In addition to writing some of the hippest and most literate pop songs of the last twenty years, Elvis Costello gives good interview. He's wise, articulate, and very funny, which will come as no surprise to anyone familiar with his crafty lyrics. Here's a tidbit of Costello chat: "There's records I've made that perplex people, I know, but part of the process of music is to perplex them. Even if they fail commercially, I still know they're good records. If they're hits in the studio they don't become misses in the bargain bin." A great U.K. site has amassed five of Elvis's most probing interviews, forming a giant archive where fans can find out just about anything about the man's music -- in his own words.

Phish enjoys colossal success while keeping largely out of sight of the music industry's radar. ("There's freedom to being ignored," says guitarist Trey Anastasio. "You can do whatever you want and no one pays any attention. I think it's probably the reason we've been able to do what we do.") With little fanfare, the Pied Pipers of Vermont -- with their virtuosic yet homey blend of rock 'n' roll and just about everything else -- have twice lured 70,000 ecstatic fans to the remote reaches of northern Maine. These self-produced festivals prove that the band conducts its career exactly how it wants -- no mean feat in an age where most rock stars can't even brush their teeth without the aid of a professional "handler." In this interview, Anastasio talks in his typically thoughtful and down-to-earth manner about recording, the media, and those big outdoor shows. For the uninitiated, the bonus here is that the text is peppered with downloadable sound clips from Phish LPs. When you're done reading Trey's words, check out a conversation with Phish bassist Mike Gordon. You owe it to yourself to investigate the homegrown musical phenomenon that makes folks nationwide boogie with abandon.

Okay, you knew I'd slip you something zany. Until now we've been dealing with gracious interview subjects who honor the notion that fans hang on their every word. But what happens when an artist is nauseated by the questions posed (even if they're not so bad) and would clearly rather be elsewhere? Let us turn to Bob Dylan for the answer. His 1966 Swedish interview gives new meaning to the word uncooperative ("People shouldn't really listen to protest songs"). And let's give credit where it's due -- the interviewer, with the patience of a saint, never loses his cool in the face of Dylan's supreme flippancy (maybe it's the language barrier). When reading this fiasco, it may be hard to swallow that the same disrespectful -- but still sharp as a knife -- punk would further legitimize rock 'n' roll more than thirty years later by receiving a Kennedy Center Honor. But Dylan's always been tricky like that -- the Vatican one day, a sleazy downtown dive the next.

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