From the official site (and missing "Oliver's Army"):
http://www.elviscostello.com/news/the-s ... esults/151
Elvis Costello & The Imposters
London, England
June 4th, 2013
Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine
I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Radio Radio
The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars
Clubland - Spin 1
Bedlam - Spin 2
I Want You - Spin 3
"Joanna" Jackpot - Spin 4
All Grown Up
I Still Have That Other Girl
She
River In Reverse - Spin 5
"Clowns & Fiddlers" Jackpot - Spin 6 - with Kendel Carson on vocal and fiddle
The Other End Of The Telescope
Sulphur to Sugarcane
Good Year For The Roses
A Slow Drag With Josephine
Watching The Detectives
Interlude
Lipstick Vogue
"Happy" Jackpot - Spin 7
I Hope You're Happy Now
Finale
Chelsea - IMPROMPTU
Alison
Red Shoes
Less Than Zero
Shipbuilding
Tramp The Dirt Down
Peace, Love and Understanding with Kendel Carson on vocal and fiddle and Steve Nieve on Albert's Royal Organ
Encore
Jimmie Standing In The Rain - Napoleon Solo
Pump It Up - with Kendel Carson on vocals
Elvis & The Imposters play RAH, London 4 June '13
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And No Coffee Table
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Re: Elvis & The Imposters play RAH, London 4 June '13
Terry Staunton got this great photo last night (RAH, June 4 '13)
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Little Fool
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Re: Elvis & The Imposters play RAH, London 4 June '13
Well, what a night to remember. Having Monday night off certainly revitalised him as the voice was strong, clear and powerful with no hesitations or faults. The best vocal of the tour so far without doubt. He kept apologising for being beset by technical problems, but as an audience member they went pretty much unoticed. I personally would have been unaware of any problems had he not kept mentioning it.
Much to my surprise and pleasure my wife and I were once again selected for a wheel spin !!!!!!!!! What are the chances ?????
So as you can imagine we had a real bonus to our already superb evening.
Before the show we had gone to the Goat Pub as suggested on an earlier thread and met up with a few fellow EC fans, (although not perhaps as many as the earlier post suggested). We met a really nice chap from Norway who was really friendly and enthusiastic and who has hopefully managed to capture a few photographs of our time on stage.
So all in all a brilliant show, now looking forward to Basingstoke.
Much to my surprise and pleasure my wife and I were once again selected for a wheel spin !!!!!!!!! What are the chances ?????
So as you can imagine we had a real bonus to our already superb evening.
Before the show we had gone to the Goat Pub as suggested on an earlier thread and met up with a few fellow EC fans, (although not perhaps as many as the earlier post suggested). We met a really nice chap from Norway who was really friendly and enthusiastic and who has hopefully managed to capture a few photographs of our time on stage.
So all in all a brilliant show, now looking forward to Basingstoke.
Re: Elvis & The Imposters play RAH, London 4 June '13
That was a helluva party last night. Elvis blowing his amp during the overture actually added to the team spirit. As has been said his voice was in very good form. If he can put on as good a show tonight then...well I just hope I have that much energy when I'm his age (not too long to go now).
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Re: Elvis & The Imposters play RAH, London 4 June '13
It was a good show. I thought Elvis was in good form considering his amp had blown. There were no sneers at technicians (aah, the good old days!).
I thought there was a certain irony in "Happy" being spun because he wouldn't have been. The band went off at 21.40 and I thought that with Elvis's guitar troubles we'd get a shorter show. I am so glad to be so wrong!
It's surprising how many people don't fancy getting up to spin the wheel.
It's also funny how tongue tied people get when they get on stage (and how some people don't mind embarrassing themselves when they're there!).
The amp went during Radio Radio which was interesting hearing the ending without guitar.
The young fiddler was good but superfluous on Detectives.
It was a longer show time wise but shorter in terms of number of songs. When the band went off after PLU the house lights started to come on and then Elvis reappeared to do a magnificent version of Jimmie solo. You could have heard a pin drop.
Also I Want You could possibly have been the best version I have ever seen.
It was funny watching Steve run up the church organ halfway through PLU as you could see his shadow through the backdrop.
The lady with cancer part was extremely moving. She said her father was unwell and she had cancer but her father wanted her to come to the show. Elvis asked her what she wanted to hear, she said Oliver's Army and said they wouldn't bother to spin the wheel.
By the way there were many empty seats although these shows are technically sold out because of debenture holders.
Another mention to The Mysterious Josephine who is a real asset. She took a young girl (and I assume) her mother on stage at the end and danced with the 2 of them. She also seems to be a fan (or at least know the words to her employer's songs).
Judging by the last couple of shows, if you want to get on stage, take a young child with you.
I thought there was a certain irony in "Happy" being spun because he wouldn't have been. The band went off at 21.40 and I thought that with Elvis's guitar troubles we'd get a shorter show. I am so glad to be so wrong!
It's surprising how many people don't fancy getting up to spin the wheel.
It's also funny how tongue tied people get when they get on stage (and how some people don't mind embarrassing themselves when they're there!).
The amp went during Radio Radio which was interesting hearing the ending without guitar.
The young fiddler was good but superfluous on Detectives.
It was a longer show time wise but shorter in terms of number of songs. When the band went off after PLU the house lights started to come on and then Elvis reappeared to do a magnificent version of Jimmie solo. You could have heard a pin drop.
Also I Want You could possibly have been the best version I have ever seen.
It was funny watching Steve run up the church organ halfway through PLU as you could see his shadow through the backdrop.
The lady with cancer part was extremely moving. She said her father was unwell and she had cancer but her father wanted her to come to the show. Elvis asked her what she wanted to hear, she said Oliver's Army and said they wouldn't bother to spin the wheel.
By the way there were many empty seats although these shows are technically sold out because of debenture holders.
Another mention to The Mysterious Josephine who is a real asset. She took a young girl (and I assume) her mother on stage at the end and danced with the 2 of them. She also seems to be a fan (or at least know the words to her employer's songs).
Judging by the last couple of shows, if you want to get on stage, take a young child with you.
Who’s this kid with his mumbo jumbo?
Re: Elvis & The Imposters play RAH, London 4 June '13
All Grown Up - http://www.youtube.com/watch?v=tsxjjzMA6L8 and The Other End Of The Telescope - http://www.youtube.com/watch?v=-aGvYEi3hwc
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And No Coffee Table
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And No Coffee Table
- Posts: 3533
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Re: Elvis & The Imposters play RAH, London 4 June '13
From the reviewer who stayed for the encores...
Elvis Costello and the Imposters, Royal Albert Hall, review
The celebrated singer-songwriter delivered an angry, emotional, wild and wayward 28-song set that was more than any fan could reasonably ask for, says Neil McCormick.
5 out of 5 stars
By Neil McCormick
3:40PM BST 05 Jun 2013
Margaret Thatcher may have been laid to rest just a few weeks ago, but that hasn’t silenced her musical tormentor-in-chief. It was late in an extraordinary, two-and-a-half hour set when Elvis Costello followed his beautifully crooned Falkland war lament Shipbuilding by picking up an acoustic guitar and announcing, “This is a song I didn’t imagine I would be singing no more.”
There was a tangible gasp in the Royal Albert Hall, as if somehow the venerable establishment connotations of the setting made what was being presented almost sacrilegious, yet there was also a surge of righteous delight as Costello delivered an immensely powerful rendition of Tramp The Dirt Down, his notorious anti-Thatcher folk ballad from 1988. His introductory remarks, in which he insisted he would play his protest song as long “as there are people still abroad who believe what she believed and act upon it” gave the moment a context that was neither bitter nor perversely triumphalist, more like the singing of a cherished anthem of shared values from a bygone era.
It was just one extraordinary moment among many, in a celebratory, comical, angry, emotional, wild and wayward 28-song set that delivered more than any fan could reasonably ask for. There is a gimmicky conceit to the set-up, The Spectacular Return of the Spectacular Spinning Songbook, reviving the vaudevillian elements of a show first presented in 2011, with caged dancers, a hostess and a huge, colourful fairground wheel of fortune containing song names and set themes chosen via spins from members of the audience.
You can understand the appeal of this random selection process to an artist as maverick in his musical tastes and with as many great songs to his credit as Costello, although it risks seeming disjointed in abandoning the performer’s own sense of narrative. It is a long way from the kind of sharp attack that marked out Costello in his earliest incarnations, yet the benefit is a sense of improvisational spontaneity. There is a jazz-punk aspect to The Imposters: they are not afraid of getting wonky and dirty, attacking songs with irreverent energy and dragging them in all kinds of different (and not always compatible) directions, building to a dubby romp through Watching The Detectives that effectively marked the end of the Spinning Songbook game.
It was as if Costello had just been softening up his audience, opening us to expect anything. Returning for encores, the band was on fire, with Costello calling out song after song as the mood took him, tearing into old favourites such as Lipstick Vogue, Alison, Red Shoes and Less Than Zero as if he wanted to blow the place down. It was utterly electrifying and alive to the moment, master musicians and a genius band leader putting absolutely everything into songs written to the highest levels of lyrical and melodic ingenuity.
By the time Steve Naïve concluded a storming version of What’s So Funny About Peace Love and Understanding by dashing behind the stage to play the Royal Albert Hall’s house organ, big notes resonating through the enraptured crowd, all I can really say is you had to be there. And that, after all, is what live music is really about.
Elvis Costello and the Imposters, Royal Albert Hall, review
The celebrated singer-songwriter delivered an angry, emotional, wild and wayward 28-song set that was more than any fan could reasonably ask for, says Neil McCormick.
5 out of 5 stars
By Neil McCormick
3:40PM BST 05 Jun 2013
Margaret Thatcher may have been laid to rest just a few weeks ago, but that hasn’t silenced her musical tormentor-in-chief. It was late in an extraordinary, two-and-a-half hour set when Elvis Costello followed his beautifully crooned Falkland war lament Shipbuilding by picking up an acoustic guitar and announcing, “This is a song I didn’t imagine I would be singing no more.”
There was a tangible gasp in the Royal Albert Hall, as if somehow the venerable establishment connotations of the setting made what was being presented almost sacrilegious, yet there was also a surge of righteous delight as Costello delivered an immensely powerful rendition of Tramp The Dirt Down, his notorious anti-Thatcher folk ballad from 1988. His introductory remarks, in which he insisted he would play his protest song as long “as there are people still abroad who believe what she believed and act upon it” gave the moment a context that was neither bitter nor perversely triumphalist, more like the singing of a cherished anthem of shared values from a bygone era.
It was just one extraordinary moment among many, in a celebratory, comical, angry, emotional, wild and wayward 28-song set that delivered more than any fan could reasonably ask for. There is a gimmicky conceit to the set-up, The Spectacular Return of the Spectacular Spinning Songbook, reviving the vaudevillian elements of a show first presented in 2011, with caged dancers, a hostess and a huge, colourful fairground wheel of fortune containing song names and set themes chosen via spins from members of the audience.
You can understand the appeal of this random selection process to an artist as maverick in his musical tastes and with as many great songs to his credit as Costello, although it risks seeming disjointed in abandoning the performer’s own sense of narrative. It is a long way from the kind of sharp attack that marked out Costello in his earliest incarnations, yet the benefit is a sense of improvisational spontaneity. There is a jazz-punk aspect to The Imposters: they are not afraid of getting wonky and dirty, attacking songs with irreverent energy and dragging them in all kinds of different (and not always compatible) directions, building to a dubby romp through Watching The Detectives that effectively marked the end of the Spinning Songbook game.
It was as if Costello had just been softening up his audience, opening us to expect anything. Returning for encores, the band was on fire, with Costello calling out song after song as the mood took him, tearing into old favourites such as Lipstick Vogue, Alison, Red Shoes and Less Than Zero as if he wanted to blow the place down. It was utterly electrifying and alive to the moment, master musicians and a genius band leader putting absolutely everything into songs written to the highest levels of lyrical and melodic ingenuity.
By the time Steve Naïve concluded a storming version of What’s So Funny About Peace Love and Understanding by dashing behind the stage to play the Royal Albert Hall’s house organ, big notes resonating through the enraptured crowd, all I can really say is you had to be there. And that, after all, is what live music is really about.
Re: Elvis & The Imposters play RAH, London 4 June '13
http://www.guardian.co.uk/music/2013/ju ... llo-review
Elvis Costello – review
Royal Albert Hall, London
5 out of 5
Caroline Sullivan
The Guardian,
Wednesday 5 June 2013 18.41 BST
"Spin that wheel for England," Elvis Costello instructs. "For the people's coronation." Beside him is a deceptively calm fan, who's been brought on stage from the audience; behind them a giant wheel printed with 40 song titles, one of which will be played by Costello and his band. The fan spins for England, and the wheel stops at I Want You, from the album Blood & Chocolate. Costello sets about his 27-year-old song of bitterness and betrayal, starting quietly and ending on a pinnacle of sweet sadness. The applause reaches a climax, and the next fan is ushered on for a spin.
Costello first toured his "spectacular spinning songbook" show in the 80s, but this revived version must surely trump the original. Pop's original angry young man still has fire in the belly – he remarks that it's still worth playing the Thatcher-loathing Tramp the Dirt Down – but now he has perspective, too. For every jibe, there's a moment of avuncular kindess: a woman confides that Oliver's Army was her late father's favourite song, so Costello plays it; a chap called Ant proposes that they launch The Ant and Dec Show, and the singer – real name Declan MacManus – hoots delightedly. There's even a go-go dancer in a cage, grinding away to songs that may be compelling, but weren't written for cage dancing.
But around two-thirds of the setlist has been decided in advance, and here's where he hits his stride. An acoustic All Grown Up, with pianist Steve Nieve, is rich and burnished; Watching the Detectives becomes a dub labyrinth; Radio, Radio is as nervy as the day it was written. "The clock says we have to go," he says, then carries on anyway, still happily thumbing his nose at authority.
Elvis Costello – review
Royal Albert Hall, London
5 out of 5
Caroline Sullivan
The Guardian,
Wednesday 5 June 2013 18.41 BST
"Spin that wheel for England," Elvis Costello instructs. "For the people's coronation." Beside him is a deceptively calm fan, who's been brought on stage from the audience; behind them a giant wheel printed with 40 song titles, one of which will be played by Costello and his band. The fan spins for England, and the wheel stops at I Want You, from the album Blood & Chocolate. Costello sets about his 27-year-old song of bitterness and betrayal, starting quietly and ending on a pinnacle of sweet sadness. The applause reaches a climax, and the next fan is ushered on for a spin.
Costello first toured his "spectacular spinning songbook" show in the 80s, but this revived version must surely trump the original. Pop's original angry young man still has fire in the belly – he remarks that it's still worth playing the Thatcher-loathing Tramp the Dirt Down – but now he has perspective, too. For every jibe, there's a moment of avuncular kindess: a woman confides that Oliver's Army was her late father's favourite song, so Costello plays it; a chap called Ant proposes that they launch The Ant and Dec Show, and the singer – real name Declan MacManus – hoots delightedly. There's even a go-go dancer in a cage, grinding away to songs that may be compelling, but weren't written for cage dancing.
But around two-thirds of the setlist has been decided in advance, and here's where he hits his stride. An acoustic All Grown Up, with pianist Steve Nieve, is rich and burnished; Watching the Detectives becomes a dub labyrinth; Radio, Radio is as nervy as the day it was written. "The clock says we have to go," he says, then carries on anyway, still happily thumbing his nose at authority.
Re: Elvis & The Imposters play RAH, London 4 June '13
Tramp The Dirt Down
Re: Elvis & The Imposters play RAH, London 4 June '13
Steve Nieve posts to Facebook -
It's funny how the colors of the real world only seem really real when you viddy them on the screen...
Welly, welly, well. To what do I owe the extreme pleasure of this surprising visit?
To Muriel Teodori of course....
Re: Elvis & The Imposters play RAH, London 4 June '13
Now corrected:And No Coffee Table wrote:From the official site (and missing "Oliver's Army"):
http://www.elviscostello.com/news/the-s ... esults/151
Clubland - Spin 1
Bedlam - Spin 2
I Want You - Spin 3
"Joanna" Jackpot - Spin 4
http://www.elviscostello.com/news/the-s ... esults/151
Clubland - Spin 1
Bedlam - Spin 2
I Want You - Spin 3
Oliver's Army - Spinners Request
"Joanna" Jackpot - Spin 4
Re: Elvis & The Imposters play RAH, London 4 June '13
Another angle on The Other End Of The Telescope plus Watching The Detectives -
Re: Elvis & The Imposters play RAH, London 4 June '13
Steve's partner Muriel posts to Facebook-
Re: Elvis & The Imposters play RAH, London 4 June '13
Wow, great video clips. Now I know how painful it is to be on the other side of the pond when EC is touring. All Grown Up... killer. More quality entertainment to come I am sure of it.
Re: Elvis & The Imposters play RAH, London 4 June '13
Back in Sweden after two great gigs, Bristol and the first i RAH.
I also had a conversation with The Mysterious Josephine on twitter.
After the concert I tweeted to her:
"It was nice seeing you hugging the woman who had a father with cancer in RAH yesterday. There's heart in vaudeville! #costello"
She retweeted, and later she replied in a tweet:
"That is soooo lovely of you to say!!! It was a truely wonderful night."
And I agree with her. With the second statement, that is.
I also had a conversation with The Mysterious Josephine on twitter.
After the concert I tweeted to her:
"It was nice seeing you hugging the woman who had a father with cancer in RAH yesterday. There's heart in vaudeville! #costello"
She retweeted, and later she replied in a tweet:
"That is soooo lovely of you to say!!! It was a truely wonderful night."
And I agree with her. With the second statement, that is.
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sweetest punch
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Re: Elvis & The Imposters play RAH, London 4 June '13
Another 5 star review: http://www.independent.co.uk/arts-enter ... 50731.html
Simon Price on pop: Elvis Costello's army bares its soul once more
5 star
The old man of New Wave leaves his set list to luck these days, and the wheel of fate turns up some gems
As a stand-up comedian, Elvis Costello makes an excellent singer-songwriter. Minutes into the show, Costello replaces his trilby with a topper, brandishes a silver-capped cane and adopts a persona somewhere between Bruce Forsyth on The Generation Game and a circus ringmaster, complete with corny American accent. A natural comic he ain't. But you warm to him for trying.
The set-up of the 13 Revolvers tour is familiar. On a set that's half funfair sideshow and half Sixties supper-club, the titles of approximately 40 Costello songs are painted on a wheel of fortune, spun by audience members, to ensure that every show is different. It also allows for unscripted chortles, like the wisecrack from a superfan called Ant, stood next to his hero: "It's the Ant & Dec Show …."
As a rapid-fire format for Costello and his Imposters – bassist Davey Faragher plus Attractions stalwarts Pete Thomas and Steve Nieve (who absconds in the encores to play the Hall's massive organ) – to showcase his back-catalogue, it's fine. And it is mostly back-cat: Costello's upcoming album with The Roots can wait.
It opens with his cover of Sam & Dave's "I Can't Stand Up For Falling Down". It's followed by "High Fidelity" whose Supremes-referencing first words are "Some things you never get used to". Which establishes Costello's credentials as a soul fan, if not quite a soul man. Regardless of the strength of his voice, which he demonstrates unamplified off-mic, its tone is too adenoidal for that.
There comes a day in everyone's life where they're grown-up enough to get Elvis Costello, and I passed it some time ago. At 13, his pedal steel-drenched cover of George Jones's "Good Year For The Roses" was insufferably schmaltzy, but now it's almost painfully close to the bone. Funny, that.
"Oliver's Army", though, is the big one. When you're a child, it's just a jolly romping pop melody. Then you figure out it's one of the most chilling political pop songs of all time. Its power is the sound of measured anger, articulated with restraint. Nowadays, sneaking a song about The Troubles, complete with the provocatively loaded phrase "white nigger" to No 2 in the charts, seems impossibly audacious. Performed half-quiet half-loud, it's requested tonight by a woman whose father is dying of cancer. Costello agrees immediately.
It's not the only moving moment: it's touching to hear the entire Albert Hall singing "Alison, I know this world is killing you …" Nor is it the only late Seventies smash. It's commonplace to credit The Clash with pioneering the rock-reggae cross-over, but nearly all the old punks had a try, not least Costello, whose "Watching The Detectives" and "(I Don't Want To Go To) Chelsea" are immaculate exercises in paranoiac reggae-noir.
"Some people won't like this …", he apologises before a track which was namechecked almost as often as "Ding Dong, The Witch Is Dead" this April. "But as long as there are still people about who believe the things she believed, and are doing the things she did, we can keep singing this song". The song is "Tramp The Dirt Down". And it's not even the night's most powerful anti-Thatcher song. That would be the haunting, Falklands-inspired "Shipbuilding", which recently merited its own Radio 4 documentary.
An even more potent attack on Conservative values, "Pills And Soap", didn't make the wheel. And another personal favourite, "Every Day I Write The Book", refused to get picked. But you can't have everything. In the words of Steven Wright – unlike Costello, a proper comedian – where would you put it?
Simon Price on pop: Elvis Costello's army bares its soul once more
5 star
The old man of New Wave leaves his set list to luck these days, and the wheel of fate turns up some gems
As a stand-up comedian, Elvis Costello makes an excellent singer-songwriter. Minutes into the show, Costello replaces his trilby with a topper, brandishes a silver-capped cane and adopts a persona somewhere between Bruce Forsyth on The Generation Game and a circus ringmaster, complete with corny American accent. A natural comic he ain't. But you warm to him for trying.
The set-up of the 13 Revolvers tour is familiar. On a set that's half funfair sideshow and half Sixties supper-club, the titles of approximately 40 Costello songs are painted on a wheel of fortune, spun by audience members, to ensure that every show is different. It also allows for unscripted chortles, like the wisecrack from a superfan called Ant, stood next to his hero: "It's the Ant & Dec Show …."
As a rapid-fire format for Costello and his Imposters – bassist Davey Faragher plus Attractions stalwarts Pete Thomas and Steve Nieve (who absconds in the encores to play the Hall's massive organ) – to showcase his back-catalogue, it's fine. And it is mostly back-cat: Costello's upcoming album with The Roots can wait.
It opens with his cover of Sam & Dave's "I Can't Stand Up For Falling Down". It's followed by "High Fidelity" whose Supremes-referencing first words are "Some things you never get used to". Which establishes Costello's credentials as a soul fan, if not quite a soul man. Regardless of the strength of his voice, which he demonstrates unamplified off-mic, its tone is too adenoidal for that.
There comes a day in everyone's life where they're grown-up enough to get Elvis Costello, and I passed it some time ago. At 13, his pedal steel-drenched cover of George Jones's "Good Year For The Roses" was insufferably schmaltzy, but now it's almost painfully close to the bone. Funny, that.
"Oliver's Army", though, is the big one. When you're a child, it's just a jolly romping pop melody. Then you figure out it's one of the most chilling political pop songs of all time. Its power is the sound of measured anger, articulated with restraint. Nowadays, sneaking a song about The Troubles, complete with the provocatively loaded phrase "white nigger" to No 2 in the charts, seems impossibly audacious. Performed half-quiet half-loud, it's requested tonight by a woman whose father is dying of cancer. Costello agrees immediately.
It's not the only moving moment: it's touching to hear the entire Albert Hall singing "Alison, I know this world is killing you …" Nor is it the only late Seventies smash. It's commonplace to credit The Clash with pioneering the rock-reggae cross-over, but nearly all the old punks had a try, not least Costello, whose "Watching The Detectives" and "(I Don't Want To Go To) Chelsea" are immaculate exercises in paranoiac reggae-noir.
"Some people won't like this …", he apologises before a track which was namechecked almost as often as "Ding Dong, The Witch Is Dead" this April. "But as long as there are still people about who believe the things she believed, and are doing the things she did, we can keep singing this song". The song is "Tramp The Dirt Down". And it's not even the night's most powerful anti-Thatcher song. That would be the haunting, Falklands-inspired "Shipbuilding", which recently merited its own Radio 4 documentary.
An even more potent attack on Conservative values, "Pills And Soap", didn't make the wheel. And another personal favourite, "Every Day I Write The Book", refused to get picked. But you can't have everything. In the words of Steven Wright – unlike Costello, a proper comedian – where would you put it?
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
Re: Elvis & The Imposters play RAH, London 4 June '13
Funkygibbon's recording is on dime now.
Funkygibbon wrote:Couple of things - the sound was v rough to start with and during 'Radio Radio' Elvis blew his guitar amp so we get an interesting guitar-less version!
I was seated by the area where Miss Josephine coralled the spinners so you might get a bit of talking occasionally but nowt too distracting
There is some fool who claps like an seal between songs and I suspect that it is me - apologies!
Otherwise, solid tape, great show, Night II coming soon
Share and enjoy !
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sweetest punch
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Re: Elvis & The Imposters play RAH, London 4 June '13
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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sweetest punch
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Re: Elvis & The Imposters play RAH, London 4 June '13
Lipstick Vogue: http://www.youtube.com/watch?v=AUoJRqy9Nf0
WTD: http://www.youtube.com/watch?v=4okKntF6iXE
WTD: http://www.youtube.com/watch?v=4okKntF6iXE
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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Man out of Time
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Re: Elvis & The Imposters play RAH, London 4 June '13
Nice close-up recordings and good quality audio:
Tramp The Dirt Down:
Jimmie Standing In The Rain:
MOOT
Tramp The Dirt Down:
Jimmie Standing In The Rain:
MOOT