Elvis, Detour, Stockholm, Feb. 22nd 2017

Pretty self-explanatory
johnfoyle
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Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby johnfoyle » Fri Feb 17, 2017 6:19 am

Who's going?

johnfoyle
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby johnfoyle » Wed Feb 22, 2017 10:36 am

Anyone?

Mikeh
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby Mikeh » Wed Feb 22, 2017 11:20 am

I bet Sulky is just setting off now

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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby johnfoyle » Wed Feb 22, 2017 2:27 pm


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And No Coffee Table
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby And No Coffee Table » Wed Feb 22, 2017 7:13 pm

http://www.setlist.fm/setlist/elvis-cos ... 9a4ba.html

01. Waiting For The End Of The World
02. Poison Moon
03. Accidents Will Happen
04. Ascension Day
05. Brilliant Mistake
06. Viceroy's Row
07. Everyday I Write The Book
08. Shipbuilding
09. Deep Dark Truthful Mirror
10. Still
11. A Face In The Crowd
12. Walkin' My Baby Back Home
13. Ghost Train
14. Veronica
15. She
16. Watching The Detectives
17. Alison
Encore 1
18. Blood & Hot Sauce
19. No Man's Woman
20. Pump It Up
21. 45
22. Mystery Dance
23. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
24. I Can't Stand Up For Falling Down
Encore 2
25. I Want You
26. Vitajex
27. Almost Blue
28. (What's So Funny 'Bout) Peace, Love And Understanding?

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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby johnfoyle » Thu Feb 23, 2017 3:28 am

Image
Elvis Costello tar sitt samhällsansvar och varnar för effekterna av lössläppt leverne.Elvis Costello takes social and warns of the effects of licentious living Foto: Björn Bergenheim/Rockfoto


http://bloggar.aftonbladet.se/musikblog ... nmansshow/

Elvis Costello är en glimrande enmansshow

23 februari, 2017

av Håkan Steen

En spelsugen Elvis Costello bjuder på en alldeles lagom nostalgisk retrospektiv över sitt liv och sina rötter.

Men han är framför allt en glimrande enmansunderhållare som lyckas riva ned några av de största applåderna med fyra helt nya låtar.

Inramningen är nostalgisk. En gigantisk bildrörs-tv av 60-talsmodell utgör scenens fond och visar videor, bilder från Elvis Costellos barndom och gamla tidningsomslag, filmaffischer och annat som betytt mycket för den 62-årige sångaren och låtskrivaren.
Men så har de senaste åren också handlat mycket om att se tillbaka och summera för Costello. Hans far, musikern Ross McManus som Costello lånade både skivsamling och väldigt mycket av sin look ifrån, gick bort för drygt sex år sedan. 2015 kom den hyllade självbiografin ”Unfaithful music & disappearing ink”.

Den här turnén, som ordvitsigt döpts till ”Detour”, går möjligen att se som ett slags soundtrack till boken. Anekdoterna haglar, bland annat om hur föräldrarna träffades i en skivaffär (”I’m romantic about records because I wouldn’t be here without them”) och tidiga Sverige-turnéer (”in the folk parks, where people drank with both fists”).

Och han plockar ihop en låtlista som är långt ifrån ett greatest hits-set. Vi bjuds på såväl förbisedda rariteter som supertidiga ”Poison moon” och den underbart The Kinks-ångande b-sidan ”Ghost train”) som låtar från albumen Costello gjorde med Allen Toussaint och The Roots. Allt landar inte perfekt, men jag gillar attityden.

Inte minst blir det hela tre låtar från Costellos nästa stora projekt, musikalen ”A face in the crowd” som baseras på Elia Kazans 50-talsfilm med samma namn och får premiär senare i år. ”No man’s woman” är en stark pianoballad och till och med den fiktiva reklamjingeln för mirakelmedicinen Vitajex, spelad på ukulele, river ned stort jubel.

Costello sjunger ”Alison” helt utan mikrofon men växlar annars mellan en blå flygel och mängder av gitarrer. Klöser vilt på sin distade röda Fender Jazzmaster i ”Pump it up” och blir nästan avantgardistisk när han samplar sig själv i ”Watching the detectives”.
Framför allt är han lika spelsugen och mån om att ge folk valuta för pengarna som förra gången i Stockholm, på Rival för fem år sedan. Inledningsvis nästan väl mycket så, en personlig favorit som ”Brilliant mistake” lämpar sig föga för så här onyanserat hamrande.
Men under allra största delen av den nästan två och en halv timme långa showen sitter man mest och känner sig bortskämd, ännu en gång.
Att Costello gör hela fyra Sverige-konserter på just den här turnén känns som en lyckträff.

Rate Elvis Costello

Plats: Göta Lejon, Stockholm. Publik: 1100 (utsålt).
Längd: 146 minuter.
Bäst: Väldigt själfulla versioner av ”Deep dark truthful mirror” och ”I want you”.
Sämst: En oväntat grovhuggen ”Brilliant mistake” och den rätt diffusa ”Viceroy’s Row”.


Alla låtarna: 1. Waiting for the end of the world 2. Poison moon 3. Accidents will happen 4. Ascension day 5. Brilliant mistake 6. Viceroy’s Row 7. Everyday I write the book 8. Shipbuilding 9. Deep dark truthful mirror 10. Still 11. A face in the crowd 12. Walkin’ my baby back home 13. Ghost train 14. Veronica 15. She 16. Watching the detectives 17. Alison 18. Blood & hot sauce 19. No man’s woman Extra: 19. Pump it up 20. 45 21. Mystery dance 22. Jimmie standing in the rain 23. I can’t stand up for falling down Extra 2: 24. I want you 25. Vitajex 26. Almost blue 27. (What’s so funny ’bout) Peace, love and understanding

Här kan ni se Elvis Costello: Göteborg 23/2, Malmö, 24/2, Jönköping 26/2


Google translation -


Elvis Costello is a glittering one-man show

February 23, 2017

Håkan Steen

A game hungry Elvis Costello offers a just right nostalgic retrospective of his life and his roots.

But he is above all a gleaming one-man entertainer who manages to tear down some of the biggest applause with four brand new songs.

The setting is nostalgic. A gigantic CRT TV of the 60s model represents the stage backdrop and show videos, pictures from Elvis Costello's childhood and old magazine covers, movie posters and other things that meant a lot to the 62-year-old singer and songwriter.
But in recent years has also acted very much to look back and summarize Costello. His father, the musician Ross McManus as Costello borrowed both collection and very much of its look away, went away for more than six years ago. 2015 came the acclaimed autobiography "Unfaithful music & disappearing ink".

This tour, which ordvitsigt dubbed "Detour", can possibly be seen as a sort of soundtrack to the book. The anecdotes hails, including how parents met in a record store ( "I'm romantic about records Because I would not be here without them") and early Sweden tours ( 'in the public parks, where people drank with bothering fists " ).

And he picks up a track list that is far from a greatest hits set. We are treated to both neglected rarities super early "Poison Moon" and the wonderful Kinks-steaming the b-side "Ghost Train") to songs from the album Costello did with Allen Toussaint and The Roots. All lands are not perfect, but I like the attitude.

Not least, it will be the whole three songs from Costello's next big project, the musical "A face in the crowd" based on Elia Kazan's' 50s movie of the same name and will premiere later this year. "No Man's Woman" is a strong piano ballad and even the fictional advertising jingle for the miracle medicine Vitajex, played on the ukulele, tearing down huge cheers.

Costello sings "Alison" without a microphone, but otherwise switches between a blue wing and lots of guitars. Clawing wildly at his distorted red Fender Jazzmaster in "Pump it up" and become almost avant-garde when he samples herself in "Watching the Detectives".
Above all, he is as game hungry and eager to give people value for money as the last time in Stockholm, the Rival five years ago. Initially, almost too much so, a personal favorite as "brilliant mistake" hardly suitable for this so bluntly hammering.
But the vast majority of the nearly two and a half hour long show is one the most and feel pampered, yet again.
To Costello makes all four concerts in Sweden this particular tour feels like a fluke.

Rate Elvis Costello

Location: Gota Lejon, Stockholm. Attendance: 1100 (sold out).
 Length: 146 minutes.
 Best: Very soulful version of "Deep dark truthful mirror" and "I want you".
Worst: An unexpected rough-hewn "Brilliant mistake" and the right diffuse "Viceroy's Row".

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VonOfterdingen
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby VonOfterdingen » Thu Feb 23, 2017 4:08 am

The last part with "this particular tour feels like a fluke" is a little more positive in the Swedish sense. It's more like a "stroke of fortune" or "stroke of luck".
I'm not buying my share of souvenirs

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krm
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby krm » Thu Mar 02, 2017 11:39 am

https://www.facebook.com/photo.php?fbid ... =3&theater

Elvis and Michael Blair during his recent visit in Stockholm. Michael Blair was once both a Rude5 and a Confederate. He also plays on Spike and For the Stars.

MBlairandEC.jpg
MBlairandEC.jpg (28.18 KiB) Viewed 1018 times

johnfoyle
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby johnfoyle » Sat Apr 01, 2017 3:23 am

http://www.popnews.com/popnews/elvis-co ... vrier-2017

Elvis Costello à Göta Lejon, Stockholm le 22 février 2017

31/03/2017, par Guillaume Delcourt

Mes idoles ont varié avec l’âge et les goûts mais je suis toujours resté fidèle à Elvis. Costello, hein pas le King de Memphis. C’est une dette d’adolescence que je dois à Philippe Manœuvre, encore lui, toujours lui. J’aime les premiers albums d’Elvis à la folie mais celui dont je ne me séparerai jamais, c’est "This Year’s Model". Les Attractions sont à leur meilleur et la production hyper sèche de Nick Lowe fait des merveilles : chacun est à sa place pour le bien de tous. Ce disque est puissant, hargneux, acide, fin, punk sans le cirque et les épingles. C’est grand, grand, grand.
Je n’ai jamais eu l’espoir de voir Costello en France et sa précédente hallucinante tournée en Suède (il tournait alors sans setlist mais avec une roue de loterie qui choisissait ses titres) avait été annulée pour cause de maladie.



Et puis, à l’automne dernier, ce fut le retour : trois, quatre affiches posées sur les murs de Stockholm un week-end et une mise en vente le lundi suivant, soldée en une heure de temps ! Vincent Arquilière m’avait prévenu qu’avec Elvis, les choses allaient vite. Ce n’est pas en compagnie de la famille Assayas ni de l’expert Gorin que j’allais applaudir mon idole de jeunesse mais avec celle qui est plus "My aim is true"…
Première impression : je ne verrai certainement jamais les Rolling Stones (désolé Philippe, sur ce chapitre, on est irréconciliables) mais je baigne pour la première fois dans ce vieux jus de fans, ici de New Wave, ridés et gras, et surtout passés de l’autre côté. Comme Elvis d’ailleurs.
C’est enfin l’occasion de pénétrer dans ce Göta Lejon aux mille et quelques places, qui fait relâche de son adaptation pour la scène de "Bullets over Broadway" de Woody Allen pour laisser la place à l’autre bigleux, dont les lunettes ont aussi fait la renommée.

Elvis joue la carte du passé, fait les choses en grand et a disposé sur une scène encombrée de guitares, piano à queue et divers accessoires (mégaphone, haute chaise colorée) une gigantesque télé en carton type année 60 qui diffuse les clips du dit Elvis, nous permettant de nous remémorer tous les avatars et déguisements de Mr Mc Manus (j’avais oublié la période hippie à cheveux longs et barbe crasseuse avec orchestre de bimbo intello preppy, mi-gourdasses mi-bombasses, le même genre que Jens Lekman embauchera plus tard pour ses tournées).


Il débarque à l’heure, lumières éteintes pour jouer "(Wait ’till) The end of the World" à l’électrique saturée de réverb et à fond la caisse. On m’avait prévenu.

Je m’attendais à un récital pour pépères et mémères, mais Elvis joue avec la fée électricité et si c’est fort louable, on ne peut que regretter d’entendre sa voix surboostée essentiellement via les enceintes.

La lumière se rallume et on découvre le physique de Costello version 2017, mélange de Jean-Luc Godard et de la caricature fruitière de Louis Philippe… au niveau du bassin. Ce qui ne serait pas grave si Elvis ne tortillait pas du popotin sans cesse et sans aucune vergogne. Comment fait Diana Krall ?
En fait Elvis en fait volontairement des tonnes, cabotine à tout va et conduit son show comme un stand-up amerloque, alternant improvisation en roue libre et blagues pas très bien senties, un peu trop écrites dirons-nous. Que je sois maudit sur dix générations d’oser me moquer, un peu, de l’un des plus grands songwriters que la terre ait porté, et surtout de mon idole.

Cela dit, il enchaîne les tubes : "Everyday I write the book", "Almost blue au piano", "Accidents will happen" à la guitare folk avec une voix traînante, un poil affectée et usée (superbe marque de fabrique, entendons-nous bien), toujours un peu en retard sur la musique, ce qui crée un décalage bien senti, un équilibre précaire qui nous fait un peu trembler mais nous tient très attentif tant tout semble vraiment casse gueule. Pourtant Elvis agile comme un vieux matou roublard retombe toujours sur ses pattes au moment du refrain et ne pète pas sa voix au bord de la fêlure au moment des "I Know" finaux. La classe.

Tout le show fonctionne sur le même principe de l’écriture ré-improvisée. Elvis est un vieux camelot rompu à toutes les manœuvres : il emprunte mille Detour(s du nom de sa tournée) pour nous refaire sa biographie musicale. Ça tombe bien, le stand de marchandises est bien pourvu d’exemplaires de ses mémoires parus en 2015, "Unfaithful Music & Disapearing Ink" accompagnés de l’inévitable compilation, dédicacée ou non. D’ailleurs elle est bien bonne parce qu’elle nous donne envie de nous replonger dans la pantagruélique carrière d’Elvis et de combler nos lacunes, genre écouter, eh oui pourquoi pas ?, cette collaboration avec… The Roots. L’évocation des différentes années permet de diffuser des images sur l’énorme télé et de rompre sans cesse l’illusion d’improvisation. Nous avons droit à l’anecdote des enregistrements avec Allen Toussaint, avec imitation bien sûr, et une histoire improbable de limousine dorée et de brocoli vaudou…
Certains moments sonnent un peu plus creux mais sont négociés avec moult excuses par Elvis qui nous vend son futur ”musical”, "A Face In the Crowd", plus ou moins inspiré de l’histoire qu’adapta Kazan (très chouette film, un peu trop méconnu, au passage).
Il tente de nous tirer quelques larmes, tout en s’en excusant hein ("c’est la vie"), alors qu’il nous raconte l’histoire de son grand-père mutilé de guerre, devenu musicien sur les transatlantiques (les bateaux, pas les pliants). Il amuse la galerie en se moquant gentiment de son père, chanteur de variétoche, sosie, lors de sa période hippie, de Peter Sellers dans "What’s new Pussycat" (ou, précise-t-il, "Austin Powers pour les plus jeunes"). Il nous apprend que plus jeune le petit Declan essayait de dévisser le poste de télévision pour y retrouver son père habitué des shows de l’époque. Anecdote qui vaut son pesant de cacahouètes, Costello père a joué "If I had a hammer" devant Elisabeth II pendant The Royal Variety Performance de 1963, spectacle éclipsé, comme le reste, par la performance du "Twist And Shout" des Beatles.

Entre temps, il aura mis le public dans sa poche en jouant "Watching the detectives", avec boucles de guitares, accélérées, hyper violentes, hachées, syncopées puis, intense émotion, "Alison" à la guitare acoustique, sans micro et je dois dire qu’à ce moment-là, j’ai bu du petit lait dans la culotte de velours du petit Jésus et que j’en ai apprécié chaque syllabe. Evidemment il doit la jouer tous les soirs et en avoir plus que ras-le-bol de cette vieille rengaine mais laissez-moi croire, s’il vous plaît, comme chacun des spectateurs présents ce soir-là, qu’il ne l’a jouée que pour moi et que c’était sa première et dernière fois. J’ai vu le Graal passer devant moi, je n’ai pas demandé à quoi il servait au Roi pécheur des Amériques mais j’ai bu dedans à petites gorgées et je suis sauvé. Amen.

Je n’oublierai pas non plus "I Want You au piano", dépouillée, ode anti Lennon, anti ode même, dont les paroles nous ravissent et nous glacent. La plus belle anti chanson d’amour du monde ? On applaudit bien fort cette merveille douce-amère avalée en s’étranglant.
"Mystery Dance" inaugure les rappels avec un Elvis qui sort de scène et revient après chaque titre sautillant, tortillant comme jamais, jetant couvre-chefs roses, vestes de mauvais goûts enfilées pour le plaisir de les balancer et sceptre d’imposteur à la main.
Avant son retour, la télé diffuse ce petit bijou Pierre Tcherniaesque et on est conquis.



Elvis is King. Il nous l’avait dit, et ce, dès le début.

Il joue "Pump it up", version surgonflée, dans la télé qui s’avère être une scène à rideaux et finit sur un petit mensonge ”depuis que je l’ai écrite, je me dis chaque année que c’est de plus en plus vrai” et envoie la chanson de Nick Lowe "(What’s so funny about) Peace Love & Understanding".

Voilà comment conclure parfaitement deux heures et demie de show non-stop, enfilant perles (ah j’oubliais "Shipbuilding" au piano solo) et (quelques) scories, bouclant la boucle de l’histoire familiale et musicale d’un grand petit bonhomme de la pop, truculent et insaisissable, un roublard terriblement doué.
Chapeau (rose) bas M. Costello.

Avec l’aide de Johanna, qui sait mieux que quiconque que teachers never told you anything but whiiiiiiiite lies.




Elvis Costello in Göta Lejon, Stockholm on 22 February 2017

31/03/2017, by Guillaume Delcourt

My idols have varied with age and tastes but I have always remained faithful to Elvis. Costello, not the King of Memphis. It is a debt of adolescence that I owe to Philippe Maneuver, still him, always him. I love the first albums of Elvis to the madness but the one of which I will never separate, is "This Year's Model". Attractions are at their best and Nick Lowe's ultra dry production works wonders: everyone is in his place for the good of all. This disc is powerful, surly, acid, fine, punk without the circus and the pins. It's big, big, big.
I never had the hope of seeing Costello in France and his previous hallucinating tour in Sweden (he was turning without a setlist but with a lottery wheel that chose his titles) had been canceled due to illness.
 

 
And then, last autumn, it was the return: three, four posters posed on the walls of Stockholm a weekend and a sale on the following Monday, sold out in an hour of time! Vincent Arquilière had warned me that with Elvis, things were going fast. It is not in the company of the Assayas family or the expert Gorin that I would applaud my idol of youth but with that which is more "My love is true" ...
First impression: I will never see the Rolling Stones (sorry Philippe, on this chapter, we are irreconcilable) but I bathe for the first time in this old juice fans, here New Wave, wrinkled and fat, and mostly passed the other side. Like Elvis for that matter.
It is finally the opportunity to penetrate this Göta Lejon in the thousand and one places, which releases its adaptation for the scene of "Bullets over Broadway" of Woody Allen to leave room for the other bigleux, whose spectacles Have also made fame.
 
Elvis played the card of the past, made things big and arranged on a stage cluttered with guitars, grand pianos and various accessories (megaphone, high colored chair) a gigantic TV in cardboard type year 60 which diffuses the clips of the said Elvis , Allowing us to recall all the avatars and disguises of Mr McManus (I had forgotten the hippie period with long hair and filthy beard with bimbo orchestra preppy intel, half-gourdasses half-bombs, the same kind that Jens Lekman will hire Later for his tours).
 

He disembarks on time, lights off to play "(Wait 'till) The end of the World" to the electric saturated with reverb and bottom the case. I had been warned.

I was expecting a recital for crossovers and elm, but Elvis plays with the electric fairy and if it is very commendable, we can only regret to hear his voice boosted mainly through the enclosures.

The light comes back on and we discover the Costello 2017 version, a mixture of Jean-Luc Godard and the fruit caricature of Louis Philippe ... at the basin level. What would not matter if Elvis did not wiggle the popotin incessantly and without shame. How does Diana Krall?
In fact Elvis voluntarily makes tons, hits everything and leads his show like a stand-up amerloque, alternating improvisation in free wheeling and jokes not very well felt, a little too written we will say. May I be cursed over ten generations to dare to mock a little of one of the greatest songwriters the earth has ever worn, and especially of my idol.

That said, he has the following tracks: "Everyday I write the book", "Almost blue at the piano", "Accidents will happen" on the folk guitar with a dragging voice, an affected and worn hair (superb trademark, We are well), always a little behind the music, which creates a shift well felt, a precarious balance that makes us a little tremble but keeps us very attentive so everything seems really broken. Yet Elvis, agile as an old roguery matou, always falls on his paws at the moment of the refrain and does not lose his voice at the edge of the crack at the moment of the final "I Know". The class.

The whole show works on the same principle of re-improvised writing. Elvis is an old camelot broken in all maneuvers: he borrows a thousand Detour (s of the name of his tour) to remake us his musical biography. The merchandise stand is well equipped with copies of its memoirs published in 2015, "Unfaithful Music & Disapearing Ink" accompanied by the inevitable compilation, autographed or not. Besides, it is very good because it makes us want to plunge back into the pantagruelal career of Elvis and to fill our gaps, kind of listen, yes yes why not ?, this collaboration with ... The Roots. The evocation of the different years makes it possible to diffuse images on the enormous TV and to break incessantly the illusion of improvisation. We are entitled to the anecdote of the recordings with Allen Toussaint, with imitation of course, and Unlike golden limousine and voodoo broccoli ... Some moments sound a bit hollow but are negotiated with a lot of excuses by Elvis who sells us his future "musical", "A Face In the Crowd", more or less inspired by the story That Kazan adapted (very nice film, a little too little known, in passing).


He tries to draw us a few tears, while apologizing eh ("it is life"), while he tells us The story of his mutilated grandfather of war, become a musician on the transatlantic (boats, not folding). He entertains the gallery by gently mocking his father, a varietal singer, in his hippie period, by Peter Sellers in "What's New Pussycat" (or, he says, "Austin Powers for the younger" ). He tells us that younger Declan was trying to unscrew the television set to find his father used to the shows of the time. Anecdote that is worth his weight of peanuts, Costello father played "If I had a hammer" before Elisabeth II during The Royal Variety Performance of 1963, spectacle eclipsed, like the rest, by the performance of the "Twist And Shout" of the Beatles.

Meanwhile, he will have put the audience in his pocket by playing "Watching the detectives", with guitar loops, accelerated, hyper-violent, chopped, syncopated then, intense emotion, "Alison" acoustic guitar without microphone I drank whey in the velvet panties of the little Jesus and I appreciated each syllable. Obviously he has to play it every night and have more than enough of this old song but let me believe, please, as each of the spectators present that night, Played only for me and that was his first and last time. I saw the Grail pass in front of me, I did not ask what it was for the sinful King of the Americas but I drank it in small sips and I am saved. Amen. I will not forget "I Want You at the piano", stripped, ode anti Lennon, anti ode itself, whose lyrics delight us and freeze. The world's most beautiful anti-love song? We applauded this bitter-sweet wonder swallowed by strangling.

"Mystery Dance" inaugurates the reminders with an Elvis who comes out of the stage and returns after each title jumping, twisting like never, throwing pink headgear, jackets of bad tastes threaded for the pleasure of swinging and impostor scepter in hand . Before his return, the TV broadcasts this little jewel Pierre Tcherniaesque and we are conquered. Elvis is King. He had told us so, from the beginning. He plays "Pump it up", over-inflated version, in the TV that turns out to be a scene with curtains and finishes on a little lie "since I wrote it, I say to myself every year that it is more and more More true "and sings the song of Nick Lowe" (What's so funny about) Peace Love & Understanding. This is how to conclude perfectly two and a half hours of non-stop show, putting on pearls (ah I forgot "Shipbuilding" on the piano solo) and (some) slag, closing the loop of the family and musical history of a great little fellow Pop, truculent and elusive, a terribly gifted rogue.Hat (pink) down Mr. Costello.

With the help of Johanna, who knows better than anyone that teachers never told you anything but whiiiiiiiite lies.

sulky lad
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby sulky lad » Sat Apr 01, 2017 5:24 am

[quoteI drank whey in the velvet panties of the little Jesus ][/quote]
I might just try this line on Mrs. Sulky when she comes back from Birmingham tomorrow ! :oops: :shock:
Obviously a reviewer who loves the sound of his own verbiage !

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verbal gymnastics
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Re: Elvis, Detour, Stockholm, Feb. 22nd 2017

Postby verbal gymnastics » Sat Apr 01, 2017 7:07 am

Sulky - I'd have thought you'd be more insulted by the translation of Elvis fans being "wrinkled and fat"! :lol:

And anyway, the translation you quote isn't as bad as some of the real life lyrics in Deep Dark Truthful Mirror :wink: :lol:
international laughing stock...


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