Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
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Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
On Thursday March 5, 2020 the JustTrust UK2020 tour brings Elvis and The Imposters to the SEC Armadillo in Glasgow. Elvis has played the venue twice before, when it was known as the Clyde Auditorium. On the most recent occasion on the Revolver tour in 2012 he was joined onstage by Brigid Kaelin on the Accordion.
Elvis has trailed his UK Tour by tweeting a series of images on his Twitter Account. For the Glasgow show Elvis tweeted a link to this image of Glasgow-born actor David McCallum.
Elvis is clearly attached to the 1960s Spy thriller TV Series - The Man from U.N.C.L.E On the Revolver tour, one of the "jackpot" banners on the Spectacular Spinning Songbook was "Napoleon Solo" - the name of Robert Vaughn's character in the TV series.
Who's going to this show?
MOOT
Elvis has trailed his UK Tour by tweeting a series of images on his Twitter Account. For the Glasgow show Elvis tweeted a link to this image of Glasgow-born actor David McCallum.
Elvis is clearly attached to the 1960s Spy thriller TV Series - The Man from U.N.C.L.E On the Revolver tour, one of the "jackpot" banners on the Spectacular Spinning Songbook was "Napoleon Solo" - the name of Robert Vaughn's character in the TV series.
Who's going to this show?
MOOT
Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
I plan to be there.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Promo interview: https://www.heraldscotland.com/arts_ent ... -pop-rock/
Music: Elvis Costello ‘I’ve always thought of myself as more pop than rock’
TOMORROW, a month before he embarks on a tour of the UK with his band The Imposters that visits both Glasgow and Edinburgh at the start of March, Elvis Costello is surprised to find himself among the nominees at the Grammy Awards at the Staples Center in Los Angeles.
His album Look Now, released just days into the qualifying period to be eligible for this year’s prizes, way back in October 2018, is rubbing shoulders with recordings by John Legend, Barbra Streisand, Michael Buble and Andrea Bocelli in the “traditional pop” category. That the first recording he’d released for eight years was even eligible for an award had bypassed everyone involved in making it.
“It was a big surprise, especially given the company that we are keeping,” Costello confesses. “I try to make good music but beyond that I don’t really want to describe it, although I’ve always thought of myself as more pop than rock. But it is as well that it is a music contest with Barbra — because if it was arm-wrestling, she’d win!
“Seriously, though, if being nominated means that some new people discover us and the record, that is only a good thing.”
Costello is not exactly a stranger to the Grammys. It was there, as a presenter of an award in 2002, that he met his wife, the jazz pianist and singer Diana Krall, and over the years he has clocked up 15 nominations in a dizzying list of categories (including rock and folk) that speak of his eclectic and diverse music-making over the years. His only win came two decades ago in collaboration with Burt Bacharach on the song I Still Have That Other Girl, but his first nomination was 20 years before that. Selecting the winner of the new artist category in the 21st awards back in 1979, the judges inexplicably went for Taste of Honey, of (only) Boogie Oogie Oogie fame, from a shortlist that also included The Cars, Chris Rea and Toto.
Costello’s decision to play a small gig in nearby Pasadena rather than attend that beanfest turned out to be justified, but he admits that it was more because the glittering occasion “did not seem our sort of thing”.
That angry young man of the post-punk New Wave scene was a different character from the more mellow musician speaking to me earlier this month from his Pacific coast home, somewhat further north, in Vancouver. He has come to his management company’s office straight from the school run. The twin boys he has with Krall, Felix and Dexter, are now 13 and the daily commute has been complicated by an unusual fall of snow, a much rarer January occurrence on the west coast of Canada than it is in the east. If the boys are destined to follow their parents into a musical career, Costello says he can’t tell.
“They enter and depart from musical interests so rapidly, I can’t keep up,” he says. But if they are learning that being a musician is a working job, that will be exactly what Costello says he learned from his big band singer father, Ross MacManus.
“I saw that it was not the same thing as being in The Beatles. All the travelling around was not obscure to me as a child, and I saw that it was about going to work, and not very glamorous, and that prepared me for my life after my brief time in the ’70s and ’80s as a pop star.”
Costello turned 65 last year and his last tour had to be curtailed after a performance at the Edinburgh Playhouse when it became clear that he had come back to work too soon after “a procedure” to treat cancer. He now regrets not just cancelling the dates but also having to reveal he had been ill.
“It was a private matter and the last time I toured nobody knew that I’d had that surgery. The problem was that it took so much out of me. My health was secure, but my energy was not restored.”
Although the Edinburgh performance had gone well, when Costello and The Imposters arrived in Newcastle for the next night’s concert, he knew he couldn’t continue.
Proper rest turned out to be all he needed, however. This past year he and the band were on the road a lot in North America, co-headlining a tour with Blondie — “a lot more fun than I expected” — and then with their own Just Trust tour which is now coming to Britain.
The punning name for the dates is intended to convey that the ticket buyer should have no expectations of the content of the set-list and that the band’s repertoire is so large they are able to change it nightly to keep themselves interested, but it has created some false expectations. Costello’s fifth album, released in 1981, was entitled Trust.
“It’s not based around that album,” he says firmly, although some tracks from it may feature. “It just means you have to trust us. We did a tour which featured the Imperial Bedroom album and that made some people think that was what this was, but we won’t be playing the Trust album from top to bottom.”
The composer of a vast back catalogue feels that would be to hog-tie his cohorts unnecessarily.
“The Imposters know so many songs and play them so well. We might decide to put a much better song into the set than one we played last night.”
The recent arrival of two backing singers, Briana Lee and Kitten Kuroi, has further extended the possibilities.
“They can learn to do a song in the afternoon that we’ll play that night, or I can just launch into something without rehearsal and they’ll follow me.”
What is not in Costello’s mind is providing the audience with the hits they may know.
“If that’s your reason to buy a ticket, then don’t buy it. That can’t be in my head when I start to do a show.”
He points out that those favourites vary around the world in any case, with the harrowing epic I Want You his best known song in Holland, for example. Which means that, Grammy success or not, even songs from Look Now are far from guaranteed.
“Or perhaps we’ll play different songs from it in February and March. We are always revising what we play.”
It is a record that he is proud of nonetheless and one he hopes people will be listening to in 20 years time, like Imperial Bedroom or the Bacharach collaboration, Painted from Memory.
“It was not about spontaneous performance; it was arranged meticulously and played very carefully. Going into the studio and letting loose can work too, but I couldn’t have made that album 30 years ago.”
Look Now, as well as including further collaborations with Bacharach and one with Carole King, is festooned with credits for Costello arranging vocal parts, strings and horn sections. A characteristic Costello composition like Stripping Paper, for example, is garlanded with a beautifully scored wind quartet of alto flute, alto sax, French horn and bass clarinet. Its writer says that the instrumentation was designed to match the lyric and be akin to the sound of human breathing.
Among the songs that make the set-lists in Glasgow and Edinburgh, Scotland’s Costello aficionados will also be listening out for the possible inclusion of ones from another current project, a musical based on the 1957 film A Face in the Crowd that is set to open in the coming year. Costello’s interest in musical theatre can be traced back to a commission from Nottingham Playhouse in the early 1990s and some of his 21st-century albums have included songs derived from stage projects that have not made it to full productions.
A Face in the Crowd, which boasted a sharp script by Budd Schulberg and was director Elia Kazan at his political best in the original film incarnation, looks to be just as pertinent a comment on American politics in our time and, although it has been gestating for the best part of five years, its time could well have come.
Its composer is both confident and pragmatic, pointing out that these things take the time they take.
“Hamilton was over ten years in development,” he points out, adding that his own way with the songs is no longer the important issue. “We are now at the time when we have to hear them in the voices of the theatre artists.”
Just Trust Elvis Costello and The Imposters comes to the SEC Armadillo, Glasgow, on March 5 and the Usher Hall, Edinburgh, on March 10
Music: Elvis Costello ‘I’ve always thought of myself as more pop than rock’
TOMORROW, a month before he embarks on a tour of the UK with his band The Imposters that visits both Glasgow and Edinburgh at the start of March, Elvis Costello is surprised to find himself among the nominees at the Grammy Awards at the Staples Center in Los Angeles.
His album Look Now, released just days into the qualifying period to be eligible for this year’s prizes, way back in October 2018, is rubbing shoulders with recordings by John Legend, Barbra Streisand, Michael Buble and Andrea Bocelli in the “traditional pop” category. That the first recording he’d released for eight years was even eligible for an award had bypassed everyone involved in making it.
“It was a big surprise, especially given the company that we are keeping,” Costello confesses. “I try to make good music but beyond that I don’t really want to describe it, although I’ve always thought of myself as more pop than rock. But it is as well that it is a music contest with Barbra — because if it was arm-wrestling, she’d win!
“Seriously, though, if being nominated means that some new people discover us and the record, that is only a good thing.”
Costello is not exactly a stranger to the Grammys. It was there, as a presenter of an award in 2002, that he met his wife, the jazz pianist and singer Diana Krall, and over the years he has clocked up 15 nominations in a dizzying list of categories (including rock and folk) that speak of his eclectic and diverse music-making over the years. His only win came two decades ago in collaboration with Burt Bacharach on the song I Still Have That Other Girl, but his first nomination was 20 years before that. Selecting the winner of the new artist category in the 21st awards back in 1979, the judges inexplicably went for Taste of Honey, of (only) Boogie Oogie Oogie fame, from a shortlist that also included The Cars, Chris Rea and Toto.
Costello’s decision to play a small gig in nearby Pasadena rather than attend that beanfest turned out to be justified, but he admits that it was more because the glittering occasion “did not seem our sort of thing”.
That angry young man of the post-punk New Wave scene was a different character from the more mellow musician speaking to me earlier this month from his Pacific coast home, somewhat further north, in Vancouver. He has come to his management company’s office straight from the school run. The twin boys he has with Krall, Felix and Dexter, are now 13 and the daily commute has been complicated by an unusual fall of snow, a much rarer January occurrence on the west coast of Canada than it is in the east. If the boys are destined to follow their parents into a musical career, Costello says he can’t tell.
“They enter and depart from musical interests so rapidly, I can’t keep up,” he says. But if they are learning that being a musician is a working job, that will be exactly what Costello says he learned from his big band singer father, Ross MacManus.
“I saw that it was not the same thing as being in The Beatles. All the travelling around was not obscure to me as a child, and I saw that it was about going to work, and not very glamorous, and that prepared me for my life after my brief time in the ’70s and ’80s as a pop star.”
Costello turned 65 last year and his last tour had to be curtailed after a performance at the Edinburgh Playhouse when it became clear that he had come back to work too soon after “a procedure” to treat cancer. He now regrets not just cancelling the dates but also having to reveal he had been ill.
“It was a private matter and the last time I toured nobody knew that I’d had that surgery. The problem was that it took so much out of me. My health was secure, but my energy was not restored.”
Although the Edinburgh performance had gone well, when Costello and The Imposters arrived in Newcastle for the next night’s concert, he knew he couldn’t continue.
Proper rest turned out to be all he needed, however. This past year he and the band were on the road a lot in North America, co-headlining a tour with Blondie — “a lot more fun than I expected” — and then with their own Just Trust tour which is now coming to Britain.
The punning name for the dates is intended to convey that the ticket buyer should have no expectations of the content of the set-list and that the band’s repertoire is so large they are able to change it nightly to keep themselves interested, but it has created some false expectations. Costello’s fifth album, released in 1981, was entitled Trust.
“It’s not based around that album,” he says firmly, although some tracks from it may feature. “It just means you have to trust us. We did a tour which featured the Imperial Bedroom album and that made some people think that was what this was, but we won’t be playing the Trust album from top to bottom.”
The composer of a vast back catalogue feels that would be to hog-tie his cohorts unnecessarily.
“The Imposters know so many songs and play them so well. We might decide to put a much better song into the set than one we played last night.”
The recent arrival of two backing singers, Briana Lee and Kitten Kuroi, has further extended the possibilities.
“They can learn to do a song in the afternoon that we’ll play that night, or I can just launch into something without rehearsal and they’ll follow me.”
What is not in Costello’s mind is providing the audience with the hits they may know.
“If that’s your reason to buy a ticket, then don’t buy it. That can’t be in my head when I start to do a show.”
He points out that those favourites vary around the world in any case, with the harrowing epic I Want You his best known song in Holland, for example. Which means that, Grammy success or not, even songs from Look Now are far from guaranteed.
“Or perhaps we’ll play different songs from it in February and March. We are always revising what we play.”
It is a record that he is proud of nonetheless and one he hopes people will be listening to in 20 years time, like Imperial Bedroom or the Bacharach collaboration, Painted from Memory.
“It was not about spontaneous performance; it was arranged meticulously and played very carefully. Going into the studio and letting loose can work too, but I couldn’t have made that album 30 years ago.”
Look Now, as well as including further collaborations with Bacharach and one with Carole King, is festooned with credits for Costello arranging vocal parts, strings and horn sections. A characteristic Costello composition like Stripping Paper, for example, is garlanded with a beautifully scored wind quartet of alto flute, alto sax, French horn and bass clarinet. Its writer says that the instrumentation was designed to match the lyric and be akin to the sound of human breathing.
Among the songs that make the set-lists in Glasgow and Edinburgh, Scotland’s Costello aficionados will also be listening out for the possible inclusion of ones from another current project, a musical based on the 1957 film A Face in the Crowd that is set to open in the coming year. Costello’s interest in musical theatre can be traced back to a commission from Nottingham Playhouse in the early 1990s and some of his 21st-century albums have included songs derived from stage projects that have not made it to full productions.
A Face in the Crowd, which boasted a sharp script by Budd Schulberg and was director Elia Kazan at his political best in the original film incarnation, looks to be just as pertinent a comment on American politics in our time and, although it has been gestating for the best part of five years, its time could well have come.
Its composer is both confident and pragmatic, pointing out that these things take the time they take.
“Hamilton was over ten years in development,” he points out, adding that his own way with the songs is no longer the important issue. “We are now at the time when we have to hear them in the voices of the theatre artists.”
Just Trust Elvis Costello and The Imposters comes to the SEC Armadillo, Glasgow, on March 5 and the Usher Hall, Edinburgh, on March 10
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: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Who’s going?
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: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
So we got Tokyo Storm Warning with a blinding couple of lead solos by Elvis, FlutterAnd Wow and I Want You for the first time on this tour. No Psycho though Elvis joked that it was the first time for 40 years that no one had yelled out for it ( someone had but he hadn’t heard)and immediately a couple of Scottish wags shouted out for it and Elvis immediately replied “I’m still not going to fucking play it” . We also got I Let The Sun Go Down with Elvis
on piano after A Face In The Crowd. There was plenty of space at the front to dance but there were ushers all around the hall pouncing on any prolonged mobile phone users !
Setlist to follow tomorrow but certainly the first 6 were the same as Sunderland
on piano after A Face In The Crowd. There was plenty of space at the front to dance but there were ushers all around the hall pouncing on any prolonged mobile phone users !
Setlist to follow tomorrow but certainly the first 6 were the same as Sunderland
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
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: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Oh sorry: this was me putting a partial list here as we await sulkys final tally.sweetest punch wrote:https://www.setlist.fm/setlist/elvis-co ... 988ba.html
May i inquire.... what is the PSYCHO in Glasgow connection please?
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Here’s a question for which the answer would ensure I am never welcome in Scotland again!bronxapostle wrote:May i inquire.... what is the PSYCHO in Glasgow connection please?
Who’s this kid with his mumbo jumbo?
Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Add at least shipbuilding and cant stand up. Probably a few moee.bronxapostle wrote:Oh sorry: this was me putting a partial list here as we await sulkys final tally.sweetest punch wrote:https://www.setlist.fm/setlist/elvis-co ... 988ba.html
May i inquire.... what is the PSYCHO in Glasgow connection please?
And radio radio, Pump it up, Chelsea.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Well, THAT DON'T HELP ME NONE!verbal gymnastics wrote:Here’s a question for which the answer would ensure I am never welcome in Scotland again!bronxapostle wrote:May i inquire.... what is the PSYCHO in Glasgow connection please?
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Setlist :-
1. Strict Time
2. Clubland
3. Green Shirt
4. Accidents Will Happen
5. Watch Your Step
6. Tokyo Storm Warning
7. Flutter And Wow
8. (I Don't Want To Go To) Chelsea
9. Unwanted Number - 99 1/2 Won't Do
10. Watching The Detectives
11. Good Year For The Roses - EC on piano
12. A Face In The Crowd - EC on piano
13. I Let The Sun Go Down EC on piano
14. I Can't Stand Up (For Falling Down) - slow version EC on piano
15. Radio Radio
16. High Fidelity
17. From A Whisper To A Scream
18. Alison - I'm Gonna Make You Love Me
19. Everyday I Write The Boom - Mr. Big Stuff - End Of The Road - snippet , just one line( ?Gladys Knight song?)
20. Pump It Up
21. Shipbuilding
22. I Want You - I Believe To My Soul
23. Oliver's Army
24. (What's So Funny 'Bout) Peace, Love And Understanding
Probably the longest show of the tour so far but a relatively tame and unresponsive audience, I felt _ well compared to Barrowlands in the past.
Elvis made a joke about him having Sid James' dressing room in Sunderland - the theatre where Sid collapsed and died during a performance of the 60s classic "The Mating Game" - obviously having a run in Sunderland at the time !! Elvis also had a crack at the Royal family although tempered a little though he seemed bitter his father had been to Buck House twice but gone in through the tradesmen's entrance whereas he went through the front door to collect his gong. There was also a anti -England and Brexit dig with a suggestion that Eire, Northern Ireland and Scotland could form a Celtic Union (what about Wales I say ?)
Decent enough version of I Want You and Ray Charles' I Believe To My Soul tacked in . Seemed a bit boomy and the bass drum and tom-toms seemed to overpower things in the loud songs from my third row seat
1. Strict Time
2. Clubland
3. Green Shirt
4. Accidents Will Happen
5. Watch Your Step
6. Tokyo Storm Warning
7. Flutter And Wow
8. (I Don't Want To Go To) Chelsea
9. Unwanted Number - 99 1/2 Won't Do
10. Watching The Detectives
11. Good Year For The Roses - EC on piano
12. A Face In The Crowd - EC on piano
13. I Let The Sun Go Down EC on piano
14. I Can't Stand Up (For Falling Down) - slow version EC on piano
15. Radio Radio
16. High Fidelity
17. From A Whisper To A Scream
18. Alison - I'm Gonna Make You Love Me
19. Everyday I Write The Boom - Mr. Big Stuff - End Of The Road - snippet , just one line( ?Gladys Knight song?)
20. Pump It Up
21. Shipbuilding
22. I Want You - I Believe To My Soul
23. Oliver's Army
24. (What's So Funny 'Bout) Peace, Love And Understanding
Probably the longest show of the tour so far but a relatively tame and unresponsive audience, I felt _ well compared to Barrowlands in the past.
Elvis made a joke about him having Sid James' dressing room in Sunderland - the theatre where Sid collapsed and died during a performance of the 60s classic "The Mating Game" - obviously having a run in Sunderland at the time !! Elvis also had a crack at the Royal family although tempered a little though he seemed bitter his father had been to Buck House twice but gone in through the tradesmen's entrance whereas he went through the front door to collect his gong. There was also a anti -England and Brexit dig with a suggestion that Eire, Northern Ireland and Scotland could form a Celtic Union (what about Wales I say ?)
Decent enough version of I Want You and Ray Charles' I Believe To My Soul tacked in . Seemed a bit boomy and the bass drum and tom-toms seemed to overpower things in the loud songs from my third row seat
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Was SUN GO DOWN solo please AND PLEASE PLEASE, what is the PSYCHO GLASGOW connect sulky? Thanks, curious ba
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
More importantly, do we now know the new verse for Oliver’s Army?
Who’s this kid with his mumbo jumbo?
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
This is probably "The End of Our Road," which was indeed recorded first by Gladys Knight — but it was Marvin Gaye's version that EC played in a 1983 guest DJ spot and included in the Costello's 500 list in 2000.sulky lad wrote:End Of The Road - snippet , just one line( ?Gladys Knight song?)
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
14, ever, live performances of Psycho.bronxapostle wrote:< ... May i inquire.... what is the PSYCHO in Glasgow connection please?
5 of them were in Scotland (4 in Glasgow), over the course of 20 years.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Yes saw those numbers. Guess it was just some insistent fan(s) calling for it regularly there? Glad i caught it in NYC the one time. Thanks Dr. L. HOPE YOU AND THE FAMILY ARE WELL. My best regards, bennyDr. Luther wrote:14, ever, live performances of Psycho.bronxapostle wrote:< ... May i inquire.... what is the PSYCHO in Glasgow connection please?
5 of them were in Scotland (4 in Glasgow), over the course of 20 years.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
All is well, thank you.bronxapostle wrote:Yes saw those numbers. Guess it was just some insistent fan(s) calling for it regularly there? Glad i caught it in NYC the one time. Thanks Dr. L. HOPE YOU AND THE FAMILY ARE WELL. My best regards, bennyDr. Luther wrote:14, ever, live performances of Psycho.bronxapostle wrote:< ... May i inquire.... what is the PSYCHO in Glasgow connection please?
5 of them were in Scotland (4 in Glasgow), over the course of 20 years.
Regarding this Psycho/Glasgow dynamic: there's clearly a concerted effort in effect here to not educate us ignorant Yanks on this matter.
The details must be horrifying...
Last edited by Dr. Luther on Fri Mar 06, 2020 8:52 pm, edited 1 time in total.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
No conspiracy as far as I’m aware chaps!Dr. Luther wrote:All is well, thank you.bronxapostle wrote:Yes saw those numbers. Guess it was just some insistent fan(s) calling for it regularly there? Glad i caught it in NYC the one time. Thanks Dr. L. HOPE YOU AND THE FAMILY ARE WELL. My best regards, bennyDr. Luther wrote:
14, ever, live performances of Psycho.
5 of them were in Scotland (4 in Glasgow), over the course of 20 years.
Regarding this Psycho/Glasgow dynamic: there's clearly a concerted effort in effecr here to not educate us ignorant Yanks on this matter.
The details must be horrifying...
It just seems to have been a regular request here and if I remember correctly even got shouted fir in 2008 when Elvis played with the Royal Scottish National Orchestra by which time it seemed to be a standing joke amongst the audience and Elvis. I’m not aware of any other reason for it other than that Elvis once mentioned in an interview somewhere (MOOT or ANCT) that someone in Scotland ( and maybe Glasgow in particular) always calls out for it ! Nothing more sinister than that to the best of my knowledge.
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Awww -- that's no fun.
Thank you for the input, however...
Thank you for the input, however...
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
Haha...i was thinking they were holding back a juicy story too. honestly, sulky and vg, alongside a small handful of members are true blue, salt of the earth friends and SO good to call you dr. L and docinwestchester, anct, jmm, John Foyle and a couple others here...my REAL FRIENDS!!Dr. Luther wrote:Awww -- that's no fun.
Thank you for the input, however...
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
It was tempting to make up some sort of scurrilous story but these things come back to bite you. I would add that Glasgow has a reputation in England of having fanatical football supporters of either Protestant Rangers or Catholic Celtic and some of them can be regarded as approaching Psycho status !Dr. Luther wrote:Awww -- that's no fun.
Thank you for the input, however...
And thanks BA although I don’t know a few of you from face to face meetings ( and I was privileged to meet Dave Favehour in 1995) nonetheless I feel like I know and love many pf you for your comments and responses over many years
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Re: Elvis & The Imposters play SEC Armadillo, Glasgow, March 5, 2020
AND THE SWAPPING OF INFO, SOUNDS & EPHEMERA TOO. which i would then be remiss to NOT include my first 2 suppliers ....TONY S & Ct. Cal. And your inclusion of favedave rounds out my best buddies with my best ever air mail trader ANDREW OF SHEFFIELD! lastly, to make it the dirty dozen, a great NY cohort who i don't believe posts here either...mr. mitch. long may we all run...EC, FIRSTLY!!!sulky lad wrote: And thanks BA although I don’t know a few of you from face to face meetings ( and I was privileged to meet Dave Favehour in 1995) nonetheless I feel like I know and love many pf you for your comments and responses over many years