Boston Globe, July 14, 2003: Difference between revisions
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<center><h3> Off beaten track, Costello classics come alive </h3></center> | <center><h3> Off beaten track, Costello classics come alive </h3></center> | ||
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<center> Tom Kielty </center> | <center> Tom Kielty </center> | ||
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'''Elvis Costello & the Imposters <br> | |||
'''With Chris Robinson <br> | |||
FleetBoston Pavillion | |||
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When an artist reaches the stature of Elvis Costello, things often go one of two ways. Said artist can coast through a legendary catalog that has earned Hall of Fame status (an honor Costello was awarded this year), or he can continue striving toward the next great melody, reworking some of his previous triumphs. Costello and his banner backing band, the Imposters, have chosen the latter. Over the course of a two-hour set at the FleetBoston Pavilion Saturday night, they were unrelenting in the search for a new way to present a well-known track and recalled the prominence of some of Costello's deeper album cuts. | When an artist reaches the stature of Elvis Costello, things often go one of two ways. Said artist can coast through a legendary catalog that has earned Hall of Fame status (an honor Costello was awarded this year), or he can continue striving toward the next great melody, reworking some of his previous triumphs. Costello and his banner backing band, the Imposters, have chosen the latter. Over the course of a two-hour set at the FleetBoston Pavilion Saturday night, they were unrelenting in the search for a new way to present a well-known track and recalled the prominence of some of Costello's deeper album cuts. | ||
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"Clubland" remained a moody mid-tempo killer, and following the jazzy "Everybody's Crying Mercy," it illustrated Costello's musical dexterity. The keyboard textures of longtime associate Steve Nieve provided wonderful color all evening, shining particularly on "Uncomplicated," which found Costello delivering a blazing guitar solo. Nieve's slowed-down keyboard introduction to "Watching the Detectives" set a swinging jazz tone as opposed to the reggae-tinged beat the song is best known for. Again, the deviation was a smashing success. | "Clubland" remained a moody mid-tempo killer, and following the jazzy "Everybody's Crying Mercy," it illustrated Costello's musical dexterity. The keyboard textures of longtime associate Steve Nieve provided wonderful color all evening, shining particularly on "Uncomplicated," which found Costello delivering a blazing guitar solo. Nieve's slowed-down keyboard introduction to "Watching the Detectives" set a swinging jazz tone as opposed to the reggae-tinged beat the song is best known for. Again, the deviation was a smashing success. | ||
The earthy version of "Pump | The earthy version of "Pump It Up" that closed the set sounded as if Costello was reexamining his own material through the eyes of the Faces, or perhaps early Rolling Stones. The final encore, a frantic "(What's So Funny 'Bout) Peace, Love and Understanding?" found Costello twice hesitating on the conclusion, escalating the tension superbly before finishing the song with a flourish. Striding off stage with a Red Sox jersey thrown over his shoulder, Costello surely knew he'd hit this one out of the park. | ||
In what might have seemed an odd opening selection, former Black Crowes frontman Chris Robinson proved an enjoyable presence. Joined by Paul Stacey on acoustic guitar, Robinson delivered a strong, soulful set highlighted by the closing "Last of the Great Train Robbers." The song evoked memories of the Band's best Americana deliveries, while his cover of Ray Charles's "I Got a Woman" proved his Georgia roots intact. | In what might have seemed an odd opening selection, former Black Crowes frontman Chris Robinson proved an enjoyable presence. Joined by Paul Stacey on acoustic guitar, Robinson delivered a strong, soulful set highlighted by the closing "Last of the Great Train Robbers." The song evoked memories of the Band's best Americana deliveries, while his cover of Ray Charles's "I Got a Woman" proved his Georgia roots intact. | ||
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{{tags}}[[Concert 2003-07-12 Boston|FleetBoston Pavilion]] {{-}} [[Boston]] {{-}} [[The Imposters]] {{-}} [[Waiting For The End Of The World]] {{-}} [[Imperial Bedroom]] {{-}} [[Beyond Belief]] {{-}} [[Everyday I Write The Book]] {{-}} [[Radio, Radio]] {{-}} [[Sam & Dave]] {{-}} [[I Can't Stand Up For Falling Down]] {{-}} [[Clubland]] {{-}} [[Everybody's Crying Mercy]] {{-}} [[Steve Nieve]] {{-}} [[Uncomplicated]] {{-}} [[Watching The Detectives]] {{-}} [[Pump It Up]] {{-}} [[(What's So Funny 'Bout) Peace, Love And Understanding?]] {{-}} [[The Rolling Stones]] {{-}} [[The Small Faces|The Faces]] {{-}} [[Rock and Roll Hall of Fame]] {{-}} [[Chris Robinson]] {{-}} [[The Band]] {{-}} [[Ray Charles]] {{-}} [[I Got A Woman]] | |||
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{{Bibliography notes}} | {{Bibliography notes}} | ||
'''The Boston Globe, | {{Bibliography next | ||
|prev = Boston Globe, October 23, 2002 | |||
|next = Boston Globe, September 21, 2003 | |||
}} | |||
'''The Boston Globe, July 14, 2003 | |||
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[[Tom Kielty]] reviews Elvis Costello & [[The Imposters]] and opening act [[Chris Robinson]], Saturday, [[Concert 2003-07-12 Boston|July 12, 2003]], FleetBoston Pavilion, Boston. | [[Tom Kielty]] reviews Elvis Costello & [[The Imposters]] and opening act [[Chris Robinson]], Saturday, [[Concert 2003-07-12 Boston|July 12, 2003]], FleetBoston Pavilion, Boston. | ||
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[[image:2003-07-14 Boston Globe page B8 clipping 01.jpg|380px]] | |||
<br><small>Clipping.</small> | |||
<small>Page scan.</small><br> | |||
[[image:2003-07-14 Boston Globe page B8.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 22:36, 16 October 2021
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