Concert 2007-05-15 Boston: Difference between revisions
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I first saw Elvis do What's so Funny 'Bout Peace, Love and Understanding 25 years ago. It moved me then, and it moves me now, especially as he has added the refrain "Bring the Boys Home". I was disappointed only by the crowds lack of response to a central message EC has always stood by. | I first saw Elvis do What's so Funny 'Bout Peace, Love and Understanding 25 years ago. It moved me then, and it moves me now, especially as he has added the refrain "Bring the Boys Home". I was disappointed only by the crowds lack of response to a central message EC has always stood by. | ||
Great show. | Great show. | ||
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An Elvis Costello show is like a box of chocolates because...well, you know. | |||
Some nights you get The Beloved Entertainer, telling stories in between intimate numbers like "God's Comic." Some nights you get the gracious Master of Ceremonies, making sure that the audience accords the proper respect to guests such as Allen Toussaint or Emmylou Harris. Some nights he and Steve Nieve play chamber music versions of the Costello songbook. | |||
Tuesday night at Avalon was none of those. Tuesday night was Elvis Costello in Blitzkrieg Bop Take No Prisoners mode. | |||
After Elvis started with the same hushed opening lines that began his debut album thirty years ago, The Imposters slammed into a full-throated version of "Welcome To The Working Week" and didn't pause for breath until they finished "Big Tears" seven songs later. The sound was dense and saturated, with the electronics overlay typical of When I Was Cruel and Cruel Smile. After a brief pause, the slower pace and spacious arrangement of "Either Side Of The Same Town" provided more contrasting dramatic tensions, with Elvis delivering a soulful vocal. Then it was back to total attack mode for the rest of the set, beginning with the always majestic Clubland. The sole exception was Alibi, taken at a measured pace with the sarcasm dripping from Elvis' sneer. | |||
The first set of encores may have been the best sustained playing of the show, as the song selection was sell-suited to the band's jackhammer approach. The appropriate "Uncomplicated," trusty warhorse " Radio, Radio" and personal favorite "High Fidelity" all got rip-roaring performances. "Watching The Detectives" still sounded fresh after all these years, with a playful touch as Steve Nieve dropped electronic doodles into the ending vocal refrain. | |||
The final set was highlighted by two Beatles covers. Davey Faragher provided perfect vocal harmonies on "All I've Got To Do" for a properly Fab sound, and "Hey Bulldog" was a reminder that Lennon and McCartney's minor songs could have been career makers for other bands. I wouldn't mind Elvis keeping that one around for a while. "Peace, Love and Understanding" is always a satisfying closer, and Elvis exhorted the crowd into a call and response chant of "Bring the boys home/Bring them back alive!" | |||
One of the burdens of greatness is self comparison. To these ears the frantic pace robbed "Chelsea" of its stuttering charm and "Secondary Modern" of its haunting moodiness. The reworking of the melody for the final two verses of "Alison" was also uninspiring. But anyone who heard those songs for the first time likely found them dazzling. | |||
The Imposters remain a crackerjack unit. Davey Faragher's backup vocals on "Strict Time" and high end bass solo on the bridge of "Clubland" were a couple of highlights that demonstrate how tightly he has been integrated into the group. Steve Nieve was the maniacal master of his stacks of electronic keyboards, as well as the mini-Theremin that he toyed with to good advantage on several numbers. I only regret not getting to hear him tickle a baby grand on at least a couple of numbers. Pete Thomas has always been one of the premier powerhouse drummers in all of rock. | |||
Elvis long ago vaulted into that exalted status where a performer can only be compared to himself. This may not have been my favorite of the Elvis shows that I have been privileged to see, but that probably says more about me than about the show. If anyone wanted to know why Declan Patrick MacManus is in the Rock 'n' Roll Hall of Fame, then Avalon on Tuesday night was a the right place to be. | |||
Jim Fournier | |||
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==Ticket== | ==Ticket== | ||
Revision as of 02:14, 21 May 2007
VenueMusiciansSetlist01. Welcome To The Working Week
Submitted: Jim Fournier Opening act |
PreviewsReviewsFan reviewsLet's get one thing straight. These are the old songs, but the the style is the new Imposters. All energy, new deliveries, and pure EC. The Avalon is the place to see this show. Sold out, jam packed, and built to ROCK. General Admission is the Best Admission. Every song was a gem and every moment was a highlight. I particularly loved Secondary Modern. During Alibi, EC gave us a little Hendrix. You can get a glimpse of how good all this was on Letterman this Friday May 18th. Don't miss it. My name is Oliver's Army. Me and my friend, Uncomplicated, were there for the whole thing. EC has a message for all of us - Make Love, Not War. Peace.
I have seen EC so many times (Including Paradise, Symphony Hall w/Brodsky Q, Spinning Songbook, in Providence RI with Squeeze opening, etc, etc) I have found many shows a pleasant blur afterwards. Not this one! Almost among the top 5 ever. Despite being the LEAST chatty I've ever seen him, and despite constant stagehands running around , this show was superb. EC is a consumate professional, and wouldn't let a litle distortion from a mic with a dying battery throw him off stride. He threw variations subtle and not so subtle into many songs that added new dimension to very familiar material. He often has. His voice was not at it's best, but when he altered phrasing and melody it worked extremely well. But a real highlight of the show was Steve Naive. In other shows I have not infrequently found his excursions and experiments musically distracting. While I always appreciate his intent to keep it fresh, his instincts were not always beneficial to a given song. At Avalon he was so in synch with EC and the material that it took my breath away. Many variations on familiar riffs really FIT perfectly, and the fact he has been playing these tunes for ?? How many years?!! Some of them are 30 years old! I first saw Elvis do What's so Funny 'Bout Peace, Love and Understanding 25 years ago. It moved me then, and it moves me now, especially as he has added the refrain "Bring the Boys Home". I was disappointed only by the crowds lack of response to a central message EC has always stood by. Great show.
An Elvis Costello show is like a box of chocolates because...well, you know. Some nights you get The Beloved Entertainer, telling stories in between intimate numbers like "God's Comic." Some nights you get the gracious Master of Ceremonies, making sure that the audience accords the proper respect to guests such as Allen Toussaint or Emmylou Harris. Some nights he and Steve Nieve play chamber music versions of the Costello songbook. Tuesday night at Avalon was none of those. Tuesday night was Elvis Costello in Blitzkrieg Bop Take No Prisoners mode. After Elvis started with the same hushed opening lines that began his debut album thirty years ago, The Imposters slammed into a full-throated version of "Welcome To The Working Week" and didn't pause for breath until they finished "Big Tears" seven songs later. The sound was dense and saturated, with the electronics overlay typical of When I Was Cruel and Cruel Smile. After a brief pause, the slower pace and spacious arrangement of "Either Side Of The Same Town" provided more contrasting dramatic tensions, with Elvis delivering a soulful vocal. Then it was back to total attack mode for the rest of the set, beginning with the always majestic Clubland. The sole exception was Alibi, taken at a measured pace with the sarcasm dripping from Elvis' sneer. The first set of encores may have been the best sustained playing of the show, as the song selection was sell-suited to the band's jackhammer approach. The appropriate "Uncomplicated," trusty warhorse " Radio, Radio" and personal favorite "High Fidelity" all got rip-roaring performances. "Watching The Detectives" still sounded fresh after all these years, with a playful touch as Steve Nieve dropped electronic doodles into the ending vocal refrain. The final set was highlighted by two Beatles covers. Davey Faragher provided perfect vocal harmonies on "All I've Got To Do" for a properly Fab sound, and "Hey Bulldog" was a reminder that Lennon and McCartney's minor songs could have been career makers for other bands. I wouldn't mind Elvis keeping that one around for a while. "Peace, Love and Understanding" is always a satisfying closer, and Elvis exhorted the crowd into a call and response chant of "Bring the boys home/Bring them back alive!" One of the burdens of greatness is self comparison. To these ears the frantic pace robbed "Chelsea" of its stuttering charm and "Secondary Modern" of its haunting moodiness. The reworking of the melody for the final two verses of "Alison" was also uninspiring. But anyone who heard those songs for the first time likely found them dazzling. The Imposters remain a crackerjack unit. Davey Faragher's backup vocals on "Strict Time" and high end bass solo on the bridge of "Clubland" were a couple of highlights that demonstrate how tightly he has been integrated into the group. Steve Nieve was the maniacal master of his stacks of electronic keyboards, as well as the mini-Theremin that he toyed with to good advantage on several numbers. I only regret not getting to hear him tickle a baby grand on at least a couple of numbers. Pete Thomas has always been one of the premier powerhouse drummers in all of rock. Elvis long ago vaulted into that exalted status where a performer can only be compared to himself. This may not have been my favorite of the Elvis shows that I have been privileged to see, but that probably says more about me than about the show. If anyone wanted to know why Declan Patrick MacManus is in the Rock 'n' Roll Hall of Fame, then Avalon on Tuesday night was a the right place to be. Jim Fournier TicketStage setlistPostersProgramBootlegs
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