Elvis Costello in Conversation with .....

"Spectacle: Elvis Costello with . . ." debuted last night on the Sundance Channel. His first guest was the shows producer, Elton John. Episode one was an informal conversation between two seasoned musicians who have seen their share of collaborations, toured extensively and have deep rooted fans. They explored Elton John's early career. I didn't know that he toured with Patti LaBelle before he became Elton John or that Laura Nyro was a huge influence (although it wasn't surprising). Elton still seems so excited about music, although he pointed out that the talent and singer songwriters that came out of hte 60's and 70's are sorely missing these days.

Both men also shared their reasons for not performing with their birth name. Elvis said that with a name like Declan McManus, he should be wearing a cable sweater singing Irish folk songs. It just didn't work with his music. Elton said he never wants to be call Reg again. Elton joked about a porn film composer named Costello Presley.

Elvis and Elton performed two covers: Working In Coal Mine along with Down River a song by David Ackles. Elton remembered David opening for him at the Troubadour in 1970 and couldn't believe he wasn't the headliner.

The editing of the show was a bit abrupt and it seemed clipped as it went to a commercial. This took me out of the in-your- living room pace and feel of the show. Beside the abrupt commercial breaks, the show was informative and gave us an insight into what made Reg Dwight, Elton John.

ANDY DAVIS

If Mitchell Froom endorses someone, I pay attention. This summer he played me Andy Davis, who he just finished producing. He said this guy has it all musicially and he's super organized. Not to generalized, but organized is not a term generally associated with musicians. On first hearing his music, early Todd Rundgren (We Gotta Get You A Woman-Something/Anything period) and Elton John came to mind. I think the piano had something to do with my immediate association, but he tells stories, much like both of the above mentioned. Listen to Let the Woman I Love.

Andy played the Living Room last Friday so I decided to head over there. It was just him, his guitar or piano. Now I can say I also endorse Andy Davis, not that he's running for anything. His show was about the music. His love for music emanates from him. Not taking himself too seriously, he used miscues to his advantage- a charming touch. He knows how to work an audience. His unassuming way of involving the crowd as an additional musician is such a simple but effective additive to the show. Whether clapping hands or signing along to Mariah Carey, the audience was part of this show.

Andy is a Baton Rogue native who now makes Nashville his home. Nashville could be where he developed his storytelling chops. He said when he was studying music he came across Irving Berlin who composed most of his music on the black keys of the piano, which inspired the song Black Keys. Note: In a 1962 interview, Berlin said, "The black keys are right there, under your fingers. The key of C is for people who study music." Irving couldn't read or write music, neither can John Hiatt and I'd be hard pressed to find better songwriters.
Brown Eyes closed his set. It's a perfect pop song. The stuff I love.
"She had brown eyes, I know she's about my height....
I don't even know her, but I know I have to see her again:"
How many people can relate to meeting someone, being smitten, this person leaves the bar, you may never see him/her again, but you're obsessed?

Believable Doubt began as a love song, but took a sinister turn. Andy's vocals suck you in and make you believe.

The album can only be purchased at Barnes & Noble now, but it's worth walking the 3 blocks in NYC to purchase (there is a Barnes & Noble within three blocks of everyone-I have 2 within 5 blocks of my home). It's impeccably produced by Mitchell Froom. Listen to songs from the album on Andy's website, other tracks can be heard at myspace. If he comes to your town, go see him and be entertained: think Elton John without the costumes. There wasn't enough ceiling clearance for him to jump on a piano, but in the back of my head there was always a thought that he could do it and get right back to serenading without missing a beat.