Reno Gazette-Journal, May 27, 2002: Difference between revisions
(start page) |
(formatting +browser +fix Faragher spelling) |
||
Line 20: | Line 20: | ||
And that's how it went for the whole show: new material, popular favorites and some left-field choices. The songs from ''Cruel'' were particular revelations, all improved from the versions on the CD. "Spooky Girlfriend" benefited from the intense live drums. "When I was Cruel No. 2" was slinky until its conclusion, a barrage of samples and guitar/piano noise. "Dust" was the biggest surprise, switching from rock to near-punk and back again. | And that's how it went for the whole show: new material, popular favorites and some left-field choices. The songs from ''Cruel'' were particular revelations, all improved from the versions on the CD. "Spooky Girlfriend" benefited from the intense live drums. "When I was Cruel No. 2" was slinky until its conclusion, a barrage of samples and guitar/piano noise. "Dust" was the biggest surprise, switching from rock to near-punk and back again. | ||
True to his renegade style, the more popular songs were transformed somewhat, mostly by Costello's tendency to sing behind the beat instead of right on it (think Lyle Lovett, but with actual expressiveness). It may have irritated purists, but the slow-burn version of "Alison" (complete with a section of Hank Williams' "You Win Again" at the end) was languid in a wonderful way, as Costello made every syllable count. Forgetting his worthy work in the '80s and '90s, Costello stuck to his late '70s golden-era: "I Don't | True to his renegade style, the more popular songs were transformed somewhat, mostly by Costello's tendency to sing behind the beat instead of right on it (think Lyle Lovett, but with actual expressiveness). It may have irritated purists, but the slow-burn version of "Alison" (complete with a section of Hank Williams' "You Win Again" at the end) was languid in a wonderful way, as Costello made every syllable count. Forgetting his worthy work in the '80s and '90s, Costello stuck to his late '70s golden-era: "I Don't Want to Go to Chelsea," "This Year's Girl," "Accidents Will Happen," "High Fidelity." | ||
Throughout the show, Costello was more than ably backed by The Impostors. They feature Attractions vets Pete Thomas on drums and keyboardist Steve Nieve. | Throughout the show, Costello was more than ably backed by The Impostors. They feature Attractions vets Pete Thomas on drums and keyboardist Steve Nieve. | ||
Davey | Davey Faragher was the Impostors' bassist and he was a revelation, knowing when to keep a steady groove and when to pull off — and often surpass — the technical demands of Costello's earliest work (his playing on "This Year's Girl" was particularly stunning). | ||
My one quibble was with the sound mix. Nieve's keyboards were buried in the mix until about halfway through, and sometime Costello's guitar was submerged as well. In Costello's case, it masked his surprisingly edgy and nimble guitar solos. His voice was as brilliant as it's always been the last decade — capable of low rumbles and higher-pitched wails in equal measure, and always with extreme emotion. | My one quibble was with the sound mix. Nieve's keyboards were buried in the mix until about halfway through, and sometime Costello's guitar was submerged as well. In Costello's case, it masked his surprisingly edgy and nimble guitar solos. His voice was as brilliant as it's always been the last decade — capable of low rumbles and higher-pitched wails in equal measure, and always with extreme emotion. | ||
Like the show, the first two encores mixed new stuff (a fast romp through "Tear Off Your Own Head," a longer and better version of "Alibi"), obscurities ("Uncomplicated") and classics (blasts through "Radio Radio" and "Pump It Up"). | Like the show, the first two encores mixed new stuff (a fast romp through "Tear Off Your Own Head," a longer and better version of "Alibi"), obscurities ("Uncomplicated") and classics (blasts through "Radio, Radio" and "Pump It Up"). | ||
It was the third encore, though, that pushed the show beyond good into stunning. First the band did new song "Episode of Blonde," a samba-meets-psychobabble song that was playful and fun. Then, the band launched into "Peace, Love and Understanding," with Costello soaring to new heights vocally as the band chugged along. | It was the third encore, though, that pushed the show beyond good into stunning. First the band did new song "Episode of Blonde," a samba-meets-psychobabble song that was playful and fun. Then, the band launched into "Peace, Love and Understanding," with Costello soaring to new heights vocally as the band chugged along. | ||
Line 44: | Line 44: | ||
{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | |||
|prev = Reno Gazette-Journal, May 23, 2002 | |||
|next = Reno Gazette-Journal, May 5, 2007 | |||
}} | |||
'''Reno Gazette-Journal, May 27, 2002 | '''Reno Gazette-Journal, May 27, 2002 | ||
---- | ---- | ||
[[Mark Earnest]] reviews Elvis Costello & [[The Imposters]] and opening act [[American Hi-Fi]], Saturday, [[Concert 2002-05-25 Reno|May 25, 2002]], Reno Hilton Theatre, Reno, | [[Mark Earnest]] reviews Elvis Costello & [[The Imposters]] and opening act [[American Hi-Fi]], Saturday, [[Concert 2002-05-25 Reno|May 25, 2002]], Reno Hilton Theatre, Reno, Nevada. | ||
{{Bibliography images}} | {{Bibliography images}} | ||
Line 61: | Line 65: | ||
*[http://en.wikipedia.org/wiki/Reno_Gazette-Journal Wikipedia: Reno Gazette-Journal] | *[http://en.wikipedia.org/wiki/Reno_Gazette-Journal Wikipedia: Reno Gazette-Journal] | ||
*[http://www.elviscostello.info/articles/r/reno_gazette_journal.020526a.html elviscostello.info] | *[http://www.elviscostello.info/articles/r/reno_gazette_journal.020526a.html elviscostello.info] | ||
<!-- | <!-- 150833956 --> | ||
--> | |||
{{DEFAULTSORT:Reno Gazette-Journal 2002-05-27}} | {{DEFAULTSORT:Reno Gazette-Journal 2002-05-27}} |
Latest revision as of 18:14, 8 February 2022
|