Elvis in London, July 1996

[Otis Westinghouse]

My current ATUB listening phase (the last truly great EC album? discuss) reminded me of the wonderful 'Distorted Angel' segueing into 'Chelsea', played over the same backing track, which led me to the July 5 '96 bootleg 'The Empire Strikes Back'. At the end of it, presumably to a moaning fan, he says 'we've been playing these songs for 20 damn years, we've gotta have some fun with them'.

Now he never plays England, with the Imposters at least, but 13 years back he played the Shepherd's Bush Empire on four successive Saturdays (how cool was that? VG was at most/all of them, I believe), and followed the first and last of the four with a night at the Roundhouse. So 6 London shows in one month. It's very sad to contrast this with now and how he's abandoned us (apart from a handful of Brodsky dates).

On July 5 he played 'Passionate Fight', words by Steve, lyrics by Elv. Never released, other than by Ute Lemperer. Nice song, though.

I was at the July 27 Roundhouse gig. Great setlist. I especially remember 'Opportunity', 'Black Sails' and the above-mentioned segue.

Oh for another July like that one!

[blureu]

Are these shows available anywhere to d/l?

[InvisibleMan]

"the last truly great EC album? discuss" "no".

[Otis Westinghouse]

Haven't looked to see if Dime has any of them, but I'm happy to share the bootleg I have of the first date, which has a name, The Empire Strikes Back.

With the recent survey of 'best album of the last 10 years' survey freshly in mind, I would stick with the contention. My vote was for TDM, which contains some brilliant stuff, but as a whole doesn't come close. None of the others do for me. I admire much of it, I don't conform with Elvis's resentful view of his English fanbase that all they want are the hits from the 70s/early 80s, but for me this was the last album that was superb all over, in a way that KOA, IB, GH and TYM had been. I guess for me it's no. 5 in the all time list after those four.

The other thing about that month, I think I'm right in saying, is that he also marked each week by releasing a different single. WIll look this up, but can anyone confirm and also tell us what they were? Does anyone have all four?

[blureu]

"I'm happy to share the bootleg I have of the first date, which has a name, The Empire Strikes Back. "

That would be great!

[invisible Pole]

My current ATUB listening phase (the last truly great EC album? discuss)

Absolutely agree. There could be individual gems on every album Elvis has released since then, but as a whole All This Useless Beauty was, as you say, the last truly great EC album.

I was at the July 12 show at Shepherd's Bush and I loved it. Elvis & Attractions in top form + perfect sound and great setlist.
I remember hearing Unwanted Number for the first time and thinking how brilliant it was.

I have all four singles released in July, one of them autographed by Elvis and Steve after the show !
I will try to post a picture when I'm back from work.

[Mikeh]

I seem to remember he appered with Steve on Richard & Judy's short-lived evening chat show singing All This Useless Beauty.

The four singles released in July 96 all contained one of the strangest EC songs Almost Ideal Eyes, a song I love but don't know why!

[InvisibleMan]

My current ATUB listening phase (the last truly great EC album? discuss)

Absolutely agree. There could be individual gems on every album Elvis has released since then, but as a whole All This Useless Beauty was, as you say, the last truly great EC album.

i absolutely disagree. not-so-unequivocally-good songs and performances (the attractions in a tired and senile version) plus not-so-good production (that mess of useless effects in the "middle eight" of you bowed down) don't make an immortal album. there are too many sappy and whining songs in there - although each song has a very distinctive personality and melody, which, maybe, at least makes it "the last ec album in which each song has a very distinctive personality".
the one i prefer: shallow grave, sinister and with a sudden, brusque and brief refrain. he was in the middle of a creative and personal crisis, and i think it is palpable, and not in a positive way. i think that is a bland and self-doubtful album, that almost "wants to vanish". surely not one that intends to remain.

[Ypsilanti]

...not-so-unequivocally-good songs and performances... don't make an immortal album. there are too many sappy and whining songs in there...he was in the middle of a creative and personal crisis, and i think it is palpable, and not in a positive way. i think that is a bland and self-doubtful album.

When I read what you said above about ATUB, it struck me...that's exactly why I'm not so crazy about "Trust". All that "airing the dirty laundry" about the failing marriage and the mistress and the self-loathing--it's too overt. I find it distracting.

...although each song has a very distinctive personality and melody, which, maybe, at least makes it "the last ec album in which each song has a very distinctive personality".

I would argue that the songs on "Momofuku" all have distinct personalities--perhaps even a tiny bit too distinct, but I love it nonetheless.

I know: Everyone loves "Trust" and thinks "Momo" is a piece of crap. I can see from reading this board that my opinions about EC's music vary pretty sharply from the norm. I mean no harm--don't want to ruffle any feathers. In my defense I'd say that I'm coming to this music in a very different way from most of you (which is to say, late). But, I've really immersed myself in it and I've been listening to it very thoughtfully and carefully. I can't really explain why I've drawn such different conclusions.

[DeathWearsABigHat]

I went to 3 of the 4 shows. The 1st one I didn't particularly enjoy because I'd broken up with my girlfriend earlier that day and was feeling very sorry for myself. But the other 2 shows were probably the best EC & A shows I've ever seen. (seen em around 30 times).
I'd be very interested in getting recordings of any of them.

[InvisibleMan]

...not-so-unequivocally-good songs and performances... don't make an immortal album. there are too many sappy and whining songs in there...he was in the middle of a creative and personal crisis, and i think it is palpable, and not in a positive way. i think that is a bland and self-doubtful album.

When I read what you said above about ATUB, it struck me...that's exactly why I'm not so crazy about "Trust". All that "airing the dirty laundry" about the failing marriage and the mistress and the self-loathing--it's too overt. I find it distracting.

the difference is tha trust is not "bland" or "sappy", i suppose...

anyway, i was more referring to the effect that the personal (and creative) crisis had on the musical material, more than on the lyrical content. it reminds me of goodbye cruel world, and the bad music in it, and the ec statement about it: "in the worst period of my life, i've made the worst record of my career". atub is far better, of course.

...although each song has a very distinctive personality and melody, which, maybe, at least makes it "the last ec album in which each song has a very distinctive personality".

I would argue that the songs on "Momofuku" all have distinct personalities--perhaps even a tiny bit too distinct, but I love it nonetheless.

i don't think so. it's not an "indistinct soup", but it's really rather omogeneous. it's not bad, anyway. on the other hand, you reminded me that "the delivery man" may be one that fits the definition that i gave to atub, in my opinion.

I know: Everyone loves "Trust" and thinks "Momo" is a piece of crap. I can see from reading this board that my opinions about EC's music vary pretty sharply from the norm. I mean no harm--don't want to ruffle any feathers. In my defense I'd say that I'm coming to this music in a very different way from most of you (which is to say, late). But, I've really immersed myself in it and I've been listening to it very thoughtfully and carefully. I can't really explain why I've drawn such different conclusions.

"the mystery of human differences".

personally, i've started from mighty like a rose and spike. then tym, af, juliet letters and brutal youth.

[invisible Pole]

My current ATUB listening phase (the last truly great EC album? discuss)

Absolutely agree. There could be individual gems on every album Elvis has released since then, but as a whole All This Useless Beauty was, as you say, the last truly great EC album.

i absolutely disagree. not-so-unequivocally-good songs and performances (the attractions in a tired and senile version) plus not-so-good production (that mess of useless effects in the "middle eight" of you bowed down) don't make an immortal album. there are too many sappy and whining songs in there - although each song has a very distinctive personality and melody, which, maybe, at least makes it "the last ec album in which each song has a very distinctive personality".

Well, I may be the Mayor of Simpleton, but melody is what I exactly miss in EC albums from 00's.
Instead of writing/collecting an album's worth of great tunes (and this is what - for me at least - he did in case of All This Useless Beauty) he now prefers to write unhummable rootsy-bluesy-southerny Americana. (admittedly, with brilliant exceptions like Episode of Blonde, My Little Blue Window, Still or Red Cotton).
To each his own, but ATUB is surely one of my top 6 or 7 favourite EC albums.

[sulky lad]

I saw all the London shows that summer, winning a competition for the last Roundhouse gig in a Mean Fiddler quiz and selling my ticket at the door for £10 so I could buy a Lost Dog tee shirt (and it still fits - good job I bought XXL )

I'd be very interested in getting recordings of any of them.

I recorded all the shows and the Liverpool gig at the same time,pm me if you want copies - I hung around in Liverpool getting all the autographs except Bruce (whom I've never met) and he failed to turn up -maybe a sign of things to come. I loved the way Elvis introduced new songs at the start of some of these, playing with Steve or solo but as always the playing of The Attractions seemed sublime. I didn't think the Roundhouse shows quite matched the Shepherd's Bush ones but couldn't put my finger on why apart from the booming acoustics, a down market sonic effect a la Albert Hall. At the Roundhouse, I noticed Elvis putting a capo on his guitar to play Veronica (in Eb) and I shouted out "Veronica" and he smirked and said, this guy must be telepathic ! I nearly died of shame for getting so carried away. I must dig out my recording and check this out !

[InvisibleMan]

Well, I may be the Mayor of Simpleton, but melody is what I exactly miss in EC albums from 00's.
Instead of writing/collecting an album's worth of great tunes (and this is what - for me at least - he did in case of All This Useless Beauty) he now prefers to write unhummable rootsy-bluesy-southerny Americana. (admittedly, with brilliant exceptions like Episode of Blonde, My Little Blue Window, Still or Red Cotton).
To each his own, but ATUB is surely one of my top 6 or 7 favourite EC albums.

i didn't say anything against melody or "albums in which each song has a distinctive personality", as far as i know...

[cwr]

I always think of ATUB as a lost opportunity for Elvis-- it could've been a great album, but he made a few poor choices that weakened the whole album.

1) The exclusion of "Almost Ideal Eyes." The album would've been much, much better with this song on it-- a great, ambitious number with great playing by The Attractions. Imagine if he'd left "Beyond Belief" off of Imperial Bedroom. It would've given the album a good change of pace in the middle of a few of those ballads.

2) The exclusion of "God Give Me Strength." I know, he was saving it for his record with Burt, but it should have been the heart of ATUB. (Again, imagine if he'd left "Almost Blue" off of IB.) It's like he's hobbling this record by starving it of several of its best songs. The version of GGMS that the Attractions were playing at the Beacon shows before they made the album was near-perfect, and it would have elevated this album to classic status almost all by itself. Costello claims that no good version of this has come to light from the ATUB sessions, but I've heard one outtake of it and the only problem with it was that he flubbed a line in the middle-- whatever his reasons for not including it, the failure to record a decent version of it simply isn't one of them....

3) The version of "Poor Fractured Atlas" lacks the exciting finale that he premiered at the Beacon (and which was recorded at the ATUB sessions.) The final minute featured the band kicking into gear, elevating the song emotionally in its final moments. As it is, it starts and then sort of peters out, which is a shame. It's a good song, but I rarely think of it because it all plays out on one level.

If he'd included those two major songs, and a better, more interesting take of PFA, I think it would've shifted the whole feel of the album. It sort of reminds me of what Dylan did with Infidels, leaving off "Blind Willie McTell." I think it's even worse, though-- ATUB features good songs and strong performances, but it's really just lacking a few things to elevate it to that next level. Sometimes a major song or two just make an album work better-- again, imagine cutting the two best songs from This Year's Model or Armed Forces or King Of America or Imperial Bedroom-- how little it takes to diminish them from "great" to just "very good."

I still like it, but I can never eliminate the feeling of "what might have been"...

[invisible Pole]

Here is a pic of my July 96 Shepherd's Bush ticket and the cover of the first of July singles (with EC and Steve autographs).

[taramasalata]

I can see from reading this board that my opinions about EC's music vary pretty sharply from the norm. ... I can't really explain why I've drawn such different conclusions.

There's nothing with your choices and opinions, Ypsilanti, I agree with your wondering about the newly found praise for ATUB (which is a good record and maybe one of the easiest to listen to by Elvis but surely not one of his greatest, otherwise he himself would refer to the songs every now and then while performing live, but he hardly picks out just one of them...), but it seems that every record of him that has aged for at least a decade, gets an upgrade while the actual ones people dont' seem to catch...
I mean, he releases a raw, rowdy record like MOMOFUKU and people start labelling it as "too calculated" or "missing distinctive songs", I can't see what's missing in distinction in wonderful songs like "Song with Rose", "Turpentine" or "Flutter and wow". And the same with SPS, whatever you dig bluegrass or not, how can some of us in this forum can claim, that they didnt't listen to songs like "I felt the chill", "Hidden shame", "How deep is the red" or "Red cotton" more than three times? If even some of us don't see the marvel of his songwriting still nowadays, how could you blame the rest of the Coldplay/U2/-listeners?
Sometimes it seems that some of the old self-loathing of the master has been handed over to his dedicated followers.

[ulfg]

I have, somewhere, a BBC FM broadcast of Elvis and the Attractions at the Roundhouse 1996-07-06. I know it has the Distorted Angel / Chelsea combination. I can try to find the CDR and post it on Dime.