It was a very good show.
Voice was a little coarse in a few spots, but nothing detrimental to the overall good.
Don't have a strict setlist, as I usually do, but will go from memory -- obviously not entirely in order.
(I have edited out the setlist I posted, in deference to the now-posted list in actual order of performance. -- Let it go on record, however, that I accurately reported the entire setlist by memory...)
Now, again, that's just off of the top of my head -- I'm sure that I will be corrected soon.
Darkest Place was really lovely. It's nice to see this ensemble capable of doing the more delicate material justice.
The revamped WIWC is very cool -- alot of fun.
Scarlett Tide was fantastic -- I dare say that I very nearly wept, it was so pretty.
Crowd was largely respectful for quiet interludes throughtout show -- fairly remarkable given the generally raucous climate of the majority of the material.
All in all, very nice.
Best To All
May Peace Prevail
Oakland -- 22 March
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
Oakland -- 22 March
Last edited by Dr. Luther on Thu Mar 24, 2005 11:42 am, edited 6 times in total.
-
AlmostBlue
- Posts: 179
- Joined: Fri Feb 13, 2004 1:49 am
- Location: Berkeley, California
http://www.livedaily.com/news/7907.html?t=98
Concert Review: Elvis Costello in Oakland, CA
by Jim Harrington
liveDaily Contributor
March 23, 2005 12:48 PM - It's a good thing that Elvis Costello's fans don't ask as much from him as he demands of them.
Starting with 1981's "Almost Blue," the musical chameleon born Declan Patrick McManus has constantly challenged listeners by changing his colors at a pace that makes David Bowie and Madonna look like sticks in the mud. The fans have accepted everything, regardless of style or quality. That includes 1993's curious long-form collaboration with the Brodsky Quartet, "The Juliet Letters," and 1998's overrated collaboration with pop-icon Burt Bacharach, "Painted from Memory."
And that also has included some truly mediocre concert performances over the past 15 years. Unfortunately, his March 22 appearance at the ornate Paramount Theatre in Oakland definitely ranks among the more lackluster showings.
Costello's voice was strong and his guitar playing was solid. His backing band, The Imposters, did its job. But the pacing was slow and the song selection left much to be desired. The singer drew heavily from 2004's "The Delivery Man," his best album in many a moon, but the fashion in which he did completely sapped the material of the narrative thread that gives the song cycle its power on CD.
Dressed in a dark suit and a snazzy green tie, Costello stayed a ballpark away from the hits that have made him rich in favor of "Delivery Man" material and less-familiar older cuts like "Uncomplicated" during the first hour of the show. That's fine. Elvis is the man, so he can play whatever he wants. However, the initial batch of songs was almost completely devoid of the punchy choruses and big hooks that have fueled his best work, and the sleepy crowd reacted accordingly.
New tracks like "Needle Time" and "Country Darkness" barely registered with the audience, and by the time he finally hit "Watching the Detectives"--roughly 80 minutes into the show--it was basically too late to save the evening.
That's not to say that the wrap up wasn't enjoyable, driven by Steve Nieve's killer Jerry Lee Lewis-style piano runs through such favorites as "Mystery Dance," "Pump It Up" and, of course, "(What's So Funny 'Bout) Peace, Love and Understanding?'"
However, it was way too little, way too late. In all, it was an evening when "The Delivery Man" didn't deliver.
------------------------------------------------------------------------------------
John E. writes to listserv -
>
> From: uncleho13
> Date: 2005/03/24 Thu AM 04:09:46 GMT+12:00
> Subject: Paramount-Oakland-3/22/05 setlist
>
> Blue Chair
> Uncomplicated
> Clown Strike
> King Horse
> Country Darkness
> Bedlam
> Needle Time
> Blame It On Cain
> Either Side Of The Same Town
> (I Don't Want To Go To)Chelsea
> Clubland-"I Feel Pretty" tease during instrumental outro*
> Our Little Angel
> Suit Of Lights
> Kinder Murder
> In The Darkest Place
> When I Was Cruel No. 2
> Watching The Detectives
> The Delivery Man
> Monkey To Man
> Hidden Charms
> Mystery Dance
> Why Don't You Love Me(Like You Used To Do)
> There's A Story In Your Voice
> Pump It Up
> Hurry Down Doomsday
> (What's So Funny "Bout)Peace, Love& Understanding?
> The Scarlet Tide
>
> *-"I Feel Pretty" I think is the name of the song,it's the same song
used in the bottled water commerical, lyrics are:I feel pretty,Oh so
pretty,I feel pretty,& witty & .... etc.
>
Concert Review: Elvis Costello in Oakland, CA
by Jim Harrington
liveDaily Contributor
March 23, 2005 12:48 PM - It's a good thing that Elvis Costello's fans don't ask as much from him as he demands of them.
Starting with 1981's "Almost Blue," the musical chameleon born Declan Patrick McManus has constantly challenged listeners by changing his colors at a pace that makes David Bowie and Madonna look like sticks in the mud. The fans have accepted everything, regardless of style or quality. That includes 1993's curious long-form collaboration with the Brodsky Quartet, "The Juliet Letters," and 1998's overrated collaboration with pop-icon Burt Bacharach, "Painted from Memory."
And that also has included some truly mediocre concert performances over the past 15 years. Unfortunately, his March 22 appearance at the ornate Paramount Theatre in Oakland definitely ranks among the more lackluster showings.
Costello's voice was strong and his guitar playing was solid. His backing band, The Imposters, did its job. But the pacing was slow and the song selection left much to be desired. The singer drew heavily from 2004's "The Delivery Man," his best album in many a moon, but the fashion in which he did completely sapped the material of the narrative thread that gives the song cycle its power on CD.
Dressed in a dark suit and a snazzy green tie, Costello stayed a ballpark away from the hits that have made him rich in favor of "Delivery Man" material and less-familiar older cuts like "Uncomplicated" during the first hour of the show. That's fine. Elvis is the man, so he can play whatever he wants. However, the initial batch of songs was almost completely devoid of the punchy choruses and big hooks that have fueled his best work, and the sleepy crowd reacted accordingly.
New tracks like "Needle Time" and "Country Darkness" barely registered with the audience, and by the time he finally hit "Watching the Detectives"--roughly 80 minutes into the show--it was basically too late to save the evening.
That's not to say that the wrap up wasn't enjoyable, driven by Steve Nieve's killer Jerry Lee Lewis-style piano runs through such favorites as "Mystery Dance," "Pump It Up" and, of course, "(What's So Funny 'Bout) Peace, Love and Understanding?'"
However, it was way too little, way too late. In all, it was an evening when "The Delivery Man" didn't deliver.
------------------------------------------------------------------------------------
John E. writes to listserv -
>
> From: uncleho13
> Date: 2005/03/24 Thu AM 04:09:46 GMT+12:00
> Subject: Paramount-Oakland-3/22/05 setlist
>
> Blue Chair
> Uncomplicated
> Clown Strike
> King Horse
> Country Darkness
> Bedlam
> Needle Time
> Blame It On Cain
> Either Side Of The Same Town
> (I Don't Want To Go To)Chelsea
> Clubland-"I Feel Pretty" tease during instrumental outro*
> Our Little Angel
> Suit Of Lights
> Kinder Murder
> In The Darkest Place
> When I Was Cruel No. 2
> Watching The Detectives
> The Delivery Man
> Monkey To Man
> Hidden Charms
> Mystery Dance
> Why Don't You Love Me(Like You Used To Do)
> There's A Story In Your Voice
> Pump It Up
> Hurry Down Doomsday
> (What's So Funny "Bout)Peace, Love& Understanding?
> The Scarlet Tide
>
> *-"I Feel Pretty" I think is the name of the song,it's the same song
used in the bottled water commerical, lyrics are:I feel pretty,Oh so
pretty,I feel pretty,& witty & .... etc.
>
-
Dr. Luther
- Posts: 475
- Joined: Tue Dec 07, 2004 3:25 pm
- Location: SF
-
AlmostBlue
- Posts: 179
- Joined: Fri Feb 13, 2004 1:49 am
- Location: Berkeley, California
One could see with binoculars that the event staff was trying to get people up to the stage around 10PM. And then later you could see someone with a set list notepad getting sprayed (I noticed one microphone change.. I think the "Big Wheel" claimed it used to be two or three).
Elvis looked very very tired. But sweated bullets for two hours, appearing to be losign his breath between songs as he leaned over the microphone.
The reviewer may well be an idiot, but he is correct about the audience sleeping, and the loss of the Delivery Man story with the order (compare to the EC/SN tour). The audience responded well to suit of lights and one of the worst ballads (Darkest Hour from the collaboration with Burt Bacharach).
So they would have responsed to rocking horse road, my dark life, it's time, oliver's army, accidents, so like candy, etc.
A much more fair review comes from Salt Lake City. He is totally correct about the "inner guitar rod." That was a treat to watch.
Too bad the remote microphone for almost blue didn't make it out of the holder.
Elvis looked very very tired. But sweated bullets for two hours, appearing to be losign his breath between songs as he leaned over the microphone.
The reviewer may well be an idiot, but he is correct about the audience sleeping, and the loss of the Delivery Man story with the order (compare to the EC/SN tour). The audience responded well to suit of lights and one of the worst ballads (Darkest Hour from the collaboration with Burt Bacharach).
So they would have responsed to rocking horse road, my dark life, it's time, oliver's army, accidents, so like candy, etc.
A much more fair review comes from Salt Lake City. He is totally correct about the "inner guitar rod." That was a treat to watch.
Too bad the remote microphone for almost blue didn't make it out of the holder.
http://www.sfgate.com/cgi-bin/article.c ... ertainment
San Francisco Chronicle
Ballet aside, it comes down to rock for Costello
Joel Selvin, Chronicle Senior Pop Music Critic
Thursday, March 24, 2005
He just released his first ballet score and is currently writing an opera. But what Elvis Costello does best is play wicked, stripped-down rock with biting lyrics and whiplash tempos. It's just that he really has no more worlds to conquer as a rock musician.
With his three-piece band the Imposters, Costello put on a textbook demonstration of the art of the rock quartet before a capacity crowd Tuesday at Oakland's Paramount Theatre. With almost 30 years experience playing together, keyboardist Steve Nieve, drummer Pete Thomas and vocalist and guitarist Costello share an almost intuitive understanding of his music, and new bassist Danny Faragher, a veteran Los Angeles session player, locked everything down tight and added some attractive high vocal harmonies.
The band spent several weeks last year recording Costello's latest album, "The Delivery Man," one of his best in many years, in the heart of Mississippi and clearly soaked up some of the local color. Southern soul, Delta blues, cotton patch country and Memphis rock 'n' roll were at the heart of everything the band played.
The masterful Costello easily ranged from the arcane lyrical Appalachiana of "The Scarlet Tide," a song he wrote with T-Bone Burnett for the soundtrack to "Cold Mountain," to the ribald roadhouse Chicago blues of Willie Dixon's "Hidden Charms." While he leaned heavily on material from the new album, he delved into highpoints from his back catalog, twisting them into new and sometimes surprising shapes, like reimagining the surly "Mystery Dance" from his 1977 debut as a Jerry Lee Lewis-style rockabilly number.
The band souped up every song, adding provocative, bold instrumental passages that darted into intriguing corners. Nieve filled the sound underneath Costello's verbal bombast with swirling, enfolding clouds of keyboards, even adding eerie touches of theremin, a radio-controlled instrument best known from cheesy '50s horror movies and the Beach Boys' "Good Vibrations." Costello tied the band together with taut, swinging guitar, scrupulously adjusted for tone and volume. They played together like scientists.
But it was all setting the stage for Costello's passionate, expressive vocals. While he retains all the snarl and snap of the angry young man who made his memorable U.S. live debut at San Francisco's Old Waldorf in 1977, Costello has matured into an extraordinary soul balladeer. He wrenched the heartache out of "Either Side of the Same Town," the ballad from the new album he wrote with rhythm and blues pioneer Jerry Ragavoy. But he saved his most explosive pyrotechnics for "In the Darkest Place," the melodically rich, demanding and complex piece from his 1998 collaboration with composer Burt Bacharach, a tour de force vocal performance that defies arbitrary categories like rock, pop, jazz.
He looked remarkably like that young man from 28 years ago, still slightly ill at ease in a nondescript suit and tie, not quite as wiry and frantic, his hair thinner, his waist fuller. He has learned to focus that innate intensity over the years and when he applies it with his practiced surgical skill, he can be devastating.
All along, Costello has been willing to let his music speak for itself. He followed his own, crazy path through his career, clearly a gifted and serious musician with keen instincts and the ambition and drive to pursue many different visions. For all the experiments, tangents and digressions he has enjoyed, Costello keeps coming back to this simple, basic rock combo configuration that initially nurtured his talent.
Between the emotional sweep of the songs and the broad accomplishments of the group, stitching highly nuanced detail into the performance at every turn, Costello and his Imposters are playing rock music at the highest levels of the art form. It doesn't get any better than that.
San Francisco Chronicle
Ballet aside, it comes down to rock for Costello
Joel Selvin, Chronicle Senior Pop Music Critic
Thursday, March 24, 2005
He just released his first ballet score and is currently writing an opera. But what Elvis Costello does best is play wicked, stripped-down rock with biting lyrics and whiplash tempos. It's just that he really has no more worlds to conquer as a rock musician.
With his three-piece band the Imposters, Costello put on a textbook demonstration of the art of the rock quartet before a capacity crowd Tuesday at Oakland's Paramount Theatre. With almost 30 years experience playing together, keyboardist Steve Nieve, drummer Pete Thomas and vocalist and guitarist Costello share an almost intuitive understanding of his music, and new bassist Danny Faragher, a veteran Los Angeles session player, locked everything down tight and added some attractive high vocal harmonies.
The band spent several weeks last year recording Costello's latest album, "The Delivery Man," one of his best in many years, in the heart of Mississippi and clearly soaked up some of the local color. Southern soul, Delta blues, cotton patch country and Memphis rock 'n' roll were at the heart of everything the band played.
The masterful Costello easily ranged from the arcane lyrical Appalachiana of "The Scarlet Tide," a song he wrote with T-Bone Burnett for the soundtrack to "Cold Mountain," to the ribald roadhouse Chicago blues of Willie Dixon's "Hidden Charms." While he leaned heavily on material from the new album, he delved into highpoints from his back catalog, twisting them into new and sometimes surprising shapes, like reimagining the surly "Mystery Dance" from his 1977 debut as a Jerry Lee Lewis-style rockabilly number.
The band souped up every song, adding provocative, bold instrumental passages that darted into intriguing corners. Nieve filled the sound underneath Costello's verbal bombast with swirling, enfolding clouds of keyboards, even adding eerie touches of theremin, a radio-controlled instrument best known from cheesy '50s horror movies and the Beach Boys' "Good Vibrations." Costello tied the band together with taut, swinging guitar, scrupulously adjusted for tone and volume. They played together like scientists.
But it was all setting the stage for Costello's passionate, expressive vocals. While he retains all the snarl and snap of the angry young man who made his memorable U.S. live debut at San Francisco's Old Waldorf in 1977, Costello has matured into an extraordinary soul balladeer. He wrenched the heartache out of "Either Side of the Same Town," the ballad from the new album he wrote with rhythm and blues pioneer Jerry Ragavoy. But he saved his most explosive pyrotechnics for "In the Darkest Place," the melodically rich, demanding and complex piece from his 1998 collaboration with composer Burt Bacharach, a tour de force vocal performance that defies arbitrary categories like rock, pop, jazz.
He looked remarkably like that young man from 28 years ago, still slightly ill at ease in a nondescript suit and tie, not quite as wiry and frantic, his hair thinner, his waist fuller. He has learned to focus that innate intensity over the years and when he applies it with his practiced surgical skill, he can be devastating.
All along, Costello has been willing to let his music speak for itself. He followed his own, crazy path through his career, clearly a gifted and serious musician with keen instincts and the ambition and drive to pursue many different visions. For all the experiments, tangents and digressions he has enjoyed, Costello keeps coming back to this simple, basic rock combo configuration that initially nurtured his talent.
Between the emotional sweep of the songs and the broad accomplishments of the group, stitching highly nuanced detail into the performance at every turn, Costello and his Imposters are playing rock music at the highest levels of the art form. It doesn't get any better than that.
Although it looks like we were getting sprayed, I didn't feel one drop and I was right in front of him! That's only happened once to me 
It was fun up front, but the audience had to be fairly sedate in order not to upset the people behind them. It was great that we got the last part of the show standing! It was enjoyable because I was able to hear some songs I've never heard live before! King Horse, Our Little Angel, and a couple others sure were highlights
Jill
It was fun up front, but the audience had to be fairly sedate in order not to upset the people behind them. It was great that we got the last part of the show standing! It was enjoyable because I was able to hear some songs I've never heard live before! King Horse, Our Little Angel, and a couple others sure were highlights Jill
-
mimimartini
- Posts: 30
- Joined: Mon Mar 14, 2005 2:07 pm
- Location: Ktown
This earlier posted review now has these tasty photos with it.
http://www.sfgate.com/cgi-bin/article.c ... ertainment
Elvis Costello's not quite as wiry and frantic as when he burst onto the scene, but his music can speak for itself.
Elvis Costello has followed his muse down a wide variety of paths in his almost 30 years in the public eye.
http://www.sfgate.com/cgi-bin/article.c ... ertainment
Elvis Costello's not quite as wiry and frantic as when he burst onto the scene, but his music can speak for itself.
Elvis Costello has followed his muse down a wide variety of paths in his almost 30 years in the public eye.
http://www.theprospector.org/news/2005/ ... 1383.shtml
Prospector - News
Issue: 4/20/05
--------------------------------------------------------------------------------
An Elvis for Everyone
By Ron Cline
Elvis Costello has released a wide variety of music over the last 30 years, making song selection key in pleasing his fans during live performances.
Some fans longing to hear Costello perform the political punk of his earlier days such as "Oliver's Army" and "Peace, Love and Understanding,"others want to hear songs such as, "Toledo" and Scarlet Tide" which showcases a more subdued, complex Elvis of most recent years. And there are those that want to hear it all.
With over 200 songs in his repertoire, it's almost impossible to please everyone, but leave it up to Elvis to try and put a smile on the faces of all.
Costello has played with a few bands over the years such as the Attractions and the Rude 5 but his band of today is by far the best.
They are called the Imposters and consist of keyboardist Steve Nieve and drummer Pete Thomas from the Attractions along with newcomer, bassist Danny Faragher
At the Paramount Theatre in Oakland, on March 16, ( mistake - should be March 22 - J.F.) Elvis Costello and the Imposters energetically bounced to their positions on stage. With the capacity crowd of over three thousand going crazy, the band jumped right into "Blue Chair," a song from the mid 80s release tiled "Blood and Chocolate."
Without hesitation, they went into the song "Uncomplicated" from the same album. This is the first of many times that Pete Thomas showed the audience why he's one of the best drummers in rock and roll. The way he attacked the toms, created an abrasive rhythm felt in the chest.
Surrounded by keyboards and gadgets--like a theremin--keyboardist Steve Nieve resembled a wild man as he spun like a tornado from keyboard to organ to theremin. His playing added a bit of controlled chaos. Which fit perfectly with Costello's style of guitar playing.
Throughout the performance, Elvis manipulated the audience members as if they were marionettes. When he wanted them to clap, they clapped. When he wanted them quiet, the sold out crowed said not a word.
Elvis rewarded his admirers with muddy guitar solos and uncontrollable vocal shrieks. Moving from far left to far right, Elvis used every inch of the stage showing his is a master of entertainment.
He pounded on his guitar with the intensity of a jackhammer. He even screamed lyrics into the pick-ups of his six string, which was one of the greatest rock and roll performances of all time.
Elvis Costello and the Imposters performed 27 songs and played for a little over 2 hours.
Costello's song selection had them traveling down the road of what was and back up the freshly paved path of what is. Elvis showed off his skillfully powerful vocals on ballads like "Either Side of the Same Town" and "In the Darkest Place."
Costello displayed his storytelling with songs such as "The Delivery Man" and the ever so animated "When I Was Cruel, No.2"
The last song of the night was an emotional version of "The Scarlet Tide." During this number Elvis sang the entire third verse away from the microphone.
There was something so pure about hearing his voice without amplification. I left the theatre with memories I will never forget.
Costello has released two albums in the last year, a rock album titled, "The Delivery Man," and a classical album titled, " El Sogno."
Though he did not have the means--an orchestra--to play songs from "El Sogno," he did play seven songs from "The Delivery Man" showing the audience he could still produce fresh, emotional, and political rock at the age of 50.
Prospector - News
Issue: 4/20/05
--------------------------------------------------------------------------------
An Elvis for Everyone
By Ron Cline
Elvis Costello has released a wide variety of music over the last 30 years, making song selection key in pleasing his fans during live performances.
Some fans longing to hear Costello perform the political punk of his earlier days such as "Oliver's Army" and "Peace, Love and Understanding,"others want to hear songs such as, "Toledo" and Scarlet Tide" which showcases a more subdued, complex Elvis of most recent years. And there are those that want to hear it all.
With over 200 songs in his repertoire, it's almost impossible to please everyone, but leave it up to Elvis to try and put a smile on the faces of all.
Costello has played with a few bands over the years such as the Attractions and the Rude 5 but his band of today is by far the best.
They are called the Imposters and consist of keyboardist Steve Nieve and drummer Pete Thomas from the Attractions along with newcomer, bassist Danny Faragher
At the Paramount Theatre in Oakland, on March 16, ( mistake - should be March 22 - J.F.) Elvis Costello and the Imposters energetically bounced to their positions on stage. With the capacity crowd of over three thousand going crazy, the band jumped right into "Blue Chair," a song from the mid 80s release tiled "Blood and Chocolate."
Without hesitation, they went into the song "Uncomplicated" from the same album. This is the first of many times that Pete Thomas showed the audience why he's one of the best drummers in rock and roll. The way he attacked the toms, created an abrasive rhythm felt in the chest.
Surrounded by keyboards and gadgets--like a theremin--keyboardist Steve Nieve resembled a wild man as he spun like a tornado from keyboard to organ to theremin. His playing added a bit of controlled chaos. Which fit perfectly with Costello's style of guitar playing.
Throughout the performance, Elvis manipulated the audience members as if they were marionettes. When he wanted them to clap, they clapped. When he wanted them quiet, the sold out crowed said not a word.
Elvis rewarded his admirers with muddy guitar solos and uncontrollable vocal shrieks. Moving from far left to far right, Elvis used every inch of the stage showing his is a master of entertainment.
He pounded on his guitar with the intensity of a jackhammer. He even screamed lyrics into the pick-ups of his six string, which was one of the greatest rock and roll performances of all time.
Elvis Costello and the Imposters performed 27 songs and played for a little over 2 hours.
Costello's song selection had them traveling down the road of what was and back up the freshly paved path of what is. Elvis showed off his skillfully powerful vocals on ballads like "Either Side of the Same Town" and "In the Darkest Place."
Costello displayed his storytelling with songs such as "The Delivery Man" and the ever so animated "When I Was Cruel, No.2"
The last song of the night was an emotional version of "The Scarlet Tide." During this number Elvis sang the entire third verse away from the microphone.
There was something so pure about hearing his voice without amplification. I left the theatre with memories I will never forget.
Costello has released two albums in the last year, a rock album titled, "The Delivery Man," and a classical album titled, " El Sogno."
Though he did not have the means--an orchestra--to play songs from "El Sogno," he did play seven songs from "The Delivery Man" showing the audience he could still produce fresh, emotional, and political rock at the age of 50.