I just got a copy of the new Ian Dury compilation "Reasons To Be Cheerful - The Best Of Ian Dury" (part of a 2 for 12£ deal at play.com, the other one I got was the Wreckless Eric compilation, pretty nice) I had New Boots... before but this is a very nice overview of the rest of his career and some singles that weren't on New Boots.
Anyway, I finally got to hear the The Roadette Song by Kilburn & The High Roads and even though it's nice, I think the live version by E.C found on the TYM bonus disc blows this away.
Also, although several artists have recorded of My Funny Valentine and I've heard a few, E.C's is the one I like best.
EC Covers - Which Version Is Better?
-
Extreme Honey
- Posts: 622
- Joined: Fri Jun 03, 2005 3:44 pm
- Location: toronto, canada
I once heard Radiohead play "I'll Wear It Proudly". A beautiful song sung by a very good band and written by the best songwriter of out era (...well, almost). I wish I knew where I got it from so I can download it again.
Preacher was a talkin' there's a sermon he gave,
He said every man's conscience is vile and depraved,
You cannot depend on it to be your guide
When it's you who must keep it satisfied
He said every man's conscience is vile and depraved,
You cannot depend on it to be your guide
When it's you who must keep it satisfied
This might help -
http://www.ateaseweb.com/songs/illwearitproudly.php
I'LL WEAR IT PROUDLY (0:00)
available on: various bootlegs
notes: this song was originally written and performed by elvis costello in 1986 from the album 'king of america'. this song was played by thom yorke & jonny greenwood at the tibetan freedom concert in amsterdam on june 13th 1999.
http://www.ateaseweb.com/songs/illwearitproudly.php
I'LL WEAR IT PROUDLY (0:00)
available on: various bootlegs
notes: this song was originally written and performed by elvis costello in 1986 from the album 'king of america'. this song was played by thom yorke & jonny greenwood at the tibetan freedom concert in amsterdam on june 13th 1999.
-
King Hoarse
- Posts: 1450
- Joined: Thu Apr 22, 2004 11:32 pm
- Location: Malmö, Sweden
My Funny Valentine is a good example, because as a rule I think Elvis is best when he interprets more intimate material. Withered & Died is a big favorite, perhaps as good as the original. I really like his version of The Parting Glass on the night of Derek Bell's death. Love That Burns is really good, the recent Wallingford version in particular.
Stepping on the gas pedal, the Get Happy!! sweaty soul trio of I Stand Accused, Getting Mighty Crowded and I Can't Stand Up... are still exciting.
I hate when he does overemotive highpitched stuff like Many Rivers To Cross and Dark End Of The Street, the latter of which he could have really nailed in a lower register. (Anyone Who Had A Heart & other Bacharach songs are always great, though)
And I never want to hear his version of Days ever again.
Stepping on the gas pedal, the Get Happy!! sweaty soul trio of I Stand Accused, Getting Mighty Crowded and I Can't Stand Up... are still exciting.
I hate when he does overemotive highpitched stuff like Many Rivers To Cross and Dark End Of The Street, the latter of which he could have really nailed in a lower register. (Anyone Who Had A Heart & other Bacharach songs are always great, though)
And I never want to hear his version of Days ever again.
What this world needs is more silly men.
-
MistakenForLilies
- Posts: 66
- Joined: Fri Mar 11, 2005 8:52 pm
- Location: Gallifrey
I had no idea he covered the Parting Glass. That's a great Irish song and it would be an excellent tribute to Derek Bell. Is this version of Elvis's available anywhere? It sounds incredibly moving and I would love to hear it.My Funny Valentine is a good example, because as a rule I think Elvis is best when he interprets more intimate material. Withered & Died is a big favorite, perhaps as good as the original. I really like his version of The Parting Glass on the night of Derek Bell's death. Love That Burns is really good, the recent Wallingford version in particular.
Till I speak double Dutch to a real double duchess.
-
Turquoise Pajamas
- Posts: 17
- Joined: Sat Oct 08, 2005 12:15 am
- Location: Boston, or some place quite like it
I had no idea he covered the Parting Glass. That's a great Irish song and it would be an excellent tribute to Derek Bell. Is this version of Elvis's available anywhere? It sounds incredibly moving and I would love to hear it.[/quote]
He performed "Parting Glass" in October of 2002 in Chicago. It's available as a bootleg. I'll see if I can get an mp3 of the song posted in the next day or two.
He performed "Parting Glass" in October of 2002 in Chicago. It's available as a bootleg. I'll see if I can get an mp3 of the song posted in the next day or two.
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
He performed "Parting Glass" in October of 2002 in Chicago. It's available as a bootleg. I'll see if I can get an mp3 of the song posted in the next day or two.[/quote]Turquoise Pajamas wrote:I had no idea he covered the Parting Glass. That's a great Irish song and it would be an excellent tribute to Derek Bell. Is this version of Elvis's available anywhere? It sounds incredibly moving and I would love to hear it.
I'll put up a mp3 later on today after work.
-
Turquoise Pajamas
- Posts: 17
- Joined: Sat Oct 08, 2005 12:15 am
- Location: Boston, or some place quite like it
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
-
MistakenForLilies
- Posts: 66
- Joined: Fri Mar 11, 2005 8:52 pm
- Location: Gallifrey
-
verbal gymnastics
- Posts: 13669
- Joined: Wed Jun 11, 2003 6:44 am
- Location: Magic lantern land
-
King Hoarse
- Posts: 1450
- Joined: Thu Apr 22, 2004 11:32 pm
- Location: Malmö, Sweden
Elvis had chosen an atmospheric intro tape of the great Derek Bell's playing as a tribute to the man (Chieftains percussionist among other things), but over this some kind of MC from the venue came on and talked and introduced EC & the Imps without asking Elvis first. This pissed Elvis off, and I'm sure he thought the man was disrespectful to mr Bell when of course there was no way he could have known. So Elvis isn't overfriendly to begin with, but not exactly hostile to the audience either. This little grudge made for a blazing night with the Imposters, though, and maybe we wouldn't have heard the Parting Glass if the intro would have been left in peace, so maybe it was all for the best. Poor guy, though. Hope it didn't get him sacked.
What this world needs is more silly men.
-
ReadyToHearTheWorst
- Posts: 956
- Joined: Wed Jun 04, 2003 5:44 am
- Location: uk
There were a number of 'corporate suits' from the local radio station who kept calling out for their favourite songs, at inappropriate moments. Even worse, when EC announced the death of his friend Derek Bell before singing The Parting Glass, they still wouldn't shut up. Our boy was not a happy bunny.
"I'm the Rock and Roll Scrabble champion"
All the gory details -
http://www.elviscostello.info/articles/ ... 1019a.html
Review of concert from 2002-10-17: Chicago, Chicago Theatre - with Imposters
Chicago Sun-Times, 2002-10-19
- Jeff Johnson
Costello's aim is true--in his songs
October 19, 2002
BY JEFF JOHNSON STAFF REPORTER
Elvis Costello came into the Chicago Theatre with a heavy heart Thursday night. He'd just gotten word that a friend and musical associate, Derek Bell of the Chieftains, had died in Phoenix earlier in the day.
To make matters worse, a recording of Bell playing the harp that he'd selected as his walk-on music had been preempted by his introduction by WXRT-FM morning man Lin Brehmer--or "the f----- from 'XRT," as Costello later referred to him. Biting the hand that plays him loyally on radio-radio, Costello dedicated a tune to his nemesis: "You Little Fool."
It was good to see that at age 48, the former Declan McManus can still summon that famous righteous anger, however misaimed it might have been on this occasion. Collaborations with the likes of non-rockers Burt Bacharach, Michael Tilson Thomas and Anne-Sofie von Otter may have blunted his edge in the minds of old-time fans, but Costello is rocking hard again, with the help of three topnotch sidemen known collectively as the Imposters.
The English singer-songwriter-guitarist has always been a high-maintenance performer, but there's a big payoff for putting up with him. His interplay with versatile keyboardist Steve Nieve has been honed to perfection since the early days of the Attractions in the mid-'70s, with Costello's edgy, reverb- and tremelo-laden licks augmented by Nieve's intricate tickling of the ivories--or Costello's delicately strummed acoustic guitar accented by Nieve's fiery synthesizer lines.
And as a vocalist, Costello brings a timeless elegance to ballads such as "Man Out of Time" and "Love Field" or a love song like his cover of the Miracles' "You've Really Got a Hold on Me." Then he can flat-out shout through power pop like "Tear Off Your Own Head (It's a Doll Revolution)" from "When I Was Cruel," his new disc; "I Can't Stand Up for Falling Down," and "Radio Radio" and leave the impression that he could carry on for five hours without needing to take a deep breath.
Costello seethed during the entire set, delivering a solid career retrospective that tilted toward his post-1980s material. He bid adieu after an hour and 20 minutes, initially failing to explain the real reason that he was upset.
He came back for what seemed like one obligatory encore, Nick Lowe's anthem for the ages, "(What's So Funny 'Bout) Peace, Love and Understanding." That's when the fun started for Costello--and for the sold-out house full of admirers. He followed with "Shipbuilding," before telling the audience, "Shut the f--- up for a minute" and announcing Bell's death.
Costello, who has long shown an interest in the traditional Irish music for which the Chieftains are famous, had recorded with the 66-year-old Irishman on a couple of occasions. He sang his farewell to his old friend with a haunting Irish elegy. You could have heard a pin drop, and Costello appeared gratified by the crowd's respect.
There seemed no more eloquent way to say goodnight, but the house lights stayed dim, and the Imposters came back for another round of encores. Costello introduced "My Mood Swings" by describing the scene in "The Big Lebowski" with Jeff Bridges listening to the tune on headphones in the dentist's chair.
We had seen enough biting cynicism and mood swings from the main attraction--or imposter?--by that point to justify a year of psychotherapy, but they weren't over. Dipping into his gold vault, Costello pulled out "Alison," which he segued into "Suspicious Minds." Elvis did Elvis--very effectively. The band blasted into "Pump It Up," the ultimate jump-up-and-down rocker, finally wrapping up with "I Want You," which is about as close as Costello comes to reaching out to his fans.
Costello's emotional high-wire act, in the end, had lasted a generous two hours, with his promise of followup visits to Chicago every four months. In fact, this was his third local appearance since April.
Brehmer, who might deserve credit for inadvertently inspiring such an impassioned performance, was understandably shaken Friday, explaining, "Does he really think I'd sucker-punched a couple of bouncers and walked onstage? I got a total of 18 seconds with Milo, his road manager, who said nothing about any tribute. And it was his crew that sent me out onstage. I was taken aback, and I was sitting there thinking that I had taken my wife to her first concert in two months, gotten a baby-sitter, and she gets to hear me called a liar onstage.
"During his 'loving musical tribute' to his dead friend, his crew was banging on drums, banging on guitars and testing lines. Nobody onstage, his crew or the people from Jam had been informed of this."
http://www.elviscostello.info/articles/ ... 1019a.html
Review of concert from 2002-10-17: Chicago, Chicago Theatre - with Imposters
Chicago Sun-Times, 2002-10-19
- Jeff Johnson
Costello's aim is true--in his songs
October 19, 2002
BY JEFF JOHNSON STAFF REPORTER
Elvis Costello came into the Chicago Theatre with a heavy heart Thursday night. He'd just gotten word that a friend and musical associate, Derek Bell of the Chieftains, had died in Phoenix earlier in the day.
To make matters worse, a recording of Bell playing the harp that he'd selected as his walk-on music had been preempted by his introduction by WXRT-FM morning man Lin Brehmer--or "the f----- from 'XRT," as Costello later referred to him. Biting the hand that plays him loyally on radio-radio, Costello dedicated a tune to his nemesis: "You Little Fool."
It was good to see that at age 48, the former Declan McManus can still summon that famous righteous anger, however misaimed it might have been on this occasion. Collaborations with the likes of non-rockers Burt Bacharach, Michael Tilson Thomas and Anne-Sofie von Otter may have blunted his edge in the minds of old-time fans, but Costello is rocking hard again, with the help of three topnotch sidemen known collectively as the Imposters.
The English singer-songwriter-guitarist has always been a high-maintenance performer, but there's a big payoff for putting up with him. His interplay with versatile keyboardist Steve Nieve has been honed to perfection since the early days of the Attractions in the mid-'70s, with Costello's edgy, reverb- and tremelo-laden licks augmented by Nieve's intricate tickling of the ivories--or Costello's delicately strummed acoustic guitar accented by Nieve's fiery synthesizer lines.
And as a vocalist, Costello brings a timeless elegance to ballads such as "Man Out of Time" and "Love Field" or a love song like his cover of the Miracles' "You've Really Got a Hold on Me." Then he can flat-out shout through power pop like "Tear Off Your Own Head (It's a Doll Revolution)" from "When I Was Cruel," his new disc; "I Can't Stand Up for Falling Down," and "Radio Radio" and leave the impression that he could carry on for five hours without needing to take a deep breath.
Costello seethed during the entire set, delivering a solid career retrospective that tilted toward his post-1980s material. He bid adieu after an hour and 20 minutes, initially failing to explain the real reason that he was upset.
He came back for what seemed like one obligatory encore, Nick Lowe's anthem for the ages, "(What's So Funny 'Bout) Peace, Love and Understanding." That's when the fun started for Costello--and for the sold-out house full of admirers. He followed with "Shipbuilding," before telling the audience, "Shut the f--- up for a minute" and announcing Bell's death.
Costello, who has long shown an interest in the traditional Irish music for which the Chieftains are famous, had recorded with the 66-year-old Irishman on a couple of occasions. He sang his farewell to his old friend with a haunting Irish elegy. You could have heard a pin drop, and Costello appeared gratified by the crowd's respect.
There seemed no more eloquent way to say goodnight, but the house lights stayed dim, and the Imposters came back for another round of encores. Costello introduced "My Mood Swings" by describing the scene in "The Big Lebowski" with Jeff Bridges listening to the tune on headphones in the dentist's chair.
We had seen enough biting cynicism and mood swings from the main attraction--or imposter?--by that point to justify a year of psychotherapy, but they weren't over. Dipping into his gold vault, Costello pulled out "Alison," which he segued into "Suspicious Minds." Elvis did Elvis--very effectively. The band blasted into "Pump It Up," the ultimate jump-up-and-down rocker, finally wrapping up with "I Want You," which is about as close as Costello comes to reaching out to his fans.
Costello's emotional high-wire act, in the end, had lasted a generous two hours, with his promise of followup visits to Chicago every four months. In fact, this was his third local appearance since April.
Brehmer, who might deserve credit for inadvertently inspiring such an impassioned performance, was understandably shaken Friday, explaining, "Does he really think I'd sucker-punched a couple of bouncers and walked onstage? I got a total of 18 seconds with Milo, his road manager, who said nothing about any tribute. And it was his crew that sent me out onstage. I was taken aback, and I was sitting there thinking that I had taken my wife to her first concert in two months, gotten a baby-sitter, and she gets to hear me called a liar onstage.
"During his 'loving musical tribute' to his dead friend, his crew was banging on drums, banging on guitars and testing lines. Nobody onstage, his crew or the people from Jam had been informed of this."