Ryman Gig Tonight!!
- spooky girlfriend
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No, Oily, DrS was actually quite beside himself and giddy, if you will, because he had just had Elvis sign his albums of KOA and Almost Blue. At that, DrS mentioned that he had seen EC & The Attractions on the Almost Blue tour (which I think was only 13 cities) at the Opry House in 1981. He and Elvis chatted about that for a moment.
After all the years of DrS being a fan, it was finally both of us being there together that led us to meeting him for the first time. It was great to share it together.
I'm still remembering bits and pieces as the day goes by. I will keep posting. I'm probably boring everyone to tears, I know, but I just can't help myself.
After all the years of DrS being a fan, it was finally both of us being there together that led us to meeting him for the first time. It was great to share it together.
I'm still remembering bits and pieces as the day goes by. I will keep posting. I'm probably boring everyone to tears, I know, but I just can't help myself.
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my mood swings!!! I did not dare to hope.
thanks spooksters--lovely to see you again. and nice to meet you, LTZ and your beautiful fiancee. I feel like some kind of awkwardly distant relative!
and OS, I distinctly heard Elvis say he'd be back this year with the Imposters!
thanks spooksters--lovely to see you again. and nice to meet you, LTZ and your beautiful fiancee. I feel like some kind of awkwardly distant relative!
and OS, I distinctly heard Elvis say he'd be back this year with the Imposters!
Like me, the "g" is silent.
oooohhh!!!!!
spooky, you keep write on chattering. oops. punny!
i'm sitting at home on the couch w/ a flaxseed bag on my shoulder 'cause my neck has decided to be in pain. this had better go away by friday. grrrrrrrr.
i am so psyched for jessica! marvelous.
spooky, you keep write on chattering. oops. punny!
i'm sitting at home on the couch w/ a flaxseed bag on my shoulder 'cause my neck has decided to be in pain. this had better go away by friday. grrrrrrrr.
i am so psyched for jessica! marvelous.
... name the stars and constellations,
count the cars and watch the seasons....
count the cars and watch the seasons....
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She's not dude, I was standing right there.
Oh yeah, and Elvis was feeling pretty cool about himself. After Good Year for the Roses, he said that George Jones had sent a gift to his dressing room before the show. He was impressed that he could come to Nashville and have something like that happen to him.
Oh yeah, and Elvis was feeling pretty cool about himself. After Good Year for the Roses, he said that George Jones had sent a gift to his dressing room before the show. He was impressed that he could come to Nashville and have something like that happen to him.
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I wonder how many times this question has been answered on this board?wehitandrun wrote:I love the last Nieve picture. Looks like a small child just stole his keyboard stand, and he's watching the little lad run off with it.
Can somebody tell me what instrument he is using when he is twisting his hand around and it's making the strange siren-like noises?
<3,
s.
Thanks for taking it this time, Bunny
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
Wow! Glad you had such a night to remember spooky - sounds like a superb show and having a lot of musical friends in Nash I imagine made Elvis up his game too. I'm very jealous - especially as I was in Nashville a couple of months ago (my first time, great nonetheless and I made a lot of friends). Best, Paul B.
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Spooky, THANK YOU SOOO MUCH for sharing your experience with the rest of us!! I am so jealous!! I'm glad you had such a great time!! Good for you!! Could I say anything else that would constitute major gushing??? Anyway, I, for one, am happy for you!!
...even in a perfect world, where everyone was equal..
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http://tennessean.com/entertainment/mus ... D=47424203
Elvis Costello, a man for all seasons, rocks the Ryman
By PETER COOPER
Staff Writer
Remember Deion Sanders? Doesn't matter if you do or don't: He was a Hall of Fame-caliber football player who tried to play major league baseball but couldn't hit the curve ball very well.
See, Elvis Costello can switch from rock mode to crooner to twanger to classical fusionist to whatever else he wants to try, and still hit the tar out of a curve ball.
OK, Costello doesn't look so athletic, and those thick glasses … forget about the curve ball. What I'm trying to say is that the guy seems to be able to flat out do anything he wants, and do it beautifully, as he proved in Tuesday night's concert at Ryman Auditorium.
It's difficult to imagine another artist who could meander around genres the way Costello did and still hold an audience's attention. Even Costello can't do it on records: As with Neil Young, most fans prefer a particular era of Elvis. He joked about this Tuesday, saying some admirers tell him, ''I love your albums … especially the early, angry ones.''
Until the encore, Costello stayed entirely away from very early, particularly mean-spirited things. He and pianist Steve Nieve began with 45, a track from 2002's When I Was Cruel, then shifted to Brilliant Mistake, from 1986's King of America album. The latter song, with its wish to ''watch this hurtin' feeling disappear like it was common sense'' was one of many that owe something to the Nashville country songwriting idiom, a tradition he later honored with covers of the Jerry Chesnut-penned Good Year for The Roses and of Johnny Cash's I Still Miss Someone.
But the country trip was not Costello's only journey. The Brodsky Quartet brought a classical bent that helped Pills and Soup move from foreboding to positively terrifying and that added layering to the singer's recent, more lovey-dovey excursions from last year's North. And Costello also crooned to great effect on numerous compositions, displaying a vocal possession of more octaves than most men have sport coats.
The Costello of the late 1970s was an invigorating yet essentially graceless presence, an impudent, bile-spewer who delighted through raw aggression. A quarter-century later, his congested post-punk rasp has morphed into something remarkable, with woody, oboelike tones on the low end and a marvelous, tremulous falsetto at the top of the scale. More importantly, he carries an empathy and a fundamental melancholy that make for richness and depth.
It's impossible to believe that he's not a more pleasant person now, much less a more pleasant performer. Yet, as he displayed at show's end, he can still rock like nobody's business. Those who stuck around for the encore heard Costello sing the plaintive, Oscar-nominated The Scarlet Tide (a song he and T Bone Burnett wrote for Alison Krauss), then plug in a hollow-body electric guitar and slam through 1978's Pump It Up. He closed with soul standard Dark End Of The Street, rendered here as an elegiac sing-along:
''You and me,'' he sang, away from the microphone, standing at the stage's edge, with his voice ringing through the old hall.
''You and me,'' the audience answered back.
Peter Cooper can be reached at 259-8220, or by e-mail at pcooper@tennessean.com.
Elvis Costello, a man for all seasons, rocks the Ryman
By PETER COOPER
Staff Writer
Remember Deion Sanders? Doesn't matter if you do or don't: He was a Hall of Fame-caliber football player who tried to play major league baseball but couldn't hit the curve ball very well.
See, Elvis Costello can switch from rock mode to crooner to twanger to classical fusionist to whatever else he wants to try, and still hit the tar out of a curve ball.
OK, Costello doesn't look so athletic, and those thick glasses … forget about the curve ball. What I'm trying to say is that the guy seems to be able to flat out do anything he wants, and do it beautifully, as he proved in Tuesday night's concert at Ryman Auditorium.
It's difficult to imagine another artist who could meander around genres the way Costello did and still hold an audience's attention. Even Costello can't do it on records: As with Neil Young, most fans prefer a particular era of Elvis. He joked about this Tuesday, saying some admirers tell him, ''I love your albums … especially the early, angry ones.''
Until the encore, Costello stayed entirely away from very early, particularly mean-spirited things. He and pianist Steve Nieve began with 45, a track from 2002's When I Was Cruel, then shifted to Brilliant Mistake, from 1986's King of America album. The latter song, with its wish to ''watch this hurtin' feeling disappear like it was common sense'' was one of many that owe something to the Nashville country songwriting idiom, a tradition he later honored with covers of the Jerry Chesnut-penned Good Year for The Roses and of Johnny Cash's I Still Miss Someone.
But the country trip was not Costello's only journey. The Brodsky Quartet brought a classical bent that helped Pills and Soup move from foreboding to positively terrifying and that added layering to the singer's recent, more lovey-dovey excursions from last year's North. And Costello also crooned to great effect on numerous compositions, displaying a vocal possession of more octaves than most men have sport coats.
The Costello of the late 1970s was an invigorating yet essentially graceless presence, an impudent, bile-spewer who delighted through raw aggression. A quarter-century later, his congested post-punk rasp has morphed into something remarkable, with woody, oboelike tones on the low end and a marvelous, tremulous falsetto at the top of the scale. More importantly, he carries an empathy and a fundamental melancholy that make for richness and depth.
It's impossible to believe that he's not a more pleasant person now, much less a more pleasant performer. Yet, as he displayed at show's end, he can still rock like nobody's business. Those who stuck around for the encore heard Costello sing the plaintive, Oscar-nominated The Scarlet Tide (a song he and T Bone Burnett wrote for Alison Krauss), then plug in a hollow-body electric guitar and slam through 1978's Pump It Up. He closed with soul standard Dark End Of The Street, rendered here as an elegiac sing-along:
''You and me,'' he sang, away from the microphone, standing at the stage's edge, with his voice ringing through the old hall.
''You and me,'' the audience answered back.
Peter Cooper can be reached at 259-8220, or by e-mail at pcooper@tennessean.com.
- spooky girlfriend
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A wonderful review of a wonderful night. I was waiting on this review - thanks as always, mr. foyle.
I can't believe I was actually there.
A big thanks to DrS for showing me a great time in his hometown. I wish more of you board members could have been there. I just can't say enough about it.
I'll hush now. For a while, anyway. . . . . . .
I can't believe I was actually there.
A big thanks to DrS for showing me a great time in his hometown. I wish more of you board members could have been there. I just can't say enough about it.
I'll hush now. For a while, anyway. . . . . . .
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I can't figure out how to get the pictures to post directly, but should you want to see me with my eyes OPEN and the photo that almost got me tossed from the ryman--
http://realdebstuff.tripod.com/photoalbum/id1.html
http://realdebstuff.tripod.com/photoalbum/id1.html
Like me, the "g" is silent.
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Tuesday's show was awesome but was tainted for me by 2 things: cell phones and dropped plastic cups! There needs to be some technology invented that interrupts cellular phone signals and prevents cell phones from ringing. And the Ryman needs to ban beverages inside the auditorium. I don't care that someone loudly dropped a cup 3 rows behind me and I had to sit with my feet in their beer but I do mind that it happened right at the beginning of "I Still Miss Someone." I witnessed someone get yanked out of the Ryman at a previous show for being loud and drunk but that wasn't taking place Tuesday unfortunately.
On another note, I went to buy the Rhino reissue on Wednesday and the clerk at Grimey's Records asked if I went to the show and if "he rocked." The clerk said that he didn't go because he was afraid that "he wouldn't rock." I replied that you don't always have to have a drum kit to rock. I don't think that he was able to process that at all.
On another note, I went to buy the Rhino reissue on Wednesday and the clerk at Grimey's Records asked if I went to the show and if "he rocked." The clerk said that he didn't go because he was afraid that "he wouldn't rock." I replied that you don't always have to have a drum kit to rock. I don't think that he was able to process that at all.