Original article by Cheryl Herman– 10 December 2009
David Costa has worked on quite a few of Elton’s album covers. He was kind enough to take time away from a busy schedule to answer some of ej.w‘s questions.
Ej.w: What sort of training did you have, and did you always see yourself as an artist?
DC: No, I never trained, I’m araid. I was a working musician, wanted to progress to become a producer and had just missed a chance in the in-house studio at Dick James Records.
A conversation with Dick indicated that there was a vacancy opening up in the Art Department when resident Michael Ross was due to leave; with brass nerve I said I had trained in design – an untruth, despite having studied Fine Arts at university – and Michael was kind enough to give me a chance. So it was musicians I admired, and, I suspect, understood, which isn’t a bad qualification for a music business Art Director. And in time, anyway, I seemed to find my feet well enough.
Ej.w: You worked on Elton’s last album, The Captain And The Kid. Which other covers did you create, and how did your first assignment with the singer come about?
DC: My first efforts with Elton were undertaken under Michael’s guiding hand, cowgumming down elements of Don’t Shoot Me I’m Only the Piano Player, thereafter beginning to fly solo with Goodbye Yellow Brick Road as assistant Art Director alongside Michael Ross and David Larkham.
Shortly after Rocket Records launched (1973), I became in-house Art Director and went on over the years to design Blue Moves, Greatest Hits Volume Two, A Single Man, Victim of Love, Jump Up, Leather Jackets, Live in Australia, and Reg Strikes Back; then with my burgeoning young company, Wherefore Art, to continue with Sleeping with the Past, To Be Continued (in U.S. and UK versions), The One, Rare Masters, The Very Best of Elton John, Made in England, and numerous singles and compilations alongside – these together with tour books over the last thirty years too numerous to mention and to accompany some of the greatest touring moments, from Louder Than Concorde all the way through to The Red Piano, including the Face to Face tours with Billy Joel, the Dream Ticket book, and The Complete Lyrics.
Ej.w: Have Elton or Bernie Taupin ever offered suggestions on how a sleeve should look?
DC: At odd times, yes. Elton more so than Bernie and mostly by wanting to work with such-and-such a photographer, or wanting to tie the sleeve in with a particular style currently of interest to him or that had caught his eye, or at the very least by responding positively to a visual or presentation and inevitably adding more into it than was ever conceived initially.
Reg Strikes Back was obviously a key moment in his career and indeed his life, as in many respects was The Captain And The Kid–connecting with the two personas and catching up with how it had developed all those years later.
Ej.w: What other musical acts has Wherefore Art assisted?
DC: Myself and Wherefore Art have predominantly been associated with the late and very great George Harrison, the Beatles, Rolling Stones, Eric Clapton, Phil Collins, Genesis, and Jimi Hendrix.
There have been many books, and literally dozens of tour books (and merchandise) for the Police, Beyonce, Anastacia, Il Divo, Red Hot Chili Peppers and others. I was due to be working with Michael Jackson for his 50 dates at the O2 here in London. As he tragically died, I was then asked to prepare the tribute book for the Memorial Service in L.A.
Ej.w: What are your future plans?
DC: Wherefore Art has closed, but I do projects with many of the same clients I’ve had so long now–as David Costa & Partners.
I tried briefly to retire, and can’t imagine why I’d thought that was ever an option. . . . Long may the phone keep ringing!
