Medford Mail Tribune, June 23, 2006: Difference between revisions
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<center><h3> Costello, Toussaint make musical statement </h3></center> | <center><h3> Costello, Toussaint make musical statement </h3></center> | ||
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Toussaint's was among the homes wiped out by Katrina, and he relocated for the time being to New York City, where he hooked up again with Costello. The two had worked together in the 1980s. Playing benefits for Katrina victims ("The government didn't think of it," Costello said Thursday), Toussaint wrote some new songs inspired by the disaster, and he and Costello collaborated on others. | Toussaint's was among the homes wiped out by Katrina, and he relocated for the time being to New York City, where he hooked up again with Costello. The two had worked together in the 1980s. Playing benefits for Katrina victims ("The government didn't think of it," Costello said Thursday), Toussaint wrote some new songs inspired by the disaster, and he and Costello collaborated on others. | ||
Costello strode onstage in and black suit and shades, a little thicker than he used to be, and a lot cheerier. Costello and the Imposters rendered a passionate "What's So Funny About Peace Love and Understanding," then Toussaint's band entered, and the players launched into "Monkey to Man" from | Costello strode onstage in and black suit and shades, a little thicker than he used to be, and a lot cheerier. Costello and the Imposters rendered a passionate "What's So Funny About Peace Love and Understanding," then Toussaint's band entered, and the players launched into "Monkey to Man" from ''The Delivery Man''. Toussaint came out in a black suit and sandals and took a turn at the Steinway, and the whole band segued into "On Your Way Down," a classic, loping piece of New Orleans funk. | ||
The playing was sharp from the get-go, the piano and Steve Nieve's Hammond B-3 and other keyboards to stage right, and Toussaint guitarist Anthony Brown and the horns stage left. Drummer Pete Thomas was set up behind Costello. | The playing was sharp from the get-go, the piano and Steve Nieve's Hammond B-3 and other keyboards to stage right, and Toussaint guitarist Anthony Brown and the horns stage left. Drummer Pete Thomas was set up behind Costello. | ||
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Costello called Katrina "a fierce-tempered woman — aided by some nincompoops." The hurricane songs make it clear that although the event was an act of God, Costello and Toussaint feel there's plenty of blame for Providence to share with the city of New Orleans, Louisiana officials and the Bush ("Heckuva job, Brownie") Administration. | Costello called Katrina "a fierce-tempered woman — aided by some nincompoops." The hurricane songs make it clear that although the event was an act of God, Costello and Toussaint feel there's plenty of blame for Providence to share with the city of New Orleans, Louisiana officials and the Bush ("Heckuva job, Brownie") Administration. | ||
Costello's "The River in Reverse" is perhaps the angriest cry in this respect ("There must be something better than this/I don't see how it can get worse"). | Costello's "The River in Reverse" is perhaps the angriest cry in this respect (''"There must be something better than this / I don't see how it can get worse"''). | ||
But the anger strives for nothing if not redemption, as in the anthemic "Ascension Day," a minor key take-off on Professor Longhair's "Tipitino" by way of "St. James Infirmary." | But the anger strives for nothing if not redemption, as in the anthemic "Ascension Day," a minor key take-off on Professor Longhair's "Tipitino" by way of "St. James Infirmary." |
Revision as of 15:04, 22 April 2015
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