Elvis Costello: Perbedaan antara revisi
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{{Infobox musical artist | |
{{Infobox musical artist | |
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|name = Elvis Costello |
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|img = Elvis Costello 15 June 2005.jpg |
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|img_capt = Elvis Costello di atas panggung, Juni 2005 |
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|background = solo_singer |
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|birth_name = Declan Patrick MacManus |
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|alias = |
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|birth = {{Tanggal lahir dan umur|1954|8|25}}<br />{{negara|Inggris}} [[London]], [[Inggris]] |
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|instrument = [[vokal]]<br />[[gitar]] |
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|genre = [[rock]]<br />[[musik pop|pop]]<br />[[pub rock]]<br />[[punk rock]]<br />[[new wave]] |
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|occupation = [[penyanyi]], [[pencipta lagu]] |
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|years_active = 1977 - sekarang |
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|label = [[Stiff Records|Stiff]], [[Radar Records|Radar]], [[F-Beat Records|F-Beat]], [[Demon Records|Demon]], [[Columbia Records|Columbia]], [[Warner Bros. Records|Warner Bros.]], [[Deutsche Grammophon]], [[Lost Highway Records|Lost Highway]] |
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|associated_acts = [[The Attractions]], [[The Imposters]], [[Burt Bacharach]], [[Allen Toussaint]] |
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|URL = [http://elviscostello.com/ Elvis Costello.com] |
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|notable_instruments = |
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'''Elvis Costello''' ({{lahirmati|[[London]], [[Inggris]]|25|8|1954}}) dengan nama '''Declan Patrick MacManus''' adalah musikus, penyanyi dan [[pengarang lagu]] berkebangsaan [[Inggris]] keturunan [[Irlandia]]. Beberapa sumber menyebutkan bahwa nama lengkapnya adalah '''Declan Patrick Aloysius MacManus''', |
'''Elvis Costello''' ({{lahirmati|[[London]], [[Inggris]]|25|8|1954}}) dengan nama '''Declan Patrick MacManus''' adalah musikus, penyanyi dan [[pengarang lagu]] berkebangsaan [[Inggris]] keturunan [[Irlandia]]. Beberapa sumber menyebutkan bahwa nama lengkapnya adalah '''Declan Patrick Aloysius MacManus''', tetapi Aloysius bukanlah nama yang diberikan kepadanya waktu lahirnya, melainkan ditambahkan beberapa tahun kemudian. |
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Costello sejak lama muncul di panggung [[rock pub]] London pada pertengahan tahun 1970-an, dan belakangan terkait dengan genre musik [[rock punk]] dan [[New Wave]], sebelum akhirnya mendapatkan pengakuan sebagai penyanyi unik dan orisinal pada tahun 1980-an. Hasil karyanya sangat beraneka |
Costello sejak lama muncul di panggung [[rock pub]] London pada pertengahan tahun 1970-an, dan belakangan terkait dengan genre musik [[rock punk]] dan [[New Wave]], sebelum akhirnya mendapatkan pengakuan sebagai penyanyi unik dan orisinal pada tahun 1980-an. Hasil karyanya sangat beraneka ragam—seorang kritikus menulis bahwa "Costello, sang ensiklopedia [[musik pop|pop]], dapat menciptakan kembali masa lampau sesuai dengan citranya sendiri."[http://www.allmusic.com/album/r4598] |
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== Biografi == |
== Biografi == |
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=== Masa kecil dan karier === |
=== Masa kecil dan karier === |
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MacManus dilahirkan di [[Rumah Sakit St Mary (London)|R.S. St Mary]], [[Paddington]] di [[London]], dan tinggal di daerah itu hingga berusia 16 tahun. Dengan latar belakang keluarganya sebagai pemusik (ayahnya, [[Ross MacManus]], bernyanyi dengan [[Joe Loss]]), MacManus pindah dengan ibunya ke [[Liverpool]] pada 1971. Di situlah ia pertama kali membentuk bandnya yang pertama, sebuah duet ''folk'' yang dinamai Rusty. |
MacManus dilahirkan di [[Rumah Sakit St Mary (London)|R.S. St Mary]], [[Paddington]] di [[London]], dan tinggal di daerah itu hingga berusia 16 tahun. Dengan latar belakang keluarganya sebagai pemusik (ayahnya, [[Ross MacManus]], bernyanyi dengan [[Joe Loss]]), MacManus pindah dengan ibunya ke [[Liverpool]] pada 1971. Di situlah ia pertama kali membentuk bandnya yang pertama, sebuah duet ''folk'' yang dinamai Rusty. Setelah menyelesaikan sekolah menengahnya di Liverpool, ia kembali pindah ke London dan di sana ia membentuk band yang dinamainya Flip City [http://myweb.tiscali.co.uk/flipcity/flipcity.htm] {{Webarchive|url=https://web.archive.org/web/20090612085247/http://myweb.tiscali.co.uk/flipcity/flipcity.htm |date=2009-06-12 }}, dengan gaya yang sangat mirip dengan gaya rock pub. Mereka aktif sejak 1974 hingga awal 1976. Sekitar waktu itu, MacManus mengambil nama panggung D.P. Costello. |
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Pada tahun 1975, MacManus sudah menjadi seorang suami dan ayah. Untuk menghidupi keluarganya, dia bekerja di beberapa perusahaan perkantoran, dan yang paling terkenal ketika ia bekerja di perusahaan |
Pada tahun 1975, MacManus sudah menjadi seorang suami dan ayah. Untuk menghidupi keluarganya, dia bekerja di beberapa perusahaan perkantoran, dan yang paling terkenal ketika ia bekerja di perusahaan kosmetik—diwujudkan dalam salah satu lrik lagunya sebagai "vanity factor"—di mana dia bekerja sebagai seorang staf pemasuk data. Dia terus menulis lagu, dan mulai dengan agresif mencari kontrak untuk karier solo-nya. Dengan modal rekaman lagu-nya, dia dikontrak oleh[[Stiff Records]]. Manajer-nya di perusahaan ini, [[Jake Riviera]], mengusulkan untuk mengganti nama, dengan nama awal [[Elvis Presley]] dan nama gadis nenek dari ibunya sehingga menjadi Elvis Costello. |
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[[Berkas:ecostello2.jpg|thumb|200px|right|Declan Patrick Aloysius MacManus, alias Elvis Costello.]] |
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Following a whirlwind tour with other Stiff artists (captured on the ''Live Stiffs'' album, notable for Costello's recording of the [[Burt Bacharach]]/[[Hal David]] standard "I Just Don't Know What To Do With Myself") the band recorded the frenetic, raucous ''[[This Year's Model]]'' (1978). Some of the more popular tracks include the British hit "(I Don't Want To Go To) Chelsea" and "Lipstick Vogue". A tour of the US and Canada also saw the release of the much bootlegged promo-only "Live At The El Mocambo," which finally saw an official release as part of the "2 1/2 Years" box set in 1993. It was during the ensuing United States tour that Elvis met and developed a relationship with former Playboy model [[Bebe Buell]]. Their on-again-off-again courtship would last until 1984 and would allegedly become a deep well of inspiration for some of Costello's most lovelorn songs. |
Following a whirlwind tour with other Stiff artists (captured on the ''Live Stiffs'' album, notable for Costello's recording of the [[Burt Bacharach]]/[[Hal David]] standard "I Just Don't Know What To Do With Myself") the band recorded the frenetic, raucous ''[[This Year's Model]]'' (1978). Some of the more popular tracks include the British hit "(I Don't Want To Go To) Chelsea" and "Lipstick Vogue". A tour of the US and Canada also saw the release of the much bootlegged promo-only "Live At The El Mocambo," which finally saw an official release as part of the "2 1/2 Years" box set in 1993. It was during the ensuing United States tour that Elvis met and developed a relationship with former Playboy model [[Bebe Buell]]. Their on-again-off-again courtship would last until 1984 and would allegedly become a deep well of inspiration for some of Costello's most lovelorn songs. |
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1979 would arguably see the peak of Costello's commercial success with the release of ''[[Armed Forces]]'' (originally titled "Emotional Fascism"). Both the album and the single "[[Oliver's Army]]" (titled after [[Oliver Cromwell]]) went to No. 2 in the UK. Costello also found time in 1979 to produce the debut album for [[ska]] band [[The Specials]]. |
1979 would arguably see the peak of Costello's commercial success with the release of ''[[Armed Forces]]'' (originally titled "Emotional Fascism"). Both the album and the single "[[Oliver's Army]]" (titled after [[Oliver Cromwell]]) went to No. 2 in the UK. Costello also found time in 1979 to produce the debut album for [[ska]] band [[The Specials]]. |
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His success in the US was severely bruised when, during a drunken argument with [[Stephen Stills]] and [[Bonnie Bramlett]] in a [[Columbus, Ohio]] [[Holiday Inn]] hotel bar, Costello referred to [[James Brown (musician)|James Brown]] as a "jive-ass [[nigger (word)|nigger]]," then upped the ante by pronouncing [[Ray Charles]] a "blind, ignorant [[nigger (word)|nigger]]." Bramlett and friends had evidently been baiting Costello with derisive comments about British rock music in general and "sawed-off Limey"-type comments aimed at him in particular. A contrite Costello apologised at a [[New York City]] press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious in order to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press. According to Costello, "it became necessary for me to outrage these people with about the most obnoxious and offensive remarks that I could muster." In his liner notes for the expanded version of ''[[Get Happy!!]],'' Costello writes that some time after the incident he had declined an offer to meet Charles out of guilt and embarrassment, though Charles himself had graciously forgiven Costello ("Drunken talk isn't meant to be printed in the paper"). It is notable that Costello worked extensively in Britain's "[[Rock Against Racism]]" campaign both before and after this interlude. This incident specifically inspired his ''Get Happy!'' song [http://www.morethings.com/music/costello/misunderstood.html "Riot Act."] |
His success in the US was severely bruised when, during a drunken argument with [[Stephen Stills]] and [[Bonnie Bramlett]] in a [[Columbus, Ohio]] [[Holiday Inn]] hotel bar, Costello referred to [[James Brown (musician)|James Brown]] as a "jive-ass [[nigger (word)|nigger]]," then upped the ante by pronouncing [[Ray Charles]] a "blind, ignorant [[nigger (word)|nigger]]." Bramlett and friends had evidently been baiting Costello with derisive comments about British rock music in general and "sawed-off Limey"-type comments aimed at him in particular. A contrite Costello apologised at a [[New York City]] press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious in order to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press. According to Costello, "it became necessary for me to outrage these people with about the most obnoxious and offensive remarks that I could muster." In his liner notes for the expanded version of ''[[Get Happy!!]],'' Costello writes that some time after the incident he had declined an offer to meet Charles out of guilt and embarrassment, though Charles himself had graciously forgiven Costello ("Drunken talk isn't meant to be printed in the paper"). It is notable that Costello worked extensively in Britain's "[[Rock Against Racism]]" campaign both before and after this interlude. This incident specifically inspired his ''Get Happy!'' song [http://www.morethings.com/music/costello/misunderstood.html "Riot Act."] |
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''[[Get Happy!!]]'' would thus be the first, and - along with ''King Of America'' - possibly most successful, of Costello's many experiments with genres beyond those he is normally associated with (the single, "I Can't Stand Up For Falling Down" was an old [[Sam and Dave]] song, though Costello increased the [[tempo]] considerably). The brevity of the songs (20 tracks in under 50 minutes) suited the band's new style (the Thomas' typically melodic rhythm section and Nieve's reasonable impersonation of [[Booker T Jones]]) as well as the frantic and stressful conditions under which it was written and recorded, crammed between live dates and fuelled by excessive drinking. Lyrically, the songs are full of Costello's signature [[wordplay]], to the point that he later felt he'd become something of a self-parody and toned it down on later releases. He has mockingly described himself in interviews as "rock and roll's Scrabble champion." |
''[[Get Happy!!]]'' would thus be the first, and - along with ''King Of America'' - possibly most successful, of Costello's many experiments with genres beyond those he is normally associated with (the single, "I Can't Stand Up For Falling Down" was an old [[Sam and Dave]] song, though Costello increased the [[tempo]] considerably). The brevity of the songs (20 tracks in under 50 minutes) suited the band's new style (the Thomas' typically melodic rhythm section and Nieve's reasonable impersonation of [[Booker T Jones]]) as well as the frantic and stressful conditions under which it was written and recorded, crammed between live dates and fuelled by excessive drinking. Lyrically, the songs are full of Costello's signature [[wordplay]], to the point that he later felt he'd become something of a self-parody and toned it down on later releases. He has mockingly described himself in interviews as "rock and roll's Scrabble champion." |
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1981's ''[[Trust (album)|Trust]]'' had a more [[pop music|pop]] sound, but the overall result was clearly affected by the growing tensions within the band, particularly between Bruce and Pete Thomas. Despite its eclecticism ("Different Finger" had a distinct [[country music|country]] feel) and pop hooks, ''Trust'' was not a major success and the first album since his debut to generate no hit singles. |
1981's ''[[Trust (album)|Trust]]'' had a more [[pop music|pop]] sound, but the overall result was clearly affected by the growing tensions within the band, particularly between Bruce and Pete Thomas. Despite its eclecticism ("Different Finger" had a distinct [[country music|country]] feel) and pop hooks, ''Trust'' was not a major success and the first album since his debut to generate no hit singles. |
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Following the commercial disappointment of ''Trust'', Costello took a break from songwriting and the band decamped to [[Nashville]] to record ''[[Almost Blue]]'', an album of [[country music]] [[cover song]]s written by the likes of [[Hank Williams]] ("Why Don't You Love Me (Like You Used To Do?)"), [[Merle Haggard]] ("Tonight The Bottle Let Me Down") and [[Gram Parsons]] ("How Much I Lied"). It was not a country-rock album (a la [[The Byrds]] or [[Eagles]]), which might have been more palatable to his established audience and to reviewers, but rather an undiluted country album. It received mixed reviews, some of which accused Costello of growing soft. Perhaps in anticipation of the inevitable accusations of apostasy, the first pressings of the record in the UK bore a sticker with the message: |
Following the commercial disappointment of ''Trust'', Costello took a break from songwriting and the band decamped to [[Nashville]] to record ''[[Almost Blue]]'', an album of [[country music]] [[cover song]]s written by the likes of [[Hank Williams]] ("Why Don't You Love Me (Like You Used To Do?)"), [[Merle Haggard]] ("Tonight The Bottle Let Me Down") and [[Gram Parsons]] ("How Much I Lied"). It was not a country-rock album (a la [[The Byrds]] or [[Eagles]]), which might have been more palatable to his established audience and to reviewers, but rather an undiluted country album. It received mixed reviews, some of which accused Costello of growing soft. Perhaps in anticipation of the inevitable accusations of apostasy, the first pressings of the record in the UK bore a sticker with the message: |
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:"WARNING: This album contains country & western music and may cause offence to narrow minded listeners". |
:"WARNING: This album contains country & western music and may cause offence to narrow minded listeners". |
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''Almost Blue'' did spawn a surprise UK hit single in a version of [[Jerry Chesnut]]'s "Good Year For The Roses." |
''Almost Blue'' did spawn a surprise UK hit single in a version of [[Jerry Chesnut]]'s "Good Year For The Roses." |
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''[[Imperial Bedroom]]'' (1982) marked a much darker, almost [[baroque]] sound for Costello, due in large part to the production of [[Geoff Emerick]], famed for engineering several [[The Beatles|Beatles]] records. Featuring a superior set of songs - both musically and lyrically - it remains one of his most critically acclaimed records but again failed to produce any hit singles. Costello has said he disliked the marketing pitch for the album, weak ads consisting only of the phrase "Masterpiece?". ''Imperial Bedroom'' also featured Costello's song "Almost Blue"; jazz singer and trumpeter [[Chet Baker]] would later perform and record a beautifully morose version of this song. |
''[[Imperial Bedroom]]'' (1982) marked a much darker, almost [[baroque]] sound for Costello, due in large part to the production of [[Geoff Emerick]], famed for engineering several [[The Beatles|Beatles]] records. Featuring a superior set of songs - both musically and lyrically - it remains one of his most critically acclaimed records but again failed to produce any hit singles. Costello has said he disliked the marketing pitch for the album, weak ads consisting only of the phrase "Masterpiece?". ''Imperial Bedroom'' also featured Costello's song "Almost Blue"; jazz singer and trumpeter [[Chet Baker]] would later perform and record a beautifully morose version of this song. |
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1983 saw another sidetrack with the pop-soul of ''[[Punch the Clock]]'', featuring female backing vocals ([[Afrodiziak]]) and a four piece [[horn section]] ([[The TKO Horns]]), alongside The Attractions. Clive Langer (who co-produced with Alan Winstanley), provided Costello with a melody which eventually became "Shipbuilding," an oblique and articulate look at the political contradictions of the [[Falklands War]]: The controversial military build-up provided jobs for Britain's struggling shipyards. The song featured a striking solo by [[Chet Baker]]. (Prior to the release of Costello's own version, an affecting, emotive version of the song was a minor UK hit for former [[Soft Machine]] drummer and political activist [[Robert Wyatt]]). Equally political was "Pills And Soap" -- a UK hit for Costello himself under the pseudonym of "The Imposter" -- an attack on the changes in British society brought on by [[Margaret Thatcher|Thatcherism]], released to coincide with the run-up to the [[United Kingdom general election, 1983|1983 UK general election]]. The electorate were seemingly not swayed.) ''Punch the Clock'' also generated an international hit in the single "Everyday I Write the Book," aided by a prophetic music video featuring lookalikes of the [[Charles, Prince of Wales|Prince]] and [[Diana, Princess of Wales|Princess of Wales]] undergoing domestic strife in a suburban home. |
1983 saw another sidetrack with the pop-soul of ''[[Punch the Clock]]'', featuring female backing vocals ([[Afrodiziak]]) and a four piece [[horn section]] ([[The TKO Horns]]), alongside The Attractions. Clive Langer (who co-produced with Alan Winstanley), provided Costello with a melody which eventually became "Shipbuilding," an oblique and articulate look at the political contradictions of the [[Falklands War]]: The controversial military build-up provided jobs for Britain's struggling shipyards. The song featured a striking solo by [[Chet Baker]]. (Prior to the release of Costello's own version, an affecting, emotive version of the song was a minor UK hit for former [[Soft Machine]] drummer and political activist [[Robert Wyatt]]). Equally political was "Pills And Soap" -- a UK hit for Costello himself under the pseudonym of "The Imposter" -- an attack on the changes in British society brought on by [[Margaret Thatcher|Thatcherism]], released to coincide with the run-up to the [[United Kingdom general election, 1983|1983 UK general election]]. The electorate were seemingly not swayed.) ''Punch the Clock'' also generated an international hit in the single "Everyday I Write the Book," aided by a prophetic music video featuring lookalikes of the [[Charles, Prince of Wales|Prince]] and [[Diana, Princess of Wales|Princess of Wales]] undergoing domestic strife in a suburban home. |
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Tensions within the band were beginning to tell, and with Costello starting to feel burnt out he announced his retirement and the disbandment of the group shortly before they were to record ''Goodbye Cruel World'' (1984). Costello would later say of this record that they had "got it as wrong as you can in terms of the execution". With a number of poor songs (and even the better songs harmed by murky production), the record was poorly received upon its initial release, and even many ardent Costello fans see ''Goodbye'' as his weakest album. Despite the record's poor reputation, a few songs were well-regarded, such as "The Comedians" (later recorded, with rewritten lyrics, by [[Roy Orbison]], and also quoted, in its original version, in [[Alan Moore|Alan Moore's]] seminal comic series [[Watchmen]]). On the album's second single, ''The Only Flame in Town'', [[Daryl Hall]] of [[Hall and Oates]] shared lead vocals. |
Tensions within the band were beginning to tell, and with Costello starting to feel burnt out he announced his retirement and the disbandment of the group shortly before they were to record ''Goodbye Cruel World'' (1984). Costello would later say of this record that they had "got it as wrong as you can in terms of the execution". With a number of poor songs (and even the better songs harmed by murky production), the record was poorly received upon its initial release, and even many ardent Costello fans see ''Goodbye'' as his weakest album. Despite the record's poor reputation, a few songs were well-regarded, such as "The Comedians" (later recorded, with rewritten lyrics, by [[Roy Orbison]], and also quoted, in its original version, in [[Alan Moore|Alan Moore's]] seminal comic series [[Watchmen]]). On the album's second single, ''The Only Flame in Town'', [[Daryl Hall]] of [[Hall and Oates]] shared lead vocals. |
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Costello's retirement, although short-lived, was accompanied by two compilations, ''Elvis Costello: The Man'' in the UK, Europe and Australia and ''The Best of Elvis Costello and the Attractions'' in the USA. |
Costello's retirement, although short-lived, was accompanied by two compilations, ''Elvis Costello: The Man'' in the UK, Europe and Australia and ''The Best of Elvis Costello and the Attractions'' in the USA. |
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He also found time to co-compose and co-produce, with Richard Harvey, the title and incidental music for the acclaimed mini-series ''G.B.H.'' by [[Alan Bleasdale]]. This entirely instrumental, and largely orchestral soundtrack garnered a [[BAFTA]], for "Best Music for a TV Series" for the pair. |
He also found time to co-compose and co-produce, with Richard Harvey, the title and incidental music for the acclaimed mini-series ''G.B.H.'' by [[Alan Bleasdale]]. This entirely instrumental, and largely orchestral soundtrack garnered a [[BAFTA]], for "Best Music for a TV Series" for the pair. |
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In 1993, Costello tested the waters of classical music with a critically acclaimed collaboration with the [[Brodsky Quartet]] on ''[[The Juliet Letters]]''. Costello would return to rock and roll the following year with a project that reunited him with The Attractions, ''Brutal Youth''. An album of cover songs recorded 5 years previously was released in 1995, ''Kojak Variety'', followed in 1996 by an album of songs he had originally written for other artists, ''All This Useless Beauty''. This was the final album of original material that he would create under his Warner Bros. contract. |
In 1993, Costello tested the waters of classical music with a critically acclaimed collaboration with the [[Brodsky Quartet]] on ''[[The Juliet Letters]]''. Costello would return to rock and roll the following year with a project that reunited him with The Attractions, ''Brutal Youth''. An album of cover songs recorded 5 years previously was released in 1995, ''Kojak Variety'', followed in 1996 by an album of songs he had originally written for other artists, ''All This Useless Beauty''. This was the final album of original material that he would create under his Warner Bros. contract. |
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During the Spring of [[1996]], Costello played a series of intimate club dates, backed only by Nieve on the piano, in support of "All This Useless Beauty". An ensuing summer and fall tour with the Attractions would prove to be the final death knell for the band. With relations between Elvis and bassist Bruce Thomas at a breaking point, Costello announced that the current tour would be the Attractions' last. The quartet performed their final U.S. show in [[Seattle, WA]] on [[September 1, 1996]] before wrapping up their tour in Japan. |
During the Spring of [[1996]], Costello played a series of intimate club dates, backed only by Nieve on the piano, in support of "All This Useless Beauty". An ensuing summer and fall tour with the Attractions would prove to be the final death knell for the band. With relations between Elvis and bassist Bruce Thomas at a breaking point, Costello announced that the current tour would be the Attractions' last. The quartet performed their final U.S. show in [[Seattle, WA]] on [[September 1, 1996]] before wrapping up their tour in Japan. |
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===2000 to present=== |
===2000 to present=== |
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In 2001, Costello was announced as the featured "artist in residence" at [[UCLA]] (although he ended up making fewer appearances than expected) and wrote the music for a new ballet. He produced and appeared on an album of songs for [[opera]] [[singer]] [[Anne Sofie von Otter]], ''For The Stars''. |
In 2001, Costello was announced as the featured "artist in residence" at [[UCLA]] (although he ended up making fewer appearances than expected) and wrote the music for a new ballet. He produced and appeared on an album of songs for [[opera]] [[singer]] [[Anne Sofie von Otter]], ''For The Stars''. |
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In 2002 he released a new album, ''[[When I Was Cruel]]'', and toured with a new band, the Imposters (the Attractions with a different bass player, [[Davey Faragher]], formerly of [[Cracker (band)|Cracker]]). Costello split with second wife Cait O'Riordan toward the end of the year. |
In 2002 he released a new album, ''[[When I Was Cruel]]'', and toured with a new band, the Imposters (the Attractions with a different bass player, [[Davey Faragher]], formerly of [[Cracker (band)|Cracker]]). Costello split with second wife Cait O'Riordan toward the end of the year. |
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In July 2004 Costello's first full-scale orchestral work, ''Il Sogno'', was performed in New York. The work, a ballet after [[William Shakespeare|Shakespeare]]'s ''[[A Midsummer Night's Dream]]'', was commissioned by Italian dance troupe Aterballeto, and received critical acclaim from the classical music critics, while being scorned by the popular music press. Whilst composing it, Costello deliberately avoided listening to the previous interpretations by [[Felix Mendelssohn|Mendelssohn]] and [[Benjamin Britten|Britten]] in order to ensure his own originality. A range of musical moods and styles are used to represent the different elements of the cast - satirical pomp for the courtiers, [[jazz]] for the faeries, and for [[Nick Bottom|Bottom]] a deliberately intrusive "brass band" motif. It was released on CD in September by [[Deutsche Grammophon]]. |
In July 2004 Costello's first full-scale orchestral work, ''Il Sogno'', was performed in New York. The work, a ballet after [[William Shakespeare|Shakespeare]]'s ''[[A Midsummer Night's Dream]]'', was commissioned by Italian dance troupe Aterballeto, and received critical acclaim from the classical music critics, while being scorned by the popular music press. Whilst composing it, Costello deliberately avoided listening to the previous interpretations by [[Felix Mendelssohn|Mendelssohn]] and [[Benjamin Britten|Britten]] in order to ensure his own originality. A range of musical moods and styles are used to represent the different elements of the cast - satirical pomp for the courtiers, [[jazz]] for the faeries, and for [[Nick Bottom|Bottom]] a deliberately intrusive "brass band" motif. It was released on CD in September by [[Deutsche Grammophon]]. |
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Costello released another album that same month: ''The Delivery Man'', a rock album recorded in [[Oxford, Mississippi]]. Mainly blues, country, and folk, ''The Delivery Man'' received early acclaim as one of Costello's best albums, and continues Elvis' personal quest to release an album on each of Universal's record labels. |
Costello released another album that same month: ''The Delivery Man'', a rock album recorded in [[Oxford, Mississippi]]. Mainly blues, country, and folk, ''The Delivery Man'' received early acclaim as one of Costello's best albums, and continues Elvis' personal quest to release an album on each of Universal's record labels. |
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In July 2005, a CD recording of a collaboration with [[Marian McPartland]] on her show [[Piano Jazz]] was released. It featured Costello singing six jazz standards and two of his own songs, accompanied by Marian McPartland on piano. |
In July 2005, a CD recording of a collaboration with [[Marian McPartland]] on her show [[Piano Jazz]] was released. It featured Costello singing six jazz standards and two of his own songs, accompanied by Marian McPartland on piano. |
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All Costello's studio albums up until 1996 (with the exception, as of this writing, of ''The Juliet Letters'') were reissued from 2001 to 2005 by [[Rhino Records]] (which constituted the second set of re-releases after Ryko (US) and Demon (UK) had done so from 1993 to 1995), under the guidance of Mr. Costello himself and featuring, in each case, a bonus disc of B-sides, outtakes, live tracks, alternate versions and/or demos of songs. The sound was remastered for each album and Costello wrote new liner notes about his thoughts on the music and anecdotes from the period when it was recorded. |
All Costello's studio albums up until 1996 (with the exception, as of this writing, of ''The Juliet Letters'') were reissued from 2001 to 2005 by [[Rhino Records]] (which constituted the second set of re-releases after Ryko (US) and Demon (UK) had done so from 1993 to 1995), under the guidance of Mr. Costello himself and featuring, in each case, a bonus disc of B-sides, outtakes, live tracks, alternate versions and/or demos of songs. The sound was remastered for each album and Costello wrote new liner notes about his thoughts on the music and anecdotes from the period when it was recorded. |
||
The ''Almost Blue'' and ''Kojak Variety'' bonus discs were particularly notable as each contained, essentially, an entire new album's worth of material also performed but either not issued, or released as [[B-side]]s on singles originally. |
The ''Almost Blue'' and ''Kojak Variety'' bonus discs were particularly notable as each contained, essentially, an entire new album's worth of material also performed but either not issued, or released as [[B-side]]s on singles originally. |
||
The ''Get Happy'' bonus disc was also of note, with 30 additional tracks, bringing the total for the 2-disc set to 50 songs. |
The ''Get Happy'' bonus disc was also of note, with 30 additional tracks, bringing the total for the 2-disc set to 50 songs. |
||
| Baris 182: | Baris 180: | ||
Elvis Costello has issued singles under several names, and with several different backing bands. The key for the ''Artist Credit'' below is as follows: '''Elvis Costello''' (EC); '''Elvis Costello & The Attactions''' (EC+ATT); '''Elvis Costello & The Attactions with the Royal Philharmonic Orchestra''' (EC+ATT+RSO); '''The Imposter''' (IMP); '''The Costello Show''' (TCS); '''The MacManus Gang''' (TMG), '''The Coward Brothers''' (TCB); '''[[Jimmy Cliff]] & Elvis Costello & The Attactions''' (JC+EC+ATT); '''Elvis Costello & The Brodsky Quartet''' (EC+BQ); '''Elvis Costello and [[Burt Bacharach]]''' (EC+BB); '''Elvis Costello & The Imposters''' (EC+IMP) |
Elvis Costello has issued singles under several names, and with several different backing bands. The key for the ''Artist Credit'' below is as follows: '''Elvis Costello''' (EC); '''Elvis Costello & The Attactions''' (EC+ATT); '''Elvis Costello & The Attactions with the Royal Philharmonic Orchestra''' (EC+ATT+RSO); '''The Imposter''' (IMP); '''The Costello Show''' (TCS); '''The MacManus Gang''' (TMG), '''The Coward Brothers''' (TCB); '''[[Jimmy Cliff]] & Elvis Costello & The Attactions''' (JC+EC+ATT); '''Elvis Costello & The Brodsky Quartet''' (EC+BQ); '''Elvis Costello and [[Burt Bacharach]]''' (EC+BB); '''Elvis Costello & The Imposters''' (EC+IMP) |
||
[[The Attractions]] played on almost all of Costello's singles from 1978 to 1984 (and sporadcially thereafter), but note that 1980's "New Amsterdam" was a solo single on which Elvis Costello played all instruments -- The Attractions were not credited. Also, although the Attractions played on "Sulky Girl" and "13 Steps Lead Down", these tracks were credited simply to Elvis Costello. |
[[The Attractions]] played on almost all of Costello's singles from 1978 to 1984 (and sporadcially thereafter), but note that 1980's "New Amsterdam" was a solo single on which Elvis Costello played all instruments -- The Attractions were not credited. Also, although the Attractions played on "Sulky Girl" and "13 Steps Lead Down", these tracks were credited simply to Elvis Costello. |
||
{| |
{|class="wikitable" style="margin:auto;" |
||
! width="28" rowspan="2"| |
! width="28" rowspan="2"|year |
||
! width="220" rowspan="2"| |
! width="220" rowspan="2"|title |
||
! width="28" rowspan="2"| |
! width="28" rowspan="2"|artist Credit |
||
! colspan="3"| |
! colspan="3"|chart Positions |
||
! width="150" rowspan="2"| |
! width="150" rowspan="2"|album |
||
|- |
|- |
||
| Baris 198: | Baris 196: | ||
| 1977 |
| 1977 |
||
| "Less Than Zero" |
| "Less Than Zero" |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 206: | Baris 204: | ||
| 1977 |
| 1977 |
||
| "Alison" |
| "Alison" |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 214: | Baris 212: | ||
| 1977 |
| 1977 |
||
| "(The Angels Wanna Wear My) Red Shoes" |
| "(The Angels Wanna Wear My) Red Shoes" |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 222: | Baris 220: | ||
| 1977 |
| 1977 |
||
| "Watching The Detectives" |
| "Watching The Detectives" |
||
| |
|eC |
||
! #15 |
! #15 |
||
! #108 |
! #108 |
||
| Baris 230: | Baris 228: | ||
| 1978 |
| 1978 |
||
| "(I Don't Want To Go To) Chelsea" |
| "(I Don't Want To Go To) Chelsea" |
||
| |
|eC+ATT |
||
! #16 |
! #16 |
||
! - |
! - |
||
| Baris 238: | Baris 236: | ||
| 1978 |
| 1978 |
||
| "Pump It Up" |
| "Pump It Up" |
||
| |
|eC+ATT |
||
! #24 |
! #24 |
||
! - |
! - |
||
| Baris 246: | Baris 244: | ||
| 1978 |
| 1978 |
||
| "Radio Radio" |
| "Radio Radio" |
||
| |
|eC+ATT |
||
! #29 |
! #29 |
||
! - |
! - |
||
| Baris 254: | Baris 252: | ||
| 1979 |
| 1979 |
||
| "Oliver's Army" |
| "Oliver's Army" |
||
| |
|eC+ATT |
||
! #2 |
! #2 |
||
! - |
! - |
||
| Baris 262: | Baris 260: | ||
| 1979 |
| 1979 |
||
| "Accidents Will Happen" |
| "Accidents Will Happen" |
||
| |
|eC+ATT |
||
! #28 |
! #28 |
||
! #101 |
! #101 |
||
| Baris 270: | Baris 268: | ||
| 1980 |
| 1980 |
||
| "I Cant Stand Up For Falling Down" |
| "I Cant Stand Up For Falling Down" |
||
| |
|eC+ATT |
||
! #4 |
! #4 |
||
! - |
! - |
||
| Baris 278: | Baris 276: | ||
| 1980 |
| 1980 |
||
| "High Fidelity" |
| "High Fidelity" |
||
| |
|eC+ATT |
||
! #30 |
! #30 |
||
! - |
! - |
||
| Baris 286: | Baris 284: | ||
| 1980 |
| 1980 |
||
| "New Amsterdam" |
| "New Amsterdam" |
||
| |
|eC |
||
! #36 |
! #36 |
||
! - |
! - |
||
| Baris 294: | Baris 292: | ||
| 1980 |
| 1980 |
||
| "Clubland" |
| "Clubland" |
||
| |
|eC+ATT |
||
! #60 |
! #60 |
||
! - |
! - |
||
| Baris 302: | Baris 300: | ||
| 1981 |
| 1981 |
||
| "From A Whisper To A Scream" |
| "From A Whisper To A Scream" |
||
| |
|eC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 310: | Baris 308: | ||
| 1981 |
| 1981 |
||
| "Watch Your Step" (US release only) |
| "Watch Your Step" (US release only) |
||
| |
|eC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 318: | Baris 316: | ||
| 1981 |
| 1981 |
||
| "A Good Year For The Roses" |
| "A Good Year For The Roses" |
||
| |
|eC+ATT |
||
! #6 |
! #6 |
||
! - |
! - |
||
| Baris 326: | Baris 324: | ||
| 1981 |
| 1981 |
||
| "Sweet Dreams" |
| "Sweet Dreams" |
||
| |
|eC+ATT |
||
! #42 |
! #42 |
||
! - |
! - |
||
| Baris 334: | Baris 332: | ||
| 1982 |
| 1982 |
||
| "I'm Your Toy" |
| "I'm Your Toy" |
||
| |
|eC+ATT+RSO |
||
! #51 |
! #51 |
||
! - |
! - |
||
| Baris 342: | Baris 340: | ||
| 1982 |
| 1982 |
||
| "You Little Fool" |
| "You Little Fool" |
||
| |
|eC+ATT |
||
! #52 |
! #52 |
||
! - |
! - |
||
| Baris 350: | Baris 348: | ||
| 1982 |
| 1982 |
||
| "Man Out Of Time" |
| "Man Out Of Time" |
||
| |
|eC+ATT |
||
! #58 |
! #58 |
||
! - |
! - |
||
| Baris 358: | Baris 356: | ||
| 1982 |
| 1982 |
||
| "From Head To Toe" |
| "From Head To Toe" |
||
| |
|eC+ATT |
||
! #43 |
! #43 |
||
! - |
! - |
||
| Baris 366: | Baris 364: | ||
| 1982 |
| 1982 |
||
| "Party Party" |
| "Party Party" |
||
| |
|eC+ATT |
||
! #48 |
! #48 |
||
! - |
! - |
||
| Baris 374: | Baris 372: | ||
| 1983 |
| 1983 |
||
| "Pills and Soap" |
| "Pills and Soap" |
||
|iMP |
|||
| IMP |
|||
! #16 |
! #16 |
||
! - |
! - |
||
| Baris 382: | Baris 380: | ||
| 1983 |
| 1983 |
||
| "Everyday I Write the Book" |
| "Everyday I Write the Book" |
||
| |
|eC+ATT |
||
! #28 |
! #28 |
||
! #36 |
! #36 |
||
| Baris 390: | Baris 388: | ||
| 1983 |
| 1983 |
||
| "Let Them All Talk" |
| "Let Them All Talk" |
||
| |
|eC+ATT |
||
! #59 |
! #59 |
||
! - |
! - |
||
| Baris 398: | Baris 396: | ||
| 1984 |
| 1984 |
||
| "Peace In Our Time" |
| "Peace In Our Time" |
||
|iMP |
|||
| IMP |
|||
! #48 |
! #48 |
||
! - |
! - |
||
| Baris 406: | Baris 404: | ||
| 1984 |
| 1984 |
||
| "I Wanna Be Loved" / "Turning The Town Red" |
| "I Wanna Be Loved" / "Turning The Town Red" |
||
| |
|eC+ATT |
||
! #25 |
! #25 |
||
! - |
! - |
||
| Baris 414: | Baris 412: | ||
| 1984 |
| 1984 |
||
| "The Only Flame In Town" |
| "The Only Flame In Town" |
||
| |
|eC+ATT |
||
! #71 |
! #71 |
||
! #56 |
! #56 |
||
| Baris 422: | Baris 420: | ||
| 1985 |
| 1985 |
||
| "Green Shirt" |
| "Green Shirt" |
||
| |
|eC+ATT |
||
! #68 |
! #68 |
||
! - |
! - |
||
| Baris 430: | Baris 428: | ||
| 1985 |
| 1985 |
||
| "The People's Limousine" |
| "The People's Limousine" |
||
|tCB |
|||
| TCB |
|||
! - |
! - |
||
! - |
! - |
||
| Baris 438: | Baris 436: | ||
| 1986 |
| 1986 |
||
| "Don't Let Me Be Misunderstood" |
| "Don't Let Me Be Misunderstood" |
||
|tCS |
|||
| TCS |
|||
! #33 |
! #33 |
||
! - |
! - |
||
| Baris 446: | Baris 444: | ||
| 1986 |
| 1986 |
||
| "Seven Day Weekend" |
| "Seven Day Weekend" |
||
| |
|jC+EC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 454: | Baris 452: | ||
| 1986 |
| 1986 |
||
| "Lovable" (US release only) |
| "Lovable" (US release only) |
||
|tCS |
|||
| TCS |
|||
! - |
! - |
||
! - |
! - |
||
| Baris 462: | Baris 460: | ||
| 1986 |
| 1986 |
||
| "Tokyo Storm Warning" |
| "Tokyo Storm Warning" |
||
| |
|eC+ATT |
||
! #73 |
! #73 |
||
! - |
! - |
||
| Baris 470: | Baris 468: | ||
| 1986 |
| 1986 |
||
| "I Want You" |
| "I Want You" |
||
| |
|eC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 478: | Baris 476: | ||
| 1987 |
| 1987 |
||
| "Blue Chair" |
| "Blue Chair" |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 486: | Baris 484: | ||
| 1987 |
| 1987 |
||
| "A Town Called Big Nothing" |
| "A Town Called Big Nothing" |
||
|tMG |
|||
| TMG |
|||
! - |
! - |
||
! - |
! - |
||
| Baris 494: | Baris 492: | ||
| 1989 |
| 1989 |
||
| "Veronica" |
| "Veronica" |
||
| |
|eC |
||
! #31 |
! #31 |
||
! #19 |
! #19 |
||
| Baris 502: | Baris 500: | ||
| 1989 |
| 1989 |
||
| "Baby Plays Around" |
| "Baby Plays Around" |
||
| |
|eC |
||
! #65 |
! #65 |
||
! - |
! - |
||
| Baris 510: | Baris 508: | ||
| 1989 |
| 1989 |
||
| "...This Town..." |
| "...This Town..." |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 518: | Baris 516: | ||
| 1991 |
| 1991 |
||
| "The Other Side of Summer" |
| "The Other Side of Summer" |
||
| |
|eC |
||
! #43 |
! #43 |
||
! - |
! - |
||
| Baris 526: | Baris 524: | ||
| 1991 |
| 1991 |
||
| "So Like Candy" |
| "So Like Candy" |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 534: | Baris 532: | ||
| 1993 |
| 1993 |
||
| "Jacksons, Monk & Rowe" |
| "Jacksons, Monk & Rowe" |
||
| |
|eC+BQ |
||
! - |
! - |
||
! - |
! - |
||
| Baris 542: | Baris 540: | ||
| 1994 |
| 1994 |
||
| "Sulky Girl" |
| "Sulky Girl" |
||
| |
|eC |
||
! #22 |
! #22 |
||
! - |
! - |
||
| Baris 550: | Baris 548: | ||
| 1994 |
| 1994 |
||
| "13 Steps Lead Down" |
| "13 Steps Lead Down" |
||
| |
|eC |
||
! #59 |
! #59 |
||
! #115 |
! #115 |
||
| Baris 558: | Baris 556: | ||
| 1994 |
| 1994 |
||
| "You Tripped At Every Step" |
| "You Tripped At Every Step" |
||
| |
|eC+ATT |
||
! #83 |
! #83 |
||
! - |
! - |
||
| Baris 566: | Baris 564: | ||
| 1994 |
| 1994 |
||
| "London's Brilliant Parade" |
| "London's Brilliant Parade" |
||
| |
|eC+ATT |
||
! #48 |
! #48 |
||
! - |
! - |
||
| Baris 574: | Baris 572: | ||
| 1996 |
| 1996 |
||
| "It's Time" |
| "It's Time" |
||
| |
|eC+ATT |
||
! #58 |
! #58 |
||
! - |
! - |
||
| Baris 582: | Baris 580: | ||
| 1996 |
| 1996 |
||
| "Little Atoms" |
| "Little Atoms" |
||
| |
|eC+ATT |
||
! #95 |
! #95 |
||
! - |
! - |
||
| Baris 590: | Baris 588: | ||
| 1996 |
| 1996 |
||
| "The Other End Of The Telescope" |
| "The Other End Of The Telescope" |
||
| |
|eC+ATT |
||
! #96 |
! #96 |
||
! - |
! - |
||
| Baris 598: | Baris 596: | ||
| 1996 |
| 1996 |
||
| "Distorted Angel" |
| "Distorted Angel" |
||
| |
|eC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 606: | Baris 604: | ||
| 1996 |
| 1996 |
||
| "All This Useless Beauty" |
| "All This Useless Beauty" |
||
| |
|eC+ATT |
||
! #96 |
! #96 |
||
! - |
! - |
||
| Baris 614: | Baris 612: | ||
| 1996 |
| 1996 |
||
| "You Bowed Down" (US release only) |
| "You Bowed Down" (US release only) |
||
| |
|eC+ATT |
||
! - |
! - |
||
! - |
! - |
||
| Baris 622: | Baris 620: | ||
| 1999 |
| 1999 |
||
| "Toledo" |
| "Toledo" |
||
| |
|eC+BB |
||
! #72 |
! #72 |
||
! - |
! - |
||
| Baris 630: | Baris 628: | ||
| 1999 |
| 1999 |
||
| "She" |
| "She" |
||
| |
|eC |
||
! #19 |
! #19 |
||
! - |
! - |
||
| Baris 638: | Baris 636: | ||
| 2002 |
| 2002 |
||
| "Tear Off Your Own Head (It's A Doll Revolution)" |
| "Tear Off Your Own Head (It's A Doll Revolution)" |
||
| |
|eC |
||
! #58 |
! #58 |
||
! - |
! - |
||
| Baris 646: | Baris 644: | ||
| 2002 |
| 2002 |
||
| "45" |
| "45" |
||
| |
|eC |
||
! #92 |
! #92 |
||
! - |
! - |
||
| Baris 654: | Baris 652: | ||
| 2003 |
| 2003 |
||
| "Smile" (Japanese release only) |
| "Smile" (Japanese release only) |
||
| |
|eC |
||
! - |
! - |
||
! - |
! - |
||
| Baris 662: | Baris 660: | ||
| 2004 |
| 2004 |
||
| "Monkey To Man" |
| "Monkey To Man" |
||
| |
|eC+IMP |
||
! - |
! - |
||
! - |
! - |
||
| Baris 670: | Baris 668: | ||
==Filmography== |
==Filmography== |
||
*1979 film debut as 'Earl Manchester' in ''[[Americathon]]'' |
*1979 film debut as 'Earl Manchester' in ''[[Americathon]]'' |
||
*1984 as 'Henry Scully' in UK TV series ''[[Scully (TV series)|Scully]]'' |
*1984 as 'Henry Scully' in UK TV series ''[[Scully (TV series)|Scully]]'' |
||
| Baris 688: | Baris 687: | ||
==Select bibliography== |
==Select bibliography== |
||
* ''Elvis Costello: A Singing Dictionary (ISBN 0-7692-1505-X) - Sheet music, chords, and lyrics for works 1977-1980. |
* ''Elvis Costello: A Singing Dictionary (ISBN 0-7692-1505-X) - Sheet music, chords, and lyrics for works 1977-1980. |
||
==Pranala luar== |
== Pranala luar == |
||
* [http://www.elviscostello.com/ ElvisCostello.com] |
* [http://www.elviscostello.com/ ElvisCostello.com] |
||
*{{allmusicguide | |
*{{allmusicguide |id = B5x61mpb39fco |label = Elvis Costello}} |
||
*{{imdb name|id=0004845|name=Elvis Costello}} |
*{{imdb name|id=0004845|name=Elvis Costello}} |
||
* [http://musicmoz.org/Bands_and_Artists/C/Costello,_Elvis/ MusicMoz entry] |
* [http://musicmoz.org/Bands_and_Artists/C/Costello,_Elvis/ MusicMoz entry] |
||
| Baris 704: | Baris 705: | ||
{{DEFAULTSORT:Costello, Elvis}} |
{{DEFAULTSORT:Costello, Elvis}} |
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[[Kategori:Penyanyi Inggris]] |
[[Kategori:Penyanyi Inggris]] |
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[[br:Elvis Costello]] |
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[[gv:Elvis Costello]] |
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[[he:אלביס קוסטלו]] |
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[[it:Elvis Costello]] |
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[[ja:エルヴィス・コステロ]] |
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[[ru:Элвис Костелло]] |
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Revisi per 29 November 2022 00.54
 | Artikel ini perlu diterjemahkan dari bahasa Inggris ke bahasa Indonesia. |
Elvis Costello | |
|---|---|
| Informasi latar belakang | |
| Nama lahir | Declan Patrick MacManus |
| Lahir | 25 Agustus 1954 London, Inggris |
| Genre | rock pop pub rock punk rock new wave |
| Pekerjaan | penyanyi, pencipta lagu |
| Instrumen | vokal gitar |
| Tahun aktif | 1977 - sekarang |
| Label | Stiff, Radar, F-Beat, Demon, Columbia, Warner Bros., Deutsche Grammophon, Lost Highway |
| Artis terkait | The Attractions, The Imposters, Burt Bacharach, Allen Toussaint |
| Situs web | Elvis Costello.com |
Elvis Costello (lahir 25 Agustus 1954) dengan nama Declan Patrick MacManus adalah musikus, penyanyi dan pengarang lagu berkebangsaan Inggris keturunan Irlandia. Beberapa sumber menyebutkan bahwa nama lengkapnya adalah Declan Patrick Aloysius MacManus, tetapi Aloysius bukanlah nama yang diberikan kepadanya waktu lahirnya, melainkan ditambahkan beberapa tahun kemudian.
Costello sejak lama muncul di panggung rock pub London pada pertengahan tahun 1970-an, dan belakangan terkait dengan genre musik rock punk dan New Wave, sebelum akhirnya mendapatkan pengakuan sebagai penyanyi unik dan orisinal pada tahun 1980-an. Hasil karyanya sangat beraneka ragam—seorang kritikus menulis bahwa "Costello, sang ensiklopedia pop, dapat menciptakan kembali masa lampau sesuai dengan citranya sendiri."[1]
Biografi
Masa kecil dan karier
MacManus dilahirkan di R.S. St Mary, Paddington di London, dan tinggal di daerah itu hingga berusia 16 tahun. Dengan latar belakang keluarganya sebagai pemusik (ayahnya, Ross MacManus, bernyanyi dengan Joe Loss), MacManus pindah dengan ibunya ke Liverpool pada 1971. Di situlah ia pertama kali membentuk bandnya yang pertama, sebuah duet folk yang dinamai Rusty. Setelah menyelesaikan sekolah menengahnya di Liverpool, ia kembali pindah ke London dan di sana ia membentuk band yang dinamainya Flip City [2] Diarsipkan 2009-06-12 di Wayback Machine., dengan gaya yang sangat mirip dengan gaya rock pub. Mereka aktif sejak 1974 hingga awal 1976. Sekitar waktu itu, MacManus mengambil nama panggung D.P. Costello.
Pada tahun 1975, MacManus sudah menjadi seorang suami dan ayah. Untuk menghidupi keluarganya, dia bekerja di beberapa perusahaan perkantoran, dan yang paling terkenal ketika ia bekerja di perusahaan kosmetik—diwujudkan dalam salah satu lrik lagunya sebagai "vanity factor"—di mana dia bekerja sebagai seorang staf pemasuk data. Dia terus menulis lagu, dan mulai dengan agresif mencari kontrak untuk karier solo-nya. Dengan modal rekaman lagu-nya, dia dikontrak olehStiff Records. Manajer-nya di perusahaan ini, Jake Riviera, mengusulkan untuk mengganti nama, dengan nama awal Elvis Presley dan nama gadis nenek dari ibunya sehingga menjadi Elvis Costello.