Born in Philadelphia, Costello began p… Read Full Bio ↴April 16, 1979-April 15, 2008
Born in Philadelphia, Costello began playing guitar at age nine, about the time his family moved to Atlanta. He came of age early, appearing regularly in clubs before he could drive, much less gain legal admission, to them. At age 14, his winning performance in the finals of the Memphis Blues Society’s talent competition had career-changing effects. First, it netted him studio time to record his debut album, Call The Cops, a collection of 1940s and 1950s-style Chicago blues. The Memphis trip also marked the beginning of an important association with another finalist, as Costello put his solo aspirations on hold long enough to contribute indelibly memorable guitar tracks to Susan Tedeschi’s career breakthrough gold album, Just Won’t Burn and, with his band, to back her on the high-profile national tour in support of that record.
Although Cops was well-received (Real Blues deemed it “explosive”), Costello went hard to the woodshed before his next recording, Cuttin’ In (2000). The results were immediately apparent in a more mature, fully realized vocal delivery, and in a broader range of material that touched on Texas influences (Johnny “Guitar” Watson), darkly exotic Caribbean sounds (“Goombay Rock”, a track discovered by accident), and second-generation postwar Chicago artists (the worldly, tour-de-force cover of “Double Trouble” marks Costello’s first attempt at recording a song by Otis Rush, who continues as a wellspring of inspiration).
The release of Moanin’ For Molasses in 2002 included increasingly confident originals in the Chicago and New Orleans traditions, and reasserted Costello’s established strengths with powerful interpretations of material originally recorded by Jimmy Rogers, Buddy Guy, Jody Williams, J.B. Lenoir, with two songs from the Otis Rush canon. The inclusion of James Brown’s intense 1959 ballad “I Want You So Bad” and Johnnie Taylor’s slamming Stax side “You Can’t Win With A Losing Hand” pointed to a growing interest in soul music first evidenced in live performances of songs by Tyrone Davis and Clarence Carter, and marked an ongoing evolution as interpreter and artist that would come to fruition on Costello’s next project.
2005’s inspiredSean Costello ventured further into vintage funk and soul sounds, including gems from Johnnie Taylor, Robert Ward, Johnny “Guitar” Watson, and Al Green, and the superb, genre-approved originals “She Changed My Mind” and “No Half Steppin’”. His longtime interest in Bob Dylan shone through in a very personal reading of “Simple Twist of Fate” and in his own “Father”, which sounds like a lost outtake from the Desire sessions. Costello’s affecting delivery on the gorgeous ballads “All I Can Do” and “Don’t Pass Me By” proved him to be among our premier singers of torch songs and standards while revealing new aspects of his songcraft. Tommy Johnson’s “Big Road Blues” and the original “I’ve Got To Ride” looked back to the blues roots underpinning all Costello’s work.
Costello cites four individuals as having directly affected his development as artist and performer. Early direction came from Texas-born guitarist Felix Reyes, whose Cats have provided fertile onstage proving grounds for generations of younger bluesmen in Dallas, Austin, Atlanta, Florida, and now Chicago. “He was a great teacher to me. I still think about the way he plays. He’s the guy that taught me to listen, not to play so many notes, and chill out, and don’t do everything you know all at once. He’s a really good player, a good friend to me.” Costello calls his apprenticeship with Ronnie Earl, conducted over several National Guitar Workshops, “a huge, huge influence” in developing a soulful, personal voice on his instrument. Later, Americana music icon Levon Helm made a tremendous impression on Costello, who gained valuable perspective on performing and life while working with him. Most recently, drummer Donnie McCormick, a veteran of the storied ‘70s rock and soul rhythm section The Dixie Flyers and longtime fixture on the Atlanta music scene, has acted as Costello’s mentor. “He’s a great singer-songwriter and performer. I’ve been soaking up his vocal style, which is unique, and learning about songwriting through him.”
Along the way, Costello has had the opportunity to brush elbows with musical legends. He has shared bandstands with the likes of B.B. King, Buddy Guy, Hubert Sumlin, Elvis Costello, Dr. John, Kim Wilson, Johnnie Johnson, Pinetop Perkins, Luther Allison, Anson Funderburgh and Sam Myers, Lynwood Slim, Steve Jordan, Willie Weeks, and Jimmy Vivino . In addition to Susan Tedeschi, he has recorded with Helm, Jody Williams and Tinsley Ellis, and his band was hand-picked to record backing tracks for gospel greats The Five Blind Boys. Most recently, Costello received acclaim as the primary guitarist on Long Time Coming, the Blues Music Award-nominated comeback album by blues shouter Nappy Brown.
Not content to remain at rest, Costello’s growth never sacrifices the feeling he values. As he says, “Whatever I do is going to be very rooted in blues or rhythm and blues. Everthing that I play is just jumping off from that point.” Just as soul and rock grew from the blues, fresh sounds enter Costello’s repertoire as a natural development of his listening habits. A musical discussion with Costello is as likely to touch on Otis Clay, O. V. Wright, Eddie Hinton, Otis Redding, Bobby Womack, and Johnnie Taylor (his all-time favorite singer) as Otis Rush, Robert Lockwood Jr., Freddy King, Bobby “Blue” Bland, Jimmie Vaughan, or Lurrie Bell (his favorite contemporary guitarist), with Bob Dylan’s work never far from the forefront. Heavy sessions listening to rock ‘n’ roll – which, for Costello, means Chuck Berry, Fats Domino, and Jerry Lee Lewis – played a part in developing the sound of his newest recordings.
Forgoing the comfort of his long-time band (a full complement that featured organ and harmonica or piano), Costello has for the past two years been playing in a trio format with Aaron Trubic (electric bass) and, most recently, Paul Campanella Jr. (drums), a rhythm section of deadly precision and efficiency. The stripped-down configuration not only forces Costello to work harder - “I am playing a lot of guitar, man!” - it lends sharp focus and an aggressive edge to the music, a set of raw blues (“Anytime You Want”), impassioned gospel (“Going Home”), solid soul (“Can’t Let Go”), idiosyncratic pop (“You Told Me A Lie” filters The Beatles through the Chess studio), exposed-nerve ballads (McCormick’s “Have You No Shame” is one highlight) that crackles with energy and a deep groove.
Double Trouble
Sean Costello Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh so low, just so troubled.
Can't get a job,
Laid off and I'm having double trouble.
Hey hey, to make you've got to try.
Baby, that's no lie.
Some of this generation is millionaires;
Laugh at me walking,
And I have no place to go.
Bad luck and trouble has taken me;
I have no money to show.
In Sean Costello's song Double Trouble, the lyrics paint a picture of a struggling individual who is experiencing a lot of hardship in their life. The opening line "Lay awake at night, oh so low, just so troubled" sets a melancholic tone for what is to come. It is evident that this person is going through a tough time, and they cannot seem to shake off the feeling of despair.
The next line "Can't get a job, laid off and I'm having double trouble" highlights their unemployment and the financial implications of it. They are facing a double whammy of trouble, being both jobless and under financial strain.
Costello then introduces the idea that success is built through hard work when he sings "Hey hey, to make you've got to try. Baby, that's no lie". He juxtaposes this with the harsh reality that some people in the same generation have made it big while he still struggles to make ends meet, further emphasizing his feelings of inadequacy.
The last two lines summarize the situation nicely, underscoring his difficulties further. "Laugh at me walking, and I have no place to go. Bad luck and trouble has taken me, I have no money to show." These lines show how he is being ridiculed and left with no means of survival due to his misfortunes.
Line by Line Meaning
Lay awake at night,
I can't sleep because I'm worried and anxious about my problems.
Oh so low, just so troubled.
I'm feeling really down and have a lot of difficulties to deal with.
Can't get a job,
I'm unemployed and struggling to find work.
Laid off and I'm having double trouble.
Not only am I jobless, but I'm also facing other challenges that make things twice as hard.
Hey hey, to make you've got to try.
Success requires effort and hard work.
Baby, that's no lie.
This is a fact that can't be denied.
Some of this generation is millionaires;
There are people from my generation who have become really rich.
I can't even keep decent clothes to wear.
I can't afford basic necessities like clothing.
Laugh at me walking,
People make fun of me when they see me on the street.
And I have no place to go.
I'm homeless and have nowhere to stay.
Bad luck and trouble has taken me;
I'm facing a lot of problems and misfortune.
I have no money to show.
I'm broke and don't have any money to my name.
Writer(s): Otis Rush
Contributed by Liliana B. Suggest a correction in the comments below.
@lba08001
Three guitar players have given me the chills when I heard them for the first time— SRV, Sean, and Jason Becker. This might be the best live performance of all time. RIP. Legend.
@pt6595
The skill to adapt and keep the sound after breaking the string. Messi on the pitch, Brady 4th quarter super bowl drive. I came across this performance 13 years ago. RIP Mr Costello, truly amazing.
@highway61blues
I saw this young man at a blues festival 8mths before his death.There are no words to describe his performance.It was just incredible! He was sweating and playing the blues like he had just learned to play guitar that day! Very passionate! Afterwards, I bought his shirt for him to autograph. They told me he had already gone into his trailer. 5 minutes later out he came, marker in hand, smiling autographed the shirt and posed for 2 pics for me and friend. Oh happy day! RIP Sean We love you!
@rpmblues7018
Great mother of God ,Lord have mercy Sean.I keep comin back and watchin you do this song brother. It was my pleasure to see you just once but what a performer you were and still are playin with all the greats up yonder.I choke up every time I hear this. R.I.P. miss ya brother.
@GwidonSykstus
I listened to Sean then I listened to Clapton rendition (the same Double Trouble blues), then again Sean, and you know, for me Sean is much better - more soul, more feeling, more heart. Hats off.
@matto6582
Top Tophams version with Jim McCarty also sublime.
@YevgeniyLamba
Clapton never flamed like Sean.
@525blues
when you play, and when it comes from the soul- you go somewhere else. it's great to watch him go there, and take us with him. what a talent. what a shame he's not here any longer.
@megalodon8473
That opening lick - it's just so simultaneously subtle and overpowering, I can't really describe it any other way...make you smile, make you cry, and everything else in between.. RIP Sean.
@Pollutens
i think breaking that string made his solo unique, he approached it from a different angle, way better and soulful than if he had 6. Thx Sean, never get tired of listening to you. RIP