Jimmy Rogers.  This part continues covering the Blues from Memphis and the early recordings made by Sam Phillips at the Sun Records Studio.  This includes brief coverage of Ike Turner and his Kings of Rhythm, B.B. King, Albert King and Howlin’ Wolf.  The epilogue then ties up some loose ends with some of the previously covered characters, then spreads out and covers Blues players from some other areas including John Lee Hooker, Son Seals, and Otis Rush.  The epilogue also rounds the book out with some discussion of how the Blues influenced music across the world. 

In my opinion the book is on the list of must reads when it comes to material on the history of music.  It was one of the first to shed some light on such an uncovered genre with its extremely mysterious beginnings.  Those parts of the book that deal with the early history the Blues are some of its most compelling material.  I should also mention that the book is in no way a definitive look at the genre.  It is pretty focused in what it covers which is a gritty / country Mississippi Delta born blues.   With that being said there are some very large blind spots including the early blues from the eastern states also known as “Piedmont Blues” or any of the jazz based city blues of the 20′s and 30s’.  Also not given much attention is the Blues that came out of Texas or Louisiana.  My only real negative critique of the book is that it is a little abstract in its structure.  Palmer really jumps around a lot and it was hard to take all that information in when it is presented in such a disorganized manner. 

In 1991 Robert Palmer along with Director Robert Mugge released a similarly entitled film, Deep Blues: A Musical Pilgrimage to the Crossroads as a companion to the book.  The film mostly covers the Blues musicians that were still performing that kind of Delta influenced music in the late 80s and early 90s, along with little bits and pieces of history from Robert himself.  In addition to Palmers two main published books, there is also the recently published collection of his work called Blues & Chaos: The Music Writing of Robert Palmer if you are interested in sampling more of his works.

I would like to offer two playlists specially selected to act as musical companions to this book and my review of it, linked below.

Deep Blues:  Part 1 – Mississippi Delta to Chicago
Deep Blues:  Part 2 – Chicago & Beyond

Woody was born in 1912 in Okemah, Oklahoma and started on his ramblin’ ways at an early age.  He moved from Pampa, Texas to California to New York City; drifting through the rest of America in between.  The musical impact of Guthrie is immeasurable to modern folk music as well as popular music as a whole.  Woody’s music in my opinion is wildly under appreciated, so I hope I can help turn a few people on to it.  His music brims with American authenticity and down to earth charm.  Guthrie in my mind served as a very important bridge between the golden age of real American folk music and the very influential Greenwich Village based NY Folk Movement of the 1960s.  Not to mention the specific singer songwriters that he influenced over the years which include, but are not limited to Pete Seeger, Rambling Jack Elliott, Billy Bragg, Bob Dylan and Joe Strummer.

Now that I’ve read Woody’s memoir, seen the motion picture based on it, listened to almost all of his recorded works, seen both major documentaries, I think I can say I know quite a bit about the man.  I’m not equipped to give you the whole story, but I have put together a quick list of surprising facts about the man that may just prompt you to dig further.

Interesting Facts:

• When Woody moved to NY he hooked up with America’s musical elite, including Pete Seeger, Leadbelly, Sonny Terry, Josh White, and Brownie McGee.  I think its important to mention that this group was integrated which was unusual for that time even for musicians.
• Most may be surprised to find out Woody had some interesting political connections.  In California Woody found Communism to be sympathetic to his views on labor rights and the poor.  Woody also wrote a column called “Woody Sez” for a Communist newspaper.  Granted this was before the second red scare (1947 – 1957) so the worlds views of Communism was much different.
• Woody’s life and family was plagued by fire.  His mother started his first family home on fire, his sister was killed in a fire, and his mother tried to set his father on fire.  Later in his life his daughter life would also claimed by fire.
• Woody’s mother was very troubled and was put in an insane asylum early on in his life.  Later on Woody would find out that she suffered from Huntingtons disease and it would be his fear that he too would develop the symptoms.  Sometime in the late 1940s Woody started to show the signs and eventually died from complications of the disease.
• Woody married 3 times, the third was with a woman much younger than him named Anneke who he met on one of his many hobo journeys away from his family in NY.
• In one strange turn of events, Woody was sent to a mental hospital in New Jersey and they just assumed he was making the story up about the fact that he was a famous folk singer.

Woody’s recordings are difficult to navigate.  Most of what you will find available now are second rate budget compilations and a handful of quality legitimate releases.  The transfer of his music over the years has been a slow process from the now defunct formats over to today’s digital formats.  Below I have provided a guide to the highlights of Woody’s recorded output as it is available today with notes.

• Dust Bowl Ballads
  – In 1940 Woody had a professional breakthrough when he was commissioned by RCA Victor to write some dust bowl songs on the heels of the success of the film version of John Steinbeck’s Grapes of Wrath.  This release contains the songs from both volumes of Woody’s original RCA Victor releases.

• Library of Congress Recordings, Vols. 1-3
  – An interesting listen as you hear Alan Lomax interview Woody as he tells his story in his own words.  It is unfortunate that the dialog is not tracked out from the songs though which makes it un-listenable as an album.  Recorded in 1941.

• Columbia River Collection
  – Contains all the songs that the Bonneville Power Administration commissioned Woody to record for a film promoting the Grand Coulee Dam being built on the Columbia River in Oregon.  This material was recorded in 1941.

• Almanac Singers:  Their Complete General Recordings
  – A collection that compiles all of the Almanac Singers recordings with General Records in 1941.  Although you can find two other albums of material from The Almanacs this material is the only that features Woody Guthrie in the recordings.  He sings only 5 songs but is there to accompany for the rest of the material.

• The Asch Recordings, Vol. 1-4
  - This 4 disc box set is compiled from the wealth of material that Woody recorded between 1944 and 1947 for Folkways record label owner Moses Asch.  The discs organize Woody’s songs into themes, the first volume being a sort of best of collection, Volume two being a set of mainly folk and country standards, Volume 3 is a collection of topical/political songs, and fourth volume is made up of cowboy/western songs.

• My Dusty Road
  Boxset – Another stash of songs that were recorded in the mid 1940s this time for Moses Asch and Herbert Harris that were recently recovered in an old woman’s basement.  By far the best collection of Woody’s songs available today – the song selection is great, and everything sounds clear as it has all been restored from the pristine masters.  Similar to the Asch Recordings boxset each disc has a loose theme and are entitled as follows:  Disc one – Woody’s Greatest Hits, Disc two – Woody’s Roots, Disc three – Woody The Agitator, and Disc four – Woody, Cisco and Sonny Jam the Blues, Hollers, and Dances.

• Ballads of Sacco & Vanzetti – Unfortunately not a very good record. The album is a bit sloppy and suffers from Woody’s freewheelin’ verse, most of which just doesn’t quite fit.  It could however be called the first concept album having been recorded between 1946 and 1947 about two Italian radicals who were executed in America in 1927.

• Nursery Days & Songs to Grow on for Mother and Child – These two volumes of kids songs were released by Smithsonian Folkways long after Woody wrote and recorded these songs in 1947.  Written during Woody’s last burst of creativity before he lost control of himself due to his Huntingtons.

Shockingly, what you will not find is one solid compilation out there that showcases all of Woody’s best songs.  Both boxsets that are available have the first disc which is devoted to giving you a version of Woody’s “Greatest Hits” but I would say both fall short, as do all the budget compilations.  What the compilers have to contend with of course is a very large body of work that spans from around 1940 to around 1947 in which Guthrie recorded for many different labels.  What I have put together below is my version of Woody’s Greatest songs which span that whole period and pull from every label.  I even pulled from his work with the Almanac Singers although the only thing I ended up including was their version of the Woody Guthrie penned songs “Union Maid”, which Guthrie does not actually appear.  I hope you enjoy it, as it took me a lot of time and contained a lot of difficult choices.  (If you can not see the embedded playlist below, follow this link.)