Elvis Costello and The Imposters play Melbourne, Jan 25 '13

[johnfoyle]

Who's going?

[Heats101]

The Wife and I are flying over from Adelaide to see this our first ever Spinning Songbook performance. The opportunity could not be missed. We have decent tickets (a few rows back in the Orchestra section of the stalls).Dont think we will be chosen to spin the wheel as I cant dance and my Mrs is not called Alison or Veronica !!( although that could possibly arranged for the night !!- the name bit only.

[johnfoyle]

Promo interview -

http://www.noise11.com/news/elvis-coste ... y-20130119

Elvis Costello Would Quit Music To Do Comedy

by Paul Cashmere on January 19, 2013

Elvis Costello says he would happily quit music to go into radio comedy.

In his interview with Noise11.com, Elvis Costello recalled the times he appeared on Garry Shandling’s ‘The Larry Sanders Show’ and told us how much he enjoyed it. He said comedy is the one thing he would give up music for. “That was a comedy version of my character,” Elvis told Noise11. “I am supposed to be this angry guy. It was a great show, a really funny show. I recently did Colbert’s show. Also the Prairie Radio Show where they do comedy sketches. I really love those. That is the one kind of acting I would do if I were allowed. I would quit music and do that. I want to be a radio comedy actor. That’s what I really want to be”.

Elvis recently also acted alongside Sean Penn but thinks it is unlikely his performance will win an Emmy Award. “ I had to be in it with Sean Penn. It wasn’t really a fair fight,” he said. “That would be like making him play the guitar with me. He plays pretty good guitar. It’s just fun to be in a scene like that with somebody who is a great actor doing a light-hearted thing as well”.

Elvis Costello loves a good time and he says he has been doing what he wants for decades. “After about 1980 I’ve just been doing what the fuck I want and nobody has noticed it isn’t actually a career as other people know it,” he said. “It’s just really wilfully using other people’s money to make music that I hear and hoping that somebody else likes it too because I’m having a fucking great time”.

Elvis Costello will head to Australia this week. His Australian tour will start in Melbourne next Friday (January 25) and include winery dates for A Day On The Green.

[johnfoyle]

Preview -

http://www.au.timeout.com/melbourne/mus ... the-palais

Get there early to catch Joe Camilleri at 7.30pm. Elvis takes the stage early at 8.20pm.


Maybe Elvis might like to revisit this location -

http://www.photobooth.net/music/musicvi ... cvideoID=7



I Wanna Be Loved

Elvis Costello & the Attractions Goodbye Cruel World (1984)

Directed by Evan English and the Rich Kids, UK

With the long-awaited 2005 release of his video compilation DVD "The Right Spectacle," Elvis Costello fans and photobooth fans around the world rejoice, for it's the first chance we've had to see this oft-mentioned video, filmed in a photobooth in Flinders Street Station in Melbourne, Australia. Thanks to the excellent artist commentary track, we'll let Elvis himself describe the video.

"This video was directed by Evan English and his partners, the Rich Kids, and it was shot in Melbourne, Australia. It's probably my favorite video that we've ever made, only because he thought of something original to do to complement the song. This song was an an obscure Hi Records title, by a group called the Teacher's Edition. Although the arrangement is a little Vogue-ish, 1984 style, this video gives a lot of feeling to it. It wasn't the happiest time of my life...

"Evan set it up that I was supposed to be in this photo booth. He also insisted that I stay up the night before the video... What you see now isn't actually acting, it's genuine emotion, for what it's worth; maybe that's ridiculous to the viewer, but it's the truth, nonetheless.

"What made the video unsettling to do what that Evan didn't tell me who or how many people would be coming in to kiss me on the cheek, blow in my ear, stick their tongue in my ear, or whatever it is they do."

And the video is just that: Elvis, sitting in a photobooth, looking directly into the camera, half-singing, half-talking along to the song, as dozens of people come into the frame, kissing him, hugging him, whispering into his ear. Whenever someone pokes a head in, the video goes from black and white to color. The flash goes off intermittently throughout the four minutes. At the very end, the video cuts to outside the photobooth, and Elvis picks up a few photostrips from slot, looks at them, and walks out of the busy train station.

[Azmuda]

https://twitter.com/tessiam

Elvis Costello's spectacular spinning songbook. Awesome show!

[johnfoyle]

Photos - Dave Hyland, via Facebook


Full setlist at this Twitter feed -

https://twitter.com/ScottFitzG

'Down In The Wood Shed" ??

[Azmuda]

https://twitter.com/TonyFBell/status/29 ... 28/photo/1

Elvis Costello's Spectacular Spinning Songbook certainly lived up to its name. Outstanding.

[docinwestchester]

Full setlist at this Twitter feed -

https://twitter.com/ScottFitzG

'Down In The Wood Shed" ??

Blue Chair?

[FAVEHOUR]

Think you're right, Doc...it's in the "Rainbow" sequence...

Dave

[docinwestchester]

Think you're right, Doc...it's in the "Rainbow" sequence...

Dave

I think we call all figure this one out:

Johnny Are You Straight Or Are You Bi (?unsure)

Hey, at least he's trying. Great to have a tweeter Down Under. Now what about a taper...?

[And No Coffee Table]

http://www.elviscostello.com/news/spect ... o-with/386

Elvis Costello & The Imposters
Melbourne, Australia
January 25th, 2013

Overture - with terpsichorean styles of Ms. Kelly Kay Kelly

I Hope You're Happy Now
Heart Of The City
Mystery Dance
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook - with your hostess, Daisy Devotchka

Oliver's Army - "Joker" - Spin 1

My All Time Doll - Spin 2

The River In Reverse/I'll Take Care Of You/This Wheel's On Fire - Spin 3

I Want You - Spin 4

Alison - Spin 5 - Split Decision

Shabby Doll - Split Decision - "Imperial Chocolate" Jackpot - Spin 5

Honey Are You Straight Or Are You Blind? - - "Imperial Chocolate" Jackpot

Deep Dark Truthful Mirror - Spin 6

So Like Candy/Don't Let Me Be Misunderstood - Spin 7

Accidents Will Happen - Spin 8

"I Can Sing A Rainbow" Jackpot - Spin 9

Greenshirt
Blue Chair
Red Shoes
Purple Rain

Finale

Chelsea - "Melvis and Elvis Choice" - Spin 10

I Can't Stand Up For Falling Down - IMPROMPTU

High Fidelity - IMPROMPTU

Out Of Time - IMPROMPTU

The Hammer Of Songs

Watching The Detectives - "The Songs Of Sneer"

Pump It Up

Peace, Love and Understanding

[johnfoyle]

http://www.noise11.com/news/elvis-coste ... e-20130126

Elvis Costello Spins His Wheel For Melbourne

by Paul Cashmere on January 26, 2013

Elvis Costello and The Imposters kicked off their Australian tour in Melbourne last night, spinning the wheel to create the setlist.

The Elvis wheel features songs spanning his entire career and a few wildcards. He doesn’t know what he will be playing next until the wheel decides.

Last night’s show fell heavily around the 1986 album ‘Blood and Chocolate’. Five songs were played from that record.

[johnfoyle]

http://www.watoday.com.au/entertainment ... 2derf.html

Elvis Costello and The Imposters

January 28, 2013

Michael Dwyer

Rating: 4 out of 5 stars

Palais Theatre
January 25

FORTUNE is a relative concept with some wheels. For any fan gazing up at Elvis Costello's ''giant spinning songbook'', possibilities ranged from the sublime Shipbuilding to the infinitely intriguing Beyond Belief. Those lucky enough to be hauled from the audience to give the huge multi-coloured disc a whirl, sip champers from the sidestage ''society lounge'' and jiggle in the dancing cage had obviously hit the jackpot before it stopped turning.

OK, so chance favoured neither of the above titles on this occasion, but the charming games master was exceedingly generous with bonus points, including bundles of themed tunes and surprise raids on Prince and the Rolling Stones. He and his magnificent Attractions (well, two-thirds of them, with bassist Davey Farragher) got the carnival rolling with a rowdy opening set that culminated in Uncomplicated and Radio Radio before the sequined barbie doll in the stalls led the first contestant up the stairs.

Fate served up Oliver's Army and Alison early on. More obscure gems such as Deep Dark Truthful Mirror and So Like Candy felt even more like winning the lottery. Over two hours, the dazzling vaudeville approach, the random set-list device and Kelly the shagadelic go-go dancer had comprised an ingenuously fresh and often hilarious inroad to Costello's vast catalogue.
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The common people context was the clincher. Watching a loving couple slow dance to the deathly creep of I Want You or cut a manic rug to Pump It Up gave the ringmaster's tunes intense immediacy and every fan a winning grin.

[Heats101]

Apologies for the delayed response, been a very busy weekend of Elvis indulgence. Now I have caught my breath here are a few random thoughts on the Melbourne show. The McLaren Vale concert will follow under that thread.
This was my first Spinning Song Book experience and as such I had high expectation/anticipation levels.Firstly Elvis was in excellent form ( humour and particularly voice in comparison to the DVD/CD USA version of the show we had revisited in preparation.)The venue was practically full, just a few dress circle seats remained.
The opening salvo of 5 ( instead of the usual 4 ) would have been a slight surprise if I had not listened to the sound check from outside the stage door beforehand ! The first spin ( Joker ) resulted in a predictable but disappointing ( from my point of view) Olivers Army request which was played without much enthusiasm by EC/band. Unbelievably a double spin by a couple did throw up Deep Dark Truthful Mirrow both times. Elvis said it was a very fine song !! I really enjoyed the "Rainbow" selection especially "Green Shirt " and "Blue Chair" and the fact that Blood and Chocolate got a very good outing ( 5 songs !). Slightly disapointed with Accidents Will Happen being one of my favourites; seen it done with much more vigour previously, however I am being very picky here.The Wife was taken with the rendition of High Fidelity and then So Like Candy morphing into Dont Let Me Be Misunderstood ( is this usual ?)The female "contestants " were all quite amourous with Elvis and particularly keen on his hat ( not sure he appreciated this element too much.)
All in all I am very thankfull that I have finally got to see this format of show and overall he did it justice to say the least.The acid test is my wife who is less of a fantatic than myself, she was suitable impressed also. So it will go down as one of our top performances by the Man and his fantastic Imposters.

[Heats101]

Also there was no EC solo segement hence the only genuine dissapointment of the night was no Jimmy or Josephine etc. Can't have it all I suppose plus I think EC was very conscious of time as he appered to be checking back stage a few times ( how long have we got remaining ??)

[johnfoyle]

Thanks for the great account - it really brings the show to life.

[Azmuda]

Pictures here:
http://musicpictures.com/search/?search ... 20COSTELLO

_

[And No Coffee Table]

http://www.au.timeout.com/melbourne/mus ... the-palais

Review by Michael Witheford

I saw Elvis Costello play a show at the Rod Laver Arena in about 1992 and he resembled Alfred Hitchcock in specs. Hugely distended, and hairy too with a roaming beard. Was something wrong? The venue was far too big and undersold for the man at that time of his career, and in spite of his indefatigable spirit it was an awkward night. There was no indication that he’d forfeited any of his musical powers but there was a sense he was on his own trip, and the regulars might not have the wherewithal to join him.

The shift afterwards to collaborative efforts, first with Richard Harvey, then the Brodsky Quartet (that one, I thought was a bad sign) and a bit further on Burt Bacharach (somehow they seemed to cancel each other out) didn’t pull me in, and after that the albums tended to waft past. Did you hear that version he did of Jesse Winchester’s ‘Payday’ on Kojak Variety? No? Me neither. That’s my point. He had a go at “classical crossover” with John Harle and wrote The Delivery Man with Johnny Cash in mind before making it himself.

Now and then it seemed he’d never escape the pull of the American South. The album with Allen Touissant was inevitable. Were these records for us or for him? At my most moronic I simply wanted some loud electric guitars and killer choruses, not bold artistry or the hungry restless genius of a musical polymath. Also I wanted to let him know that if he ever got Russell Crowe to sing with him again I would burn his records, along with a dog turd and post him the ashes. The TV series Spectacle was awkward, and as much as many of the guests may have been his heroes, the sight of Costello kissing their arses was unbecoming.

Yes, I am the whining critic who likes the old stuff, so there is some irony in Costello activating this great mind-fuck of an evening with a rip-snorting ‘I Hope You’re Happy Now’, in cahoots with legendary Imposters pair (but always Attractions to me) Dracula-esque keyboardist Steve Nïeve, and silvery, lantern-jawed drummer Pete Thomas both punching it like the old days, and super-glued to the new bass guy, a ringer for Dwight from The Office, who drives his old Fender like a smooth racing car. Yeah, happy so far! Sorry for the harsh words.

It’s loud, borderline hostile, super-vintage Elvis speeding onward with Nick Lowe’s ‘Heart of the City’, arguably the first ever punk song and ‘Radio Radio’ arguably the greatest new wave song of all, and then, good god, ‘Mystery Dance’ (Are you serious!) from the first EC LP My Aim Is True. This is how it might have been in a small venue in 1980 when Elvis had an attitude and wanted to intimidate as much as entertain.

But all this is just pre-match entertainment before the giant chocolate wheel, the “spinning songbook”, is put into action. The deal is, while Costello plays carnival spruiker and resident jester, a girl dressed like a day model for Myer’s make up counter, comes dancing down the aisle in tow with lucky, and in most cases irritating, members of the audience, who, yes, spin the wheel, after which Elvis, yes, plays the tune the wheel has landed on. Meanwhile the aforementioned audience members either sip nasty-looking drinks, or dance with the Myer woman or Elvis’s own relentlessly cheerful go-go dancer, in her cage stage left.

I feel almost guilty to be blessed with so many of my own favourites. The great ‘Accidents Will Happen’ – to see that video for the first time in a pre-MTV age was unforgettable – and the possibly greater ‘Oliver’s Army’ from Armed Forces with Nieve banging out that ABBA-inspired piano riffs. As well as the opener there are two more songs from Blood and Chocolate which was my last true-love in the EC catalogue; the coruscating ‘I Want You’, and ‘Blue Chair’, the latter part of a colours trilogy a la Polish cinema also featuring ‘Angels (Wanna Wear My Red Shoes)’ and the taut, explosive ‘Green Shirt’, another pre-‘80s gem. I’m not alone, of course, in reacting like Pavlov’s Dog to hits like ‘(I Don’t Want to go to) Chelsea’ and a (thankfully abbreviated) ‘Watching the Detectives’. In fact, there are about 2890 attendees who feel the same way. What a sad bunch we are. What a fine night we are having.

People find meaning in music in very different ways and we all of us have records that speak to us profoundly at a particular time so much so that later we can’t help but repeatedly revisit this past, aching to experience a simulacrum of those magical moments The results vary but sometimes we do it too often and the emotional piquancy of the music is to some extent rubbed smooth by repetition. But the potency of Costello’s love songs, the depth of feeling, the wisdom and understanding, the breathtaking wordplay and the perfectly modulated instrumental arrangements create something which for most fans retains its vibrancy and never fades. New discoveries often lie in wait on Elvis records and how you or I interpret a particular song will probably be quite different.

You can employ words like “timeless” to music without really believing it, but even the outré genres Costello explores, the ones I don’t care about, have had to move a bit and let him be the guiding hand rather than vice versa. He sounds like no-one and no-one sounds like him.

So Elvis Costello is beloved, literally, and it’s evident in the motley crew of wheel-whirlers who, as soon as they make landfall on stage, rush to jump Elvis, only relaxing their grip when convinced it’s time they spun the wheel. When our hero somewhat foolishly ventures into the crowd to seek out his own contestant he is attacked like Bieber in a shopping centre. There are plenty of 20-somethings too, as emotionally overwhelmed as anyone. Not much music genuinely spans generations like this.

And so some going home gifts; ‘Pump It Up’ and ‘What’s So Funny ’bout Peace Love and Understanding’ and a cover of ‘Out of Time’. There are so many treats in this ‘all you can eat’ banquet of Elvis (and plenty left on the wheel) that I’d have liked for the first time in my life to holler, “Play something we don’t know!”



http://www.tonedeaf.com.au/reviews/show ... stello.htm

Reviewed by Steve Harris on 30 January 2013

Arguably history’s most affable rock n’ roll veteran, Elvis Costello is once again back in town to charm and entertain in equal measure.

This time, he’s decided to dust off his slice of Vaudevillian splendor, the Spectacular Singing Songbook show for his two theatre performances, the centerpiece of which is an 18 foot upright spinning prize wheel filled with song titles from throughout his considerable catalogue.

Hits, rarities, and covers are all included, as are a number of ‘mystery songs’, in the form of core thematic concepts buried across his canon, which could well represent most any song to unearth live, likely for this first time in many years.

Costello’s band The Imposters also appear – comprised of long-time collaborators Steve Nieve, Pete Thomas, and Dave Faragher – the vastness of The Palais’ stage appearing unusually close under the sheer size of the game-show wheel.

Not to mention the other elements of Costello’s Vaudevillian-inspired set; the Society Lounge, large, standalone follow spotlight and the Hostage of Fortune Go-Go Cage.

Taking straight to their instruments without a word, the band open up with ‘I Hope You’re Happy Now, from 1986’s Blood & Chocolate. A cover of Nick Lowe’s ‘Heart Of The City’ quickly follows, as does ‘Mystery Dance’, ‘Uncomplicated’ and the 1978 hit ‘Radio Radio’.

This rapid-fire warm-up sees the band as enthusiastic and authoritative as ever.

Nieve and Thomas’ time with Costello dates back to 1978 and the genesis of his backing band of artistic sophisticates, The Attractions, and this band possess a learned confluence, the result of over 30 years of shows and some twenty-odd studio albums.

It’s at this point that the show takes a relatively expected twist, with Costello relieving himself of guitar and straw boater in favour of black top hat and cane, and, introducing himself as Napoleon Dynamite (his use of that particular appellation pre-dating the film by thereabouts of 20 years), addresses the crowd with the evening’s order of proceedings.

Tonight’s show represents a grand effort to break down the barriers between performer and punter, with audience members invited up to the stage to spin the giant wheel, before repairing to the onstage Society Lounge for refreshments and/or a dance in the Go-Go cage.

To this end, Costello has brought with him ‘Kelly’, a Go-Go dancer dolled up in swinging ‘60s dress, which gave the impression Costello may have lifted it directly from the set of Austin Powers.

Much to the crowd’s delight, the first song spun was ‘Oliver’s Army’, a rarity in Costello’s set these days, or as Costello noted dryly: “Great, a song about British Imperialism, just the thing for a Vaudevillian evening.”

A revolving cast of audience members stepped to the stage, plucked out of the audience by an accomplice in tight fitting glitter dress, spinning hits and rarities ‘My All Time Doll’, ‘The River In Reverse’, ‘I Want You’, a cracking medley of ‘So Like Candy’, and the Nina Simone via The Animals classic ‘’Don’t Let Me Be Misunderstood’, amongst a host of others.

A further highlight came from a masterful cover of Prince’s ‘Purple Rain’ to mark the end of his set, perhaps coincidentally, the same day that news surfaced of Costello’s inclusion, alongside D’Angelo and Booker T. Jones, in a forthcoming Prince tribute show in NYC.

The band return for a slew of encores, the wheel now dispensed with as Costello leaves nothing to chance, focusing solely on the more cherished elements of his knot of past masters, finishing on the tried and true ‘(What’s So Funny ‘Bout) Peace, Love & Understanding’.

The ensemble bow to lengthy standing ovation before the crowd file into the night content and empowered by the knowledge that they, collectively, had a part in navigating an evening with rock n’ roll royalty.


Lots of photos:
http://www.tonedeaf.com.au/photos/galle ... stello.htm

[johnfoyle]

http://interviewsandgigreviews.blogspot ... lleri.html

[johnfoyle]

http://posterchild8.wordpress.com/2013/ ... tre-25113/