from Costello-l listserv -
London was great. Fairly similar setlist plus Brodsky Quartet section
including My Mood Swings and a (new) arrangement of Almost Blue.
Spotted EC's father and son, Chris Difford and, honestly, Clint
Eastwood!
Peter
London show
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Jesus, he's beaten me to it! Did Peter send that on the way out of the building? I thought that was Clint Eastwood - fuck me, I've been in the space as Clint! He appeared with a glow of fame and glory about him just before Costello took to the stage. Heads were turning. He was with a gorgeous money-preened raven-haired beauty, and they were meeting another couple at their seats. Where were dad and son? (I guess Peter doesn't come here, but did anyone else spot them?) There was a guy just near me at the end of a row who was old enough, and talking to a young guy who was in front of not next to him. And just across from him (this is the right hand aisle of the centre stalls) were Jo Brand and Mark Lamarr, who's pre-gig conversation I was almost privy to. I didn't spot Gilli or SLL.
This gig was totally fabulous. I would love to hear how it would compare to others on the tour, but for me it was one of the most satisfying nights with Elvis I've had (only 6 of them, I'm afraid). I think the Brodskies really made it special. There was no surprise when they came out, of course, as you could see the mikes and cello chair, but it made for a stunning, extended second encore.
I could write for an hour about details from this gig, but my key observations are, very briefly observed compared to the expansive treatment they deserve:
- Elvis's voice was quite magnificent. I guess you can just appreciate it properly in this context, but despite the odd bum note, and fluffing lines at both the start of Fallen and another North track (probably not coincidentally at the same point when thick arseholes who'd turned up late were being shown to their seats up the front, seats they didn't deserve), it was spot on throughout. And, as someone else mentioned, he showed real mastery in coming away from the mic, singing North songs that bit further back from the mic, doing the stunning singing entirely off mic which I hadn't seen before, but which is truly spine-tingling, and singing Pills and Soap (yes!) with the hand-held mic almost inside his mouth. A real pro with a mic, our Elv!
- Steve was brilliant. So many fantastic moments, and so entertaining to watch, especially that 'getting a nasty electric shock from the ivories' effect, and getting all intense with his melodica, crerating lovely vibrato with it.
- The subdued tasteful lighting, and generally dark clothing (Elv in classy charcoal suit, black shirt, dark tie, and stylish shiny black shoes) gave it all a nicely sombre stage feel.
- Elv was genuinely grateful at the appreciation shown to the North songs, parting with 'don't believe everything you read in the papers' (a dig, I presume, at the general small-mindedness of the English press's reaction to North). The love and adoration surging at him from the audience as he got fewer but far more genuinely deserved standing ovations than Ian Duncan Smith was stunning. It must be amazing to stand there and receive that for all your genius and hard work.
- North songs work beautifully in this context, you can just follow the structure and the words of each so well, they emerge fully-formed in all their crystalline beauty, surpassing the recordings for emotional involvement due to the live dynamic, and when you've got the Brodskies doing their bit on Still, well life doesn't get much better.
- Correction, yes it does, he played Sleep of the Just. Oh my God. And Man Out Of Time was just perfect. There's something about the clarity and minimalism of this setting that makes the words and tunes emerge so strongly.
- He veered perfectly between the serious, intense artist, or rather artiste, and the beloved Entertainer. Audience participation galore (on God's Comic, You Really Got A Hold On Me, and especially, the 'doo doo doos' to the closing tune of Couldn't Call It... ('now everyone on the balcony!'). But there was still plenty of angry Elvis, with the bite of Pills and Soap and Shipbuilding coming out, and a great quip in the extended speakover at the end of God's Comic about watching two politicians arguing on TV, 'and one of them's right wing, and the other one is also right wing!' - modern British politics perfectly summarised.
- Let's hear it for the man and woman who started leaping around energetically during P, L & U, with a Royal Festival Hall official lamely trying to indicate that one doesn't really do this thing in such august surroundings and their seats awaited them, with Elvis then coming and smiling down benignly and directing a comment about the need for peace and love for the children at the woman at the end.
This was a great evening that reaffirmed everything I have always loved about Elvis. We waited for UK gigs to be announced and got anxious as he toured the US again, but how he has repaid us. I hope he does more of these shows in the US now. Don't miss it. It seems weird to me that he was touring with the Imposters after recording North, without even having a piano and voice section for some of the songs. He must have been dying to air them.
This gig was totally fabulous. I would love to hear how it would compare to others on the tour, but for me it was one of the most satisfying nights with Elvis I've had (only 6 of them, I'm afraid). I think the Brodskies really made it special. There was no surprise when they came out, of course, as you could see the mikes and cello chair, but it made for a stunning, extended second encore.
I could write for an hour about details from this gig, but my key observations are, very briefly observed compared to the expansive treatment they deserve:
- Elvis's voice was quite magnificent. I guess you can just appreciate it properly in this context, but despite the odd bum note, and fluffing lines at both the start of Fallen and another North track (probably not coincidentally at the same point when thick arseholes who'd turned up late were being shown to their seats up the front, seats they didn't deserve), it was spot on throughout. And, as someone else mentioned, he showed real mastery in coming away from the mic, singing North songs that bit further back from the mic, doing the stunning singing entirely off mic which I hadn't seen before, but which is truly spine-tingling, and singing Pills and Soap (yes!) with the hand-held mic almost inside his mouth. A real pro with a mic, our Elv!
- Steve was brilliant. So many fantastic moments, and so entertaining to watch, especially that 'getting a nasty electric shock from the ivories' effect, and getting all intense with his melodica, crerating lovely vibrato with it.
- The subdued tasteful lighting, and generally dark clothing (Elv in classy charcoal suit, black shirt, dark tie, and stylish shiny black shoes) gave it all a nicely sombre stage feel.
- Elv was genuinely grateful at the appreciation shown to the North songs, parting with 'don't believe everything you read in the papers' (a dig, I presume, at the general small-mindedness of the English press's reaction to North). The love and adoration surging at him from the audience as he got fewer but far more genuinely deserved standing ovations than Ian Duncan Smith was stunning. It must be amazing to stand there and receive that for all your genius and hard work.
- North songs work beautifully in this context, you can just follow the structure and the words of each so well, they emerge fully-formed in all their crystalline beauty, surpassing the recordings for emotional involvement due to the live dynamic, and when you've got the Brodskies doing their bit on Still, well life doesn't get much better.
- Correction, yes it does, he played Sleep of the Just. Oh my God. And Man Out Of Time was just perfect. There's something about the clarity and minimalism of this setting that makes the words and tunes emerge so strongly.
- He veered perfectly between the serious, intense artist, or rather artiste, and the beloved Entertainer. Audience participation galore (on God's Comic, You Really Got A Hold On Me, and especially, the 'doo doo doos' to the closing tune of Couldn't Call It... ('now everyone on the balcony!'). But there was still plenty of angry Elvis, with the bite of Pills and Soap and Shipbuilding coming out, and a great quip in the extended speakover at the end of God's Comic about watching two politicians arguing on TV, 'and one of them's right wing, and the other one is also right wing!' - modern British politics perfectly summarised.
- Let's hear it for the man and woman who started leaping around energetically during P, L & U, with a Royal Festival Hall official lamely trying to indicate that one doesn't really do this thing in such august surroundings and their seats awaited them, with Elvis then coming and smiling down benignly and directing a comment about the need for peace and love for the children at the woman at the end.
This was a great evening that reaffirmed everything I have always loved about Elvis. We waited for UK gigs to be announced and got anxious as he toured the US again, but how he has repaid us. I hope he does more of these shows in the US now. Don't miss it. It seems weird to me that he was touring with the Imposters after recording North, without even having a piano and voice section for some of the songs. He must have been dying to air them.
Last edited by Otis Westinghouse on Sat Oct 11, 2003 8:08 pm, edited 1 time in total.
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
I wasn't writing it down (though someone near me was!), but this is what I reconstructed after, which wasn't too hard as it was similar to Manchester (and it's copied from that thread, with apologies to Plaything for plagiarism), with some order changes due to the Brodskies.
1) Accidents Will Happen
2) 45*
3) Rocking Horse Road*
4) Shot With His Own Gun (no guitar, brilliant)
5) Someone Took The Words Away
6) When Did I Stop Dreaming?
7) You Turned To Me
8 ) Fallen
9) When It Sings
10) God's Comic (with the extended joking about a female God on a fur-trimmed waterbed full of tropical fish)
11) Indoor Fireworks
12) Either Side of The Same Town (who is Gerry MacAvoy and how old is this impressive song?)
13) Man Out Of Time (awesome)
14) In The Darkest Place
Encore 1
15) Deep Dark Truthful Mirror -> You Really Got A Hold On Me -> DDTM
16) PL+U* (bring out the dancers)
17) Shipbuilding
18 ) Sleep of The Just (stunning)
Encore 2 - bring on the Brodskies
19) Pills and Soap (see below)
20) My Mood Swings
21) You Left Me In The Dark
22) Still (as on the record, but better, boy was it good to hear the Brodskies so fulsomely live)
23) Can You Be True?
24) The Birds WIll Still Be Singing
25) Almost Blue (yes, a brilliant new arrangement, with Elvis walking round to the piano at the end as Steve did his lovely melodica business)
Encore 3 - Elvis left alone at the piano...
26) I Still Miss Someone** (Is this his? Where's it from? Short and lovely)
27) Let Me Tell You About Her**
28 ) I'm In The Mood Again**
29) I Still Have That Other Girl (no mic, Steve back on piano)
30) Couldn't Call It Unexpected No. 4 (ditto, audience on 'doo, doo, doo')
* Included Steve playing his thingy
** Just EC on piano
Pills and Soap as per the brilliant Case For Song arrangement. New couplet to replace:
'Some folk get all the luck
And all we get are pictures of Lord and Lady Muck'
along the lines of
'Some folk get all the might
Mumble Bombay mumble Germany mumble mumble spite'
Did anyone else spot this? Is it a documented change? Did he really mention Bombay and Germany? Can Peter clarify?
So, no Little Triggers, no Brilliant Mistake, but what the hell, this was fabulous.
1) Accidents Will Happen
2) 45*
3) Rocking Horse Road*
4) Shot With His Own Gun (no guitar, brilliant)
5) Someone Took The Words Away
6) When Did I Stop Dreaming?
7) You Turned To Me
8 ) Fallen
9) When It Sings
10) God's Comic (with the extended joking about a female God on a fur-trimmed waterbed full of tropical fish)
11) Indoor Fireworks
12) Either Side of The Same Town (who is Gerry MacAvoy and how old is this impressive song?)
13) Man Out Of Time (awesome)
14) In The Darkest Place
Encore 1
15) Deep Dark Truthful Mirror -> You Really Got A Hold On Me -> DDTM
16) PL+U* (bring out the dancers)
17) Shipbuilding
18 ) Sleep of The Just (stunning)
Encore 2 - bring on the Brodskies
19) Pills and Soap (see below)
20) My Mood Swings
21) You Left Me In The Dark
22) Still (as on the record, but better, boy was it good to hear the Brodskies so fulsomely live)
23) Can You Be True?
24) The Birds WIll Still Be Singing
25) Almost Blue (yes, a brilliant new arrangement, with Elvis walking round to the piano at the end as Steve did his lovely melodica business)
Encore 3 - Elvis left alone at the piano...
26) I Still Miss Someone** (Is this his? Where's it from? Short and lovely)
27) Let Me Tell You About Her**
28 ) I'm In The Mood Again**
29) I Still Have That Other Girl (no mic, Steve back on piano)
30) Couldn't Call It Unexpected No. 4 (ditto, audience on 'doo, doo, doo')
* Included Steve playing his thingy
** Just EC on piano
Pills and Soap as per the brilliant Case For Song arrangement. New couplet to replace:
'Some folk get all the luck
And all we get are pictures of Lord and Lady Muck'
along the lines of
'Some folk get all the might
Mumble Bombay mumble Germany mumble mumble spite'
Did anyone else spot this? Is it a documented change? Did he really mention Bombay and Germany? Can Peter clarify?
So, no Little Triggers, no Brilliant Mistake, but what the hell, this was fabulous.
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
And the Eliza Carthy as support, or guest at least, came from the ticket, but there was certainly no other EC on the stage. The Brodskies were a much better choice...
And it was bullshit that this was part of the 'Mind Your Head' sacred music series, they did nothing to reflect this, it was just another date in their tour, which makes the inclusion in the series a bit of a con. The Guardian Guide today made some unbelievably puerile sarcastic comment about them having to get in a serious songwriter for the season, along the lines of 'so they ran to Elvis Costello, God help us'. Such bullshit.
And it was bullshit that this was part of the 'Mind Your Head' sacred music series, they did nothing to reflect this, it was just another date in their tour, which makes the inclusion in the series a bit of a con. The Guardian Guide today made some unbelievably puerile sarcastic comment about them having to get in a serious songwriter for the season, along the lines of 'so they ran to Elvis Costello, God help us'. Such bullshit.
Nick Ratcliffe writes -
Well, do you punk ? (long with set list spoiler)
To: COSTELLO-L@LISTSERV.AOL.COM
A short(ish) review of EC, SN and the Brodsky Quartet at the Royal
Festival Hall, London on 11 October 2003.
Attempts at arranging a rendezvous with listers met with modest success.
So I set out for the concert, wearing my green shirt, passing the Hoover
Factory en route but choosing not to go across Hungerford Bridge
(especially at twilight), preferring Westminster Bridge instead.
I had established that Peter Gale would be at the concert, that he would
be in the downstairs bar and that he wore glasses (thanks Maria). Draw
your own conclusions, but after a few minutes scrutiny of the crowded
bar, the first person I asked did indeed turn out to be Peter. I think
it was the blue denim McCartney tour jacket which gave him away. No
matter.
The concert ran about 2 hours ten minutes and the set list was as follows:
1 Accidents Will Happen
2 45
3 Rocking Horse Road
4 Shot With His Own Gun
5 Someone Took The Words Away
6 When Did I Stop Dreaming?
7 You Turned To Me
8 Fallen
9 When it sings
10 God's Comic
11 Indoor Fireworks
12 Either Side Of The Same Town
13 Man Out Of Time
14 In The Darkest Place
Encore 1
15 Deep Dark Truthful Mirror/You Really Got A Hold On Me
16 (What's So Funny 'Bout) Peace, Love And Understanding?
17 Shipbuilding
18 Sleep Of The Just
Encore 2 with the Brodsky Quartet
19 Pills and Soap
20 My mood swings
21 You left me in the dark (with SN and the BQ)
22 Still
23 Can You Be True?
24 The birds will still be singing
Encore 3 (with the BQ and SN)
25 Almost Blue
26 I Still Miss Someone (EC accompanying himself on piano)
27 Let me tell you about her (EC solo)
28 I'm In The Mood Again (EC solo)
Encore 4 (EC and SN)
29 I still have that other girl (no mic)
30 Couldn't call it unexpected #4 (no mic)
EC wore a dark brown suit with a reddish brown tie. He played an
acoustic guitar and drank three or four mugs of a steaming hot drink
(possibly honey and lemon). Elvis's voice is suffering a little already
from the rigours of the tour. The off mike stuff can't be helping. You
can tell when his voice is suffering (particularly on some of the North
songs) when he goes big on audience singalongs like Gods' Comic and the
"Do do do" bits at the end of CCIU #4. Personally, I could have done
without God's comic, even if the "narrative" section has been updated to
include references to Sex in the City and Pop Idol. Interesting comment
within the narrative on right wing politicians. Oh, and God is now
female. Pills and Soap also had some new lyrics, with a reference to
Bombay Gin and German spite. Has anyone else picked this up ?
The Brodsky Quartet made a welcome "surprise" entrance for the second
round of encores. It would have been more of a surprise if their music
stands (and the cellist's stool) had not been on stage from the very
start. Their version of "my mood swings" worked very well. They also
performed this for the "sold on song" recording, and I hope this forms
part of next Saturday's BBC Radio 2 broadcast. Their version of
"Almost Blue" worked less well - as soon as the strings came in, the piano
stopped and vice versa. It seems that EC has been relistening to the
album "Almost Blue" judging by recent set lists.
For the third set of encores EC accompanied himself on the grand piano,
and did so pretty well. His style is less complicated that Steve's, but
certainly more accomplished than you might guess from watching the
North DVD. Two fingered it ain't.
The new material was generally well received. The songs featuring the
Brodsky Quartet were particularly applauded. Maestro Steve Naive was on
good form, albeit working from sheet music for some numbers. As wellas
the concert grand piano, he played a small wind instrument, with a short
piano style keyboard, which produced a sound not unlike an accordian.
No idea what is is called - any offers ?
Finally - celebrity spotting. In alphabetical order - Chris Difford,
Clint Eastwood, Ross MacManus. Ross was sporting a bottle green v neck
sweater with the words "London Irish RFC" on it. The only other person
I know who supports London Irish is one Terry Wogan. Hmmm. Ross was
with Elvis's son Matthew, who looks a lot like his dad (without glasses)
and even sports his own sideburns.
If you'd asked me to pick an A list Hollywood celebrity to turn up
unexpected at an Elvis concert in London, the former mayor of Carmel
would not have been my first choice. Clint made a late appearance in
the stalls with several "minders", and had an OK seat (behind mine and
Pete's), but I'm guessing he would have liked more leg room. He sat
throughout the concert and stayed behind for about an hour to chat to
Elvis. He and Elvis left the theatre more or less together. The
"paparazzi" outside, focused on Clint in preference to Elvis. There
wasno sign of Diana Krall.
Note to any Italian listers - expect to see the Brodsky Quartet on the
forthcoming Italian dates (based on a conversation with one of the
quartet in the car park after the show).
Note to European Listers generally - lost of merchandising coming your
way - T shirts with four or five different designs and mugs with the
North flower logo on them (white or black). No posters though.
Roll on Birmingham next month.
Nick
PS Thanks to David Palmer for confirming "I still miss someone" as a
Johnny Cash song.
Well, do you punk ? (long with set list spoiler)
To: COSTELLO-L@LISTSERV.AOL.COM
A short(ish) review of EC, SN and the Brodsky Quartet at the Royal
Festival Hall, London on 11 October 2003.
Attempts at arranging a rendezvous with listers met with modest success.
So I set out for the concert, wearing my green shirt, passing the Hoover
Factory en route but choosing not to go across Hungerford Bridge
(especially at twilight), preferring Westminster Bridge instead.
I had established that Peter Gale would be at the concert, that he would
be in the downstairs bar and that he wore glasses (thanks Maria). Draw
your own conclusions, but after a few minutes scrutiny of the crowded
bar, the first person I asked did indeed turn out to be Peter. I think
it was the blue denim McCartney tour jacket which gave him away. No
matter.
The concert ran about 2 hours ten minutes and the set list was as follows:
1 Accidents Will Happen
2 45
3 Rocking Horse Road
4 Shot With His Own Gun
5 Someone Took The Words Away
6 When Did I Stop Dreaming?
7 You Turned To Me
8 Fallen
9 When it sings
10 God's Comic
11 Indoor Fireworks
12 Either Side Of The Same Town
13 Man Out Of Time
14 In The Darkest Place
Encore 1
15 Deep Dark Truthful Mirror/You Really Got A Hold On Me
16 (What's So Funny 'Bout) Peace, Love And Understanding?
17 Shipbuilding
18 Sleep Of The Just
Encore 2 with the Brodsky Quartet
19 Pills and Soap
20 My mood swings
21 You left me in the dark (with SN and the BQ)
22 Still
23 Can You Be True?
24 The birds will still be singing
Encore 3 (with the BQ and SN)
25 Almost Blue
26 I Still Miss Someone (EC accompanying himself on piano)
27 Let me tell you about her (EC solo)
28 I'm In The Mood Again (EC solo)
Encore 4 (EC and SN)
29 I still have that other girl (no mic)
30 Couldn't call it unexpected #4 (no mic)
EC wore a dark brown suit with a reddish brown tie. He played an
acoustic guitar and drank three or four mugs of a steaming hot drink
(possibly honey and lemon). Elvis's voice is suffering a little already
from the rigours of the tour. The off mike stuff can't be helping. You
can tell when his voice is suffering (particularly on some of the North
songs) when he goes big on audience singalongs like Gods' Comic and the
"Do do do" bits at the end of CCIU #4. Personally, I could have done
without God's comic, even if the "narrative" section has been updated to
include references to Sex in the City and Pop Idol. Interesting comment
within the narrative on right wing politicians. Oh, and God is now
female. Pills and Soap also had some new lyrics, with a reference to
Bombay Gin and German spite. Has anyone else picked this up ?
The Brodsky Quartet made a welcome "surprise" entrance for the second
round of encores. It would have been more of a surprise if their music
stands (and the cellist's stool) had not been on stage from the very
start. Their version of "my mood swings" worked very well. They also
performed this for the "sold on song" recording, and I hope this forms
part of next Saturday's BBC Radio 2 broadcast. Their version of
"Almost Blue" worked less well - as soon as the strings came in, the piano
stopped and vice versa. It seems that EC has been relistening to the
album "Almost Blue" judging by recent set lists.
For the third set of encores EC accompanied himself on the grand piano,
and did so pretty well. His style is less complicated that Steve's, but
certainly more accomplished than you might guess from watching the
North DVD. Two fingered it ain't.
The new material was generally well received. The songs featuring the
Brodsky Quartet were particularly applauded. Maestro Steve Naive was on
good form, albeit working from sheet music for some numbers. As wellas
the concert grand piano, he played a small wind instrument, with a short
piano style keyboard, which produced a sound not unlike an accordian.
No idea what is is called - any offers ?
Finally - celebrity spotting. In alphabetical order - Chris Difford,
Clint Eastwood, Ross MacManus. Ross was sporting a bottle green v neck
sweater with the words "London Irish RFC" on it. The only other person
I know who supports London Irish is one Terry Wogan. Hmmm. Ross was
with Elvis's son Matthew, who looks a lot like his dad (without glasses)
and even sports his own sideburns.
If you'd asked me to pick an A list Hollywood celebrity to turn up
unexpected at an Elvis concert in London, the former mayor of Carmel
would not have been my first choice. Clint made a late appearance in
the stalls with several "minders", and had an OK seat (behind mine and
Pete's), but I'm guessing he would have liked more leg room. He sat
throughout the concert and stayed behind for about an hour to chat to
Elvis. He and Elvis left the theatre more or less together. The
"paparazzi" outside, focused on Clint in preference to Elvis. There
wasno sign of Diana Krall.
Note to any Italian listers - expect to see the Brodsky Quartet on the
forthcoming Italian dates (based on a conversation with one of the
quartet in the car park after the show).
Note to European Listers generally - lost of merchandising coming your
way - T shirts with four or five different designs and mugs with the
North flower logo on them (white or black). No posters though.
Roll on Birmingham next month.
Nick
PS Thanks to David Palmer for confirming "I still miss someone" as a
Johnny Cash song.
Otis writes-
Pills and Soap as per the brilliant Case For Song arrangement. New couplet to replace:
'Some folk get all the luck
And all we get are pictures of Lord and Lady Muck'
along the lines of
'Some folk get all the might
Mumble Bombay mumble Germany mumble mumble spite'
Did anyone else spot this? Is it a documented change? Did he really mention Bombay and Germany? Can Peter clarify?
In a review of a Elvis `n Brodsky`s Radio 3 appearance in Jan.`02
http://www.elviscostello.info/concert/0 ... 0124q.html I wrote the following -
Pills And Soap came up next. It seemed like a brand
new song. Besides a perfectly pitched vocal line the
use of stringed instruments as opposed to the
electronic elements of the recorded version seemed to
give a greater humanity to the songs stark message.
The song also featured some mysterious new lyrics. The
original version's second verse includes the lines
Some folk have all the luck
And all we get are pictures of lord and lady muck
They come from lovely people with a hard line in hypocrisy
There are ashtrays of emotion
For the fag ends of the aristocracy
This version went
Some folks have all the might
And majesty will run on Bombay Gin and German spite
They come from lovely people with a hardline in hypocrisy
There are tears of mediocrity
For the fag ends of the aristocrisy
. - so it's a good old
dig at the Empire, the reported heavy drinking habits
of certain royal family members (one of whom has
recently shuffled off this mortal coil and another of
whom is surely just about to) and, of course, the true
origins of the family "Windsor"! The "tears of
mediocrity" bit alludes to the "outpouring of grief"
at Diana's funeral, I presume.
Pills and Soap as per the brilliant Case For Song arrangement. New couplet to replace:
'Some folk get all the luck
And all we get are pictures of Lord and Lady Muck'
along the lines of
'Some folk get all the might
Mumble Bombay mumble Germany mumble mumble spite'
Did anyone else spot this? Is it a documented change? Did he really mention Bombay and Germany? Can Peter clarify?
In a review of a Elvis `n Brodsky`s Radio 3 appearance in Jan.`02
http://www.elviscostello.info/concert/0 ... 0124q.html I wrote the following -
Pills And Soap came up next. It seemed like a brand
new song. Besides a perfectly pitched vocal line the
use of stringed instruments as opposed to the
electronic elements of the recorded version seemed to
give a greater humanity to the songs stark message.
The song also featured some mysterious new lyrics. The
original version's second verse includes the lines
Some folk have all the luck
And all we get are pictures of lord and lady muck
They come from lovely people with a hard line in hypocrisy
There are ashtrays of emotion
For the fag ends of the aristocracy
This version went
Some folks have all the might
And majesty will run on Bombay Gin and German spite
They come from lovely people with a hardline in hypocrisy
There are tears of mediocrity
For the fag ends of the aristocrisy
. - so it's a good old
dig at the Empire, the reported heavy drinking habits
of certain royal family members (one of whom has
recently shuffled off this mortal coil and another of
whom is surely just about to) and, of course, the true
origins of the family "Windsor"! The "tears of
mediocrity" bit alludes to the "outpouring of grief"
at Diana's funeral, I presume.
-
so lacklustre
- Posts: 3183
- Joined: Tue Jun 03, 2003 2:36 pm
- Location: half way to bliss
Excellent concert, brilliant seat (we were dead centre directly in front of the sound desk), Brodsky's were superb, Elvis' voice has never sounded better, and he had good raporte with the audience. Didn't see Clint but did see Jo Brand & LeMarr (Elvis gave Jo Brand a name check when he came on stage). OW & jf have done a good job with the details, the highlights for me were Shot With His Own Gun on which Steve excelled, Indoor Fireworks & Man Out Of Time from the first set, Deep Dark.../You really... & Sleep Of The Just from the first encore, Pills & Soap, & Still with the Brodsky's, And the closing CCIU#4. A couple of the really slow North songs dragged slightly for me (When Did I Stop Dreamin) but that would be nit picking.
signed with love and vicious kisses
-
Gillibeanz
- Posts: 1697
- Joined: Wed Jun 11, 2003 1:28 pm
- Location: England
Well Otis im afraid I was one of those thick arseholes that turned up a bit late, but it really wasn't my fault!. I nearly had one hell of a disaster by not going to the concert at all - it still makes me shake when I think of how I very nearly missed the whole show!! 
We set off at 6pm to get to London - plenty of time (listening to the England match on the radio en route - filthy rotten turks - but thats another story!). We don't need to hurry we thought as the support band wont leave the stage til 9pm....NOBODY TOLD ME THERE WAS NO BLOODY SUPPORT BAND DID THEY????? So off we toddle idly meandering our way along the dimly lit Thames stopping to look at the pretty river and the view, killing time. I got the map out about 15 minutes away from the venue to see where we had to go and carefully put it back . Well I must have had someone looking out for me that night cos I suddenly wanted just to get there there, so we picked up the pace . We arrived outside the festival hall and I open my bag carefully to look inside the envelope where the tickets are (cos im paranoid i'll loose them if I pull it out of the bag) - NO BLOODY TICKETS!!!!! We scrabble through my bag contents - nothing. Well thats it! - no tickets - cant get in!. I knew they were in my bag when we left home cos I checked a dozen times. "We must have dropped them when we got the map out "says my partner.
"But that was miles back!" I wail.
"Well we will have to try and trace our steps back and see if we can find them" he says. By this time i'm in tears. We turned back and walk 20 yards along the dimly lit street and he says "Whats that?" pointing down IT WAS THE TICKETS!!!!!!!!!!!! I snatch them up kissing them and him madly and blubbing all at the same time - gawd what a show!! We can not to this day say how they got there - there was no way I dropped them out of my bag because it was zipped up and I didnt take the envelope out. So we hurry in cos I cant get in there quick enough incase they do a runner again only to hear our Elvis dulcet tones singing the first song 'Accidents will happen' "F*** me!" I yell running up the stairs leaving my poor old partner in my dust , "Hes only f*****g started without me!!"
All I can say is thank you thank you thank you thank you guardian angel for looking after me and not only getting fme in there but almost on time too!!!!!
Outstanding show, brilliant performance every song a diamond, and the sound quality was the best iv'e heard. I just sat there in total awe with my mouth open spellbound. One thing that did piss me off was the amount of people wandering up and down all night in front of us in droves going to the bar. (We had the first row on the aisle) I got so annoyed - cos it is annoying when your enchanted by the beautiful songs and people waddle past in slow motion 5,000 times that I vowed the next person that walked past I would kick up the arse! Fortunately I was subdued by my partner who threatened not to take me to any more concerts if I didn't behave!
Looked out for you Otis and thought i'd spotted you but it was one of the ushers - he has curly hair and a goatee!!
Roll on the next tour - i'll be there with my tickets stapled to my forehead just incase!!!!!
We set off at 6pm to get to London - plenty of time (listening to the England match on the radio en route - filthy rotten turks - but thats another story!). We don't need to hurry we thought as the support band wont leave the stage til 9pm....NOBODY TOLD ME THERE WAS NO BLOODY SUPPORT BAND DID THEY????? So off we toddle idly meandering our way along the dimly lit Thames stopping to look at the pretty river and the view, killing time. I got the map out about 15 minutes away from the venue to see where we had to go and carefully put it back . Well I must have had someone looking out for me that night cos I suddenly wanted just to get there there, so we picked up the pace . We arrived outside the festival hall and I open my bag carefully to look inside the envelope where the tickets are (cos im paranoid i'll loose them if I pull it out of the bag) - NO BLOODY TICKETS!!!!! We scrabble through my bag contents - nothing. Well thats it! - no tickets - cant get in!. I knew they were in my bag when we left home cos I checked a dozen times. "We must have dropped them when we got the map out "says my partner.
"But that was miles back!" I wail.
"Well we will have to try and trace our steps back and see if we can find them" he says. By this time i'm in tears. We turned back and walk 20 yards along the dimly lit street and he says "Whats that?" pointing down IT WAS THE TICKETS!!!!!!!!!!!! I snatch them up kissing them and him madly and blubbing all at the same time - gawd what a show!! We can not to this day say how they got there - there was no way I dropped them out of my bag because it was zipped up and I didnt take the envelope out. So we hurry in cos I cant get in there quick enough incase they do a runner again only to hear our Elvis dulcet tones singing the first song 'Accidents will happen' "F*** me!" I yell running up the stairs leaving my poor old partner in my dust , "Hes only f*****g started without me!!"
All I can say is thank you thank you thank you thank you guardian angel for looking after me and not only getting fme in there but almost on time too!!!!!
Outstanding show, brilliant performance every song a diamond, and the sound quality was the best iv'e heard. I just sat there in total awe with my mouth open spellbound. One thing that did piss me off was the amount of people wandering up and down all night in front of us in droves going to the bar. (We had the first row on the aisle) I got so annoyed - cos it is annoying when your enchanted by the beautiful songs and people waddle past in slow motion 5,000 times that I vowed the next person that walked past I would kick up the arse! Fortunately I was subdued by my partner who threatened not to take me to any more concerts if I didn't behave!
Looked out for you Otis and thought i'd spotted you but it was one of the ushers - he has curly hair and a goatee!!
Roll on the next tour - i'll be there with my tickets stapled to my forehead just incase!!!!!
COME ON YOU SPURS!!
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laughingcrow
- Posts: 2476
- Joined: Tue Jul 29, 2003 8:35 am
-
Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
So there was an usher impersonating me? Or was it me impersonating an usher? (At least I wouldn't have stopped people from dancing.) Sorry for your stress, Gilli! And turning up late for song 1 doesn't qualify you as a thick aresehole, it was the people still arriving during song 7 or whatever who got me. You obviously missed the discussion about there being no support band in the thread where I was trying to see if you et al were on for meeting a in footie-pub before (which turned out to be very easy, a decent pub, a little bit along from the National Theatre, full, but not unbearable), though of course the aforementioned Eliza Carthy ref on the ticket was obviously an earlier plan that didn't work out. So the List Serv guys were more successful than us!
An aside: what character traits would lead someone to be a list server rather than a message boarder, or both? John and Martin Foyle obviously go between both, bless 'em, cos I love the info they get from there, but my experience of the thing itself was like a bad dream involving a morass of Costello-spam that came flying at you in an unedited stream. So to answer my own question, a) people who like random chaos, b) people who like some logic and structure to things, and c) completists.
I was wondering about that drink. He took a rather rushed swig on one of the Brodsky encore songs, as if to soothe his vocal chords. I was wondering what the floral pattern was, and why the three or so mugs he had all contained it, and was it official RFH china, but then I realised he was drinking out of his own merchandise, bless him!
Gilli and SLL, glad you too had a great time. I'm still on a high, I realised I was not only privileged enough to witness genius, but also I loved every second of it. I find Nick's criticisms odd, in that God's Comic was a lovely change of pace and feel after North, and sung with real relish and bite (that word applied to lots of his singing for me, like he was loving getting his teeth into each and every syllable), as well as being one of his best tunes and most fun lyrics. And the arrangement of Almost Blue was fabulous, why is it a criticism that one moment the piano was the focus and the next the strings?
SLL: if you were right in front of the sound desk, i.e. at the back of the front stalls in the centre, no way could you have missed Clint, or at least it's odd that you did, because the flourish of the entrance was very visible, and he must have been spitting distance from you. You weren't late too, were you? I wasn't paying close attention, but I'd say he was 5-7 rows in fron of it, also in the central block, to the left hand side of it as you face the stage.
Thanks for that re Pills and Soap, John. Interesting, isn't it?
An aside: what character traits would lead someone to be a list server rather than a message boarder, or both? John and Martin Foyle obviously go between both, bless 'em, cos I love the info they get from there, but my experience of the thing itself was like a bad dream involving a morass of Costello-spam that came flying at you in an unedited stream. So to answer my own question, a) people who like random chaos, b) people who like some logic and structure to things, and c) completists.
I was wondering about that drink. He took a rather rushed swig on one of the Brodsky encore songs, as if to soothe his vocal chords. I was wondering what the floral pattern was, and why the three or so mugs he had all contained it, and was it official RFH china, but then I realised he was drinking out of his own merchandise, bless him!
Gilli and SLL, glad you too had a great time. I'm still on a high, I realised I was not only privileged enough to witness genius, but also I loved every second of it. I find Nick's criticisms odd, in that God's Comic was a lovely change of pace and feel after North, and sung with real relish and bite (that word applied to lots of his singing for me, like he was loving getting his teeth into each and every syllable), as well as being one of his best tunes and most fun lyrics. And the arrangement of Almost Blue was fabulous, why is it a criticism that one moment the piano was the focus and the next the strings?
SLL: if you were right in front of the sound desk, i.e. at the back of the front stalls in the centre, no way could you have missed Clint, or at least it's odd that you did, because the flourish of the entrance was very visible, and he must have been spitting distance from you. You weren't late too, were you? I wasn't paying close attention, but I'd say he was 5-7 rows in fron of it, also in the central block, to the left hand side of it as you face the stage.
Thanks for that re Pills and Soap, John. Interesting, isn't it?
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laughingcrow
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Emotional Ricochet
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- Location: Wirral, Merseyside
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ReadyToHearTheWorst
- Posts: 956
- Joined: Wed Jun 04, 2003 5:44 am
- Location: uk
http://www.timesonline.co.uk/article/0, ... 84,00.html
October 13, 2003
It's time to croon and bear it
By Stephen Dalton
Pop: Elvis Costello
Festival Hall
DEMAND for babysitters in North London’s smarter
suburbs hit an all-time high on Saturday as Elvis
Costello played a career-spanning marathon set at the
Festival Hall. Accompanied only by his Attractions
pianist Steve Nieve for most of the show, the patron
saint of the Nick Hornby generation opened with a
gutsy reading of his vintage hit, Accidents Will
Happen. Peppered with celebrity fans, including Clint
Eastwood and Costello’s latest squeeze, the Canadian
chanteuse Diana Krall, the audience roared with polite
delight.
The reception afforded Costello’s latest album, North,
has not been as friendly as that. A suite of jazzy
ballads which opaquely detail the singer’s break-up
with his ex-wife, Cait O’Riordan, and his new
relationship with Krall, the record sounds like it was
designed as the soundtrack for a knowingly retro
romantic comedy set in a snowbound Manhattan at
Christmas.
As a crooner, the former punk poet laureate Costello
is no Nat King Cole or Tony Bennett. As a songwriter,
he is no Cole Porter or Kurt Weill. All the same, his
new compositions came alive on the Festival Hall
stage, where they seemed to acquire far more subtlety
and grace than their studio blueprints.
The autumnal Fallen and the desolate When Did I Stop
Dreaming? were particularly affecting numbers, and the
more playful Let Me Tell You About Her allowed
Costello to pull the kind of self-deprecating grimaces
that were pure Eric Morecambe.
Almost every chapter of the singer’s long and varied
career was represented, from bittersweet country-pop
ballads such as Almost Blue and Indoor Fireworks to
landmark political protest songs including Pills and
Soap and the immortal Shipbuilding. The climactic
arrival of the Brodsky Quartet also gave the show a
late energy boost, their glacially precise strings
working beautifully against the warm grain of
Costello’s voice.
For every rapturously received classic during the
evening, however, there were lesser tunes hamstrung by
the singer’s famously cluttered lyrics and mannered
vocal delivery. Costello remains a prolific and
consistently impressive Britpop icon, but his quality
control is haywire. He has never mastered the art of
pacing and structuring a set, and he missed several
chances to end his Festival Hall show on a high.
Instead, with a drawn-out series of whimpers and
bangs, he broke the cardinal rule that you should
always leave a crowd wanting more. After almost
two-and-a-half hours, Elvis left the building. By that
point, even a stony-faced Clint Eastwood looked
relieved.
October 13, 2003
It's time to croon and bear it
By Stephen Dalton
Pop: Elvis Costello
Festival Hall
DEMAND for babysitters in North London’s smarter
suburbs hit an all-time high on Saturday as Elvis
Costello played a career-spanning marathon set at the
Festival Hall. Accompanied only by his Attractions
pianist Steve Nieve for most of the show, the patron
saint of the Nick Hornby generation opened with a
gutsy reading of his vintage hit, Accidents Will
Happen. Peppered with celebrity fans, including Clint
Eastwood and Costello’s latest squeeze, the Canadian
chanteuse Diana Krall, the audience roared with polite
delight.
The reception afforded Costello’s latest album, North,
has not been as friendly as that. A suite of jazzy
ballads which opaquely detail the singer’s break-up
with his ex-wife, Cait O’Riordan, and his new
relationship with Krall, the record sounds like it was
designed as the soundtrack for a knowingly retro
romantic comedy set in a snowbound Manhattan at
Christmas.
As a crooner, the former punk poet laureate Costello
is no Nat King Cole or Tony Bennett. As a songwriter,
he is no Cole Porter or Kurt Weill. All the same, his
new compositions came alive on the Festival Hall
stage, where they seemed to acquire far more subtlety
and grace than their studio blueprints.
The autumnal Fallen and the desolate When Did I Stop
Dreaming? were particularly affecting numbers, and the
more playful Let Me Tell You About Her allowed
Costello to pull the kind of self-deprecating grimaces
that were pure Eric Morecambe.
Almost every chapter of the singer’s long and varied
career was represented, from bittersweet country-pop
ballads such as Almost Blue and Indoor Fireworks to
landmark political protest songs including Pills and
Soap and the immortal Shipbuilding. The climactic
arrival of the Brodsky Quartet also gave the show a
late energy boost, their glacially precise strings
working beautifully against the warm grain of
Costello’s voice.
For every rapturously received classic during the
evening, however, there were lesser tunes hamstrung by
the singer’s famously cluttered lyrics and mannered
vocal delivery. Costello remains a prolific and
consistently impressive Britpop icon, but his quality
control is haywire. He has never mastered the art of
pacing and structuring a set, and he missed several
chances to end his Festival Hall show on a high.
Instead, with a drawn-out series of whimpers and
bangs, he broke the cardinal rule that you should
always leave a crowd wanting more. After almost
two-and-a-half hours, Elvis left the building. By that
point, even a stony-faced Clint Eastwood looked
relieved.
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LessThanZero
- Posts: 1119
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- Location: Kalamazoo
- Contact:
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laughingcrow
- Posts: 2476
- Joined: Tue Jul 29, 2003 8:35 am
-
so lacklustre
- Posts: 3183
- Joined: Tue Jun 03, 2003 2:36 pm
- Location: half way to bliss
I'm crap at star-spotting! Yes I do recall the kerfuffle a couple of rows in front of us to the left, however I wasn't paying attention as I was texting my mate to try and find out the final score of the England game before the gig started!! Sad bastard that I am!!SLL: if you were right in front of the sound desk, i.e. at the back of the front stalls in the centre, no way could you have missed Clint, or at least it's odd that you did, because the flourish of the entrance was very visible, and he must have been spitting distance from you. You weren't late too, were you? I wasn't paying close attention, but I'd say he was 5-7 rows in fron of it, also in the central block, to the left hand side of it as you face the stage.
signed with love and vicious kisses
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verbal gymnastics
- Posts: 13645
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
Hmm. I've read the threads about the concert.
I must admit, personally I thought Elvis was struggling with his voice. There were definite signs of a few cracks in sustaining notes on occasion. He didn't pitch his voice highly on My Mood Swings for example. However he was in good form personally although it took a while for the audience to get going.
Plaything - I was sat right behind Steve and it was fantastic to watch the Professor at work.
The set list wasn't inspiring though. Whilst the Brodskys were excellent, I don't think they didn't really added anything to Almost Blue. Steve played the melodica a lot.
I got a set list and it had All the Rage, Alibi, London's Brilliant Parade and When Green Eyes Turn Blue as options and I would have like to have seen some of these done. He also didn't have I Still Miss Someone listed but I think that's a staple on this tour.
By the way, when I got the set list there was a girl who looked really disappointed (although I had asked and got the last copy). I walked off merrily but felt really bad for her and went to try and find her. If you were her could you PM me and I'll send you a copy.
Jackson - Jacquline Thomas has had her hair cut. She walked out with her kids and had a brief chat with us. She was really pleasant and very pretty.
A good show but not a great one. However I met Elvis and Steve afterwards and they signed my set list
I must admit, personally I thought Elvis was struggling with his voice. There were definite signs of a few cracks in sustaining notes on occasion. He didn't pitch his voice highly on My Mood Swings for example. However he was in good form personally although it took a while for the audience to get going.
Plaything - I was sat right behind Steve and it was fantastic to watch the Professor at work.
The set list wasn't inspiring though. Whilst the Brodskys were excellent, I don't think they didn't really added anything to Almost Blue. Steve played the melodica a lot.
I got a set list and it had All the Rage, Alibi, London's Brilliant Parade and When Green Eyes Turn Blue as options and I would have like to have seen some of these done. He also didn't have I Still Miss Someone listed but I think that's a staple on this tour.
By the way, when I got the set list there was a girl who looked really disappointed (although I had asked and got the last copy). I walked off merrily but felt really bad for her and went to try and find her. If you were her could you PM me and I'll send you a copy.
Jackson - Jacquline Thomas has had her hair cut. She walked out with her kids and had a brief chat with us. She was really pleasant and very pretty.
A good show but not a great one. However I met Elvis and Steve afterwards and they signed my set list
Who’s this kid with his mumbo jumbo?
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Gillibeanz
- Posts: 1697
- Joined: Wed Jun 11, 2003 1:28 pm
- Location: England
VERBAL G: Im sorry you were disapointed with the show - I cant believe you were, I thought it was awesome!. I thought Elvis voice was outstanding - what a transformation from his punk days. I'd love to see the likes of Mick Jagger try to do ballards with the quality Elvis did with so little backing and at times none at all! I think the biggest problem was people always want to see him with the Attractions doing the upbeat numbers, but for me it was a lovely change of pace.
CROW: We didnt see David Blaine - it was too far from Waterloo Bridge where we were, although we did think of taking the sandwiches we had after the show over there and eat them in front of him We sat overlooking the Thames and ate them at about 11pm which was lovely.
OTIS: I have been trying to persuade my partner to go to Bournemouth for the weekend in 2 weeks time for the show there, but even I cant justify such expense so soon after this one!
CROW: We didnt see David Blaine - it was too far from Waterloo Bridge where we were, although we did think of taking the sandwiches we had after the show over there and eat them in front of him
We sat overlooking the Thames and ate them at about 11pm which was lovely.OTIS: I have been trying to persuade my partner to go to Bournemouth for the weekend in 2 weeks time for the show there, but even I cant justify such expense so soon after this one!
COME ON YOU SPURS!!
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bambooneedle
- Posts: 4533
- Joined: Tue Jun 03, 2003 4:02 pm
- Location: a few thousand miles south east of Zanzibar
Isn't Clint meticulous about selecting soundtrack material for his movies? Maybe EC is being hired as consultant, or even better as musician, for some future Clint movie soundtrack.He sat throughout the concert and stayed behind for about an hour to chat to Elvis. He and Elvis left the theatre more or less together. The
"paparazzi" outside, focused on Clint in preference to Elvis.
verbal gymnastics wrote:when I got the set list there was a girl who looked really disappointed
There's always one of those.
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bambooneedle
- Posts: 4533
- Joined: Tue Jun 03, 2003 4:02 pm
- Location: a few thousand miles south east of Zanzibar
Isn't Clint meticulous about selecting soundtrack material for his movies? Maybe EC is being hired as consultant, or even better as musician, for some future Clint movie soundtrack.He sat throughout the concert and stayed behind for about an hour to chat to Elvis. He and Elvis left the theatre more or less together. The
"paparazzi" outside, focused on Clint in preference to Elvis.
verbal gymnastics wrote:when I got the set list there was a girl who looked really disappointed
There's always one of those.
-
laughingcrow
- Posts: 2476
- Joined: Tue Jul 29, 2003 8:35 am
-
laughingcrow
- Posts: 2476
- Joined: Tue Jul 29, 2003 8:35 am
I found the link...here's why the man with no name was at the gig.... 
McPartland celebrates 85th with new season
NEW YORK, Sept. 19 (UPI) -- Marian McPartland's "Piano Jazz" performance and interview show on National Public Radio begins a new season Sept. 30 in this, her 85th birthday year.
McPartland has taped new segments with Elvis Costello, Norah Jones, director Sue Mingus and bassist Boris Kozlov from the Mingus Big Band, Bruce Hornsby, Kenny Barron, John Medeski, Jon Faddis, Jeanie Peterson, and Jack Reilly. She will also record programs for the award-winning series with Alicia Keyes, Orrin Evans, Boz Scaggs and actor/composer/jazz pianist Clint Eastwood.
The Costello performance will open the new season. Other shows will feature Chicago singer-pianist Judy Roberts, Pete Malinverni, Deanna Witkowski, festival impresario George Wein, Kenny Barron, Eric Clapton collaborator Chuck Leavell, singer Dee Dee Bridgewater, Kevin Eubanks and Bill Mays.
The program is produced by South Carolina Educational Radio, which also will broadcast this fall a two-hour McPartland birthday celebration at New York's Birdland jazz club.
The all-star party featured McPartland, multi-Grammy winner Norah Jones, Jason Moran, Ravi Coltrane, Clark Terry, Phil Woods, Billy Taylor, Tony Bennett, Nnenna Freelon, Barbara Carroll and Karrin Allyson.
I didn't know he was a pianist...so they probably know each other through this or through the Krallster.
http://quickstart.clari.net/qs_se/webne ... K_DSJ.html
McPartland celebrates 85th with new season
NEW YORK, Sept. 19 (UPI) -- Marian McPartland's "Piano Jazz" performance and interview show on National Public Radio begins a new season Sept. 30 in this, her 85th birthday year.
McPartland has taped new segments with Elvis Costello, Norah Jones, director Sue Mingus and bassist Boris Kozlov from the Mingus Big Band, Bruce Hornsby, Kenny Barron, John Medeski, Jon Faddis, Jeanie Peterson, and Jack Reilly. She will also record programs for the award-winning series with Alicia Keyes, Orrin Evans, Boz Scaggs and actor/composer/jazz pianist Clint Eastwood.
The Costello performance will open the new season. Other shows will feature Chicago singer-pianist Judy Roberts, Pete Malinverni, Deanna Witkowski, festival impresario George Wein, Kenny Barron, Eric Clapton collaborator Chuck Leavell, singer Dee Dee Bridgewater, Kevin Eubanks and Bill Mays.
The program is produced by South Carolina Educational Radio, which also will broadcast this fall a two-hour McPartland birthday celebration at New York's Birdland jazz club.
The all-star party featured McPartland, multi-Grammy winner Norah Jones, Jason Moran, Ravi Coltrane, Clark Terry, Phil Woods, Billy Taylor, Tony Bennett, Nnenna Freelon, Barbara Carroll and Karrin Allyson.
I didn't know he was a pianist...so they probably know each other through this or through the Krallster.
http://quickstart.clari.net/qs_se/webne ... K_DSJ.html
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verbal gymnastics
- Posts: 13645
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
I think I was just spoilt from the Sold on Song show. I love the EC/SN set up but by the time you take out the North tracks, the staples ie DDTM, God's Comic etc that doesn't leave much to jig the set list around.Gillibeanz wrote:VERBAL G: Im sorry you were disapointed with the show - I cant believe you were, I thought it was awesome!. I thought Elvis voice was outstanding - what a transformation from his punk days. I'd love to see the likes of Mick Jagger try to do ballards with the quality Elvis did with so little backing and at times none at all! I think the biggest problem was people always want to see him with the Attractions doing the upbeat numbers, but for me it was a lovely change of pace.
And Gilli - you MUST come to Bournemouth. Don't try and justify it. If you do have to justify it then do it on the basis that it's his last UK show of 2003. That's how I'm doing it!
By the way, was that any of the board up dancing at the front on PL&U?
Who’s this kid with his mumbo jumbo?
Financial Times (London) review of RFH , Oct.11
http://news.ft.com/servlet/ContentServe ... 6625900929
Music: Elvis Costello
By Ludovic Hunter-Tilney
Published: October 13 2003
When Elvis Costello started out during the punk era,
the idea of his singing jazzy, orchestral love songs
would have seemed like heresy. But Costello was never
an outright punk rocker, as his habit of covering Burt
Bacharach songs at concerts showed. His father played
in a leading big band, so the young Elvis grew up
listening to lounge music and jazz, influences that
resurface fully realised on his latest album North,
which is about love.
Although his new songs are full of sighing violins and
sinuous orchestral arrangements, he began his show at
the Royal Festival Hall accompanied only by longterm
bandmate Steve Nieve on piano. It was a sparse musical
setting, designed to let Costello's voice do the work.
On North, his vocals don't quite match the
sophistication of the material, but live they were
much more supple. His phrasing and changes in tone
were impressively subtle, ranging from Van
Morrison-style soul to tender crooning. At times he
was every bit the romantic balladeer, although his
encouragement of the audience to sing along also
reminded one of an old-fashioned cabaret singer.
There's an autumnal mood to his new music, a sense of
mingled satisfaction and melancholy, that works well.
But as the evening went on, and despite the
introduction of the Brodsky Quartet on to the stage,
the lack of musical variation was wearying. Even old
material such as "Man Out of Time" sounded too sedate
without a full backing band. By the end, a reverential
atmosphere had settled over the auditorium, not helped
by the singer's habit of milking the audience for
applause. Costello's mature phase as a crooner is a
rewarding one, but it has an indulgent aspect too.
-------------------------------------------------------------------------------------
London Evening Standard review of RFH , Oct.11
http://www.thisislondon.co.uk/entertain ... es/7150602
Elvis is all shook up
Reviewed by John Aizlewood, Evening Standard (13
October 2003)
GIG REVIEW: Elvis Costello
There have been a myriad Elvis Costellos over the
years: vitriolic, smug, ahead of the times, behind the
times, quixotic and even simplistic. 2003's version is
perhaps the most unlikely yet: a vulnerable puppy of
love.
This latest persona is inspired by his relationship
with Canadian jazz chanteuse Diana Krall (present on
Saturday, accompanied by American actor Clint
Eastwood), which informs the second half of his new
album, North.
Having introduced the North sections as "exceedingly
quiet", Costello sang the bulk of them without his
usual prop of a guitar. Accompanied for the most part
by the piano of Attraction Steve Nieve (who, judging
by his appearance, is sleeping rough these days),
briefly by The Brodsky Quartet, but occasionally
wholly solo (at the very death without vocal
amplification), Costello shared his joy.
Indeed, as he played piano on the selfdeprecating Let
Me Tell You About Her like a gifted Richard Stillgoe,
he displayed a hitherto unheralded sense of comic
timing.
Over the course of two-and-a-quarter hours - the
encores were longer than the actual set - there was
ample room for old as well as new. The spartan format
and Nieve's adaptability meant anything was possible,
even a cover of Smokey Robinson's lovelorn You've
Really Got A Hold On Me halfway through the
bile-encrusted Dark, Deep Truthful Mirror.
Encouragingly, the more recent material, such as 45,
is ageing well, suggesting Costello's gifts have been
taken for granted of late.
The old Costellos lurked in the background. A
politicised section included the riproaring (What's So
Funny 'Bout) Peace Love And Understanding? and
Shipbuilding, which still seethes with stoic dignity.
The Brodsky Quartet provided a sinister backdrop to
the already malevolent Pills And Soap and a gorgeous
setting for You Left Me In The Dark, from North's
first half, which details the disintegration of his
marriage to Cait O'Riordan. Tellingly, this remained
unsaid.
It's tricky to see where Costello can go from here,
but predicting his next move has always been futile.
Let's just hope he's sufficiently canny to resist the
temptation of a duets album with Krall.
-------------------------------------------------------
Richard Stillgoe ! Why hadn`t I seen that
comparison before! It`s perfect. -J.F.
http://news.ft.com/servlet/ContentServe ... 6625900929
Music: Elvis Costello
By Ludovic Hunter-Tilney
Published: October 13 2003
When Elvis Costello started out during the punk era,
the idea of his singing jazzy, orchestral love songs
would have seemed like heresy. But Costello was never
an outright punk rocker, as his habit of covering Burt
Bacharach songs at concerts showed. His father played
in a leading big band, so the young Elvis grew up
listening to lounge music and jazz, influences that
resurface fully realised on his latest album North,
which is about love.
Although his new songs are full of sighing violins and
sinuous orchestral arrangements, he began his show at
the Royal Festival Hall accompanied only by longterm
bandmate Steve Nieve on piano. It was a sparse musical
setting, designed to let Costello's voice do the work.
On North, his vocals don't quite match the
sophistication of the material, but live they were
much more supple. His phrasing and changes in tone
were impressively subtle, ranging from Van
Morrison-style soul to tender crooning. At times he
was every bit the romantic balladeer, although his
encouragement of the audience to sing along also
reminded one of an old-fashioned cabaret singer.
There's an autumnal mood to his new music, a sense of
mingled satisfaction and melancholy, that works well.
But as the evening went on, and despite the
introduction of the Brodsky Quartet on to the stage,
the lack of musical variation was wearying. Even old
material such as "Man Out of Time" sounded too sedate
without a full backing band. By the end, a reverential
atmosphere had settled over the auditorium, not helped
by the singer's habit of milking the audience for
applause. Costello's mature phase as a crooner is a
rewarding one, but it has an indulgent aspect too.
-------------------------------------------------------------------------------------
London Evening Standard review of RFH , Oct.11
http://www.thisislondon.co.uk/entertain ... es/7150602
Elvis is all shook up
Reviewed by John Aizlewood, Evening Standard (13
October 2003)
GIG REVIEW: Elvis Costello
There have been a myriad Elvis Costellos over the
years: vitriolic, smug, ahead of the times, behind the
times, quixotic and even simplistic. 2003's version is
perhaps the most unlikely yet: a vulnerable puppy of
love.
This latest persona is inspired by his relationship
with Canadian jazz chanteuse Diana Krall (present on
Saturday, accompanied by American actor Clint
Eastwood), which informs the second half of his new
album, North.
Having introduced the North sections as "exceedingly
quiet", Costello sang the bulk of them without his
usual prop of a guitar. Accompanied for the most part
by the piano of Attraction Steve Nieve (who, judging
by his appearance, is sleeping rough these days),
briefly by The Brodsky Quartet, but occasionally
wholly solo (at the very death without vocal
amplification), Costello shared his joy.
Indeed, as he played piano on the selfdeprecating Let
Me Tell You About Her like a gifted Richard Stillgoe,
he displayed a hitherto unheralded sense of comic
timing.
Over the course of two-and-a-quarter hours - the
encores were longer than the actual set - there was
ample room for old as well as new. The spartan format
and Nieve's adaptability meant anything was possible,
even a cover of Smokey Robinson's lovelorn You've
Really Got A Hold On Me halfway through the
bile-encrusted Dark, Deep Truthful Mirror.
Encouragingly, the more recent material, such as 45,
is ageing well, suggesting Costello's gifts have been
taken for granted of late.
The old Costellos lurked in the background. A
politicised section included the riproaring (What's So
Funny 'Bout) Peace Love And Understanding? and
Shipbuilding, which still seethes with stoic dignity.
The Brodsky Quartet provided a sinister backdrop to
the already malevolent Pills And Soap and a gorgeous
setting for You Left Me In The Dark, from North's
first half, which details the disintegration of his
marriage to Cait O'Riordan. Tellingly, this remained
unsaid.
It's tricky to see where Costello can go from here,
but predicting his next move has always been futile.
Let's just hope he's sufficiently canny to resist the
temptation of a duets album with Krall.
-------------------------------------------------------
Richard Stillgoe ! Why hadn`t I seen that
comparison before! It`s perfect. -J.F.