More Thoughts on Elvis Costello: The Boy Named If

Elvis Costello and the Imposters

Elvis Costello continues to charm the pants off his audiences. It’s something he’s done successfully in a music career that’s spanned more than five decades. He’s one of his generation’s greatest songwriters and performers – and one of many reasons I never tire of seeing him perform live in concert. 

Costello has worked diligently at his craft to attain a special place in the music world. Whether with a simple wink of the eye, a friendly smile or just the right choice of words and upbeat tone of voice, the bespectacled and iconic English musician, who was once described by a critic as a “pop encyclopedia,” has become a master of the craft of storytelling.

Last week at the Filene Center at Wolf Trap in Vienna, Va., near Washington, D.C., in what was my 13th time to see Costello in concert since the early ‘80s, Costello delighted the baby-boomer crowd with disposable money that flocked to see him and his band, the Imposters (Steve Nieve on keyboards, Pete Thomas on drums, Davey Faragher on bass, Charlie Sexton on assorted guitars) and joined by guest vocalist Nicole Atkins – plus special guests Nick Lowe and Los Straightjackets – with his good-natured manner and geniality of performing. The singer-songwriter, who turns 68 on August 25, has taken great care of himself and of the stories he shares with his audiences, through his musical lyrics and interpretation.

Nick Lowe and Los Straightjackets

Musically, throughout his 105-minute performance, Costello moved freely between playing a canon of his most-recognized hits – “Accidents Will Happen,” “Watching the Detectives,” “(I Don’t Want to Go to) Chelsea,” “Pump It Up,” and “(What’s So Funny ‘Bout) Peace, Love and Understanding,” which he performed with Lowe – and also a quartet of new songs from his most recent album, “The Boy Named If.” The set list on this night totaled 17 songs. Throughout, Costello’s material was filled full of rich characters loaded with plenty of desire mixed with heartache. 

What one learns from going to so many Elvis Costello shows through the years – and whether seeing him perform with his original band the Attractions, current band the Imposters, with special guests such as the late great New Orleans pianist Allen Toussaint or backed by a symphony orchestra – is that Costello is truly a music fan. He also delights in championing the works of other musicians, whether it be from country star George Jones or rock guitarist and producer T Bone Burnett – or even the influential Philadelphia hip-hop band The Roots. Through the years, Costello has also collaborated with Burt Bacharach and duetted with Tony Bennett. 

Filene Center at Wolf Trap, Vienna, Va.

Looking back, Costello has immersed himself in pop, rock and roll, country, Americana, soul and jazz, among the many genres that he’s mastered. In a Costello show, he’s not afraid to share many of the lessons he’s learned growing up in a Liverpool music family and we’re rewarded with songs that are as literate as they are artful. I am reminded of when my wife and I took the train to Philadelphia last October just to see Costello perform at The Met, an old opera house in north Philly, and he charmed us with a hauntingly beautiful minor-key tango that blended his own song “Brilliant Mistake” with the 1930s Al Dubin-penned “Boulevard of Broken Dreams” that was a hit song for Bennett among many.

Throughout his Wolf Trap performance, Costello showed he can be acerbic and witty, as well as lamenting and sad. There’s always a fine balance between rock and balladry in a Costello performance and this one was no different from the other 12 shows I had seen over the past 40 years in that regard. Yet, he also reminded us that this was no exercise in nostalgia and pastiche, either despite the age demographic of the audience – about 55 to 70 years-old – that’s been around to enjoy Costello from the beginning of his rock-n-roll career in the late ‘70s.

Collectively, Costello’s body of work is that of an adept storyteller who’s learned more than a few things from the past. On this summer night in northern Virginia, Costello took his audience on a musical journey through his expansive songbook that was as intimate as it was entertaining – and it was inspiring, too.

Elvis Costello and the Imposters

Elvis Costello’s Wolf Trap set list:

Accidents Will Happen / Green Shirt / Either Side of the Same Town / Hetty O’Hara Confidential / Mystery Dance / Watching the Detectives-Invisible Lady-Isabelle in Tears / My Most Beautiful Mistake / Still Too Soon to Know / Just About Glad / The Man You Love to Hate / Penelope Halfpenny / What If I Can’t Give You Anything But Love? / Magnificent Hurt / (I Don’t Want to Go to) Chelsea / Pump It Up / Indoor Fireworks (with Nick Lowe) / What’s So Funny ‘Bout) Peace Love and Understanding (with Nick Lowe).

All photographs: © Michael Dickens, 2021.

A Tuesday Night Memo: Thoughts on turning nine

My blog, “A Tuesday Night Memo,” turns nine later this month.

People who know me well know that I've been interested in writing, reporting and storytelling for a long time. So, it's only natural that I turned to blog writing because it gave me an opportunity to hone my writing skills and provided a forum for writing about things that truly interested me that I wanted to share with others.

Here’s a little history about my blog:

I started writing “A Tuesday Night Memo” on January 26, 2010, as a means for sharing musings about my life filled with music, sport, and urban travel, and to foster community with my friends, family and Facebook acquaintances. More recently, I added a Twitter profile, which has allowed me to reach a wider audience across the country and the world.

People who read my blog know that I'm passionate about music, sport, and urban travel. Additionally, I have used “A Tuesday Night Memo” as a vehicle for writing about art, food, fashion, religion and gardening – and, in the age of Trump, about politics. Before we moved to the east coast, sharing news and photos about our former Oakland, Calif., flower gardens at home always seem to generate great interest and enthusiasm. Maybe, it was the pretty shapes and colors of our flowers that others found appealing, especially since we could maintain a garden all year long.

Up to now, I have "blogged" 439 entries for “A Tuesday Night Memo,” which collectively have received more than 161,700 page views. Among many subjects I have written about, some of my favorites have been: my appreciation of tennis champion Roger Federer; how the city of Seattle fosters community through international cinema; a history of the world as seen through 100 objects; classical music conductor Gustavo Dudamel; Golden State Warriors head coach Steve Kerr; my music love affairs with Pink Martini and Elvis Costello; validating our travel through our photographs; and Jerry Seinfeld's Internet comedy Comedians in Cars Getting Coffee.

Among my recent posts, I have written about the Golden Globe-winning film “Roma”; the humanitarian work of Washington, D.C. chef José Andrés; and recent books written by American historians Doris Kearns Goodwin and Jon Meacham. Also, I have shared my interest in digital photography since beginning my blog, which has enabled me to illustrate many if not all of my posts with colorful visuals to match the words I've written.

The feedback I have received not only is very much appreciated, but I also find it very useful. Much of it has been positive, but sometimes it's also been critical. Whether good or bad, I've found the feedback readers provide to be a valuable learning tool. Occasionally, I like to sneak a look at my blog's statistics, which are the key indicators that show how many total "hits" my blog has received, which stories have been read the most, and what countries comprise the blog's readership. The numbers are modest but nevertheless interesting.

Here are a few fun facts about “A Tuesday Night Memo” I thought you might enjoy:

• Since my blog's debut, it has been read in dozens of countries, including the U.S., Canada, Mexico, France, Morocco, Tunisia, Turkey and Hong Kong – even Brazil, India, Vietnam, and Australia. The top five countries reading my blog include the U.S, Russia, United Kingdom, Germany and France. I hope Russia's interest in my blog has nothing to do with their wanting to hack me because of my occasional blog posts about President Donald Trump.

Looking ahead, two years since he was inaugurated, the Trump presidency continues to garner my interest and attention from time to time. How could it not? However, there's so much more to write about. Among things that I look forward to learning about include my continuing interest in exploring museums – and what we can learn from them. Also, I would like to explore the effect digital music and media have in connecting our world.

In the meantime, I thoroughly enjoy sharing my writing week in and week out, and I look forward to contributing more of my words and thoughts in what is shaping up to be another exciting year awaiting all of us.

Stay tuned! 

Thoughts on Elvis Costello: Look Now and Then

Elvis Costello / The master storyteller at the
DAR Constitution Hall, in Washington, D.C.

Elvis Costello knows how to charm the pants off an audience. He’s done it successfully for more than 40 years as one of his generation’s greatest songwriters and performers. He’s worked diligently at his craft to attain a special place in the music world. Whether with a simple wink, a friendly smile, or just the right choice of words and upbeat tone of voice, the bespectacled and iconic English musician, who was once described by a critic as a “pop encyclopedia,” has become a master of the craft of storytelling.

Now, healthy again after recovering from surgery for a small but very aggressive cancerous malignancy, Costello once again is delighting crowds with his good-natured manner and geniality of performing. He’s taking great care not only of himself, but also the stories he’s sharing with his audiences, through their lyrics and unusual combination of musical instruments.

On November 4, at the DAR Constitution Hall in Washington, D.C., in just the third night of his current 20 city “Look Now and Then ...” tour – and in what was my 12th Elvis Costello adventure – I saw a show like no other he’s given, and I’ve seen Elvis perform solo; with his various backing bands, including the Attractions, the Imposters, and the Sugarcanes; in a duet show with his longtime keyboardist Steve Nieve; accompanied by the late extraordinary New Orleans pianist Allen Toussaint backed with a brass horn section – even dressed to the nines in a black tuxedo performing with the San Francisco Symphony.

Musically, throughout the evening’s two-and-one-half-hour performance, accompanied by the always sharp and in-form Imposters (Nieve on a variety of keyboards, drummer Pete Thomas, and bassist Davey Faragher) and joined by vocalists Kitten Kuroi and Briana Lee, who added soulful backing harmonies to new songs such as “Unwanted Number” and the classic “Alison,” the 64-year-old Costello moved freely between introducing 10 new “uptown pop” songs from his recently-released album ‘Look Now’ such as “Burnt Sugar Is So Bitter,” which he co-wrote with Carole King; “Don’t Look Now” and “Under Lime.” There’s a little bit of swagger in Costello these days and as one critic recently remarked, the new material is “full of rich characters loaded with desire and heartache.” Costello also dug into his vast catalog of spinning-wheel classics to share “This Year’s Girl,” which has been remade into the theme song for the HBO series “The Deuce;” “Clubland,” “Green Shirt,” “Watching the Detectives,” (performed as a spacey solo under a green spotlight for full visual affect); “Pump It Up,” and “(What’s So Funny ‘Bout) Peace, Love and Understanding.”

Truly a music fan, Costello delights in championing the works of other musicians, from country star George Jones to rock guitarist and producer T Bone Burnett to influential Philadelphia hip-hop band The Roots – even former Beatles icon Paul McCartney – to name just a few whom he’s collaborated with over the years. Whether immersing himself in pop, rock and roll, country, Americana, soul or jazz, among the many genres that he’s mastered over many years, in concert Costello shares many of the lessons he learned and we’re rewarded with songs that are as literate as they are artful.

On ‘Look Now,’ Costello has revisited his partnership with Burt Bacharach, himself a master songwriter, on three impressionistic tunes, “Don’t Look Now,” “Photographs Can Lie,” and “He’s Given Me Things.” Bacharach’s piano lines, as interpreted and performed live by Nieve, are both poignant and beautiful – and reminded me of some of Bacharach’s brilliant late ‘60 pop collaborations with lyricist Hal David.

Throughout the show’s 27 songs, Costello showed he can be acerbic and witty, as well as lamenting and sad. There’s a fine balance between rock and balladry in a Costello performance. As his Washington, D.C. concert reminded us, his shows have become more than an exercise in nostalgia and pastiche. I have no doubt that this tour will be a triumph for Costello, providing him with an opportunity for enlivening his mastery of the songwriting form – and with a keen dramatist’s eye, too.

Because of Costello’s desire to showcase his new songs, his show is now very much of the present. Collectively, his body of work is that of adept storyteller who’s learned more than a few things from the past. On this night, Costello took his mostly baby-boomer audience on a musical journey through his expansive songbook that was not only intimate and entertaining, but also humbling and inspiring.

Elvis Costello’s DAR Constitution Hall, Washington, D.C., set list:

Main set: This Year’s Girl / Honey, Are You Straight or Are You Blind? / Clubland / Don’t Look Now / Burnt Sugar Is So Bitter / Green Shirt / Photographs Can Lie / Temptation / Brilliant Mistake / Why Won’t Heaven Help Me? / Under Lime / Watching the Dectectives / Deep Dark Truthful Mirror / He’s Given Me Things / Unwanted Number / High Fidelity / Alison / Everyday I Write the Book.

First encore: Stripping Paper / Suspect My Tears / (I Don’t Want to Go to) Chelsea / Mr. and Mrs. Hush / Pump It Up.

Second encore: A Face in the Crowd / Blood & Hot Sauce / American Gangster Time / (What’s So Funny ‘Bout) Peace, Love and Understanding.

All photos: © Michael Dickens, 2018.

Ambition with talent: Costello is back with “Look Now”

In a recent Q & A with the London-based Financial Times, Elvis Costello was asked: Which matters more to success, ambition or talent? The 64-year-old English troubadour answered matter-of-factly, “Once upon a time, I would have said ambition without talent was worthless. Now I’m not so sure.”

Earlier this month, the ambitious – and extraordinarily talented – Costello released his first new album with his band The Imposters in 10 years, the cohesive Look Now, on Concord Records. One critic mused that “it’s not just craft but touch, not just energy but sensitivity. On Look Now, Costello and The Imposters have both.”

After Costello revealed earlier this year he had survived a bout with a “small but very aggressive” cancer, word of a new album was very welcome news. Produced by Costello and Sebastian Krys, the songs comprising Look Now represent some of Costello’s best career work. His sophisticated and transforming songbook runneth over with simplicity and immediacy. 

Elvis Costello

Whether immersing himself in pop, rock and roll, country, Americana, soul or jazz, among the many genres that he’s mastered over many years, Costello shares many lessons learned and we’re rewarded with songs that are as literate as they are artful. The gifted storyteller has returned in fine form.

Costello, who paired with Burt Bacharach on 1998’s Painted From Memory, has reunited with the master songwriter on three impressionistic tunes, “Don’t Look Now,” “Photographs Can Lie,” and “He’s Given Me Things.” Bacharach’s piano lines are both poignant and beautiful – and reminded me of some of his brilliant late ‘60s pop collaborations with lyricist Hal David. Costello also penned “Burnt Sugar Is So Bitter” with another songwriting giant, Carole King, that is soulful with its female choir. Throughout the album, Costello can still be acerbic and witty, lamenting and sad in his lyrics. There's a fine balance between rock and balladry in Look Now.

As one critic noted, "Look Now is much more than an exercise in nostalgia and pastiche. As the title implies, it’s very much of the present, and the work of a master storyteller who’s learned more than a few things from the past.”

In a recent Pitchfork review, its critic concluded, “As a collection of tunes, Look Now is a triumph for Costello, a showcase for how he can enliven a mastery of form with a dramatist’s eye. But as an album, Look Now is a success because of the Imposters. ... They are a sharp, supple outfit that can swing and sigh, sometimes within the same number, as when they effortlessly pivot between boss’s nova verses and a radiant chorus during 'Why Won’t Heaven Help Me?' This subtle sophistication and palpable flair make Look Now more than a mere set of songs – it’s a record worth getting lost within.”

Hearing "I'll Still Love You" sung in a very unusual way

Elvis Costello wrote "I'll Still Love You" in 10 minutes.

Johnny Cash: Forever Words, an upcoming compilation of various all-star artists performing songs based upon the unrecorded poetry, lyrics and letters of the late Johnny Cash that's due out April 6, includes a lovely and elaborately orchestrated piano ballad featuring Cash's poem, "I'll Still Love You," performed by Elvis Costello. 

More than a dozen different country, blues, gospel, rock and R&B artists, including Willie Nelson, Roseanne Cash, Kris Kristofferson, Alison Krauss, T Bone Burnett, and the late Chris Cornell from Soundgarden, contributed to Johnny Cash: Forever Words, which was produced by Cash's son, John Carter Cash. Thanks to its recent sneak preview, Costello's composition is already drawing lots of praise from music critics for its non-Johnny Cash-like approach.

Although Cash (who died in 2003) was known throughout much of his legendary career as a country artist, Costello's composition for Johnny Cash: Forever Words shouldn't necessarily be labeled a country song despite the songsmith's appreciation toward country music. Rather, think of it as a mature pop tune about extending love into the afterlife which "brings to mind the likes of Harry Nilsson and Paul McCartney with, thanks to its jazz chording and crooner inflections, a touch of Frank Sinatra," writes Spin music critic Winston Cook-Wilson. 

Another critic suggests that Costello's contribution is "a breathtaking ballad with dramatic strings and a gorgeous sense of melody, sung with a vulnerability that suits the lyrics as Cash poetically reflects on mortality."

"I'll Still Love You" reminds me very much of Costello's original song "You Shouldn't Look At Me This Way" from last year, which he penned for the motion picture Film Stars Don't Die in Liverpool.

In a video interview that accompanied the release of "I'll Still Love You," Costello muses about how everything fell into place. "The folio of lyrics was before me on the kitchen table, and there was one lyric that was thought to be one that might suit me," he recalls. "And then I was glancing through the folio and that particular lyric was on the page, and the next thing I could hear it in a very unusual way."

As Costello explains, he didn't hear Cash's musical sensibility in the poem. Instead, he says, "I knew right away it wasn't meant to be played. ... You could hear his musical voice on many of the lyrics on the page but not this one; not me anyway. I heard something completely different."

In this case, according to Costello, he went downstairs to his upright piano and "pretty much wrote what you hear in 10 minutes," in putting the Man in Black's poem to music.

One of these mornings

I'm going rise up flying

One of these mornings

I'll sail away

Beyond the blue

I've gotta promise

There's a world ahead

I want you to know that when I come

I'll still love you

I won't be a stranger

When I get to heaven

'Cause you gave me heaven

Right here on earth

If I get rewarded

With an ancient heart of gold

and for what it's worth

I'll still love you

One of these mornings

When my trouble's over

One of these mornings

When all my suffering is through

I'll go out singing

It'll be a day to sing about

And I'll guarantee for eternity

I'll still love you

I'll still love you

I'll still love you

I'll still love you.

Screenshot photograph of Elvis Costello and "I'll Still Love You" video courtesy of YouTube.com.

Resolved: It's time to READ more books

We're a week into March – spring is almost here – and although I didn't formally jot down any New Year's resolutions for 2017, if I had, one that would have been near the top of my list is my desire to read more. "So many books ... so little time," reads the slogan printed on one of my tattered, well-worn navy-colored t-shirts that I bought a few years ago at The Elliott Bay Book Company, situated in the Capitol Hill neighborhood of Seattle, Washington. It happens to be one of my favorite independent booksellers in the entire country – and it's always on my things to do list whenever I visit Seattle.

When I say to you that I want to "read more," by that I mean read more books. While I stay abreast of current events by reading The New York Times daily, both in print and online, and give a good read to periodicals like The New Yorker and Monocle, the London-based monthly that covers world affairs, culture, food and design, now, every day is like engaging in an American Civics class thanks to the narcissist behavior and dystopian actions of our current president. And, I should mention that perusing my Facebook news feed has become a necessity in order to stay current on what's trending with POTUS 45, too.

But, what about books, you ask? Yes, books, remember them? Books are the foundation behind what made Amazon.com one of the most successful online retailers. Before Twitter, before Facebook, before Netflix, before texting sapped all of our intellectual energy, there were books. I have several bookshelves at home that are lined with hundreds of titles that I've bought or received as gifts over the years. Let's see, I'm proud of my collection of books by The New Yorker writers Roger Angell and Calvin Trillin, among many, and I enjoy reading books about baseball, my favorite sport. However, a few years ago, in a space-saving and budget-cutting effort, I trimmed back on the number of new titles I bought and, instead, decided to start making better use of my local public library.

Looking back on 2016, I can say without boasting that I made good use of my Oakland Public Library card. I checked out about a book a month. One thing I've learned about libraries is this: If you're willing to wait for a popular best-seller or a new title to become available, checking out library books is a good way to save money (and, I might add, bookshelf space) while also showing support for our public libraries.

Both Comedy Central's The Daily Show and the New York Times Book Review are pretty good indicators for learning about good books to read. Before he left The Daily Show, former host Jon Stewart always brought out the best in authors. You could judge by his interest in a book if it was worth reading. New Daily Show host Trevor Noah is carrying on the tradition begun by Stewart.

Among the books which I read during 2016 were:

• Saving Capitalism: For the Many, Not the Few by Robert Reich.

• I'd Know That Voice Anywhere by Frank Deford.

• Jackson, 1964: And Other Dispatches from Fifty Years of Reporting on Race in America by Calvin Trillin.

• Goodbye: In Search of Gordon Jenkins and Shop Around: Growing Up with Motown in a Sinatra Household, both by Bruce Jenkins.

• Indentured: The Inside Story of Rebellion Against the NCAA by Joe Nocera.

• Federer and Me: A Story of Obsession by William Skidelsky.

Among the ties that bind these titles are my interest in non-fiction, memoirs, sports, and music. And, of course, good writing and good stories always garner my attention.

Looking ahead, I ask: Is it possible that I can increase my output this year so that I'm reading an average of a book a month? Let's see, I've already started Writings on the Wall: Searching For a New Equality Beyond Black and White by Kareem Abdul-Jabbar and I'm nearly finished with the current Michael Lewis book, The Undoing Project: A Friendship That Changed Our Minds. 

Also, I received Eat Drink Delta: A Hungry Traveler's Journey Through the Soul of the South by Susan Puckett as a Christmas gift from my brother, and I recently bought an autographed copy of Trevor Noah's Born A Crime: Stories From a South African Childhood. 

Finally, I've got Unfaithful Music & Disappearing Ink, the acclaimed 674-page memoir by Elvis Costello that spans his almost four-decade music career left over from last year's reading list that I would like to start this year.

There's plenty to look forward to reading while trying to forget everything that's going bad with our democracy, thanks to a certain POTUS. Now, if I can just remember to stop turning on the TV.

Photo: Stained glass sign at The Elliott Bay Book Company, Seattle, courtesy of Google Images.

It was a memorable night for a "detour" with Elvis Costello

Elvis Costello / Pumping it up after all these years.

Elvis Costello is an extraordinary songwriter and performer. He's worked diligently at his craft for the past 40 years to attain a special place in the music world, listening to songs from many years ago to the latest hits. He's stayed relevant. Now, in his latest adventure, aptly called "Detour," Costello takes his audience on a musical journey through his vast songbook that's not only intimate and entertaining, but also humbling and inspiring. 

Elvis Costello / Performing "Watching the Detectives."

On March 30, at the Nob Hill Masonic in San Francisco, in just the second night of his current solo "Detour" tour – and in what was my 11th Costello adventure – I saw a show like no other he's given, and I've seen Elvis perform with his various backing bands, including the Attractions, the Imposters, and the Sugarcanes; in a duet show with his longtime keyboardist Steve Nieve; accompanied by the extraordinary New Orleans pianist Allen Toussaint backed with a brass horn section – even dressed in black tuxedo performing with the San Francisco Symphony. 

Elvis Costello / Performing "Town Cryer."

Musically, throughout the two and a quarter-hour performance, which began in near darkness with "Complicated Shadows" and concluded with three encores – the first and third joined by twenty-something sisters Rebecca and Megan Lovell of the Georgia roots-rock duo Larkin Poe, whom added beautiful harmonies to classics such as "Blame It on Cain" – the 61-year-old, bespectacled Costello moved freely between a variety of acoustic and electric guitars lined up behind him and a baby grand piano off to the side, digging deep into his catalog to share his classics like "Accident Will Happen," "Watching the Detectives," "Alison," and "Pump It Up" as well as covers by Los Lobos ("A Matter of Time") and Bob Dylan ("Down on the Bottom"). There were also poignant renditions of some of my personal favorites, "Shipbuilding" and "Town Cryer," and his lovely rendition of "Ascension Day" was a fitting tribute to Toussaint, whom he collaborated with on the 2006 album The River in Reverse in New Orleans following Hurricane Katrina.

Elvis Costello / Joined by Larkin Poe during the first encore.

Conceptually, in "Detour," the rectangular stage was arranged to resemble a 1960s living room with its focal point being an oversized retro Lupe-O-Tone TV set that served as a delightful prop to show candid, never-before-seen black-and-white family photographs, portraits of personal heroes – including Toussaint and the Bay Area cowboy swing-bluesman Dan Hicks, both recently deceased – and a filmed performance of his father, the band leader Ross MacManus, enthusiastically singing the Pete Seeger-Lee Hays folk standard "If I Had a Hammer" with a Latin dance twist to it. Costello even climbed inside the TV set to perform "Alison" and "Pump It Up" during his second encore.

Elvis Costello / Sharing a conversation with his audience.

In between songs, Costello – ever the raconteur – showed why he's also a wonderful conversationalist and gifted storyteller, too. His acerbic banter and delightful repartee was evident as he shared with his audience many intimate stories and anecdotes about his music family – both his father and grandfather were professional musicians and inspired him – growing up in Liverpool at the same time that The Beatles were becoming international rock-and-roll superstars, the origins of his music, parenthood as a father to twin boys with his wife, jazz pianist Diana Krall, and life on the road, that were both revealing and humorous. There were funny reminisces about coming to play San Francisco for the first time in his early twenties back in the 1970s. Much of this was covered in detail in his recent 670-page memoir, Unfaithful Music & Disappearing Ink, which showed Costello to be an intelligent, thoughtful, witty and lyrical writer. 

In explaining the name he picked for his current group of shows, "Detour," Costello deadpanned, "Where I come from, when people would ask 'Where are you going?' the answer was always 'We're going on de tour.'" It drew nice laughter from the sold-out audience.

Elvis Costello / Performing "Shipbuilding."

With a career spanning four decades – and a few detours along the way – Costello has morphed from "a snotty, defiant New Wave hell-raiser into a distinguished gentleman," wrote the Huffington Post. Now, ever the progressive thinker, mover and shaker, Costello does as he pleases, and these days he's place an emphasis on performing rather than recording. This has given him a chance to gain a new perspective and musical point of view in his celebrated repertoire and to share a nightly, intimate conversation with his audience. Always an in-touch tunesmith, it's reflected in rearranged renditions of many of his old songs, such as "(The Angels Wanna Wear My) Red Shoes", "(What's So funny 'Bout) Peace, Love and Understanding," and the blistering guitar loop and distortion in "Watching the Detectives." Costello even found a place  – a detour – to cover a few Tin Pan Alley standards, such as the 1930's "Walking My Babe Back Home" (which he dedicated to Krall and his twin boys), his own introspective "Jimmie Standing in the Rain" (including a coda of "Brother, Can You Spare a Dime?", which he sang un-miked and a capella) and a downbeat version of the 1927 classic "Side by Side."

"Oh, we don't know what's coming tomorrow / Maybe it trouble and sorrow / but we'll travel the road sharing our load / Side by side."

One of the many highlights for this most Baby Boomer crowd included Costello singing "Everyday I Write the Book," which he nicely wrapped into a lovely cover of Nick Lowe's "When I Write the Book."

"Now I can remember like it was only yesterday / Love was young and foolish like a little child at play / But, oh how lovers change, I never dreamed how easily / 'Cause now I'm just a shadow of the boy I used to be."

Elvis Costello / Biding his San Francisco audience good night.

On this memorable night of musical expression in San Francisco, Costello was as spontaneous as he was entertaining – his set list changes from night to night – and on this night he slipped in the Grateful Dead's "It Must Have Been the Roses" joined by Larkin Poe during one of the encores. It's easy to see why Costello is such a music fan and champions the works of others.

Elvis Costello's Nob Hill Masonic, San Francisco, set list:

Main set (solo): Complicated Shadows / Red Shoes / Hope You're Happy Now / Accidents Will Happen / Ascension Day / Church Underground / Radio Soul / Motel Matches / Matter of Time / Shipbuilding /When I Write the Book – Everyday I Write the Book / Walking My Baby Back Home / Ghost Train /Town Cryer / Watching the Detectives / It's Not My Time to Go.

First encore (with Larkin Poe): Pads, Paws, and Claws / Love Field /Blame It on Cain / That's Not the Part of Him You're Leaving /Down on the Bottom.

Second encore (solo, performed inside TV set): Alison / Pump It Up.

Third encore (solo): Side By Side / Jimmie Standing in the Rain – Brother Can You Spare a Dime? / It Must Have Been the Roses (with Larkin Poe) / Peace, Love and Understanding (with Larkin Poe).

All photographs © Michael Dickens, 2016.

Remembering Allen Toussaint: A great and good man

Allen Toussaint / A great and good man.

Over the past week, I've been reading many of the wonderful tributes that have been shared about legendary New Orleans musician and producer Allen Toussant, 77, who passed away earlier this month following a concert he performed in Madrid, Spain. It's given me a chance to reflect upon his music legacy.

A native of New Orleans, Toussaint was known equally for his masterful work as a pianist, composer, arranger and producer. Throughout his storied career, he embodied the traditions of New Orleans R&B music and was one of his city's most prolific and influential songwriters and producers.

David Simon, who created the HBO series The Wire and Treme, called Toussaint a "gentle, giving soul and one of the finest composers who ever created American music."

Toussaint could both compose and arrange music, and his piano-playing style was both imaginative and distinctive. As it happened, many of Toussaint's songs became familiar through versions by other musicians, including: "Working in the Coal Mine", "Ride Your Pony", "Fortune Teller", "Play Something Sweet (Brickyard Blues)", "Southern Nights", "Everything I Do Gonna Be Funky", "I'll Take a Melody", "Get Out of My Life, Woman", and "Mother-in-Law".

As a producer, Toussaint's credits include Dr. John's hit "Right Place, Wrong Time" and Labelle's "Lady Marmalade." Additionally, Toussaint contributed horn arrangements for the rock group The Band's 1972 'Rock of Ages' concert album, which is where I remember hearing of Toussaint for the first time. I liked what I heard.

"The horn arrangements he wrote for The Band became a staple of our sound from the Academy of Music/Rock of Ages concerts to The Last Waltz,"said Robbie Robertson, guitarist for The Band, in remembering Toussaint last week on his Facebook page. "He was not only a brilliant songwriter, record producer, piano man, arranger and performer; he was also one of the finest gentlemen I have ever known. I had the honor of inducting Allen into the Rock and Roll Hall of Fame and I couldn't find enough kind words to express how strongly I felt about him and his music."

Personally, I had the joyful experience of seeing Toussaint perform in concert twice: first, at the Paramount Theatre in Oakland, California, on June 20, 2006, as part of a tour he did with Elvis Costello in support of an album they collaborated on following Hurricane Katrina called 'The River in Reverse'; second, in a solo show he gave on May 11, 2007, at the Herbst Theatre in San Francisco. Both were extremely joyful occasions, and I'm grateful for having had the chance to see Toussaint perform live.

On his Facebook page, Costello spoke eloquently of Toussaint: "I have been so lucky to spend even this little time with Allen Toussaint. Allen was unfailingly gracious, elegant and musically curious.

"We last shared the stage at the Civic Center in New Orleans in February of this year. As always, he was thoughtful, bringing a late Mardi Gras gift for my wife (the jazz musician Diana Krall) and asking after the well-being of my sons and my mother, who he had once visited on a trip around Merseyside.

"He signed off every note and phone call the same way; 'Looking Forward'.

"I will miss him very much."

In his recently-published memoir, Unfaithful Music & Disappearing Ink, Costello devoted an entire chapter to his friendship with Toussaint and the recording of 'The River in Reverse' album. It is defintely worth a few minutes of your time to read:

http://www.elviscostello.com/news/the-river-in-reverse/775

A day after learning of Toussaint's death, I listened to 'The River in Reverse', an album which came about following the devastation of New Orleans by Hurricane Katrina in 2005. One of my favorite songs from this album is "Ascension Day." I came across a lovely video for "Ascension Day," which features inspired vocals by Costello and the soulful -- and at times rollicking -- but always harmonic playing by Toussaint on piano.

Allen Toussaint was a great and good man, who left this world much too soon. The world has lost a musical treasure that can never be replaced. Fortunately, his music and recordings live on. Like Elvis Costello and many others, I will miss him very dearly.

God rest your soul, Allen.

Learn more about Allen Toussaint:

https://en.wikipedia.org/wiki/Allen_Toussaint

Photo: Courtesy of WWNO/Google images. 

Video: Courtesy of YouTube.

Elvis Costello: A master of high fidelity and storytelling, too

Elvis Costello / Charming crowds with his music and storytelling.

Elvis Costello knows how to charm the pants off an audience. He's done it successfully for the past 40 years as one of his generation's greatest songwriters. Now, with a simple wink, a friendly smile, or just the right choice of words and upbeat tone of voice, the bespectacled and iconic English musician who was once described by a critic as a "pop encyclopedia," is delighting crowds with his good-natured manner and geniality of conversation. He's become a master of the craft of storytelling.

Last Thursday evening's City Arts & Lectures event at the Nourse in San Francisco provided Costello with a forum for talking at length about his new memoir -- 'Unfaithful Music & Disappearing Ink' -- that (at a hefty but very readable 670 pages) shows Costello to be an intelligent, thoughtful, witty and lyrical writer.

In conversation with Dan Stone, editor-in-chief of Radio Silence, Costello showed why he's a wonderful conversationalist and gifted storyteller. Costello stood and read several passages from his memoir that recalled a mostly happy childhood growing up in a musical family in Liverpool, England, and the special relationship he shared with his father, Ross MacManus, who was a professional singer in a popular dance band. The younger MacManus recalled with clarity watching his father play afternoon dance gigs at the Hammersmith Palais in the 1961. By the end of the decade, Costello had gone into the family business, following in both his father's and grandfather's footsteps, and he took the popular music world by storm by the age of 24, replete with his black-framed Buddy Holly glasses.

Over the course of about 80 minutes, there were many funny and good-natured reminisces about Costello's coming of age, including: one of his first jobs as a data-entry clerk for cosmetics giant Elizabeth Arden; the influence of the Beatles on both his and his father's musical careers; coming to play San Francisco for the first time in his early twenties back in the 1970s; and his infamous TV appearance on Saturday Night Live. Costello punctuated his fluid storytelling by sharing many candid family photos that were projected overhead on a giant movie screen for the audience to delight in.

While 'Unfaithful Music & Disappearing Ink' doesn't adhere to a linear chronology, what I have read thus far has been a fun and enjoyable read, and each chapter presents colorful highlights in Costello's remarkable life. The New York Times called 'Unfaithful Music & Disappearing Ink' "some of the best writing -- funny, strange, spiteful, anguished -- we've ever had from an important musician."

Throughout last Thursday's conversation and later, during a Question and Answer period with the house lights turned up, we learned why Costello, 61, is truly a music fan and delights in championing the works of other musicians such as country star George Jones, jazz pianist Allen Toussaint, pop composer Burt Bacharach, rock guitarist and producer T Bone Burnett, English singer/songwriter Nick Lowe, former Beatles icon Paul McCartney, and hip hop/neo soul band The Roots, to name just a few whom Costello has collaborated with over the years.

But wait, the best part of the night was yet to come. Without any prompting, Costello asked the audience: "Hey, you wanna hear a song?" The sold-out audience at the Nourse responded by amping up their already enthusiastic applause. Before the cheering could fade, an acoustic Gibson guitar was brought out and handed to Costello to play and, quickly, a stool, microphone and music stand were in place for "the show" to go on.

Thus, Elvis began an impromptu "mini concert" by performing a very meaningful and moving -- and slowed-down -- version of "Every Day I Write the Book" from 1983's Punch the Clock, followed by "I Hear a Melody," originally recorded in 1977 for his debut album My Aim is True. Finally, a medley of "Radio Sweetheart/What Jackie Wilson Said," the former penned by Costello and the latter composed by Van Morrison, brought the crowd to its feet. The night was complete.

Photo images: Courtesy of 'Unfaithful Music & Disappearing Ink', 2015.

A remembrance: Jesse Winchester

Jesse Winchester / A songwriter with a sweet Southern heart.

Jesse Winchester was a songwriter with a sweet Southern heart. His songs were covered by an eclectic group of singers: Jimmy Buffett, Joan Baez, the Everly Brothers, Emmylou Harris and Elvis Costello, among many.

I was saddened by the news over the weekend that Winchester, Louisiana-born who was raised in northern Mississippi and the city of Memphis, Tenn., and established himself in Montréal after dodging the Vietnam War, had passed away at age 69. He died "peacefully" at his home in Charlottesville, Va. last Friday.

Word of Winchester's death spread prematurely on social media a week before he succumbed to cancer when singer Janis Ian posted this tribute on Facebook: "RIP Jesse Winchester. As underrated a singer as Chet Baker. As underrated a guitarist as Willie Nelson. A man who held the audience in the palm of his hand without moving an inch. One of the best songwriters on earth."

However, it was because of this that I reconnected with Winchester, whom I had the pleasure of seeing perform in a solo show in the early 1980s at the intimate, old Guthrie Theater in Minneapolis one winter's evening during my college youth. Through Facebook, I reminisced about the humility of Winchester and of his music, both on my page and through a college friend's page, too.

I read about Winchester's death in the New York Times while eating Saturday morning breakfast at home. Music critic Jon Pareles wrote a wonderful remembrance of Winchester, born James Ridout Winchester, which I encourage you to take the time to read.

Nothing But a Breeze 

Winchester's 1977 album Nothing But a Breeze remains a favorite of mine and just last week, I listened to it from beginning to end, delighting in the singer's bonhomie and the joy of his sweet honey voice. Some of his best-known songs were: "Mississippi You're On My Mind," "The Brand New Tennessee Waltz," "Biloxi," and "Say What." While Winchester's songs were rooted in country, soul and gospel, his poetic lyrics reminisced about the South of his long-ago youth.

Earlier this week, PopMatters music columnist Colin McGuire wrote in tribute of Winchester: "There was something that separated him from his contemporaries, an amount of levity, an amount of intellect that brought his tales of heartbreak, innocence, youth and romance to life."

Because Winchester couldn't tour in the U.S. for many years while living in exile in Canada, few Americans knew about him. Yet, Winchester honed his songwriting skills and was nurtured by The Band's Robbie Robertson. It was while in Montréal that he found his poetic, musical voice, too.

Winchester finally returned to the U.S. to live over a decade ago, long after during the presidency of Jimmy Carter that he and other draft dodgers of the Vietnam War era were given amnesty in 1977.

The last time I saw Winchester perform was in 2009 on Elvis Costello's "Spectacle" TV show that aired in the U.S. on the Sundance Channel. He shared a New York City stage one evening with Costello and fellow singer/songwriter guitarists Neko Case, Sheryl Crow and Ron Sexsmith. His poignant song "Sham-A-Ling-Dong-Ding" brought Case to tears and humbled Costello. At the song's conclusion, the misty-eyed host remarked: "That's it, Jesse. The show's over. You finished me off. It happened at rehearsals and it happened now."

The revered Winchester, pitch-perfect and always accompanied by a lightly-plucked acoustic guitar, was one of the best at his craft of songwriting. He was a songwriter's songwriter and he will be sorely missed.

Bless his loving heart.

Photos of Jesse Winchester courtesy of Google Images.
Video courtesy of YouTube.

No place better to be on a Sunday afternoon than at Hardly Strictly Bluegrass Festival

Glen Hansard performing on the Rooster Stage Sunday afternoon
at the 2012 Hardly Strictly Bluegrass Festival in
San Francisco's Golden Gate Park.

The Hardly Strictly Bluegrass Festival returned to San Francisco's Golden Gate Park last weekend with its usual stellar lineup of talent: Elvis Costello, Emmylou Harris, Ralph Stanley, Steve Earle, Patti Smith, Buddy Miller, the Civil Wars, Glen Hansard and the Del McCoury Band, to name just a few of the 88 acts who played over three days. Hardly Strictly Bluegrass has become one of the premier music festivals in the country.

There was no place in The City better to be on this beautiful, autumn Sunday afternoon.

This year's Hardly Strictly Bluegrass Festival held special meaning to the hundreds of thousands who attended the 12th annual free festival spread out over six different stages across the western half of Golden Gate Park. There was a little something for everyone to celebrate: bluegrass, country, rockabilly, blues, folk, pop, rock and jazz. As San Francisco Chronicle senior pop music critic Joel Selvin wrote, there was "a broad range of acts that somehow manage to coalesce into a music identity that is uniquely HSB."

Glen Hansard

It was the first festival since the passing of founder Warren Hellman, 77, the Bay Area billionaire investment banker and benefactor ~ himself a spirited amateur banjo player ~ who funded HSB as a gift to the city of San Francisco and left an endowment to ensure of its existence for many years to come. The Speedway Meadow, site of the Banjo Stage where Costello, Stanley and Harris played to tremendous crowds, was renamed Hellman Hollow to honor Hellman's memory.

On Saturday, there was a special tribute to the festival's "founding fathers" ~ Hellman, Earl Scruggs and Doc Watson ~ all passed away since last year's HSB. The Preservation Hall Jazz Band played a New Orleans funeral on the Banjo Stage to open the tribute. By late Sunday afternoon, Harris closed the festival as she has every year since its beginning in 2001.

I would have loved being at Hardly Strictly Bluegrass for all three days of this year's festival. However, prior commitments to see the University of California women's volleyball match in Berkeley on Friday and the San Francisco Giants NLDS playoff game against Cincinnati across town at AT&T Park on Saturday limited me to just attending Sunday afternoon.

Nick Lowe

Still, my afternoon at Hardly Strictly Bluegrass was worthwhile and the nice weather and setting provided the right ambiance to enjoy a picnic lunch with my wife. We enjoyed a few hours of great music on the grounds of the Rooster Stage in Marx Meadow with several thousand like-minded enthusiasts, who like us were sprawled out on the grassy meadow with their blankets and picnic baskets.

First, we saw the Irish singer/songwriter Glen Hansard perform several tunes from his 2012 album "Rhythm and Repose." Best known for his work with Swell Season and the Frames, Hansard's hour-long set included "Love Don't Leave Me Waiting" from "Rhythm and Repose" and he finished with an inspiring version of The Band's "Don't Do it" in tribute to the late Levon Helm, who was that group's inspirational leader.

Then, after a short recess, next up was the British singer/songwriter Nick Lowe, whose graceful and lyrical crooning style is steeped in classic American pop and blues. Once labeled "the Jesus of Cool" for his pioneering pub-rock style of the 1970s and '80s, today Lowe's style has been described as "boutique pop" with "far gentler textures." Lowe's solo set ~ just him and his acoustic guitar ~ included songs from his current album "The Old Magic" as well as many of his earlier hits, notably "Cruel to be Kind."

Close-knit circle and dapperly attired / The Del McCoury Band
performing late Sunday afternoon on the Star Stage
at the Hardly Strictly Bluegrass Festival.

Afterward, as we reached the Star Stage on our way towards the western edge to exit the festival grounds, we paused for a few minutes to listen to and appreciate the dapperly dressed Del McCoury Band as they performed traditional bluegrass music. On stage in close-knit semicircle, there were bluegrass fiddles, banjos, guitars and mandolins ~ and so much more. There were voices, too. It was sweet, heavenly music to our ears.

Indeed, we had come to the right place on this beautiful, autumn Sunday afternoon.

Photographs by Michael Dickens, copyright 2012. All rights reserved.

Elvis Costello: An appreciation

"Just play for the people who are listening."
~ Elvis Costello, as told to Nick Paumgarten
"Brilliant Mistakes: Elvis Costello's boundless career.
The New Yorker, Nov. 8, 2010 issue

I am an unabashed fan of Elvis Costello and have been for a very, very long time.

The first time I saw Costello perform live, he was still with his old band, The Attractions, and Jimmy Carter was in the waning days of his presidency.  The night was Jan. 16, 1981 and the Costello show was in the Northrop Auditorium on the University of Minnesota campus in Minneapolis.  Tickets cost less than $10, even then big money for a college sophomore attending nearby Macalester.  I was merely enjoying a nice, platonic evening out with a classmate.  Who knew that I would fall for Costello's music?  As it happened, Costello and his long-time keyboardist, Steve Nieve, began the evening playing "Just a Memory."  The 19-song set list included favorites like "Accidents Will Happen," "Radio Radio," and "Alison." The show's encore was "Pump It Up."

Since that snowy winter's evening 29 years ago, I have seen Costello perform live eight other times.  For the record, I've seen Elvis twice in Minneapolis, twice in Seattle, and five times in the Bay Area.  In Art Deco auditoriums (Oakland's Paramount Theatre), in outdoor stadiums (the old Parade Stadium in Minneapolis and at Seattle's Bumbershoot), in the Lindley Meadow of San Francisco's Golden Gate Park.  Solo, with The Attractions, with The Imposters, with The Sugarcubes, with Steve Nieve, with the San Francisco Symphony.  It's always a spectacle, always a great show.  Best of the best was probably the night I saw Costello perform during the "River in Reverse Tour" with Allen Toussaint, the Imposters and the Crescent City Horns on June 20, 2006 at the Paramount Theatre in Oakland, Calif.  The set list that night included two long encores and a grand total of 33 songs!

Some musical artists I never grow tired of seeing perform live or listening to their albums.  Elvis Costello is one such musical artist.

Thus, I'm very excited about National Ransom, the ambitious new release by the acclaimed singer/songwriter that Costello is, which hit both iTunes and Amazon.com ~ and let's not forget record stores, too ~ in the United States on Nov. 2. While the album's title isn't necessarily a reflection on last week's nationwide Election Day outcome, it can be said that these new tunes are songs for these bankrupt times.

Elvis Costello / National Ransom
Album illustration ~ Tony Millionaire

Last Tuesday, I was very pleasantly surprised to find National Ransom available for mp3 download on Amazon.com at the very affordable ~ and excellent ~ price of $3.99.  Desperate economic times or not, I wasted little time in purchasing the 16-song download of National Ransom, which also included a digital booklet, and by dinner time, I had listened to the entire album twice.  (Since then, I've listened to National Ransom in its entirety two more times.)  Now, Amazon.com is selling the download for $7.99.  Meanwhile, iTunes is offering National Ransom for $9.99 and has sweetened the deal by adding an additional track ("I Hope") that's not on the Amazon.com download.

On National Ransom, Costello continues his association with the bluegrass and American roots-influenced Sugarcanes, whom he worked with on his 2009 release, Secret, Profane and Sugarcane.  Costello and the Sugarcanes recorded National Ransom in only 11 days, shuttling between Los Angeles and Nashville, and the album crosses many music genres and borders, including:  rock ("National Ransom"), jazz (Jimmie Standing in the Rain"), country ("That's Not a Part of Him You're Leaving"), bluegrass ("I Lost You"), blues ("My Lovely Jezebel") and American roots ("Bullets for the New-Born King").  There's even room for a ballad ("You Hung the Moon"), too.  T Bone Burnett, who previously worked with Costello on his under-appreciated 1986 album, King of America, produced National Ransom, and guest artists pop up throughout the album, including:  country singer Vince Gill, legendary rock pianist Leon Russell and the esteemed session guitarist Buddy Miller.

Far and above, Costello remains a truly brilliant lyricist and arranger, and his liner notes on the digital booklet accompanying National Ransom detail the period and setting that bore influence on him in each of the album's tunes, such as: 1929 to the Present Day to describe the album's title cut, "National Ransom."  On another tune, "One Bell Ringing," it's The London Underground, 22nd of July 2005.

Costello gave up on the idea of playing arduous tours in big halls long ago in favor of smaller tours in more intimate surroundings.  It's given him the flexibility to perform with his rock-n-roll ensemble, The Imposters, one night; engage in country and bluegrass with the Sugarcubes the next night, even perform an occasional gig with a symphony orchestra.  At this stage of his career, the ability to reinvent and reinterpret his vast catalog of material is what has enabled Costello to remain fresh and vibrant.  One of my favorite Costello experiences was seeing him perform a very lively and brassy Henry Mancini-esque arrangement of "Watching the Detectives" with the San Francisco Symphony Orchestra in 2006.  It was hot and did it swing!

While devoting much of October to a musical residency in the Bay Area, Costello played the Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park ~ his set list included several tunes from National Ransom ~ as well as some San Francisco club benefits with his long-time friend Nick Lowe at the Great American Music Hall.  Then, he performed a few weeks later for Neil Young's annual Bridge School Benefit in Mountain View, Calif.

Last week, Costello shifted coasts and made the rounds of late-night, New York City talk shows, including: Late Show with David Letterman on CBS, The Colbert Report on Comedy Central, and Late Night with Jimmy Fallon on NBC.  Also, Costello and the Sugarcanes played a show at The Greene Space in New York City, sponsored by public radio station WNYC, and he guested last weekend on NPR's Wait Wait...Don't Tell Me in the "Not My Job" segment.  There, he correctly guessed two of three questions about another Elvis ~ no not that Elvis ~ the Canadian Olympic figure skater Elvis Stojko.  It's worth a listen because Costello came off as quite the witty conversationalist.

Finally, the always articulate and often outspoken Costello (he's also host of the Sundance Channel's Spectacle: Elvis Costello with ... ) was the subject of an extensive profile written by Nick Paumgarten in the Nov. 8 issue of The New Yorker, "Brilliant Mistakes: Elvis Costello's boundless career," that is as revealing an article about Costello that I've ever read.

So, in making the rounds of the media to promote National Ransom, Costello assumed the role that Joni Mitchell lyrically described in her 1973 song, "Free Man in Paris" as: "stoking the star maker machinery behind the popular song."  That's okay with me because it's always entertaining when Costello pops up all dapper and properly-attired on TV, whether performing solo or with the Sugarcubes, or even surprising us with a lovely duet of the Everly Brothers ballad, "All I Have to Do is Dream" with Stephen Colbert on The Colbert Report.

Elvis Costello just plays for the people who are listening.  I'm listening.

Old friends, new discoveries, sweet melodies

One of the pure pleasures of collecting and adding songs to my iPod is rediscovering the music of our past ~ and of my past ~ and realizing that a certain body of songs, some which were originally written and recorded as much as 50 years ago, not only maintain their relevance today, but also sound pretty good, too.

I like to call this "musical serendipity," the art of making fortunate discoveries by accident.  This applies to songs both in their original form as well as covers by other artists.

This month, musical serendipity found me on several occasions, including the discovery of some poetic chestnuts by Elvis Costello and Cowboy Junkies as well as a cover of one of my all-time favorite Simon and Garfunkel songs.  Plus, I "discovered" a beautiful duet sung by Robert Plant and Alison Krauss that was a cover of a song made popular by the Everly Brothers 50 years ago.  Finally, I made the self-discovery that Belle and Sebastian is my new favorite indie group.  Added up, it's made me thankful and my iPod richer for the experience.

Now to the backstory of my most recent musical serendipity:

Elvis Costello and the Sugarcubes
peforming at the 2010 Hardly Strictly Bluegrass Festival
in San Francisco's Golden Gate Park.
(Photo: Michael Dickens, 2010.)

* As a songwriter and performer, Elvis Costello is comfortable in every imaginable music genre, and his breadth and knowledge as a musicologist continually amazes me.  Earlier this month, I saw him headline the free, Hardly Strictly Bluegrass Festival at San Francisco's Golden Gate Park. Playing alongside with him were the Sugarcubes, a group of excellent country and bluegrass musicians, whom Costello surrounded himself with and recorded last year's Secret, Profane and Sugarcane album.

During Costello's 15-song, 65-minute set, which included several tunes from his upcoming release, National Ransom (due out Nov. 2), the set list included a lovely acoustic medley of "New Amsterdam," penned for the 1980 album Get Happy!!, which Costello nicely segued with the Beatles' "You've Got to Hide Your Love Away."  It's a medley that he has performed often, and on this afternoon, it was warmly received by the tens of thousands of festival goers crowding the Star Stage on the Lindley Meadow grounds.

While I'm familiar with the Beatles' version of "You've Got to Hide Your Love Away," a ballad originally sung by John Lennon, which was written for the movie Help!, and added Costello's cover version to my iPod over the summer, I must admit: The waltz-tempo of "New Amsterdam" was a fresh, new discovery for me, even though Costello wrote and recorded the song 30 years ago.  Simply put, "New Amsterdam" is two minutes of melodic brilliance and a welcome addition to my Morning Becomes Eclectic playlist.  As a postscript, I read that the ever-versatile Costello played all of the instruments during the studio recording of "New Amsterdam," which was the name given to the 17th-century Dutch colonial settlement that later became New York City.

* "Powderfinger," by the Canadian alt-country band Cowboy Junkies, is a beautiful 1990 cover of an anti-war song written by fellow Canadian Neil Young that is wonderfully interpreted and sung by lead vocalist Margo Timmins.  I'm a softy for mandolins and accordions, and this version, which appeared on the Cowboy Junkies' 1990 album The Caution Horses, nicely incorporates both with a touch of acoustic guitar.

* Robert Plant and Alison Krauss, he of mega Led Zeppelin fame and she of mega bluegrass fame, combined their amazing vocal and harmonizing talents in the 2007 Grammy Award-winning album Raising Sand.  Recently, I became acquainted with their interpretation of the Mel Tillis ballad "Stick With Me Baby" while listening to the "Morning Becomes Eclectic" music program via kcrw.com.  Originally recorded by the Everly Brothers in 1960, the updated version sung by Plant and Krauss is such a subtle-but-sweet melody, and it's very gratifying to listen to (again and again).

* "America," sweetly performed by Lucy Wainwright Roche, is a cover of the Paul Simon tune about the metaphorical journey of two companions who are in search of the true meaning of America that first appeared on Simon and Garfunkel's 1968 album Bookends.  Wainwright Roche, whose half-sibling is Rufus Wainwright, performs "America" with a gifted and refreshingly gorgeous voice.  Hear for yourself: http://coverlaydown.com/tunes/americ.mp3.

* Finally, the Scottish band Belle and Sebastian is enjoying a lot of great and deserved acclaim for its current album Write About Love, released earlier this month ~ and I've been listening often to many of the album's songs.  "Read the Blessed Pages" (which you can listen to at: http://ridethetempo.com/2010/09/24/playlist-fridays-autumn/) is poignantly sung by the group's lead singer and songwriter, Stuart Murdoch, and reflects his interest in faith:

Love is like a novel
Read the blessed pages
Did I do my best dear?
That is all you ask.


May you find your own musical serendipity.

Happy listening!