ELVIS solo GRAMERCY NYC February 13, 2023
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ELVIS solo GRAMERCY NYC February 13, 2023
Who's going?
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
yupbronxapostle wrote:Who's going?
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Looking for a single ticket for this show if someone has one they can’t use.
Re: ELVIS solo GRAMERCY NYC February 13, 2023
Back at it tonight. Hope y’all enjoyed your day off!
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
These songs are announced for this evening:
01. 45
02. Stella Hurt
03. Black And White World
04. Ghost Train
05. Church Underground
06. God's Comic
07. Suit Of Lights
08. Jimmie Standing In The Rain
09. Dr. Watson, I Presume
10. I Want To Vanish
"and at least 10 more"
01. 45
02. Stella Hurt
03. Black And White World
04. Ghost Train
05. Church Underground
06. God's Comic
07. Suit Of Lights
08. Jimmie Standing In The Rain
09. Dr. Watson, I Presume
10. I Want To Vanish
"and at least 10 more"
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
A couple of seats got released for tonight and I was able to grab one. Onward!
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Holy cow, there was a whole second set with the cast of A Face in the Crowd!!
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
https://twitter.com/JoeLewisdixon/statu ... 1875504128
https://twitter.com/fmc_dylan/status/16 ... 3407910919
Rebecca Lovell (Larkin Poe) is next to EC in the second photo.
https://twitter.com/fmc_dylan/status/16 ... 3407910919
Rebecca Lovell (Larkin Poe) is next to EC in the second photo.
Re: ELVIS solo GRAMERCY NYC February 13, 2023
My mind is blown!!!
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
https://www.setlist.fm/setlist/elvis-co ... d486b.html
01. 45
02. Stella Hurt
03. Mexican Divorce
04. Dr. Watson, I Presume
05. I Want To Vanish
06. Walkin' My Baby Back Home
07. Down Among The Wines And Spirits
08. Black And White World
09. Mr. Feathers
10. A Voice In The Dark
11. Ghost Train
12. Radio Soul
13. A Slow Drag With Josephine
14. Under Lime
15. Church Underground
16. God's Comic
17. Suit Of Lights
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
A Face In The Crowd set - with Rob Mathes and chorus
19. This Uneasy Hour
20. American Mirror
21. He Makes My Water Boil
22. Big Stars Have Tumbled
23. Burn The Paper Down To Ash - with Rebecca Lovell
24. Vitajex
25. Blood & Hot Sauce
26. A Face In The Crowd
27. (What's So Funny 'Bout) Peace, Love And Understanding? - with Rebecca Lovell
01. 45
02. Stella Hurt
03. Mexican Divorce
04. Dr. Watson, I Presume
05. I Want To Vanish
06. Walkin' My Baby Back Home
07. Down Among The Wines And Spirits
08. Black And White World
09. Mr. Feathers
10. A Voice In The Dark
11. Ghost Train
12. Radio Soul
13. A Slow Drag With Josephine
14. Under Lime
15. Church Underground
16. God's Comic
17. Suit Of Lights
18. Jimmie Standing In The Rain - including Brother, Can You Spare A Dime?
A Face In The Crowd set - with Rob Mathes and chorus
19. This Uneasy Hour
20. American Mirror
21. He Makes My Water Boil
22. Big Stars Have Tumbled
23. Burn The Paper Down To Ash - with Rebecca Lovell
24. Vitajex
25. Blood & Hot Sauce
26. A Face In The Crowd
27. (What's So Funny 'Bout) Peace, Love And Understanding? - with Rebecca Lovell
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Any news about the musical A Face In The Crowd?
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
- docinwestchester
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
No news. But what a surprise to get a professional show revue tonight with Rob Mathes as musical director!sweetest punch wrote:Any news about the musical A Face In The Crowd?
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
These are dream set lists, what can you say? Each night surprises and amazes in different ways. What an artist.
The spare acoustic arrangement of Stella Hurt was fantastic.
9 songs from National Ransom have appeared so far, is that the most of any album? EC clearly loves that album and wants to give the songs a good airing.
6 songs from Secret Profane too, I love it.
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.
Oh, and I was thrilled to hear I Want to Vanish, one of my favorite songs.
N.B. - Elvis remarked that he was supposed to play Radio Soul the first night and forgot.
The spare acoustic arrangement of Stella Hurt was fantastic.
9 songs from National Ransom have appeared so far, is that the most of any album? EC clearly loves that album and wants to give the songs a good airing.
6 songs from Secret Profane too, I love it.
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.
Oh, and I was thrilled to hear I Want to Vanish, one of my favorite songs.
N.B. - Elvis remarked that he was supposed to play Radio Soul the first night and forgot.
Last edited by Newspaper Pane on Tue Feb 14, 2023 1:43 am, edited 1 time in total.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Mine too.cfm123 wrote:My mind is blown!!!
Re: ELVIS solo GRAMERCY NYC February 13, 2023
Burn The Paper Down To Ash:
https://youtu.be/rnfyxxEMM-c
https://youtu.be/rnfyxxEMM-c
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Every album has been represented so far except:
Imperial Bedroom
Punch the Clock
Goodbye Cruel World (unless you count Deportee, which I don't)
Juliet Letters
Painted From Memory
North
Wise Up Ghost
Boy Named If
Imperial Bedroom
Punch the Clock
Goodbye Cruel World (unless you count Deportee, which I don't)
Juliet Letters
Painted From Memory
North
Wise Up Ghost
Boy Named If
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
https://www.showbiz411.com/2023/02/14/r ... n-progress
Review: Elvis Costello Shows Depth of 45 Year Catalog in Intimate Setting, Surprises with Sensational Songs from Musical in Progress
by Roger Friedman
Where to begin?
You may know that Elvis Costello is in the middle of a residency at the Gramercy Theater on East 23rd St. The theme is 100 songs in ten nights although as he said last night, it’s really 200 songs. Ten songs per night — all different — are printed on a card handed out to the audience. Then 10 more songs are guaranteed, also each night all different from his stunning 45 year catalog.
In other words, you may shout out “Alison”! or “Red Shoes”! as one lout did constantly last night but you’re not going to hear them unless you’re there on the right night. Sorry. Costello is a little like Ralph Fiennes in “The Menu.” He’s serving delicacies in his own order and his discretion.
Last night, not only were we happy to receive the 10 song main menu that included “45,” “Black and White World,” “God’s Comic,” and “Stella Hurt,” but also Burt Bacharach’s “Mexican Divorce” originally recorded by the Drifters), the rarity “Radio Soul” (the precursor to Costello’s hit “Radio Radio,” and “Mr. Feathers,” from his underrated “Momofuku” album. There were none of the hits, and it didn’t matter.
But when Costello, who played guitar and accompanied himself on piano, had completed 18 songs in one hour forty minutes, he had a surprise for the audience. He presented — with orchestra leader Rob Mathes and a group of eight Broadway singers — seven songs from the musical version of “A Face in the Crowd,” the Andy Griffith movie from the 1950s. Costello has been on this project for a decade, and hopes to bring it to the stage soon. He’s sung some of the songs in the past, but never realized in this way, all together, with a cast.
The good news — there is only good news — that “A Face in the Crowd” is ready for a workshop. The songs are terrific, especially a new one no one had heard before called “He Makes My Water Boil.” Hearing them all together was an unexpected treat that sent the intimate audience up on their feet. A standout was “Burn the Paper to the Ash” sung with Rebecca Lovell of Larkin Poe, a roots American sister act that was nominated three years ago for a Grammy and deserves much wider attention. Lovell’s voice has rich twang that added to Costello’s melodic turns.
Who knows what will happen to this new musical? It needs to be in the New York Theater Workshop, or a place like that, even in a concert form. Like David Byrne and Sting, Elvis Costello has a place in musical theater.
As for the rest of the show, these choices each night reflect the depth of Costello’s catalog. The wordplay of the songs in this setting becomes all the more important, so does the composition. There’s a lot going on in every Elvis Costello song, which are usually beautifully produced with his bands either the Attractions or Imposters, etc. Last night, with just Costello playing them (other shows feature either the Imposters or just master pianist Steve Nieve) songs like “Mr. Feathers” took on new life. “Alison” and “Red Shoes” weren’t missed.
Every night at the Gramercy has a theme, intentional or otherwise. Costello opened by indicating that “vaudeville” was the idea for the night, and that it was all about show business. But there was a lot spoken and sung about his late father and grandfather, each talented musicians. There was also a lot about Costello’s collaborator and mentor, Burt Bacharach, for whom he is grieving right now. The spirits of all three hung over the and gave it gravitas and pathos.
In the audience: Mike Myers, who featured Elvis and Burt in “Austin Powers,” hit TV comedy writer Eddie Gorodetsky, also Greg Geller, who signed Costello to Columbia Records in 1977. Geller’s wife, Hope Antman, was in charge of publicity then at the label. They told me they were there in London at Columbia Records’ convention when Costello, 22, wandered around outside playing his guitar with a small amp hung over his shoulder. The rest is history. Four decades later, Costello is still going strong, a master in many genres of music, with no end in sight.
What a night! If you can get in to the Gramercy before the run is over, then do so without fail. Otherwise, Costello will appear with the Imposters at the Capitol Theater in Port Chester, New York on March 3rd.
PS Every night ends with Costello’s cover of Nick Lowe’s “What’s So Funny About Peace, Love, and Understanding.” With Mathes, Lovell, the singers, et al — and no drummer — the song kind of levitated the audience, everyone sang along. As a grace note, the audience heard Dionne Warwick sing “What the World Needs Now” over the sound system.
Review: Elvis Costello Shows Depth of 45 Year Catalog in Intimate Setting, Surprises with Sensational Songs from Musical in Progress
by Roger Friedman
Where to begin?
You may know that Elvis Costello is in the middle of a residency at the Gramercy Theater on East 23rd St. The theme is 100 songs in ten nights although as he said last night, it’s really 200 songs. Ten songs per night — all different — are printed on a card handed out to the audience. Then 10 more songs are guaranteed, also each night all different from his stunning 45 year catalog.
In other words, you may shout out “Alison”! or “Red Shoes”! as one lout did constantly last night but you’re not going to hear them unless you’re there on the right night. Sorry. Costello is a little like Ralph Fiennes in “The Menu.” He’s serving delicacies in his own order and his discretion.
Last night, not only were we happy to receive the 10 song main menu that included “45,” “Black and White World,” “God’s Comic,” and “Stella Hurt,” but also Burt Bacharach’s “Mexican Divorce” originally recorded by the Drifters), the rarity “Radio Soul” (the precursor to Costello’s hit “Radio Radio,” and “Mr. Feathers,” from his underrated “Momofuku” album. There were none of the hits, and it didn’t matter.
But when Costello, who played guitar and accompanied himself on piano, had completed 18 songs in one hour forty minutes, he had a surprise for the audience. He presented — with orchestra leader Rob Mathes and a group of eight Broadway singers — seven songs from the musical version of “A Face in the Crowd,” the Andy Griffith movie from the 1950s. Costello has been on this project for a decade, and hopes to bring it to the stage soon. He’s sung some of the songs in the past, but never realized in this way, all together, with a cast.
The good news — there is only good news — that “A Face in the Crowd” is ready for a workshop. The songs are terrific, especially a new one no one had heard before called “He Makes My Water Boil.” Hearing them all together was an unexpected treat that sent the intimate audience up on their feet. A standout was “Burn the Paper to the Ash” sung with Rebecca Lovell of Larkin Poe, a roots American sister act that was nominated three years ago for a Grammy and deserves much wider attention. Lovell’s voice has rich twang that added to Costello’s melodic turns.
Who knows what will happen to this new musical? It needs to be in the New York Theater Workshop, or a place like that, even in a concert form. Like David Byrne and Sting, Elvis Costello has a place in musical theater.
As for the rest of the show, these choices each night reflect the depth of Costello’s catalog. The wordplay of the songs in this setting becomes all the more important, so does the composition. There’s a lot going on in every Elvis Costello song, which are usually beautifully produced with his bands either the Attractions or Imposters, etc. Last night, with just Costello playing them (other shows feature either the Imposters or just master pianist Steve Nieve) songs like “Mr. Feathers” took on new life. “Alison” and “Red Shoes” weren’t missed.
Every night at the Gramercy has a theme, intentional or otherwise. Costello opened by indicating that “vaudeville” was the idea for the night, and that it was all about show business. But there was a lot spoken and sung about his late father and grandfather, each talented musicians. There was also a lot about Costello’s collaborator and mentor, Burt Bacharach, for whom he is grieving right now. The spirits of all three hung over the and gave it gravitas and pathos.
In the audience: Mike Myers, who featured Elvis and Burt in “Austin Powers,” hit TV comedy writer Eddie Gorodetsky, also Greg Geller, who signed Costello to Columbia Records in 1977. Geller’s wife, Hope Antman, was in charge of publicity then at the label. They told me they were there in London at Columbia Records’ convention when Costello, 22, wandered around outside playing his guitar with a small amp hung over his shoulder. The rest is history. Four decades later, Costello is still going strong, a master in many genres of music, with no end in sight.
What a night! If you can get in to the Gramercy before the run is over, then do so without fail. Otherwise, Costello will appear with the Imposters at the Capitol Theater in Port Chester, New York on March 3rd.
PS Every night ends with Costello’s cover of Nick Lowe’s “What’s So Funny About Peace, Love, and Understanding.” With Mathes, Lovell, the singers, et al — and no drummer — the song kind of levitated the audience, everyone sang along. As a grace note, the audience heard Dionne Warwick sing “What the World Needs Now” over the sound system.
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
Does this mean you were there Doc?docinwestchester wrote:No news. But what a surprise to get a professional show revue tonight with Rob Mathes as musical director!sweetest punch wrote:Any news about the musical A Face In The Crowd?
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
He said it’s still coming but we’re going to have to wait a bit longer than he thought.sweetest punch wrote:Any news about the musical A Face In The Crowd?
- docinwestchester
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
Yessulky lad wrote:Does this mean you were there Doc?docinwestchester wrote:No news. But what a surprise to get a professional show revue tonight with Rob Mathes as musical director!sweetest punch wrote:Any news about the musical A Face In The Crowd?
Re: ELVIS solo GRAMERCY NYC February 13, 2023
Didn’t realize Mike Myer’s was in the audience, but EC did mention how in Austin Powers he was dressed up like his father in the Carnaby Street fashion of the era.sweetest punch wrote:https://www.showbiz411.com/2023/02/14/r ... n-progress
Review: Elvis Costello Shows Depth of 45 Year Catalog in Intimate Setting, Surprises with Sensational Songs from Musical in Progress
by Roger Friedman
Where to begin?
You may know that Elvis Costello is in the middle of a residency at the Gramercy Theater on East 23rd St. The theme is 100 songs in ten nights although as he said last night, it’s really 200 songs. Ten songs per night — all different — are printed on a card handed out to the audience. Then 10 more songs are guaranteed, also each night all different from his stunning 45 year catalog.
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
For those who don't know, there's an album scorecard on the wiki site.Newspaper Pane wrote:Every album has been represented so far except:
Imperial Bedroom
Punch the Clock
Goodbye Cruel World (unless you count Deportee, which I don't)
Juliet Letters
Painted From Memory
North
Wise Up Ghost
Boy Named If
http://www.elviscostello.info/wiki/inde ... s_and_More
http://www.elviscostello.info/wiki/inde ... _scorecard
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Re: ELVIS solo GRAMERCY NYC February 13, 2023
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.
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