Elvis at Musikfest Aarhus, June 2, 2012

Pretty self-explanatory
sweetest punch
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Elvis at Musikfest Aarhus, June 2, 2012

Postby sweetest punch » Thu Oct 27, 2011 4:49 pm

This website has Elvis at Musikfest Aarhus on June 2, 2012: http://www.artistarena.eu.com/elviscostello/
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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VonOfterdingen
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby VonOfterdingen » Mon Oct 31, 2011 4:27 am

I got tickets on the fifth row :) (half price of Malmø in two weeks...)

Does anyone know why Poland is cancelled the 15th november?
I'm not buying my share of souvenirs

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And No Coffee Table
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby And No Coffee Table » Mon Oct 31, 2011 10:31 am

VonOfterdingen wrote:Does anyone know why Poland is cancelled the 15th november?


Elvis wrote on his website: "The grave uncertainty over my father’s health made it necessary to regretfully cancel two shows, in order that I be free to visit him at regular intervals."

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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby VonOfterdingen » Mon Oct 31, 2011 2:37 pm

Thanks! I cant figure out that website
I'm not buying my share of souvenirs

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Man out of Time
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby Man out of Time » Mon Feb 20, 2012 5:54 am

Preview of Aarhus concert:

Elvis Costello gæster Aarhus

Lørdag den 2. juni 2012 gæster Costello Musikhuset Aarhus med et lykkehjul til at bestemme sætlisten

Af Morten Steen Vejrup

I forbindelse med "The Revolver Tour - The Return of the Spectacular Spinning Songbook!!!" gæster Elvis Costello & The Imposters Musikhuset Aarhus' lørdag den 2. juni 2012, hvor han skal spille i Store Sal kl. 20:00.

En spontan mand

"The Revolver Tour - The Return of the Spectacular Spinning Songbook!!!" refererer til den første Revolver-turné, som Costello præsenterede på få selektivt udvalgte koncertadresser for 25 år siden.

Til koncerten i Aarhus kan ingen føle sig sikre, da tilskuere i en stadig strøm hives op på scenen for at dreje på det store lykkehjul for at bestemme sætlisten. Kvindelige tilskuere har også fået lov til at vise deres færdigheder i det opstillede go go-bur.

Fremgangsmåden med lykkehjulet bliver den samme nu som dengang. Cirka 40 udplukkede numre fra hele Declan Patrick MacManus' karriere - suppleret med et par covers. Der er både hele sangtitler og ord som "Time" – som så giver undskyldningen for at spille numre som "Man Out Of Time", "Clowntime Is Over..." og så videre. Arrangørerne vil dog ikke afvise, at hovedpersonen selv kan finde på at vride hjulet hen til et nummer, der passer ham lige nu, eller som falder ham ind, efterhånden som aftenen skrider frem.

Endelig har Costello det med at invitere så mange som muligt op på de skrå brædder til den store finale.

En musikalsk mand

Elvis Costello har været i gang i mere end tre årtier og har begået sig i rock, pop, jazz, easy listening og klassisk musik.

Han fik sit gennembrud med den new wave-orienterede debut "My Aim Is True" tilbage i 1977 og hittede i Danmark i sen-90'erne med sit easy listening-samarbejde med Burt Bacharach, "Painted From Memory".

Billetsalget til koncerten i Musikhuset Aarhus starter mandag den 31. oktober kl. 10:00 via http://www.musikhusetaarhus.dk eller http://www.billetlugen.dk


http://gaffa.dk/nyhed/54061

MOOT

johnfoyle
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby johnfoyle » Fri May 25, 2012 6:03 pm

Who's going?

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VonOfterdingen
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby VonOfterdingen » Sat May 26, 2012 6:09 am

Me! :)
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby johnfoyle » Fri Jun 01, 2012 12:51 pm

My ticket from Elvis' last show in Aarhus-

Image


See more here -

viewtopic.php?f=2&t=3129&hilit=Aarhus&start=50

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VonOfterdingen
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby VonOfterdingen » Sat Jun 02, 2012 4:25 am

Danish interview before tonight's concert in Aarhus. it has a rather strange mood about it. Somehow I can't use Google translate from this device - hope someone else can. Now, off to Aarhus.


Artikel / Interview / Lørdag d. 02-06-2012 kl. 07:00
Elvis Costello: Intet i popmusikken er genialt

Kvinder i bur, brændende geder og H.C. Andersens kærlighedsliv var blandt emnerne, da GAFFA tog en snak med koncertaktuelle Elvis Costello

Af Espen Strunk
Foto: Chad Batka
Elvis Costello gæster Musikhuset Aarhus lørdag den 2. juni. Vi har fanget ham for at få en statusrapport.

 Hvad kan publikum forvente af koncerten?

Det starter med hvad vi kalder ouverturen, da det jo netop er et show, og spiller så fire-fem hurtige rock'n'roll-sange fra hoften. Vi har en danser, som indtager gogo-buret og som "ryster en god halefjer". Folk får et øjeblik til at se scenografien med det store lykkehjul og spekulere lidt over, hvad det hele går ud på, mens vi spiller nogle sange som folk muligvis kender. Så præsenterer jeg mig selv som aftenens konferencier; jeg påtager mig en rolle og har også en assistent, som går ned blandt publikum og finder folk som ser ud til at have lyst til at komme op på scenen og dreje hjulet. Og derfra tager vi de forskelligt fra aften til aften, alt efter hvad hjulet giver os. Nogle gange er den første sang, der kommer op, en sang man måske ville forvente at vi ville slutte af med; nogle gange er det en ballade, nogle gange en velkendt sang, andre gange en sang som absolut ikke er spor velkendt. Så det betyder, at folk indimellem må vente lidt på at høre deres favoritter.

Og vi har "jackpots" på hjulet, som er ord som "Time" eller "Girl", og hvis ordet indgår i titlen på for eksempel fem sange, ja så spiller vi de fem sange i træk. Hvis ordet er "Girl" spiller vi "This Year's Girl", "Spooky Girlfriend", "Party Girl" (sulky girl); hvis ordet er "Time" spiller vi "Strict Time", "Man Out of Time" og The Rolling Stones "Out of Time". Det giver os mulighed for at konfrontere bagkataloget på en mere tilfældig måde; de ældre sange bliver pludselig spillet os i hænde på en uventet måde, og det bibringer en friskhed til det at spille dem. Vi kan ende med at spille en sang, som har været vores afslutningsnummer i tredive år, i løbet af showets første fem minutter.

Vi har også sange med bare guitar eller klaver, så der er også variation. Vi prøver at gøre det sjovt og får også hilst på folk; folk kommer op fra publikum og nogle er meget  udadvendte og vil gerne være med, mens andre er mere generte og skal overtales. Nogen vil gerne ind i go-go-buret og vise hvor gode de er til at danse....man ser alle mulige sjove sider, der er ønsker og indimellem folk der frier; ikke til mig men til hinanden. Det er ret godt og indimellem ganske rørende, og nogle gange siger folk noget, så det går op for mig at en sang har betydet noget for dem, som aldrig ville være faldet mig ind. Så selvom det et stykke hen ad vejen er et satirisk, Vaudevillle-agtigt show, har det også nogle følelsesladede momenter.

Nye historier

Du udklækkede oprindeligt konceptet ("The Spectacular Spinning Songbook", red.) for 25 år siden. Hvordan opstod idéen, og hvad får dig til at vende tilbage til den nu?

Well, af samme grunde som jeg udtænkte det dengang. I 1986 eller '85 tænke jeg, at jeg havde så mange sange at det var svært at vælge, så simpelt var det faktisk: "lad os finde på en ny og sjov måde at gøre sangvalgene mere vilkårlige på". Og så kan vi også have nogle coverversioner, som man ellers aldrig ville forvente at vi spillede...og det samme med det nye lykkehjul. Nu er der selvfølgelig gået femogtyve år, så jeg har endnu flere sange og en endnu større stilistisk variation. Fra ballader til rock'n'roll-sange, alt muligt, du ved.

Så det giver en endnu mere mening nu, i al fald for mig. Det er bare en anden måde at fortælle en historie...hver aften, når vi går på scenen, fortæller vi en ny historie ud af alle disse stykker af historier, som vi har fortalt på pladerne gennem årene. Hvad enten det er klaverballader, akustiske guitarsange, elektriske bandnumre, ting jeg har lavet til større ensembler ved mere usædvanlige lejligheder.

Nu vi taler om coverversioner...du har for nylig bidraget til den hyldestplade til Dylan, som Amnesty International har udgivet i forbindelse med deres jubilæum. Hvorfor valgte du, af alle de sange der er at vælge imellem, at fortolke "License to Kill"?

Well, jeg har altid elsker den sang og desværre er det en sang, som aldrig kommer ud af trit med tiden og bliver uaktuel. Det er en af de mindre kanoniserede sange, og jeg ønskede også at gøre noget lidt usædvanligt ved den, rent musikalsk....den er ikke specielt loyal overfor Bobs udgave. Jeg ville strække strukturen lidt og lave nogle vokalharmonier. Jeg spiller alt selv på den, det kan jeg godt lide at gøre indimellem...bare gå ind i studiet uden et band og være lidt mere legesyg med indspilningen.

Din karriere har spændt over mange forskellige genrer, og generelt er du ikke så nem at indfange, at definere som kunstner...

Det synes jeg ikke er en dårlig ting....det er på en måde dit job at gøre det, ikke mit..

Nej, men mit spørgsmål er også bare, om det har været en bevidst strategi fra din side, eller om det bare er blevet sådan?

Til dels skyldes det nok bare, at jeg er nysgerrig. Jeg voksede op i et hus fyldt med musik, jeg tilhører den tredje af fire musikalske generationer i min familie...ting, som kan synes at være store spring, har ikke forekommet mig at være så grænseoverskridende. Det gør det ikke bedre, men det er bare sådan jeg hører det. Jeg spekulerer ikke i strategier, jeg gør bare tingene også leder en ting til den næste. Du kan finde dig selv i færd med at samarbejde med folk, som du beundrer; du kan blive tilbudt muligheder for at arbejde med ting, som du ikke har nogen erfaring med. Men så snart du har lavet dem, så har du den erfaring og tager noget med derfra. Ikke alt behøver at være en millionsælger, ikke alt behøver at være tidløst eller succesfuldt, ikke engang kunstnerisk set. Men du lærer noget af det.

Jeg mener, folk tager det alt for alvorligt...alt det analytiske er meningsløst for mig. Når det kommer til stykket er der ikke noget af det der er vigtigt, udover dine kæres liv og velbefindende. Man passer på hinanden og forsøger ikke at dolke hinanden i ryggen, og så går det sådan set meget godt. Intet af det betyder noget....der er intet i popmusikken som er genialt, der er bare godt, uanset om det har gode intentioner og kommer fra hjertet eller ej. Jeg har aldrig lavet noget ud fra et analytisk synspunkt eller som en øvelse eller for at få mig selv til at fremstå smart. Jeg har gjort alt, fordi jeg har været nysgerrig. Og hvis det har virket grandiost eller prætentiøst for andre, så er det deres problem. Det er bare sådan de tænker, og det er ikke sådan jeg tænker...

Taknemmelig vært

Nu vi taler om folk, du beundrer, er din kærlighed til George Jones jo velkendt og du har også indspillet en duet med ham. Hvad er så særligt ved Jones?

Øh, jeg går ud fra at du kender ham, eller stiller du bare det spørgsmål?

Jeg sætter stor pris på hans musik, der er derfor jeg spørger...

Ok. Well, man skal høre "Mr. Fool" for at finde svaret. Du kan udvælge en hvilken som helst af hans plader og spille den for en person på Venus, og vedkommende ville vide at det var en god sanger, du ved. Jeg har aldrig tænkt på ham som countrysanger. Han er en stor sanger på samme måde som Billie Holiday er en stor sanger, som Hank Williams og Marias Callas er det. Han er en unik sanger og synger sjælfuldt på samme måde som James Carr gjorde det, og det er bare en fantastisk...ting. På samme måde som med Nat Cole er ikke alle sange han synger geniale sange, men han få noget smukt ud af dem alle. Han kan bare ikke synge en dårlig frase, du ved.

Jeg kunne godt tænke mig at tale lidt om "Spectacle" (Costellos tv-show fra 2008-10, red.). Hvordan kom idéen op i første omgang?

Åh, har du set det? Well, det var noget folk havde bedt mig om at overveje i ti år, og så fik Elton John og David Furnishs produktionsselskab det realiseret sammen med to amerikanske tv-selskaber. Vi lavede en række shows over et par år, og jeg tror, at I først er ved at få dem at se lige nu i Skandinavien.....

Det er sandt.

..men de er indspillet for at par år siden, og det var en stor oplevelse. Det var stort at få lov til at arbejde med alle de folk og at de stolede på mig og kom og spillede noget musik sammen med mig. Jeg synes, at det er nogle gode shows...

Har du nogen favoritepisoder?

Alle sammen, virkelig. Jeg er bare taknemmelig over alle de folk, som kom. Selvfølgelig har jeg nogle yndlingskunstnere; jeg kan virkelig godt lide showet med Smokey Robinson,  og også det hvor vi sammensatte et band med Allen Toussaint, Levon Helm og Nick Lowe, det var en alle tiders aften. Og det med Bruce Springsteen....han var så generøs denne gang, og det er jeg meget taknemmelig for.

Costellos ufuldendte

Jeg håber, der ok jeg spørger; hvorfor blev Jenny Lind-operaen (skrinlagt samarbejde med Danmarks Kongelige Opera under ledelse af Kasper Bech Holten fra H.C. Andersen-fejringen i 2005) egentlig aldrig til noget?

Åh, det var på et vanskeligt tidspunkt. Jeg skrev den på et tidspunkt hvor mange ting ændrede sig i mit liv, og jeg følte med langt bagud med arbejdet. Men jeg skrev alle de sange, som havde deres debut i København. Og der skete mange ting det år, som havde mindre forbindelse med Andersen, end mine sange havde. Men jeg afsluttede ikke hele lydsiden; det I fik at høre var mere afsluttende arier, i mangel på bedre ord, hvis det havde været en rigtig opera. Men jeg nød at lave det, bare at fortælle en historie gennem fragmenterede scener, og jeg synes at der er nogle gode sange deri. Og så vendte jeg selvfølgelig tilbage til dem og indspillede nogle af dem til albummet "Secret, Profane and Sugarcane" (2009). Jeg transponerede dem til de instrumenter, du hører på den plade: violiner, dobro og mandolin, fordi de syntes at passe til det. Og vi brugte endda også akustisk guitar og banjo på scenen i den oprindelige produktion...men det var en fin mulighed, og Kasper Holten viste mig en masse tillid ved at bede mig lave sådan et stykke arbejde og var meget tålmodig. For det var en tid med massivt opbrud i mit liv, og det var vanskeligt overhovedet at forestille sig at færdiggøre noget arbejde, virkelig. Og navnlig noget så anderledes.

Og ikke alle mine idéer.....du har at gøre med noget, som er meget dyrebart for mange mennesker, og forståeligt nok i særdeleshed i Danmark, og jeg tog mig store friheder i historien, det var i realiteten en fantasi. Men der er ikke noget nyt i at tage historiske figurer og præsentere dem i en let ændret virkelig, det var ikke en ny ide jeg havde at gøre med der. Men selve historien var en original idé; modstillingen mellem Andersen og Barnum giver et helt andet blik på Jenny Lind. Så jeg fortryder overhovedet ikke, at jeg lavede den, men jeg er selvfølgelig ked af at jeg ikke gjorde den færdig. Og nu er er jeg far til femårige tvillinge-drenge, så idéen om at stoppe op og genoptage tidligere arbejder - det er nu seks eller syv år gammelt - er...der er svært at forestille sig at gøre den færdig. Men jeg tænker hele tiden på, at der muligvis er en måde at sætte sangene om de øvrige, interessante karakterer, sammen. Især hans lærer, Dr. Meisling, der er ham jeg havde mest materiale omkring. Så en dag, hvor jeg lige har tyve minutter til overs, gør jeg den færdig, ha-ha.

Inden vi pludselig er løbet tør for tid, er jeg nødt til at spørge dig: hvad gør du, umiddelbart inden du går på scenen? Har du nogen ritualer?

Jeg holder altid af at afbrænde en ged umiddelbart inden...

Ok. Og hvad er der på din forplejningsliste?

Jeg er ikke overtroisk, og jeg er ikke særligt rituel; jeg beder ikke om udelukkende lilla møbler og den slags. Jeg behøver kun nogle enkle ting: varmt vand, kold vand og noget vand, som er et sted derimellem. Jeg beder virkelig ikke om ret meget, og der er ingen gedeafbrænding eller mærkelige satanistiske ritualer i mit backstagelokale. Det handler som regel bare om at få guitarerne stemt og sørge for at skoene sidder på den rigtige fod. 

Et kick for feministerne

Som vi til dels har været inde på, har du gennem hele karrieren lavet en masse samarbejder med folk. Hvorfor har det været så vigtigt?

Al musik er samarbejde, hvis du tænker over det...jeg tror bare folk lægger for meget i hele den her idé om kollaborationer. Med mindre du vil være akustisk solo-folkesanger hele dit liv vil du komme til at samarbejde med dit band, og efter noget tid fik jeg mulighed for at spille med nogle andre musikere på King of America (Costellos tiende studiealbum fra 1986, red.). Så skrev jeg nogle sange med Paul McCartney og med Burt Bacharach...gennem hele min karriere har de været disse lejlighedsvise kollaborationer.

Til sidst: kan du kaste lidt lys over, hvilke projekter der på programmet, når denne turné er overstået?

Nej, ikke rigtig. Jeg har ikke planlagt noget, venter bare på at noget dukker op. Ikke nogen plader om at skrive eller indspille, bare ingenting.

Lad os for et øjeblik vende tilbage til gogo-danserinden i buret på den kommende turné...

Det vidste jeg du ville, jeg vidste at du ikke ville kunne modstå!

Du er ikke nervøs for den feministiske kritik af sådan en gimmick?

Hvis de på nuværende tidspunkt virkelig tror, at vi mener de seriøst, så har de ikke fulgt med. Melissa, som spiller karakteren, er en smart forretningskvinde, som godt kan lide at danse. Hvad kan jeg sige? Du må tage den med hende. Vi gør ikke noget for at nedgøre nogen, og folk går derind af deres egen fri vilje. Jeg tror, at det er sundt at se nogle ikke nødvendigvis specielt ideelle fysiske eksemplarer blandt herrerne i gogo-buret, og når du kommer til forestillingen vil du se humoren i det. Jeg tror, at selv den mest hårdhjertede feministiske hardliner vil få et kick ud af det.     
I'm not buying my share of souvenirs

johnfoyle
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby johnfoyle » Sat Jun 02, 2012 4:48 am

http://gaffa.dk/artikel/61273


Google translation -

Women in the cage, burning goats and H. C. Andersen's love life was among the topics when GAFFA had a chat with current concert Elvis Costello

By Espen Strunk

Elvis Costello guests Hall Aarhus on Saturday 2 June. We have caught him for a status report.

What can audiences expect from the concert?

It starts with what we call the overture, as it is just a show, and then play 4:00 to 5:00 fast rock'n'roll songs from the hip. We have a dancer who consume gogo cage and as "a good shake tail feathers." People get a moment to see the set design with the large wheel of fortune and speculate a little about what all goes on while we play some songs that people might know. So I present myself as the evening's compere, I take a role and also have an assistant who goes down in the audience and find people who seem to want to get up on stage and turning the wheel. And from there we take the differently from night to night, depending on what wheel gives us. Sometimes the first song that comes up, a song one might expect that we would finish with, sometimes it's a ballad, sometimes a well-known song, other times a song that absolutely no trace known. So it means that people sometimes have to wait to hear their favorites.

And we have "jackpots" on the wheel, as are words like "Time" or "Girl" and if the word in the title of, say, five songs, then we play the five songs in a row. If the word is "Girl" we play "This Year's Girl," "Spooky Girlfriend", "Party Girl" (sulky girl), if the word is "Time" we play "Strict Time," "Man Out of Time" and The Rolling Stones "Out of Time". It allows us to confront bagkataloget in a more random manner; the older songs are suddenly played into our hands in an unexpected way and it brings a freshness to it to play them. We may end up playing a song that has been our closing number in thirty years, during the show's first five minutes.

We also have songs with just guitar or piano, so there is also variation. We try to make it fun and also get greeted people, people come up from the audience and some are very outgoing and would like to participate, while others are more shy and must be persuaded. Someone would like into the go-go cage and show how good they are to dance .... you see all kinds of fun pages that are wants and sometimes people suitor, not to me but to each other. It's pretty good and sometimes quite touching, and sometimes people say something, then it dawns on me that a song has meant something to those who would never have occurred to me. So although it's a piece down the road is a satirical, Vaudevillle style show, it also has some emotional moments.

New stories

You hatched the original concept ("The Spectacular Spinning Songbook", ed.) 25 years ago. How did the idea, and what makes you come back to it now?


Well, for the same reasons as I conceived it then. In 1986 or '85 I think that I had so many songs that it was hard to choose, so simple, it was actually: "let's find a new and fun way to make the song selections more indiscriminate in". And then we also have some cover versions, which one would never expect that we played ... and the same with the new wheel of fortune. Now there's obviously gone twenty-five years, so I have more songs and an even greater stylistic variation. From ballads to rock'n'roll songs, everything, you know.

So it makes even more sense now, at least for me. It's just another way to tell a story ... every night when we go on stage, we tell a new story out of all these pieces of stories that we have been told the plates through the years. Whether it's piano ballads, acoustic guitar songs, electric band tracks, things I've made for larger ensembles with more unusual occasions.

Speaking of cover versions ... you have contributed to the tribute record to Dylan, which Amnesty International has published in connection with their anniversary. Why did you choose, of all the songs there are to choose from, to interpret the "License to Kill"?

Well, I always love the song and unfortunately it is a song that never gets out of sync with the times and become out of date. It is one of the less canonized songs, and I also wanted to do something a little unusual about it, musically .... it is not especially loyal to Bob's version. I would extend the structure a bit and do some vocal harmonies. I play everything himself on it, that I like to do sometimes ... just go into the studio without a band and be a little more playful with the recording.

Your career has stretched over many different genres, and generally you are not so easy to capture, define as an artist ...

It seems I'm not a bad thing .... it is in a way your job to do it, not mine ..

No, but my question is simply whether it has been a deliberate strategy on your part, or whether it's just been like this?


In part because it's probably just that I'm curious. I grew up in a house filled with music, I belong to the third of four musical generations in my family ... things that may seem to be large jumps, has not occurred to me to be so cross. It does not make it better, but it's just how I hear it. I wonder not the strategies, I just do things also leads a thing to the next. You may find yourself in the process of working with people you admire, you may be offered opportunities to work with things that you have no experience with. But once you've made them, then you have the experience and take something away. Not everything needs to be a million seller, not everything needs to be timeless, or successful, not even artistically. But you learn something from it.

I think people take it too seriously ... all the analytic is meaningless to me. When it comes down to it there is nothing of what is important besides your loved one's life and wellbeing. To care for each other and trying not to stab each other in the back, and so it goes so very well. None of it means anything .... there is nothing in the pop music that is brilliant, there's just good, whether it has good intentions and come from the heart or not. I've never made anything from an analytical point of view or as an exercise or to get myself to appear smart. I've done everything, because I've been curious. And if it has worked grandiose or pretentious to others, then it's their problem. It's just the way they think, and it's not how I think ...

Grateful Host

Now we're talking about people you admire, your love for George Jones, the well known and you've also recorded a duet with him. What's so special about Jones?


Uh, I assume that you know him, or makes you just that question?

I appreciate his music, which is why I ask ...

Ok. Well, you have to hear "Mr. Fool" to find the answer. You can select any of his records and play it for someone on Venus, and he would know that it was a good singer, you know. I never thought of him as a country singer. He is a great singer like Billie Holiday is a great singer, as Hank Williams and Maria Callas is. He is a unique singer and sings soulful like James Carr did, and it's just a fantastic ... nothing. Just as with Nat Cole is not all the songs he sings brilliant songs, but he will get something beautiful out of them all. He just can not sing a bad phrase, you know.

I'd like to talk a little about the "Spectacle" (Costello's TV show from 2008-10, ed.). How the idea came up in the first place?


Oh, have you seen it? Well, it was something people had asked me to consider for ten years and then got Elton John and David Furnishs production is realized with two American broadcasters. We made a series of shows over a few years and I think you are just beginning to see them right now in Scandinavia .....

It's true.

.. But they have been recorded for couple of years ago and it was a great experience. It was great to be able to work with all people and that they trusted me and came and played some music with me. I think it has some good shows ...

Do you have any favorite episodes?

All together, really. I'm just grateful to all the people who came. Of course I have some favorite artists, I really like the show with Smokey Robinson, and also where we put together a band with Allen Toussaint, Levon Helm, and Nick Lowe, it was a great evening. And with Bruce Springsteen .... he was so generous this time, and I am very grateful.

Costello's unfinished

I hope you are ok I ask, why was Jenny Lind-opera (shelved cooperation with the Danish Royal Opera, led by Kasper Bech Holten from Hans Christian Andersen celebration in 2005) never really for anything?

Oh, it was a difficult time. I wrote it at a time when many things changed in my life and I felt with far behind in their work. But I wrote all the songs that made their debut in Copenhagen. And there were many things that year, which had less connection with Andersen than my songs had. But I did not end the entire soundtrack, what you got to hear was more final arias, in lack of better words, if it had been a great opera. But I enjoyed doing it, just telling a story through fragmented scenes, and I think that there are some good songs in it. And then of course I turned back to them and recorded some of them for the album "Secret, Profane and Sugarcane" (2009). I transposed them to the instruments you hear on the record: violins, dobro and mandolin, because they seemed to fit it. And we spent even acoustic guitar and banjo on stage in the original production ... but it was a nice option, and Kasper Holten showed me a lot of confidence in asking me do such a job and was very patient. For it was a time of massive upheaval in my life, and it was difficult even to imagine to finish some work, really. And especially something so different.

And not all my ideas ..... you are dealing with something that is very precious to many people, and understandably, in particular in Denmark, and I took great liberties in history, it was in fact a fantasy. But there is nothing new in taking historical figures and present them in a slightly different really, it was not a new idea I had to do with that. But the story itself was an original idea; contrast between Andersen and Barnum gives a completely different look at Jenny Lind. So I regret not at all that I did it, but of course I regret that I did not finish it. And now I am the father of five twin boys, so the idea to stop and resume the earlier works - it's now six or seven years old - is ... that is hard to imagine that complete it. But I always thinks that there might be a way to put songs on the other, interesting characters together. Especially his teacher, Dr. Rector, who is him I had the most material around. Then one day I just have twenty minutes to spare, I make it up, ha-ha.


Before we suddenly run out of time, I have to ask yourself: what do you do just before you go onstage? Do you have any rituals?


I like always to burn a goat just before ...

Ok. And what's on your food list?

I'm not superstitious, and I am not very ritualistic, I pray not only purple furniture and stuff. I only need some simple things: hot water, cold water and some water, which is somewhere in between. I pray really not very much, and there is no goat burning or strange Satanic rituals in my backstage room. It's usually just to get the guitars tuned and make sure that the shoes sitting on the right foot.

A kick for feminists

As we have partly touched on, you have throughout his career made a lot of work with people. Why has it been so important?

All music is cooperation if you think about it ... I just think people put too much around here the idea of ​​collaborations. Unless you want to be acoustic solo folk singer all your life you will come to work with your band, and after a while I got the chance to play with some other musicians on King of America (Costello's tenth studio album from 1986, ed.) . So I wrote some songs with Paul McCartney and Burt Bacharach ... throughout my career have been those occasional collaborations.

Finally: you can shed some light on which projects to the program after this tour is over?

No, not really. I have not planned anything, just waiting for something to pop up. Not a sheet of writing or recording, just nothing.

Let us for a moment return to the gogo-dancer in a cage on the upcoming tour ...

I knew you would, I knew you could not resist!

You are not nervous about the feminist critique of such a gimmick?

If at this stage really think we believe they are serious, they have not kept pace. Melissa, who plays the character, is a smart business woman who likes to dance. What can I say? You may take it with her. We do not do anything to denigrate anyone, and people go in there of their own volition. I think it is healthy to see some not necessarily particularly ideal physical specimens among the gentlemen of the gogo cage, and when you come to the show you will see the humor in it. I think that even the most hard-hearted feminist hardliner will get a kick out of it.

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And No Coffee Table
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby And No Coffee Table » Sat Jun 02, 2012 2:28 pm

Twitter:

Elvis Costello Aarhus http://pic.twitter.com/9I09XpEW


Great version og New Lace Sleeves #Elviscostelloaarhus


First impression highlights: So like candy/dont let me be misunder. chelsea, detectives, new lace sleeves, shabby doll #Elviscostelloaarhus

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And No Coffee Table
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby And No Coffee Table » Sat Jun 02, 2012 6:18 pm

A comment on Facebook says "She Handed Me A Mirror" was played.

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And No Coffee Table
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby And No Coffee Table » Sat Jun 02, 2012 7:00 pm

http://gaffa.dk/anmeldelse/61288

Elvis Costello
Musikhuset, Århus,
lørdag d. 2. juni 2012
Anmeldt af Espen Strunk

Fornemt musikerskab mellem postmodernistisk potpourri og ironisk vaudeville

Patrick McManus - eller Elvis Costello, om man vil - har aldrig været helt nem sådan lige at klassificere eller putte i på forhånd definerede kasser. Da undertegnede tog en snak med ham forud for koncerten, forklarede han det blandt andet således:

- Jeg mener, folk tager det alt for alvorligt...alt det analytiske er meningsløst for mig. Når det kommer til stykket er der ikke noget af det der er vigtigt, udover dine kæres liv og velbefindende. Man passer på hinanden og forsøger ikke at dolke hinanden i ryggen, og så går det sådan set meget godt. Intet af det betyder noget....der er intet i popmusikken som er genialt, der er bare godt, uanset om det har gode intentioner og kommer fra hjertet eller ej. Jeg har aldrig lavet noget ud fra et analytisk synspunkt eller som en øvelse eller for at få mig selv til at fremstå smart. Jeg har gjort alt, fordi jeg har været nysgerrig. Og hvis det har virket grandiost eller prætentiøst for andre, så er det deres problem.

Personificeret postmodernisme

På den indeværende turné - herunder iaften i Århus - har Costello valgt at accentuere uforudsigeligheden yderligere ved at støve et godt 25 år gammelt trick af: The Spectacular Spinning Songbook. Lykkehjulet, som med publikums hjælp afgør aftenens sæt, mens en go-go-danser vrider sig i et bur i scenens venstre side, hvor flere medlemmer af publikum også får mulighed for at udfolde sig i aftenens løb. I centrum er og bliver imidlertid Costello, ikke blot som sprechstallmeister med tophat og sølvbeslået stok, men også som frontmand for en tæt rockende trio, som iaften diverterer med mere end to timers energisk indsats.

På karakteristisk vis gennemløbes sættet af rockhistoriske referencer i form af bidder af sange son Hendrix' Angel, The Beatles Day Tripper og The Animals tidlige hit Don't Let me be Misunderstood. Karakteristisk, fordi man med nogen ret kan sige, at Costello snarere end at være en egentligt gudsbenådet sangskriver selv, fremstår som en personificeret, postmodernistisk musikalsk smeltedigel. Nok er han barn af slut-halvfjerdsernes New Wave, men det musikalske univers en gennemsyret af popmusik og rock'n'roll fra slutningen af 50'erne og starten af 60'erne.

Vanvidsrock

Den indledende håndfuld sange har da også nærmest karakter af en slags forvrænget vanvids-rock'n'roll ude af tiden, mens der i løbet af sættet kommer flere nuancer i spil. Costello selv viser sig som en eminent sanger - indimellem også uden mikrofon - og guitarist i adskillige vilde solo-ridt. En nænsom fortolkning af forbilledet George Jones A Good Year For the Roses er et højdepunkt, og inddragelsen af publikum fungerer fremragende, idet enlige og par, mænd og kvinder inviteres op at dreje på hjulet og danse i buret i skiftende grader af entusiasme.

Det hele udfoldes i et ironisk Vaudeville-univers med letpåklædte damer og Costello som den på en gang syrligt sarkastiske og sympatiske konferencier og hovedperson. Hans måske mest mindeværdige hit So Like Candy fremføres sammen med Alison til ære for et ungt par, efter at en midaldrende mand tidligere har danset sig entusiastisk og selvsikkert vej op på scenen.

Det hele er hyggeligt og underholdende og fungerer - trods det fornemme musikerskab, der opvises i aften - fint som supplement i aftenens show, der fremstår som en postmoderne potpourri i en bevidst anakronistisk og ironisk opsætning snarere end en tilnærmelse til det autenticitets-ideal, som ellers er så udbredt på det populærmusikalske parnas. Det er både begavet, underholdende og regulært rockende; på den anden side undgår man ikke helt en vis naturlig, teatralsk distance. Man engageres ikke emotionelt, som hos en Springsteen eller Dylan i koncertsituationen. Men man underholdes ikke desto mindre fremragende.


Google translation:

Distinguished musicianship between postmodern potpourri and ironic vaudeville

Patrick McManus - or Elvis Costello, if you will - has never been quite so easy just to classify or put into predefined boxes. Since the undersigned had a chat with him before the concert, he explained, among other things the following:

- I think people take it too seriously ... all the analytic is meaningless to me. When it comes down to it there is nothing of what is important besides your loved one's life and wellbeing. To care for each other and trying not to stab each other in the back, and so it goes so very well. None of it means anything .... there is nothing in the pop music that is brilliant, there's just good, whether it has good intentions and come from the heart or not. I've never made anything from an analytical point of view or as an exercise or to get myself to appear smart. I've done everything, because I've been curious. And if it has worked grandiose or pretentious to others, then it's their problem.

Personalized postmodernism

On the current tour - including tonight in Aarhus - Costello has chosen to accentuate the unpredictability further to dust off an 25 year old trick of: The Spectacular Spinning Songbook. Wheel of Fortune, which means the audience will decide tonight's set, while a go-go dancer writhing in a cage in the stage left side, where several members of the audience also have the opportunity to unfold during the evening. The focus remains, however, Costello, not only as a ringmaster in top hat and cane sølvbeslået, but also as a front man for a tight rocking trio that evening diverterer with more than two hours of vigorous action.

Characteristically traversed the set of rock historical references in the form of bits of songs son Hendrix's Angel, The Beatles Day Tripper and The Animals early hit Do not Let Me Be Misunderstood. Characteristically, because there is some justification to say that Costello rather than being an actual divinely-songwriter himself, appears as a personified, postmodern musical melting pot. Probably he is a child of the end-seventies New Wave, but the musical universe, one steeped in pop music and rock'n'roll from the late 50s and early 60s.

Madness Rock

The initial handful of songs have also almost like a kind of distorted madness-rock'n'roll out of time, while in the course of the set will be more nuances in the game. Costello himself emerges as a brilliant singer - sometimes even without a microphone - and guitarist in several wild solo ride. A careful interpretation of his role model George Jones A Good Year For the Roses is a highlight, and the inclusion of public works excellent, with singles and couples, men and women are invited up the wheel and dancing in the cage in varying degrees of enthusiasm.

It all unfolds in an ironic Vaudeville universe with scantily clad ladies and Costello as it once sourly sarcastic and sympathetic compere and protagonist. His perhaps most memorable hit So Like Candy argued with Alison in honor of a young couple, after a middle-aged men have danced themselves enthusiastically and confidently going up on stage.

It's all nice and fun and work - despite the classy musicianship, which exhibited tonight - well, in addition to tonight's show, which appears as a postmodern potpourri in a deliberately anachronistic and ironic setup rather than an approximation to the authenticity ideal, as otherwise it is so prevalent in the popular musical Parnassus. It is both clever, entertaining and genuine rocking, on the other hand, avoids not quite a natural, theatrical distance. Mon engaged not emotionally, like a Springsteen or Dylan in concert situation. But you entertained nonetheless excellent.


Photo gallery: http://gaffa.dk/galleries/gallery/52344

Azmuda
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby Azmuda » Sun Jun 03, 2012 5:08 am

Setlist from elviscostello.com:

Elvis Costello & The Imposters
Aarhus, Denmark
June 2nd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

Oliver's Army - Spin 1
I Want You - Spin 2
"Joker" - Spin 3
Everyday I Write The Book
"Time" Jackpot - Spin 4
Strict Time
Man Out Of Time
Out Of Time
The Spell That You Cast - Spin 5
Good Year For The Roses - Spin 6
New Lace Sleeves - Spin 7
Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs
So Like Candy/Don't Let Me Be Misunderstood - IMPROMPTU
Alison/You've Been Cheating/Suspicious Minds/The Wind Cries Mary/Somewhere Over The Rainbow - Swinger's Choice

Interlude
A Slow Drag With Josephine - Napoleon Solo
Jimmie Standing In The Rain - Napoleon Solo

Joanna Interlude
She - with Steve Nieve
She Handed Me A Mirror - with Steve Nieve - for Kasper Bech Holten
My All Time Doll - with the Imposters
Shipbuilding

Finale
"Imperial Chocolate" Jackpot - Spin 8
Shabby Doll
Chelsea
Pump It Up
Peace, Love And Understanding

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VonOfterdingen
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby VonOfterdingen » Sun Jun 03, 2012 9:42 am

Two Danish reviews - one 5/6, one 4/6 (the reviewer calls Olivers Army and New Lace Sleeves for empty rocksongs... That kind of guy)

http://www.soundvenue.com/live-anmeldel ... -lykkehjul

http://kpn.dk/popmusik/concerts/article2794030.ece
I'm not buying my share of souvenirs

Darkhorse
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Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby Darkhorse » Sun Jun 03, 2012 10:44 am


Azmuda
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Joined: Mon Aug 22, 2011 11:49 am

Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby Azmuda » Sun Jun 03, 2012 1:59 pm

elviscostello.com wrote:Finale
"Imperial Chocolate" Jackpot - Spin 8
Shabby Doll
Chelsea
Pump It Up
Peace, Love And Understanding
Make that:
    Peace, Love And Understanding / God Save The Queen

:-)

charliestumpy
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Joined: Thu Jan 06, 2005 7:33 am

Re: Elvis at Musikfest Aarhus, June 2, 2012

Postby charliestumpy » Mon Jun 04, 2012 4:24 am

Azmuda wrote:
elviscostello.com wrote:Finale
"Imperial Chocolate" Jackpot - Spin 8
Shabby Doll
Chelsea
Pump It Up
Peace, Love And Understanding
Make that:
    Peace, Love And Understanding / God Save The Queen

:-)


PLEASE will someone share final audio-bit in any format 'GOD SAVE THE QUEEN' - no sign yet of e.g. Youtube vid. Can't be arsed yet to download whole show for this - people uploading other stuff from me now on DIME.

Ta.



Charles.

Royal Chelsea Blue P.S.

Oh s... Am downloading/sharing torrent now - will share on SoulSeek/here for a week (after yesterday's fantastic Thames music in rain at 17.55 UK opposite Queen II) GSTQ snippet ...



https://www.yousendit.com/download/QlVp ... bS9WUThUQw

GOD SAVE
'Sometimes via the senses, mostly in the mind (or pocket)'.


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