Elvis/Allen play CUYAHOGA FALLS, Ohio, July 14

Pretty self-explanatory
johnfoyle
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Elvis/Allen play CUYAHOGA FALLS, Ohio, July 14

Postby johnfoyle » Mon May 29, 2006 5:19 pm

http://hob.com/tickets/eventdetail.asp? ... 9391&rss=1

HOUSE OF BLUES PRESENTS
ELVIS COSTELLO & THE IMPOSTERS WITH ALLEN TOUSSAINT

on sale 06.03


Blossom »
1145 W. Steels Corners
Cleveland (Cuyahoga Falls), OH 44223
330.920.8040

price : $30.00 - $65.00 *

date : Fri, July 14
door : 5:30pm
show : 7:30pm
genre : Rock
age : all
------------------------------------------------------------------------------------

Also on in Cuyahoga Falls on that day -

http://cfo.cityofcf.com/website/web2/events.do

Friday July 14, 2006

Touch a Truck

11:00 am - 1:00 pm at Quirk Cultural Center
Want to see a dump truck up close...Or how about a bulldozer? Join us for an up close experience with some big trucks and equipment. All ages welcome. Free! Concessions, face painting and balloons.

ROCKIN' ON THE RIVER
5:00 pm - 11:00 pm at Falls River Square District
Opening Act - Howlin' Cats - A three piece power rock group.
7 p.m. Main Performance - Wild Ave - Returning to Rockin' on the River
Chairman - Bob Earley 330-730-7591

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snarling pup
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Postby snarling pup » Wed May 31, 2006 12:31 pm


Adam2
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Postby Adam2 » Thu Jun 01, 2006 3:57 pm

there are seats in the first few rows available NOW

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King Hoarse
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Postby King Hoarse » Fri Jun 02, 2006 12:19 pm

For Touch a Truck?
What this world needs is more silly men.

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Who Shot Sam?
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Re: Elvis/Allen play CUYAHOGA FALLS, Ohio, July 14

Postby Who Shot Sam? » Fri Jun 02, 2006 12:23 pm

johnfoyle wrote:Touch a Truck

11:00 am - 1:00 pm at Quirk Cultural Center
Want to see a dump truck up close...Or how about a bulldozer? Join us for an up close experience with some big trucks and equipment. All ages welcome. Free! Concessions, face painting and balloons.


Shame it's not in my neck of the woods. My son would be all over that!
Mother, Moose-Hunter, Maverick

Adam2
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Postby Adam2 » Fri Jun 02, 2006 2:07 pm

King Hoarse wrote:For Touch a Truck?



http://www.ticketmaster.com/event/05003 ... orcatid=60

no, for the Elvis show.

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King Hoarse
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Postby King Hoarse » Fri Jun 02, 2006 6:16 pm

I know; hence the jokey font size. But I would touch a truck if it was convenient enough.
What this world needs is more silly men.

Turquoise Pajamas Pt Deux
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Postby Turquoise Pajamas Pt Deux » Fri Jun 02, 2006 6:29 pm

King Hoarse wrote:I know; hence the jokey font size. But I would touch a truck if it was convenient enough.


I thought it was a pretty funny joke KH. :D

Random alert: I just thought of the Jeebus discussion from some months ago. Where has Extreme Honey gone?

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King Hoarse
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Postby King Hoarse » Fri Jun 02, 2006 7:05 pm

Turquoise Pajamas Pt Deux wrote:
King Hoarse wrote:Random alert: I just thought of the Jeebus discussion from some months ago. Where has Extreme Honey gone?


Image ?
What this world needs is more silly men.

Turquoise Pajamas Pt Deux
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Postby Turquoise Pajamas Pt Deux » Fri Jun 02, 2006 9:38 pm

King Hoarse wrote:
Turquoise Pajamas Pt Deux wrote:
King Hoarse wrote:Random alert: I just thought of the Jeebus discussion from some months ago. Where has Extreme Honey gone?


Image ?


That says it all KH. Thanks for the comic relief!

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verbal gymnastics
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Postby verbal gymnastics » Mon Jun 05, 2006 5:41 am

Adam2 wrote:
King Hoarse wrote:For Touch a Truck?



http://www.ticketmaster.com/event/05003 ... orcatid=60

no, for the Elvis show.


Shame - I would have liked a front row ticket for Touch a Truck. I don't even know who Elvis Costello is.
international laughing stock...

johnfoyle
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Postby johnfoyle » Wed Jul 12, 2006 12:29 pm

Two more days to go until Elvis can Touch a Truck!

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King Hoarse
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Postby King Hoarse » Thu Jul 13, 2006 3:34 am

johnfoyle wrote:Two more days to go until Elvis can Touch a Truck!


That's old hat for our El:

http://costellosmobiletruck5089349870.w ... s-ads.com/
What this world needs is more silly men.

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Postby johnfoyle » Thu Jul 13, 2006 1:02 pm

http://music.clevescene.com/Issues/2006 ... =music_rss

Cleveland Scene

Elvis Lives

Costello establishes his legacy with a return to form.
By Chris Parker

Article Published Jul 12, 2006

Of all the artists to emerge from '70s punk and new wave, Elvis Costello stands out for the richness and adventurousness of his catalog. Not all of his many collaborations and genre excursions were successes, but you can't accuse him of resting on his laurels.

With a talent for wordplay and an appreciation for the long history of pop music (his dad was a bandleader), Costello's proven an adaptable songwriter, whether digging into delta R&B with Allen Toussaint, as he did with his latest, The River in Reverse, or going country with some of Elvis Presley's old sidemen, as he did on perhaps his best album, 1986's King of America.

To make sense of Costello's 30 years of music, it helps to break them into four distinct phases:

Stardom, 1977-1982 -- Onetime computer programmer Declan McManus took his nerdy black frames and morphed into malevolent alter-ego Elvis Costello, jumping aboard the punk bandwagon. He says he went out and bought albums by the Sex Pistols and the Clash, then threw out all but the most jagged songs he'd written. During this era, Costello's music focused largely on emotional power struggles, with him usually assuming the role of the downtrodden wimp.

From his stunning debut, My Aim Is True, backed by Clover (later Huey Lewis' band), to the explosive follow-up, This Year's Model, through his sonic and lyrical tour de force Imperial Bedroom, this was Costello's best and most commercial stretch, all backed by his crack band, the Attractions. Signature Track: "Beyond Belief."

Exploration, 1983-1994 -- A middling period in Costello's career, this stretch was marked by experimentation, much of it uneven. By the time of Imperial Bedroom -- which was written on piano, though he can barely play -- Costello was frustrated with the rock idiom. After the two worst albums of his career (the overproduced and aptly titled Punch the Clock and Goodbye Cruel World), he rebounded in '86 with the '60s-inflected Blood & Chocolate and country-flavored King of America.

The year before they came out, he'd divorced his wife after starting an affair with Bebe Buell, Liv Tyler's mother, and he later married Cait O'Riordan of the Pogues. His increasingly baroque next two albums, Spike and Mighty Like a Rose, offered a number of good songs but lacked focus. Albums with a string quartet (Juliet Letters) and the Attractions (Brutal Youth) closed the era with more of a whimper than a bang. Signature Track: "Brilliant Mistake."

Quiescence, 1995-2001 -- After his return to the Attractions, Costello didn't do much of anything: an album of covers recorded years prior (Kojak Variety), an album of songs he wrote for others (All This Useless Beauty), and the terrific Painted From Memory, on which he collaborated with Burt Bacharach. During this time, Costello played with noted jazz musician Bill Frisell, served as artist-in-residence at UCLA, and wrote music for a ballet -- good indications he'd given up professional pop music. Signature Track: "God Give Me Strength."

Prodigal Returns, 2002-2006 -- There was no reason to believe Costello would return to form. It'd been 15 years since his last great album. But in 2002, Costello came out with When I Was Cruel, backed by the Imposters (two-thirds of the Attractions, minus the bitching bassist). That same year, he split with O'Riordan. In May 2003, he announced his engagement to jazz musician Diana Krall and recorded an album of piano ballads, an underrated gem that set the stage for the even better Delivery Man. Recorded in 2004 in Mississippi and backed by the Imposters, it reaffirmed Costello's love of country music, this time of the country-blues variety. A sizzling album, it was followed by his latest with Toussaint, which continues to explore American roots, tracing a New Orleans R&B tributary, and demonstrating that it isn't time to "put out the big light," on Costello just yet. Signature Track: "The River in Reverse."

Music Details
Who / What:
Elvis Costello
Details:
Friday, July 14
Where:
Blossom Music Center

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migdd
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Postby migdd » Thu Jul 13, 2006 4:15 pm

History is rewritten once again! :lol:

At least he got the King of America part sort of right. 8)

johnfoyle
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Postby johnfoyle » Sat Jul 15, 2006 2:39 am

From listserv -

Blossom Music Center, Cuyahoga Falls, Ohio
Friday, July 14, 2006

01 (What's So Funny 'Bout) Peace, Love & Understanding
02 Monkey To Man
03 On Your Way Down
04 A Certain Girl
05 Clown Strike
06 Tears, Tears, And More Tears
07 I Don't Want To Go To) Chelsea
08 Poisoned Rose
09 Broken Promise Land
10 Freedom For The Stallion
11 The River In Reverse
12 Who's Gonna Help Brother Get Further?
13 Wonder Woman
14 Nearer To You
15 Deep Dark Truthful Mirror
16 Brickyard Blues
17 Dust
18 Watching The Detectives
19 Pump It Up

first encore:
20 I Can't Stand Up For Falling Down
21 High Fidelity
22 Get Out Of My LIfe Woman
23 International Echo
24 Alison/Tracks Of My Tears
25 Clubland
26 The Greatest Love

second encore:
27 Big Chief Variations
28 Ascension Day
29 What Do You Want The Girl To Do
30 That's How You Got Killed Before
31 Yes We Can Can
32 Shoo-Ra
33 Slippin' And Slidin'
34 The Sharpest Thorn

Set began at 7:40, last encore ended at 10:22.

A wonderful show. Lots and lots of empty seats--I'd be surprised if
one-third of the pavilion seats were occupied. It did rain just before
the show, but today a guy who works at the CSU radio station told me
that Blossom, last week, had given the station 14 pairs of tickets to
give away. And they didn't sell any lawn seats at all. Elvis, more
than once, invited the audience to move closer to the stage, by word
and by gesturing with his guitar and arms.

My 8th row seats gave me a great look at the horn section but hardly
any look at all at Pete (he didn't have a Lincoln beard, though),
Steve, or Allen (I could see only the top of his head most of the
time). No complaints though--the Crescent City Horns are not only
talented players but interesting to watch.

EC strained a little on the high notes, far more than he did last
month in Ann Arbor. Maybe the tour is taking its toll. But I also
got the definite sense that the musicians were keenly aware that this
was one of the last dates on the tour (Atlanta and New Orleans are
left). They played with great joy. If EC was bummed by the sparse
attendance, he didn't let on.

I consider myself lucky to have seen EC in concert on three successive
months, first with the Atlanta Symphony Orchestra and then with Allen.
This collaboration with Allen especially is one of Elvis's creative
high points, and perhaps one of Allen's too. I hope that a live CD
and/or DVD comes out somewhere down the road. And if you haven't seen
the tour and it's even remotely possible for you to attend the Atlanta
or New Orleans shows, well, get movin'.


--------------------------------------------------------------------------------

http://www.ohio.com/mld/ohio/entertainment/15045844.htm
Akron Beacon Journal, OH

Posted on Sat, Jul. 15, 2006


Costello, Toussaint impress rainy Blossom

Unlikely duo unitein wake of Katrina

( no writer credit)


Elvis Costello and Allen Toussaint's collaboration, The River In Reverse, was born in the aftermath of Hurricane Katrina, which drove the New Orleans music legend from his hometown.

Friday night at Blossom, shortly before the nearly three-hour concert featuring Costello, his band, the Imposters, Toussaint and The Crescent City Horns, Mother Nature seemed to remind stalwart concertgoers of the project's impetus with frequent lightning, thunder and torrential rain.

The pavilion-only show was sparsely populated, which allowed the sound to bounce off the empty seats, muddying the mix a bit.

The folks who were there spent the first two songs -- a peppy (What's So Funny 'Bout) Peace, Love and Understanding? and the more recent Monkey To Man -- making an exodus to the empty seats in the front, followed by a reluctant trickle to the back with quickly tightened Blossom security at their heels as Toussaint entered and sang A Certain Girl, an early hit for The Yardbirds. The duo played nearly all of The River In Reverse, which features a mix of classic Toussaint tracks with new songs co-written by the two. They also sprinkled in Costello's hits and rhythmically appropriate album cuts with new horn arrangements by Toussaint, which added interesting twists.

The taut faux Watching The Detectives became a fussy but fun jazz-noir ska with a typically dramatic piano solo from original Attraction Steve Nieve. Alison got a new elegaic horn and flute intro, plus Toussaint's lovely piano figures.

Just as on the The River In Reverse, Costello, wearing an understated black western-themed suit, did the bulk of the singing. While his familiar, nasal voice and sharp enunciation would seem at odds with the smooth R&B sound of the music, his vocals were soulful and powerful -- particularly on the ballads The Greatest Love, Costello's Poisoned Rose and Deep Dark Truthful Mirror, with Toussaint's modest tenor providing a nice contrast on a funky Get Out My Life Woman.

The set list contained more than 30 songs, and Toussaint's elegant yet rollicking piano was featured prominently throughout, including an encore of variations on a classic Professor Longhair tune that led into the bitter new song Ascension Day.

The overwhelmingly Costello-loving crowd showed its appreciation for Toussaint's music and lively piano playing with dancing and standing ovations, and reacted to Costello's references to the injured city and the government's slow reaction with cheers of support.

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Postby deliveryman » Sat Jul 15, 2006 5:34 am

Some highlights of Blossom. There seemed to be some audibles by Elvis-Wonder Woman being one. Seemed to be called to get the crowd pumped up. By the expression on Allen's face, the duet of What Do you Want the Girl to Do may also have been an audible. Would have to see the setlist to know for certain. Allen's voice was nice counterpoint to Elvis' on that song. Rather than being bothered by the small crowd, Elvis took it on as a challenge and seemed to transform Blossom Music Center into a small packed club. Definitely felt that during the first four songs of the final encore with Allen driving those songs along. The Poisoned Rose and The Greatest Love of All were terrific Elvis' vocal showcases. I was in Get Happy heaven with the one two punch of I Can't Stand Up and High Fidelity. Great piano work by Nieve on Clubland. And the man is gracious. I t would have been easy and would have made sense for Elvis to board the tour bus in the pouring rain, Instead he came over, probably heard the same compliments he has heard thousands of times before but smiled nonetheless, signed autographs and made several fans' night.

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Postby johnfoyle » Mon Jul 17, 2006 12:48 am

http://www.cleveland.com/entertainment/ ... xml&coll=2

REVIEW

Elvis Costello and Allen Toussaint

Sunday, July 16, 2006

John Soeder
Plain Dealer Theater Critic

Bruce Springsteen isn't the only marquee rocker on the road this summer who has been weighing in on current events while celebrating the songbook of a legendary musician.

Elvis Costello may have one-upped the Boss, however. Unlike Springsteen, whose latest project attempts to channel the spirit of folk icon Pete Seeger (minus any direct involvement from the latter), Costello isn't just honoring the music of R&B maestro Allen Toussaint.

Costello and Toussaint are actually on tour together to promote their fetching new album, "The River in Reverse." Along the way, they seem to be hoping to raise the national consciousness, too.

The Rock and Roll Hall of Famers - Class of 2003 (Costello) and Class of 1998 (Toussaint) - teamed up for a pavilion-only concert Friday night at Blossom Music Center. Both of them cut dapper figures in dark suits.

British singer-guitarist icon Costello and his Imposters band - Steve Nieve on keyboards, Davey Faragher on bass and Pete Thomas on drums - wasted no time in establishing a socially conscious mood with their opening salvo, a full-speed-ahead "(What's So Funny 'Bout) Peace, Love and Understanding."

They soon were joined by Toussaint, the piano-playing singer-songwriter and record producer from New Orleans, as well as guitarist Anthony "AB" Brown and the four-piece Crescent City Horns.

The stage was devoid of decoration, putting the emphasis squarely on the extraordinary music.

"This is not what you might call a high-tech show," Costello said. "We can only afford one prop," he added, referring to a miniature George W. Bush action figure.

Costello blamed "incompetence" and "nincompoops" for the ongoing tragedy in Toussaint's hurricane-ravaged hometown.

A handful of fresh tunes off their joint CD, including the poignant title track, pulled no punches as they surveyed, to paraphrase the lyrics, a nation divided by "uncivil" war. The outspoken "Broken Promise Land" alternated between hard-hitting R&B verses and a stripped-down, gospel-style refrain.

Blasts from the storied pasts of the headliners were scattered throughout the concert.

Costello, 51, dusted off the likes of "Watching the Detectives," "Pump It Up" and the ever-lovely "Alison," reborn with a beguiling new arrangement featuring Amadee Castenell of the Crescent City Horns on flute.

Throughout the evening, Costello sang with all the sweaty passion he could muster, particularly during a transcendent "Deep Dark Truthful Mirror." His unhinged guitar solo toward the end of "Dust" was a treat, too.

For his part, 68-year-old Toussaint was never at a loss for some exquisite ivory-tickling, whether he was prefacing "On Your Way Down" with a bluesy vamp or punctuating "A Certain Girl" with a spine-tingling glissando.

He ably handled lead vocals on the latter number, as well as on a fiery rendition of "Who's Gonna Help Brother Get Further?"

When Toussaint paid tribute to one of his idols with a mesmerizing Professor Longhair medley, it was all Costello could do to look on in head-shaking, finger-snapping disbelief.

Toussaint's spidery fingers danced over the keys of his piano like a tarantula on a hot tin roof.

The only disappointment was the turnout, which may have been curtailed by stormy weather. The pavilion was less than half full.

Nonetheless, fans who braved the rain found themselves richly rewarded with a 2½-hour extravaganza by a pair of major talents whose mutual admiration was contagious.


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