It'd be great to see a Costello and Toussaint only show.
However, I'd settle for seeing the show as it is. PLEASE come to Europe!
River in Reverse discussion
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verbal gymnastics
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http://www.post-gazette.com/pg/06173/700170-42.stm
Pittsburgh Post Gazette, PA
Thursday, June 22, 2006
ELVIS COSTELLO & ALLEN TOUSSAINT 'THE RIVER IN REVERSE' (VERVE/FORECAST)
From "Get Happy" and "King of America" to 2004's "The Delivery Man," any number of Elvis Costello's most inspired detours have taken their cues from America's musical past. "The River in Reverse" is no exception.
Recorded with New Orleans R&B/soul legend Allen Toussaint, who wrote or co-wrote all but one of 13 tracks, this soulful classic stands as a true collaboration and a moving tribute to New Orleans in the wake of Hurricane Katrina, fleshed out by the Crescent City Horns and Costello's Imposters (led by Steve Nieve on gonzo Hammond B-3 organ).
Nearly every track, some written more than 30 years before the flood, is colored by New Orleans' rich traditions, recalling the Meters in moments as funky as "Tears, Tears and More Tears" and working their way back to church on the ballads. But it's also colored by the pain and devastation of recent events and what our government's response time had to say about the class divide that still in many ways defines our nation.
In his only vocal showcase, "Who's Gonna Help Brother Get Further?," Toussaint can't help but wonder, "What happened to the Liberty Bell I heard so much about? Did it really ding-dong? It must have dinged wrong. It didn't ding long." In the lead-off track, a horn- fueled slab of after-hours juke-joint soul, Costello makes the most of his collaborator's outrage, spitting out the words "You think the sun rises and sets for you/But the same sun rises, sets and shines for the poor folks too," with a venom as vital as anything he's done since "Blood and Chocolate." An "uncivil war divides the nation" in Costello's swampy title track, while "Broken Promise Land" delivers on the righteous promise of its title. And the stately Band-like "Freedom for the Stallion" asks God, "What you gonna do about the people who are praying to you? They got men making laws that destroy other men/They've made money 'God'/It's a doggone sin."
But there are other highlights that don't have much of anything to do with post-Katrina life in Broken Promise Land. And those are brilliant, too, from the soulful beauty of "Nearer To You," which makes the most of Costello's falsetto, to "The Sharpest Thorn," a Celtic-flavored gospel track that could pass for a "King of America" outtake. Every song here has its merits, though, from Joe Henry's earthy production to Toussaint's piano, the backing of both the Imposters and the Crescent City Horns and, more than anything, Costello's vocals, which nail the emotional essence of Toussaint's material in ways that make it easier than ever to scoff at the anti-Costello contingent's tired cries of "genre dabbling." This is music from -- and for -- the heart.
-- Ed Masley for the Post-Gazette
Pittsburgh Post Gazette, PA
Thursday, June 22, 2006
ELVIS COSTELLO & ALLEN TOUSSAINT 'THE RIVER IN REVERSE' (VERVE/FORECAST)
From "Get Happy" and "King of America" to 2004's "The Delivery Man," any number of Elvis Costello's most inspired detours have taken their cues from America's musical past. "The River in Reverse" is no exception.
Recorded with New Orleans R&B/soul legend Allen Toussaint, who wrote or co-wrote all but one of 13 tracks, this soulful classic stands as a true collaboration and a moving tribute to New Orleans in the wake of Hurricane Katrina, fleshed out by the Crescent City Horns and Costello's Imposters (led by Steve Nieve on gonzo Hammond B-3 organ).
Nearly every track, some written more than 30 years before the flood, is colored by New Orleans' rich traditions, recalling the Meters in moments as funky as "Tears, Tears and More Tears" and working their way back to church on the ballads. But it's also colored by the pain and devastation of recent events and what our government's response time had to say about the class divide that still in many ways defines our nation.
In his only vocal showcase, "Who's Gonna Help Brother Get Further?," Toussaint can't help but wonder, "What happened to the Liberty Bell I heard so much about? Did it really ding-dong? It must have dinged wrong. It didn't ding long." In the lead-off track, a horn- fueled slab of after-hours juke-joint soul, Costello makes the most of his collaborator's outrage, spitting out the words "You think the sun rises and sets for you/But the same sun rises, sets and shines for the poor folks too," with a venom as vital as anything he's done since "Blood and Chocolate." An "uncivil war divides the nation" in Costello's swampy title track, while "Broken Promise Land" delivers on the righteous promise of its title. And the stately Band-like "Freedom for the Stallion" asks God, "What you gonna do about the people who are praying to you? They got men making laws that destroy other men/They've made money 'God'/It's a doggone sin."
But there are other highlights that don't have much of anything to do with post-Katrina life in Broken Promise Land. And those are brilliant, too, from the soulful beauty of "Nearer To You," which makes the most of Costello's falsetto, to "The Sharpest Thorn," a Celtic-flavored gospel track that could pass for a "King of America" outtake. Every song here has its merits, though, from Joe Henry's earthy production to Toussaint's piano, the backing of both the Imposters and the Crescent City Horns and, more than anything, Costello's vocals, which nail the emotional essence of Toussaint's material in ways that make it easier than ever to scoff at the anti-Costello contingent's tired cries of "genre dabbling." This is music from -- and for -- the heart.
-- Ed Masley for the Post-Gazette
http://blogs.ocregister.com/poplife/arc ... _minu.html
June 15, 2006
A few more minutes with Elvis Costello
You'd think, given the length of my Friday piece about Elvis Costello & Allen Toussaint's new collaborative album, The River in Reverse, and how their appearance Sunday at the Hollywood Bowl coincides with the Playboy Jazz Festival's salute to New Orleans this year, that I would have included everything worth mentioning from my interview with the two disparate legends. (That is, you might think so if you're reading this Friday or later. If you come across this before then, well, consider it a sneak preview.)
But as often happens, I have leftovers, and these bits - and the subject who spoke them - are too interesting (to me, anyway) to leave languishing in my notebook.
One response focuses on Costello & Toussaint's appearance at the New Orleans Jazz & Heritage Festival in April, where they were on the main stage just before Bruce Springsteen unveiled his Seeger Sessions show. By all accounts (as I've mentioned elsewhere) it was a most moving experience; Toussaint called it "the most important Jazz Fest ever" when I asked him about it.
My question to Elvis was trite - something about how it felt to be part of that particular event. That's the sort of query I wouldn't suspect Costello to take in stride, but it turns out he's not nearly as prickly as you might think these days. Just serious. Gracious, but focused.
"When you're at big open-air festivals," he said, "it's often about big choruses and not about little details and lyrics. It's just not that kind of listening you go there for. You come for the sensory experience and to be with friends, so the music that prevails are big anthemic pieces.
"But that was not the case at this festival at all. People were really listening. They were also having a great time, but they were really listening to what was being said. It had a particularly memorable feel to it. I don't think I'll ever forget that."
To end our chat, I asked him if he prefers collaboration to solo endeavors, given that in the past decade he's worked with everyone from Toussaint and Burt Bacharach to opera singer Anne Sofie Von Otter. Is it more rewarding or challenging at this stage in his career?
I think his response explains a great deal about his attitude toward his craft and creativity - and why making what some people consider a traditional Elvis Costello album often holds zero interest for him.
"Isn't everything you do a form of collaboration?" he responded. "Even if I were to make a record with just the Imposters, as I did on the last go-'round (The Delivery Man), that is still a collaboration. It's a collaboration with the producer you work with, with the players you have backing you.
"That goes right back to the beginning of my career. I didn't even know quite what I was doiing when I first got into the studio with Nick Lowe and the Attractions." (Aside to nitpicky EC nuts: Yes, I'm sure he's aware that he made his first record, My Aim Is True, without the Attractions. He seemed to be speaking generally.) "We just made records. Then we went out and played some shows. Then we made some more records, you know?
"At a certain point some opportunities came my way to really write a body of songs with some notable songwriters, and to do some things that were very different than the music I started out with. And I suppose (those projects) have been noted more than the mechanism that goes into the making of everything you ever do.
"I'm also aware that there are some people in this world who wish I would just make a rock 'n' roll record with ... well, probably they wish it was with the Attractions. But that can never happen. That would be an inferior venture. To my mind, I've made those records already. Those records are great."
To him, dwelling in the past like that "is like when you're 12 years old, and you wrrite on a piece of paper your favorite sports team made up of all the players from all the teams you like, and you think that team would be the world leader. The reality is that every piece of music you make is made in the moment you make it, in the circumstances you're in, with the tools that you've got, with the skills that you've accumulated.
"That's been my experience. And why I still have curiosity and excitement about making music is that I haven't stayed with one idea. I've remained open to lots of new things. And occasonally one of those things is to pick up an electric guitar and start yelling. But that isn't inherently superior to doing something with a string quartet or an orchestra, or to enter into something as joyful as this collaboration with Allen.
"Though much of this music has lament in its voice, and there are some angry or accusatory lines in some of the songs, the actual experience of recording it was one of the most joyful occasions of making music that I can ever remember having anywhere. And that probably is superior to just going into a dark room and bashing out a lot of what you think people want to hear from you, becase you're afraid to let go of the past."Posted by Ben Wener at June 15, 2006 05:23 PM
June 15, 2006
A few more minutes with Elvis Costello
You'd think, given the length of my Friday piece about Elvis Costello & Allen Toussaint's new collaborative album, The River in Reverse, and how their appearance Sunday at the Hollywood Bowl coincides with the Playboy Jazz Festival's salute to New Orleans this year, that I would have included everything worth mentioning from my interview with the two disparate legends. (That is, you might think so if you're reading this Friday or later. If you come across this before then, well, consider it a sneak preview.)
But as often happens, I have leftovers, and these bits - and the subject who spoke them - are too interesting (to me, anyway) to leave languishing in my notebook.
One response focuses on Costello & Toussaint's appearance at the New Orleans Jazz & Heritage Festival in April, where they were on the main stage just before Bruce Springsteen unveiled his Seeger Sessions show. By all accounts (as I've mentioned elsewhere) it was a most moving experience; Toussaint called it "the most important Jazz Fest ever" when I asked him about it.
My question to Elvis was trite - something about how it felt to be part of that particular event. That's the sort of query I wouldn't suspect Costello to take in stride, but it turns out he's not nearly as prickly as you might think these days. Just serious. Gracious, but focused.
"When you're at big open-air festivals," he said, "it's often about big choruses and not about little details and lyrics. It's just not that kind of listening you go there for. You come for the sensory experience and to be with friends, so the music that prevails are big anthemic pieces.
"But that was not the case at this festival at all. People were really listening. They were also having a great time, but they were really listening to what was being said. It had a particularly memorable feel to it. I don't think I'll ever forget that."
To end our chat, I asked him if he prefers collaboration to solo endeavors, given that in the past decade he's worked with everyone from Toussaint and Burt Bacharach to opera singer Anne Sofie Von Otter. Is it more rewarding or challenging at this stage in his career?
I think his response explains a great deal about his attitude toward his craft and creativity - and why making what some people consider a traditional Elvis Costello album often holds zero interest for him.
"Isn't everything you do a form of collaboration?" he responded. "Even if I were to make a record with just the Imposters, as I did on the last go-'round (The Delivery Man), that is still a collaboration. It's a collaboration with the producer you work with, with the players you have backing you.
"That goes right back to the beginning of my career. I didn't even know quite what I was doiing when I first got into the studio with Nick Lowe and the Attractions." (Aside to nitpicky EC nuts: Yes, I'm sure he's aware that he made his first record, My Aim Is True, without the Attractions. He seemed to be speaking generally.) "We just made records. Then we went out and played some shows. Then we made some more records, you know?
"At a certain point some opportunities came my way to really write a body of songs with some notable songwriters, and to do some things that were very different than the music I started out with. And I suppose (those projects) have been noted more than the mechanism that goes into the making of everything you ever do.
"I'm also aware that there are some people in this world who wish I would just make a rock 'n' roll record with ... well, probably they wish it was with the Attractions. But that can never happen. That would be an inferior venture. To my mind, I've made those records already. Those records are great."
To him, dwelling in the past like that "is like when you're 12 years old, and you wrrite on a piece of paper your favorite sports team made up of all the players from all the teams you like, and you think that team would be the world leader. The reality is that every piece of music you make is made in the moment you make it, in the circumstances you're in, with the tools that you've got, with the skills that you've accumulated.
"That's been my experience. And why I still have curiosity and excitement about making music is that I haven't stayed with one idea. I've remained open to lots of new things. And occasonally one of those things is to pick up an electric guitar and start yelling. But that isn't inherently superior to doing something with a string quartet or an orchestra, or to enter into something as joyful as this collaboration with Allen.
"Though much of this music has lament in its voice, and there are some angry or accusatory lines in some of the songs, the actual experience of recording it was one of the most joyful occasions of making music that I can ever remember having anywhere. And that probably is superior to just going into a dark room and bashing out a lot of what you think people want to hear from you, becase you're afraid to let go of the past."Posted by Ben Wener at June 15, 2006 05:23 PM
http://www.clevescene.com/issues/2006-0 ... efault_rss
Cleveland Scene
Elvis Costello and Allen Toussaint
The River in Reverse (Verve)
By Steve Bloom
Article Published Jun 21, 2006
After Katrina washed legendary songwriter-producer-pianist Allen Toussaint out of his New Orleans home and into New York, he and Elvis Costello decided to cut a record. Their combined bands -- Costello's Imposters and Toussaint's horn section and guitarist -- laid down 13 tracks last October, fresh from the storm.
Toussaint brings out Costello's funky side on their five collaborations, while Costello wrote the title track and the rest of the album. The River in Reverse includes covers of several of Toussaint's lesser-known hits, the best of which is "Who's Gonna Help Brother Get Further?" -- originally written for Lee Dorsey. The song oozes with grit, punchy horns, snaky organ, and amusing lyrics.
Costello steps out on "The River in Reverse," the keynote song of the album. "I don't see how it can get much worse," he sings. "What can we do to send the river in reverse?" An emotional tour de force, it's his most meaningful performance since 1979's "(What's So Funny 'Bout) Peace, Love and Understanding."
Whether it's inspired renditions ("On Your Way Down," "Ascension Day," "Freedom for the Stallion") or ferocious collaborations ("Broken Promise Land," "Six-Fingered Man"), Costello and Toussaint always find the groove. Together the two musical giants deliver a scorching R&B session that'll move you and keep you moving.
Cleveland Scene
Elvis Costello and Allen Toussaint
The River in Reverse (Verve)
By Steve Bloom
Article Published Jun 21, 2006
After Katrina washed legendary songwriter-producer-pianist Allen Toussaint out of his New Orleans home and into New York, he and Elvis Costello decided to cut a record. Their combined bands -- Costello's Imposters and Toussaint's horn section and guitarist -- laid down 13 tracks last October, fresh from the storm.
Toussaint brings out Costello's funky side on their five collaborations, while Costello wrote the title track and the rest of the album. The River in Reverse includes covers of several of Toussaint's lesser-known hits, the best of which is "Who's Gonna Help Brother Get Further?" -- originally written for Lee Dorsey. The song oozes with grit, punchy horns, snaky organ, and amusing lyrics.
Costello steps out on "The River in Reverse," the keynote song of the album. "I don't see how it can get much worse," he sings. "What can we do to send the river in reverse?" An emotional tour de force, it's his most meaningful performance since 1979's "(What's So Funny 'Bout) Peace, Love and Understanding."
Whether it's inspired renditions ("On Your Way Down," "Ascension Day," "Freedom for the Stallion") or ferocious collaborations ("Broken Promise Land," "Six-Fingered Man"), Costello and Toussaint always find the groove. Together the two musical giants deliver a scorching R&B session that'll move you and keep you moving.
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Boy With A Problem
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Finally picked my copy up on Monday at the airport. I did intend on buying it last weekend at the Virgin Megastore in Oxford Street but the price was £18.99 ($34.53 or €27.61) - ouch! as it was I paid £15.31 ($27.84 or €22.26) - I like the record - good record, but the prices are hard to justify (it did come with the dvd).martinfoyle wrote:The album is in the chainstores in Dublin, prices ranging from 20Euro/$25 for the cd edition to a jawdropping 25Euro/$32 for the dvd edition. Tower have given it some display space, it's hidden away in the racks in the other shops. In contrast Mundys excellent live album is plastered all over the place, selling for 20 Euro. Guess which one I bought at Road.
Everyone just needs to fuckin’ relax. Smoke more weed, the world is ending.
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
http://livinginstereo.com/?p=187
http://www.nodepression.net/
*****Finally, the new edition of No Depression (where I’m a senior editor) should be at your favorite newstand by now. The excellent cover story by Don McCleese is on Allen Toussaint and Elvis Costello, and the issue also includes Barry Mazor on Irma Thomas, Bill Friskics-Warren on Candi Staton, Joe Nick Potaski with an epic look at Los Lonely Boys, and yours truly writing about Johnny Cash’s last will and testament, American V: A Hundred Highways. Plus lots of other swell stuff. Check it out, and talk to you soon.
http://www.nodepression.net/
*****Finally, the new edition of No Depression (where I’m a senior editor) should be at your favorite newstand by now. The excellent cover story by Don McCleese is on Allen Toussaint and Elvis Costello, and the issue also includes Barry Mazor on Irma Thomas, Bill Friskics-Warren on Candi Staton, Joe Nick Potaski with an epic look at Los Lonely Boys, and yours truly writing about Johnny Cash’s last will and testament, American V: A Hundred Highways. Plus lots of other swell stuff. Check it out, and talk to you soon.
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Bad Ambassador
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- Contact:
Tremendous price on the vinyl edition
http://www.amazon.co.uk/exec/obidos/tg/ ... 27-7854833
http://www.amazon.co.uk/exec/obidos/tg/ ... 27-7854833
http://hypebot.typepad.com/hypebot/2006 ... _in_2.html
Coalition of Independent Music Stores Top 200 for Week Ending 6-25-06 Pos. ARTIST|TITLE
( extract)
26 COSTELLO*ELVIS|RIVER IN REVERS
Coalition of Independent Music Stores Top 200 for Week Ending 6-25-06 Pos. ARTIST|TITLE
( extract)
26 COSTELLO*ELVIS|RIVER IN REVERS
http://www.rd.com/content/openContent.d ... ntId=27850
5 Things We Don't Want You to Miss: July 2006
RD's picks for great ways to spend your free time this month.
From Reader's Digest
July 2006
CD
On The River in Reverse, British songsmith Elvis Costello teams with New Orleans rhythm-and-blues legend Allen Toussaint to produce a batch of smoky, swampy and soulful songs. Listening to it, the Crescent City sounds so strong you'd think the hurricane never hit.
5 Things We Don't Want You to Miss: July 2006
RD's picks for great ways to spend your free time this month.
From Reader's Digest
July 2006
CD
On The River in Reverse, British songsmith Elvis Costello teams with New Orleans rhythm-and-blues legend Allen Toussaint to produce a batch of smoky, swampy and soulful songs. Listening to it, the Crescent City sounds so strong you'd think the hurricane never hit.
According to Billboard, TRIR is #160 on the Top 200 this week and #3 on the Jazz Charts. Last week it was also in the top 20 for Internet albums (whatever that means exactly). I thought it might crack the Top 50 for a week at least, but it doesn't look like it. Maybe some Grammy noms will push a few units?
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Turquoise Pajamas Pt Deux
- Posts: 189
- Joined: Thu Dec 08, 2005 11:32 pm
The world-famous 
Worcester Telegram has this review of "River In Reverse." It also kinda doubles as a review of next week's Boston show.
http://www.telegram.com/apps/pbcs.dll/a ... eworcester
Worcester Telegram has this review of "River In Reverse." It also kinda doubles as a review of next week's Boston show.http://www.telegram.com/apps/pbcs.dll/a ... eworcester
http://www.pitchforkmedia.com/article/r ... in_Reverse
Pitchfork
Elvis Costello & Allen Toussaint
The River in Reverse
[Verve Forecast; 2006]
Rating: 6.1
So now that he just did an art-jazz project, it's time for another rock record from Elvis Costello, right? Alas, The River in Reverse, a collaboration with New Orleans r&b legend Allen Toussaint, is another genre dalliance intended to showcase Costello's supposed versatility. Well, here he throws himself headlong into Toussaint's back catalog, naturally selecting more obscure cuts (the guy did write "Working in a Coalmine"), backed by an anonymous band and augmented by Toussaint himself and NOLA horn players.
Yes, that's New Orleans, but this isn't a cash-in on recent tragedy: Costello has worked with the legendary Toussaint more than once before (notably on the piano part for Spike's "Deep Dark Truthful Mirror"). And while there is some back and forth concerning songwriting, it's meant to be a "Costello Sings the Songs of Toussaint" songbook record-- a voice-meets-pen LP like those in vogue before the rock era.
Costello sings every song but one, Toussaint's "Who's Gonna Help a Brother Get Further". And that's actually sort of a shame: Costello's proven himself effective in plenty of contexts outside of rock, but all his vibratos and melismas and belted notes seem like so much flailing compared to Toussaint's effortless croon. He has a sharp ear for choosing songs that remain relevant, but this is one genre that eludes him as a performer. Granted, he's never seemed entirely at home on jazz and classical records, but the pairing has never been as jarring as it is here, with new Costello songs standing directly next to the traditionals.
While he belabors notes on the deep cuts from Toussaint's catalog, the Costello-sung covers that frontload the album fall short. Listen to the Costello-Toussaint collaboration "Ascension Day" to hear just how nimble Costello's voice can be, alternately skipping across and gluing together the fluid notes of the piano line. And looking past its crushing self-awareness as an anthem for Hurricane Katrina victims, "The River In Reverse" really works. Penned entirely by Costello, when it hits the line, "There must be something better than this/ I don't see how it can get much worse," the song shifts from a percussive acoustic guitar pattern to a resigned sigh from the horns. Meanwhile, Toussaint's slightly dissonant piano dances low in the mix, Costello cramming in syllables with his usual verve-- all hinting at a range of frustration and discontent bubbling underneath.
These, however, are exceptions. Most of these tracks merely feel professional or workmanlike, sincere recordings that sadly lack inspiration. The River in Reverse could have been vastly improved with more collaboration and fewer ostentatious performances, giving the two big names on the marquee more moments to shine than to strain.
-Jason Crock, July 07, 2006
Pitchfork
Elvis Costello & Allen Toussaint
The River in Reverse
[Verve Forecast; 2006]
Rating: 6.1
So now that he just did an art-jazz project, it's time for another rock record from Elvis Costello, right? Alas, The River in Reverse, a collaboration with New Orleans r&b legend Allen Toussaint, is another genre dalliance intended to showcase Costello's supposed versatility. Well, here he throws himself headlong into Toussaint's back catalog, naturally selecting more obscure cuts (the guy did write "Working in a Coalmine"), backed by an anonymous band and augmented by Toussaint himself and NOLA horn players.
Yes, that's New Orleans, but this isn't a cash-in on recent tragedy: Costello has worked with the legendary Toussaint more than once before (notably on the piano part for Spike's "Deep Dark Truthful Mirror"). And while there is some back and forth concerning songwriting, it's meant to be a "Costello Sings the Songs of Toussaint" songbook record-- a voice-meets-pen LP like those in vogue before the rock era.
Costello sings every song but one, Toussaint's "Who's Gonna Help a Brother Get Further". And that's actually sort of a shame: Costello's proven himself effective in plenty of contexts outside of rock, but all his vibratos and melismas and belted notes seem like so much flailing compared to Toussaint's effortless croon. He has a sharp ear for choosing songs that remain relevant, but this is one genre that eludes him as a performer. Granted, he's never seemed entirely at home on jazz and classical records, but the pairing has never been as jarring as it is here, with new Costello songs standing directly next to the traditionals.
While he belabors notes on the deep cuts from Toussaint's catalog, the Costello-sung covers that frontload the album fall short. Listen to the Costello-Toussaint collaboration "Ascension Day" to hear just how nimble Costello's voice can be, alternately skipping across and gluing together the fluid notes of the piano line. And looking past its crushing self-awareness as an anthem for Hurricane Katrina victims, "The River In Reverse" really works. Penned entirely by Costello, when it hits the line, "There must be something better than this/ I don't see how it can get much worse," the song shifts from a percussive acoustic guitar pattern to a resigned sigh from the horns. Meanwhile, Toussaint's slightly dissonant piano dances low in the mix, Costello cramming in syllables with his usual verve-- all hinting at a range of frustration and discontent bubbling underneath.
These, however, are exceptions. Most of these tracks merely feel professional or workmanlike, sincere recordings that sadly lack inspiration. The River in Reverse could have been vastly improved with more collaboration and fewer ostentatious performances, giving the two big names on the marquee more moments to shine than to strain.
-Jason Crock, July 07, 2006
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
(Full name Jason Crock of Shit!)
Love the DVD. Only just watched it. Brings it all nicely to life. Love Steve studiously watching the great pianist work his magic. Brings over to you what a great and admirable character Toussaint is.
Love the DVD. Only just watched it. Brings it all nicely to life. Love Steve studiously watching the great pianist work his magic. Brings over to you what a great and admirable character Toussaint is.
Last edited by Otis Westinghouse on Sat Jul 08, 2006 5:21 pm, edited 1 time in total.
There's more to life than books, you know, but not much more
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Extreme Honey
- Posts: 622
- Joined: Fri Jun 03, 2005 3:44 pm
- Location: toronto, canada
In regards to "Internet Albums" I've seen it in the top 100 music sales of Amazon.com for a while. I don't know how many sales that is exactly but if it was integrated with the billboard it would certainly boost a bit. It is dissapointing that it's in #160, I think everybody from N.O should own a copy. But maybe the grammys will help, that is if it wins one or two! I wonder what album is in #159? And #1? TRIR is probably better than all of them.pophead2k wrote:According to Billboard, TRIR is #160 on the Top 200 this week and #3 on the Jazz Charts. Last week it was also in the top 20 for Internet albums (whatever that means exactly). I thought it might crack the Top 50 for a week at least, but it doesn't look like it. Maybe some Grammy noms will push a few units?
Preacher was a talkin' there's a sermon he gave,
He said every man's conscience is vile and depraved,
You cannot depend on it to be your guide
When it's you who must keep it satisfied
He said every man's conscience is vile and depraved,
You cannot depend on it to be your guide
When it's you who must keep it satisfied
Doing a tidy up of discs I rediscovered this -
http://www.amazon.com/gp/product/B000AY ... nce&n=5174
I Believe to My Soul
Various Artists
# Original Release Date: October 4, 2005
# Label: Rhino / Wea
1. You Must Have That True Religion - Mavis Staples
2. Both Ways - Billy Preston
3. Tonight I'll Be Staying Here With You - Ann Peebles
4. The Same Love That Made Me Laugh - Irma Thomas
5. Mi Amour - Allen Toussaint
6. Keep On Pushing - Mavis Staples
7. As One - Billy Preston
8. Loving Arms - Irma Thomas
9. River Boat - Allen Toussaint
10. That's Enough - Mavis Staples
11. Turvalon - Allen Toussaint
12. When The Candle Burns Low - Ann Peebles
13. We Are One - Allen Toussaint
------------------------------------------------------------------------------------
Toussaint songs , Toussaint horn arrangements on all tracks , Joe Henry production.......it's the perfect companion disc to RIR! And Amazon have copies for mere dollars.......
http://www.amazon.com/gp/product/B000AY ... nce&n=5174
I Believe to My Soul
Various Artists
# Original Release Date: October 4, 2005
# Label: Rhino / Wea
1. You Must Have That True Religion - Mavis Staples
2. Both Ways - Billy Preston
3. Tonight I'll Be Staying Here With You - Ann Peebles
4. The Same Love That Made Me Laugh - Irma Thomas
5. Mi Amour - Allen Toussaint
6. Keep On Pushing - Mavis Staples
7. As One - Billy Preston
8. Loving Arms - Irma Thomas
9. River Boat - Allen Toussaint
10. That's Enough - Mavis Staples
11. Turvalon - Allen Toussaint
12. When The Candle Burns Low - Ann Peebles
13. We Are One - Allen Toussaint
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Toussaint songs , Toussaint horn arrangements on all tracks , Joe Henry production.......it's the perfect companion disc to RIR! And Amazon have copies for mere dollars.......
Finally got around to doing some heavy listening of RIR and it's just not my cup of tea, I'm sorry to say. Put another one down to my increasingly cranky sensibility. I'm afraid this one's going in with TDM and WIWC in my "least played" EC. I think way back in early June KH did a post dissecting some of the songs and their weaknesses and I'm pretty much in agreement with his take. It does have two great EC songs though: The Sharpest Thorn could have come right out of Trust; and RIR has that beat and that passion. All the other new collaborations, except for Ascension Day and Freedom for the Stallion, both of which swing, just plod along with EC straining to be a blues singer, which, IMHO, he just ain't. Love the Brother song and wish that AT had sung some more on this record. Maybe that would have helped. In any case, two more great EC songs added to the canon. Not bad.
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Who Shot Sam?
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martinfoyle
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Andy predicts in a sidepanel of the print version of this today that RIR will get a Mercury nomination next week. We'll see, it certainly would give the album a much needed shot in the arm promotion-wise.johnfoyle wrote:
http://enjoyment.independent.co.uk/musi ... 623329.ece
Album: Elvis Costello & Allen Toussaint fourstar
The River in Reverse, UNIVERSAL
By Andy Gill ( so good he reviews it twice ; see Uncut review by same writer - J.F.)
Published: 02 June 2006
If there's any silver lining to the Hurricane Katrina disaster, it has at least turned the spotlight back on New Orleans' unrivalled musical heritage, with benefit albums and new releases from Dr John and Irma Thomas joined by this collaboration between the city's top composer/ producer/pianist Allen Toussaint and his avid fan Elvis Costello. Whether remaking old Toussaint gems such as "On the Way Down" and "Freedom for the Stallion", or premiering sharp new songs such as the damning "Broken Promise Land" and "River in Reverse" ("I don't see how it can get much worse/ What can we do to send the river in reverse?"), both parties attack the material with gusto and aptitude, while producer Joe Henry effects a cleverly updated version of the classic Toussaint arrangement style, with infectious rhythms and fruity horns adding their own piquant commentary to the narratives. Most impressive is the exultant "International Echo", a celebration of how the togetherness inculcated by youthful exposure to rock'n'roll bridges continents and cultures.
http://www.wordmagazine.co.uk/
The Word , August '06
" Sir doesn't think the shirt might be a trifle sudden?"
ELVIS COSTELLO AND
ALLEN TOUSSAINT
By Graeme Thomson
Costello is an American artist now. His laser-pen is no longer trained on the provincial jackals, political hypocrites and poor-me celebrity whores of little Britain. Now, it’s all Fifth Avenue torch songs (North), Southern Gothic concept albums (The Delivery Man) and, with The River In Reverse, drawing inspiration from one of the United States’ great songwriters.
Costello re-established an occasional acquaintance with Allen Toussaint while the legendary New Orleans writer and pianist was holed up in New York, having been evicted by Hurricane Katrina. Inevitably — this is Costello, after all — the idea of a full collaboration soon followed, half of it cut in still-ravaged New Orleans with a combination of local players and Costello's Imposters. The result is his most enjoyable record for a decade: ribald, melodic, funky, tear-stained when appropriate , above all drenched in soulful humanity.
Scattered amongst vibrant new readings of Toussaint gems like Tears, Tears And More Tears and Freedom For The Stallion, the handful of co-compositions need to be on their game and generally are: International Echo is the theme from Only Fools And Horses married to Costello’s own Fish ‘N Chip Paper, reverberating with the joy of making music. The title song, by contrast, is funereal, its merciless beat slow-marching relentlessly to the morgue, the words picking their way through the nightmare of an unnamed but hellishly evoked New Orleans. It’s the only time The River In Reverse doesn’t wear its political anger lightly, and is all the more effective for it.
In terms of Costello, the song simply reaffirms that Uncle Sam’s gain is our loss. However, there is no doubting the album’s true star. The River In Reverse is a timely reminder of the stature of the super-talented Toussaint, emphasising the fluidity of his playing and the brilliance of his songbook, not to mention how many of his lyrics remain depressingly relevant today. Indeed, weighted as it is towards Costello, the album’s only drawback is that you end up aching for more of his collaborator.
The Word , August '06
" Sir doesn't think the shirt might be a trifle sudden?"
ELVIS COSTELLO AND
ALLEN TOUSSAINT
By Graeme Thomson
Costello is an American artist now. His laser-pen is no longer trained on the provincial jackals, political hypocrites and poor-me celebrity whores of little Britain. Now, it’s all Fifth Avenue torch songs (North), Southern Gothic concept albums (The Delivery Man) and, with The River In Reverse, drawing inspiration from one of the United States’ great songwriters.
Costello re-established an occasional acquaintance with Allen Toussaint while the legendary New Orleans writer and pianist was holed up in New York, having been evicted by Hurricane Katrina. Inevitably — this is Costello, after all — the idea of a full collaboration soon followed, half of it cut in still-ravaged New Orleans with a combination of local players and Costello's Imposters. The result is his most enjoyable record for a decade: ribald, melodic, funky, tear-stained when appropriate , above all drenched in soulful humanity.
Scattered amongst vibrant new readings of Toussaint gems like Tears, Tears And More Tears and Freedom For The Stallion, the handful of co-compositions need to be on their game and generally are: International Echo is the theme from Only Fools And Horses married to Costello’s own Fish ‘N Chip Paper, reverberating with the joy of making music. The title song, by contrast, is funereal, its merciless beat slow-marching relentlessly to the morgue, the words picking their way through the nightmare of an unnamed but hellishly evoked New Orleans. It’s the only time The River In Reverse doesn’t wear its political anger lightly, and is all the more effective for it.
In terms of Costello, the song simply reaffirms that Uncle Sam’s gain is our loss. However, there is no doubting the album’s true star. The River In Reverse is a timely reminder of the stature of the super-talented Toussaint, emphasising the fluidity of his playing and the brilliance of his songbook, not to mention how many of his lyrics remain depressingly relevant today. Indeed, weighted as it is towards Costello, the album’s only drawback is that you end up aching for more of his collaborator.
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Otis Westinghouse
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martinfoyle
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Acoording to this blogger it's on the 'longlist' so lets hope for the best.martinfoyle wrote:
Andy Gill predicts in a sidepanel of the print version of this today that RIR will get a Mercury nomination next week. We'll see, it certainly would give the album a much needed shot in the arm promotion-wise.