Elvis & The Imposters play Boston, MA, July 30 2015
Elvis & The Imposters play Boston, MA, July 30 2015
Who's going?
Re: Elvis & The Imposters play Boston, MA, July 30 2015
Via Mark Fredrickson, f/book
-
bambooneedle
- Posts: 4533
- Joined: Tue Jun 03, 2003 4:02 pm
- Location: a few thousand miles south east of Zanzibar
Re: Elvis & The Imposters play Boston, MA, July 30 2015
I Want You is just creepy in 2015...
EC should write a new song to address this fact.
EC should write a new song to address this fact.
Re: Elvis & The Imposters play Boston, MA, July 30 2015
https://twitter.com/howardblas/status/6 ... 88/photo/1
Howard Blas
@howardblas
"How about that Elvis Costello? His name is true!" says Donald Fagen of Steely Dan. Masters perform in Boston!
Is this the first time on this tour that the headliner has given the support act a shout-out? I don't remember reading of same in any other accounts. Although I wasn't expecting something like the Sting/Elvis duet on Alison from the Police tour I was kind of hoping for something involving both acts. Something like , maybe , the 'Dan's brass section backing Elvis & co. on a PTC track or something unexpected like that , a routine that might have been cooked up to break the tedium of doing the same set night after night. It seems, however, that both ensembles are happy to stick to a tried & trusted program.
Howard Blas
@howardblas
"How about that Elvis Costello? His name is true!" says Donald Fagen of Steely Dan. Masters perform in Boston!
Is this the first time on this tour that the headliner has given the support act a shout-out? I don't remember reading of same in any other accounts. Although I wasn't expecting something like the Sting/Elvis duet on Alison from the Police tour I was kind of hoping for something involving both acts. Something like , maybe , the 'Dan's brass section backing Elvis & co. on a PTC track or something unexpected like that , a routine that might have been cooked up to break the tedium of doing the same set night after night. It seems, however, that both ensembles are happy to stick to a tried & trusted program.
-
bronxapostle
- Posts: 4915
- Joined: Wed Jul 12, 2006 2:27 pm
Re: Elvis & The Imposters play Boston, MA, July 30 2015
has it ever NOT been bn??? from 1986 through all these years, there have been MANY truly SCARY live takes!bambooneedle wrote:I Want You is just creepy in 2015...
EC should write a new song to address this fact.
Re: Elvis & The Imposters play Boston, MA, July 30 2015
https://digboston.com/review-steely-dan ... ilion-730/
REVIEW: STEELY DAN AND ELVIS COSTELLO @ BLUE HILLS BANK PAVILION, 7/30
July 31, 2015
By TIM BUGBEE
Drug Dealers. Drunk Drivers. Mysterious phone numbers. Apocalyptic last stands. The shadowy characters that inhabit the fringes of society are full front and center in the world of Donald Fagen and Walter Becker, making Steely Dan the most subversive act to get significant radio play. Hell, the anti-hero of “Kid Charlemagne” was practically the blueprint for Walter White. The history of the band is underscored by their increasing obsession with meticulous playing and arrangement, slowly withdrawing from playing on the radio to focus exclusively on studio creation.
Which is substantially different from today. Mark II finds them as virtual road warriors, and since returning in the early 90s, Fagan and Becker have made a routine of filling regal indoor theatres and roomy outdoor amphitheatres for a few dozen dates each year. Tonight finds them at the first of two sold-out shows, and they teased the crowd a bit by waiting until their crack band had churned through the jazz/blues standard of “Teenie’s Blues” before taking the stage. Easing gently into the laconicly velvet-barbed jabs of “Black Cow,” the band would turn about face with the surging dynamics of “Aja,” the title track of the record that all your friends used to see who’s parents stereos sounded the best.
Steely Dan always made it a priority to surround themselves with ace musicians, and it was never clear if Becker was on the providing end of some of those neckhair-raising solos, or if it was the work of Denny Dias or Jeff ‘Skunk’ Baxter or hired guns like Elliot Randall or Larry Carlton. Most of tonight’s heavy lifting was taken care of by Jon Herington, who also doubled as the musical director, but Becker did more than passable turns on “Green Earring” as well as the relative obscurity of “Daddy Don’t Live In That New York City No More.” Perhaps because if its place deep in the catalog, casual fans may not realize that unlike tonight, Becker didn’t sing on the original. After hearing it, I think he should stick to the fretwork.
Sometimes the band took some liberties with arrangements and styles, especially on the funky version of “Show Biz Kids” and “Dirty Work,” where Carolyn Leonhart took the lead vocal that David Palmer originally sang. The razor-sharp guitar solo on “The Boston Rag” was dulled a bit, but Herington played it safe on the iconic solo of “Kid Charlemagne.” Messing with that would have been a crime against nature. Fagen reminded me of a Jewish Ray Charles, with his distinct head movements behind the keyboard and mic mimicking the great artist. Though he never had a particular great voice or range, it was highly effective at conveying the emotional content behind the songs, and he sounded as fine as ever. The two seemed to have comfortably fit into this phase of their career, and it’s evident that a lot of people support it.
I’ve seen some strange double bills, and this one ranks up there. Stylistically, there’s not a lot of overlap between Steely Dan and Elvis Costello, but it was an inspired pairing despite the differences. Touring with the Imposters, his long-time sidekicks of ex-Attractions Pete Thomas on drums and Steve Nieve on keyboards along with bassist Davey Faragher, Costello took no time at all to rattle off some classics before most of the paying customers were settling into their seats. The blue-eyed soul of “High Fidelity” was a welcome surprise, and the spittle-flecked rant of “Radio Radio” is still a worth rant/anthem (Ranthem? Hey, let’s go with it). Despite the pedigree, the band wasn’t totally clicking tonight. Thomas seemed rushed at times, Nieve had some really pointless calliope fills where they trampled all over the song, and Costello tended to start signing his verse too late, needing to rush the delivery so he could catch up before the next one came along. Classics like “Alison” and “Watching The Detectives” were well-received, as was the cod reggae of “Everyday I Write The Book.” I’ve never understood the rampant appeal of “Pump It Up, ” which as fist-raising calls to action go falls squarely in the stodgy monotonous end of the range, but Costello recovered with a raging and still relevant “(What’s So Funny ‘Bout) Peace, Love And Understanding.”
Photos from the evening:
https://www.flickr.com/photos/weeklydig ... 33490/show
REVIEW: STEELY DAN AND ELVIS COSTELLO @ BLUE HILLS BANK PAVILION, 7/30
July 31, 2015
By TIM BUGBEE
Drug Dealers. Drunk Drivers. Mysterious phone numbers. Apocalyptic last stands. The shadowy characters that inhabit the fringes of society are full front and center in the world of Donald Fagen and Walter Becker, making Steely Dan the most subversive act to get significant radio play. Hell, the anti-hero of “Kid Charlemagne” was practically the blueprint for Walter White. The history of the band is underscored by their increasing obsession with meticulous playing and arrangement, slowly withdrawing from playing on the radio to focus exclusively on studio creation.
Which is substantially different from today. Mark II finds them as virtual road warriors, and since returning in the early 90s, Fagan and Becker have made a routine of filling regal indoor theatres and roomy outdoor amphitheatres for a few dozen dates each year. Tonight finds them at the first of two sold-out shows, and they teased the crowd a bit by waiting until their crack band had churned through the jazz/blues standard of “Teenie’s Blues” before taking the stage. Easing gently into the laconicly velvet-barbed jabs of “Black Cow,” the band would turn about face with the surging dynamics of “Aja,” the title track of the record that all your friends used to see who’s parents stereos sounded the best.
Steely Dan always made it a priority to surround themselves with ace musicians, and it was never clear if Becker was on the providing end of some of those neckhair-raising solos, or if it was the work of Denny Dias or Jeff ‘Skunk’ Baxter or hired guns like Elliot Randall or Larry Carlton. Most of tonight’s heavy lifting was taken care of by Jon Herington, who also doubled as the musical director, but Becker did more than passable turns on “Green Earring” as well as the relative obscurity of “Daddy Don’t Live In That New York City No More.” Perhaps because if its place deep in the catalog, casual fans may not realize that unlike tonight, Becker didn’t sing on the original. After hearing it, I think he should stick to the fretwork.
Sometimes the band took some liberties with arrangements and styles, especially on the funky version of “Show Biz Kids” and “Dirty Work,” where Carolyn Leonhart took the lead vocal that David Palmer originally sang. The razor-sharp guitar solo on “The Boston Rag” was dulled a bit, but Herington played it safe on the iconic solo of “Kid Charlemagne.” Messing with that would have been a crime against nature. Fagen reminded me of a Jewish Ray Charles, with his distinct head movements behind the keyboard and mic mimicking the great artist. Though he never had a particular great voice or range, it was highly effective at conveying the emotional content behind the songs, and he sounded as fine as ever. The two seemed to have comfortably fit into this phase of their career, and it’s evident that a lot of people support it.
I’ve seen some strange double bills, and this one ranks up there. Stylistically, there’s not a lot of overlap between Steely Dan and Elvis Costello, but it was an inspired pairing despite the differences. Touring with the Imposters, his long-time sidekicks of ex-Attractions Pete Thomas on drums and Steve Nieve on keyboards along with bassist Davey Faragher, Costello took no time at all to rattle off some classics before most of the paying customers were settling into their seats. The blue-eyed soul of “High Fidelity” was a welcome surprise, and the spittle-flecked rant of “Radio Radio” is still a worth rant/anthem (Ranthem? Hey, let’s go with it). Despite the pedigree, the band wasn’t totally clicking tonight. Thomas seemed rushed at times, Nieve had some really pointless calliope fills where they trampled all over the song, and Costello tended to start signing his verse too late, needing to rush the delivery so he could catch up before the next one came along. Classics like “Alison” and “Watching The Detectives” were well-received, as was the cod reggae of “Everyday I Write The Book.” I’ve never understood the rampant appeal of “Pump It Up, ” which as fist-raising calls to action go falls squarely in the stodgy monotonous end of the range, but Costello recovered with a raging and still relevant “(What’s So Funny ‘Bout) Peace, Love And Understanding.”
Photos from the evening:
https://www.flickr.com/photos/weeklydig ... 33490/show
Re: Elvis & The Imposters play Boston, MA, July 30 2015
Photos by Jenna Cavanaugh
http://www.bostonsportsdesk.com/dont-me ... imposters/
DON’T MEAN TO BE CHEESY, BUT…: STEELY DAN & ELVIS COSTELLO AND THE IMPOSTERS
By Jenna Cavanaugh
31 July 2015
My first thought was of aged sharp cheddar cheese. Blue Hills Bank Pavilion put on a tremendous double header last night to a rowdy crowd of diehard music listeners. Elvis Costello and the Imposters and Steely Dan performed under thick humid, rainy Boston Skies. Both acts have been playing since the 70s; one’s first thought of decades-old musicians is a concern for weakened windpipes and faded stardom. Elvis Costello and Steely Dan showed their fans the brilliance of aging cheese: sometimes the longer something sits, the better it becomes.
I was not around in the 70s to fully argue my point. Yet the intensity and musical ability that the musicians brought to the stage last night were not that of a used-to-be 70s rock star. Instead, the music brought the older crowd to its feet as the summer storm rolled through the city.
Elvis Costello and The Imposters began their hour long set before Steely Dan with a wailing rock vibe that only stems from an experienced onstage performer. Dressed in all black with sunglasses and a hat, Costello was the epitome of “cool, calm, and collected.” The solos and guitar riffs excited the audience as Costello’s expression remained straight-faced. The rocker and band were a perfect transition to Steely Dan’s jazz-rock vibe. There was no one act that completely outshone the other or was clearly a mediocre opener.
Steely Dan began around 8:30 as their instrumental usage further demonstrated the concert’s success with aged musicians. They performed “Black Cow” as well as “Peg,” a huge Steely Dan song. Donald Fagen, the lead vocalist who is also one of the founding members of the band, alternated between many different instruments even throughout the first few songs on the night. Fagen went from the keyboard to the melodica as saxophonists and back-up singers bookended him onstage. Walter Becker, the other founding member of Steely Dan, complimented Fagen with his guitarist skills.
The range of instrumental qualities of Steely Dan’s performance was wider than many bigger shows happening this summer. Most tours rely more on the light effects and back up vocals to carry a good performance; usually, it works. Steely Dan and Elvis Costello stuck to their roots of pure musical ability to carry through a solid night. As I have slightly humorously compared their long-standing talents to the benefits of aged cheese, expertise of the basics should continue to be cherished in order for other musicians to continue a streak as long as the ones performed last night.
-
bambooneedle
- Posts: 4533
- Joined: Tue Jun 03, 2003 4:02 pm
- Location: a few thousand miles south east of Zanzibar
Re: Elvis & The Imposters play Boston, MA, July 30 2015
EC should add the chorus of Creep by radiohead at the end of it... I think that would work.bronxapostle wrote:has it ever NOT been bn??? from 1986 through all these years, there have been MANY truly SCARY live takes!bambooneedle wrote:I Want You is just creepy in 2015...
EC should write a new song to address this fact.
EC should just always do what I say...
-
verbal gymnastics
- Posts: 13650
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
Re: Elvis & The Imposters play Boston, MA, July 30 2015
Great idea - he should save that for when he comes to Oxford (in the UK) where Radiohead hail from.
Who’s this kid with his mumbo jumbo?