Elvis Costello - 1983-08-15 Philadelphia

<<   1983-08-15 Philadelphia

Elvis Costello And The Attractions, with The TKO Horns
Mann Music Center
Philadelphia, PA
15 August 1983


01. Let Them All Talk - with the TKO Horns
02. Possession - with the TKO Horns
03. Watching The Detectives - with the TKO Horns
04. Secondary Modern - with the TKO Horns
05. The Greatest Thing - with the TKO Horns
06. Man Out Of Time - with the TKO Horns
07. Moods For Moderns (Riff Riff Riff instrumental) - with the TKO Horns
08. Mystery Dance
09. Kid About It
10. You Belong To Me
11. Shabby Doll
12. Point Of No Return (Jim Ford song)
13. Temptation
14. New Lace Sleeves
15. Shipbuilding
16. Big Sister's Clothes
17. Stand Down Margaret
18. Beyond Belief
19. Clubland - with the TKO Horns
20. Everyday I Write The Book - with the TKO Horns
21. Watch Your Step - with the TKO Horns
22. Back Stabbers - King Horse - with the TKO Horns
23. Clowntime Is Over - with the TKO Horns
Encore 1
24. Tears Before Bedtime - with the TKO Horns
25. TKO (Boxing Day) - with the TKO Horns
26. Alison - including Living A Little, Laughing A Little and The Bells - with the TKO Horns
Encore 2
27. Moods For Moderns (Riff Riff Riff instrumental) - with the TKO Horns
28. I Can't Stand Up For Falling Down - with the TKO Horns
29. Pump It Up - including Ain't That A Lot Of Love and band intro - with the TKO Horns

With The TKO Horns on tracks 1-7 and 19-29.


Elvis Costello - vocals, guitar
Steve Nieve - keyboards
Bruce Thomas - bass
Pete Thomas - drums

The TKO Horns:
Dave Plews - trumpet
Paul Speare - tenor saxophone
Jeff Blythe - alto saxophone
Jim Paterson - trombone


Recorder: Unknown
Lineage: Unknown

Comments by area51GM:


40 years on ..........................................

Another short trip passing familiar English names of towns on the way, Elvis and The Attractions move to the Mann Music Centre in Philadelphia on the next day of this tour. Elvis has mentioned the fact, on occasion, that the current single "Everyday I Write The Book" is ascending the charts and the audience responses seem especially wild and keen and I am beginning to think he had maybe achieved true "Pop" star status and that a lot of the audience are there solely because he had a hit single. The responses certainly seem much more enthusiastic following nearly every song which makes me think people in the crowd know more songs than maybe just the singles or tracks only from "Punch The Clock". This audience recording is a probably not as good as the Asbury Park recording since the source I have seems to have been recorded at maximum volume and there's some clipping and booming throughout it's certainly not up to the quality of the two N.Y. concerts. Still it seems to capture the fervour of the audience and the band seem more "up for it" with Steve especially ready to throw in embellishments such as fancy trills in "Secondary Modern" on the lines "Girls come home". The brass section get to play their "Moods For Moderns Riff" at the end of their first contribution and then Elvis keeps the tempo up unlike in other concerts by jumping straight into "Mystery Dance" with just The Attractions. "You Belong To Me" jumps up the running order somewhat and is then followed by a drop in pace with "Shabby Doll". The Bobby Womack cover follows and then a nice bluesy version of "Temptation". The next surprise is a cover of The (English) Beat's "Stand Down Margaret" a pointed dig at Margaret Thatcher that was somewhat simplistic and nowhere near as vindictive as Elvis' own "Tramp the Dirt Down" but already a pointer to the way British politics was splitting the nation. It's a fairly facile song both in structure and lyrics and seems best heard in tandem with another song such as when Elvis tacked it onto "Big Sister's Clothes" as heard on a BBC Radio 1 session from June. Once again the horns return during "Clubland" and the concert follows the same sequence as other concerts to the end.

This again came from a trade in the late eighties or possibly early nineties and apart from the overpowering loudness and clipping of the recording it also needed to be speeded up by a degree to get it in tune.

Lineage: Maxell XLII cassette > Nakamichi DR3 (no dolby) > Marantz DR 6000 CD Recorder > EAC > Nero Platinum for track separation and pitch adjustment > TLH > FLAC > you