Elvis & The Imposters , Barcelona, Spain June 20 2018

Pretty self-explanatory
johnfoyle
Posts: 14288
Joined: Wed Jun 04, 2003 4:37 pm
Location: Dublin , Ireland

Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Thu Mar 22, 2018 8:53 am


johnfoyle
Posts: 14288
Joined: Wed Jun 04, 2003 4:37 pm
Location: Dublin , Ireland

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Sat Jun 09, 2018 4:32 am


johnfoyle
Posts: 14288
Joined: Wed Jun 04, 2003 4:37 pm
Location: Dublin , Ireland

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby johnfoyle » Thu Jun 14, 2018 5:59 pm

Who's going ?

Eugene
Posts: 134
Joined: Wed Aug 07, 2013 9:59 am

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby Eugene » Wed Jun 20, 2018 5:10 pm

Is the show over, or did it start at 12AM 21/06 to celebrate the Solstice? :D

bronxapostle
Posts: 3794
Joined: Wed Jul 12, 2006 2:27 pm

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby bronxapostle » Wed Jun 20, 2018 6:30 pm

johnfoyle wrote:Who's going ?


Thought you were touring the world??? When i retire, let's follow in USA firstly, then the world. :D

sweetest punch
Posts: 3443
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby sweetest punch » Wed Jun 20, 2018 11:28 pm

https://www.elperiodico.com/es/ocio-y-c ... es-6896620

Elvis Costello, la lección de un grande del pop

El músico británico ofreció un vivificante repaso a sus cuatro décadas de trayectoria en el Festival de Pedralbes, combinando registros rockeros y de 'crooner' intimista

Después de ocho años sin publicar un disco a su nombre (dejemos de lado la colaboración con los raperos The Roots), Elvis Costello ha dado estos días la sorpresa anunciando un álbum con canciones de estreno para otoño. Celebremos que haya recuperado las ganas de grabar pese a que, como lamentaba tiempo atrás, sus nuevas canciones estén destinadas al consumo gratuito, o casi, en la Red. Pero mientras llega el día de ese alumbramiento, es tiempo de agitar su panorámico repertorio en conciertos catedralicios como el que ofreció este miércoles en el Festival Jardins de Pedralbes.

Elvis Costello, en una versión todoterreno y de amplio espectro, arropado por The Imposters, banda heredera de The Attractions, y con el inusual plus de dos coristas femeninas que subrayaron perfiles soul en la misma canción de apertura, ‘Wonder woman’. El pianista de la grabación original, Allen Toussaint, nos dejó hace tres años, pero para cubrir no solo su vacío sino todos los planos sónicos estaba esa fiera llamada Steve Nieve. Completando la alineación, otro ex’attraction’, el batería Pete Thomas, y el bajista Davey Faragher (exCracker), base rítmica que propulsó el rock crudo de ‘Girls talk’, una canción que muchos conocieron allá por 1980 en la voz de Linda Ronstadt.

Rock’n’roll mestizo

A lo largo de más de 40 años de carrera, Costello se ha movido entre el pop británico y las esencias norteamericanas, y ha trabajado con cuartetos de cuerda, sopranos operísticas y maestros del ‘easy listening’. Pero hay un sonido que ha asumido como troncal y que es fruto de un airado mestizaje de rock’n’roll, fibras negras y el brillo melódico de un pop con antecedentes ‘power’, el menú que desplegó sobre todo en la primera parte del concierto de Pedralbes. Luciendo intuición melódica y mala uva, y citando el fondo soul de ‘Tears before bedtime’ con el balanceo jamaicano ‘(I don’t want to go to) Chelsea’ y ‘Watching the detectives’, esta tocada por efectos electrónicos de ciencia ficción.

Un Costello capaz de adoptar un modo ‘crooner’, valiéndose de un micrófono ‘vintage’, en ‘You shouldn’t look at me that way’, entre referencias a la actriz Gloria Grahame, y de combinar la encantadora ligereza ‘funky’ de ‘Everyday I write a book’, elevada por los coros y con guiños de ‘tumbao’ latino por parte de Nieve, con el pop arrollador de ‘Pump it up’. Mucho disfrute en las instrumentaciones, mil y un matices discretos siempre al servicio de las canciones, jugando con ellas.

Tras una hora de concierto, Costello dejó el escenario para regresar con otra tanda de canciones que no sabríamos si calificar de segunda parte de la noche o de largo bis. No importa: valiéndose de la guitarra y arropado por las coristas, viajó hasta ‘Alison’, y sentado a piano brindó una dramática pieza inedita, ‘A face in the crowd’. Nieve le relevó al teclado en ‘Shot with his own gun’ y una de las canciones del disco con Burt Bacharach, ‘I still have that other girl’.

Tándem de etiqueta y un microconcierto en sí mismo, trayendo a la memoria histórica noche de la pareja en el Tívoli (1999), dilatando la complicidad con un fogoso ‘Accidents will happen’ y la versión de ‘She’, de Charles Aznavour, camino de ese ‘Adieu Paris’, que compuso para Johnny Hallyday. Y la estremecedora, antibelicista, ‘Shilbuilding’. Otro Costello, de distancia corta y refinamiento melódico y vocal, crecido en el bis a través de un largo y tortuoso 'I want you' antes de que el rock’n’roll volviera a tomar cuerpo en Pedralbes con su célebre versión de ‘(What’s so funny ‘bout) Peace, love and understanding’, de Nick Lowe, rubricando una noche de altos vuelos.

——————————
Google translation:

Elvis Costello, the lesson of a pop major

The British musician offered a revival of his four decades of experience at the Festival de Pedralbes, combining rock and intimate 'crooner' records

After eight years without publishing an album in his name (let's leave aside the collaboration with rappers The Roots), Elvis Costello has given these days the surprise by announcing an album with songs premiere for autumn. Let's celebrate that he has recovered the desire to record despite, as he regretted long ago, his new songs are intended for free consumption, or almost on the Net. But as the day of that birth arrives, it's time to shake his panoramic repertoire in cathedral concerts like the one offered this Wednesday at the Jardins de Pedralbes Festival.

Elvis Costello, in an all-terrain and broad-spectrum version, wrapped by The Imposters, the heiress band of The Attractions, and with the unusual plus of two female choristers who highlighted soul profiles in the same opening song, 'Wonder woman'. The pianist of the original recording, Allen Toussaint, left us three years ago, but to cover not only his vacuum but all the sonic planes was that fierce named Steve Snow. Completing the lineup, another ex'attraction ', drummer Pete Thomas, and bassist Davey Faragher (exCracker), rhythmic base that propelled the raw rock of' Girls talk ', a song that many knew back in 1980 in the voice of Linda Ronstadt.

Rock'n'roll mestizo

Throughout more than 40 years of career, Costello has moved between British pop and American essences, and has worked with string quartets, operatic sopranos and easy listening masters. But there is a sound that has assumed as a backbone and that is the result of an angry mestizaje of rock'n'roll, black fibers and the melodic shine of a pop with a 'power' background, the menu that he displayed especially in the first part of concert of Pedralbes. Showing off melodic intuition and bad grape, and citing the soulful background of 'Tears before bedtime' with the Jamaican swing '(I do not want to go to) Chelsea' and 'Watching the detectives', is played by sci-fi electronic effects .

A Costello able to adopt a 'crooner' mode, using a 'vintage' microphone, in 'You should not look at me that way', between references to the actress Gloria Grahame, and to combine the charming 'funky' lightness of 'Everyday I write a book', elevated by the choruses and with winks of 'tumbao' Latin by Nieve, with the overwhelming pop of 'Pump it up'. Much enjoyment in the instrumentations, a thousand and one discreet shades always at the service of the songs, playing with them.

After an hour of concert, Costello left the stage to return with another round of songs that we would not know whether to qualify as the second part of the night or the long encore. It does not matter: using the guitar and wrapped up by the choristers, he traveled to 'Alison', and sitting at the piano he gave a dramatic piece, 'A face in the crowd'. Snow relieved the keyboard in 'Shot with his own gun' and one of the songs on the album with Burt Bacharach, 'I still have that other girl'.

Tandem etiquette and a microconcert in itself, bringing to the historical memory of the couple's night in the Tivoli (1999), delaying the complicity with a fiery 'Accidents will happen' and the version of 'She', by Charles Aznavour, way of that 'Adieu Paris', which he composed for Johnny Hallyday. And the shocking, anti-war, 'Shilbuilding'. Another Costello, short distance and melodic and vocal refinement, grown in the bis through a long and tortuous' I want you 'before the rock'n'roll returned to take shape in Pedralbes with his famous version of' ( What's so funny 'bout) Peace, love and understanding', by Nick Lowe, marking a night of high flying.

Image
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
Posts: 3443
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis & The Imposters , Barcelona, Spain June 20 2018

Postby sweetest punch » Wed Jun 20, 2018 11:41 pm

Elvis Costello repassa tota la seva trajectòria als Jardins de Pedralbes

El londinenc va actuar a Barcelona després de cinc anys sense visitar la ciutat

Considerat un dels grans músics pop de tots els temps i un heroi de la new-wave, Elvis Costello no ha tingut un idil·li especialment reeixit ni a les llistes d'èxit –mai ha tingut un senzill al número 1– ni amb el públic català en particular. Cinc anys després del seu últim concert a Barcelona, ahir tampoc van omplir-se els Jardins de Pedralbes, tot i l'anunciada mirada als seus quaranta anys de trajectòria, una carrera marcada pels tombs estilístics i una ànima marcadament negre on hi pot cabre quasi tot.

Amb un so que va anar guanyant en groove (l'inici va ser extremadament fluix), el londinenc va llençar un degoteig de peces icòniques des del primer acord de la musculosa 'Wonder Woman', rock & roll canònic extret del disc conjunt de Costello amb el desaparegut Allen Toussaint, l'any 2006. Era l'inici d'un concert on el músic s'abraçaria al seu passat més reconeixible de cançons que traslladaven als seus pics de popularitat i rebel·lia, aconseguits entre finals dels anys setanta i principis dels vuitanta. De 'King Horse' a l'aroma 2Tone de 'Watching the Detectives', del seu disc de debut, l'històric 'My aim is true'.

D'aquella època hi havia a l'escenari de Pedralbes un parell dels músics - Steve Nieve i Pete Thomas– del seu grup clàssic, els Attractions, ara batejats com a The Imposters i acompanyats de dues brillants i imponents coristes. Majestuositat pop, aproximacions a l'ska-revival i abraçades amoroses al northern soul en una primera part on la veu de Costello no va ser l'òptima, però que va obsequiar amb el seu repertori més seminal. Per si algú necessitava graus de nostàlgia, el de Londres va acabar la primera hora de concert tocant la immortal 'Pump it up'.

Ja als bisos, pràcticament tan llargs com el mateix concert, Elvis Costello va encarar una segona part més intima, posant-se el vestit de 'crooner' i baixant revolucions, i músics, a l'escenari. "Hi ha molta gent que em coneix com el tipus que canta 'She'" ha repetit més d'una ocasió el britànic. I aquesta versió de Charles Aznavour, popular a escala planetària per ser inclosa a la comèdia romàtica 'Notting Hill', va coincidir amb la millor actuació vocal de Costello. Mentre el públic anava desfilant a poc a poc del recinte, coincidint amb el tancament del transport públic, el londinenc va tancar el bloc més nuu amb 'Adieu Paris', dedicada a Johnny Hallyday.

Era el preludi del final, culminat amb 'I want you' i '(What's So Funny 'bout) Peace, Love and Understanding', provocant que la gent s'aixequés de la cadira per fer un últim ball abans de marxar esquivant paradetes dels múltiples patrocinadors del festival.

———————
Google translation:

Elvis Costello reviews all his career in the Pedralbes Gardens

The Londoner acted in Barcelona after five years without visiting the city

Considered one of the great pop musicians of all time and a hero of the new wave, Elvis Costello has not had an especially successful idyll or successful lists-he has had a simple number 1 or even Catalan public in particular. Five years after its last concert in Barcelona, ​​neither Jardines de Pedralbes was filled in yesterday, despite the announced look at its forty years of career, a career marked by stylistic tombs and a markedly black soul that can fit almost all.

With a sound that was gaining in groove (the start was extremely weak), the Londoner threw a trickle of iconic pieces from the first agreement of the muscular 'Wonder Woman', a canonical rock & roll from Costello's disks with the disappeared Allen Toussaint, in 2006. It was the beginning of a concert where the musician would embrace his most recognizable past of songs that moved to his peaks of popularity and rebellion, achieved between the late seventies and early eighties. From 'King Horse' to the aroma 2Tone of 'Watching the Detectives', from his debut album, the historic 'My aim is true'.

From that time on, Pedralbes had a couple of musicians - Steve Nieve and Pete Thomas - from their classical group, the Attractions, now christened The Imposters and accompanied by two brilliant and imposing coristas. Pop majesty, approaches to the ska-revival and love hugs in the northern soul in a first part where Costello's voice was not the best, but he flattered his most seminal repertoire. In case anyone needed degrees of nostalgia, that of London finished the first hour of concert playing the immortal 'Pump it up'.

Already at the gates, practically as long as the same concert, Elvis Costello faced a second more intimate part, putting on the crooner costume and lowering revolutions, and musicians on the stage. "There are many people who know me as the guy who sings 'She'" repeated more than once the British. And this version of Charles Aznavour, popular on a planetary scale to be included in the romantic comedy 'Notting Hill', coincided with Costello's best vocal performance. While the public was slowly parading down the grounds, coinciding with the closure of the public transport, the Londoner closed the busiest block with 'Farewell Paris', dedicated to Johnny Hallyday.

It was the prelude to the end, culminated with 'I want you' and 'What's So Funny' bout Peace, Love and Understanding ', causing people to get up from the chair to make a last ball before leaving dodging the multiple sponsors of the festival.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.


Return to “Elvis Costello General Discussion”

Who is online

Users browsing this forum: Majestic-12 [Bot] and 33 guests