EC- Buenos Aires October 29th- setlist

Pretty self-explanatory
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girl out of time
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EC- Buenos Aires October 29th- setlist

Postby girl out of time » Mon Oct 31, 2005 12:20 am

Elvis Costello & The Imposters, Festival Bue Mix Edition, Club Ciudad de Buenos Aires

Setlist

-Uncomplicated
-Red Shoes
-Accidents will Happen
-Clown Strike
-Less than Zero
-Radio Radio
-Chelsea
-Clubland
-Shipbuilding
-Episode of Blonde
-Watching the Detectives
-Alison/Suspicious Minds
-Mistery dance
-Monkey to Man
-Bedlam
-Pump it up

Encore

-She
-Oliver´s Army
-Peace, Love & Understanding
-Can´t stand up for falling down
-High Fidelity
-You´ve really got a hold on me

Highlights: outstanding versions of Clubland; Episode of Blonde and You´ve really got a hold on me. He dedicated Shipbuilding "to both our countries" (that is England and Argentina). The whole Encore was awesome: after pretending to read the lyrics to She( my guess is he wanted people to know he didn´t wrote the song that made him so popular over here) he completely blew everybody´s minds by playing Oliver´s Army/Peace, love & understanding/Can´t stand up for falling down/High Fidelity and You´ve really got a hold of me. We all went crazy! People wanted him to go on but other musicians were set to play on the same stage so Elvis had to go. He certainly left us all wanting for more.
Elvis was in a really good me and pleasantly surprised by the audience response. His voice was as great as ever! It was a "greatest hits kinda show" yet it was a very uplifting one.
...the promise of indulgence in my confidential voice approached inmortal danger but you´ll never know how close....

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Postby johnfoyle » Mon Oct 31, 2005 10:11 am

http://www.clarin.com/diario/2005/10/31 ... -00401.htm


Image
VOLVER A LOS 25. EL SABADO, COSTELLO SE DESPACHO CON SUS VIEJOS TEMAS CLASICOS. (Foto: Diego Fernández Otero)

MUSICA: EL CIERRE DEL BUE, EN EL CLUB CIUDAD

Después del rock (inglés)


Dizee Rascal fue de lo mejor de una noche para 18 mil personas. Y Elvis Costello mostró una energía imparable.


--------------------------------------------------------------------------------
Diego Lerer.
dlerer@clarin.com


Llego a casa y me lo bajo", dice alguien a la salida del show de Dizzee Rascal, el mejor y más impactante del sábado en el Festival BUE. Más allá de la ilegalidad del asunto, es casi el mejor cumplido que un artista casi desconocido en la Argentina como lo es este MC inglés de sólo 20 años —considerado "el mejor rapero que Inglaterra ha producido"— puede recibir. Ese, y haber visto cómo su show, en una pequeña carpa, comenzó con menos de 50 personas y terminó con el lugar colmado de gente bailando, gritando y sacudiendo los brazos en el aire como si estuvieran familiarizados con los minimalistas beats, extrañas cadencias y raros sonidos urbanos del grime, la versión británica del hip-hop.

El potente show de Rascal, que incluyó a un DJ con un solo brazo que hacía scratching con los dientes (¡Atención, Susana Giménez!), fue, junto con el de M.I.A., lo más "nuevo-nuevo" que este evento presentó. El grime y sus variantes (los potentes bajos que duelen en el estómago, los muy pocos estribillos y el staccato sonoro y verbal persistente de Rascal, y la curiosa mezcla entre hip-hop y música de película de Bollywood de la artista de Sri Lanka radicada en Inglaterra) son, sin duda, la música urbana inglesa de más interesante presente y amplio futuro.

Dylan Mills (tal el nombre original de Dizzee) fue el postre que gozaron un porcentaje de las 18.000 personas que estuvieron en la segunda noche del BUE.

La mayoría se acercó al escenario principal a ver a otro artista conocido por su seudónimo, Elvis Costello, nacido como Declan MacManus. Pese a las importantes diferencias entre estos dos músicos ingleses (en términos de género, información musical y contexto social), existen muchísimas coincidencias entre ambos: además del "alias", Rascal y Costello proponen una versión británica, de letras irónicas e introspectivas, de ingeniosos juegos de palabras y de cadencias originales, de dos géneros norteamericanos como el hip-hop y el punk-rock.

Y si el grime es la versión inglesa del hip-hop, el proto new-wave de Costello fue parte de la evolución estrictamente british del punk de la tríada americana Stooges/New York Dolls/Ramones.

A los 51 años, Costello exhibió, junto a los Imposters (entre los que se cuenta su socio de siempre Steve Nieve), una energía imparable, enganchando tema tras tema sin descanso, y dejando de lado su costado crooner o sus aproximaciones al jazz para escoger canciones de sus primeros discos, en una época en el que los artistas ingleses de los 70 y 80 (Gang of Four, Wire, Depeche Mode, Echo & the Bunnymen, etc.) han salido a revalidar sus laureles, y su sonido original, ante tanto grupo nuevo que los "homenajea".

De gorro negro, anteojos oscuros, camisa rosa, corbata verde y saco negro, Costello se despachó con clásicos que compuso, en su mayoría, antes de cumplir los 25, y que no han perdido su frescura y originalidad, temas irrompibles como (Angels Gonna Wear My) Red Shoes, Accidents Will Happen, (I Don't Want to Go to) Chelsea o Watching the Detectives, junto a baladas como Alison o Shipbuilding (sobre la Guerra de Malvinas), capaces de causar escalofríos, aún ante un público que no estaba demasiado familiarizado con su discografía.

Costello habló solo una vez para presentar el tema de Malvinas, para luego seguir, raudo, con temas de su más reciente disco, The Delivery Man, y cerrar con el impecable combo I Can't Stand Up y High Fidelity. El show sólo detuvo por un segundo su energía al comienzo de los bises para hacer el solicitado She (el tema de Charles Aznavour de la película Notting Hill) para luego retomar con otro excelente himno antibélico como es Oliver' Army, y cerrar —con un larga y fiestera versión de un clásico de Smokey Robinson—un show que quedará para el recuerdo.

Menos de un mes atrás, Costello presentaba en Dinamarca su primera ópera, mientras compone temas de jazz para su mujer Diana Krall y apuesta al crooner sentimental en algunos de sus álbumes. Pero más allá de cómo cada fan se lleve con los "otros Costellos", este sábado el tipo sonó como si jamás hubiera abandonado su gusto por las canciones, la ironía y la actitud que lo hicieron famoso más de 25 años atrás.


Google trans

MUSICA: The CLOSING Of the BUE, IN the CLUB CITY

After the rock (English) Dizee Rascal was of the best thing of one night for 18 thousand people.
And Elvis Costello showed an unstoppable energy.
Diego Lerer. dlerer@clarin.com

Llego at house and the low thing ", when coming out says somebody to me of the show of Dizzee Rascal, the best one and more impressive of Saturday in Festival BUE. Beyond the illegality of the subject, the best one is almost fulfilled than an almost not known artist in Argentina like is it this MC English of only 20 years -- considered "the best rapero than England she has produced" - - she can receive.


That, and to have seen how its show, in a small carp, began less with than 50 people and finished with the place overwhelmed with people dancing, shouting and shaking the arms in the air as if they were familiarized with the minimalistas beats, strange cadences and rare urban sounds of grime, the British version of hip-hop.

The powerful show of Rascal, that included to a DJ with a single arm that did scratching with the teeth (Attention, Susana Giménez), it was, along with the one of M.I.A., more "new-new" than this event presented/displayed. Grime and their variants (powerful the low ones which they hurt in the stomach, the very few refrains and persistent the sonorous and verbal staccato of Rascal, and the peculiar mixture between hip-hop and music of film of Bollywood of the artist of Sri Lanka been in England) are, without a doubt, the English urban music of more interesting present and ample future. Dylan Mills (so the original name of Dizzee) was the dessert who enjoyed a percentage the 18,000 people who were in the second night of the BUE. The majority approached the main scene to see another artist known by its pseudonym, Elvis Costello, born like Declan MacManus.

In spite of the important differences between these two English musicians (in sort terms, musical information and social context), very many coincidences between both exist: in addition to the "alias", Rascal and Costello propose a British version, of ironic and introspectivas letters, ingenious games of words and original cadences, two North American sorts like hip-hop and the punk-rock. And if grime is the English version of hip-hop, proto new-wave of Costello was part of the evolution strictly british of the punk of tríada the American Stooges/New York Dolls/Ramones.

To the 51 years, Costello exhibited, next to the Imposters (between which Snow is always told its partner of Steve), an unstoppable energy, hooking subject after subject without rest, and letting of side its flank crooner or its approaches to the jazz to choose songs of his first discs, at a time in which the English artists of 70 and 80 (Gang of Four, Wire, Depeche Mode, I throw & the Bunnymen, etc.) they have left to revalidar its laurels, and their original sound, before as much new group that the "homenajea".

Of black cap, dark eyeglasses, pink shirt, green necktie and black coat, Costello dispatched with classic that composed, in their majority, before fulfilling the 25, and that is lost their freshness and no originality, unbreakable subjects like (Angels Gonna Wear My) Network Shoes, Accidents Will Happen, (I Don't Want to Go to) Chelsea or Watching the Detectives, next to ballads like Alison or Shipbuilding (on the War of the Falklands), able to cause chills, still before a public that too much was not familiarized with its discografía.

Costello spoke once single to present/display the subject of the Falklands, soon to follow, raudo, with subjects of his more recent disc, The Delivery Man, and to close with the impeccable stand for casks I Can't Stand Up and High Fidelity. The show only stopped by a second its energy in the beginning of you encore them to make the asked for She (the subject of Charles Aznavour of the film Notting Hill) soon to retake with another excellent antiwarlike hymn like is Oliver' Army, and to close -- with a long and fiestera version of classic of Smokey Robinson -- a show that will be for the memory.

Less of a month back, Costello presented/displayed in Denmark his first opera, while it composes subjects of jazz for his woman Krall Morning call and bets when sentimental crooner in some of his albums. But beyond how each fan takes with the "other Costellos", this Saturday the type sounded as if never it had left his taste by the songs, the irony and the attitude that made it famous more than 25 years back.

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Postby Extreme Honey » Mon Oct 31, 2005 1:08 pm

That must have been a good show.
Preacher was a talkin' there's a sermon he gave,
He said every man's conscience is vile and depraved,
You cannot depend on it to be your guide
When it's you who must keep it satisfied

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Postby johnfoyle » Mon Oct 31, 2005 3:12 pm

That hat...............

Image


.............is the same one Elvis wore when he signed stuff for me ( and my filthy ears!) after the Liverpool show in February!

Image

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Postby mood swung » Mon Oct 31, 2005 3:29 pm

also wearing it here, in nashville feb '04


Image

when you find a look that works, you stick with it. :lol:
Like me, the "g" is silent.

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Postby johnfoyle » Mon Oct 31, 2005 3:42 pm


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ec interview, buenos aires

Postby girl out of time » Mon Oct 31, 2005 3:44 pm

Interview with EC- La Naciòn

Lunes 31 de octubre de 2005
Noticias | Entretenimientos | Nota
Festival Bue: rock y algo más Costello, un hombre de todas partes
Entrevista con el músico inglés, de visita en el país


Sobre el final del impresionante show que Elvis Costello dio anteayer en el Festival Bue, cuando todo el público ya había quedado seducido por su intensidad y la variedad musical de la banda, el músico inglés debe haber sentido que, ahora sí, Buenos Aires se había convertido en un puerto al cual volver. Y frente a todos, prometió hacerlo.

Ya lo había dicho unas horas antes, en una entrevista para LA NACION, cuando comentó que aunque ya había visitado el país anteriormente, nunca había venido a presentar su obra ("no me habían invitado nunca", dirá por toda aclaración) y que el hecho de poder hacerlo y el buen recibimiento que había sentido, lo habían ligado irremediablemente a la ciudad.

Parte de ese recibimiento del que habla tuvo que ver con la "generosa invitación", según dijo, de Fito Páez. Invitación no a tocar, sino a comer, en la casa del rosarino, el viernes por la noche.

"Fue muy amable, porque es algo que se aprecia mucho estando de gira. Es que uno pasa mucho tiempo lejos de su hogar y que alguien te invite a su casa y puedas charlar con amigos resulta tanto mejor que ir a un restaurante, que fue muy generoso de su parte tenerlo en cuenta. Ya nos conocíamos, porque venimos tratando desde hace tiempo de hacer algo juntos; además Pete [Thomas, baterista de The Imposters] tocó en alguno de los discos de Fito. Ahora que nos hemos conocido mejor; estoy seguro de que haremos algo. No hablamos específicamente de ello, sólo de que sí debemos hacerlo, y nos dedicamos a disfrutar la noche, a escuchar música y a hablar".

Será quizás otra ocasión para que Costello muestre su capacidad de transformación, su curiosidad musical y su reticencia a ser encasillado en los corsés de las categorías musicales. Una actitud cambiante que llevó a este hombre que aprendió los nombres de los músicos de jazz casi antes de saber hablar (“la primera canción que recuerdo que me gustó fue «Under My Skin», confiesa este hombre ahora casado con la pianista y cantante de jazz Diana Krall) desde las canciones urgentes de sus primeros discos hasta trabajar con Bacharach o con la soprano Von Otter, y que habrá inquietado más de una vez a los directivos de los sellos que editan sus trabajos.

“Mi relación con el negocio musical siempre fue inusual, nunca hice lo que ellos esperaban de mí”, dice tajante. Tampoco acepta, ya se sabe, el rótulo de “inicio punk” que se le adjudicó cuando salió su primer disco, en 1977. “No tenía ni idea de la escena musical de entonces –aclara– porque vivía en los suburbios y trabajaba en una oficina. Escribía canciones y por casualidad llegué a una compañía discográfica que buscaba gente diferente. Así grabé mi primer disco.”

Tuvo suerte. No lo dice, pero lo insinúa cuando comenta que raramente descubre hoy cosas nuevas que le interesen (y que lo aparten, como dirá en otro momento, de escuchar viejo rock and roll, jazz o a Monteverdi). “El negocio de la música está muy controlado y eso condiciona la posibilidad de expresarse de los artistas; los atemorizan, les quitan la confianza para seguir su propio camino, les dicen que si no hacen cosas que agraden no tendrán trabajo.”

Tan amplio es el espectro de sus intereses que, casi en simultáneo con su último CD, “The Delivery Man”, salió también “Il Sogno”, con la música que escribió para ballet. Entre las canciones, y la música instrumental, Costello fue y vino. “Son maneras de trabajar distintas, porque en «Il Sogno» estás ayudando a realizar la visión del coreógrafo. Es una obra basada en Shakespeare, así que había dos autoridades delante de mi propio deseo. Lo disfruté mucho.”

Le señalamos que otro disco, “The Juliet Letters”, que grabó con el Brodsky Quartet, también tiene relación con Shakespeare. “Sí, pero en esta última es leve la conexión, porque no está basado en una obra, sino en la idea romántica de escribir cartas a Julieta, esa tradición de la gente de mandar cartas a Verona. Es coincidencia.”

Costello se queda pensando un segundo. Quizás en su propia palabra, “coincidencia”, repetida con acento interrogativo por esta cronista. “En realidad, hay un tercer proyecto relacionado con Shakespeare –dice, sonriendo, agudo–. John Harle, el saxofonista que tocó en «Il Sogno», hizo la música de «Noche de reyes» y yo canté allí, así que son tres Shakespeare en mi vida.”

Y no se agota allí su contacto con la literatura. Ahora, cuenta, está trabajando en una ópera sobre la vida de Hans Christian Andersen, el escritor danés de cuentos de hadas. “La historia es sobre Andersen, la soprano sueca Jenny Lind, que fue una de las cantantes más famosas de mediados del siglo XIX, y P. T. Barnum, famoso showman y empresario americano, el hombre que creó el entretenimiento moderno y que llevó a Lind a los Estados Unidos, en 1850, cuando ya era muy famosa. Anderson estaba enamorado de Jenny Lind, aunque nunca tuvo éxito. El veía en ella el ideal artístico y romántico, mientras que para Barnum representaba una manera de ganar más dinero –dice, y ríe, y muestra esa separación entre sus dientes delanteros que le dan a su manera de cantar algo tan peculiar –. Estará lista para marzo de 2007.”

Por Adriana Franco
De la Redacción de LA NACION



Link corto: http://www.lanacion.com.ar/752131
...the promise of indulgence in my confidential voice approached inmortal danger but you´ll never know how close....

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Postby johnfoyle » Mon Oct 31, 2005 4:23 pm

Google trans -

Bue Festival: rock and something more Costello, a man of all parts Interview with the English musician, of visit in the country

On the end of the impressive show that Elvis Costello gave the day before yesterday in the Bue Festival, when all the public already had been seduced by his intensity and the musical variety of the band, the English musician must have felt who, now yes, Buenos Aires had become a port to which to return. And as opposed to all, it promised to do it.


Or it had said hours to it before, in an interview for the NATION, when it commented that although or it had visited the country previously, had never come to present/display his work ("they had never invited me ", will say by all explanation) and that the fact of being able to make it and the good recibimiento that had felt, had bound it irremediably to the city. Part of that recibimiento of which it speaks had to do with the "generous invitation", according to said, of Fito Páez.

Invitation not to touch, but to eat, in the house of the rosarino, Friday at night. "He was very amiable, because he is something that is appraised much being of tour. It is that one spends long time far from its home and that somebody invites you to its house and you can chat with friends as much turns out better that to go to a restaurant, that was very generous of its part to have it in account. We already knew ourselves, because we have been coming treating for a long time to make something together; in addition Pete [ Thomas, drummer of The Imposters ] touched in some of discs of Fito. Now that we have known ourselves better; I am sure that we will do something. We did not speak specifically of it, only of which yes we must do it, and we dedicated ourselves to enjoy the night, to listen to music and to speak ".

It will be perhaps another occasion so that Costello shows its capacity of transformation, its musical curiosity and its reluctance to be classified in corsés of the musical categories. A changing attitude that took to this man who almost learned the names of the jazz musicians before knowing how to speak ("the first song that memory that I liked was "Under My Skin", he now confesses east man married to the pianista and singer of jazz Krall Morning call) from the urgent songs of his first discs to working with Bacharach or the soprano Von Otter, and that will have troubled more of once the directors of the seals that their works publish.

"My relation with the musical business always was unusual, never I did what they hoped of my '", says butcher. It does not accept either, already it is known, the label of "beginning punk" that adjudged itself to him when it left its first disc, in 1977. "it did not have nor idea of the musical scene of then - it clarifies because it lived in the suburbs and worked in an office. It wrote songs and by chance I arrived at a record company that different people looked for. Thus I recorded my first disc." It had luck. It does not say it, but it insinuates it when it comments that rarely it discovers new things today that they interest to him (and that they separate it, as will say at another moment, to listen to old rock and roll, jazz or to Monteverdi). "the business of music very is controlled and that conditions the possibility of expressing itself of the artists; they frighten them, clear the confidence to them to follow its own way, say to them that if does not make things that please they will not have work." So ample it is the phantom of its interests that, almost in simultaneous with its last CD, "The Delivery Man", also left "Il Sogno", with the music that wrote for ballet. Between the songs, and instrumental music, Costello was and came. "They are ways to work different, because in" Il Sogno "you are helping to make the vision of the coreógrafo. It is a work based on Shakespeare, so there were two authorities in front of my own desire. I enjoyed much."

We indicated to him that another disc, "The Juliet Letters", that recorded with the Brodsky Quartet, also has relation with Shakespeare. "Yes, but in this last one the connection, because it is not based on a work, but in the romantic idea is slight to write letters to Julieta, that tradition of people to send letters to Verona. It is coincidence." Costello remains thinking a second. Perhaps in its own word, "coincidence", repeated with interrogatory accent by this cronista. "In fact, there is a third project related to Shakespeare - he says, smiling, acute -. John Har to him, the saxofonista that touched in" Il Sogno ", it made music of "Night of kings" and I sang there, so they are three Shakespeare in my life." And its contact with Literature is not exhausted there.

Now, it counts, it is working in an opera on the life of Hans Christian Andersen, the Danish fairy tale writer. "history is on Andersen, the Swedish soprano Jenny Lind, who was one of the most famous singers of half-full of century XIX, and P. T. Barnum, famous they showman and American industralist, the man who created the modern entertainment and that took to Lind to the United States, in 1850, when she was already very famous. Anderson was enamored with Jenny Lind, although never it was successful. It saw in her the artistic and romantic ideal, whereas for Barnum represented a way to make more money - that separation between its front teeth says, and laughs, and shows that they give to his way to sing something so peculiar -. Will be ready for March of 2007."

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Postby johnfoyle » Mon Oct 31, 2005 4:55 pm

.........and , on the same night , Ms Krall had a very different gig-

http://www.dianakrallfans.com/phpBB2/vi ... =4351#4351


' ............today.. someone told me that Diana was coming to Vancouver to sing at a private function that Bill Clinton was to attend. Her husband is a doctor and apparently was contacted to be on standby, as are many apparently when a high level dignitary comes to town in case there is an emergency of some sort.. so, she promised me she would let me know when...
and there as I am watching the television it comes on the evening news.
The function was a 5000.00 per person dollar function, but was no mention what it was.
I think it was restricted to 20 people or so, and the cameraman got a shot of Diana from the back entering what was described as a waterfront West Vancouver mansion and attended by a number of financial experts and some former chair of Lions Gate Studios..

later this evening. 10 couples will have dinner with Clinton and it was for a donation of 100,000.00 per couple!!'
-------------------------------------------------------------------------------------

http://www.canada.com/vancouver/vancouv ... 251fbf7191

Guess who's coming to dinner

TOWN TALK I Former U.S. president Bill Clinton will reportedly be the guest at a $10,000-a-couple West Van event


Vancouver Sun


October 29, 2005


SCOTT ARMSTRONG, the interim West Vancouver police chief, should have Radcliffe Avenue buttoned up tight Sunday night. That's when former U.S. president Bill Clinton will reportedly dine at former stockbroker Frank Giustra and wife Allison's waterfront schloss.

The $10,000-a-couple tab shouldn't be a burden for guests like Terry Alexander. He's the stock promoter who was fined a slap-on-the-wrist $2,000 recently for breaching a B.C. Securities Commission order banning him from trading securities or acting as a director or officer of any issuer until 2019.

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Postby verbal gymnastics » Tue Nov 01, 2005 5:44 am

Image

Elvis could get a job as a Fat Reg impersonator!
It’s such a shame you had to break the heart you could have counted on

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Postby ReadyToHearTheWorst » Tue Nov 01, 2005 4:52 pm

A chum sent this posting from a Paul Weller forum:


I meet this afternoon, Elvis Costello at the hotel here in Buenos Aires. Went to get a couple of tickets for tonight show (and vip passes too!!) and saw him at the lobby. Very kind, he also chat a little with Letizia, my daugther.
He told me that because of the cold weather, he will play a very rock & roll set. Will tell you tomorrow how it was the show.

From a cold Buenos Aires... to the Little Splinters Mailing List
"I'm the Rock and Roll Scrabble champion"

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Postby miss buenos aires » Wed Nov 02, 2005 11:13 am

GOOT, did you know we're neighbors now?

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Postby girl out of time » Wed Nov 02, 2005 4:06 pm

no i didn´t! welcome to argentina then! i read on today´s La Nacion that Elvis visited the legendary tango café Tortoni to witness Maria Volonte s performance there. sorry i missed that one.....it could have been a great oportunity to meet him....next time....Anyways, Miss Buenos Aires i´ll be back to Bs.AS. the last days of November to catch the Pearl Jam shows in La Boca (next to San Telmo)...maybe we can meet....keep in touch!
...the promise of indulgence in my confidential voice approached inmortal danger but you´ll never know how close....

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Postby Extreme Honey » Thu Nov 03, 2005 1:03 am

and who would have thought there were so many argentines on an elvis costello chatboard?

My uncle had front row seat, according to him, Elvis played on and on and didn't pause to breathe (that sounds like good ol' Elvis to me). People really enjoyed it, maybe he'll come back one day.
Preacher was a talkin' there's a sermon he gave,

He said every man's conscience is vile and depraved,

You cannot depend on it to be your guide

When it's you who must keep it satisfied

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Postby bambooneedle » Thu Nov 03, 2005 1:19 am

I wonder if he wore that hat when he tried to smuggle US dollars into Russia that time...

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Postby johnfoyle » Thu Nov 03, 2005 2:14 am

http://www.elviscostello.info/setlists/051029.php


2005-10-29: Buenos Aires, Argentina, Bue Festival - with the Imposters
setlist, tracks 6 & 7 swapped & track 8 added - thanks to Pablo S. Alonso


2005-10-29: Buenos Aires, Argentina, Bue Festival
Elvis Costello with the Imposters
- girl out of time

Uncomplicated
(The Angels Wanna Wear My) Red Shoes
Accidents Will Happen
Clown Strike
Less Than Zero
(I Don't Want To Go To) Chelsea
Radio Radio
Clubland
Shipbuilding
Episode Of Blonde
Watching The Detectives
Alison/Suspicious Minds
Mystery Dance
Monkey To Man
Bedlam
Pump It Up
Encore 1
She
Oliver's Army
(What's So Funny 'Bout) Peace, Love And Understanding?
I Can't Stand Up For Falling Down
High Fidelity
You Really Got A Hold On Me

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Extreme Honey
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Location: toronto, canada

Postby Extreme Honey » Thu Nov 03, 2005 12:58 pm

Even in Buenos Aires elvis plays his usual really old and really modern material for some reason. I'd prefer he replace his first three albums with a lot more wiwc, pfm and by.
Preacher was a talkin' there's a sermon he gave,

He said every man's conscience is vile and depraved,

You cannot depend on it to be your guide

When it's you who must keep it satisfied

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Man out of Time
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Re: EC- Buenos Aires October 29th- setlist

Postby Man out of Time » Tue May 17, 2011 9:28 am

Since this thread was last added to, three related videos have been posted to YouTube.

http://www.youtube.com/watch?v=8HtHxQAn7xI Accidents will Happen, which looks like a primitive screen capture,

http://www.youtube.com/watch?v=2CU_cYdLu3g Alison/Suspicious Minds - similarly low-fi

and this, which oddly is the best quality, taken either by a giant, someone with a stepladder or their arm raised high above their head for some of the time:

http://www.youtube.com/watch?v=knWUuUwKcr0 - this is one of the few videos I have seen of the scene at the Stage Door after an Elvis gig. It looks much like those I have been party to - all very polite, with EC happy to pose for photographs. What I like best is the loud bloke with the Scouse accent at the end, talking about the World Cup (I think). Clearly you cannot escape your roots..

MOOT

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Top balcony
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Re: EC- Buenos Aires October 29th- setlist

Postby Top balcony » Tue May 17, 2011 12:12 pm

Man out of Time wrote: What I like best is the loud bloke with the Scouse accent at the end, talking about the World Cup (I think). Clearly you cannot escape your roots..


Sadly this wasn't me

although I can be seen earlier in the thread standing behind John Foyle's other ear...

Colin Top Balcony

sulky lad
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Re: EC- Buenos Aires October 29th- setlist

Postby sulky lad » Tue May 17, 2011 3:19 pm

Top Balcony said
although I can be seen earlier in the thread standing behind John Foyle's other ear...
, allegedly singing "one team in Liverpool...." :lol:

Ulster Boy
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Re: EC- Buenos Aires October 29th- setlist

Postby Ulster Boy » Thu Jul 25, 2013 7:34 am

69 minutes from this show here:

http://www.youtube.com/watch?v=7iX2JoCa8is


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