Spectacle season 2

[Jack of All Parades]

Thank you for noticing the attention given to "Sham-a-Ling-Dong-Ding"-- the attentive look upon EC's face is priceless as you know he is thinking I am listening to a master songwriter give a lesson, and he just about acknowledges that in his after song comment. I have never seen him gaze so attentively in any of the other Spectacle shows. Old enough to remember "Night Music" as well, many fond memories and loved that he featured Jazz artists-something I appreciated last year with the inclusion of Herbie Hancock on Spectacle. That song uniquely and quietly catches the awkwardness of adolescence[expecially for me] and conveys it back to you, the listner, in such a sublime way. That is Jesse's art and it is something I have cherished going back to 1970.

[charliestumpy]

Thanks deerfried etc for clips of stuff not shown over there (here) in UK.

Did please - as someone asked in earlier post - the EC-Spectacle 'Point blank' and 'Like rain' ever get posted anywhere - I still can't find them on web since maybe being broadcast 2010-01-27 ....

[sweetest punch]

Here are the clips from the second Bruce Springsteen episode: thanks to Deerfried!
The Rising: http://www.youtube.com/watch?v=5Pfut9d- ... re=channel
Galveston Bay: http://www.youtube.com/watch?v=r1-cjoVc ... re=channel
Seeds: http://www.youtube.com/watch?v=G-KfbpPk ... re=channel
Pretty Woman: http://www.youtube.com/watch?v=fUDm90op ... re=channel
Radio Silence/Radio Nowhere/Radio radio: http://www.youtube.com/watch?v=mf0a0_jm ... re=channel
Black Ladder: http://www.youtube.com/watch?v=xQC65VET ... re=channel

[charliestumpy]

... ta - seems that when I downloaded the audio-torrents a couple of weeks ago, I thought the 2 parts were from 1st Springsteen TV show, so I like a nit have been looking for 2nd Springsteen TV show - and that 'Like rain' and 'Point blank' involving DPAM were not transmitted in 2 Springsteen Spectacles ...

[scielle]

Back on CTV starting March 20th:

Saturday, March 20 - Neko Case, Sheryl Crow, Ron Sexsmith and Jesse Winchester
Saturday, March 27 - Nick Lowe, Richard Thompson, Allen Toussaint and Levon Helm
Saturday, April 3 - Bono and The Edge
Saturday, April 10 - Mary Louise Parker interviews Elvis Costello
Saturday, April 17 - John Prine, Lyle Lovett and Ray Lamontagne
Saturday, April 24- Bruce Springsteen, Part 1
Saturday, May 1 - Bruce Springsteen, Part 2

http://shows.ctv.ca/SpectacleElvisCoste ... eturns#c_1

[charliestumpy]

I am in UK very pleased that CTV is re-transmitting.

[johnfoyle]

http://www.torontosun.com/entertainment ... 92686.html

Sexsmith to appear on Costello's show

By BILL HARRIS, QMI Agency

March 19, 2010

Elvis Costello and Ron Sexsmith are set to make Spectacles of themselves.

British songwriter extraordinaire Costello always has been a big supporter of Canadian songwriter extraordinaire Sexsmith, and Sexsmith will be one of the guests Saturday when Costello’s music/interview series Spectacle resumes its second season on CTV.

Costello and Sexsmith are joined by Sheryl Crow, Neko Case and Jesse Winchester.

“Ron Sexsmith has been loved in many places and rightly has been thought of as one of Canada’s finest songwriters, and probably the world’s finest songwriters, but still is oddly enough not as well known as the quality of his songs should demand,” Costello said. “It’s a complete travesty.

“But here Ron is sharing the stage with somebody like Jesse Winchester, and the penetration of his songs is even more modest than Ron’s, and if anything, is making Ron sound like some operatic tenor in terms of delicacy. Ron is a very poised, beautiful, nuanced singer and here’s somebody (Winchester) who is even more subtle.”

Sexsmith is thankful for the support Costello has provided through the years, dating back to 1995.

“I never expected that,” Sexsmith said. “When my first album came out in North America, it really didn’t do a whole lot. It was people in England like Elvis and Elton (John) who noticed it.

“And Elvis always has been good in terms of giving me advice about things, or if I had a bunch of songs and I was wondering if they were any good, he’d have a listen. He always has been very generous with his time.”

A comfort level with Costello was a calming influence for Sexsmith on Spectacle. Sexsmith admitted he usually gets pretty nervous for TV gigs.

“Once the date (of the taping) arrived, there was that terror I usually feel every time I have to do television, because I’ve really had a lot of bad experiences,” Sexsmith said. “I just don’t like the way I look. I think a lot of people feel the same way when they see themselves.

“But I was really happy to see Sheryl and Neko again, and I think it went well. Elvis seemed to be pretty happy with the way it turned out afterward. And I felt pretty relaxed for a change, so hopefully that will show on television.”

Costello always is intrigued by what transpires when diverse talents such as Sexsmith, Crow, Case and Winchester get together.

“The great advantage of this show is there’s a framework that everybody lends,” Costello said. “Neko’s voice is really strong, and there’s a great contrast in vocal styles with Sheryl Crow, who has these huge hit songs that she now is playing just with an acoustic guitar, stripping them of all the paraphernalia that probably made them get across on the radio.

“The opportunity for those people to come along and lend themselves to that evening, obviously I’m very grateful.”

As the second season of Spectacle continues, guests include Nick Lowe, Richard Thompson, Levon Helm and a two-parter with Bruce Springsteen.

[Poor Deportee]

The Winchester/Sexsmith/Case/Crow show was great. I just regret that Sheryl Crow got two songs and Neko Case only one. While I have mixed feelings about Case's writings, she is leagues ahead of Crow, who I felt was exposed a bit in that setting: definitely the odd person out in that quartet, in terms of songwriting and even performance chops and presence (not to mention that she was the only conventionally good-looking one of the bunch, a painful illustration of the lack of correlation between talent and commercial success).

I find it sad that Ron Sexsmith hates the way he looks. There's always something unexpected in finding seasoned musical pros admitting to the same neuroses and nerves that I feel when, say, abusing victims at an open mic night performance. years as a pro and still self-conscious about it...imagine.

The highlight, apart from Sham-a-Ling-Dong-Ding, was the duet on 'Every day I Write the Book.' It completely transformed the song into a heartfelt autopsy of painful love - revealing the truth underlying the genre prank. As for Sham-a-Ling-Dong-Ding, I had trouble believing that Case's tears were entirely unselfconscious...but when my wife jokingly asked whether I was crying, little did she know

That was jaw-dropping. More confessions: I don't know Jesse Winchester's catalogue. Where should I begin? I'm tempted to get his latest, the one with that song on it. Is that a sensible beginning? Any advice welcome.

[The imposter]

Haven't seen any of the 2nd series yet with the exception of the Bono ep.

Hopefully some torrents will appear now the series is finally airing on some networks.

I don't know Jesse Winchester's catalogue. Where should I begin? I'm tempted to get his latest, the one with that song on it. Is that a sensible beginning? Any advice welcome.

Elvis lists his must hear tracks from 2nd series guests here:

http://www.sundancechannel.com/sunfilte ... ll-tracks/

Loved his recommendations for Sexsmith:

"Buy his first record. Buy his next release and then everything in between."

[Jack of All Parades]

Poor Deportee, no shame in not having a familiarity with an artist like Jesse, other than the fact that you haven't had his music to enjoy in the past. I envy you coming upon him now. Talk of 'jaw dropping'-no more slack jaw than EC as he listened raptly to the song-that open mouth speaks volumes. Whether glycerine or salt water inspired, that tear moving down Nico's cheek speaks to the power of the song along with the many attentive faces in the audience.

I will always proselytize for Jesse. If I may make suggestions regarding his catalogue, I suggest you start with the eponymous self titled first record, "Jesse Winchester". Either of the next two records, "Third Down, 110 To Go" or "Learn to Love It" are excellent next steps. A favorite from the early 80's is "Talk Memphis" where he worked with Al Green's producer, Willie Mitchell. It is a low key record full of 'soulful' songs with his understated voice keeping the material anchored. I do not have a high regard for 'Nothing Like a Breeze" as he got tangled up with over the top production from Emmylou Harris's husband at the time, Brian Ahern.

"Humor Me" and "Gentleman of Leisure" are two records that are filled with his humorous and gentle evocations regarding the tangled relationships between men and women. "Love Filling Station", the latest, is a solid record which has more to offer than just the song that brought you to tears including the original "O What A Thrill" which you may know from the Raul Malo/Mavericks record "What A Crying Shame". It has almost a gospel feel to it-I recommend seeking it out. There is one more record, "Let the Rough Side Drag" that I do not own-it came out in the late 70's. So many of his records are out of print but I think you can still find copies on Amazon. There was a compilation double record many years ago that was one album worth of memorable songs and one album being a release of the very first record. Enjoy your journey into Jesse's catalogue.

I was so happy when I heard he was to be a guest this season. I selfishly wish more of the program had been given to him but I am grateful he got the exposure he did. Understand what you are saying about Sexsmith-it is a difficult thing to be comfortable in one's skin-Jesse is I think-hopefully Ron will gain that state of grace as he continues to perform. That show has to be my favorite of the two seasons with the possible exception of the Herbie Hancock show from last year-when do you see a Jazz artist given an hour like that?.

[Poor Deportee]

Thanks for that, Christopher Sjoholm. I have a longstanding tendency to discover artists backwards - the first Dylan album I really got into was Oh Mercy, for instance - so I may start with his latest and wander all the way back to the eponymous debut eventually. I've been *aware* of Jesse Winchester for years, having heard something amazing by him on the radio once, but he never resurfaced on my rader screen in any direct way until that episode of Spectacle. It is astonishing that anyone who can write songs like that is so obscure - but that's nothing new, I suppose.As Carolyn Mark observes,

Money never goes to those who've earned it
Fame eludes the ones who deserve it

Oh well. Talent is its own reward, I suppose.

[Jack of All Parades]

You are most welcome. By the way you need not be so formal. My mother was a rabid fan of Winnie the Pooh so I became Christopher but have always responded to Chris- the last name was always a tongue twister for people and I have heard a myriad pronunciations over the years. I also am so ancient that I have little knowledge of avatars nor the sense to create one when joining this board almost a year ago. Chris, or CS, will do should you choose to use them as a greeting. I even sometimes respond to "dude" or as my youngest daughter is fond of calling me "dumbass".

I failed to mention one other Jesse album, "A Touch on the Rainy Side" from the late seventies. A very dour affair but also one of my favorites for just two songs as it was made in Nashville and produced by Norbert Putnam who worked with John Hiatt amongst others. Not the best experience for Jesse both professionally and personally. The two songs are "A Touch on the Rainy Side" and "A Showman's Life". I only bring them up as they relate to some of your comments in your post regarding fame and success. Quoting from the first:

"And just because you are the sunshine,
Please don't run and hide
Just because I am a touch on the rainy side"

Speaks to Jesse's reserve and perceived dourness.

From the latter:

"A showman's life is a smoky bar.
The fevered chase of a tiny star.
It's a hotel room and lonely wife,
From what I've seen of a showman's life."

I presume Jesse is quite comfortable being somewhere on the other side of success. He has managed over the years to place a song on good selling records by other artists and to keep a revenue stream coming into his home. Probably shrinking as the thieves take the music off the net because it is 'free' having no conscience about the theft of intellectual property they traffic in daily. I see Jesse, like the late Alex Chilton, as someone who is unwilling to make that sellout to the celebrity shill. Comfortable in his skin, he can put his music out periodically when he actually has something to say and offer it to the public. Maybe not living in a tent in Memphis like Chilton in the later years but definitely going his own way.

I have often thought EC could learn from this model and produce his music at a more leisured pace, honing it until the material merited release. There may very well be something to the speculation offered by Nick Lowe in an interview many years ago that EC was too in love with celebrityhood. I think EC is facinated by the acroutrements of celebrityhood- the red carpets, the parties, hanging out with Sir Elton and David Furnish. I just do not think it is in his makeup to be the "violet by a mossy stone, Half hidden from the eye!" I much more admire the career path that a Jesse Winchester or Alex Chilton have chosen.

[Poor Deportee]

Chris, what i think EC could learn from Jesse Winchester is the seemingly ego-less performing style. Elvis is extremely flamboyant on-stage, and it can certainly be exhilarating; but when I saw him perform with Allen Toussant I was really struck by how essential gaudy, showy and attention-hogging, Elvis seemed to be in comparison to his infinitely tasteful counterpart. Since that night I've been a little more sceptical of EC. The rather overpowering vocal mannerisms of the last decade don't help. I think the best arc of progression is to move from flamboyant youth to more contained and dignified experience, and I'm not sure Elvis has quite made the transition yet. But that's just me, perhaps.

[Jack of All Parades]

Poor Deportee, agree a progression into an elder statesman role would be a nice career trajectory. Your earlier notion of a 'bludgeon' meter is a useful tool. The vocal excess and stage mannerisms are annoying at times, as you point out. Even in his youthful days on stage he didn't affect a stage persona near the one you, or I, have experienced in the last decade. A particularly irritating aspect of the current TV show is the carnival barker aspect of the introduction-way too over the top and unnecessary as he openly tries to immitate a Springsteen verbal run with the "look at Little Sheba, she shakes and she shimmers" bit to begin the shows-to my mind wastes valuable time that could be given to the guests and his dialogue with them. I do not appreciate the 'spectacle' on "Spectacle".

You note the understated demeanor and professionalism of Mr. Toussaint. Not unexpected. The musicians of his era and in blues and jazz in general have a distinct view of their profession. One that says it is a job and you wear a uniform when you are working, in this case a suit and tie, and you conduct yourself with decorum, not taking away from the music which is first and foremost. I remember conversations with my father in law about this code. When he was performing it was serious and he and his partner, Zoot Sims, would have their suit and tie on and their shoes shined. It went back to their days with the Woody Herman Orchestra and even further back in jazz history. You certainly had some real dandys like Coleman Hawkins and Miles Davis, but it was still essentially suit and tie and being a professional. Now you would go back stage, in the dressing room, to visit my father in law and the illegal substances were out and being utilized, but while on stage it was work, fun, but still work. You are right to note that Jesse has mastered this skill. You are equally right to note that EC may need some work in that regard.

God forbid one should criticize our musical hero. I just do not subscribe to that sentiment that everything he writes or does is 'heads above' work done by other artists[I only need point to 'Goodbye Cruel World" to dispel that notion]. I like that you seem to subscribe to that notion put forth by William Blake many years ago that "Opposition is true Friendship". But then again what is the antonym of Friendship? Or for that matter artist worship? Enmity is not exactly the opposite of friendship or artist worship. I think we should always challenge our heroes.

[pophead2k]

You note the understated demeanor and professionalism of Mr. Toussaint. Not unexpected. The musicians of his era and in blues and jazz in general have a distinct view of their profession. One that says it is a job and you wear a uniform when you are working, in this case a suit and tie, and you conduct yourself with decorum, not taking away from the music which is first and foremost.

Point taken Chris- I do want to point out one thing about AT though. Mr. Touissant used to park his Rolls Royce directly in front of my house 2-3 times a week to go grocery shopping at the Whole Foods that was next door. This gave me occasion to see and speak to him many, many times over several years. Not once have I ever seen him without a suit and tie on, whether it was at 8 am or 11 pm, winter or summer. While I agree with your point, AT may not be the best example as he appears to be dressed impeccably 24-7, not just on stage!

[Jack of All Parades]

Thank you for the anecdote, Pophead. It confirms for me what I always have thought about AT-that he is a real gentleman and a solid musician. Do not know if I would be so attired to go to the curb to pick up my paper; I would probably be more Tony Soprano attired in robe and slippers. That is just me!

[pophead2k]

I remember accosting AT one day and rather drunkenly asking for an autograph on my Spike CD. He was a little confused at first- happy to sign, but not sure why I was asking him to do so. Finally, he figured out that this was the album that DDTM was on! He laughed and said he'd never seen a copy. This was in 1997!

[The imposter]

I thought I was browsing the Elvis Costello fan site until this page popped up.

vocal excess and stage mannerisms
flamboyant
dignified experience … not sure Elvis has quite made the transition
carnival barker…. I do not appreciate the 'spectacle' on "Spectacle".
suit and tie… being a professional.. EC may need some work in that regard.
'Goodbye Cruel World..blah blah
harken to Jesse Winchester

Had to say something in response.

Re Costello quote

“The path of noble failure and the embrace of decent obscurity are not conditions to which many musicians aspire."

I don’t see anything wrong with wanting to be successful and sell many records, not for
The “accoutrements of celebrityhood” but to make a living from a vocation and recognition is its own reward. I don’t think Elvis is bothered about being famous. He’d be a musician anyway.

He toys with the idea of happy anonymity on “Radio Silence” but it’s natural to want to be as successful as you can be. I know for certain that it means much more to him to have written songs that affect people on a personal level.

Sure Elvis is flamboyant on stage. I would expect nothing less from a FRONTMAN. There are countless more who are infinitely more flamboyant but with less substance.

Toussaint, rather like Burt Bacharach, James Burton, and many others I could mention while being exemplary musicians, who could be “bandleaders” in the jazz band tradition or “musical directors” or whatever, are evidently NOT frontmen. Sadly, without the presence of the excellent artists these people have worked with, their efforts would go largely unnoticed.

Each musician has their own personality that comes through in their playing style.. Steve Nieve is arguably MORE flamboyant. It was fascinating watching the visual communication between Nieve and Toussaint when on stage together. Nieve would watch Toussaint studiously while Toussaint would stare open mouthed at Nieve’s style. Two very different approaches but both brilliant. Big Sam Williams also demands attention, while Dave Farragher just looks so happy that he still can’t believe he got the gig. It’s good to have a varied visual dynamic on stage anyway.

If flamboyancy is demanded from a frontman, what then from a chat show host?

It’s essential to be a larger than life character. At least Elvis appears to show genuine interest in his guests whereas far too many “professional hosts” seem more intent on scandal or furthering their own ego.

Dress Code? I accept Mr. Toussaint may be the smartest dressed man in the business but you could hardly call Elvis a scruff. He is nearly always smartly dressed and usually wears a suit too.

Then to question the professionalism of Elvis is bordering on the insane. Don’t forget that Elvis spent years watching the stars of the 60s at close hand and the discipline of the Joe Loss Orchestra. Ross MacManus commented in 1990: “I still travel 50,000 miles a year entertaining people and every night I operate to the same principles as everyone who has passed through Joe’s hand: discipline, punctuality, hard work and value for money”

This lesson is clearly not lost on his workaholic son. Whose professionalism extends beyond the stage as you will find no drugs not even in his dressing room. At least not for many years now. He hardly ever drinks these days either.

Can there be any question that he is the finest songwriter of his generation? Who should be his peers? Weller ? Bragg? Sting? Strummer & Jones? Paddy Mcaloon ?, Ian McCulloch? Julian Cope? There ain’t many left! Even the much maligned 'Goodbye Cruel World” contains some great songs. Perhaps among his finest.


Sure he has picked up some annoying mannerisms or tics. Who doesn’t under constant close scrutiny? It’s inevitable that you become self conscious and develop “mannerisms”. I can’t begin to imagine what it must be like to have been a public figure and on the road for over 30 years. Let’s face it the guy has hardly stopped.

James Taylor speaks of this on Spectacle. There’s another great musician who doesn’t wear a suit.

[Ypsilanti]

I thought I was browsing the Elvis Costello fan site until this page popped up.

Thanks, Imposter--I certainly share your views.
If this site is any indication, Elvis has amassed the most unusual fans--a lot of sour apples out there--unforgiving & short on patience. It's amazing how often Elvis is portrayed in these pages as something of a stooge--a tedious embarrassment, a vulgar clown. It can be so disheartening to read these posts--and they're hardly infrequent--and by so many different authors! I somehow expected the "Elvis Costello Fan Forum" to be a gathering place for people who mostly like Elvis and his music. But I know, I know--that's a hopelessly facile view...I'm naive...I listen blindly...I'm too enthusiastic...whatever.

I may be in a tiny minority, but I still think Elvis is a wonderful singer, the best songwriter of his age, a charming, charismatic entertainer and a snappy dresser.

[Jeremy Dylan]

I have to say I love the carnival barker thing on Spectacle, and I wouldn't loose the spoken word interlude he does in Radio Sweetheart for the world.

[Jack of All Parades]

Jeremy- great if you do- selfishly, for me, do not as I do think it too excessive and primarily because the show is too short in actual time leaving precious little time with the performers. One hour and at least twently minutes is ads or plugs-leaves little time for what I enjoy most about the show- the intelligent conversation with the guests.

Ypsilanti- love the green ones[granny smiths] they make great pies- personal favorites are Macouns and Honey Crisps.

Imposter- we are so besieged these days with print that so many of us fail to 'read' what we are reading. My comments about 'professionalism' relate to how old time musicians handle themselves on stage-decorum- you do not upstage the music which is paramount- this is clearly stated in my post- Pophead got it. I made no comment about EC and his deportment after a show. My anecdote related solely to my late father in law. Sadly had he perhaps behaved differently he might still be alive but unfortunately he abused his body and liver perhaps leading to the cancer to which he succumbed. Selfishly, I, like you, hope that EC does take care of himself as I would like to have him around for many more years of musical pleasure. I was also responding to an earlier post by Poor Deportee in which he noted his annoyance with the way EC conducted himself on the stage while performing in a show he took in with AT. I simply concurred that I have observed comparable behaviour in recent years at shows.

As to vocal stylings, again I was responding to an earlier post by Poor Deportee in which he posited the notion that in the last decade or so he has noticed a marked proclivity by EC to 'power' through material-what I have labeled a 'bludgeon meter'- it is a vocal mannerism that I too find annoying. I do not think he is a great singer, merely adequate, but of late I have had to hit the mute button more often as EC strains to hit notes or goes into an adenoidal vibratto.

I have never questioned EC's clothing choices nor am I particularly concerned about them. I have always seen him in a suit and tie[one memorable show at Radio City Music Hall during the "Painted From Memory" tour in an elegant Tuxedo]. Nor am I concerned about his 'flamboyance'.

The comment about Jesse having mastered the art of an 'ego less' performing style and that EC may need to work on it again was made in conjunction with the initial suggestion, and one I agree with, from Poor Deportee to that effect.

Comments about Jesse Winchester again stem from earlier posts re this artist and I do believe he is an artist who EC shares a deep respect for as well.

As to the quote from the Charlie Gillett thread- it has nothing to do here and all I was doing was noticing peculiar words directly from EC that were inserted in ostensibly a tribute to this man. Just noticing that it was peculiar that he would insert them in a tribute as other posters did as well. Do not find objectionable the notion that an artist would want to make a living from his or her work. Just odd in the context of this quote. Does seem a bit dismissive as even John Foyle and other posters noted. I also still like the career paths that Jesse and Alex Chilton have chosen or chose.

Last time I checked it is still the Elvis Costello Fan Forum- with an emphasis on the Fan Forum- which to me has always meant lively, civil discourse about a subject or subjects which entertains a varied spectrum of comments. I also do not equate fan with 'fanatic'-I am not some 16 year old with a blind devotion to the Jonas Brothers as I approach my engagement with EC-I think he of all people would welcome a reasoned discourse with multiple opinions. I do.

[The imposter]

Christopher, I fail to see or understand many of your points.

Elvis is not an “old time musician” although he clearly has listened broadly and learned well from these people. EC does indeed share a deep respect for Jesse Winchester. Illustrated not just by his invitation on the show but by the fact that “3rd Rate Romance” was one of the 1st songs he ever recorded.

What exactly would constitute upstaging the music?

A revolving stage? An inflateable pig? Emerging in an age where bands often take 6 months or more recording an album or spend the equivalent of a movie budget on a 3 min video clip. I think Elvis in many ways is the antithesis of this.

If I am to share a gripe of mine, I sometimes wish he were a little less that way, sometimes I like big arrangements or productions. I doubt we’ll see another album with the production scope of Spike again. Or maybe that’s what you mean by placing the emphasis on the music ? ( taking a little more time and care with it ?)

Then again, don’t know who said it, maybe me, but I also think the test of a really good song is if it still works with just 1 instrument and voice.

As he currently prepares his umpteenth solo tour armed with just an acoustic guitar, How much “un showy” could you want it? He’s more likely just to pull a song out of the bag and play it for the first and possibly last time, no frills, rather than showcase a great sound to light extravaganza.

I accept he may “hog” the limelight. It’s his name on the ticket. Even so, he is always gracious in introducing other band members or guests and regularly speaks highly of other musicians, giving recommendations in soundbites almost constantly.

'power' through material ? Do you mean playing it too fast?. This was more a feature of speed driven 1978 performances.

adenoidal vibrato ? Think I get you on that one. I know people who can’t stand his voice and others who love it. All I can say, from a personal point of view is I think it has improved enormously technically over the years and has more range and power than ever before. He has problems and has to take care with his voice. Before a gig I once saw him breathing through a weird mask contraption. Looked like Frank in “Blue Velvet”!

I accept he may have a huge ego too. But he’s entitled to it. Great performers with big egos don’t really bother me. It would be unbearable from somebody with less talent.

Re Charlie Gillett: I accept too that the wording was peculiar. Then again, it’s perhaps refreshing to read an honest obituary, rather than the usual safe empty pleasantries we sometimes read.

Not sure what EC was alluding to..Maybe Charlie was one of those people who believed that all music should be free, who championed the small independent. I don’t know and shouldn’t speculate.
I was just watching the Stiff BBC documentary recently and Charlie can be seen in a room with 1000s of discs covering the entire room.
In any case there is no dispute that he played a big part in Elvis being discovered.

Ironic really because nowadays someone like Elvis would struggle to get a deal. Precisely because he is too MUCH like an “old time musician” who cared too much about the songs and wasn’t nearly showy, or flamboyant or visual enough!

Like yourself, I also like to debate and discuss EC related matters, and read the views of others on this forum. Only next time could you just tell me something you like about EC.

[The imposter]

Oh and instead of having to..

hit the mute button more often as EC strains to hit notes or goes into an adenoidal vibratto.

Why don't you change the record and put something on you actually enjoy..like ooh I don't know Jesse Winchester or Alex Chilton ?

[Jack of All Parades]

Imposter-thank you for taking the time to reply.

Would agree with you that EC is not an "old time musician" nor do I think I ever said he was if you go back and 'read' the post. Just noted, along with Poor Deportee, that older musicians , like AT, have a different way of conducting themselves on the stage- a deportment that appeals to me. I would suggest that by today's standards though EC is getting a little 'long in the tooth' as a performer, 36 years and counting. I like that fact because it means for me he is still performing[an example of something I like about EC, too]. As other's have noted, many of his peers have packed it in a long time ago.

I will not speak for Poor Deportee, as he is perfectly capable of speaking for himself should he choose to do so, but for myself as I watched from the audience during a show from the "River in Reverse" tour I clearly saw that EC put himself above the music in his performance as opposed to the understated manner that AT and his musician friends did when they were performing. This speaks to the 'egoless' performing style Poor Deportee mentions and I concur with as it relates to performing. Have no idea where stage decoration, etc comes into this. I have never been a fan of big stadium shows nor do I think I have ever witnessed EC involved with anything like that. Perhaps the closest was the Confederates tour of the mid 80's with the spining song wheel[which I thoroughly enjoyed[what do you know another example!]. In fact I do not think EC could fill a tour of stadiums. One of the things I have enjoyed through the years is the fact that I have been able to see him at intimate and mid-size venues. I have never had to deal with a big stadium. Plus I do not think he is that type of venue performer.

I have never stated I hate his voice, just that I find it adequate. I do not listen, ostensibly, to him for the vocal richness, but for the melody, the occasional intriguing harmonies and mostly for the lyric. Believe it or not I am capable of programing an Ipod or my cd player to just play the songs that I enjoy hence little need for the mute button these days[except for those instances when an annoying vocal comes on the radio] but thank you for the suggestion. I like your notion that a song can best be tested by its perfomance on one instrument and with one voice. In fact one of the nicest times I spent at an EC concert was when he opened a few years back for Dylan and came on stage with just his array of guitars[yet another example of something I like about EC]. He was cheated that night by a faulty sound system and bad accoustics in the hall in Bridgeport, CT but the beauty of the songs he performed that evening came through in that simplicity. Hopefully, as compensation, he got to spend a little time with PT Barnum, that day, as Bridgeport was his home town. One of the best shows I ever witnessed was Richard Thompson alone on stage for almost three hours with just his guitars and his voice. He filled the room and entranced you for the entire show.

As to 'powering' through material, you might want to revisit the "Spike Demo' thread where that is discussed by Poor Deportee and then myself. Needless to say it is a noticable proclivity in the last fifteen years or so by EC when he performs, yes, probably to rush a song, but more often to over sing and over power a lyric.

There are too many instances within this Forum where I have praised or cited something by EC that I have enjoyed. I am not going to revisit them all here. You can certainly weed through the threads and hone in my comments with a filter to come upon them. But as a recent example, I offer my comments upon his 2002 journal entries as a starter or maybe the "Get Happy" 30 years on thread" which I do believe I started, or my "Top 25" choices or any number of posts on various threads. All you have to do is 'read'.

Not certain that EC would struggle to get a deal today were he starting out- talent does win out I believe. It probably would mean a different type of deal and one he would probably have to put together as he would need to wisely use the internet to push his wares and his career like so many of the younger artists today. I still think he would be performing in small clubs and medium size venues.

Like seeing your interest in Jesse-odd choice of that song by EC to record so long ago as Jesse did not write it.

Do not know that I would call his comments about Mr. Gillet an obituary. But you are right that the one sentence is oddly placed in his quote. By all means speculate. Most of the threads on this Forum are speculation- it is what keeps it going I think- this endless speculation and facination regarding EC.

I do not use emoticons but I will allow there is a big smile on my face- for the dialogue, the flowers blooming in my yard, the expectation of 70 plus degrees tomorrow, the fact that the wonderful "Painted From Memory" is playing on my speakers[oh, my god! there is yet another thing I said I like about EC but you would know that if you should read another post on yet another thread] and my wife's delicious flourless chocolate cake of which a slice awaits me.

[alexv]

Imp, you asked CS what he likes about EC. Since i've been critical of his later stuff here, I guess i'm another candidate to whom that question could be addressed. Not too busy today, so here goes.

I’ve been a fan since 78, own every record (although I gave away WIWC and Il Sogno), have seen him perform every time he’s made his way to the NY metropolitan area, married my wife on August 25th (that was a complete accident but I consider the serendipity of it to be a sign that I'm on to something), and used to own and proudly wore a pair of “EC glasses”. So, I like EC...a lot.

What's so good about the guy? I think he's a great songwriter, primarily. A little quirky, but really original and with an inimitable style. Not the greatest songwriter in the world, but one of the greats. I think the Beatles were better, Dylan, Van, the Stones, Serrat and quite a few others are ahead of EC in the songwriting dept. as far as I'm concerned (key condition there, it's all subjective).

But,and this is the key, regardless of where I put the guy in the pantheon, for whatever reason EC is my personal favorite. Something struck me back in the day, when I was young and so was he that established a connection that doesn't exist, and never existed, with Dylan or any of the others. Have no clue how that happened. And that's why i'm here. It certainly has nothing to do with how much I love a particular record, or a particular stance he takes, or whether his singing is better or worse, or whether he says something nasty about a particular person or group of people.

I do know that there are certain records of his that I really love (MAIT, TYM, GH, AF, IB, TL, KOA, PFM) and I think are just about perfect EC records. Not perfect records, not the greatest records ever made, just perfect EC records. Those records have been talked about endlessly among our group here, and I get a kick out of that. And there are lots of other EC records that I think are less-than-perfect EC records. I still like those records (for the irrational reasons mentioned above, and because I can make rational arguments that they are still chock full of good songs). And there are a few EC records that I don't like. Those two categories have also been discussed here over the years, and there is a lot of disagreement, and that's fun too.

And if I was 20 today, and my introduction to EC came via these more recent records (the records i'm not crazy about tend to be more recent), I'm not sure I would be the rabid EC fan I am. I suspect that I would need to be guided to the earlier stuff, for an appreciation of how he came to be thought of as a great songwriter, and I would probably think of him as yet another old fogey I'm being asked to appreciate when I should be paying attention to my own generation. But, luckily for me, that's not my issue.

So that's what I like, and what I don't like as much. And that's why I'm a fan, like you, after all.