Elvis (solo) plays Salt Lake City, April 12 2016

Pretty self-explanatory
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Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Mon Apr 04, 2016 3:59 pm


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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Fri Apr 08, 2016 12:53 pm


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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby And No Coffee Table » Tue Apr 12, 2016 11:47 pm

https://twitter.com/ecsongbysong/status ... 2925393921

A stellar “Stella Hurt” in Salt Lake, 4/12/16.

Image

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby And No Coffee Table » Wed Apr 13, 2016 1:26 am

Setlist from ecsongbysong:

01. Hurry Down Doomsday (The Bugs Are Taking Over)
02. Mystery Dance
03. Accidents Will Happen
04. Ascension Day
05. Church Underground
06. Stella Hurt
07. Clubland
08. Come The Meantimes
09. Matter Of Time
10. Face In The Crowd
11. Walkin' My Baby Back Home
12. Ghost Train
13. Shabby Doll - including Here I Am (Come And Take Me)
14. Watching The Detectives
15. Pads, Paws And Claws
16. Love Field
17. Clown Strike
18. That's Not The Part Of Him You're Leaving
19. Blame It On Cain
20. Down On The Bottom
21. Alison
22. Pump It Up
23. Side By Side
24. Mexican Divorce - including Another Brick In The Wall (Part II)
25. (The Angels Wanna Wear My) Red Shoes
26. When I Write The Book
27. Veronica
28. Almost Blue - on guitar
29. Jimmie Standing In The Rain
30. Brilliant Mistake
31. The Scarlet Tide


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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby verbal gymnastics » Wed Apr 13, 2016 7:01 am

Was Face in the crowd the Tom Petty or Lionel Richie song? My first instinct would of course be the Tom Petty one, but with Elvis' mischievous sense of humour you never know...
international laughing stock...

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby bronxapostle » Wed Apr 13, 2016 7:40 am

verbal gymnastics wrote:Was Face in the crowd the Tom Petty or Lionel Richie song? My first instinct would of course be the Tom Petty one, but with Elvis' mischievous sense of humour you never know...



i'd bet neither. maybe a new EC song? 8)

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Wed Apr 13, 2016 8:49 am

Image

Laurie Hokanson
/ f/book



Image

Toni Youngblood/ f/book

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby Arbogast » Wed Apr 13, 2016 10:24 am

My favorite thing about this tour so far? No hat!!

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Wed Apr 13, 2016 10:27 am

https://twitter.com/ecsongbysong/status ... 6830720001

ecsongbysong ‏@ecsongbysong

@JJohnFoyle it might have been a cover, but it wasn’t Petty. EC said it was the first time he’d played it. I think it’s a new song.

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby And No Coffee Table » Wed Apr 13, 2016 10:36 am

It's probably a coincidence, but Unfaithful Music & Disappearing Ink includes these lyrics which EC considered including in "Tramp the Dirt Down" but rejected based on Alan Bleasdale's advice:

Ah, that's what they all say
You don't understand the way things really are
The reality of the world today
You're just a face in the crowd
And a voice at the bar


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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby And No Coffee Table » Wed Apr 13, 2016 12:19 pm

https://twitter.com/ecsongbysong/status ... 0726016000
https://twitter.com/ecsongbysong/status ... 1125095424
https://twitter.com/ecsongbysong/status ... 7197864962

Some lyrics from "Face In The Crowd": "If you're down, and confused/ And you think you've been used/ And you're only a face in the crowd..."


"Well, I know how that feels/ No one hears your appeals/ And you're lonely, for crying out loud..."


It was played on piano, in stately fashion. It sounded like a showtune, so it could be a new Costello/Bacharach number.


I can't find those lyrics with Google (but I was amused by the reminder that "if you're down and confused" is the opening line from "Love The One You're With"), so I also guess it's a new original.

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Wed Apr 13, 2016 2:11 pm

Photo gallery -

http://www.sltrib.com/csp/mediapool/sit ... id=3320864


http://www.sltrib.com/entertainment/375 ... s-a-detour


Elvis Costello is ‘Da Tour’ guide on winding retrospective of his career

By ROBERT GEHRKE | The Salt Lake Tribune
Apr 12 2016

For more than 2 ½ hours Tuesday night, Elvis Costello guided fans on a tour from his childhood to his early days on tour, through his foray into New Orleans and to his life today as a member of the Rock and Roll Hall of Fame.

If fans were hoping for Costello to simply play the hits, he didn't. Instead the evening at Kingsbury Hall was true to its billing — The Detour — taking off the main road and journeying through parts of Costello's catalog you don't always hear on the radio.

It may have left the casual fan feeling a little lost along the way. But there were plenty of familiar tunes in the more than 30 songs Costello played, and they punctuated his often-charming stories of his life, told essentially in three acts on different parts of the stage, with a giant mock-up of a television displaying old photographs including pictures of a young Costello and his family.

It was, to be sure, somewhat self-indulgent — Elvis' celebration of all things, well, Elvis — but the crowd of 2,000 seemed happy to be along for the ride and Costello proved to be a thorough professional showman, pouring himself into the (mostly) solo set.

Opening Song • Costello hit the stage in dark sunglasses and a dark suit, spiky hair with a line of guitars and images scrolling on the television as he burst right into "Hurry Down Doomsday (The Bugs Are Taking Over)," a deep cut from his 1991 release "Mighty Like a Rose." He was silhouetted by the screen with the scrolling images, including one that looked to be a bill from a show Costello played with some late greats: David Bowie, Lou Reed and Allen Toussaint. "How the devil are ya?" Costello asked afterward, before explaining the concept of his tour — "When my family asks where you're going, you say 'Da tour' " - before diving into "Mystery Dance." Then he told the story of his first time in the United States and a trip to Mexico in a cab with a woman he fancied, but realized it wouldn't work because she wanted to listen to Pink Floyd on the radio. He said he went home and wrote "Accidents Will Happen," the only real hit he played in the first hour of the night.

Crowd Favorite • You probably could've guessed what the crowd most wanted to hear before the doors opened Tuesday. It was, of course, the classic "Alison," which he finally played, now standing inside the giant television set, to kick off an 11-song encore. It was a tender version of the song that Costello has, by now, played thousands of times, but the crowd hooted and stood in appreciation. He followed it up with a version of "Pump It Up" that fell flat without the benefit of the driving rhythm a backup band would normally provide.

Highlight • Two portions of the evening stand out. The first came when Costello left the stage the first time after playing "Watching the Detectives," then returned with the opener, sister act Larkin Poe, who added bluesy guitar and mandolin and soaring harmonies to the next several tracks, including a sweet rendition of "Clown Strike" and "That's Not the Part of Him You're Leaving." The second standout came several songs later, when he played "(The Angels Wanna Wear My) Red Shoes," went into a solid mashup of "When I Write The Book/Every Day I Write the Book" and then "Veronica." He wrapped up a solid set of songs by playing a touching version of "Almost Blue," after it was shouted by someone in the audience.

The Banter • In many ways, the stories Costello sprinkled between songs held together what otherwise might have been a disjointed amalgamation of lesser-known tunes. He told about his father's days as a musician, playing well down the lineup on a show for the Queen Mother that included The Beatles. His father called him a "disgrace to the family" because he wouldn't grow his hair. He told stories about his grandfather, the first in his family who took to music, and stories of his own journeys to America and breaking into the business. "Those were in the days I was trying to rid the world of alcohol — by drinking all of it." He told of trying to get a job for a shipping company, then working on computers, where a friend would try to scare computers and women into responding. "He had all the lady-charming skills of a Donald Trump," he said. Most remarkable was his story about getting to work with Toussaint on the 2006 "River in Reverse" album, recorded after Hurricane Katrina, and played "Ascension Day," which they recorded for the track.

In the Crowd • As you might expect, the crowd skewed older, averaging probably late-40s to early-50s, with lots of thick black glasses that would have made Costello proud. The energy was stifled by the Kingsbury Kurse because, while it's a lovely venue, the rows of theater seating always keep a lid on rock show enthusiasm. It wasn't until the encores that a substantial number of people got on their feet, and even then it felt a little awkward and tentative. Also, as the clock crept toward 11 p.m., more and more folks crept to the door between songs, presumably to relieve sitters or prepare for an early morning, leaving the seating at least on the floor about a quarter empty by the time Costello wrapped up the set.

The Opener • Larkin Poe is a sister act made up of Rebecca and Megan Lovell, both of whom were born more than 12 years after Costello began recording, but despite being young and adorbs, the duo delivered some solid rootsy blues, with Rebecca on guitar and mandolin and Megan on slide guitar. Especially sharp was the title track off their new album, "Trouble in Mind," which is due out Friday, and their cover of "Bang Bang (My Baby Shot Me Down)." And, as mentioned above, they were more than capable of holding their own when backing up Costello on a half-dozen or more songs. Check out this talented duo next time they happen to come through town.

gehrke@sltrib.com

Twitter: @RobertGehrke

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby sulky lad » Wed Apr 13, 2016 2:37 pm

I really like him playing Almost Blue on guitar cos he focuses more on the lyric and the singing than on not hitting bum notes . The worst versions are those on 2003 when he slides onto the piano stool whilst Steve slides off and aus melodica - mad me snigger every time :shock: :wink:

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Re: Elvis (solo) plays Salt Lake City, April 12 2016

Postby johnfoyle » Mon Apr 18, 2016 3:49 pm

http://www.heraldextra.com/entertainmen ... court_mann


The Skinny: A career in hindsight

Court Mann Daily Herald

18 April 2016

Was Elvis Costello precise in his messiness, or messy in his precision?

I’ve been asking myself that question since Tuesday night, when I saw Costello headline Kingsbury Hall. The legendary singer-songwriter played for two hours or so that night. It was a long and winding setlist, full of stories, jokes and deconstructed versions of songs both famous and obscure. Costello is 61 years old now — and his performance style has always been purposely gritty — but even then, I was surprised by how unkempt it all was.

It was a curious performance. I’m still trying to make sense of it, honestly.

Costello is no stranger to gruffness. It’s been an inseparable part of his live persona, and part of his performance charm. His voice is forceful, his guitar playing brutish at times. And yet, from melodies to lyrics to chord structures, his songs are deeply sophisticated and nuanced. That dichotomy can be thrilling.

In a live setting, though, with Costello playing solo as he did Tuesday night, the rough and the refined can sometimes work at cross purposes — the rough swallowing the refined.


That happened a few times Tuesday night. But it might have been intended. This musical deconstruction was a theme of sorts. Old photos, illustrations and videos were projected onto a screen as Costello played and addressed the crowd. He recently released a memoir, and the show felt like its musical manifestation — reflective, conflicted, exhaustive; an acknowledgement that the current interpretation of the past is sometimes quite different from the actual past itself.

This felt most thrilling when Costello played “Watching The Detectives,” a hit from his 1977 debut, “My Aim Is True.” On the number he recorded and looped different guitar parts onstage, queuing the loops at various intervals, then silencing them as he played and sang. That makeshift symphony grew louder and more dissonant as he added more guitar parts. It climaxed in a cacophony of enchantingly obtuse noise. His early work possesses such an acute sense of anger. This iteration of “Watching The Detectives” was just as angry, but it was the anger of age, not the absence of it.

Costello wasn’t attempting a perfect performance on Tuesday. He wanted it to be interesting. Boy, was it.


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