DAY TWENTY: THE GEORGE JONES DEMOS
Before Rick Rubin revitalized Johnny Cash’s recording career, Costello tried to do a similar thing for George Jones.
In a November 1992 issue of Interview magazine, Costello conducted a phone interview with the country legend and proposed making a new kind of George Jones album:
ELVIS COSTELLO: Have you ever considered doing an album where all of the songwriting came from outside the country area, even though you might do typical George Jones interpretations? There are a lot of songwriters whose work you’ve never touched, like Hoagy Carmichael, or someone more up-to-date, like Tom Waits.
GEORGE JONES: Hey, I’ve never thought of that, but that’s a good idea. However, it would have to be the kind of material that I could transform my way, to the country style.
EC: Oh, I don’t mean you should start to sing like a jazz singer, and I don’t mean you should make a record like Willie Nelson's Stardust, where he sang standards in the style that they were written. I do want to say, though, that I tend to think of you as an American vocalist — rather than Just a country singer — in the same frame of mind as the great singers in other styles of music, like Sarah Vaughan, Ray Charles, and Frank Sinatra.
GJ: Thank you. For this kind of record, I would have to have help from someone familiar about this situation, as you are, that could pick out certain types of songs.
EC: Well, there you go, George. I’m volunteering. Anytime you want to do this record. I think it’s the missing George Jones album.
GJ: Great. I’ll tell you what. Let’s get a few songs together and see what we can do with them. I would love for you to send me a tape of some of the things you might like to see on an album like this.
EC: O.K., I’ll send you some things. I may sing them myself, with just a simple acoustic guitar, without trying to copy you — I can’t copy your voice, anyway. Then maybe you would hear them more in the vein of how they could be done.
GJ: O.K., great. When are you coming to the States?
EC: I don’t know. I’m making a record myself next week, and I’ll be coming there on tour next year. Maybe we should try to meet up. It would be nice to see you.
GJ: I got to head out of here pretty shortly and go get my hair done.
Before this interview was even published, Costello went into Attractions drummer Pete Thomas’ home studio with Paul “Bassman” Riley and recorded 10 songs, sending the results to Jones.
Costello later released all of these recordings on the bonus disc of the now out-of-print 2004 Rhino reissue of Kojak Variety, and wrote that he had “no idea what Mr. Jones made of the tape or if he ever even received it. On the next occasion that we performed together, on TNN’s Monday Night Concert with Ricky Skaggs at Ryman Theatre in Nashville, George diplomatically failed to mention these recordings.”
- Hoagy Carmichael & Harold Adamson: "My Resistance Is Low"
- Tom Waits: "Innocent When You Dream"
- T Bone Burnett: "I’m Coming Home"
- James Carr: "The Dark End Of The Street"
- Paul Simon: "Congratulations"
- Bob Dylan: "You’re Gonna Make Me Lonesome When You Go”
- James Carr: "Pouring Water On A Drowning Man"
- Gram Parsons: "Still Feeling Blue"
- Bruce Springsteen: "Brilliant Disguise"
- Peggy Lee: "How Long Has This Been Going On"
A few of Costello’s “George Jones Demos” trickled out as fairly obscure b-sides during the 90s, but for many years they were regarded as a “lost” Costello album. The Kojak Variety CD reissue remedied this for a short period when Costello included all of them on the Bonus Disc, but it is growing increasingly difficult to find copies of those Rhino editions on the secondhand market, and the added material has remained unavailable via iTunes, Spotify, etc.
Admittedly, they are an obscure corner of Costello’s catalog, but I’d argue that this is some of Costello’s most interesting work covering other artists, actually more compelling within his back catalog than either Almost Blue or Kojak Variety. Although “Costello Sings Some Of His Favourite Songs In The Style Of George Jones” might seem like some kind of awkward gimmick or novelty record, these recordings are terrific, heartfelt and fun.
THE “GEORGE JONES” DEMOS:
- "My Resistance Is Low"
- "Innocent When You Dream"
- "I’m Coming Home"
- "The Dark End Of The Street"
- "You’re Gonna Make Me Lonesome When You Go"
- "Pouring Water On A Drowning Man"
- "Still Feeling Blue"
- "Brilliant Disguise"
- "How Long Has This Been Going On"
It’s probably wishful thinking to imagine that this material would ever see the light of day on a limited edition vinyl release, or that it would be regarded as a legitimate part of the Costello canon and assessed in much the same way Dylan & The Band’s Basement Tapes are within their respective bodies of work. But to hear Costello’s country take on Springsteen’s "Brilliant Disguise" is to hear a passionate and intuitive singer/songwriter/music fan & scholar using the full range of his skill set to bring out a different aspect of these songs.
The ultimate goal may have gone unfulfilled but these recordings more than justify the effort. And Costello’s instinct was probably right— if George Jones had made this record, the 90s might have seen the same kind of popular appreciation for Jones that Johnny Cash enjoyed when he began his American Recordings series.
ALSO: because this is Costello making this record purely for his own enjoyment, in the hopes that he’ll get to hear one of his favorite singers tackle some songs he loves, there is an unmistakable feeling that Costello is having a ball. It’s loose and carefree and was all recorded in a single day— Costello even left in a lyrical mistake in Dylan’s "You’re Gonna Make Me Lonesome When You Go", enthusing that only Dylan could write a line as great as:
Situations have ended sad
Relationships have all been bad
Mine have been like the lanes and rambles
He was then informed that the ACTUAL lyric was “Mine’ve been like Verlaine’s and Rimbaud.”
In a perfect world, Costello would make a record like this every year— his knowledge of other people’s music mixed with his sense of mischief and adventure would virtually guarantee that it would be tremendous fun. Later in the 90s, he had a bit he would perform during concerts where he would speculate on what songs Elvis Presley would’ve covered if he’d lived, including Costello’s pretty amusing impression of The King belting out lines from U2’s “I Still Haven’t Found What I’m Looking For”, Springsteen’s “I’m On Fire” and Blondie’s “Heart Of Glass.”
I’m not suggesting that Costello turn his party trick into an album. But I would buy that record in a heartbeat.
TOMORROW: COSTELLO GOES CLASSICAL
THE COMPLETE 40 DAYS OF ELVIS COSTELLO:
- DAY 1: RUSTY, FLIP CITY & THE “PRE-PROFESSIONAL” DAYS
- DAY 2: MY AIM IS TRUE
- DAY 3: THIS YEAR’S MODEL
- DAY 4: ARMED FORCES
- DAY 5: GET HAPPY!!
- DAY 6: TAKING LIBERTIES / TEN BLOODY MARYS & TEN HOW’S YOUR FATHERS
- DAY 7: TRUST
- DAY 8: ALMOST BLUE
- DAY 9: IbMePdErRoIoAmL / “Party Party”
- DAY 10: PUNCH THE CLOCK
- DAY 11: GOODBYE CRUEL WORLD
- DAY 12: KING OF AMERICA
- DAY 13: BLOOD & CHOCOLATE
- DAY 14: OUT OF OUR IDIOT
- DAY 15: THE McCARTNEY/MacMANUS DEMOS
- DAY 16: SPIKE
- DAY 17: GIRLS+£÷GIRLS=$&GIRLS
- DAY 18: KOJAK VARIETY
- DAY 19: MIGHTY LIKE A ROSE
- DAY 20: THE GEORGE JONES DEMOS
- DAY 21: THE JULIET LETTERS
- DAY 22: THE GWENDOLYN LETTERS
- DAY 23: BRUTAL YOUTH
- DAY 24: DEEP DEAD BLUE (Live At Meltdown)
- DAY 25: "My Dark Life"
- DAY 26: ALL THIS USELESS BEAUTY
- DAY 27: COSTELLO & NIEVE / EXTREME HONEY
- DAY 28: PAINTED FROM MEMORY
- DAY 29: FOR THE STARS
- DAY 30: WHEN I WAS CRUEL
- DAY 31: NORTH
- DAY 32: THE DELIVERY MAN
- DAY 33: IL SOGNO
- DAY 34: PIANO JAZZ / MY FLAME BURNS BLUE
- DAY 35: THE RIVER IN REVERSE
- DAY 36: MOMOFUKU
- DAY 37: SPECTACLE - ELVIS COSTELLO WITH…
- DAY 38: SECRET, PROFANE & SUGARCANE
- DAY 39: NATIONAL RANSOM
- DAY 40: THE RETURN OF THE SPECTACULAR SPINNING SONGBOOK / POMP & POUT: THE UNIVERSAL YEARS / IN MOTION PICTURES / AND SO ON
- DAY 41: WISE UP GHOST AND OTHER SONGS