From listserv -
2 hours--couldn't top last night in Milwaukee--the voice needs a rest!!
Welcome to the Working Week
Uncomplicated
Clown Strike
Radio Radio
Country Darkness
Bedlam
Needle Time
Clowntime is Over (slow version)
Brilliant Mistake
Rocking Horse Road/?You've Been Cheating?
Chelsea
Clubland/I Feel Pretty instrumental
Our Little Angel
Tonight the Bottle Let Me Down
The Poisoned Rose !!
Kinder Murder
In the Darkest Place
WIWC
WTD
TDM
Monkey to Man
Mystery Dance
Why Don't You Love Me Like You Used to Do
Either Side of the Same Town
I Can't Stand Up (For Fallling Down)
High Fidelity
Pump it Up/snippet of something I didn't know--help me out here!
Alison/Suspicious Minds
PLU
Scarlet Tide
Rozy
Elvis/Imposters, Chicago April 17 2005
Elvis/Imposters, Chicago April 17 2005
Last edited by johnfoyle on Sat May 28, 2011 5:42 pm, edited 2 times in total.
http://metromix.chicagotribune.com/revi ... 5773.story
From the Chicago Tribune
Costello full of new-wave restlessness
By Greg Kot
Tribune music critic
April 18 2005, 1:30 AM CDT
Elvis Costello must've left the taxi meter ticking Sunday outside the Auditorium Theatre. He barely paused to catch a breath as he strung nearly three dozen songs together and left without an encore.
That said, this two-hour-plus ride on the Costello roller coaster was a more than generous performance. With his excellent band, the Imposters, Costello was in amphetamine power-pop mode, playing even a honky-tonk weeper like Merle Haggard's "The Bottle Let Me Down" at triple speed. It was a throwback to the British singer's new-wave era, when words somersaulted across dense, speedy arrangements that conveyed the restlessness and anxiety of younger men deprived of sex, sympathy and cash.
No longer playing the angry-young-man role the media once cast him for, Costello now traffics in craftsmanship, a brilliant and highly self-aware dilettante who has dabbled in writing for a string quartet, an opera singer, a jazz chanteuse and Burt Bacharach, among others. But his excesses have found a comfortable home with the Imposters, a deft pop combo that knows how to decorate a song without smothering it.
Costello's every vocal line was answered by a lick and a tickle from Steve Nieve's keyboards. It was like watching two hustlers striving to impress the same girl, their complementary lines at times spilling over into playful games of one-upmanship.
The singer couldn't resist arching an eyebrow as he turned a clever couplet or dropped a hip musical allusion. He knows his musical history and he wants the audience to know it too, as he inserted a guitar lick from "West Side Story" into the middle of "Clubland," transformed a Smokey Robinson chord progression into the soul ballad "Rocking Horse Road" and morphed his "Alison" into a hit by another Elvis, "Suspicious Minds."
Nieve had an answer for everything, and more. "Needle Time" might've been a fairly conventional blues lament, but the keyboardist's orchestrations turned it into something surreal. He got to indulge his inner Bacharach with the florid piano balladry of "In the Darkest Place" and "Poisoned Rose," and channeled Jerry Lee Lewis' double-fisted attack on "Mystery Dance." When his armada of keyboards wasn't enough, he turned to a theremin to bring the sci-fi weirdness to "Bedlam," and melodica to conjure a country feel on "Our Little Angel."
Drummer Pete Thomas and bassist Davey Faragher kept the busy duo from losing momentum. They found a fifth gear as the show came to a close, including thrilling takes on "Get Happy!" gems "I Can't Stand Up for Falling Down" and "High Fidelity." Costello wound things down with a rustic ballad, "Scarlet Tide," doing a Tony Bennett impression as he sang a verse without the aid of a microphone.
The crowd ate up this little piece of theater, and cheered for more. But by then, Elvis had left the building.
Copyright © 2005, The Chicago Tribune
From the Chicago Tribune
Costello full of new-wave restlessness
By Greg Kot
Tribune music critic
April 18 2005, 1:30 AM CDT
Elvis Costello must've left the taxi meter ticking Sunday outside the Auditorium Theatre. He barely paused to catch a breath as he strung nearly three dozen songs together and left without an encore.
That said, this two-hour-plus ride on the Costello roller coaster was a more than generous performance. With his excellent band, the Imposters, Costello was in amphetamine power-pop mode, playing even a honky-tonk weeper like Merle Haggard's "The Bottle Let Me Down" at triple speed. It was a throwback to the British singer's new-wave era, when words somersaulted across dense, speedy arrangements that conveyed the restlessness and anxiety of younger men deprived of sex, sympathy and cash.
No longer playing the angry-young-man role the media once cast him for, Costello now traffics in craftsmanship, a brilliant and highly self-aware dilettante who has dabbled in writing for a string quartet, an opera singer, a jazz chanteuse and Burt Bacharach, among others. But his excesses have found a comfortable home with the Imposters, a deft pop combo that knows how to decorate a song without smothering it.
Costello's every vocal line was answered by a lick and a tickle from Steve Nieve's keyboards. It was like watching two hustlers striving to impress the same girl, their complementary lines at times spilling over into playful games of one-upmanship.
The singer couldn't resist arching an eyebrow as he turned a clever couplet or dropped a hip musical allusion. He knows his musical history and he wants the audience to know it too, as he inserted a guitar lick from "West Side Story" into the middle of "Clubland," transformed a Smokey Robinson chord progression into the soul ballad "Rocking Horse Road" and morphed his "Alison" into a hit by another Elvis, "Suspicious Minds."
Nieve had an answer for everything, and more. "Needle Time" might've been a fairly conventional blues lament, but the keyboardist's orchestrations turned it into something surreal. He got to indulge his inner Bacharach with the florid piano balladry of "In the Darkest Place" and "Poisoned Rose," and channeled Jerry Lee Lewis' double-fisted attack on "Mystery Dance." When his armada of keyboards wasn't enough, he turned to a theremin to bring the sci-fi weirdness to "Bedlam," and melodica to conjure a country feel on "Our Little Angel."
Drummer Pete Thomas and bassist Davey Faragher kept the busy duo from losing momentum. They found a fifth gear as the show came to a close, including thrilling takes on "Get Happy!" gems "I Can't Stand Up for Falling Down" and "High Fidelity." Costello wound things down with a rustic ballad, "Scarlet Tide," doing a Tony Bennett impression as he sang a verse without the aid of a microphone.
The crowd ate up this little piece of theater, and cheered for more. But by then, Elvis had left the building.
Copyright © 2005, The Chicago Tribune
Going by the recording I've just heard of the March 15 Grand Prairie show I reckon the snippet is of 'Theme from a Summer Place'.Pump it Up/snippet of something I didn't know--help me out here!
http://www.songfacts.com/detail.lasso?id=3361
Theme From A Summer Place by Percy Faith
Album: A Summer Place Soundtrack
Date: 1959
U.S. Chart: 1
U.K. Chart: 2
' This was part of the score for the 1959 movie A Summer Place, which stared Troy Donahue and was set on an island in Maine.
This was written by Austrian film composer Max Steiner, who also wrote the score for Casablanca.
In the US, this was the top selling single of 1960. It won the 1960 Grammy for Record Of The Year.
Faith was a composer who arranged songs for a variety of artists, including Tony Bennett and Johnny Mathis. He recorded this with his orchestra.
Faith's version was not used in the movie. That version was performed by Hugo Winterbalter's orchestra. '
Movie details -
http://www.imdb.com/title/tt0053320/
Mmm, it featured the recently deceased Sandra Dee - is this maybe Steve's tribute to a childhood icon ?
http://www.amazon.com/exec/obidos/tg/de ... c&n=507846
Percy Faith's Greatest Hits
Audio CD (October 25, 1990)
Original Release Date: June 1960
Label: Sony
Catalog: #8637
ASIN: B0000024RH
http://www.suntimes.com/output/rock/cst ... vis19.html
Costello and the Imposters share a timeless style
April 19, 2005
BY DAVE HOEKSTRA Staff Reporter
In any other setting, Elvis Costello would have appeared outdated singing "Clubland," his cynical pop tune about a joint where you "shoot the pony" and "do the jerk." But on Sunday night, Costello, 50, stood on the Auditorium Theatre stage and shaped the song -- nearly a quarter of a century old -- into something current.
The singer was bathed in a golden light that made him look like an Oscar statue while his band, the Imposters, toiled in subdued purple shades. I wondered what Costello would be without this superb band, featuring longtime collaborator Steve Nieve on keyboards, drummer Pete Thomas and bassist Davey Faragher, formerly of Cracker. I fear he might be that fancy guy who sang "Let's Misbehave" in the Cole Porter movie "De-Lovely." (Find out for yourself when Costello and the Imposters return July 27 at the Ravinia Festival.)
But one thing is clear: The Imposters are a great rock 'n' roll band. I'd go see them play behind Michael Buble. They submit themselves to the song -- shaping, toning and flexing muscle while also finding room for improvisation. With his stringy black hair dangling across his eyes, Nieve often spun into his own world during Sunday's two-hour concert, punching out abbreviated post-punk notes on "Mystery Dance," yet playing the role of Hargus "Pig" Robbins on Costello's engaging pop-a-top cover of Merle Haggard's "Tonight the Bottle Let Me Down."
The relationship between Faragher and Thomas is equally fascinating. Faragher hands off bass lines to Thomas, who in no uncertain terms defines Costello's motif with the accent of a cymbal or the brush on a drum. Thomas subscribes to a big beat (I bet he listened to a lot of Dave Clark Five records), but he never overplays. This space enables Costello to wander around a vast musical landscape. One of Faragher and Thomas's deepest connections came during "Needle Time," in which their Muddy Waters "I'm a Man" backbeat roared through the hall where Waters himself once headlined.
Costello consistently and sometimes uncomfortably switched gears, connecting with the audience on a pub-rock version of Hank Williams' "(Why Don't You Love Me) Like You Used to Do", then calming everyone down with the ballad "Either Side of the Same Town" from his latest disc, "The Delivery Man." Next was "I Can't Stand Up (For Falling Down)," and of course everyone stood up again. There were so many polite audience ups and downs, I felt as if Costello was the judge and I was back on jury duty.
With Thomas laying down a soft jazz rhythm on brushes, Costello offered a bold reading of "The Poison Rose," although his phrasing was country-scratchy. At this juncture, Declan MacManus sounded like Delbert McClinton. Costello had performed a Sunday afternoon set for a radio promotion at Schubas, and he appeared with his band the previous night in Milwaukee. On Sunday night, he often sounded taxed.
Costello didn't roar to his typical outrageous finish (the best one being at Taste of Chicago in July 2003). Sunday's set (no encores) concluded with a powerful version of "Pump It Up," an audience sing-along on the timeless "Alison," which Costello then dovetailed into a similar downtempo version of the Elvis Presley hit "Suspicious Minds." Costello and the Imposters closed with the ballad "The Scarlet Tide," his Grammy-nominated song from the "Cold Mountain" soundtrack, during which he sang a verse a cappella that surely was lost in the upper reaches of the cavernous Auditorium. This was a dramatic yet needless exercise. It was Costello, lost without the Imposters.
Copyright © The Sun-Times Company
Costello and the Imposters share a timeless style
April 19, 2005
BY DAVE HOEKSTRA Staff Reporter
In any other setting, Elvis Costello would have appeared outdated singing "Clubland," his cynical pop tune about a joint where you "shoot the pony" and "do the jerk." But on Sunday night, Costello, 50, stood on the Auditorium Theatre stage and shaped the song -- nearly a quarter of a century old -- into something current.
The singer was bathed in a golden light that made him look like an Oscar statue while his band, the Imposters, toiled in subdued purple shades. I wondered what Costello would be without this superb band, featuring longtime collaborator Steve Nieve on keyboards, drummer Pete Thomas and bassist Davey Faragher, formerly of Cracker. I fear he might be that fancy guy who sang "Let's Misbehave" in the Cole Porter movie "De-Lovely." (Find out for yourself when Costello and the Imposters return July 27 at the Ravinia Festival.)
But one thing is clear: The Imposters are a great rock 'n' roll band. I'd go see them play behind Michael Buble. They submit themselves to the song -- shaping, toning and flexing muscle while also finding room for improvisation. With his stringy black hair dangling across his eyes, Nieve often spun into his own world during Sunday's two-hour concert, punching out abbreviated post-punk notes on "Mystery Dance," yet playing the role of Hargus "Pig" Robbins on Costello's engaging pop-a-top cover of Merle Haggard's "Tonight the Bottle Let Me Down."
The relationship between Faragher and Thomas is equally fascinating. Faragher hands off bass lines to Thomas, who in no uncertain terms defines Costello's motif with the accent of a cymbal or the brush on a drum. Thomas subscribes to a big beat (I bet he listened to a lot of Dave Clark Five records), but he never overplays. This space enables Costello to wander around a vast musical landscape. One of Faragher and Thomas's deepest connections came during "Needle Time," in which their Muddy Waters "I'm a Man" backbeat roared through the hall where Waters himself once headlined.
Costello consistently and sometimes uncomfortably switched gears, connecting with the audience on a pub-rock version of Hank Williams' "(Why Don't You Love Me) Like You Used to Do", then calming everyone down with the ballad "Either Side of the Same Town" from his latest disc, "The Delivery Man." Next was "I Can't Stand Up (For Falling Down)," and of course everyone stood up again. There were so many polite audience ups and downs, I felt as if Costello was the judge and I was back on jury duty.
With Thomas laying down a soft jazz rhythm on brushes, Costello offered a bold reading of "The Poison Rose," although his phrasing was country-scratchy. At this juncture, Declan MacManus sounded like Delbert McClinton. Costello had performed a Sunday afternoon set for a radio promotion at Schubas, and he appeared with his band the previous night in Milwaukee. On Sunday night, he often sounded taxed.
Costello didn't roar to his typical outrageous finish (the best one being at Taste of Chicago in July 2003). Sunday's set (no encores) concluded with a powerful version of "Pump It Up," an audience sing-along on the timeless "Alison," which Costello then dovetailed into a similar downtempo version of the Elvis Presley hit "Suspicious Minds." Costello and the Imposters closed with the ballad "The Scarlet Tide," his Grammy-nominated song from the "Cold Mountain" soundtrack, during which he sang a verse a cappella that surely was lost in the upper reaches of the cavernous Auditorium. This was a dramatic yet needless exercise. It was Costello, lost without the Imposters.
Copyright © The Sun-Times Company
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LessThanZero
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WRONG! I was in the very back of the balcony. It was CLEAR and STARK. As always.johnfoyle wrote:Costello and the Imposters closed with the ballad "The Scarlet Tide," his Grammy-nominated song from the "Cold Mountain" soundtrack, during which he sang a verse a cappella that surely was lost in the upper reaches of the cavernous Auditorium. This was a dramatic yet needless exercise. It was Costello, lost without the Imposters.
Loving this board since before When I Was Cruel.
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Monkey Girl
- Posts: 57
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- Location: North Carolina
LessThanZero wrote:WRONG! I was in the very back of the balcony. It was CLEAR and STARK. As always.johnfoyle wrote:Costello and the Imposters closed with the ballad "The Scarlet Tide," his Grammy-nominated song from the "Cold Mountain" soundtrack, during which he sang a verse a cappella that surely was lost in the upper reaches of the cavernous Auditorium. This was a dramatic yet needless exercise. It was Costello, lost without the Imposters.
I have no doubt it was, LT Zero!!!
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mood swung
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LessThanZero
- Posts: 1119
- Joined: Wed Jun 04, 2003 10:26 pm
- Location: Kalamazoo
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I live the life I love and I love the life I live.
Hello MS and SMM!
The Chicago concert was ok. Does this mean I've seen Elvis too many times? I think we were just too far away from the stage. I brought my wife and 2 friends, and I didn't think they enjoyed it too much. I don't think they could understand a word that was sung. It was just so loud and so fast! I knew every word of course, but I think they were almost lulled to sleep by the noise. If only it was closed captioned!
My favorite songs as performed were Scarlet Tide and Clowntime is Over. I still want to see Clowntime is Over performed live after I die.
Hello MS and SMM!
The Chicago concert was ok. Does this mean I've seen Elvis too many times? I think we were just too far away from the stage. I brought my wife and 2 friends, and I didn't think they enjoyed it too much. I don't think they could understand a word that was sung. It was just so loud and so fast! I knew every word of course, but I think they were almost lulled to sleep by the noise. If only it was closed captioned!
My favorite songs as performed were Scarlet Tide and Clowntime is Over. I still want to see Clowntime is Over performed live after I die.
Loving this board since before When I Was Cruel.
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That Clown
- Posts: 6
- Joined: Tue Apr 05, 2005 3:55 pm
Hey LessThanZero,
I had the same sense during the concert. My wife and I were in the eigth row of the first balcony, and I thought the sound was terrible. It was very muddy.
Just like you, I felt let down. I've probably seen Elvis in concert at least 20 times. Have I overdosed? We'll see, since I'm still planning to go to the Ravinia concert in the summer with Emilylou Harris. If that goes badly, I might have to swear off EC concerts for a while. I never thought I would ever say that. Some of my most vivid memories are from his concerts.
I agree with you that Clowntime Is Over was a highlight. I also loved Mystery Dance (which was about the only fast song that I thought broke through the sound mix).
Yours disappointedly,
That Clown.
I had the same sense during the concert. My wife and I were in the eigth row of the first balcony, and I thought the sound was terrible. It was very muddy.
Just like you, I felt let down. I've probably seen Elvis in concert at least 20 times. Have I overdosed? We'll see, since I'm still planning to go to the Ravinia concert in the summer with Emilylou Harris. If that goes badly, I might have to swear off EC concerts for a while. I never thought I would ever say that. Some of my most vivid memories are from his concerts.
I agree with you that Clowntime Is Over was a highlight. I also loved Mystery Dance (which was about the only fast song that I thought broke through the sound mix).
Yours disappointedly,
That Clown.
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LessThanZero
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Yeah. One of my friends was digging Clown Strike, even though the lyrics were not easily deciphered. Then Elvis launched into Radio, Radio, and everyone seemed to be enjoying themselves. But after that....
After being tsunamied with Elvis' wall of sound for an hour, it got even worse for my companions when Elvis performed In The Darkest Place.
I might have to take a break from Imposter concerts as well.
After being tsunamied with Elvis' wall of sound for an hour, it got even worse for my companions when Elvis performed In The Darkest Place.
I might have to take a break from Imposter concerts as well.
Loving this board since before When I Was Cruel.
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sweetest punch
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Re: Chicago setlist/ review
This show from 2005 is up on Dime:
http://www.dimeadozen.org/torrents-deta ... ?id=358802
http://www.dimeadozen.org/torrents-deta ... ?id=358802
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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SoulForHire
- Posts: 466
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Re: Chicago setlist/ review
Does anyone know anything about this recording? Audience or soundboard, etc?sweetest punch wrote:This show from 2005 is up on Dime:
http://www.dimeadozen.org/torrents-deta ... ?id=358802
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20PercentAmnesia
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- Location: Crest Hill, IL
Re: Chicago setlist/ review
The uploader must have gone MIA before anyone was able to download a complete copy. There's about 20 peers all stuck at 37-38%. If I happen to get the whole thing I'll give it a listen and post about the quality.
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20PercentAmnesia
- Posts: 20
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Re: Elvis/Imposters, Chicago April 17 2005
Got it. It's an audience recording. Typical audience recording; a little muddy.
Setlist:
Elvis Costello & the Imposters
Auditorium Theatre, Chicago, IL
April 17, 2005
Disc One (64:44)
01. intro
02. Welcome To the Working Week ->
03. Uncomplicated ->
04. Clown Strike
05. Radio, Radio
06. Country Darkness
07. Bedlam ->
08. Needle Time
09. Clowntime Is Over
10. Brilliant Mistake ->
11. Rocking Horse Road
12. (I Don't Want To Go To) Chelsea
13. Clubland
14. "...Berlioz, Chopin, Eminem, Curtis Mayfield..."
15. Our Little Angel*
16. Tonight the Bottle Let Me Down*
Disc Two (66:03)
01. Poisoned Rose*
02. Kinder Murder
03. In the Darkest Place
04. When I Was Cruel no. 2
05. Watching the Detectives
06. The Delivery Man
07. "...the voice of the monkey..."
08. Monkey To Man
09. Mystery Dance ->
Why Don't You Love Me (Like You Used To Do)? ->
10. Either Side of the Same Town ->
11. I Can't Stand Up For Falling Down ->
12. High Fidelity ->
13. Pump It Up ->
14. Alison*** ->
15. (What's So Funny 'Bout) Peace, Love and Understanding?
16. The Scarlet Tide**
* Elvis Costello on acoustic guitar
** includes a cappella segment
*** includes Suspicious Minds tease
Note: No encore!! The band f*!#in' played straight through!!
Why stop when the curfew is impending?
Setlist:
Elvis Costello & the Imposters
Auditorium Theatre, Chicago, IL
April 17, 2005
Disc One (64:44)
01. intro
02. Welcome To the Working Week ->
03. Uncomplicated ->
04. Clown Strike
05. Radio, Radio
06. Country Darkness
07. Bedlam ->
08. Needle Time
09. Clowntime Is Over
10. Brilliant Mistake ->
11. Rocking Horse Road
12. (I Don't Want To Go To) Chelsea
13. Clubland
14. "...Berlioz, Chopin, Eminem, Curtis Mayfield..."
15. Our Little Angel*
16. Tonight the Bottle Let Me Down*
Disc Two (66:03)
01. Poisoned Rose*
02. Kinder Murder
03. In the Darkest Place
04. When I Was Cruel no. 2
05. Watching the Detectives
06. The Delivery Man
07. "...the voice of the monkey..."
08. Monkey To Man
09. Mystery Dance ->
Why Don't You Love Me (Like You Used To Do)? ->
10. Either Side of the Same Town ->
11. I Can't Stand Up For Falling Down ->
12. High Fidelity ->
13. Pump It Up ->
14. Alison*** ->
15. (What's So Funny 'Bout) Peace, Love and Understanding?
16. The Scarlet Tide**
* Elvis Costello on acoustic guitar
** includes a cappella segment
*** includes Suspicious Minds tease
Note: No encore!! The band f*!#in' played straight through!!
Why stop when the curfew is impending?