ELVIS solo GRAMERCY NYC February 13, 2023
Re: ELVIS solo GRAMERCY NYC February 13, 2023
What a write-up!! Felt like I was there! Its hard to say which of these nights is going to be the best --- they're all so unique and full of surprises. Elvis is pulling out all the stops on this one. Hope he isn't setting the bar too high for himself to continue to exceed expectations as he is obviously doing.
Too bad about the drunk. Security needs to give these clowns a stern warning, and then quietly remove them.
Too bad about the drunk. Security needs to give these clowns a stern warning, and then quietly remove them.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Agree....oust the drunken oaf. Surprised E didn't sic anyone on him or speak from the stage to shut him the fuck up. I would have been pissed if I was there last evening.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
At one point, EC did jokingly say that the guy from Everton should "shut the fuck up" but that only made him laugh uproriously and actually emboldened him even more.bronxapostle wrote:Agree....oust the drunken oaf. Surprised E didn't sic anyone on him or speak from the stage to shut him the fuck up. I would have been pissed if I was there last evening.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
https://twitter.com/LarkinPoe/status/16 ... 5631206419
"Last night I had the distinct privilege of singing with our hero @ElvisCostello at night 4 of his 10 night sold out residency at the Gramercy Theatre in NYC. Music is the tie that binds."
"Last night I had the distinct privilege of singing with our hero @ElvisCostello at night 4 of his 10 night sold out residency at the Gramercy Theatre in NYC. Music is the tie that binds."
Re: ELVIS solo GRAMERCY NYC February 13, 2023
She killed it last night and it was a really special treat.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
That's unfortunate. I did hear a little of that guy but it wasn't that loud from where I was sitting.JerseyPride78 wrote:I generally agree with you about the crowd but there was one glaring exception last night.Newspaper Pane wrote: These crowds have been great too, each and every night. Very appreciative and open-minded, and even people who don't know many of the songs are having a great time. You love to see it.
I don't know if he is a member of this forum but the monumentally intoxicated Englishman in the loge definitely hampered the show for those of us around him. I'm talking about the guy who kept yelling out "Play one for Everton" between songs. As the show progressed, he got worse and worse and started yelling out parts of the choruses lounder than EC (e.g., "JOOOSEEEPHIIINNEEE!!!!!!").
For certain songs, he didn't reconize them until about a minute into the song and then would start yelling in approval at the moment of recognition. I honestly thought he was going to fall down the stairs one of the many times he stumbled out of this seat (presumably to go to the Men's room). When the guy sitting behind him asked him to tone it down, he did not take kindly to it and continued his drunken bafoonery. Thankfully, the Face in The Crown set was much louder and it drowned out his behavior. At one point in the show, nearly everyone in the row directly behind him left their seats and watched the show standing at the back of the floor.
If this was a full band show that would be one thing. But this was an intimate solo performance for which everyone else in the audience managed to be respecful. I don't imagine this guy will even remember last night. I still had a blast and loved every song but it sure would have been better without this guy's annoying behavor.
Re: ELVIS solo GRAMERCY NYC February 13, 2023
Oh, I am missing out on so many good times. Enjoy east coasters.JerseyPride78 wrote:At one point, EC did jokingly say that the guy from Everton should "shut the fuck up" but that only made him laugh uproriously and actually emboldened him even more.bronxapostle wrote:Agree....oust the drunken oaf. Surprised E didn't sic anyone on him or speak from the stage to shut him the fuck up. I would have been pissed if I was there last evening.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Ouch...horrible that the jackass was emboldened further. As I firstly prescribed, he should have sicced the 1979 Jake 'goon squad' on him. THOSE guys even intimidated 19 year old BRONX me AND my desire to take photos with my Argus 35mm Ricky Ricardo special!!!JerseyPride78 wrote:At one point, EC did jokingly say that the guy from Everton should "shut the fuck up" but that only made him laugh uproriously and actually emboldened him even more.bronxapostle wrote:Agree....oust the drunken oaf. Surprised E didn't sic anyone on him or speak from the stage to shut him the fuck up. I would have been pissed if I was there last evening.
Re: ELVIS solo GRAMERCY NYC February 13, 2023
I miss Paddy. RIP. One scary dude.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
MOJO wrote:I miss Paddy. RIP. One scary dude.
The BEST!!!
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
I saw her singing this at the London Palladium on a Detour show and in my view it’s the best vocal she has ever done.cfm123 wrote:She killed it last night and it was a really special treat.
Who’s this kid with his mumbo jumbo?
Re: ELVIS solo GRAMERCY NYC February 13, 2023
Yes! I saw it performed in Texas a few years ago and I was so happy he brought her in for it.verbal gymnastics wrote:I saw her singing this at the London Palladium on a Detour show and in my view it’s the best vocal she has ever done.cfm123 wrote:She killed it last night and it was a really special treat.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
https://www.loudersound.com/reviews/why ... super-fans
Why a gig featuring no hit songs whatsoever is heaven for Elvis Costello super-fans
On the eve of Valentine's Day, Elvis Costello feels the love at New York's Gramercy Theatre
5 stars
The very idea seems absurd. That a world-class artist would play a gig during which he plays none of the songs for which he is best known by the casual listener seems perverse in the extreme. It’s like the Stones rolling up to perform a set absent of Gimme Shelter, Sympathy For The Devil, or (I Can't Get No) Satisfaction. It’s like paying a fortune to see Paul McCartney in the knowledge that he will not be taking a sad song to make it better.
But think again. Because on an unseasonably mild evening in Manhattan, the 600 people queuing at the entrance of the compact and lovely Gramercy Theatre have each joined a compact of the obscure. None of us is here to hear Accidents Will Happen, Pump It Up or Shipbuilding. ‘100 Songs and More’ is the wording on the ticket. ‘Elvis Costello,’ announces the marquee on East 23rd St, ’10 Nights sold out’.
In case you were wondering, this is where obsessives go to die. “It’s the force of habit, if it moves then you fuck it, if it doesn’t move you stab it,” Costello sings in the second hour of his largely unaccompanied acoustic set. Five minutes later, Sleep Of The Just is succeeded by God’s Comic, in which no lesser personage than the great Creator ponders the very nature of His own existence. “Sometimes [the faithful] confuse me with Santa Claus,” He narrates, “It’s the big white beard, I suppose.” Under normal circumstances, even the most hardcore devotee could wait an age, and spend a fortune, in the hope of hearing a pairing such as this. But on the eve of Valentine’s Night, it’s merely par for the course. Tomorrow it will be much the same.
In which case, the key is to stay away from websites that disclose each evening’s set-list. For obsessives of Costello’s annus mirabilis, 1986, Friday evening saw the re-emergence of brilliance in the form of Sleep Of The Just, Battered Old Bird, Jack Of All Parades, and Little Palaces. Three nights later, the Monday night excavations include I Want To Vanish, from the scandalously under-appreciated All This Useless Beauty LP, from 1996; set-opener 45, from the album When I Was Cruel; and a medley of 2010’s masterful Jimmie Standing In The Rain with the American Great Depression classic Brother Can You Spare A Dime?, in which the Chicago of Al Capone is paired with the fading glory of George Formby’s Lancashire. Elsewhere, poetry flies by as if on the breeze. “Look at the graceful way she dances, one foot speaks the other answers,” Costello sings on Ghost Train, a song from 1980 that didn’t even make the parent album (Get Happy) from which it was born. Just imagine having the imagination, and the talent, to let material such as this appear only on the rarest of occasions.
Of course, the truth of it is that Elvis Costello could play for a month without once repeating himself. At a $125 a ticket, similarly, audience members could bankrupt themselves in the hope of hearing an obscure favourite. As a welcome to the working week, in Midtown Manhattan on a Monday night a roomful of obsessives is treated to gems that might otherwise be forgotten. Mr Feathers, as good a song as its author has written in a decade, nestles cheek-by-jowl with the timeless Black And White World. Because the truth of it is that one can have too much of a good thing. Without this most unusual of concert concepts, the chance is real that dozens of the songs performed over the course of 10 nights might never be played again.
As evidence that music is the art of the immortal, Elvis Costello in Manhattan is hard to beat. Three nights previously, the world of song mourned the death of Burt Bacharach, the author of more standards than one can imagine, with whom Costello paired for 1998’s Painted From Memory LP. Three tracks in, the memory of the man’s genius is marked by an exquisitely-judged cover of Mexican Divorce. More than two hours later, Costello’s routinely remarkable evening is brought to a close by a more familiar rendition of a song written by Nick Lowe, yet another top-tier songwriter. Now, as then, its question remains pertinent: what’s so funny about peace, love and understanding?
Why a gig featuring no hit songs whatsoever is heaven for Elvis Costello super-fans
On the eve of Valentine's Day, Elvis Costello feels the love at New York's Gramercy Theatre
5 stars
The very idea seems absurd. That a world-class artist would play a gig during which he plays none of the songs for which he is best known by the casual listener seems perverse in the extreme. It’s like the Stones rolling up to perform a set absent of Gimme Shelter, Sympathy For The Devil, or (I Can't Get No) Satisfaction. It’s like paying a fortune to see Paul McCartney in the knowledge that he will not be taking a sad song to make it better.
But think again. Because on an unseasonably mild evening in Manhattan, the 600 people queuing at the entrance of the compact and lovely Gramercy Theatre have each joined a compact of the obscure. None of us is here to hear Accidents Will Happen, Pump It Up or Shipbuilding. ‘100 Songs and More’ is the wording on the ticket. ‘Elvis Costello,’ announces the marquee on East 23rd St, ’10 Nights sold out’.
In case you were wondering, this is where obsessives go to die. “It’s the force of habit, if it moves then you fuck it, if it doesn’t move you stab it,” Costello sings in the second hour of his largely unaccompanied acoustic set. Five minutes later, Sleep Of The Just is succeeded by God’s Comic, in which no lesser personage than the great Creator ponders the very nature of His own existence. “Sometimes [the faithful] confuse me with Santa Claus,” He narrates, “It’s the big white beard, I suppose.” Under normal circumstances, even the most hardcore devotee could wait an age, and spend a fortune, in the hope of hearing a pairing such as this. But on the eve of Valentine’s Night, it’s merely par for the course. Tomorrow it will be much the same.
In which case, the key is to stay away from websites that disclose each evening’s set-list. For obsessives of Costello’s annus mirabilis, 1986, Friday evening saw the re-emergence of brilliance in the form of Sleep Of The Just, Battered Old Bird, Jack Of All Parades, and Little Palaces. Three nights later, the Monday night excavations include I Want To Vanish, from the scandalously under-appreciated All This Useless Beauty LP, from 1996; set-opener 45, from the album When I Was Cruel; and a medley of 2010’s masterful Jimmie Standing In The Rain with the American Great Depression classic Brother Can You Spare A Dime?, in which the Chicago of Al Capone is paired with the fading glory of George Formby’s Lancashire. Elsewhere, poetry flies by as if on the breeze. “Look at the graceful way she dances, one foot speaks the other answers,” Costello sings on Ghost Train, a song from 1980 that didn’t even make the parent album (Get Happy) from which it was born. Just imagine having the imagination, and the talent, to let material such as this appear only on the rarest of occasions.
Of course, the truth of it is that Elvis Costello could play for a month without once repeating himself. At a $125 a ticket, similarly, audience members could bankrupt themselves in the hope of hearing an obscure favourite. As a welcome to the working week, in Midtown Manhattan on a Monday night a roomful of obsessives is treated to gems that might otherwise be forgotten. Mr Feathers, as good a song as its author has written in a decade, nestles cheek-by-jowl with the timeless Black And White World. Because the truth of it is that one can have too much of a good thing. Without this most unusual of concert concepts, the chance is real that dozens of the songs performed over the course of 10 nights might never be played again.
As evidence that music is the art of the immortal, Elvis Costello in Manhattan is hard to beat. Three nights previously, the world of song mourned the death of Burt Bacharach, the author of more standards than one can imagine, with whom Costello paired for 1998’s Painted From Memory LP. Three tracks in, the memory of the man’s genius is marked by an exquisitely-judged cover of Mexican Divorce. More than two hours later, Costello’s routinely remarkable evening is brought to a close by a more familiar rendition of a song written by Nick Lowe, yet another top-tier songwriter. Now, as then, its question remains pertinent: what’s so funny about peace, love and understanding?
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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Re: ELVIS solo GRAMERCY NYC February 13, 2023
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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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Antwayn Hopper sings with Elvis: https://youtu.be/CKMHaCTzOPU
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.