Razzmatazz, Barcelona (Spain), July 26, 2013

Pretty self-explanatory
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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby sweetest punch » Sat Jul 27, 2013 2:17 pm

A Slow Drag With Josephine: http://www.youtube.com/watch?v=HqkqzaxDEOA
Jimmy Standing In The Rain: http://www.youtube.com/watch?v=flD8wDwLKHs
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby Otis Westinghouse » Sat Jul 27, 2013 2:46 pm

martinfoyle wrote:My earplugs helped, trimmed off the harshness of the wall of sound.

Good move. I suffer from left-ear tinnitus (brought on by a Wilco wall of sound at the Royal Festival Hall in Sept 2010), and as a regular gigging drummer use proper moulded earplugs for drumming, but for gigs I use these:
http://www.amazon.co.uk/gp/product/B003 ... A5VSPGRZ4N

Pretty cheap and pretty effective, and you can push them in further or less far as the song requires. Recommended to anyone worrying about the damaging effects of excessive loudness that will be an increasing plague for successive generations as the volume gets pumped up and in-ear music becomes ubiquitous. They look pretty stupid, especially as I uses the connecting string to stop them falling on the fall, but these are your ears, who gives a shit?
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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby And No Coffee Table » Sat Jul 27, 2013 4:18 pm

Photos (including an upside-down pic of the stage setlist): http://blocs.mesvilaweb.cat/node/view/id/249143

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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby verbal gymnastics » Sat Jul 27, 2013 6:01 pm

Interesting to see the "Reserve" songs on the setlist. I've never seen these on a setlist.

Anyone seen this before?
international laughing stock...

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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby And No Coffee Table » Sat Jul 27, 2013 11:15 pm

Essencial Elvis Costello
El cantant i guitarrista va oferir un antològic recital a Razzmatazz
27 de juliol del 2013
JORDI BIANCIOTTO

Elvis Costello, un músic capaç d'adaptar-se a registres de jazz, música de cambra i orquestres simfòniques, que ha gravat discos amb sopranos (Anne Sofie von Otter) i pianistes de blues de Nova Orleans (Allen Toussaint), va destapar ahir a la nit la seva cara més aïrada i essencial. A la mateixa sala, Razzmatazz, que el va acollir per última vegada a Barcelona, fa vuit anys, va presumir d'un dels repertoris més extensos i diversos del rock amb un fogós recital que va superar dues hores.

Un Costello en la seva versió més manejable i segura, amb el recolzament dels tres integrants de The Imposters, evolució de la banda dels seus primers temps, The Attractions, amb dos dels actors secundaris del pop més aclaparadors, el teclista Steve Nieve i el bateria Pete Thomas (tots dos, partícips de moltes de les gravacions clàssiques invocades), mentre que del baix no se'n va encarregar el titular original, Bruce Tho-mas, sinó el nord-americà Davey Faragher, excomponent del grup californià Cracker.

El cantant i guitarrista britànic ha renunciat, en la seva gira europea, al juganer, vodevilesc, format de concert que va assajar fa uns mesos al Regne Unit, on una ruleta que feien anar els assistents als concerts dictava quines cançons havia d'interpretar. Però, sense aquest factor d'atzar teatral, els seus recitals segueixen sent imprevisibles, amb canvis profunds de guió d'una nit a una altra. Pocs haurien pogut encertar la cançó amb què va obrir ahir a la nit: Turpentine, genuïnament costelliana per la reunió d'asprors guitarreres amb una radiant tornada pop, procedent d'un disc de la seva última etapa, Momofuku (2008).

FE I ESPERANÇA / Recital cabalós, enciclopèdic en l'ús de fonts sonores, de la distorsió rockera aguda a la cançó acústica, amb ressons de la new wave i contagis de soul. Un Costello abrasiu amb la guitarra i disposat a vulnerar les seves pròpies cançons amb interpretacions desbocades, sobretot al principi, quan va atacar peces dels primers 80 com Beyond belief, Clubland i Every day I write a book. Després va al·ludir a la tragèdia de Santiago llançant un missatge de consol a Song with Rose, que va compondre amb Rosanne Cash i parla de la fe i l'esperança.

Després de rescatar peces inesperades com Poor Napoleon i Bedlam, Costello va obrir un parèntesi delicat amb la guitarra acústica que va recalar a Walkin'my baby back home, estàndard jazzístic del 1930, i Jimmie standing in the rain, del seu últim disc, National ransom. Moment per a l'humor costellià. «El rock'n'roll es va inventar a Catalunya i es va estendre després per Espanya, on al principi no els va agradar gaire», ens va il·lustrar.

I van arribar les càrregues de profunditat: Oliver's army, amb el seu piano inspirat en Abba; (I don't want to go to) Chelsea i un tortuós I want you. En els bisos, andanades de llarg abast amb Lipstick vogue, I can't stand up for falling down (Sam & Dave), High fidelity, Radio radio i (What's so funny 'bout) Peace, love and understanding, amb Alison com a romàntica treva. Sorpresa final: Out of time, dels Stones. ¿Que potser Costello li estava dient a Jagger, ja septuagenari, que està fora d'ona? ¿Parlava per ell mateix?

Va ser el desenllaç d'una antològica cita amb un Costello canònic i vitalista, reflex d'un classicisme d'ampli espectre abans que el músic ens entregui la seva nova i atrevida obra: Wise up ghost, un disc a mitges amb el grup nord-americà de hip-hop The Roots, que sortirà a la venda al setembre. Ritmes fondos i textures i ambients foscos per a la nova aventura d'un creador capital de l'era pop.


Google translation:

Essential Elvis Costello
The singer and guitarist anthology gave a recital at Razzmatazz
Saturday, July 27, 2013
JORDI BIANCIOTTO

Elvis Costello, a musician able to adapt to records of jazz, chamber music and symphony orchestras, he has recorded albums with sopranos (Anne Sofie von Otter) and Blues in New Orleans (Allen Toussaint), opened today at night its most essential and angry. In the same room, Razzmatazz, which last hosted in Barcelona eight years ago, boasted one of the most extensive and diverse repertoire of rock with a fiery recital that exceeded two hours.

A Costello in its more manageable and secure, with the support of three members of The Imposters, evolution of the band from their early days, The Attractions, two of the supporting actors pop overwhelming, keyboardist Steve Nieve and drummer Pete Thomas (both participants in many of the classic recordings invoked), while the charge does not go below the original owner, Bruce Tho-mas, but the American Davey Faragher, a former member of the band Cracker California.

The British singer and guitarist has given up on its European tour, the playful, vodevilesc, concert format that was tested a few months ago in the UK, where a wheel that did go the concert goers had dictated what songs to play. But without this factor of chance theater, his performances remain unpredictable, with profound changes script one night to another. Few could have guessed the song that opened last night: Turpentine genuinely costelliana the meeting with a radiant rough guitar pop back, from an album of the last stage, Momofuku (2008).

FAITH AND HOPE / Recital mighty, encyclopedic in the use of sound sources of distortion in rock acute acoustic song, with echoes of the new wave of infections and soul. Costello with an abrasive guitar and willing to violate their own songs with unbridled performances, especially in the beginning when he attacked the first 80 pieces as Beyond Belief, Clubland and every day I write a book. He then alluded to the tragedy of Santiago throwing a message of comfort to Song with Rose, who wrote with Rosanne Cash and speaks of faith and hope.

After rescuing unexpected pieces like Napoleon and Poor Bedlam, Costello was a pause with delicate acoustic guitar that made ​​landfall in Walkin'my baby back home, the 1930 jazz standard, and Jimmie standing in the rain, his latest album, National Ransom. Time for humor ribs. "The rock'n'roll was invented in Catalonia and then spread to Spain, where at first did not like it much," we illustrate.

I got loads of depth: Oliver's army, with his piano inspired by Abba; (I Do not Want to Go to) Chelsea and I want you winding. In the encore, with long-range volleys Lipstick Vogue, I can not stand up for falling down (Sam & Dave), High Fidelity, Radio Radio and (What's So Funny 'Bout) Peace, love and understanding, with Alison as romantic respite. Final surprise: Out of time, the Stones. Have they Costello was telling Jagger as septuagenarian, who is out wave? Do you speak for himself?

It was the outcome of a retrospective appointment with a canonical Costello and lively, reflecting a wide range of classical music before we delivered his bold new work: Wise up ghost, a half drive north with the group American hip-hop The Roots, which will be released in September. Deep rhythms and textures and dark environments to a new creative adventure capital of the pop era.

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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby Otis Westinghouse » Sun Jul 28, 2013 2:24 am

verbal gymnastics wrote:Interesting to see the "Reserve" songs on the setlist. I've never seen these on a setlist.

Anyone seen this before?

Struck me too, and although I'm a novice at studying his setlists next to your good self, in a word, no.
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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby Santi » Sun Jul 28, 2013 5:09 am

Voz, canciones y sombrero
Costello, mayúsculo, mantuvo un nivel impecable de voz
Luis Hidalgo 28 JUL 2013

Comenzó el concierto y algunos gestos se torcieron: sonaba fatal. La voz de Elvis Costello sepultada en la letra de Turpentine no presagiaba nada bueno. Lo que sí resultaba halagüeño era que palmeaba el aire animando a la audiencia, satisfecho de haber escogido la profesión de cantante y de compartirla en concierto con su público, aunque este distase un trecho de llenar la sala. En la cuarta canción se comenzó a oír la voz, Elvis basculó su sombrero hasta que el ala se posó en la montura de las gafas y Everiday I Write the Book marcó el camino. Costello se comenzaba a sentir cómodo con sus Imposters, ¡menuda banda!, por cierto. Para solaz del público lo estaría dos horas, firmando un concierto estupendo para el que solo necesitó a Steve Nieve (teclados, inmenso), Pete Thomas (batería, colosal) y Davey Faragher (bajista, perfecto).

Para dos cosas, o tres o cuatro, ha nacido Costello. Una para componer canciones que beben de la música popular a través de diversos estilos: pop, rock, soul, funk, folk. De todos ofreció muestra en un concierto panorámico que revoloteó por encima de su carrera, un todo unificado por la segunda capacidad con la que nació Elvis: cantar. Costello mantuvo un nivel impecable de voz, usándola briosa, moviéndola con tino en las baladas (preciosa versión de She) y evidenciando en suma que se trata de un cantante mayúsculo. La tercera habilidad del inglés le hace aún más inglés: Elvis nació para llevar sombrero, que en su cabeza parece una prolongación de la misma. A Elvis le pega el sombrero, acentúa esa elegancia distante e irónica con la que después aborda sus letras.

La cuestión es que Costello estuvo cómodo, abriendo el abanico de su música a recuperaciones en un repertorio de gira cambiante de clásicos evidentes —Watching the detectives, Oliver’s Army, (I Don’t Wanna Go) To Chelsea, Alison...—, a tomas acústicas de versiones como Walkin’ my baby back home, pasando por un final rockero posterior a una toma espléndida de I want you. Por en medio, un recuerdo a las víctimas de Santiago, a las que dedicó Song with Rose, y un final de concierto de apoteosis con una versión, Out of time, de los Stones. Dos horas que no fueron lineales —hubo alguna bajada de intensidad (antes de Watchig the detectives la primera)—, pero que mostró en toda su brillantez a un músico con mayúsculas, un artista sofisticado que hace de la música pop algo mucho más escrupuloso que un simple decir a tu chico que es más bien panoli.


Google translation:

Voice, songs and hat
Costello, uppercase, maintained an impeccable standard voice
Luis Hidalgo 28 JUL 2013

The concert began and some twisted gestures: it sounded terrible. Elvis Costello's voice buried in Turpentine letter did not bode well. What it was really flattering patted the air was that the audience cheering, happy to have chosen the profession of singing and sharing with your audience in concert, but this distase a stretch to fill the room. In the fourth song began to hear the voice, Elvis swung his hat until the wing landed on the rim of his glasses and Everiday I Write the Book led the way. Costello is starting to feel comfortable with your Imposters, petite band!, Indeed. To comfort the public what would two hours, signing a great concert for which only needed to Steve Nieve (keyboards, huge), Pete Thomas (drums, colossal) and Davey Faragher (bass, perfect).

For two things, or three or four, was born Costello. A drinking songwriting popular music through various styles: pop, rock, soul, funk, folk. Of all shows in a concert offered panoramic fluttered over his career, all unified by the second capacity in which Elvis was born: singing. Costello maintained an impeccable standard voice, using spirited, moving with skill in the ballads (gorgeous version of She) and showing in addition that a singer is huge. The third English proficiency makes it even more English: Elvis was born to wear a hat, that his head looks like an extension of it. A hat Elvis hits, accentuates this elegant detached and ironic that after addressing their letters.

The point is that Costello was comfortable, opening the range of his music recoveries changing touring repertoire of classics obvious-Watching the Detectives, Oliver's Army, (I Do not Wanna Go) To Chelsea, Alison ... - to take acoustic versions like Walkin 'my baby back home, to a rear end to a power rocker splendid I want you. By the way, a memorial to the victims of Santiago, to which he devoted Song with Rose, and a final concert with a version apotheosis, Out of time, of the Stones. Two hours were not linear, there was some decrease in intensity (before the detectives watchig first) - but he showed in all his brilliance case a musician with a sophisticated artist who makes pop music much more scrupulous than simply tell your kid that is rather panoli.

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Re: Poble Espanyol, Barcelona (Spain), July 26, 2013

Postby sweetest punch » Sun Jul 28, 2013 5:46 am

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

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And No Coffee Table
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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby And No Coffee Table » Sun Jul 28, 2013 3:52 pm

E.C. & THE IMPOSTERS : BCN, RAZZMATAZZ 26/07/2013

Pues ya pasó. Ya está visto. Como ya he comentado en alguna ocasión fijarse si soy fan de este señor que, através de un razonamiento absolutamente agilipollado (que no reproduzco para no alargar -tema de no querer compartir a tu ídolo con nadie más o temor a una posible decepción, etc.-), me había negado hasta ayer a verlo en directo a pesar de las no pocas oportunidades previas... Por otro lado estaba el hecho de como ha ido mutando el asunto con el pasar de los meses: de concierto único en España al aire libre en una magnífica noche veraniega (que aunque sea tontería lo de "concierto único" dejaba una halagüeña sensación de "seguro que echa el resto para dejar el pabellón en los cielos el canalla") a un bolo embutido entre otros dos y en días consecutivos (lo que, por bregados que estén, proyectaba a su vez un: "bueno, estará bien seguro pero tendrán que dosificarse que ya van teniendo una edad estos señores, que se le va a hacer..."), a sumar -restar para el caso- el cambio al Razzmatazz de los huevos (que en comparación al Poble Espanyol sale bastante perjudicado: la diferencia entre la cercanía de un contexto tipo Plaza Mayor del pueblo a otro propio de la frialdad discotequera que -particularmente- me supone el puto Razz... al que, a no ser que metan a tocar a alguien que me interese lo indecible, yo no vuelvo mazz... (y ya no me meto en que cobrar cuarenta tarugos por entrada por un concierto ahí me parece una jetada del quince... hubiera pagado más que eso gustoso, además y por supuesto, de haberse mantenido la propuesta original pero por el Razz... Si, de acuerdo, en este caso concreto por ser quien era pero, inevitablemente, la predisposición varia, es de cajón). Además, yendo ya al contenido al concierto en si, está el hecho de no tocó esta o la otra... Particularmente me quede con las ganas de escuchar "mi canción", "watch your step", o esa virguería del "rocking horse road" que el granuja venía recuperando en buena parte de sus últimos sets... Sin embargo, al loro, este es un posteo con trampa: empecé por lo menos bueno ahora sigo con todo lo demás...

Y siguiendo el hilo lo primero a matizar está claro: hablamos de un artista que en caso de realizar un concierto de cien canciones todavía se echaría en falta alguna que otra docena de más (y eso siendo prudente, como ya saben sin duda todos/as los costelleros/as de pro). Imposible que te acierte (a tí o a cualquiera) de pleno, vaya. Tendría que obligarle uno a realizar un setlist a la carta y aún así el tipo se desmayaba seguro y de puro agotamiento antes de acabar con el pedido... En cualquier caso, y volviendo a lo de ayer noche, solo cabe rendirse a la evidencia de que cuando vas a ver a un grande, pero grande de los de verdad, solo queda agradecer y sentirte muy afortunado sea lo que sea lo que haya elegido el artista para la chirigota de turno. Y sanseacabó. Más teniendo en cuenta que de Costello sus acérrimos solemos opinar que, directamente, nadie o poco menos -aunque para mí nadie, quede claro- tiene un mayor número de canciones realmente buenas (y variadas en género para más inri). Porque veamos: "beyond belief", "(what's so funny 'bout ?) PL&U", "Alison", "I can't stand up for falling down", "(...) Chelsea", "radio, radio", "high fidelity", "I want you", "everyday I write the book", "Clubland", "Oliver's army", "a slow drag with Josephine", "pump it up", "watching the detectives", "suit of lights"... todo eso y más, que sonó ayer durante el par de horas de actuación más rápidas que jamás haya visto in situ o por la tele. Y con semejante arsenal, claro, ¿quién coño le dice algo?. Después ya se puede sacar todas las puntas que uno quiera: que si en otro local hubiera estado incluso mejor, que si no ha tocado cosas de tal o cual disco, que si terminar con un cover (aunque sea de sus mismísimas majestades) queda raro, que si me ha faltado otro bis (a mí me faltaron unos veintisiete bises, nos jodió, de hecho aún seguiríamos allí si por mi fuera y aunque tuvieran que habernos sondado vesicalmente a todos, artistas y espectadores), etc... Pero durante la actuación, Costello y Attractions (pues eso son los Imposters cambiando a Bruce Thomas por Davey Faragher en definitiva) son de esta gente tan contadísima que detienen flujos temporales como quien se rasca la hucha de recien levantado: "coño, ¿ya está?", era un poco la cosa al terminar...Venga a mirar el reloj y, sí, en efecto, no ha sido la madre de todos los desfases pero su buen rato se han estado. Y me sorprendió Faragher (por mi ignorancia mayormente, que no es precisamente que empezara hace una semana o que no tenga currículo este hombre) pero, no cabe engañarse, siete lustros de tocar con Pete Thomas y el gran (enorme, descomunal) Steve Nieve se dejan notar... Costello con este par ya se comunica telepáticamente o algo... Tremendo cuando hacian la intro mientras el otro cambiaba de guitarra sin detener la verbena y con esa soltura natural que solo los años y años de brega y experiencia otorgan. Aunque para sorpresa el propio Costello como guitarrista... Ya tiene buena fama de tener un estilo particular y variado en registros, sí, pero tras ver lo que hizo con "i want you"... Y que sobrado que va el cabrito (hasta "solos de silbido" y capelas a modo brochero para alguna canción y todo, joder). En definitiva, se cumplió el prospecto ("imposible cagarla en directo con este hombre") y todos muy contentos para casa. En el haber la satisfacción de haber visto a unos de los más grandes de toda la historia del Rock y mi mayor ídolo en ciernes a media docena de metros durante dos horas y en el debe, solo, que quizá no fue la epifanía vital y absoluta que podría haber sido (local mal seleccionado y determinados momentos de su tan extensa carrera pasados por alto flagrantemente o apenas sugeridos). Capítulo aparte por el honor y alegría de conocer in person al gran Mansion on the Hill (uno de los nuestros... de esta gente peligrosa como el Nikochan o yo mismo que si te pones a hablar de R'n'r se te puede hacer de día más de una vez si te descuidas) y el momento extásis total de mi antagonista con esa postrera y stoniana "out of time". Seguramente o no volveré con más de lo que me ha supuesto este primer contacto live con el Godglasses, cuando vaya digeriendo y recordando mejor algunos aspectos a considerar de la actuación, pero como "primeras impresiones" aquí queda esto. No acabo, por cierto, con nada del tipo: " si tenía alguna duda de que es el puto amo tras verlo ayer en directo ya no me queda ninguna", o similar... Sería hacer el panoli de gratis: ya hace muchos años que lo tengo más que claro. Imagínate que tienes un colega de estos que no viven sino por y para escuchar rock en sus formas más reconocidas y mejores en la historia... Y ahora imagina que ese colega además puede componer, tocar y cantar, como mínimo igual de bien que lo logrado por entre lo más imprescindible y granado de dichas "formas más reconocidas y mejores en la historia". Eso es Elvis Costello, el ascenso inevitable del fan que con el pasar de los años, a base de buen gusto, inquietudes muchas y perfeccionarse sin pausa, acaba por alcanzar a todos sus héroes. Superándolos prácticamente a todos a decir verdad, podría alguien argüir con sabiduría. Yo no, claro. Yo quito sin vergüenza ni problema alguno el "prácticamente" de esa frase y me quedo tan ancho.


Google translation:

Well, it happened. Already seen. As I have said on occasion if I set a fan of this man who, Trough absolutely agilipollado reasoning (not reproduce to make a long-issue of not wanting to share your idol with anyone else or fear of a possible disappointment, etc.. -), I had refused to see him live yesterday despite not infrequently pre ... Then there was the fact and the matter has been changing with the passing months: one in Spain concert outdoors on a beautiful summer night (which is silly but what of "concert only" left a flattering feeling " sure to check the rest to leave the pavilion in heaven the rabble ") to a bolus sandwiched between other two consecutive days (which, by bregados they are, cast himself a" good, but will be quite sure be dosed are already taking an age these gentlemen, who are you going to do ... "), to add-subtract to the case, change the razzmatazz of eggs (compared to the Poble Espanyol leaves quite hit: the difference between the approach of a context type Square of the town to another characteristic of the cold-particularly-disco that involves me fucking Razz ... at that mess unless someone playing that interests me terribly, I mazz'm not back ... (and I do not get in to charge forty input plugs for a concert there seems a fifteen jetada ... have gladly paid more than that as well and of course, having kept the original proposal Razz but ... Yeah, okay, in this case by being who he was but inevitably varies predisposition is drawer). Besides, going to the concert and to content itself, is the fact he did not touch this or that ... Particularly I am disappointed to hear "my song", "watch your step" or the real magic of "rocking horse road" that came rogue recovering much of their recent sets ... However, beware, this is a posting to trap at least started'm good now with everything else ...

And following the thread the first thing to clarify is clear: we talk about an artist that if a concert a hundred songs still would miss the odd dozen more (and that's being cautious, as you know without a doubt all / as the costelleros / ace pro). Impossible guesses you (to you or anyone) full, go. One would have to force him to make a setlist to the letter and still type safe fainted from exhaustion before finishing the order ... In any case, back to yesterday evening, just admit the obvious be that when you see a great, but the really big, is just grateful and feel very lucky whatever it is what you have chosen the artist for the joke of the day. And that was that. Especially considering that we usually review their longtime Costello, directly, no one or almost no one, but for me, it is clear, has a greater number of really good songs (and varied in genre to make matters worse). Because see "beyond belief", "(what's so funny 'bout?) PL & U", "Alison", "I can not stand up for falling down", "(...) Chelsea," "Radio, Radio" , "high fidelity", "I want you", "everyday I write the book", "Clubland", "Oliver's Army", "a slow drag with Josephine", "pump it up", "watching the detectives", " suit of lights "... all that and more, that sounded yesterday during the few hours of action faster than ever seen in situ or on TV. And with such an arsenal, of course, who the hell says something?. After that you can get all the tips you want: that if another location would have been even better if not touched things of a particular record, that if end with a cover (even from his very majesties) is rare , that if I lacked other bis (me I missed about twenty encore screwed us, in fact we would still be there if I had my way and even if they had need not have probed vesicalmente everyone, artists and spectators), etc ... But during the performance, Costello and Attractions (for that is the changing Imposters Bruce Thomas by Davey Faragher ultimately) are these people so contadísima who hold temporary flows as scratching the bank who is newly built, "pussy, already? ? "was a little thing at the end ... Come watch the clock and, yes, indeed, it has been the mother of all but its good time lags have been. And I was surprised Faragher (mostly for my ignorance, which is not exactly it started a week ago or has no curriculum this man) but it can not be deceived, thirty-five years of playing with Pete Thomas and the big (huge, huge) Steve Nieve been felt ... Costello with this pair and communicates telepathically or something ... Tremendous when they made the intro while the other guitar changed without stopping the festival and with that natural ease only years and years of hard work and experience give. Although to surprise himself as a guitarist Costello ... It has good reputation for having a particular style and varied records, yes, but after seeing what he did with "i want you" ... And that kid going left (to "whistle solos" and capelas brochero way for a song and everything, dammit). In short, marked the prospectus ("impossible to screw up live with this man") and all very happy for home. In having the satisfaction of seeing one of the largest in the history of Rock and my biggest idol budding dozen meters for two hours and in the must, alone, which may not have been the vital and absolute epiphany it could have been (local incorrectly selected and certain moments of his long career as blatantly overlooked or just suggested). Separate chapter for the honor and joy of meeting in person the great Mansion on the Hill (one of us ... these people dangerous as Nikochan or myself if you start talking about you can R'n'r day make more than once if you're not careful) and total ecstasy when my opponent with this season, and stoniana "out of time". Surely not return or more than what I now have this first contact with the Godglasses live, when you digesting and remembering some things to consider better the performance, but as "first impressions" here is this. Not just by the way, with nothing of the sort: "if I had any doubt that it is the fucking master yesterday after seeing him live and I do not have any", or the like ... It would make the panoli for free: many years ago I have it more than clear. Imagine you have a colleague of these who live only by and for listening to rock in its most recognized and highest in history ... And now imagine that the colleague also can compose, play and sing, at least as well they achieved by among the most essential and distinguished of these "forms recognized and highest in history". That's Elvis Costello, promotion fan inevitable that with the passing of the years, based on good taste and refined many concerns steadily, eventually reaching all their heroes. Surpassing virtually all indeed, could anyone argue with wisdom. I do not, of course. I remove without shame or problem the "almost" in that sentence and I'm so wide.

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby johnfoyle » Sun Jul 28, 2013 5:30 pm


Santi
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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Santi » Mon Jul 29, 2013 2:32 am


Taken in the first minute of the show. Two minutes later Elvis had become a human waterfall.
(great photo indeed)

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Santi » Mon Jul 29, 2013 1:13 pm

Refugi feliç
La Vanguardia 28 jul. 2013
DONAT PUTX

És xocant que una figura de la solvència d’Elvis Costello es veiés obligada a refugiar-se a la Razz per l’escassa venda de tiquets per a un concert inicialment previst al Poble Espanyol. Com també ho és que, una vegada allà, no registrés una gran entrada. La bona notícia és que les circumstàncies no van influir negativament en el comportament de l’artista, que tornava a Barcelona després de vuit anys d’absència i va protagonitzar un concert intens i generós en companyia de The Imposters, un trio on figuren dos membres de la seva antiga banda The Attractions (Steve Nieve als teclats i Pete Thomas a la bateria), i que completa el baixista Davey Faragher.

Si en els primers compassos tant el mateix Costello com la sonorització estaven desdibuixats, el rumb es va corregir aviat, fins que amb l’esbojarrada interpretació de Watching the detectives es va aconseguir una magnífica velocitat de creuer que va perdurar fins a l’últim bis, una celebrada versió del tema de The Rolling Stones Out of time. Sota el seu barret, Costello va desplegar una temari que va transcórrer majoritàriament per camins elèctrics i afilats, encara que va reservar alguns espais per conrear els encants de la distància curta o una certa mirada vintage. Al llarg de més dues hores, Costello va oferir una esplèndida antologia, amb al·lusions als seus primers temps ( Alison) així com als més recents ( Slow drag with Josephine), i en la qual van sonar clàssics tan ineludibles com Oliver’s Army, o (I don’t want to go to) Chelsea. Nit feliç, però també amb un record a les víctimes de l’accident de Santiago, a qui va dedicar Song with Rose.


Google translation:

Happy Haven

La Vanguardia 28 jul. 2013
DONAT PUTX

It is shocking that a figure of Elvis Costello's solvency was forced to take refuge in Razz by poor ticket sales for a concert originally planned in the Poble Espanyol. So is that, once there, did not record a grand entrance. The good news is that the circumstances did not negatively influence the behavior of the artist, who returned to Barcelona after eight years of absence and was involved in an intense and generous concert in the company of The Imposters, trio which included two members of his former band The Attractions (Steve Nieve on keyboards and Pete Thomas on drums), and bassist Davey Faragher complete.

If in the early stages both Costello as the sound itself were blurred, the course was corrected soon, until the crazy interpretation Watching the detectives did a great cruising speed, which lasted until the final encore, a celebrated version of issue of the Rolling Stones Out of time. Under his hat, Costello displayed an agenda that passed overwhelmingly by electric roads and sharp, although some spaces reserved for growing the charms of short distance or a certain look vintage. Throughout more than two hours, Costello gave a splendid anthology, with allusions to his early days (Alison) and the most recent (Slow Drag with Josephine), and which sounded classics as inescapable as Oliver's Army, or (I do not want to go to) Chelsea. Night happy, but also a tribute to the victims of the crash of Santiago, to which he devoted Song with Rose.
Last edited by Santi on Mon Jul 29, 2013 1:25 pm, edited 1 time in total.

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Santi » Mon Jul 29, 2013 1:24 pm

Un Elvis Costello en estat pur ofereix un concert antològic
BORJA DUÑÓ AIXERCH
Actualitzada el 27/07/2013

"Com sabeu, el rock'n'roll es va originar a Barcelona i després es va estendre a la resta d'Espanya, tot i que al principi no els agradava gaire". La Razzmatazz va esclafir en una gran rialla, i és que és precisament aquest esmolat i incisiu sentit de l'humor el que fa d'Elvis Costello una de les personalitats més carismàtiques de la història del pop. El londinenc, que el 25 d'agost farà 59 anys, no es va arronsar per la pobra venda d'entrades i va oferir un xou enèrgic en un context immillorable: els aficionats van gaudir-lo en format elèctric, la proximitat d'un club i sense estretors. L'acompanyament era d'autèntic luxe: The Imposters són dos terços dels Attractions (Steve Nieve i Pete Thomas) més l'exbaixista de Cracker Davey Faragher.

A punt de treure un nou disc amb el grup de hip-hop The Roots, Declan McManus va oferir un generós repàs de més de dues hores a la seva dilatada carrera. No li va fer falta la ruleta gegant per triar les cançons i va anar picotejant en un extens repertori que va fer les delícies dels fans. Everyday I write the book , Watching the detectives , She , I want you , Alison , (What's so funny 'bout) peace, love and understanding … Va dedicar Song with Rose a les víctimes de Santiago de Compostel·la i Walking my baby back home a la seva senyora -Diana Krall-, que aquesta nit actua a Cap Roig. També va agafar-ne del seu últim àlbum d'estudi - National ransom , 2010-, amb Slow drag with Josephine , però l'energia elèctrica va primar per sobre del folk i la música d'arrels. Costello potser no té el favor del gran públic, però és perquè mai ha doblegat el seu art al servei del mercat. Molts, divendres es van perdre una nit històrica.


Google translation:

Elvis Costello in pure state offers an anthology concert
BORJA DUÑÓ AIXERCH
Updated on 07/27/2013

"As you know, rock'n'roll originated in Barcelona and then spread to the rest of Spain, though at first they did not like very much." The Razzmatazz burst into a great laugh, and it is precisely this sharp and incisive sense of humor that makes Elvis Costello one of the most charismatic personalities in pop history. The Londoner, who on August 25 will be 59 years, did not shrink because of poor ticket sales and offered an energetic show a unique resource: fans enjoyed in electrical format, the proximity of a club without strictures. The accompaniment was real luxury: The Imposters are two thirds of the Attractions (Steve Nieve and Pete Thomas) plus Cracker exbajista Davey Faragher.

On the verge of releasing a new album with the hip-hop group The Roots, Declan McManus offered a generous review of more than two hours of his long career. He did not need the giant wheel to choose the songs and was pecking at an extensive repertoire that delighted the fans. Everyday I write the book, Watching the Detectives, She, I want you, Alison, (What 's so funny' bout) peace, love and understanding ... Song with Rose devoted to victims of Santiago de Compostela and Man Walking my baby back to his lady-Diana Krall-, which acts tonight at Cap Roig. Also seized from his last studio album - National Ransom, 2010 -, with Slow Drag with Josephine, but power prevailed over the folk and roots music. Costello may not have the favor of the public, but because it has never bent his art to serve the market. Many, on Friday lost a historic night.

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Otis Westinghouse
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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Otis Westinghouse » Mon Jul 29, 2013 4:28 pm

Molts merces. M'agrada molt veure una mica de catala aqui, sobre tot amb una paraula com 'al·lusions' incluit!

Forgive me if that's mistake-riddled. As a resident of Barcelona in the late 80s, I retain a love of your (to judge by your name) language, especially when I see 'l·l'!!
There's more to life than books, you know, but not much more

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Santi » Tue Jul 30, 2013 5:05 am

Otis Westinghouse wrote:Molts merces. M'agrada molt veure una mica de catala aqui, sobre tot amb una paraula com 'al·lusions' incluit!

Forgive me if that's mistake-riddled. As a resident of Barcelona in the late 80s, I retain a love of your (to judge by your name) language, especially when I see 'l·l'!!

Enhorabona, encara conserves el teu català! Qualsevol visitant que s'interessa per la nostra cultura serà sempre benvingut.

You are not the first to fall in love with our 'l·l'... :wink:

sweetest punch
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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby sweetest punch » Tue Jul 30, 2013 12:02 pm

I Can't Stand Up / High Fidelity / Radio Radio: http://www.youtube.com/watch?v=KgvKyZ3oc1M
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby The imposter » Tue Jul 30, 2013 2:48 pm

Can anyone identify the song snippet about 4 mins into "Bedlam" ? It was also played at Tilburg too I think, but not in San Sebastian.. It's a similar riff to "Big Kick Plain Scrap" but Elvis sings some lyrics I can't place.. something like .."The reason I know so much about it, is because your love..."

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Azmuda » Tue Jul 30, 2013 3:23 pm

The imposter wrote:...lyrics I can't place.. something like .."The reason I know so much about it, is because your love..."
Google suggests "Clean Up Woman" by Betty Wright.

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby The imposter » Tue Jul 30, 2013 3:55 pm

You nailed it Azmuda ! It most definitely is "Clean Up Woman" a long time favourite track of Elvis. Thanks for that.

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby martinfoyle » Wed Jul 31, 2013 5:38 am

The bootlegs great, though Turpentine is split over 2 files. Here's a mp3 of Walking My Baby Back Home

http://www.mediafire.com/listen/x26hwc9 ... k_Home.mp3

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby krm » Wed Jul 31, 2013 6:42 am

That great feeling to come home after a concert roadtrip and finding the bootleg directly! :-)

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Man out of Time » Sat Aug 03, 2013 6:34 pm

This bootleg available for download, claims to be a recording from the Barcelona show.

http://jazzbluesandcobootleg.blogspot.co.uk/2013/08/elvis-costello-imposters-sala.html?spref=fb

However, it contains 38 songs, whilst the setlist on the Wiki only lists 26. Can anyone who has listened to the concert on Dime, or who was there or whose brother was there clarify whether the setlist on the Wiki is accurate and complete? If so, any ideas on where the extra 12 songs on the bootleg come from?

MOOT

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby johnfoyle » Sat Aug 03, 2013 6:40 pm

I'll ask the bro tomorrow.

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And No Coffee Table
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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby And No Coffee Table » Sat Aug 03, 2013 11:29 pm

Man out of Time wrote:However, it contains 38 songs, whilst the setlist on the Wiki only lists 26. Can anyone who has listened to the concert on Dime, or who was there or whose brother was there clarify whether the setlist on the Wiki is accurate and complete? If so, any ideas on where the extra 12 songs on the bootleg come from?


The 38-song setlist appears to have been copied from the stage setlist, with the "reserve" section removed and "Out Of Time" added.

Image

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Re: Razzmatazz, Barcelona (Spain), July 26, 2013

Postby Santi » Mon Aug 05, 2013 6:44 pm

Man out of Time wrote:However, it contains 38 songs, whilst the setlist on the Wiki only lists 26. Can anyone who has listened to the concert on Dime, or who was there or whose brother was there clarify whether the setlist on the Wiki is accurate and complete?

I was there. Trust the wiki.


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