Elvis Costello Latest News

Elvis Costello

The York Press: Charles Hutchinson: 19th June, 2013

Elvis Costello has long been the master of reinvention.

Sometimes this has come through working with Elvis’s initially dismissive producer Billy Sherrill on a country covers albums, or Paul McCartney, or Burt Bacharach, or Swedish mezzo-soprano Anne Sofie Von Otter, or this year the hip-hop veterans The Roots.

At other times, it has involved shaking up his live set, switching from The Attractions, to solo; adding the TKO Horns; then breaking away with The Confederates; back to The Attractions and onwards to The Imposters, essentially The Attractions’ keyboard professor Steve Nieve and drummer Pete Thomas with a different bassist, Davey Faragher.

The Revolver Tour gives new wind to Costello’s Spectacular Spinning Songbook, which he first span at the Royal Albert Hall when he was still having hits.

It is a canny show, one that plays to those who know Oliver’s Army, Alison and Pump It Up but also allows him to slip surprises such as Strict Time and a latter-day gem like Jimmie Standing In The Rain into the two and a half hours.

The decision to have standing room as well as seating may have robbed him of a sell-out but was vindicated by the show’s format of punchy, breakneck oldies Costello switched between front man in patent leather shoes and silver trilby and bantering, witty master-of-ceremonies mode as Napoleon Dynamite, in bowler hat and cane, with dancer Dixie Delafonte in a cage and the Mysterious Josephine as his assistant in picking audience members.

This they did by searchlight, or wandering into the crowd, to invite them to spin that wheel for a song title or a theme or a Joker free choice or the chance to hit the Golden Hammer for “Songs Of Sneer”, “Ladies Excuse Me” or “The Hits Of Tomorrow”.

When it settled on Joanna, it was the cue for Nieve to excel on piano, especially when one audience member asked for Shot With His Own Gun, a startling, long-forgotten chill off the 1981 album Trust.

Those chosen audience members could lounge on stage with a drink or dance in the cage or… as Elvis promised, the wheel had powers of love so powerful that dapper Alex proposed to party-dressed Catherine. Luckily, the wheel never settled on Accidents Will Happen.

Has Costello ever been in better voice, especially on Shipbuilding? And what dignity he brought to Tramp The Dirt Down, not glorying in the dementia death of bete noir Margaret Thatcher but vehement in saying the song’s political sentiments still stood.

Springsteen, Young, and now Costello; what a summer for rock’s evergreen heavyweights this is turning out to be.

Edinburgh Gig review: Elvis Costello and the Imposters

Scotsman.com: Bruce Blacklaw: 17th June, 2013

Elvis’ army has gathered from far and wide. Well, quite a lot from Glasgow anyway and, as he thunders on past the last train witching hour in a packed nearly three-hour set, chances are a few of them ended up here to stay.

Costello has a novel approach to the perennial “problem” facing long-established stars with an expansive back catalogue of hits. He dusts off alter-ego Napoleon Dynamite (who predates the film of the same name, by the way) to introduce the “spinning songbook”.

“Take a look at these hits”, he says, and sure enough there are plenty of them when you see them on paper, or indeed 20ft multi-coloured disc. In similarly gimmicky vein, the set features a cage-dancing podium bedecked with beads, and there is a dancing girl and a game-show style hostess. The latter – “the mysterious Josephine” – fetches members of the audience up to spin the wheel to pick a song which is then played, while said audience members watch on stage, initially from golden bar stools at the end of Steve Nieve’s piano, before eventually being cajoled into a wee dance on the podium.

Costello, in fine, ageing like fine wine voice throughout, also goes for a couple of wanders, including one up to the circle to sing Almost Blue, while the other prop, the “Hammer of Songs”, like a fairground test your strength game, allows a Canadian couple to request Clowns and Fiddlers. It’s showy, fun and adds unpredictability without unduly diverting proceedings – in fact, only four or five songs are selected this way and the vast majority of classics that had been “missed” are dextrously woven together in a rousing finale or, more accurately, second half.

The band are excellent, adapting seamlessly to the various impromptu amendments to the set list and giving every sign of enjoying themselves immensely, not least Nieve scampering back and forth behind a mighty suite of keyboards. Tramping Down the Dirt finishes the set, followed by a generous encore including Oliver’s Army, and ending up with Love, Peace and Understanding, the sentiment and the sound rousing the Festival Theatre to its feet in a well-deserved ovation.

Elvis Costello and The Imposters, Edinburgh

Scotsman.com: Fiona Shepherd: 17th June, 2013

Elvis Costello’s Revolver tour has come round again, but no two shows are the same, thanks to the Spectacular Spinning Songbook, aka “the showbusiness marvel of the age”, a colourful fairground-style wheel of musical fortune which dictates the set list according to turns and choices made by audience members.

It’s an entertaining way to keep things fresh, which is interesting and unpredictable for the musicians as much as the fans.

Costello was a consummate vaudeville MC and his Imposters trio were on invigorating form from the moment they hit the stage, tearing through Radio, Radio at some velocity.

Scott and Kat from Glasgow hit the Lips jackpot and got Lip Service but not lip service.

Auntie Ann got her wish and was personally serenaded with Alison.

Costello himself decided it was time for the surging country soul of Just About Glad and made a couple of forays into the auditorium, while Mike from Ottawa successfully wielded the Hammer of Songs and made the connoisseur’s choice of Clown Strike.

Much of the joy of this gig was derived from watching the fans make the most of their time on stage, some listening rapt by the bar, others becoming part of the performance, frugging away in the go-go dancer’s cage.

But, novelty aside, this was a show with inherently infectious spirit, powerful moments such as the political one-two of Shipbuilding and Oliver’s Army and the Thatcher-inspired Tramp The Dirt Down.

There were pockets of haunting intimacy threaded through the general mischief and two – count ’em – whistling solos. Now, that’s entertainment.

Jimmie, standing in the rain: Manchester Apollo June 14th

The Afterword: Benny Philadelphia: 15th June, 2013.

Here he is again, our beloved entertainer imagining his future from Accrington station back in 1937 though tonight he's years from being a forgotten man in an indifferent nation. There's no plaintive whistling, no Brilliatine glistening and unfortunately he steers clear of the prairie lullabies that I'm partial to. He speaks of his dad doing the northern circuit of working men's clubs but he's here on the Apollo stage singing his heart out, playing with passion, humour and those beyond belief words. There's Bedlam, a brilliant mistake, a poisoned rose, a battered old bird, Tokyo storm warnings and, as usual, he's not kidding about any of it despite the cane and top hat of vile vaudeville. On his Desert Island Discs appearance Elvis chose his dad singing 'At Last' and wouldn't it be a good thing for us to have a recording of our dads' singing. Elvis' 3 sons will have lots to choose from. A long way from walking off to jeers and the sound of jingling spurs. He's still mighty, magnificent

"I'm The Original Hottie"

The all-star recording of Ghost Brothers of Darkland County, a southern
gothic supernatural musical from co-conspirators Stephen King, John
Mellencamp and T Bone Burnett, is now available to buy via Amazon & iTunes.

As we first announced last January, the oft-delayed project will be released in a variety of formats including a Deluxe CD/DVD collection featuring a "mini documentary" on the making of the musical. Lead track, "That's Me" by Elvis Costello, is available for streaming below.

From the Press Release: This extraordinary collaboration features
original music and lyrics plus key dialog excerpts performed by a
stellar cast of guest artists including Elvis Costello, Rosanne Cash,
Sheryl Crow, Neko Case, Taj Mahal, Ryan Bingham and Kris Kristofferson,
along with actors Matthew McConaughey, Samantha Mathis and Meg Ryan.
This special release also includes the musical's complete libretto,
penned by Stephen King. A haunting tale of fraternal love, lust,
jealousy and revenge 13 years in the making, Ghost Brothers of Darkland
County will be released on June 4th, 2013.

The Ghost Brothers of Darkland County saga began when Mellencamp told
King about a cabin on his land in Indiana where two brothers had gotten
in a fight over a girl; one brother accidentally killing the other, only
to die along with the girl in a car crash a short time later. King came
up with an outline for a play in a matter of days. And then off and on,
back and forth, they began to develop it into a full-length musical.

The superb blues 'n' roots music of Ghost Brothers reflects the wide
range of styles and influences needed for a work that jumps back and
forth across decades. Rather than use the songs to propel the play's
narrative, as in a conventional musical, Mellencamp chose to make them a
way to reveal the emotions and inner workings of the characters -- like
Neko Case's exquisite, unapologetic delivery of "That's Who I Am;" the
intense passion of Kristofferson's "How Many Days;" or Costello's
cunning "That's Me," which establishes the persona of "The Shape," the
Puck-like devil figure at the heart of Ghost Brothers who floats between
the worlds of the living and the spirits. Numerous other highlights
include the thunderous, dramatic ensemble piece "Tear This Cabin Down"
and "Jukin,'" a grease-laden delta-rocker performed by Sheryl Crow.
Mellencamp himself delivers the closing "Truth," a sublime meditation on
the moral issues underpinning the action.

Ghost Brothers of Darkland County will be available across a variety of
formats. The (enhanced CD) Standard Edition features the complete
soundtrack, dialog excerpts and digital libretto. The (2CD/1DVD) Deluxe
Edition contains the complete soundtrack (with and without dialog),
deluxe art work, handwritten lyrics, specially printed libretto and the
"Making of Ghost Brothers" mini-documentary DVD featuring in-depth
interviews with King, Mellencamp and Burnett along with other bonus
material. Ghost Brothers of Darkland County digital editions for
tablets, smartphones and e-readers will allow users to interact in
unprecedented ways with the complete soundtrack + digital libretto, as
well as exclusive video and graphic materials.

Set in the tiny town of Lake Belle Reve, Mississippi, the Ghost
Brothers' story centers on two sets of brothers: the ghosts of Jack and
Andy, dead in an apparent murder/suicide, and their nephews, the living
Frank and Drake, who seem to be headed toward the same downward spiral
as their uncles. Joe, younger brother of Jack and Andy, father of Frank
and Drake, has decided it's time to reveal his own terrible secret at
the site of the tragedy, before it's too late.

Though some of the songs were written without knowing where they would
fit in the script, most were the result of specific assignments. "Steve
would call me up and go, 'We need a song like this to fill this place,'"
Mellencamp says. "To be able to go, 'OK, now you're a 10-year-old boy,
what would he say? Now you're a 19-year-old girl trying to attract the
attention of a barroom of fellas'...that was just fun to do."

Once a working show had been assembled, producer Burnett-acclaimed for
his work on such albums as Raising Sand by Robert Plant and Alison
Krauss and the O Brother Where Art Thou? soundtrack-was brought in to
help unify the flow and feel of the music on stage. Burnett would also
prove crucial when it came time to cast and record the Ghost Brothers
album.

He started with the voice of "The Shape" -- "immediately, Elvis Costello
came up," says Burnett, "who could be better playing the devil?" Rosanne
Cash struck the producer as a match for Monique, Joe's troubled wife, as
did Kris Kristofferson's unmistakable scratchy baritone to play the
patriarch himself.

As the story emerged, it became clear to the collaborators that Ghost
Brothers had taken them into unfamiliar territory -- and they liked it
that way. "John can make rock & roll records and I can write books for
the rest of our lives," says King, "but that's the safe way to do it,
and that's no way to live if you want to stay creative. We were willing
to be educated, and at our age, that's an accomplishment."

Listen to "That's Me"

Ghost Brothers Of Darkland County

Libretto by Stephen King
Music & Lyrics by John Mellencamp
Musical Direction by T Bone Burnett
Featured cast: Kris Kristofferson, Meg Ryan,
Matthew McConaughey, Samantha Mathis, Elvis Costello

Featured musicians: Elvis Costello, Sheryl Crow, Phil Alvin,
Kris Kristofferson, Taj Mahal, Neko Case, Dave Alvin, Rosanne
Cash, John Mellencamp

Ghost Brothers of Darkland County track listing:

That's Me - Elvis Costello
That's Who I Am - Neko Case
So Goddamn Smart - Dave Alvin, Phil Alvin, Sheryl Crow
Wrong, Wrong, Wrong About Me - Elvis Costello
Brotherly Love - Ryan Bingham and Will Dailey
How Many Days - Kris Kristofferson
You Are Blind - Ryan Bingham
Home Again - Sheryl Crow, Dave Alvin, Phil Alvin, Taj Mahal
What's Going On Here - Rosanne Cash
My Name Is Joe - Clyde Mulroney
Tear This Cabin Down - Taj Mahal
And Your Days Are Gone - Sheryl Crow, Dave Alvin, Phil Alvin
Jukin' - Sheryl Crow
What Kind Of Man Am I - Kris Kristofferson, Phil Alvin, Sheryl Crow Dave
Alvin, Taj Mahal
So Goddamn Good - Phil Alvin, Dave Alvin, Sheryl Crow
Away From This World - Sheryl Crow
Truth - John Mellencamp

Ghost Brothers of Darkland County

Elvis Costello

Liverpool Echo: Getintothis: Peter Guy: 11th June 2013. Photos by Sakura

It's not just the Stones who keep on rolling.

The first generation of rock n' roll may tour the world's stadia every 18 months and rake in the big bucks for the big shows. But the generation who came next, those spiky souls who are boxed forever as punk and new wave, aren't doing bad either.

And Elvis Costello is out in front.

The great thing about a songwriter continuing to release records and tour is that the live show, like any great production, develops a third act. Sure, we get the hits, misses and maybes - but there is also something tangible hanging in the air capable of turning good nights into great ones.

Perhaps it's just a solid bond between performer and punter... whatever it is, it existed in the Philharmonic Hall on Hope Street last night.

Costello - and his band The Imposters (just an original bass player short of The Attractions) - once again brought his 'Spectacular Spinning Songbook' to town and managed to match last year's contender for gig of the year at the Liverpool Empire.

The sound was certainly better. Steve Nieve's delicious organ washed around the hall, creating space and colour, as Costello bashed away on vicious sounding electric and acoustic guitars. The band, including long-time EC drummer Pete Thomas, sounding fantastic and the songs fizzed by with real urgency.

Tempos were fast and the set list even faster, as The Imposters tore into Lipstick Vogue, (I Don't Want To Go To) Chelsea, This Year's Girl and I Wanna' Be Loved right from the start.

The first spin of the big wheel - the set is punctuated by audience members being invited on stage to tell Costello their favourites in the hope the wheel lands on one - brings a gorgeous take on A Good Year For The Roses, before a succession of female guests request the ubiquitous She, until Costello finally relents and that reverb-drenched voice serenades the rapt crowd, sat in hushed awe, with the Charles Aznavour standard.

The piano melodies continue with a jazz-tinged Almost Blue (during which Costello ascends to the upper section of the hall to sing), a grand All Grown Up and a beguiling version of Shipbuilding - "diving for dear life" almost opposite the shipyard that brought the lyrics to the former Wirral-dwelling writer. It was some moment... and they kept coming.

There was certainly something in the air when Elvis introduced Tramp The Dirt Down with a touching nod to his late grandmother Mabel's battle with demetia.

"I wouldn't wish that on my worst enemy," he revealed, before playing the song that baited Margaret Thatcher and her policies a very long time before it became fashionable.

The song was delivered with grace, style and a nod to the fact that, while those policies are still in full effect, a great song will always live longer that the rest of us.

At the end of it all, after rapid fire deliveries of Oliver's Army and a trio of new (ish) finger pickers - make sure you check out the wonderful Jimmie Standing In The Rain - the audience was exhausted: two and a half hours of emotional delivery will do that to you.

Perhaps that's where said third act comes from: leaving your paying punters with everything. After all, the best thing an artist can give an audience is himself.

And what's so funny about that?

Mumford

RollingStone: RJ Cubarrubia: 11th June, 2013

Artists unite for One Campaign on Bruce Springsteen's song

Mumford & Sons and Elvis Costello linked up for a serious cause amid the carefree vibe at the Sasquatch! Festival in Washington last month. With the G8 summit approaching on June 17th and 18th in Northern Ireland, Costello and Mumford & Sons partnered with the One Campaign's new initiative, the anti-poverty push agit8, for a cover of Bruce Springsteen's 1995 track "The Ghost of Tom Joad."

For their intimate cover, Costello and Mumford & Sons added a bit of Woody Guthrie's "Do Re Mi" to Springsteen's original. "We wouldn't know what to say, so it's quite helpful to have music that says things for you," Marcus Mumford said.

Tom Morelle, Ed Sheeran, will.i.am, Kid Rock, Macklemore and Ryan Lewis and fun, are among the artists who have also joined the agit8 campaign with their own protest songs.

For more information, visit the agit8 website.

It's always a good year when Elvis comes to town

Liverpool Echo: Marc Waddington: 11th June, 2013:

The wheel of fate points to a brilliant night

When you've been touring for more than 30 years, it must get hard to keep reinventing the wheel, so to speak.

Certainly Elvis Costello has managed just that, though, and quite literally, with his Spectacular Spinning Songbook show.

The stage at the Philharmonic was set with a giant spinning wheel of fortune, on which were written the names of some of his greatest hits. And, in this age of interactivity, it would be for the audience to shape the course of events.

For one after the other, they were plucked from the stalls to spin the wheel and let fate decide which of his many masterpieces the rapt crowd would hear.

And thankfully, fate didn't disappoint (although granted there were some that just had to be played, whether the arrow landed on the right spot or not.)

And so the faithful were treated to classics such as the rollocking I Can't Stand Up For Falling Down, the booming Radio, the marching Oliver's Army and the cacophonously brilliant Man Out of Time, with the fabulous lyric “He's got a mind like a sewer and a heart like a fridge”.

And that's not to mention the frenetic I Don't Want To Go To Chelsea and Watching the Detectives, with its sinister, accusatory guitar riff.

There is something very burlesque and vaudevillian about this show as Costello stalks around the stage under a top hat with a cane tucked under his elbow, when not chopping away at his Stratocaster, that is.

But the carnivalesque atmosphere subsided as he sang some of the slower, more haunting tunes such as Charles Aznavour's She, the wistful In Another Room and of course the superb Good Year For The Roses, which, with its line “the lawn could stand another mowing”, is the ultimate autopsy of suburban break-up.

But perhaps the biggest ovation of the night went to Shipbuilding and Tramp The Dirt Down, his hateful ode to Margaret Thatcher which is imbued with more vitriol than even Bob Dylan could have mustered for someone he hated.

Costello is certainly, like all those ships of yesteryear, among Merseyside's finest exports and one that everyone there last night would turn out time and time again to see come sailing back home.

Elvis Costello's army bares its soul once more

The Independent: Simon Price: June 8th 2013:

The old man of New Wave leaves his set list to luck these days, and the wheel of fate turns up some gems

As a stand-up comedian, Elvis Costello makes an excellent singer-songwriter. Minutes into the show, Costello replaces his trilby with a topper, brandishes a silver-capped cane and adopts a persona somewhere between Bruce Forsyth on The Generation Game and a circus ringmaster, complete with corny American accent. A natural comic he ain't. But you warm to him for trying.

The set-up of the 13 Revolvers tour is familiar. On a set that's half funfair sideshow and half Sixties supper-club, the titles of approximately 40 Costello songs are painted on a wheel of fortune, spun by audience members, to ensure that every show is different. It also allows for unscripted chortles, like the wisecrack from a superfan called Ant, stood next to his hero: "It's the Ant & Dec Show …."

As a rapid-fire format for Costello and his Imposters – bassist Davey Faragher plus Attractions stalwarts Pete Thomas and Steve Nieve (who absconds in the encores to play the Hall's massive organ) – to showcase his back-catalogue, it's fine. And it is mostly back-cat: Costello's upcoming album with The Roots can wait.

It opens with his cover of Sam & Dave's "I Can't Stand Up For Falling Down". It's followed by "High Fidelity" whose Supremes-referencing first words are "Some things you never get used to". Which establishes Costello's credentials as a soul fan, if not quite a soul man. Regardless of the strength of his voice, which he demonstrates unamplified off-mic, its tone is too adenoidal for that.

There comes a day in everyone's life where they're grown-up enough to get Elvis Costello, and I passed it some time ago. At 13, his pedal steel-drenched cover of George Jones's "Good Year For The Roses" was insufferably schmaltzy, but now it's almost painfully close to the bone. Funny, that.

"Oliver's Army", though, is the big one. When you're a child, it's just a jolly romping pop melody. Then you figure out it's one of the most chilling political pop songs of all time. Its power is the sound of measured anger, articulated with restraint. Nowadays, sneaking a song about The Troubles, complete with the provocatively loaded phrase "white nigger" to No 2 in the charts, seems impossibly audacious. Performed half-quiet half-loud, it's requested tonight by a woman whose father is dying of cancer. Costello agrees immediately.

It's not the only moving moment: it's touching to hear the entire Albert Hall singing "Alison, I know this world is killing you …" Nor is it the only late Seventies smash. It's commonplace to credit The Clash with pioneering the rock-reggae cross-over, but nearly all the old punks had a try, not least Costello, whose "Watching The Detectives" and "(I Don't Want To Go To) Chelsea" are immaculate exercises in paranoiac reggae-noir.

"Some people won't like this …", he apologises before a track which was namechecked almost as often as "Ding Dong, The Witch Is Dead" this April. "But as long as there are still people about who believe the things she believed, and are doing the things she did, we can keep singing this song". The song is "Tramp The Dirt Down". And it's not even the night's most powerful anti-Thatcher song. That would be the haunting, Falklands-inspired "Shipbuilding", which recently merited its own Radio 4 documentary.

An even more potent attack on Conservative values, "Pills And Soap", didn't make the wheel. And another personal favourite, "Every Day I Write The Book", refused to get picked. But you can't have everything. In the words of Steven Wright – unlike Costello, a proper comedian – where would you put it?

Elvis Costello

The Upcoming: 7th June, 2013: Geoff Maguire: Photo Lucia Hrda

Elvis Costello returns to the Royal Albert Hall with his Spectacular Spinning Songbook revue, a concept he first toured with in the late 80s, and which shows no signs of dating with three sold-out nights at the venue offering proof of his enduring popularity. An enormous game-show wheel with 40 song titles is spun by members of the audience, with the band then playing the track on which it lands. Or that’s the idea anyway. In reality, Elvis and his cohorts mostly play a pre-arranged set with some spontaneous extras. It’s all such fun that it scarcely matters what they do. There’s a go-go dancer in a cage made of beads, and at times Costello reprises his role of MC Napoleon Dynamite (the name later borrowed by the makers of the 2004 indie movie).

Then there are the hits. And what a lot of them we get in a two-and-a-half-hour set. Watching the Detectives, Oliver’s Army, Radio Radio and High Fidelity all rouse the audience, Costello doing his bit by cajoling people to stand up and dance. A fan brought up on stage reveals her name to be Alison, cue the eponymous track. A lengthy I Want You is followed by Tory-party baiting anthems Shipbuilding and Tramp the Dirt Down, neither losing their resonance in the intervening years. At 58, he still retains the power and anger of his youth, but more significantly the voice and solid musicianship of old.

The Imposters are as tight an outfit as you’d expect, Steve Nieve particularly impressive on keyboards, Hammond organ and grand piano. For the closing track he rushes behind the stage to play the gigantic house organ on (What’s So Funny ‘Bout) Peace, Love and Understanding, the notes reverberating through the hall and providing a spectacularly quirky end to an exceptional evening. Costello is a true one-off, and he’ll soon have a chance to cement his national treasure status on the Pyramid stage at Glastonbury. There aren’t many who deserve that acclaim more.

In the Studio: Elvis Costello and the Roots Throw a Punk-Funk Party

Rolling Stone: Jon Dolan: June 4th, 2013. Photo: Sacha Lecca

Inside the unlikely pairing of the acerbic singer-songwriter with the baddest hip-hop band in the world.

During the four years that the Roots have been the house band on Jimmy Fallon's show, drummer-bandleader Questlove has dealt with pretty much every flavor of rock-star attitude. But he's always had an easy working relationship with Elvis Costello, who has appeared on the show three times. "It's a supercherry on top when someone encourages you to take it in a different direction," he says. "Elvis was wide open to have us reinterpret '(I Don't Want to Go to) Chelsea' and 'Less Than Zero.'"

Their dressing-room jam sessions eventually led to a full collaborative LP, Wise Up Ghost, due out this fall. "We had no deadline, no labels involved," says Costello. "We were just doing it on our own." They considered revisiting Costello oldies, as they'd done on Fallon, but soon decided to work on new material. Says the drummer, "I didn't want to be the bad guy ruining well-known classics."

Costello enjoyed diving into the Roots' world, watching them develop his "little spidery sketches" into something brand-new. The results suggest a 21st-century version of Watergate-era funk – Armed Forces by way of There's a Riot Goin' On. With the album nearly finished – they're currently adding strings with an orchestra – Costello and the Roots can't wait to hit the road when their schedules align. "I'll tweet out anything," Questlove adds. "This is the only thing I never tweeted about. I wanted to make sure it was perfect."

Elvis Costello and the Imposters, Royal Albert Hall, Review - The Telegraph

The Telegraph: Neil McCormick: 5th June, 2013. Photo: Brian Rasic

The celebrated singer-songwriter delivered an angry, emotional, wild and wayward 28-song set that was more than any fan could reasonably ask for, says Neil McCormick.

Margaret Thatcher may have been laid to rest just a few weeks ago, but that hasn’t silenced her musical tormentor-in-chief. It was late in an extraordinary, two-and-a-half hour set when Elvis Costello followed his beautifully crooned Falkland war lament Shipbuilding by picking up an acoustic guitar and announcing, “This is a song I didn’t imagine I would be singing no more.”

There was a tangible gasp in the Royal Albert Hall, as if somehow the venerable establishment connotations of the setting made what was being presented almost sacrilegious, yet there was also a surge of righteous delight as Costello delivered an immensely powerful rendition of Tramp The Dirt Down, his notorious anti-Thatcher folk ballad from 1988. His introductory remarks, in which he insisted he would play his protest song as long “as there are people still abroad who believe what she believed and act upon it” gave the moment a context that was neither bitter nor perversely triumphalist, more like the singing of a cherished anthem of shared values from a bygone era.

It was just one extraordinary moment among many, in a celebratory, comical, angry, emotional, wild and wayward 28-song set that delivered more than any fan could reasonably ask for. There is a gimmicky conceit to the set-up, The Spectacular Return of the Spectacular Spinning Songbook, reviving the vaudevillian elements of a show first presented in 2011, with caged dancers, a hostess and a huge, colourful fairground wheel of fortune containing song names and set themes chosen via spins from members of the audience.

You can understand the appeal of this random selection process to an artist as maverick in his musical tastes and with as many great songs to his credit as Costello, although it risks seeming disjointed in abandoning the performer’s own sense of narrative. It is a long way from the kind of sharp attack that marked out Costello in his earliest incarnations, yet the benefit is a sense of improvisational spontaneity. There is a jazz-punk aspect to The Imposters: they are not afraid of getting wonky and dirty, attacking songs with irreverent energy and dragging them in all kinds of different (and not always compatible) directions, building to a dubby romp through Watching The Detectives that effectively marked the end of the Spinning Songbook game.

It was as if Costello had just been softening up his audience, opening us to expect anything. Returning for encores, the band was on fire, with Costello calling out song after song as the mood took him, tearing into old favourites such as Lipstick Vogue, Alison, Red Shoes and Less Than Zero as if he wanted to blow the place down. It was utterly electrifying and alive to the moment, master musicians and a genius band leader putting absolutely everything into songs written to the highest levels of lyrical and melodic ingenuity.

By the time Steve Naïve concluded a storming version of What’s So Funny About Peace Love and Understanding by dashing behind the stage to play the Royal Albert Hall’s house organ, big notes resonating through the enraptured crowd, all I can really say is you had to be there. And that, after all, is what live music is really about.

Elvis Costello Royal Albert Hall, Review - The Guardian

The Guardian: Caroline Sullivan: 5th June, 2013.

"Spin that wheel for England," Elvis Costello instructs. "For the people's coronation." Beside him is a deceptively calm fan, who's been brought on stage from the audience; behind them a giant wheel printed with 40 song titles, one of which will be played by Costello and his band. The fan spins for England, and the wheel stops at I Want You, from the album Blood & Chocolate. Costello sets about his 27-year-old song of bitterness and betrayal, starting quietly and ending on a pinnacle of sweet sadness. The applause reaches a climax, and the next fan is ushered on for a spin.

Costello first toured his "spectacular spinning songbook" show in the 80s, but this revived version must surely trump the original. Pop's original angry young man still has fire in the belly – he remarks that it's still worth playing the Thatcher-loathing Tramp The Dirt Down – but now he has perspective, too. For every jibe, there's a moment of avuncular kindess: a woman confides that Oliver's Army was her late father's favourite song, so Costello plays it; a chap called Ant proposes that they launch The Ant and Dec Show, and the singer – real name Declan MacManus – hoots delightedly. There's even a go-go dancer in a cage, grinding away to songs that may be compelling, but weren't written for cage dancing.

But around two-thirds of the setlist has been decided in advance, and here's where he hits his stride. An acoustic All Grown Up, with pianist Steve Nieve, is rich and burnished; Watching the Detectives becomes a dub labyrinth; Radio, Radio is as nervy as the day it was written. "The clock says we have to go," he says, then carries on anyway, still happily thumbing his nose at authority.

Elvis Costello

Wales Online: Tony Woolway: 3rd June 2013

Tony Woolway was blown away by the veteran performer's latest tour when he saw him perform at Cardiff's St David's Hall

Since breaking onto the scene way back in 1977 to high acclaim with his debut album My Aim Is True, Elvis Costello has dazzled and surprised with both his vast body of work and his diversity.

The thing is, you can never pigeonhole him.

His musical influences shine through and whether it be blues, soul, country or rock influenced, the songs all come packaged in Costello’s own unique and inimitable style.

Thankfully, visits to Cardiff have featured regularly on Costello’s tour itinerary playing with first The Attractions, as a solo artist, a duo with his faithful ivory-tinkling bandmate Steve Nieve, and on Saturday evening, The Impostors, with another Costello stalwart Pete Thomas on drums and bassist Davey Faragher.

One thing fans of Costello expect is a fast pace and from the time the band bounded onto the stage until they left 2 hours and 30 jaw-dropping minutes and 30 songs later, there was no let up, even in the quieter, more reflective moments.

The introduction of the spinning songbook, a huge wheel containing a large and impressive selection of Costello masterpieces helped the audience catch their breath as unsuspecting punters were encouraged to spin the wheel by Costello in the guise of Napoleon Dynamite, master of ceremonies, and to go-go dance with the delectable Dixie De La Fontaine in the Las Vegas-style go-go cage.

One Cardiff couple, Jon and Chrissy, spun the wheel leading Costello into a superb version of the Dave Edmund’s Girls Talk, with local boy Edmunds being described by Costello as “The King of Monmouth” followed swiftly by a fast, snappy version of Nick Lowe’s wonderful Heart Of The City.

No one would leave disappointed as Costello dusted down the classics with hits such as Radio, Radio, (I Don’t Want To Go To) Chelsea and a riveting version of Watching The Detectives, but the real highlights for me were the slightly quieter moments with a brilliant I Still Have That Other Girl from his collaboration with the great Burt Bacharach plus a version of Tramp That Dirt Down, that sent shivers down your spine.

In a day where the word legend is so freely used in the music industry to describe some quite mediocre talents, only in a handful of cases does the description fit and Costello is certainly one of them.

Elvis Costello at the Colston Hall ... 9/10

The Post: 4th June, 2013

That creative, prolific – and energetic – performer Elvis Costello cannot stop touring.

Here he was, wearing a smart, three-piece suit, on stage at the Colston Hall.

Still, at times, playing the angry young man, and hiding his age under a by-now familiar natty hat, it is hard to believe Costello is 58 years old.

Accompanying him once more was the Spectacular Spinning Songbook, a massive fairground- inspired wheel packed with a plethora of songs from his 35-year career.

The brightly-lit wheel was helped along by Josephine, the singer's green-clad female assistant who is no mean dancer.

Spun after each number by members of the audience, Costello and his band, the talented Imposters, performed whichever song came up next.

The wheel's songs included a mix of pop, punk, country and rock'n'roll, plus a random jackpot of surprises.

It was certainly a novel way of keeping the fans on their toes, trying to guess what might be coming next from the music master's vast repertoire.

Those chosen to come on stage were invited to enter into the spirit of the evening with the band's energetic dancer.

Costello's two-and-a-half-hour, 25-song-plus performance in front of a packed and lively house did not disappoint.

The fans were overjoyed to see their favourite songsmith back in town, full of the political fire which gave us such beautifully-crafted songs as the mournful Shipbuilding and the anti-Thatcher snarl Tramp The Dirt Down.

To everyone's delight, Costello somehow managed to fit them both in.

The concert got off to a stomping start with the old Sam and Dave number, I Can't Stand Up For Falling Down, and The Rolling Stones' The Last Time.

Later, as the pace cooled, came a personal favourite, the George Jones' country-inspired composition A Good Year For The Roses, which was executed beautifully by Costello.

Two hours later – without any break – came the roof-raising finale. This had the whole place on its feet, clapping and dancing. It was an almost-continuous medley of hits – (I Don't Want To Go To) Chelsea, Accidents Will Happen, Pump It Up and Watching The Detectives. With a clutch of memorable back numbers, plus some surprises, by one of the country's greatest performers, it was an evening not to be missed, close up and personal.

Elvis Costello

South Wales Argus: Kevin Ward: 3rd June, 2013

The best part of 40 years after first hitting the charts, Elvis Costello remains one of Britain’s finest songwriters and performers.

His latest tour sees him mining the rich vein of his varied writing and recording career in a show that brings him closer to his audience than ever before.

Backed by The Imposters (effectively The Attractions minus bass player Bruce Thomas), Costello launches the show with frenetic versions of I Can’t Stand Up For Falling Down, Uncomplicated and High Fidelity that get the St David’s Hall audience out of their seats from the off.

There follows almost two and a half hours of brilliance on a stage dominated by a giant spinning wheel covered in song titles that audience members are invited up on stage to spin.

Costello and co then play whatever song the wheel stops on.

So we get the hits – Oliver’s Army, Radio Radio, Pump It Up, Watching The Detectives, Good Year For The Roses – interspersed with newer songs like Jimmie Standing In The Rain and A Slow Drag With Josephine.

Costello also plays a spellbinding version of Shipbuilding and a vicious Tramp The Dirt Down, along with long forgotten album tracks from his collaborations with Sir Paul McCartney (So Like Candy from the Mighty Like A Rose album) and Burt Bacharach (I Still Have That Other Girl from Painted From Memory), the latter highlighting the richness that maturity has brought to his voice.

A tremendous show from one of Britain’s true giants of the rock era.

Elvis Costello And The Imposters@Symphony Hall, Birmingham 31/5/13

Rocking The Midlands: 1st June, 2013

RTM saw Elvis Costello for the first time last year. Same venue, same set up. A big wheel on stage members of the audience spinning said sphere and Elvis and band playing whatever it lands on, while spinner watches the song from the on stage bar. It is all very relaxed.

In our review of the 2012 show, we wrote that we didn’t expect to see “a lady dancing in a cage wearing a short purple dress and knee length boots” during the course of a singer/songwriter evening. The lady, the boots and cage are back this time too, but this year what shocked us was Costello himself. Towards the end of this mammoth two and a half hour show, he plays “I Want You” and during in the song, he rips out an absolutely stunning guitar solo. If nothing else, it proves that his gigs always have the power to surprise.

The rest of it was pretty damn good too. He and his band The Imposters began with “I Can’t Stand Up For Falling Down” and also played the always welcome “Radio Radio” before the first audience member, given the chance to “come from the stalls to the stars” as host for the evening Napoleon Dynamite puts it spins “Oliver’s Army” which is played with a slightly altered arrangement. That “Dynamite” actually is Costello with a different hat on tells you all you need to know about the evening.

Hostess “The Mysterious Josephine” plucks some more people out of the crowd and “Pump It Up” is a winner, someone else wants to hear “Good Year For The Roses” doesn’t spin it, but it is played anyway.

Around half the songs are audience picks, which says much for the abilities of Imposters to play such a repertoire, while others are chosen by Costello himself (“If you can’t cheat in Birmingham, then where can you cheat?” he says with a grin)

The main set closes with “Tramp The Dirt Down” a song which you suspect has just a touch more resonance this year, but the band are far from finished. During “Watching The Detectives” Costello goes for a stroll around the crowd, picks three more people out for another spin, plays “(I Don’t Want to Go) To Chelsea and a fantastic and plaintive “Shipbuilding” but still isn’t done. A second encore which includes “Out Of Time” and “(What’s So Funny About) Peace, Love And Understanding” is what actually ends things.

Only an artist with a fine and extensive back catalogue could pull a show like this off. And only one with supreme confidence in their songs would try it. Far more than just a conventional gig, this is a extravaganza which takes elements of comedy (Costello is genuinely funny on occasion), variety, fairground and old style entertainment, and you cannot say fairer than that. It would be nothing without the songs, however, but as everyone knows Costello has good ones in spades.

Quite superb – and unlike the last time we saw this show, we knew that it would be.

The Spectacular Return of 'The Spectacular Spinning Songbook'

Third Royal Albert Hall date added June 6th
Also Plays Milton Keynes Theatre June 9th
Elvis Costello and The Imposters play 18 UK shows

“A funny, boisterous, big-hearted musical-hall variety show 4*” - The Times
“Showman Elvis spins his big hits 4*”- The Telegraph
“Breathtakingly personal 4*” – The Independent

Due to unprecedented demand, Elvis Costello and The Imposters add a
third Royal Albert Hall date to the critically acclaimed ’Spectacular
Spinning Songbook’ tour; Thursday June 6th. They will also be taking in
a show at Milton Keynes Theatre June 9th.

Tickets are on sale now from www.bookingsdirect.com

Elvis Costello & The Imposters play:
May
Fri 31st     BIRMINGHAM Symphony Hall
June
Sat 1st      CARDIFF, St David’s Hall
Sun 2nd     BRISTOL, Colston Hall
Tue 4th      LONDON, Royal Albert Hall
Wed 5th   LONDON, Royal Albert Hall
Thu 6th    LONDON, Royal Albert Hall
Sat 8th       SHEFFIELD, City Hall
Sun 9th      MILTON KEYNES, Milton Keynes Theatre
Mon 10th    LIVERPOOL, Philharmonic
Wed 12th    GATESHEAD, The Sage
Thu 13th   BLACKPOOL, Opera House
Fri 14th      MANCHESTER, Apollo
Sun 16th    EDINBURGH, Festival Theatre
Mon 17th    YORK, Barbican
Wed 19th    SOUTHEND,Cliffs Pavilion
Thu 20th   BASINGSTOKE, The Anvil SOLD OUT
Sat 22nd     BRIGHTON, Brighton Centre
Sun 23rd   CANTERBURY, The Marlowe Theatre

The ‘Spectacular Spinning Songbook’ was first seen in 1986 as part of
the ‘Costello Sings Again’ tour and returned to the UK last spring. An
overture of five songs announce Elvis Costello & the Imposters to the
stage, after which members of the audience are invited to spin the
gigantic vaudevillian contraption and select the next song.

The Imposters are keyboardist Steve Nieve, drummer Pete Thomas and
bassist Davey Faragher.

The Spectacular Return of 'The Spectacular Spinning Songbook' - The Results

The Spectacular Return of 'The Spectacular Spinning Songbook' The Results

Elvis Costello & The Imposters
York, England
June 17th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Bedlam - Spin 1

Chelsea - Spin 2

"Joker" - Spin 3

She

Accidents Will Happen - IMPROMPTU

You Little Fool - IMPROMPTU

The Beat - IMPROMPTU

Slow Down - Marriage Proposal

"Joanna" Jackpot - Spin 4

Shot With His Own Gun
I Still Have That Other Girl

Oliver's Army - IMPROMPTU

The Hammer Of Songs

Watching The Detectives

"Numbers" Jackpot - Spin 5

Less Than Zero
Two Little Hitlers
One Bell Ringing

Veronica - Vanessa's Request

Shipbuilding - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Tramp The Dirt Down

Finale

Alison
Strict Time
I Can't Stand Up For Falling Down
High Fidelity
Pump It Up
Peace, Love and Understanding

----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Edinburgh, Scotland
June 16th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

"Lips" Jackpot - Spin 1

Lipstick Vogue
Lip Service

Alison - Spin 2

"Cash" - Spin 3

Cry Cry Cry

Song With Rose - IMPROMPTU

Flutter & Wow - Spin 4

Love Field - IMPROMPTU

"Time" Jackpot - Spin 5

Strict Time
Man Out Of Time
Out Of Time

Beyond Belief - Spin 6

Just About Glad - IMPROMPTU

The Hammer Of Songs

Clown Strike

The Judgement - IMPROMPTU

Watching The Detectives - IMPROMPTU

Almost Blue - IMPROMPTU

Shipbuilding - Spinners Choice

Interlude

Oliver's Army
Good Year For The Roses
A Slow Drag With Josephine
Walking My Baby Back Home - Solo
Jimmie Standing In The Rain
My Three Sons
Suit Of Lights
Tramp The Dirt Down

Finale

Chelsea
New Lace Sleeves
Greenshirt
Red Shoes
Pump It Up
Peace, Love and Understanding

---------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Manchester, England
June 14th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Tokyo Storm Warning - Spin 1

Long Honeymoon - Spin 2

"Joker" - Spin 3

Shipbuilding

"King's Ransom" Jackpot - Spin 4

Brilliant Mistake
Poisoned Rose
Stations Of The Cross
Sleep Of The Just

"Imperial Chocolate" Jackpot - Spin 5

Kid About It
Beyond Belief
Battered Old Bird
Honey, Are You Straight Or Are You Blind?

Bedlam - Spin 6

Alison - IMPROMPTU

It Tears Me Up - IMPROMPTU

Interlude

Pills And Soap
She
Still

The Hammer Of Songs

Oliver's Army

Finale

Chelsea
Pump It Up
Red Shoes
Radio Radio
Peace, Love and Understanding

Encore

Jimmie Standing In The Rain
Tramp The Dirt Down

--------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Blackpool, England
June 13th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Riot Act - Spin 1

Everyday I Write The Book - Spin 2 Tilly's Spin

"Lips" Jackpot - Spin 3

Lipstick Vogue
Lip Service

Shipbuilding - Spin 4

Harry Worth - IMPROMPTU

The Hammer Of Songs

Clubland - Spin 5

"King's Ransom" Jackpot - Spin 6

Indoor Fireworks
A Slow Drag With Josephine
Walking My Baby Back Home - Solo
Jimmie Standing In The Rain
Suit Of Lights

Tramp The Dirt Down - IMPROMPTU

Interlude

Talking In The Dark
Invisible Man
She
Accidents Will Happen

How Much I Lied - Spin 7 - Spinners Request

Good Year For The Roses - IMPROMPTU

Watching The Detectives - IMPROMPTU

Finale

Greenshirt
Chelsea
Pump It Up
Peace, Love and Understanding
Oliver's Army

-------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Gateshead, England
June 12th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

No Action
Red Shoes
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

"King's Ransom" Jackpot - Spin 1

One Bell Ringing
Poisoned Rose
Stations Of The Cross
I'll Wear It Proudly

"Detectives vs Hoover Factory" - Spin 2 Split Decision

Watching The Detectives
Hoover Factory

Sulky Girl - Spin 3

Beyond Belief - IMPROMPTU

Stella Hurt - IMPROMPTU

The Hammer Of Songs

Poor Napoleon

Less Than Zero - IMPROMPTU

Alison - IMPROMPTU

Welcome To The Working Week - IMPROMPTU

Shipbuilding - IMPROMPTU

Oliver's Army - IMPROMPTU

"Joanna" Jackpot - Napoleon's Choice -Spin 4

I Still Have That Other Girl
She
Talking In The Dark
Accident's Will Happen

Good Year For The Roses - Spin 5

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Tramp The Dirt Down

Finale

Heart Of The City
Chelsea
Pump It Up
Peace, Love and Understanding
I Want You

------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Liverpool, England
June 10th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Lipstick Vogue
Heart Of The City
I Can't Stand Up For Falling Down
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Good Year For The Roses - Spin 1

"Girl" Jackpot - Spin2

This Years Girl
Girls Talk
Party Girl

In Another Room - Spin 3

Poor Napoleon - Spin 4

Shipbuilding - Spinner's Request

Strict Time - Spinner's Request

Man Out Of Time - IMPROMPTU

Chelsea - Spin 5

Lip Service - IMPROMPTU

The Hammer Of Songs

She

All Grown Up - Mr Nieve's Choice
The Invisible Man

Oliver's Army - IMPROMPTU

Watching The Detectives - IMPROMPTU

Almost Blue - From The Balcony

"Clowns & Fiddlers" Jackpot - Spin 6

Tramp The Dirt Down

Interlude

A Slow Drag With Josephine
Walking My Baby Back Home - Solo
Jimmie Standing In The Rain
Suit Of Lights
All These Strangers

Finale

King Horse

Everyday I Write The Book

"Joker" - Spin 7 "The Mysterious Josephine's Spin"

Pump It Up

Peace, Love and Understanding

---------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Milton Keynes, England
June 9th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
I Can't Stand Up For Falling Down
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Alison - Spin 1

Long Honeymoon - Spin 2

I Want You - Spin 3 vocal with "Spinner" Molly Chenoa

Good Year For The Roses - Spin 4

My All-Time Doll - Spin 5

Secondary Modern/Watch Your Step - Spin 6

Deep Dark Truthful Mirror - Spin 7

Blame It On Cain - IMPROMPTU

The Hammer Of Songs

Chelsea

The Beat - IMPROMPTU

Miracle Man - IMPROMPTU

Shabby Doll - IMPROMPTU

Interlude

All These Strangers
A Slow Drag With Josephine
Jimmie Standing In The Rain
Suit Of Lights
Tramp The Dirt Down

"Joanna" Jackpot - Napoleon's Choice

Invisible Man
She
After The Fall

Oliver's Army - IMPROMPTU

Finale

Pump It Up

Stella Hurt - Spin 8

Peace, Love and Understanding

---------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Sheffield, England
June 8th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Shipbuilding - Spin 1

Oliver's Army - Spinners Request

Bedlam - Spin 2

"Beauty Or Beast" Jackpot - Spin 3

All This Useless Beauty
Monkey To Man

Radio Sweetheart - IMPROMPTU

"Happy" Jackpot - Spin 4

Possession
Secondary Modern/Watch Your Step
Girls Talk

"Joker" - Spin 5

Stations Of The Cross
A Slow Drag With Josephine
Jimmie Standing In The Rain

"Joker" - Spin 6

Watching The Detectives

The Hammer Of Songs

I Want You

"Joanna" Jackpot - Spin 7 - Napoleon's Choice

She
I Still Have That Other Girl

Everyday I Write The Book - Spin 8

Red Shoes - IMPROMPTU

Less Than Zero - IMPROMPTU

Tramp The Dirt Down - IMPROMPTU

Finale

Heart Of The City
You Belong To Me/The Last Time

Chelsea - Spin 9

Pump It Up - IMPROMPTU

Peace, Love and Understanding

-------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
London, England
June 6th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Doll Revolution
I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

45 - Spin 1

"Girl" Jackpot - Spin 2

This Years Girl
Sulky Girl
Girls Talk

I Want You - Spin 3

Riot Act - Spin 4

Red Shoes - IMPROMPTU

Either Side Of The Same Town - Spin 5 by Bonnie Raitt

"Cash" Cry Cry Cry - Spin 6

Song With Rose - IMPROMPTU

Brilliant Mistake - IMPROMPTU

The Hammer Of Songs

Oliver's Army
Man Out Of Time
Shipbuilding

"Joanna" Jackpot - Spin 7

She
Shot With His Own Gun

London's Brilliant Parade - IMPROMPTU

Tramp The Dirt Down - IMPROMPTU

Interlude

Indoor Fireworks
A Slow Drag With Josephine
Jimmie Standing In The Rain
Watching The Detectives

Everyday I Write The Book - Spin 8

Chelsea - IMPROMPTU

Pump It Up - IMPROMPTU

Peace, Love and Understanding with Steve Nieve on Albert's Royal Organ

-----------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
London, England
June 5th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Welcome To The Working Week
No Action
Strict Time
Accidents Will Happen
Next Time Around

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

"Detectives vs Hoover Factory" - Spin 1

Watching The Detectives - UNANIMOUS DECISION

Oliver's Army - Spin 2

Human Hands - IMPROMPTU

Almost Blue - Spin 3

"Happy" Jackpot - Spin 4

I Can't Stand Up For Falling Down
High Fidelity

Radio Radio - IMPROMPTU

Alison - Alison's Request

"Kings Ransom" Jackpot - Spin 5

Brilliant Mistake
A Slow Drag With Josephine
Jimmie Standing In The Rain
Suit Of Lights
Sleep Of The Just

Everyday I Write The Book - IMPROMPTU

The Hammer Of Songs

Chelsea

Waiting For The End Of The World - IMPROMPTU

Beyond Belief - IMPROMPTU

I Want You - IMPROMPTU

Interlude

Dr. Watson, I Presume
Home Is Anywhere You Hang Your Head
Shipbuilding
London's Brilliant Parade
Tramp The Dirt Down

Finale

Heart Of The City
Pump It Up
Peace, Love and Understanding with Steve Nieve on Albert's Royal Organ

---------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
London, England
June 4th, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

Clubland - Spin 1

Bedlam - Spin 2

I Want You - Spin 3

Oliver's Army - Spinners Request

"Joanna" Jackpot - Spin 4

All Grown Up
I Still Have That Other Girl
She

River In Reverse - Spin 5

"Clowns & Fiddlers" Jackpot - Spin 6 - with Kendel Carson on vocal and fiddle

The Other End Of The Telescope
Sulphur to Sugarcane
Good Year For The Roses
A Slow Drag With Josephine
Watching The Detectives

Interlude

Lipstick Vogue

"Happy" Jackpot - Spin 7

I Hope You're Happy Now

Finale

Chelsea - IMPROMPTU

Alison
Red Shoes
Less Than Zero
Shipbuilding
Tramp The Dirt Down
Peace, Love and Understanding with Kendel Carson on vocal and fiddle and Steve Nieve on Albert's Royal Organ

Encore

Jimmie Standing In The Rain - Napoleon Solo

Pump It Up - with Kendel Carson on vocals

--------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Bristol, England
June 2nd, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
You Belong To Me/The Last Time

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

I Want You - Spin 1

Oliver's Army - Spin 2

Good Year For The Roses - Spin 3

Stranger In The House - IMPROMPTU

Alison - Spin 4

Waiting For The End Of The World - IMPROMPTU

Beyond Belief - IMPROMPTU

She - Spin 5

Motel Matches - Spin 6

"Cash" - Cry Cry Cry - Spin 7

"Beauty Or Beast" Jackpot - Spin 8

Bedlam
Drum & Bone
All This Useless Beauty

Napoleon's Choice

A Slow Drag With Josephine
Jimmie Standing In The Rain
Suit Of Lights

Interlude

Shipbuilding
Dr. Watson, I Presume
Tramp The Dirt Down
My Three Sons

Finale

Chelsea

The Hammer Of Songs

Accidents Will Happen
Pump It Up
Peace, Love and Understanding

Joshua's Spin - Spin 9

Watching The Detectives

-------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Cardiff, Wales
June 1st, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

"Joker" - Spin 1

Alison

So Like Candy - Spin 2

Everyday I Write The Book - Spin 3

"Girl" Jackpot - Spin 4

Girls Talk

Heart Of The City - IMPROMPTU

Secondary Modern/Watch Your Step - Spin 5

"Cash" - Cry Cry Cry - Spin 6

Napoleon's Choice

Song With Rose
Good Year For The Roses
A Slow Drag With Josephine
Jimmie Standing In The Rain
Drum & Bone
London's Brilliant Parade
Tramp The Dirt Down

Interlude

Dr. Watson, I Presume
Home Is Anywhere You Hang Your Head
Watching The Detectives/Help Me

Chelsea - Spin 7

"King's Ransom" Jackpot - Spin 8

Brilliant Mistake

The Hammer Of Songs

I Want You

"Joanna" Jackpot - Spin 9

I Still Have That Other Girl

Finale

Shipbuilding
Oliver's Army
Pump It Up
Peace, Love and Understanding

----------------------------------------------------------------------------------------------

Elvis Costello & The Imposters

Birmingham, England, May 31st, 2013

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook - with The Mysterious Josephine - Your Guide From Your Place In The Stalls To Your Place In The Stars

My All-Time Doll - Spin 1

Oliver's Army - Spin 2

Less Than Zero - IMPROMPTU

Brilliant Mistake - Spin 3

Pump It Up - Spin 4

Mystery Dance - IMPROMPTU

You Belong To Me - IMPROMPTU

Good Year For The Roses - Spin 5

"???????" - Miss Josephine's Choice

A Slow Drag With Josephine
Jimmie Standing In The Rain
Suit Of Lights

"King's Ransom" Jackpot - Spin 6

Dr. Watson, I Presume

Home Is Anywhere You Hang Your Head - IMPROMPTU

Tramp The Dirt Down - IMPROMPTU

Interlude

Lipstick Vogue

Watching The Detectives

The Spectacular Spinning Songbook

God Give Me Strength - Spin 7

Chelsea - IMPROMPTU

Beyond Belief - Spin 8

The Hammer Of Songs

I Want You

Finale

Strict Time

Out Of Time

Man Out Of Time - Spin 9

Peace, Love and Understanding

Elvis Costello

May 29th, 2013 - New York, NY - Elvis Costello and The Roots have
announced today that a collaborative album entitled Wise Up Ghost will
be exclusively released by Blue Note Records on Monday 16th September
2013 in the UK and Tuesday September 17th 2013 in the USA.

The existence of the record was first revealed by ?uestlove as an aside
during an interview with Billboard Magazine in January. A small number
of test pressings were distributed as white labels on Record Store Day
on the 20th of April but the full release will follow later in the year.

Most of the sessions took place in secret at Feliz Habitat Studios in
the dead of night, while others were in plain sight at Costello’s
Hookery Crookery Studios. Elvis described the record as “the shortest
distance between here and there” and containing “both rhythm and what is
read”. Ahmir says, “It's a moody, brooding affair, cathartic rhythms and
dissonant lullabies. I went stark and dark on the music, Elvis went HAM
on some ole Ezra Pound shit.”

The solitary star announcing vacancy burnt out as we arrived

They'd throw us back across the border if they knew that we survived

It promises to be one of the most unexpected and surprising releases of
2013.

In addition to the fabulous Roots crew and friends, the record features
a guest vocal appearance on “Cinco Minutos Con Vos” from La Marisoul,
lead singer of the Los Angeles group, La Santa Cecilia.

The album was produced by longtime Roots associate, Steven Mandel
together with Elvis Costello, and Ahmir “?uestlove” Thompson.

About Elvis Costello:
Elvis Costello began working as a professional musician 35 years ago, shortly after the release of his first album, “My Aim Is True”. He has made more than 27 studio records, three live albums and numerous guest appearances on stage, studio and screen as well as working as a record producer, bit-part actor and composing music for television drama and dance performance. He has toured the world with The Attractions, The Imposters and the pianist, Steve Nieve, performing with symphony and jazz orchestras as well as in solo performance. His catalogue of songs includes collaborations with Paul McCartney, Allen Toussaint and Burt Bacharach with whom he won a Grammy for “I Still Have That Other Girl” from their 1998 collaboration, Painted From Memory. Costello’s songs have been recorded by George Jones, Chet Baker, Johnny Cash, Roy Orbison, Dusty Springfield and Robert Wyatt. Elvis Costello and The Attractions were inducted into the Rock and Roll Hall of Fame in 2003. In the same year he was awarded ASCAP’s prestigious Founder’s Award. His last record was 2010s National Ransom, produced by T-Bone Burnett. Between 2008 and 2010, Costello was the host of twenty episodes of the interview and music show, “Spectacle” on the Sundance Channel.

About Ahmir “?uestlove” Thompson:
Drummer, DJ, producer, culinary entrepreneur, author and member of The Roots - Ahmir “?uestlove” Thompson, is the unmistakable heartbeat of Philadelphia’s most influential hip-hop group. He is also the Musical Director for Late Night with Jimmy Fallon where his beloved Roots crew serves as the house band. The musician’s indisputable reputation has also landed him musical directing positions with everyone from D'Angelo to Eminem to Jay-Z. In addition, the artist will release his first memoir, Mo’ Meta Blues: The World According to ?uestlove, on June 18th.

About The Roots:
Formed in 1987, in Philadelphia, PA, the legendary Roots
Crew, consists of Black Thought (MC), Ahmir “?uestlove” Thompson
(drums), Kamal Gray (electronic keyboards), F. Knuckles (percussion),
Captain Kirk Douglas (electronic guitar), Damon Bryson (sousaphone) and
James Poyser (electronic keyboard). Having previously released twelve
projects, The Roots have become one of the best known and most respected
hip-hop acts in the business, winning four Grammys, including “Best R&B
Album” for Wake Up!, “Best Traditional R&B Vocal Performance” for “Hang
in There” (with John Legend) and “Best Group or Duo R&B Vocal
Performance” for “Shine.” The ensemble was most recently nominated for
“Best Rap Album” for the 2011 release of undun. This brings the band’s
GRAMMY nomination count to twelve. Additionally, The Roots have also
become the faces of Philly’s “Fourth of July Jam,” an annual concert
held during the Fourth of July with the biggest names in music, and “The
Roots Picnic,” a yearly star-studded mix of musicians, that has become a
celebrated institution during awards season. Recently The Roots were
named one of the greatest live bands around by Rolling Stone, became the
official house band on Late Night with Jimmy Fallon where they currently
perform every Monday- Friday.

Elvis Costello

Elvis Costello & the Imposters, Mumford & Sons and more will be playing at the 2013 Sasquatch! Music Festival on Sunday 26th May. The festival, which sold out in a record 90 minutes after going on sale, runs May 24-27 (Memorial Day
Weekend) at The Gorge, the internationally acclaimed concert venue
carved in the basalt cliffs high above the Columbia River Gorge in
Quincy, WA.

Sasquatch! has been hailed as “a model of well-paced
programming...in a four-day schedule as efficient and natural feeling as
an expertly built algorithm” by NPR Music while Wired noted, “leave the
landscape out of it and Sasquatch! has a lineup to kill for.”

Elton John, Ray Davies, Elvis Costello

Stereoboard.com: 21st May, 2013

The multi-million selling, incomparable Elton John is to lead star-studded line-up celebrating the best of British songwriting at the final Friday of Barclaycard's British Summer Time concerts at London's Hyde Park.

Friday 12th July will celebrate a great evening of British songwriters as three of the country¹s finest take to The Great Oak Stage with the Grammy Award-winning legend Elton John and his band as the headline act. Also on the bill will be the legendary former-Kinks frontman, Ray Davies and the outstanding Elvis Costello performing full sets with their own bands in the run up to Sir Elton and his band.

Across Hyde Park, the three other event stages will also see brilliant singer-songwriter talent. At The Barclaycard Unwind Theatre,you can hear the unmistakable chords of Nick Lowe - English singer-songwriter, producer and collaborator of Elvis Costello - as well as Lucy Rose, a former backing singer with Bombay Bicycle Club who released her first solo album to great acclaim last September and founding member of Del Amitri, Justin Currie. American singer-songwriter, Tift Merrit will feature at The Village Hall alongside British folk/rock band To Kill A King. Finally, The Bandstand will see Thea Gilmore as a headline act. She is joined by Grammy and Golden Globe nominee and one time Beyonce collaborator, Scott McFarnon and Olivia Sebastianelli .

Tickets available now!

Elvis Costello

Elvis Costello & The Imposters will perform at the 2013 Glastonbury Festival on Saturday 29th June on The Pyramid Stage.

The headliners for Saturday will be The Rolling Stones.

Glastonbury reveal their 2013 line-up. The Pyramid Stage headliners will beArctic Monkeys (Friday), The Rolling Stones (Saturday) and Mumford & Sons (Sunday). Even more acts, stages and attractions to be announced.

PYRAMID STAGE
Arctic Monkey
The Rolling Stones
Mumford & Sons
Dizzee Rascal
Primal Scream
Nick Cave & The Bad Seeds
Vampire Weekend
The Vaccines
Elvis Costello & The Imposters
Kenny Rogers
Ben Howard
Rita Ora
Rufus Wainwright
Jake Bugg
Professor Green
Laura Mvula
Billy Bragg
Rokia Traoré
First Aid Kit
Haim

"Losing Game"

" Elvis Costello makes a vocal appearance on "Losing Game." His and La Marisoul's voices are perfectly balanced in this cinematic, souled-out rock and rumba groove"

Read More …

Jazz Rocks Harlem's Apollo

The Wall Street Journal: Tad Hendrickson: 19th May, 2013.

The 1958 Art Kane photo "A Great Day in Harlem" featured 57 jazz musicians posed on the steps and sidewalk in front of a Harlem brownstone. It is arguably the most famous jazz photo ever taken. Riffing on that photo, the Jazz Foundation of America hosted its 12th Annual A Great Night in Harlem performance and gala Friday night at the Apollo Theater, which around the corner from the site of the famous photo.

"The idea was born when I first took this job," recalled Wendy Oxenhorn, the executive director of the organization. "I didn't know much about Jazz—I was a straight bluesman—so I rented Jean Bach's 'A Great Day in Harlem' documentary figuring I'd learn who was who, like a mini-history lesson. When I was watching it, I thought, How amazing would it be to get all the jazz legends left today to come together and create a living playing photograph in Harlem on the stage of the Apollo?"

Ms. Oxenhorn and the JFA pulled the initial one together in nine weeks, presenting the first jazz-and-blues concert at the Apollo in 50 years to a packed house 13 days after the terrorist attacks of Sept. 11, 2001.

That night they raised $350,000 with just a concert. The JFA has since raised over $20 million, with this year's event raising $1.3 million.

Elvis Costello, Macy Gray, the Red Hot Chili Peppers drummer Chad Smith, Paul Shaffer and others appeared for an audience of 1,500 at the Apollo, performing with and all-star house band that featured many of the same players from Robert Altman's jazz era gem "Kansas City." About 1,000 stuck around for the dinner and after party, which included a surprise appearance by pianist Chick Corea.

"Hearing Henry Butler play that beautiful intro for Allen Toussaint's 'Freedom for the Stallion' meant that every word of the song was already true before I ever opened my mouth," Mr. Costello, who did four songs, wrote in an email later. "Trading with Macy on 'Compared To What' with that band—James Carter, good grief!—was a gas. I'll never forget any of it."

Jazz musicians generally don't have a retirement plan, and even the ones with long and successful careers, like 92-year-old trumpeter Clark Terry, need a helping hand. His former student Quincy Jones, who spoke at length about his teacher and the power of music, honored Mr. Terry on Friday.

Montreux Jazz Festival founder Claude Nobs was honored posthumously with the Dr. Billy Taylor Humanitarian Award. Suffering from stage four cancer, R&B singer Babi Floyd performed "All Alone," and there were many other highlights.

"What I'll remember most about the night is [saxophonist] Charles Gayle talking about being trapped downtown in his apartment after Sandy and he hadn't eaten," said Dick Parsons, the chairman of JFA's board. "He was just looking for some chicken. And the Jazz Foundation people showed up at his door with chicken because they were checking on a musician across the street who told them about Charles. That's what the JFA does."

Only a few jazz musicians from the Kane photo are alive today, but there are many other musicians in need of assistance. More than just providing food or money to cover rent and mortgages, the nonprofit even helps find dignified work to 5,000 musicians each year in the New York area and beyond.

"I was talking to someone at the JFA and happened to mention a legendary jazz musician—who does not live in NYC, but is going through some financial problems—and he said they were already on it," said Steven Bernstein, the evening's musical director. "That's amazing."

Elvis Costello and The Imposters leave the Wheel behind for summer shows and play a host of European dates

Elvis Costello and The Imposters will drop the wheel off in Canterbury
and head back out on the road in June, July and August for a run of European shows.

After touring the length and breadth of the country with their
‘Spectacular Spinning Songbook’ in tow, Elvis Costello and The Imposters downtools to play various summer festivals and events in Germany, Holland,Belgium, Switzerland, Spain, Norway and many more, over the summer months.

June
Wed 26th     CORK, IRELAND, Live at The Marquee
Thu 27th     DERRY/LONDONDERRY, NORTHERN IRELAND, The Venue 2013
Sat 29th      SOMERSET, ENGLAND, Glastonbury
Sun 30th     WESTPORT, IRELAND, Westport Festival

July
Sat 13th      BRANDON, ENGLAND, Thetford Forest
Mon 15th     OFFENBACH, GERMANY, Capitol
Tue 16th     LUXEMBOURG CITY, LUXEMBOURG, Neumunster Abbey
Wed 17th    BERLIN, GERMANY, Tempodrom
Fri 19th      TILBURG, NETHERLANDS, O13
Sat 20th     GENT, BELGIUM, Jazz Festival
Sun 21st     DUSSELDORF, GERMANY, Tonhalle
Tue 23rd     LUCERNE, SWITZERLAND, Blue Balls Festival
Thu 25th    SAN SEBASTIAN, SPAIN, 48 Heineken Jazzaldia
Fri 26th      BARCELONA, SPAIN, Poble Espanyol
Sat 27th     MADRID, SPAIN, Teatro Circo Price

August
Thu 1st    TRONDHEIM, NORWAY, Borggarden
Fri 2nd    BODØ, NORWAY, Bodø Spektrum
Sat 3rd    BERGEN, NORWAY, USF Verftet
Sun 4th    ELVERUM, NORWAY, Terningen Arena
Wed 7th    MONACO, Monte Carlo Sporting Club

More dates go on sale over the upcoming weeks so check back to
elviscostello.com or Facebook.com/ElvisCostello regularly for
current updates!

The Imposters are keyboardist Steve Nieve, drummer Pete Thomas and
bassist Davey Faragher .

Burt Bacharach, Elvis Costello and Chuck Lorre adapting album for musical

The Washington Post: 8th May, 2013.

One of television’s most successful sitcom writers is joining with Burt Bacharach and Elvis Costello to create a musical based on the artists’ 1998 album “Painted From Memory.”

Bacharach said Tuesday that Chuck Lorre, creator of “Two and a Half Men” and “The Big Bang Theory,” contacted him and said he wanted to write a story to go with the music.

The dark and lush album was an unusual collaboration between a pop classicist and an Englishman who usually traffics in rock ‘n’ roll. They earned a Grammy for one of its songs, “I Still Have That Other Girl.” Other songs on the disc include “God Give Me Strength” and “This House is Empty Now.”

Given the songs’ subject matter, Bacharach said the show “won’t be a comedy.” He declined to give details of the story Lorre was writing for the musical. They’re hoping the show makes it to Broadway.
Costello said he and Bacharach are writing additional music for the show.

Elvis Costello, Irma Thomas, Cyril Neville, Deacon John sang Allen Toussaint's praises and songs

The Times-Picayune: Keith Spera: 1st may 2013. Photo: David Grunfield.

Early in Tuesday night's (April 30) star-studded 75th birthday tribute to Allen Toussaint at the Harrah's Theater in New Orleans, the honoree was called on stage to accept a pair of long-overdue Grammy nominee medallions. "I don't accept this humbly," the soft-spoken Toussaint enthused. "I accept it boldly."

By "boldly," Toussaint apparently meant in his typically gracious, self-effacing manner. Even on a night dedicated to his remarkable legacy, he deflected praise toward others.

He made a point of singling out Dave Bartholomew, the 92-year-old producer and co-writer of Fats Domino's hits, in the audience. Elvis Costello, one of Tuesday's featured performers, "discovered me," Toussaint said, referring to "The River in Reverse," the album he recorded with Costello after Hurricane Katrina. "He introduced me to the world that was out there that I saw from afar. Thanks to Elvis, I saw it close up."

As Tuesday's "A Tribute to Toussaint" made clear, the world of popular music, in New Orleans and beyond, already was well-versed in Allen Toussaint long before Costello "discovered" him. As a producer, songwriter and pianist, he crafted scores of hits for a succession of New Orleans notables.

Between muddy New Orelans Jazz Fest weekends at the Fair Grounds, many of those notables dressed up to sing Toussaint's songs at Harrah's. The show, which was taped by Louisiana Public Broadcasting, benefited "New Orleans Artists Against Hunger and Homelessness", the charitable organization Toussaint co-founded in the 1980s.

The NOAAHH organization has a long history of star-studded fundraiser concerts. Tuesday's show was not sold out, possibly due to a starting ticket price of $250 and an extraordinarily busy Jazz Fest week.

Those in attendance witnessed a crisply paced, 2 1/2-hour showcase of the best of classic New Orleans music.

Want to stage a first-rate, TV-worthy concert? Start with a crackerjack house band such as the one deployed Tuesday. After only one day of rehearsal, that band was air-tight.

It featured Toussaint's son Reggie on percussion and his son-in-law Herman LeBeaux Jr. on drums. Bassist Roland Guerin is a regular Toussaint sideman, as are guitarists Renard Poche and Anthony Brown.

A five-piece horn section boasted "Big" Sam Williams on trombone, Joe Fox and Tracey Griffin on trumpets, Amadee Castenell on tenor sax and Brian "Breeze" Cayolle on baritone. In fringed red dresses, Erica Falls, Elaine Foster and Lisa Foster - known collectively as ELS - provided deep-soul backing vocals.

Together, they backed a procession of local luminaries - introduced by emcee Eric Paulsen of WWL-TV -- whose careers were impacted by Toussaint.

Mac "Dr. John" Rebennack reprised his "Right Place, Wrong Time," from the 1973 Toussaint-produced album "In the Right Place." Joe Henry, the singer-songwriter who produced "The River in Reverse" and Toussaint's 2009 Grammy-nominated album "The Bright Mississippi,"sang Toussaint's "From a Whisper to a Scream."

In an early highlight that brought the cocktail-attired audience to its collective feet, pianist Jon Cleary - whose excellent 2012 album "Occapella" consisted entirely of Toussaint compositions -- thundered through "Brickyard Blues." He settled down for "Wrong Number (I'm Sorry, Goodbye)."

The nattily attired Deacon John Moore sparked an uptempo "Taint It the Truth," the Ernie K-Doe hit written and produced by Toussaint (a young Moore played guitar on the original recording). Establishing a theme for the night, Toussaint joined in on piano.

He remained there as Irma Thomas, a-glitter in a purple gown and sparkling necklace, navigated "Ruler of My Heart" and "It's Raining" - again, both originally written and produced by Toussaint. During "It's Raining," as Toussaint finished a brief piano solo, he made eye contact with Thomas; she smiled and resumed singing.

Troy "Trombone Shorty" Andrews, who will close out the Acura Stage for the first time on Sunday's final day of Jazz Fest, stepped up to uncork "Java" - a Toussaint-composed smash for the late Al Hirt - on trumpet, as Larry Sieberth took a turn on piano. Andrews switched to trombone as Costello joined him for "On Your Way Down."

Cyril Neville stepped up for "Old Treme," which he co-wrote with Toussaint. Demonstrating why Aaron Neville considers him the best singer in the Neville family, Cyril then poured his slight frame into a brooding reimagining of "Fortune Teller," shouting like a soul singer in full torment.

In 1966, Joe Stampley fronted Shreveport rock band the Uniques on a hit cover of Toussaint's "All These Things." A decade later, Stampley, by then a prolific solo country artist, scored a No. 1 hit with a "two-step" version of "All These Things." On Tuesday, he offered both versions, with Costello singing harmony and Toussaint on piano.

By then, Toussaint - whose actual 75th birthday was Jan. 14 - had changed from a dark suit to a green one that, whether by serendipity or design, matched Costello's socks.

Costello called his association with Toussaint, whom he first met 30 years ago, a highlight of his own illustrious career. "I don't deserve the praise that he gave me," Costello said of Toussaint. "But thank you so much for applauding so loudly."

He dug into the ballad "The Greatest Love," a Toussaint-crafted hit for Lee Dorsey that resurfaced on "The River in Reserve." It was dressed up by piano flourishes courtesy of the evening's honoree and an uncharacteristically restrained solo by Meters guitarist Leo Nocentelli, who had temporarily replaced Brown.

Toussaint, working hard at his own tribute, finished out the night with a trio of favorites: "What Is Success?" - marked by a fine Poche guitar solo - "Everything I Do Gohn Be Funky (From Now On)" and a final, high-stepping "Southern Nights."

Earlier, Costello introduced "Who's Gonna Help Brother Get Further" by revealing Toussaint's initial hesitation to perform it.

"Allen said, 'There's too much of me in this song.' There is no such thing as too much Allen Toussaint."

"A Tribute to Toussaint" made that clear.

Stars turn out to pay tribute to Allen Toussaint and raise money for NOAAHH

The Times-Picayune: 1st May, 2013

Allen Toussaint celebrated his 75th birthday surrounded by an audience of fans and a stage full of singing stars on Tuesday night at Harrah’s New Orleans Theatre. "A Tribute to Toussaint" raised money for "New Orleans Artists Against Hunger and Homelessness" (NOAAHH), the nonprofit organization that Toussaint and Aaron Neville co-founded in 1985.

Toussaint, who turned 75 on Jan. 14, is a Rock 'n' Roll Hall of Fame songwriter, producer and pianist who drew to the stage a host of guest singers, including: Elvis Costello, Dr. John, Irma Thomas, Jon Cleary, Cyril Neville, Deacon John, Joe Stampley and producer/musician Joe Henry.

In addition to being the night’s honoree, Toussaint joined in the performances of his hit songs, such as Irma Thomas' signature hit, "It's Raining." He wrapped the show with "Southern Nights."

LAE Productions and WLAE-TV filmed the show and will use it as the basis of a documentary about Toussaint, similar to the "Fats Domino: Walkin' Back to New Orleans" project.

50/50 Vision

“You want imagination
But you cannot pretend”

1. April 5th

2. Suit Of Lights

3. The Birds Will Still Be Singing

4. Jimmie Standing In The Rain

5. Shipbuilding

"The truth can't hurt you, it's just like the dark
It scares you witless but in time you see things clear and stark"

6. Poison Moon

7. Couldn't Call It Unexpected No.4

8. High Fidelity

9. I Want You

10. In Another Room

“And you think you're a guest, you're a tourist at best"

11. Man Out Of Time

12. My Dark Life

13. Ascension Day

14. Country Darkness

15. God Give Me Strength

16. Almost Blue

17. Indoor Fireworks

18. Fallen

19. New Lace Sleeves

20. When I Was Cruel No. 2

“It's only money
It's only numbers
Maybe it is time to put aside these fictitious wonders”

21. Beyond Belief

22. I Want To Vanish

23. London's Brilliant Parade

24. My Three Sons

25. (The Angels Wanna Wear My) Red Shoes

26. All Grown Up

27. 45

28. Riot Act

29. All This Useless Beauty

30. Red Cotton

“An uncivil war divides the nation
So erase the tape on the final ape running down creation”

31. Sleep of The Just

32. Deep Dark Truthful Mirror

33. The River In Reverse

34. Stations Of The Cross

35. Watching The Detectives

36. Little Triggers

37. Shot With His Own Gun

38. Alison

39. Talking In The Dark

40. Watch Your Step

“Cheap cut satin and bad perfume
Showtime is almost here”

41. King Horse

42. Love Field

43. The Long Honeymoon

44. In The Darkest Place

45. Motel Matches

46. Stranger In The House

47. Tramp The Dirt Down

48. Bedlam

49. Oliver's Army

50. The Scarlet Tide

“They're so tired of shooting protest singers that they hardly mention us”

51. All The Rage

52. Tokyo Storm Warning

53. That Day Is Done

54. Still

55. So Like Candy

56. Accidents Will Happen

57. Brilliant Mistake

58. Lipstick Vogue

59. New Amsterdam

60. American Without Tears

“Fill up that empty space in your heart, listen up when the herald says, “Hark”

61. I’m In The Mood Again

62. A Voice In The Dark

63. Veronica

64. What's Her Name Today?

65. For The Stars

66. She Handed Me A Mirror

67. Dirty Rotten Shame

68. Ghost Train

69. Episode Of Blonde

70. Party Girl

“It's strange to finally find myself so tongue-tied”

71. Black And White World

72. Heart Shaped Bruise

73. Dr Watson, I Presume

74. Big Tears

75. Pump It Up

76. Black Sails In The Sunset

77. Someone Took The Words Away

78. Poisoned Rose

79. All These Strangers

80. Human Hands

“There’s a merry song that starts in “I” and ends in “You”, as many famous pop songs do”

81. This Year’s Girl

82. Harry Worth

83. You Little Fool

84. I’ll Wear It Proudly

85. Tart

86. Toledo

87. You Tripped At Every Step

88. This House Is Empty Now

89. Just A Memory

90. Favourite Hour

"It's not a matter of life and death but what is?"

91. Basement Kiss

92. Sulky Girl

93. Home Is Anywhere You Hang Your Head

94. Hoover Factory

95. Clubland

96. Pills and Soap

97. Bullets For The New-Born King

98. No Star - "1975. Unrecorded"

99. No Wonder

100. Less Than Zero

La Santa Cecilia Teams With Elvis Costello on 'Losing Game'

Rolling Stone: 29th April, 2013

Los Angeles quartet La Santa Cecilia this week release their major label debut Treinta Días, a record that finds the former buskers teaming up with none other than Elvis Costello.

This isn't the first time Costello has worked with La Santa Cecilia frontwoman La Marisoul – the two teamed up for "Don't Let Me Be Misunderstood" during a concert last year – but now you can take an exclusive first listen to their new collaboration "Losing Game." The sultry lost-love lament simmers with piano and a winding accordion, the perfect foundation for the excellent pairing of Costello's husky, wavering voice and La Marisoul's enchanting, unfettered bellow. Treinta Días comes out April 30th, on Universal.

Listen to "Losing Game"

BBC Radio 4 Soul Music - Shipbuilding

Shipbuilding

The song from 1982 was written by Elvis Costello and Clive Langer for Robert Wyatt and has been recorded in several versions by Elvis Costello himself, Suede, June Tabor, Hue and Cry, Tamsin Archer and The Unthanks.

The blend of subtle lyrics and extraordinary music makes this a political song like no other. It transcends the particular circumstances of its writing: the Falklands War and the decline of British heavy industry, especially ship-building.

Clive Langer and Elvis Costello describe how the song came to be written and how the legendary jazz trumpeter and flugelhorn player, Chet Baker, came to perform on Costello's version.

Richard Ashcroft is a philosopher who wants the song, which he describes as a kind of secular hymn, played at his funeral because it gives a perfect expression of how he believes we should think about life. Not being able to feel the emotion of the song would, he feels, be like being morally tone-deaf. If you don't like this song, he'd find it hard to be your friend.

The song's achingly beautiful final couplet about "diving for pearls" makes the MP Alan Johnson cry and has also inspired an oral history and migrant integration project in Glasgow. Chris Gourley describes how the participants found a way to overcome their lack of English and communicate through a shared understanding of ship-building practice.

Other contributors include Hopi Sen, a political blogger who was an unusually political child, and the Mercury Prize winning folk group The Unthanks. They toured their version to towns with ship-building connections as part of a live performance of a film tracing the history of British ship-building using archive footage.

Producer: Natalie Steed

Click here to listen to BBC Radio 4 Soul Music - Shipbuilding

El Hielo

Remezcla Musica: El Guido: 7th March, 2013

There are an estimated 2.8 million immigrants living in the U.S. Many left their home countries in hopes of a better future and in pursuit of the illusive “American Dream.” These immigrants are part of a shadow workforce that faces daily barriers, live under persecution and with constant fear of being deported just to provide for their families. On their moving new single, “El Hielo (Ice),” La Santa Cecillia brings into the limelight some of the people that strive to survive, day in and day out. The tragically beautiful and melancholic track uses some of these stories as inspiration to address this poignant issue in a melodious way.

The lyrics are personal and were inspired by three people close to the band. Take the story of Eva, who is inspired by La Marisoul’s mom who is a housekeeper herself. She represents the plight that many domestic workers face, always fearful that one little mistake could potentially get them deported. Jose was a taxi driver in his homeland that now tends to lush gardens and commutes to work without a driver’s license. His story represents those who had better jobs in their home countries as well as those who drive around risking being pulled over and deported. Martha’s story is inspired by a good friend of the band who was brought to the U.S. when she was just a child and has been adamant about pursuing higher education despite the obstacles she has faced. Her story represents the thousands of Dreamers (Dream Act applicants) that due to their immigrant status face an uphill battle but are making their dreams come true.

The chorus addresses the stories of families that have been divided by deportations at the hands of the Immigrant and Customs Enforcement (ICE). One of the most moving visuals of the lyrics is the line about children crying at school when they realize that their mom is not coming to pick them up. It states that ICE is on the loose and one never knows when your number is up. Some stay here, the other stays there. This is what happens when you go out to make a living.

The catchy track features La Marisoul’s beautifully soothing vocals that are accompanied by a bossa-nova inspired plucked guitar, swaying accordion arrangements and subtle hand-clapping. If it wasn’t for the lyrics you could easily mistake this song as light-hearted lullaby. The real beauty of the song is its simplicity and honest storytelling. La Santa Cecilia could have easily made this song sound gloomy and preachy but instead they use a lively rhythm to reflect a reality of life in the U.S.?

Prepare to grab your tissue, you just may need it.

Elvis Costello colaborara en el nuevo disco del grupo La Santa Cecilia

Informador.com: 13th March, 2103

Miami, Estados Unidos (11/Mar/2013).- El grupo hispano La Santa Cecilia contará para su nuevo disco, "Treinta días", con la colaboración del popular cantante británico Elvis Costello en el tema "Losing game", informó hoy la banda.

"Desde que 'La Marisoul' (cantante de La Santa Cecilia) y yo intercambiamos versos en español y en inglés para el tema 'No Let Me Be Misunderstood' en el Teatro Wiltern (de Los Ángeles), hace un año, tenía la esperanza de que pudiéramos tener la oportunidad de cantar juntos de nuevo", dijo Costello en un comunicado.

El cantante de "She", "Pump it up" o "Alison" se mostró "encantado" de esta invitación para "escribir una líneas de la canción 'Losing Game' e intercambiar de nuevo versos y armonías con 'La Marisoul'".

Costello destacó el "poder y la alegría" de las nuevas grabaciones de La Santa Cecilia, especialmente el tema "El Hielo (ICE)", tema publicado el pasado día 5 en ITunes y que es el primer sencillo de "Treinta días", que saldrá a la venta en mayo próximo.

En esta canción, la banda, compuesta además por Alex Bendaña, Jose "Pepe" Carlos y Miguel "Oso" Ramírez, narra la lucha diaria de los inmigrantes que trabajan para dar un futuro mejor a sus familias mientras temen ser deportados y separados de sus seres queridos.

El grupo angelino fusiona la cultura de Estados Unidos convertida en blues, jazz y rock con sonidos que reflejan su herencia mexicana y latinoamericana, como la cumbia, bossa nova, bolero y el tango.

Compuesto por inmigrantes e hijos de inmigrantes, La Santa Cecilia comenzó su carrera con actuaciones para turistas en la reconocida Placita Olvera de Los Ángeles, aunque su particular sonido les permitió recibir una nominación al Grammy Latino 2011 por el tema "La Negra" y firmar recientemente con Universal Music Latino.

"Soon On Cinco"

LA Times: Reed Johnson: March 5th, 2013.

You might not suspect from its lovely, breathy lead vocal and deceptively languid, vaguely bossa nova lilt that La Santa Cecilia's latest single, "El Hielo" is actually a fiery protest anthem.

But this elegant, effortlessly cool track from the L.A. quartet, who recently switched record labels, does indeed take a subtle whack at ICE -- otherwise known as U.S. Immigration and Customs Enforcement -- and Uncle Sam's immigration policy in general.

But the Spanish-language track's main mission is to express empathy for Latin American immigrants, including those who were brought as children by their parents to the United States and must live a shadowy existence as second-class citizens in constant fear of deportation.

Led by the bluesy diva La Marisoul, the Los Angeles band, which takes its name from the patron saint of music, blends mariachi trumpets and Stax-style horns, cumbia, funk, punk, samba, son jarocho and klezmer into shiny aural collages.

The new song sketches the tales of three immigrants: Eva, a housekeeper; Jose, a gardener, who can make a yard "look like Disneyland" but "drives an old truck without a license"; and Martha, who "arrived as a child and dreams of going to school/But it’s hard for her without proper documentation."

La Marisoul says that the character of Eva is, in fact, inspired by her own mother, named Eva -- who, yes, makes her living as a housekeeper.

That sets up the chorus to leave listeners with a chill:

ICE is on the loose out on the streets
You never know when your number’s up

Cry, Children cry when they get out

They cry when mom’s not coming to pick them up

Some of us stay here

The others stay there

That happens for going out to make a living

"Pop Life"

EW.com: Kyle Anderson: 8th March, 2013

Elvis Costello busted out the never-released 1999-era track “Moonbeam Levels,” which without context sounded a whole lot like an Elvis Costello song. Still, Costello’s smile and energy were infectious, and his harmonizing with PRINCEss was top-notch. (PRINCEss is actress Maya Rudolph and Gretchen Lieberum, and their solo take on “Darling Nikki” was charming.)

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Elvis Costello and The Who

Wall Street Journal: Jon Friedman: 4th March, 2013. Photograph Joe Papeo.

I saw a good old-fashioned battle of the bands recently at The Theater at Madison Square Garden.

First Elvis Costello and the Imposters played a dynamic set for 40 minutes. The Who followed them and performed for a little more than hour, in the final gig of their Quadrophenia tour.

It was a heavyweight matchup of iconic British music acts, both Rock and Roll Hall of Famers. Costello sang and played with a passion that was missing in most of the Who’s technically proficient set. Costello’s long-time band mates, keyboard whiz Steve Nieve, drummer Pete Thomas and bass player Davey Faragher all played with flair and joy.

The so-called “Who Cares” concert was a benefit for the Who’s recently established Teen Cancer America charity and Memorial Sloan-Kettering Center. Tickets ranged in price from $125 to $1,000.

Costello is a world-class crowdpleaser. I’ve seen him perform many times since his first U.S. tour in late 1977 and he has always managed to do something memorable. In this show, he turned the clock back to his early glory days of 1977-1979. He and the band played a segue of “Lipstick Vogue” into “Watching the Detectives,” a highlight of their late 1970s concerts. Costello added a jazzy arrangement of “Everyday I Write the Book” and, for old time’s sake, did crunching versions of “High Fidelity,” “Pump It Up” and “(What’s So Funny ‘Bout) Peace, Love, and Understanding.”

To put a punctuation mark on their set, Costello and the Imposters concluded by playing a version of the Who’s classic song “Substitute.”

The Who played their radio-friendly hits — “Who Are You,” “Behind Blue Eyes,” “Pinball Wizard,” “Baba O’Riley” and others.

On their last number, “Won’t Get Fooled Again,” Townshend danced across the stage, and Daltrey unleashed his signature scream. Until then, the best thing about the Who’s set was the drumming of Zak Starkey.

Townshend also did his patented windmill motion with his guitar and by the end of the show, Daltrey’s shirt was largely unbuttoned.

The bands battled, but nostalgia won the night.

Click here for more information on Teen Cancer America Charity

Click here for more information on the Memorial Sloan-Kettering Center

Legendary Band The Who To Be Joined By Acclaimed Singer/Songwriter Elvis Costello

The Who Announce Final U.S. Show: Who Cares Benefit For Teen Cancer
America Memorial Sloan-Kettering Cancer Center, And Yale-New Haven
Children's Hospital

Legendary rockers The Who and Elvis Costello & The Imposters will
perform an intimate concert Thursday, February 28 at New York City’s The
Theater at Madison Square Garden to benefit Teen Cancer America,
Memorial Sloan-Kettering Cancer Center, and Yale-New Haven Children’s
Hospital.

Teen Cancer America is igniting a movement around changing the way teens and young adults with cancer are treated and supported from the point of diagnosis. Funds raised from the February 28 benefit concert will go towards helping hospitals develop units designed to give the very best chance of a positive outcome both physically and emotionally. In
addition to state-of-the-art facilities to keep patients occupied during
long stays in hospital, the units will strive to provide an environment
where they can meet others in a similar situation, helping to support
their transition between teen and adulthood.

This represents the first-ever New York-area fundraiser The Who have
performed for Teen Cancer America; Roger Daltrey and Pete Townshend are
the driving force behind Teen Cancer America. After more than a decade
of working with Teenage Cancer Trust in the UK, they bring their passion
for making a difference in the lives of teens and young adults with
cancer to the United States. This special show marks The Who’s final
2013 U.S. show (where they’ll perform their greatest hits).

Tickets and VIP packages for the February 28 fundraiser go on sale
Saturday, February 2 at 10:00 AM (ET) via Ticketmaster.

Ticketmaster is happy to be a participant donor for The Who’s February
28 show benefiting Teen Cancer America at Madison Square Garden. They
are waiving convenience fees for fans purchasing VIP packages.

About Memorial Sloan-Kettering Cancer Center Memorial Sloan-Kettering
Cancer Center is the world’s oldest and largest private institution
devoted to prevention, patient care, research and education in cancer.
Its scientists and clinicians generate innovative approaches to better
understand, diagnose and treat cancer. The Center’s specialists are
leaders in biomedical research and in translating the latest research to
advance the standard of cancer care worldwide. For more information, go
to www.mskcc.org.

About Yale-New Haven Hospital Yale-New Haven Hospital is a nationally
recognized, 1,541-bed, not-for-profit hospital serving as the primary
teaching hospital for the Yale School of Medicine. Yale-New Haven was
founded as the fourth voluntary hospital in the U.S. in 1826. Today, the
hospital's two New Haven-based inpatient campuses include Yale-New Haven Children's Hospital, Yale-New Haven Psychiatric Hospital and Smilow
Cancer Hospital. YNHH has a combined medical staff of about 4,500
university and community physicians practicing in more than 100
specialties. YNHH's York Street campus and associated ambulatory sites
are Magnet-designated by the American Nurses Credentialing Center. For more information : www.ynhh.org

"Here are the votes from the Luxembourg jury"

American Songwriter: Jim Beviglia: February 18th, 2013

Contributing editor Jim Beviglia has been ranking the Top 100 Elvis Costello songs on his blog, Countdown Kid. Visit our site throughout the week for a daily countdown of the cream of the crop - The Top 20 Elvis Costello Songs

And check out the previous entries here

"POOF! Imagine that, a world without music critics (because they are all wankers)"

PopMatters: Jason Mendelsohn & Eric Klinger: February 15th, 2013

Counterbalance No. 116: Elvis Costello's 'My Aim Is True'

Amazon US
Amazon UK

Klinger: “Now that your picture’s in the paper being rhythmically admired / You can have anyone that you have ever desired”. When the first line of the first song on your first album is a reference to onanism, it’s pretty clear that you’re out to make a statement. But such were the lines Elvis Costello drew. And not just lyrically—I can only imagine what it must have been like for critics to see the former Declan McManus on the cover of this LP, looking like a cross between Buddy Holly and Gollum. It’s no surprise that this album caught folks’ attention in 1977. Costello was willfully geeky in a world of blow-dried coifs and satin jackets, pumping out short punchy songs at a time when it seemed that excess reigned. I can certainly say that Elvis had a big effect on me—I suddenly realized that you didn’t have to look like Barry Gibb or Keith Richards to make music, and I got a reminder that great songs could still clock in at under two minutes. (Whether or not it was a good idea to hear Costello’s curdled views on romance in my formative years is another story.)

<iframe width="350" height="300" src="http://www.youtube.com/embed/nSRg9GPfFgE" frameborder="0" allowfullscreen></iframe>

Still, My Aim Is True is a pretty different animal from This Years Model, Costello’s first appearance on The Great List, so I’m eager to hear your take on it, Mendelsohn.

Mendelsohn: You can say masturbation, Klinger, we are both adults. No need for the oddball biblical references (although thanks for the reminder about how funny—intentionally or not—the Bible can be at times). On a related note, God ended up smiting Onan for that. Could you imagine if God was real and really killed people for jerking off? I have a feeling that the majority of Elvis Costello fans—and probably Costello himself—would cease to exist in a rapture-induced puff of smoke. POOF! Imagine that, a world without music critics (because they are all wankers). Or the majority of people in general for that matter. I would love to see that. Mind you, it wouldn’t happen, for obvious reasons, but even if it did, I’d probably be one of the first to get the lightning bolt.

Klinger: I think we’re getting into a weird area here.

Mendelsohn: Anyway, I love this album. There are more than a handful of truly excellent songs on My Aim Is True. I’m talking the divine intervention-type song writing. Preternatural, even. The rest of the songs are just so-so, but I think I think that only because they have to compete directly with the rest of the material on this record. But that’s like seeing my favorite baseball player hit a lead off home run and then being disappointed when they only hit triples for the rest of the game. It results in some pretty unfair expectations.

Klinger: Well, there certainly are a number of songs that have followed Costello throughout his career—“Less Than Zero”, “Alison”, and probably “Watching the Detectives” (especially since it’s now the theme for History Detectives on PBS. Now I can’t listen to this song without hearing Wes Cowan say, “Was this arrowhead really used during Custer’s Last Stand?”). Although I absorbed this album at just the right age—I think I was 14—so I might have trouble hearing even the so-called lesser tracks as anything but iconic.

Mendelsohn: The one thing that does strike me right off the bat is the lack of the Attractions, the backing band that Costello wouldn’t pick up until his next album, This Year’s Model. Nothing against the guys from Clover, but the Attractions took Costello’s songs to a whole other level. This may also have something to do with improving production values over Costello’s following albums.

I don’t want to say My Aim Is True sounds cheap, but it has that gritty, debut, DIY rock sound that is more hindrance than helpful to Costello’s sound at this point. That about encapsulates the extent of my “issues” with this album. I can see why This Year’s Model was the first record to make the Great List, but I’m a little surprised that it would take us this long to get back such a strong record, especially when you consider Costello was going completely against the grain by releasing a power pop-filled record full of nothing but hooks and raw, earnest energy. Is this record a casualty of the math? Nineteen seventy-seven was a big year in terms of critically acclaimed releases that included the Sex Pistols, Television, The Clash, Fleetwood Mac, David Bowie, and Kraftwerk.

Klinger: Yes, that’s entirely likely, but you’re also onto something when you say that Costello’s sound wasn’t fully formed yet. San Francisco group Clover (who later brought singer/harpist nicknamed Huey Lewis to the forefront and morphed into beloved ‘80s band the News) and Costello had one of those “two countries separated by a common language” dealies a lot of the time. So while Elvis wanted “Waiting for the End of the World” to sound like the Velvet Underground, the band lacked the familiarity to meet that sound. Similarly, the band surprised Costello by hearing “(The Angels Want to Wear My) Red Shoes” as a Byrds-esque number. Still, their rootsier inflections help songs like “Pay It Back” and “Blame It on Cain” achieve the Band-like sound that had been an early influence on Costello.

Mendelsohn: I like the rootsy touches that crop up through out the album, that and the early rock influences on songs like “Less Than Zero” and “No Dancing”. Costello and company show off an uncanny ability to push those sounds into a new decade by marrying them with the high energy ethos of punk. “Mystery Dance” doesn’t sound like it made it out of the early ‘60s but then you can’t win them all. On the flip side is “I’m Not Angry”, a song that, to my ears, comes off a precursor to hard rock in places, but still seems to fit the over reaching tone especially as it moves seamlessly between the urgent, driving guitar riffs and the almost country-fied breakdowns.

As debuts go, My Aim Is True is a solid record with a lot of different ideas that Costello somehow manages to wrangle into a cohesive piece. It’s not without its faults, but those were easily dealt with on This Year’s Model. It just dawned on me—Costello completely dominated the dreaded sophomore slump. Although I think it’s probably just music critics and fans who ever put much stock in that supposed curse.

Klinger: Oh yeah, we music nerds might go on about that, but Costello took that sophomore slump, danced on its head, and went cock-a-doodle-doo. In fact, by most critics’ reckonings he didn’t make a false move (musically, at least) until 1981’s countrified hoedown Almost Blue. But even that misstep (and it really isn’t very good) could be seen as an extension of Costello’s traditionalist tendencies, which are laced all through this record. In addition to the roots influences, you also hear bits and pieces in individual songs, like the way he references the Beatles’ “I’ll Get You” in “No Dancing”, or repurposes the Spinners’ “Ghetto Child” for “Alison”. In fact, in retrospect it seems odd that so many people viewed him as something of a break from the status quo (and Status Quo, come to think of it).

Mendelsohn: Well, when you consider the biggest selling albums of the year were Fleetwood Mac’s Rumours, the Bee Gee’s Saturday Night Fever soundtrack (look out! foreshadowing!), and Meat Loaf’s Bat Out of Hell, it’s not hard to see Costello as the outsider, relegated to the sidelines with his funny glasses and awkward demeanor. He was gleefully mining the sounds of his youth while everyone around him was participating in some coke-fueled largess at the expense of the listening public’s ears. Overall, what Costello was doing wasn’t all that original but within the context of time and place, he might as well have been on a different planet. Fleetwood Mac, the Bee Gees, and Meat Loaf were releasing albums that would combine to sell well over 120 million copies while Costello was writing songs about self-pleasure and romantic dysfunction in the nerdiest way he could—as opposed the slick, sun baked dysfunction proffered by the Fleetwood. I’m glad Costello did it, but viewing his entrance into the 1977 rock ‘n’ roll arena as anything other than a bit of an anomaly might be disingenuous at best or completely revisionist at worst.??

Klinger: Well of course he was an anomaly. I’m not suggesting that My Aim Is True was any kind of commercial juggernaut or a serious threat to the Laurel Canyon junta that had consolidated their power in conjunction with the Carter Administration (although here in the States My Aim Is True charted in the respectable 30s). What Costello really represented to the industry was a somewhat more palatable version of punk’s back-to-basics music and sugar-free lyrics. They ended up calling it New Wave as a way to pitch it to retail and radio, but it was all part of a larger movement—one that would gain greater prominence the 1980s. In the evolution of music, Costello and his ilk were like those smart little monkeys that were hiding in the trees while the lumbering dinosaurs toppled all around them.

The Spectacular Return of 'The Spectacular Spinning Songbook'

Elvis Costello and The Imposters do it all again in 2013.

Following the success of his 2012 ‘Revolver’ UK tour, Elvis Costello
has decided to revolve again this year, wheeling his gigantic
vaudevillian contraption up and down the country for 16 highly
anticipated shows.

Elvis Costello & The Imposters play:

May
Fri 31st         BIRMINGHAM, Symphony Hall
Sat 1st        CARDIFF, St David’s Hall
Sun 2nd        BRISTOL, Colston Hall
Tue 4th         LONDON, Royal Albert Hall
Wed 5th        LONDON, Royal Albert Hall
Sat 8th         SHEFFIELD, City Hall
Sun 9th       BIRMINGHAM, Symphony Hall
Mon 10th       LIVERPOOL, Philharmonic
Wed 12th      GATESHEAD, The Sage
Thu 13th       BLACKPOOL, Opera House
Fri 14th       MANCHESTER, Apollo
Sun16th       EDINBURGH, Festival Theatre
Mon 17th       YORK, Barbican
Wed 19th       SOUTHEND, Cliffs Pavilion
Thu 20th       BASINGSTOKE,The Anvil SOLD OUT
Sat 22 June   BRIGHTON, Brighton Centre

Tickets on sale now.
24hr ticket hotline: 0844 338 0000 Online: www.BookingsDirect.com
Edinburgh Festival Theatre Box Office: 0131 529 6000
Online Sales: www.ticketmaster.co.uk
Basingstoke The Anvil (Rescheduled Date) Box office phone: 01256 844244
Website: www.anvilarts.org.uk

Joined by The Imposters – keyboardist Steve Nieve, drummer Pete Thomas
and bassist Davey Faragher – The Spectacular Spinning Songbook spun an
acclaimed run of shows in 2012, selling out the Royal Albert Hall with
critics unanimous in their praise;

“A funny, boisterous, big-hearted musical-hall variety show 4*” - The
Times

“Showman Elvis spins his big hits 4*”- The Telegraph

“They are all superb songs beautifully sung' and 'a three hour, 30-song
plus rollercoaster 4*” – The Guardian

“Breathtakingly personal 4*” – The Independent

“This gig was remarkable and Costello is the real master and commander
4*” – The Evening Standard

“After seeing him serve up nearly three hours of eclectic brilliance,
you feel that he must have another great album in him 4*”- Mail On
Sunday

“He remains our beloved entertainer” - Word

The ‘Spectacular Spinning Songbook’ was first seen in 1986 as part of
the ‘Costello Sings Again’ tour. Since its return in the spring of
2011, the show has played to great acclaim from Reno, Nevada to
Amsterdam, taking in, ten shows in New York City, New Jersey and Long
Island, including three nights at the Beacon Theatre and one at the
United Palace, Washington Heights.

"The Revolver Tour’ has visited Chicago, St. Louis, Philadelphia and
Boston, making two visits to the Bay Area and played a return engagement
at the Wiltern Theatre, Los Angeles, following the two shows in April
2011, which were recorded for the recently released DVD and CD releases,
‘The Return Of The Spectacular Spinning Songbook’.

The shows during 2012 saw the show visit cities from Vancouver to
Jacksonville, Florida before a triumphant return to the U.K. and
Ireland, culminating with two acclaimed nights at the Royal Albert Hall.

Elvis Costello and The Imposters then made their first appearance in
Paris for over ten years at L'Olympia Theatre before travelling to
Denmark, Germany, Switzerland and the Netherlands.

The 2013 tour sees two more shows at both the Royal Albert Hall and at
Birmingham Symphony Hall, and return engagements in Liverpool,
Manchester, Brighton and Bristol.

The re-scheduled show at the Anvil theatre, Basingstoke joins an
itinerary of town and cities that will see the ‘Spectacular Spinning
Songbook’ for the first time. These include, Cardiff, Edinburgh,
Sheffield, Gateshead and Southend.

Elvis Costello leaves Kings Park wanting more

Perth Now: January 7th,2013

Rock 'n' roll is big business these days, with every element organised in fine detail - and that's just behind the scenes.

With most bands this also includes their set lists, which vary only slightly as the tour makes its way around the world.

But Elvis Costello was having none of that, as he ended his Australian tour as part of the Day on the Green festival at Kings Park Botanic Gardens last night.

The 57-year-old English rocker, a frequent visitor to Australia since he first came here with the Attractions in 1978, brought a new band - the Imposters, featuring original Attractions Steve Nieve (keys) and Pete Thomas (drums) plus bass player Davey Faragher - down under, with the set list chosen in the more usual way by Costello and the band.

The current tour's Spinning Songbook concept features 40 selections of hits, rarities and surprises each night, with the band playing whatever song the wheel lands on.

Unfortunately the spinning wheel only made it to Sydney and Melbourne but that didn't stop Costello from changing tune for his eager Perth fans, pumping out 20 of the greatest in just under 90 minutes - and he wanted to keep going.

The crowd got moving at the man's insistence with High Fidelity, while Costello kept them dancing while showing he was more than a clever songwriter on Uncomplicated, belting out wicked riff after riff as sweat flew from under his choc-nut coloured trademark hat.

Solo renditions of A Slow Drag With Josephine and Jimmie Standing in the Rain on acoustic were poignant, as was a cover of Johnny Cash's Cry, Cry, Cry.

The Imposters joined Costello back on stage for crowd favourite Watching the Detectives, before they launched into a series of classics, reluctantly finishing the set with the Nick Lowe cover (What's So Funny 'Bout) Peace, Love and Understanding.

If Costello wasn't sure what Australian city he was in, the crowd certainly knew when he sputtered his final words on tour, at 10.20pm:

"We want to play more but they won't let us."

And with that, Elvis left the park.

Keeping It Wheel

Sydney Morning Herald: Bernard Zuel: January 31st, 2013.

As tempting as it is to defer to giants such as Barnaby Joyce and Cory Bernardi, let's grant science its higher ground on global warming. Let's even concede that a crackpot parent or two on the hippie coast may not know more than decades of research and – sorry – facts, on immunisation.

But tell me this, oh wise lab coat-wearers: how is it that this normally-audience-participation-averse grouch got such a kick out of the way people selecting the next song by a turn of the spinning songbook were hamming it up in the go-go cage? Why did a song on that wheel, which isn't even one of Elvis Costello's best (Mouth Almighty), get me excited?

And most of all, explain to me this brainy boffins, how is it that I can't tell you for sure what I was doing this time last week and I dread being asked for my password every time I log on at the office but I can remember every word of Radio Radio, released in 1978; every syllable of the densely packed lyrics of Beyond Belief, released in 1982; and can without knowing I've thought about it, join in exactly when bassist/backing vocalist Davey Faragher comes in on Monkey to Man, released in 2004?

To be fair, even if the spinning wheel moments dragged on a bit, it's not like any of us were really spending much time pondering the imponderables for the two hours Elvis Costello, Pete Thomas, Faragher and Steve Nieve roistered and rollicked. Nor did we ask much when the Imposters rocked in the kind of show where regular nerdgasms (oh wow, Heart of the City; oh yes, Long Honeymoon; oh my, High Fidelity) left middle-aged men and women – and in more than a few cases, their young and very young children - hot and sweaty. And not just because the cold-phobic Costello seemingly had had the air conditioning set about five degrees hotter.

If the opening and finishing bursts of four songs done without pause didn't straighten out all your creases, then I Can't Stand Up for Falling Down would have finished the job. If a tender All This Useless Beauty didn't fully crack open adult romance then Indoor Fireworks would have split the difference.

Maybe George Pell is right after all, science doesn't have the answer and sometimes you just have to believe in a higher power. No, not God, silly; the songs.

"The Spectacular Spinning Songbook - Australia - The Results"

Elvis Costello & The Imposters
Sydney, Australia
January 30th, 2013

Overture - with terpsichorean styles of Ms. Kelly Kay Kelly

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

The Spectacular Spinning Songbook - with your hostess, Daisy Devotchka

"Beauty Or Beast" Jackpot - Spin 1

All This Useless Beauty
Monkey To Man

"King's Ransom" Jackpot - Spin 2

Indoor Fireworks
I Lost You

"Roses" - Spin 3

Song With Rose

"Cash" - Spin 4

Cry Cry Cry

"Time" Jackpot - Spin 5

Strict Time
Out Of Time

Less Than Zero - Spin 6

The Hammer Of Songs - Double Swing

Pump It Up
Long Honeymoon

Alison - Spin 7

I Hope - IMPROMPTU

I Can't Stand Up For Falling Down - IMPROMPTU

High Fidelity - IMPROMPTU

Oliver's Army - IMPROMPTU

Watching The Detectives - IMPROMPTU

"Time" Jackpot - Spin 8 (Deferred)

Beyond Belief

Chelsea - IMPROMPTU

Finale

"Joanna" Jackpot - Spin 9

She

Everyday I Write The Book

Accidents Will Happen - Napoleon's Spin

Man Out Of Time (Spin 8 honoured)

Peace, Love and Understanding

--------------------------------------------------------------------------------------------

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

Elvis Costello

smh.com.au: Michael Dwyer: January 28th, 2013

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.

The Roots

Billboard: Chris Payne: January 22nd, 2013

"It was really love at first sight," Questlove says of the project, to be followed by another Roots record "& Then You Shoot Your Cousin"

Since becoming the house band on NBC's "Late Night With Jimmy Fallon" in 2009, the Roots have backed everyone from Bruce Springsteen and Paul Simon to Bon Iver and Carly Rae Jepsen. And now, another collaboration with a legendary artist that began on the "Late Night" stage is leading to a full-length album.

Roots drummer Ahmir "Questlove" Thompson has exclusively revealed to Billboard that the group is prepping a collaborative project with Elvis Costello that should be out sometime this year. "It was really love at first sight," Thompson says of Costello, who has made three "Late Night" appearances, including a performance in February 2012 during a week-long tribute to Bruce Springsteen. "The second time he came on, we surpassed the first one. So by the third time, he was like, 'Let's stop messing around and do something together.'"

The initial plan was to cut just a few tracks, but those sessions proved fruitful enough for the artists to keep going. Says Thompson, "we had 13 or 14 songs, but then we said, 'Ooh! Wait a minute! Let's replace four of these songs with four better songs! And now we have the tightest 12-14 song collection out of about 20 songs that we made."

In the near future, Costello and the Roots plan to mix and master the as-yet-untitled LP with assistance from Roots engineer Steven Mandel, who is co-producing the project with them. It is unclear at deadline which label will release the album. "We kind of have the freedom to take it around, whether it's to Elvis' people or Def Jam's people," says Thompson. "I can just say that it is brilliant."

In addition to the Costello album, the Roots are planning to release their own new LP, "& Then You Shoot Your Cousin," either in late 2013 or early 2014. "We're in the genesis of that right now," says Thompson of the follow-up to 2011's Grammy-nominated "Undun."

As reported earlier today, Thompson is also heavily involved in D'Angelo's long-awaited follow-up to 2000's "Voodoo," which he says should finally be released this year. The Roots also just announced the lineup for their sixth annual Roots Picnic, set for June 1 at Penn's Landing in Philadelphia.

"Watch More "Weeds". The World Is Ending"

Faster Louder: January 22nd, 2013.

Ahead of a tour as part of A Day On The Green, Elvis Costello talks “hating” music, collaborating with Paul McCartney and discovering Pink Floyd by osmosis with Andrew P Street.

Elvis Costello was out here solo a couple of years back, but it’s been a while since we’ve seen him in rock mode. That’s going to change with this tour, where he’ll be backed by the Imposters – bassist Davey Farragher and his career-long sidemen (and former Attractions) Steve Nieve and Pete Thomas on keyboards and drums, respectively. They’re doing a handful of theatre shows that mark the first Australian appearance of the “Spectacular Spinning Songbook”, effectively a giant bingo wheel that determines the set, as well as the (Songbook-free) tour around our nation’s wineries at the top of the bill for Day on the Green, where he’ll be reeling out a hit-heavyfestival set.

You’re an old hand at these Day On The Green shows by now, surely?

I don’t think I’ve done this before – I don’t believe I have. I might be wrong, but I don’t recall doing this particular show before – you sure about that?

Yeah – I remember seeing you in South Australia in 2004, somewhere in the Barossa…

Oh! But that wasn’t a multiple act bill like this is [Sunnyboys, Stephen Cummings and Tex Perkins are performing as well]. There was maybe us and one other act, I thought. This is like, four bands … But yeah, obviously I have played this kind of venue before.

They’re weirdly civilised, given the amount of top-quality booze. I was genuinely surprised when people danced.

Well, they’ve paid their money, they can do what they want. We play regardless of what’s going on in the audience. On the face of it you’d say it’s a recipe for open drunkenness and fornication, lots of wine and sunshine, but as you say it generally turns out to be better behaved than you’d imagine. And that’s only backstage! No, I’m sure it’ll be great.

And we’re finally getting the Spinning Songbook in Australia for the sideshows.

I’m glad we did manage to get it. It’s been on a boat for forever and a day to get there, because it’s a big piece of machinery and it doesn’t fit onto many planes. You’d need a big airbus, and there’d just be the one thing on it, just the wheel, so it would be slightly expensive. It’s an impressive piece of machinery.

Does it keep you on your toes, not knowing the set from song to song?

Well, we’ve had plenty of time to explore what happens if you change it. You can spin that wheel 25 times and it might land on the same song three times but there are some songs it’ll never bring up. There are songs that we’ve on there that we’ve never played.

Are you ready when they do come up?

Yeah, we’ve learnt them and we rehearse them. Particularly if they’re tricky and have a lot of changes in them, you’d better remind yourself of that again. On the first run in Philadelphia ‘Black and White World’ came up and we hadn’t rehearsed that for a few nights, and it hadn’t been a song that had been regularly in the repertoire, and we all had different ideas about how it went [laughs]. It was quite psychedelic for a while.

Does that sort of thing happen often?

Most nights we’ve run these songs through. We’ll diligently run through songs in the afternoon and be sure they’ll be part of the show, and they resolutely will not come up. We can’t explain it: We’ve tried all kinds of complicated analysis. The finest minds of our time have examined it – Las Vegas gamblers and nuclear physicists have examined it, and they can’t figure out why ‘Human Hands’ comes up more often than ‘Big Tears’ or whatever. Half the sport of it of course is hearing the groans when ‘Accidents Will Happen’ passes twelve o’clock and reveals that we’re going to play whatever it is that the bulk of the audience doesn’t recognise. Then again, most of the songs that we’ve ever recorded most of the audience doesn’t recognise – but obviously there are also people there that are really thrilled when something unusual comes up that they thought they would never hear.

Is it always completely random?

Well, if they’re selected from the audience people who come with an obvious desire to hear one particular song can get it. And once in a while we’ll lean on the mechanism, so if somebody happens to have the name of a song or says, “This was my first girlfriend’s favourite tune” or something like that, who would so unkind as to resist? If someone comes up on their wedding anniversary or their first date, you don’t really want to curse them with some of the songs that are up there. You have to be very careful with what you select – and give it a manly spin.

I suppose it wouldn’t be ideal to have one’s anniversary and spin up ‘Baby Plays Around’ or ‘Tramp the Dirt Down’…

Yeah, or ‘The Long Honeymoon’ or something. That actually did happen. One guy came up on his 25th wedding anniversary, I think it was in Amsterdam, and spun up ‘The Long Honeymoon’ – which we’d already played, so I said “spin it again”, and it came up again. [Laughs] It really did seem fated. I think in the end we just played whatever they felt like hearing.

So how many songs are on the wheel?

There are 30 named, and then there are numerous songs attached to the jackpots, which have words like ‘Time” or “Girl” or “I Can Sing A Rainbow”, which proposes that we do all the songs that have colours in the title, of which we have quite a few. And some that are propositions: “Aim versus Model”, so you might get a choice from My Aim Is True and This Year’s Model, or “Imperial Chocolate” which proposes that we play a couple of songs from Imperial Bedroom and Blood and Chocolate, or “King’s Ransom” which groups _King of America and National Ransom together.

So there’s a fair bit of latitude in the set, then.

Obviously it’s a game of chance and it’s a bit of fun, but obviously you don’t want to stop and start the show too many times and we like to take control of proceedings. We have hand signals and a complicated set of semaphore between ourselves so that the band knows which songs to play while people are coming up on the stage and which songs will be triggered by certain jackpots, and we have a couple of jokers which means people can choose anything from the selections on hand, and people will still ask for songs we haven’t played. They’ll ask for songs by other bands. “Can you play ‘Kashmir’,” they’ll say. Whatever that is. [Laughs]

Well, I think you’d do a killer version of ‘Call Me Maybe’.

I dunno what that is. Is it by Beyoncé?

It’s Carly Rae Jepsen. Biggest selling single of last year, I believe.

I don’t know it. You see, I hate music. [laughs]

I’m not surprised that you’ve secret on-stage semaphore going. It only dawned on me today that the Imposters are now in their 11th year, and of course you’ve been playing with Pete and Steve for well over three decades.

Yeah, that’s right. We obviously haven’t done end-on-end as many shows as the Attractions did early on, but after that when things became more related to album releases. And there was a period of time when I didn’t play at all with any of the Attractions – Pete was a small part on a couple of records and he played in the touring band I had in the ’90s – but I suppose it isn’t a band where we talk every day or see each other all the time. But it has the benefit of bringing in the experiences that we have independently: Steve’s working with other artists in France and on his own record, he’s done amazing things scoring films and writing his own opera; Pete and Davey turn up playing on all sorts of records, because they’re really good. But it’s bound to change the way that we approach things.

Davey aside, are there any huge differences between the Attractions and the Imposters?Dave and Bruce [Thomas, Attractions bassist and Costello’s bete noire] play bass differently, of course, but would most people even notice?

We had to find a way to play the older songs, and I think this band plays some of the older songs very differently. It’s subtle, the difference, but it’s a different rhythmic influence. That’s mainly because Pete’s changed the way he plays. He plays regularly with Davey – they have a band in LA together – so he’s played lots more time now with the Imposters rhythm [section] than he did with the Attractions rhythm part. So the understanding is a different one, I think.

When you say different, do you actually mean better?

I’m not making a comparison – The Attractions records were great! They are made by people of that age, and I don’t in truth … I think there are some really good songs on the two records that we made later on [1994’s Brutal Youth and 1996’s All This Useless Beauty], but I don’t think there are the same measure of band performances that were made early on. There are a few tracks I really love, but normally because of one person’s part, like the piano parts or whatever. But I like the sound of this band. And they can play expressive versions of songs they didn’t have any part in recording, or maybe had a smaller part – like, both Pete and Steve contributed to National Ransom, we all did Momofuku together, we did some records on location almost like movie actors where we went to Mississippi or New Orleans or Tucson. We’ve had some good adventures together.

It does seem that you have a very civilised approach to things these days. Since it was that particular group of players, and even though there was a great deal of scope, with the Attractions you were always going to have a particular sound, to some extent…

Well I don’t think that’s necessarily true. I think that particular group covered a lot of ground – I remember feeling when we made the third record Armed Forces, 1979] that it was more lavish to us, so now I listen to it and I don’t really hear that it was so technicolour and cinemascope as when we were doing it. But it was only in comparison to what had come before, because I’d only made two records My Aim Is True, This Year’s Model. By the time we made Imperial Bedroom I’d been disenchanted to the point of wanting to just lay it aside completely a couple of times, and then we made a record where we gave ourselves license to hire harpsichords and orchestras and do the things that you read about in the Big Book of Being In a Famous Pop Group. And some of the records that we made out of it, I stand by. I don’t really have a big problem with any of them – individual songs will stand out, but I don’t know what the fuss is about any of it, really. It’s all just music. It’s for other people to get heated up about. There are more important things.

I appreciate that, but when you have a body of work as comprehensive as your own there must be things that you look at and think “that was pretty amazing then and it’s pretty amazing now”, and other things where you’d go, “Uuuuuuh, I’d have done this differently.

”Yeah, but it doesn’t bother me much, and I can’t do anything about the ones that you’d go “uuuuuuuh” about, because they’d probably change. Your own tastes changes as a musician, and if I think about how I’d like to approach playing certain songs I probably wouldn’t go about doing them now today the way I did certain records, but when I made them that was the way I intended them to work. And that’s something I learned really from working with other people.

As in the Attractions?

It was put more into focus I think by working with Paul McCartney. Because when I wrote songs with him [on Flowers In The Dirt and Spike] it was thrilling. We got across the room and these songs came to light. But obviously when we came to record the songs, his desire at that time was to make records that were much more decorated; something which I had just actually explored myself on my own records, so I was longing for them to sound a lot sparer. And I thought those particular songs – even when I recorded something like ’So Like Candy’ on what was otherwise a fairly heavily arranged record like Mighty Like A Rose – my version of it is pretty sparse. It’s one of the sparsest tracks on the record because that’s how the song felt to me. It was accepting that the way that Paul was hearing those songs, he had every right to make them that way and nobody – not anyone in the audience, not even the person that co-wrote the song – could tell him better about how it should go. And the only thing is that years later he did end up making some records that were very bare again, that were more the way I thought those songs should go – but that doesn’t mean I was right. He was right in the moment to make them sound exactly like he thought they should. It’s just because art isn’t a democracy.

The guy whose name gets top billing gets to say how it goes. And nobody else’s opinion actually matters, because you buy it because you trust the artist. But if you don’t like it, you don’t know better – you just know differently. And that’s what I learned. And that unfortunately makes a complete nonsense of all criticism because it’s all just a matter of opinion, you know? It doesn’t really matter, because the music just goes on and on and eventually someone will hear it a long time from now and none of the manners and fashions of the time are in play. And really, how often is it that a record is discovered after 10, 15, 25 years and everybody goes, “Oh, now I get it”?

Vashti Bunyan?

Who?

She’s a British folk singer: she released Just Another Diamond Day in 1970, but wasn’t discovered until 2000 or so.

I’ll have to take your word for it. But music’s a mystery. I was at a charity concert a few weeks ago and it was the first time I’d heard Pink Floyd’s music in person, and it was only then that I realised that I knew some of their songs by osmosis, because I’d never owned a record by them, except for ‘See Emily Play’ [1967]. And I was amazed that I knew so many of the songs, because I guess they get played on the radio or television or in the background, and while I still went well, I don’t think that music’s for me, now I understand it: Here in this big gigantic arena it makes sense. So all of your hot-headed and grandiose opinions about it don’t really matter a damn. Somebody loves it. Somebody loves Liberace and thinks he’s the greatest pianist ever, that’s fine. Or Barry Manilow – who wrote some great songs, by the way. Everyone just needs to fuckin’ relax. Smoke more weed, the world is ending. That’s my opinion.

And that’s my headline.

That’s your headline, right there! I didn’t say which weeds, though. Smoke the weeds, not the food. Didn’t say “weed”, I said “the weeds”. It’s a very clear distinction.

Understood. I don’t want to get you in a whole Justin Bieber-style pot scandal thing.

I don’t know what that is [laughs].

Elvis Costello tour:
Wednesday, January 23 – PW1, Hobart

Friday, January 25 – Palais Theatre Melbourne

Saturday, January 26 – Rochford Wines, Yarra Valley

Sunday, January 27 – Leconfield Wines, McLaren Vale

Wednesday, January 30 – State Theatre Sydney

Saturday, February 2 – Bimbadgen Winery, Hunter Valley

Sunday, February 3 – Sirromet Wines, Mt Cotton

Wednesday, February 6 – Kings Park, Perth

Questlove: D'Angelo's Album '99% Done,' Sounds Like an Instant Classic

Billboard: Chris Payne: January 21st, 2013.

If anyone knows the latest on the near-reclusive R&B sage who goes by D'Angelo, it would be Roots' drummer and NYU professor ambassador Questlove.

Lately, he's spent a great deal of his free time outside of "Late Night with Jimmy Fallon" laying down drum tracks for D'Angelo's perennially-anticipated follow up to 2000's classic LP, "Voodoo." And according to Quest, not only is the album nearly finished, but it's sounding like an instant classic.

"I'm heading out to Asia right now praying that we're still on schedule for when we said we were going to turn that record in," Questlove told Billboard. "All last week, I was in the studio finishing (the album). We spent close to 18 hours, well not me personally because I have to go to 'Fallon,' but usually right after work. He's the only person that I'll actually go to the studio with and stay there to six in the morning, re-doing these drum parts. I won't even do that for my own band, but I'll do it for him. Right now, we're just tightening up the loose ends. But I still stand by, 99% of it is done."

Since it's 2000 release, "Voodoo" has been almost universally acclaimed -- a sprawling, effortlessly visionary work that sounded incredibly ahead of its time, yet brought D's many muses (Stevie Wonder, George Clinton, Marvin Gaye, etc) into present-day context. Questlove's got similarly strong words to describe D'Angelo's long-brewing third LP:

"I would not be far off by saying this is probably my generation's version of Sly (and the Family Stone's) 'There's a Riot Goin' On.' It's potent. It's funky. It's an extremely hard pill to swallow. He's one of those artists that have, of course, taken 13 years to follow up a record. It's going to take you about 10 years to digest this record. Totally brilliant. Just the way this society works with music… being able to judge if something is a classic after the first listen, you can do that after thirty seconds on this. And the fact that we started this record in 2004, and it still sounds like it came out five years from now, it is a testament to the timelessness of it."

Since 2004, the music world has seen plenty of false alarms regarding D'Angelo's untitled third album, though Questlove is fairly certain it'll be submitted for review by February, setting up a potential release during the calendar year.

"If this record is not turned in by February, then something is extremely wrong. Because we worked to the bone in the entire month of January just to tighten up all the loose ends."

Last year, D'Angelo took part in a series of covers and jam sessions alongside The Roots and others Jun. 10 at Bonnaroo, marking his first U.S. performance in a decade. With the Roots, Quest has a pair of albums slated for a 2013 release: the band's 17th studio album and a just-announced collaborative effort with Elvis Costello.

Elvis Costello

Australasia continues its lengthy love affair with Elvis Costello when the acclaimed singer-songwriter returns in January 2013.

In keeping with the exuberant musicality that has defined his three decade plus career, Costello has some tasty treats in store for both a day on the green shows (a reprise from his 2004 a day on the green tour) and two special theatre performances in Melbourne and Sydney.

For the winery concerts, the unabashed showman backed by the trusty Imposters – keyboardist Steve Nieve, drummer Pete Thomas and bassist Davey Faragher - will take audiences through the Costello musical encyclopaedia refresher course with a selection of classic hits. His outstanding musical pedigree has inspired promoters to assemble one of the finest damn line-ups in a day on the green history.

Check this out! In a massive coup, the truly legendary original line-up of Sunnyboys will return to the stage for their first national tour in more than 20 years! Joe Camilleri will re-assemble the mighty Jo Jo Zep & the Falcons, the enigmatic Tex Perkins takes the saddle again with the Dark Horses while Sports ex-frontman, Stephen Cummings will make a rare concert appearance.

Elvis Costello & The Imposters, Sunnyboys, Jo Jo Zep & The Falcons, Tex Perkins & The Dark Horses and Stephen Cummings ....... salivate indeed, for this eclectic bill promises to be one of the musical highlights of the summer.

Mr Costello has another delight in store for fans at the two theatre performances. For the past year or so, he has been travelling around the world with a gigantic vaudevillian game-show Wheel as the centrepiece of a show called ‘The Spectacular Spinning Songbook”. At each concert fans are invited on stage to spin the Wheel, thereby creating the night’s set list from 40 selections including hits, rarities and a few surprises. The stage set also includes a go-go cage and “Society Lounge”.

First seen in 1986 and beloved by Elvis fans around the globe, the Wheel makes its first appearance in Australia on this tour, following unanimous acclaim at every turn – ‘hilarity, musicality and unabated joy’; ‘funny, boisterous, big-hearted musical-hall variety show’, ‘breathtakingly personal’ and ‘it’s hard to imagine any other musician in the world playing the show that Elvis Costello did’.

Due to production and stage requirements, ‘The Spectacular Spinning Songbook’ can make only two very special appearances at Melbourne’s Palais Theatre and Sydney’s State Theatre. Due to the set size, the support artist at these shows will be a Joe Camilleri duo. We heartily recommend you sample Costello’s most recent recorded offering “The Return Of The Spectacular Spinning Songbook” (CD and DVD), filmed at the Los Angeles shows.

Elvis Costello and the Imposters, the long-awaited return of Sunnyboys and Jo Jo Zep and the Falcons in a not-to-be-missed five hours of musical splendour A Day On The Green and the Australian premiere of “The Spectacular Spinning Songbook” at the theatre shows!

A Day On The Green Shows:

With Sunnyboys, Jo Jo Zep & The Falcons, Tex Perkins & the Dark Horses, Stephen Cumming in Australia and Tim Finn, James Reyne & Don McGlashan in New Zealand

Saturday January 19th - The Civic Centre, Auckland

Saturday January 26th - Rochford Wines, Yarra Valley VIC

Sunday January 27th - Leconfield Wines, McLaren Vale SA

Saturday February 2nd - Bimbadgen Winery, Hunter Valley NSW

Sunday February 3rd - Sirromet Wines, Mt Cotton QLD

Wednesday February 6th - Kings Park, Perth WA

For information go to www.adayonthegreen.co.au

The Spectacular Spinning Songbook Shows:

Friday January 25th - Palais Theatre, Melbourne

Wednesday January 30th - State Theatre, Sydney

For information go to www.frontiertouring.com.au

Tickets For All Shows On Sale Monday October 29
from ticketmaster.com.au excpet Auckland on sale Thursday November 1st from ticketmaster.com.nz

Mona Foma Encore

Wednesday January 23rd - Princess Wharf 1, Hobart

Tickets on sale Monday 3rd December 2012 from www.mofo.net.au

Elvis Costello and the Imposters, Civic Theatre

The New Zealand Herald: Russell Baillie: January 20th, 2013

Originally, the long-awaited return of Elvis Costello was as headliner at another A Day on the Green vineyard concert.

Fortuitously, the show was pulled indoors and reduced to one support - just a short charming solo turn by Don McGlashan doing nifty things with guitar, voice, and loop pedal. He created disarming intimate versions of old songs of his like Don't Fight it Marsha and Andy.

That also meant that Costello and the Imposters - two thirds of his original backers The Attractions - had two hours on stage in front of an attentive seated audience, rather than facing a pinot gris-fuelled hoard just wanting to party like it was 1979.

Instead, we got a dense, often intense but ultimately terrifically entertaining performance of more than two dozen songs pulled from all over the 58 year-old English singer-songwriter's 35-year career.

There was much to remind that Costello's songbook is a deep, long, wide thing. True, he did sprinkle touchstones from those breakthrough New Wave era years in the latter stages of the both main set and the encore.

But often they were stretched into thrilling new shapes - an extended Watching the Detectives scorched the sunny reggae lope of the original with Costello's welding arc guitar.

So too was a seething dramatic I Want You during the encore, while the likes of Alison, I Don't Want to Go To Chelsea and Everyday I Write the Book also came with renewed spark.

It was also a show that managed to make a virtue of some drastic shifts of style and pace - one minute it was Costello the pop classicist belting out with maximum vibrato God Give Me Strength from his Burt Bacharach co-write album Painted from Memory; a few minutes later it was Costello the once angry young man spitting out the pneumatic lyrics of Pump It Up and still sounding like he meant it.

While they might have been Imposters, they sure weren't faking it - especially Steve Nieve who swung around his keyboards like a hyperactive mad scientist offering all sorts of deft and elegant touches. At the final bow, you half expected him to wave an extra pair arms aloft in triumph.

Of late, Costello's touring in the northern hemisphere involved a giant spinning wheel to spontaneously select the setlist as a way to deal with that grand catalogue - between 1977 debut My Aim is True and his last, 2010's National Ransom, he's almost managed an album a year if you count collaboration projects and live sets.

Here though, while the light show hinted at it, there was no wheel. It also strayed outside the lines on some covers of country swingers Walkin' My Baby Back Home and Crying Time.

Covering his one-time producer Nick Lowe's ye olde pub-rocker Heart of the City as the second song of the night was neatly bookended by the closing (What's So Funny `Bout) Peace, Love and Understanding?, another Lowe tune which Costello has long made his own.

And after two hours, it wasn't a show to leave you wanting more. But it was captivating to see Costello up close, digging deep, delivering a rich core sample from that vast motherlode of songs.

Yes, that was quite a spectacle.

Elvis Costello

We're delighted to announce Elvis Costello & The Imposters have announced two dates in Ireland and one in Northern Ireland for June 2013. Elvis Costello & The Imposters will perform at "Live at the Marquee" in Cork on Wednesday 26th June 2013, The Venue, Ebrington in Derry-Londonderry on Thursday 27th June 2013 & Westport Festival of Music & Food on Sunday 30th June 2013. These are Non-Wheel shows.

Tickets for Cork on sale now - www.ticketmaster.ie

Tickets for Derry-Londonderry on sale now - www.millenniumforum.co.uk

Tickets for Westport on sale now - www.westportfestival.com

Universal Music Enterprises Presents Elvis Costello's Music 'In Motion Pictures'

The sacred tie between the Hollywood silver screen and music is a union that has been around since silent shorts of the early 1900s. Some of these unions were the obvious choices and others were unlikely pairings. For the most part, Elvis Costello falls into the latter. And while the relationship has always been a very fragile one, it is those moments that proved to be the most magical.

Luckily for Universal Music Enterprises (UMe), this relationship survived and on November 19, 2012, UMe will release In Motion Pictures, a 15-song collection almost 30 years in the making. 'In Motion Pictures' features the songs of Elvis Costello used in movies, originally brokered and now hand-picked, with the sometimes reluctant and defiant blessing of Mr. Costello, by the mysterious Tinsel Town insider known as Moon Conway.

Featured are songs from Costello’s vast, past repertoire as well as songs specifically written and/or recorded for films and only available on the original soundtracks. An illuminating essay paints the backdrop to the world of Elvis Costello, “In Motion Pictures.”

In Motion Pictures collects some of Costello’s magical, musical moments, where celluloid and music come together for one fleeting moment, to enhance and create memorable fragments of the storyline. Who did not chuckle indulgently upon recognizing the almost inaudible “My Mood Swings” playing on The Dude’s headphones during his “dental” examination in The Big Lebowski? Or the use of “Miracle Man” during the seduction of Michael Corelone’s daughter in Godfather III? Who can deny the tawdry thrill of “I Want You” being laced through Michael Winterbottom’s movie of the same name, starring Rachel Weisz?

Sometimes Costello was even tapped for on-screen roles, mostly as “guitar player with glasses” or later as “singer with hat and glasses.” Once in a blue moon he was offered the chance to play more unusual characters. In 1987 he popped up in Alex Cox’s salute to Italian Westerns, Straight To Hell, with Costello playing the part of a pump-action shotgun-toting butler called “Hives,” who dies in a hail of bullets, Cagney-style. He even contributed the original track “A Town Called Big Nothing,” by the MacManus Gang, featuring Elvis Costello and his father Ross MacManus.

For Darnell Martin's 2001 “hip-hop opera” Prison Song, Costello took not one, but two unlikely supporting roles, as both a school teacher and a public defender in addition to providing the track “Oh Well,” co-written with Q-Tip.

However, the most unlikely piece of casting against type came not on-screen but when Richard Curtis offered to “ruin his career” by employing Costello as an unambiguous romantic balladeer over the closing titles of Notting Hill.

His rendition of “She,” the Charles Aznavour/Herbert Kretzmer song, was recorded at Abbey Road Studios while luminescent images of Julia Roberts were projected onto a giant screen hung above the orchestra. The song reached a modest No. 19 in the U.K. but was, however, a hit around the world, from Brazil to the Philippines, and remains Costello’s calling card in a number of countries in which exposure to the rest of his catalogue triggers everything from bemusement to outrage.

It’s with all this I say, thank goodness that we now have In Motion Pictures to recall those occasions when Elvis Costello’s peculiar talents were in accord with the flickering shadows, galloping tintypes and lingering dreams of those imaginings.

Track Listing

1.   Accidents Will Happen
2.   Lover's Walk
3.   Miracle Man
4.   Life Shrinks
5.   Crawling To The U.S.A.
6.   Seven Day Weekend (featuring
      Jimmy Cliff & Elvis Costello)
7.   Days
8.   I Want You
9.   You Stole My Bell
10. My Mood Swings
11. Oh Well
12. God Give Me Strength
13. Sparkling Day
14. She
15. A Town Called Big Nothing
      (featuring The MacManus Gang)

Order from Amazon USA & Amazon UK

Jetty: Unite

In an effort to aid those suffering from Hurricane Sandy, Jetty have designed a relief t-shirt which will allow them to "Unite & Rebuild!" Profits from the sales of this custom, Jetty T-shirt will go to victims of the storm who are in direct need of assistance as well as the emergency response units who risked their lives to save others. Jetty will be accepting pre-orders through Friday, November 16th and at that time they will screen print & deliver the first wave of orders. This relief effort will be focused within New Jersey which was most heavily impacted by the storm. Our thoughts lie with all who were affected by this historic and devastating storm. Order a T-shirt Here!

About Jetty:

Why - Because it's what we do, we use our brand as a vehicle to help others who are in need. Charity and community are main pillars on which Jetty was built. New Jersey took a direct and devastating hit from Hurricane Sandy, and we have already started to give back in our local community. From here, we will extend our reach and donations to other communities who are suffering from this storm.

How - We are using our expertise in screen-printing and apparel to raise money as quickly as possible. We have the ability to design and print t-shirts in-house with our eco-friendly, water based ink system. Using our brand to spread awareness allows us to take in donations and get the money to those who need direct aid.

Who - We want to help real people in real situations. We appreciate the large charities, but want to bring supplies to shelters, help those who need direct financial assistance, and support the first responder emergency units who saved lives and continue to risk their own. The small things like blankets and socks will give immediate aid. For those who are displaced from their homes long term, we will help facilitate and supply warmth, shelter, and food. Lastly, we need to support the emergency units who exist only because of donations. These volunteer fire stations and EMT's need funds for the vehicles and stations that allow them to save lives.

Where - We'll begin in NJ where we were born and raised, started our business, and currently reside. We would love to raise funds sufficient enough to help other affected areas like Long Island & the Delmarva coastal communities, who are also suffering in the wake of this tragedy.

What - It's a $20 t-shirt designed by Jetty creative director John Clifford. The profits from the sales of this shirt go directly to those who need it most. (as of Nov 7th, we've already donated more that $11,000 in supplies. This is only the very tip of the iceberg)

Stephen Colbert's Most Meaningful Musical Moments

Listen Now - Fresh Air From WHYY

by NPR Staff: October 24th, 2012

Stephen Colbert loves music and loves to sing. That's why Fresh Air's Terry Gross asked him to bring a few songs that mean a lot to him and tell her why. For example, as a kid, Colbert discovered his first lesson about character acting through "King Herod's Song" from Jesus Christ Superstar, even though he thought the words were scandalous at first: "Oh, so you are the Christ? You're the great Jesus Christ. Prove to me that you're no fool. Walk across my swimming pool."

"That opened my eyes as a kid — that you could actually be — well, you could be wrong in character," he tells Gross. "You could be blasphemous in character and it doesn't negate how you feel about the subject."

Colbert says he also loves the work of Elvis Costello, who he says tried to write anthemic, Bruce Springsteen-like songs when he was younger, but eventually stopped because he'd end up with wry, sardonic or character-based songs. Colbert says it's an odd parallel with his own artistic evolution and relationship to Jon Stewart, especially because Stewart's favorite artist is Springsteen.

Ben Folds Five is another of Colbert's favorite groups. "The Best Imitation of Myself" spoke directly to him as an entertainer. "When I first heard the song, just a few years ago, I just thought he had written it for me," Colbert says. After listening more, he says he realized the song is "just a beautiful expression of how we are toward each other as people — we don't think that we are sufficient for each other; that no one wants to know the real me or the whole me."

Stephen Colbert is the author of America Again: Re-becoming the Greatness We Never Weren't and I Am a Pole (And So Can You!).

Interview Highlights

On the parallel between Elvis Costello's relationship with Bruce Springsteen and Colbert's relationship with Jon Stewart

"[Elvis Costello] was trying when he was younger to try to write Bruce Springsteen songs — and that he really liked Bruce Springsteen's sound. And he said, but then he eventually stopped doing that because he would try to write these songs like Bruce Springsteen and he would end up writing things that were a little bit wry, sardonic or even character-based. And they didn't have that sort of sincere, anthemic quality that Bruce's songs sometimes have. And that kind of blew me away, because he's describing his relation to Bruce Springsteen kind of like my relationship to Jon Stewart. And Jon's favorite artist is Bruce Springsteen, and my favorite rock artist is probably Elvis Costello. So there's an odd parallel between Elvis' evolution from what he was trying to do like Bruce and my evolution from what I was trying to do when I worked with Jon."

On falling asleep onstage

"I've fallen asleep onstage in a scene literally, and I wanted to do it for years. I felt like, 'I wonder if I could get so comfortable on stage that if I was playing a sleeping person I could fall asleep onstage,' which is a dumb idea because you'd miss every cue, of course. But I did it one day. I had been traveling. We'd done shows in Chicago — this is Second City — and we'd done 10 days of shows in Vienna. And when we came back from Austria — it was the night after I came back — I had such terrible jet lag that I went out onstage. I sat down. I was supposed to be onstage when the lights came up. When the lights came up, I was sound asleep. Somebody had to come up wake me up — well, actually, the man next to me onstage had to wake me up."

On why he likes comedy more than drama

"I did drama and I did comedy. I like comedy more, because if you mess up onstage or if you mess up doing a comedy, there's just incessant mockery of what you did rather than if you mess up in a drama — at least my experience of having done it onstage. There's just a kind of chill of disappointment in the fact that you ruined the scene. There's almost a celebration of the fact that you failed when you fail in comedy."

Click Here For The Full Transcript.

When you least expect it, fate stumbles in...

News.com.au: Noel Mengel: October 24th, 2012

IN 2012, major rock 'n' roll tours are big business with every element organised in fine detail. That's not just behind the scenes.

With some bands it also includes the set lists, which might only vary slightly as the tour makes it way around the globe. And Elvis Costello is having none of that.

Costello has been a frequent tourist of Australia since he first came here with Elvis Costello and the Attractions in 1978, but in January he brings his Spectacular Singing Songbook to Australia for theatre shows in Sydney and Melbourne.

This tour is with his later band the Imposters, featuring original Attractions Steve Nieve (keys) and Pete Thomas (drums) plus bass player Davey Faragher. There will also be Day on the Green winery shows, with the set list chosen in the more usual way by Costello and the band.

The Spinning Songbook concept features 40 selections of hits, rarities and surprises each night, with the band playing whatever song the wheel lands on.

"We were playing St Louis last summer and Eddie Vedder was playing down the road with his ukulele show. There was 20 minutes between the start times of our shows so we said, 'Come on and do one with us and have a bit of fun'.

"Eddie goes off to great cheers, spins the wheel and it lands on Pump It Up. Many people would imagine that would be the finale of our show, but we have to keep going for another two hours.

"Another night it might be the opposite; you might get Shipbuilding followed by I Want You."

Costello wants to make sure there is plenty of time to devote to parenting his five-year-old twin sons with his wife, Canadian jazz singer Diana Krall, who has just released a new album, Glad Rag Doll.

"I enjoy playing and that's enough of my time really," Costello says. "Like a lot of people, I have to think about division of my time: the part of your life you value that you don't want to miss, and how you make your livelihood.

"I have plenty of ideas and one of these days I might write some more songs. But there is no possible way in the current market place that I can make a living making records. I have so many songs, I don't actually need to write any more.

"Partly I'm kidding. I don't know what is coming, is the truth. I could tell you I will never write another thing and then I could arrive with all new songs in the set and three records coming out. When you least expect it, fate stumbles in, as Percy Sledge once sang."

"All About Eve Goes Honky Tonk"

Salon: Willa Paskin: October 9th, 2012

Jonathan Jackson sings Elvis Costello's "Twist Of Barbwire" from the new hit television show, "Nashville"

Available now at iTunes (USA)

"Living For A Song" - Jamey Johnson sings Hank Cochran"

LA Times: Mikael Wood: October 15th, 2012.

But with its intimate vocals and sumptuous country-politan arrangements, "Living for a Song" is staggeringly beautiful too, a warmly heartfelt celebration of the way country music was made in the era before hip-hop, arena rock and TMZ. Crucially, Johnson isn't making a case for that earlier era's creative or moral superiority; there's nothing smug or reactionary about his renditions of "A Way to Survive" and "She'll Be Back," the latter of which features an atypically tender Elvis Costello.

Read More.....

ABC's 'Nashville' Teams With Taylor Swift's Label

The Holywood Reporter: Phil Gallo: October 10th, 2012

Jonathan Jackson sings Elvis Costello's "Twist Of Barbwire" from the new hit television show, "Nashville"

Available now at iTunes (U.S.A.)

Elvis Costello Was The Most Exciting Show At Hardly Strictly Bluegrass

Huffington Post: Paul Iorio: October 8th, 2012

The main Friday evening kick-off concert at the Hardly Strictly Bluegrass festival in San Francisco's Golden Gate Park belonged to Elvis Costello this year.

Performing solo (10/5/12), Costello played a nearly 90-minute set of classics, rarities and covers to close the opening day of the fest.

Opening with "Welcome to the Working Week," from his 1977 debut album "My Aim Is True," and working his way through deep tracks from albums like "King of America" and "Spike," Costello was funny and loquacious.

"I'd like to introduce my special guest for the afternoon," he said before performing the obscurity "Ghost Train." "It's me!"

He also dusted off vintage ballads like "Shipbuilding" and "Last Boat Leaving."

"I'm gonna sing you a couple songs about exile," said Costello, before singing the latter song and '80's "New Amsterdam." "That's how we all ended up here in the first place."

And the quips and hits just kept coming.

"I'm going to sing you a song I really hate," Costello said. "...I wrote it in ten minutes, it was a hit for five minutes. And then I felt all unclean, inside and outside."

That was his intro to "Every Day I Write the Book."

With the sun setting, Costello closed with crowd-pleaser "What's So Funny About Peace, Love and Understanding" and the less well-received recent track "Sulphur to Sugarcane."

6th Annual Richard de Lone Special Housing Project Benefit

A Bagatelle & Jambouree - Saturday October 6th, 2012

We're very excited to to announce the lineup for the 6th Annual Richard de Lone Special Housing Project Benefit, titled "A Bagatelle and Jambouree." We welcome once again our patron saint and great benefactor, esteemed member of our Advisory Board, and Rock'n'Roll Hall of Fame inductee, Elvis Costello in a rollicking revue with The Preservation Hall Jazz Band, Buddy Miller, Jim Lauderdale, Bill Kirchen, Ruth Davies, Paul Revelli, and Austin de Lone. Buddy and Jim will also be doing some songs from their new album, and of course the Preservation Hall gang will be serving up some of their own special musical gumbo!

The shows will be at 7:30 and 10:30 on Saturday, October 6 at the Preservation Hall's new west coast venue, Preservation Hall West at The Chapel, located at 777 Valencia Street in San Francisco (between 18th and 19th). Tickets may be purchased on line at http://www.ticketfly.com/. Simply type 6th Annual, or Richard de Lone, or Elvis Costello in the Search bar, and follow on through. Hope to see you there!

Buy Early Show Tickets:
www.ticketfly.com/purchase/event/166713

Buy Late Show Tickets:
www.ticketfly.com/purchase/event/166221

About the Richard de Lone Special Housing Project
The Richard de Lone Special Housing Project is a non-profit organization with the goal of building a state-of-the-art residential community for children and adults with Prader-Willi Syndrome, a rare and complex genetic disorder with no known cause or cure. For more information, please visit www.rdshp.org

"In The Kingdom Of Orange"

LA Times: Randy Lewis: October 3rd, 2012.

Elvis Costello's been part of the pop music landscape for so long now, and has written and recorded so much, it can be hard at times to remember what it was like before he elevated the game with his razor wit, impeccable compositional skills and kiln-hot passion.

The pre-Elvis age probably feels like another era to many -- as indeed it was before his explosive debut in 1977 -- and that may be the inspiration for the cheeky title of his current solo tour that stopped Tuesday night at the Irvine Barclay Theatre: “2054 -- the Centenary Tour.”

But even though 100 years haven’t passed literally for the often-brilliant, engaging English singer and songwriter, he did tip his stylish raffia boater hat to nearly a century’s worth of musical tradition. His performance in a lot of ways was the B-side to his dazzling “Spinning Songbook” tour, which played the Wiltern Theatre in L.A. in April, and which was brimming with production value and the expansive musical contributions of his longtime bandmates the Imposters.

For the solo performance, he came onto a stage outfitted with half a dozen guitars -- all hollow-body acoustics or acoustic-electrics, until the encore segment, when his guitar tech brought out his signature Fender Jazzmaster solid body instrument, which nevertheless went unused. He also had at his disposal an electric keyboard that he played for a couple of songs and a ukulele that he gently plinked on toward the end of the set.

He opened with “(The Angels Wanna Wear My) Red Shoes,” frenetically strummed as though he were Pete Townshend, a technique employed periodically through the show. He messed liberally with melodies as well as with the chord progressions of his better-known songs, injecting surprising changes into songs that heightened the sense of in-the-moment freshness.

If there was a downside to a consistently inspiring choice of material and arrangements, it was the curious intonation deficiency in his vocals.

Costello is one of rock’s most expressive singers, but Tuesday he sang consistently about a quarter-tone flat, suggesting some technical idiosyncrasy of the in-ear monitor system he was using. When, on a couple of occasions, he stepped away from the microphone and sound system, the melodies were back in the pitch range they should have been in all night.

As for the scope of the evening, Costello not only touched on cornerstone numbers and obscurities of his own, but he also dipped back to pre-Elvis, pre-Beatles, pre-the-other-Elvis and prewar tunes that illustrated his familial roots in the riches of both the Great American Songbook and England’s dance hall and music theater traditions.

In some of the most engaging moments of the show, he spoke about his father -- a hard-gigging trumpeter -- and his grandfather, a vaudeville-era singer and instrumentalist who, as Costello told it, was left basically unemployed when talkies arrived in the late '20s and did away with the need for the live musicians who typically provided the musical accompaniment during the exhibition of silent films.

“My grandmother hated Al Jolson”, Costello said. “She single-handedly blamed him for putting my grandfather out of work.

“You may have noticed a theme of revenge in some of my songs,” he said, drawing gentle laughs from the sold-out house. “But compared to my grandmother, I’m an amateur.”

That led into his moving 1989 song inspired by her, “Veronica.” Family also figured prominently in another of the night’s most touching moments, one that did make it seem briefly possible that he’s a century down the line -- emotionally speaking, anyway -- from where he started out as the angry young man of the new wave movement.

“Day is closing/Old men and infants are dozing/That’s the kind of life I’ve chosen/To see what I’ve become/the humble father of my three sons,” he sang without a trace of irony or cynicism in reference to the latter-day family he and his wife, jazz singer-pianist Diana Krall, have created in the last few years.

He picked up the uke and dropped his delivery to a near whisper on a straight-from-the-heart, old-school love song that seemed targeted to her: “I Know Why (And So Do You),” a Harry Warren-Mack Gordon hit for Glenn Miller in 1941. Costello said he had scored the sheet music for the number, which he showed off, a few days earlier in a thrift shop as the Centenary Tour took him through Arcata in northern California.

This is the man who famously sang out of the gate 35 years ago, “Oh I used to be disgusted/Now I try to be amused.” Obviously, he hasn’t lost his ability to slice and dice targets of scorn wherever he finds them. But today, he seems equally as fascinated with exploring how to love, and be loved. It’s been a long time coming.

Elvis Costello's solo acoustic show breathtaking at the Barclay

The Orange County Register: Ben Wener: October 3rd, 2012

You'd have to be a pretty serious Elvis Costello fan to appreciate just how special his performance was Tuesday night at the Irvine Barclay Theatre. Frankly, you'd need to have been such a fan simply to have scored one of 750 tickets, it seems, or at least have a really good friend who's a Barclay subscriber, doesn't know "Imperial Bedroom" from Imperial Highway and was willing to sell his seat.

Costello, who should rank high on any plausible list of the greatest songwriters ever, has rarely played Orange County, and almost always in Irvine, apart from a lone Pacific gig in '91 (not long before that place closed for a decade) and, if this counts, that time at the Pond in January 2003, when he, then-girlfriend Diana Krall, Ray Charles, Brian Wilson and a bunch more joined Elton John for "Crocodile Rock" at a NAMM fundraiser.

He used to come to "the Kingdom of Orange," as he put it Tuesday, quite regularly in the '80s – even attracted thousands to Irvine Meadows three summers in a row back when "Everyday I Write the Book" and "The Only Flame in Town" landed him on MTV. But he hasn't been back to the Safest City in California in nine years, when he opened for Neil Young at what's now Verizon Wireless Amphitheater, and he hasn't headlined a show in O.C. since he and the Attractions last gave it a go behind "Brutal Youth" in 1994.

So it was a big deal that Costello returned not for another special occasion in L.A. (like his magnificent Spinning Songbook shows at the Wiltern in April and the previous May) but instead a solo acoustic show just a short drive away, the capper on a brief swing from Redding down to UC Irvine. Naturally, tickets for the Barclay gig on this mockingly dubbed 2054 Centenary Tour (better now than on his 100th birthday, right?) sold out faster than you can name five women in his song titles.

The question is: Did everyone who leapt at the chance for an intimate encounter get what they came for?

Undoubtedly the answer is yes for ardent Costellophiles, but perhaps no in a good many other cases, particularly subscriber types who might have hoped for more "hits" on the order of those that bookended this set, "(The Angels Wanna Wear My) Red Shoes" and "Alison," or who simply don't find the nakedness of such a richly distinctive voice quite so riveting.

Costello was certainly a vocal powerhouse at many points in the performance, his simmering samba feel for the standard "All or Nothing at All" bubbling from tender whispers to rousing romance, his wail mighty like a rose for the finish of "Veronica." At other times, however, you could notice the toll a week-long one-man tour can take on a singer, often detectable during his best-known tunes: "Accidents Will Happen" was especially ragged, "Red Shoes" too rushed, and at the end of "Everyday I Write the Book," superbly recast in a finger-picked Ron Sexsmith mold, his falsetto flat-out failed him.

Yet those fissures – along with a feeling during scarcely attempted covers (like Dylan's "When I Paint My Masterpiece") and unreleased material (the potent "For More Tears") that maybe Costello was too loosely rehearsed – all grew increasingly fascinating as this two-hour show wore on. When supported by the Imposters, the cracks in Costello's voice can get covered by the passion of the playing. Stripped bare, you hear him warts and all – veering under the notes sometimes, adopting his soft soulful sound one minute and a more biting tone the next, his storytelling emotionally spiked but plainspoken enough to be savored as folk poetry.

Mesmerizing as that was in the moment – and never more so than during the final encore – I still sat seven rows back foolishly awaiting something more, bowled over by his literal nearness but not entirely aware (until later) how unique much of this performance was. I kept expecting favorites like those he'd dropped in Davis and Chico: "Brilliant Mistake," "New Amsterdam," "Our Little Angel," "Blue Chair," "Beyond Belief." I probably shouldn't have inspected the Santa Barbara set list, where he really went all out – 29 songs, including exclusive takes on "American Without Tears," "Last Boat Leaving," "Black and White World" and, to close, "I Want You."

In Irvine, apart from a somewhat reworded version of "King Horse" that took my breath away early on, most gems were harder to recognize – like "Poison Moon," a mid-'70s, pre-"My Aim Is True" bedroom demo he had performed only a half-dozen times before Tuesday, or the mod jangle of "My Little Blue Window," revived roughly twice as often since entering his catalog a decade ago via "When I Was Cruel." Likewise, the Rogers & Ahlert nugget "Running Out of Fools," one of a handful of selections he played at his Kawai keyboard, hadn't been dusted off since 2005, after initially surfacing on his covers collection "Kojak Variety" 10 years earlier.

Then there was the marvelous "Ghost Train," teenage Declan McManus' view of fading show-biz stars, among the oldest of his own compositions offered here and a centerpiece at every stop on this Centenary run after only being attempted live for the first time on his Sundance chat-and-play series "Spectacle" three years ago. Along with "Suit of Lights" in the first encore, it served as a means to tell tales of his dear departed dad, another in a long line of performing McManuses, just as "Veronica" gave him room to recollect how his grandmother "hated Al Jolson for putting my grandfather out of business" when talkies left silent-movie musicians jobless.

Littered with stray salutes (like "Doctor Watson, I Presume," for the late Doc Watson) and reflective material (a haunting "Shipbuilding" to dramatically conclude the main set), this was a sentimental excursion to be sure, despite show-stopping moments that seemed to break from the theme.

Some of those detours were compact, like a darling rendition of "Walkin' My Baby Back Home," dedicated to his missus on the day her new album "Glad Rag Doll" dropped. Others were out-there, like the wildly de-tuned funk stutter of "Bedlam," highly recommended to Dave Matthews Band as an offbeat cover they could jam the bejabbers out of. A few segments were unexpectedly grand, like the loop-building feedback fantasia he brought to a radical handling of "Watching the Detectives," steeped so thickly in circular squalls of Neil Young noise, it's no wonder that at other shows he departed from his own sinister tune for a dip into "Down by the River."

But nothing compared to the finale, which quelled any sneaky feelings that we missed out on better bits. Sitting stage-left, the dapper entertainer pulled out some yellowed sheet music he'd acquired the week before, doffed his trademark glasses ("the way very few people ever see me," he admitted) so he could follow the changes, and indulged a hesitant but lovely reading of "I Know Why (And So Do You)," an oldie he's apparently played just once before, at a 2006 appearance with Marian McPartland for her "Piano Jazz" show on NPR.

Then, stepping to the front of the Barclay stage, ahead of his mic and monitors, Costello went completely unplugged to perform "Alison," the room so still you could hear the proverbial pin drop, apart from the sole chorus when he invited the audience to add their voices. Time stood still for a gripping moment, many of us undoubtedly feeling like Costello had just gotten up in our living room to sing his most famous song.

Who else of his caliber but maybe Springsteen would dare such an astonishing move? Like the rest of his performance, only magnified hundredfold, it was spellbinding – and ended much too soon.

Costello's 'Centenary Show' captivates Mondavi crowd

Sacramento Press: Barry Wisdom: September 30th, 2012.

Photographs by Barry Wisdom

Man comes into this world alone and he exits it alone. So it is only fitting that Elvis Costello is celebrating an anticipated 100th anniversary on Earth sans Attractions, and free from Imposters with his wholly solo "Centenary Show 1954-2054."

Costello, who turned 58 last month, acknowledged in remarks to a Mondavi Center audience Friday night that the tour's name could be confusing to some – especially to American audiences who are more familiar with the term "centennial" than the UK version, which might be mistakenly read as the "Cemetery" tour.

There was no mistaking how freaking talented, funny, smart and downright personable Costello is as he took center stage at Jackson Hall to play a delicious pastiche of early radio hits, obscure B-sides, new songs, and soulful standards sung in loving tribute to his wife, the jazz artist Diana Krall.

Referring to Krall not by name, but only as "my gal," his otherwise strong and clear voice became hushed as he finished a subtle, jazz-flavored "All or Nothing At All," a standout track from Krall's 1997 album "Love Scenes."

"I miss her madly ... I miss her madly," he said softly as he set up to sing another pop classic from the American Songbook, "Walkin' My Baby Back Home."

But it was the more-familiar Costello standard, 1977's "(The Angels Wanna Wear My) Red Shoes "with which the UK-born Declan Patrick MacManus opened the stripped-down, but impossibly entertaining show.

Joined onstage only by a quintet of his favorite guitars, a Kawai keyboard and a few microphones (one for standing, one for sitting), Costello shared his music, a few laughs and – most notably – himself over the course of some two hours, including a more-than-generous encore that ultimately ended with pal Nick Lowe's "Peace, Love and Understanding."

"Exceptional Whistling Skills"

The Orion: Leila Rodriguez: September 27th, 2012

Elvis Costello didn’t bask in his thunderous greeting from the audience. He just picked up his guitar and played.

Costello took the stage Tuesday night at Laxson Auditorium decked in a suit and tie, signature top hat and spectacles.

The event, hosted by Chico Performances, marked a stop on Costello’s “2054: The Centenary Show” solo tour, a title which some fans accidentally mistook for “Cemetery Show.”

“People got worried real fast,” Costello said.

Though Costello may not be 100 years old, he wanted to celebrate the extent of his career and play his music for fans now in case he wouldn’t “be around to perform the songs on the appointed date,” he said.

His selection for the evening wasn’t too surprising. Costello has explored creating music in the country, new wave, punk and classical rock genres throughout his career. With more than 400 songs to choose from, he dabbled in all genres and albums, but remembered not to leave out beloved classics like “Veronica,” “Everyday I Write the Book” and “King of America.”

The British singer songwriter also showcased his dynamic unplugged sound and displayed some exceptional whistling skills.

He played a beautiful rendition of “New Amsterdam,” blending it with The Beatles’ “You’ve Got to Hide Your Love Away.” The two meshed wonderfully, calling oohs and ahhs from audience members.

Costello’s powerful lyrics still resonated onstage with only him and his guitar, but to make up for absent accompaniment, he teased spectators with prerecorded tracks and playback guitar riffs as he fiddled with pedals and gadgets below his feet.

He electrified the venue when a lively prerecorded intro to “Watching the Detectives” welcomed a staggering on-stage guitar solo.

Though the Rock and Roll Hall of Famer never got around to actually creating a tune with “rock ‘n’ roll” in the title, he certainly proved why he is so remarkable.

At the age of 58, Costello’s voice is still as refined as it was at the beginning of his career. He had no problem belting out lyrics and shredding on guitar. Even when he stepped away from the microphone, his voice rang through the auditorium.

“He’s always going back to everything,” said Megan Schwartz, who grew up listening to Costello. “My music taste has changed with him.”

After years of attending his concerts and following his music, she was pleased to know her hero is just as humble, kind and great as she had hoped, she said after meeting him at the show.

Costello shared childhood memories and personal stories between sets, turning the evening into an intimate affair. The energetic Chico audience wasn’t shy about responding to Costello’s comments but still paid due respect to the humbled man of rock ‘n’ roll when the music demanded quiet.

Long-time fan and concert attendee Rob Reddemann reminisced about how Costello’s music made him feel back in 1982 when he first heard the album “My Aim is True.”

“It was so raw and authentic at the time,” he said. “It takes me back to those times — the world in front of you, full of energy and passion.”

After returning from the stage wings for two encores, Costello finally ended the two-hour concert with “Alison.” The melody of a lightly plucked guitar and the heartbreaking honesty of the lyrics sent chills through the audience.

“The history of rock ‘n’ roll resides in the discography of Elvis Costello,” said Dan DeWayne, Chico Performances director.

"2054 - The Centenary Show"

"Following his recent highly-acclaimed series of concerts in capital cities from Brussels to Istanbul, London, Vienna, Amsterdam, Oslo, Berlin, Stockholm, Prague and Reykjavik, Elvis Costello returns to the performing arts centers and theatres of California with a solo performance with the intriguing title, "2054 - The Centenary Show"...

Asked about the title, Costello explained,

"This show may contain any song I've written"

"Some you will know already, some are the hits of tomorrow"

"I'm playing this show now in the unlikely event that I'm not around to perform the songs on the appointed date"

"Don't be late, we're going to have a big time"

Redding, CA / The Cascade Theater / Monday, September 24th / On Sale Now

Chico, CA / Laxson Auditorium / Tuesday, September 25th / On Sale Now

Arcata, CA / Van Duzer Theatre / Wednesday, September 26th / On Sale Now

Davis, CA/ Mondavi Center / Friday, September 28th / On Sale Now

San Luis Obispo, CA / Christopher Cohan Center / Saturday, September 29th / On Sale Now

Santa Barbara, CA / The Granada Theatre / Sunday, September 30th / On Sale Now

Irvine, CA / Irvine Barclay Center / Tuesday, October 2nd / SOLD OUT!!

Elvis Costello

Elvis Costello & The Imposters have announced two September concerts, one at Milwaukee’s BMO Harris Pavilion on Saturday, September 15th and the second at Chicago’s “Riot Fest” on Sunday, September 16th.

Costello & The Imposters ( Steve Nieve (keyboards); Pete Thomas (drums) and Davey Faragher (bass)) are ferocious performers. Rolling Stone called a recent show "epic," heralding the "velocity and challenge" with which Costello and his band stormed the stage." In April, the Raleigh News termed their concert simply "spectacular" while a stunned Florida Times Union reporter wrote that "the concert ended in a rock ‘n’ roll fury."

Tickets can be purchased at the Summerfest Box Office, Ticketmaster Ticket Centers, Walmart stores, online at Ticketmaster.com and by phone at 1.800.745.3000 (live Ticketmaster Agent) or 1.866.448.7849 (“Ticketmaster Express” automated phone line). Patrons may also utilize “ticketfast” at Ticketmaster.com to print bar-coded concert tickets from home. Convenience fees may be added to all purchases.

Please visit http://www.riotfest.org for Riot Fest ticket information.

"Quiet About It"

""Quiet About It", a newly recorded collection of the songs of Jesse Winchester is available now on iTunes.

Elvis Costello joins James Taylor, Allen Toussaint, Rosanne Cash, Lyle Lovett, Vince Gill, Lucinda Williams, Jimmy Buffet and others performing songs of one of the greatest songwriters of our time.

The performance of the song "Quiet About It" was recorded at Bowery Hotel, NYC during the approach of Hurricane Irene. All the additional instruments were recorded by Costello at Armoury Studio, Vancouver."

Buy it now from iTunes US

Buy it now from iTunes UK

Elvis Costello

Elvis Costello and the Imposters are to perform at South Korea’s Jisan Valley Rock Festival on Friday 27th July and Japan’s Fuji Rock Festival on Sunday 29th July and are scheduled to perform before Radiohead on each date:

7/27 – Icheon, South Korea – Jisan Valley Rock Festival: Buy Tickets
7/29 – Niigata, Japan - Fuji Rock Festival: Buy Tickets

After extended touring across the U.S. & Europe in 2011 and 2012, Elvis Costello & the Imposters will join bills including Radiohead, The Stone Roses, and others at each three-day event.

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and Davey Faragher (bass).

"I Hear In Ypsilanti..."

Elvis Costello carries Ypsipanties in his pocket

By Mark: June 23rd, 2009

I’m really burning through my 15 minutes of fame this week. First there was the DeNiro thing showing up on Maxim, and now it seems as though Elvis Costello is making news with our Ypsipanties… Here he is yesterday, on stage at Amoeba Records in LA, holding a pair of our panties while reminiscing fondly about them.

Linette and I have had brushes with panty fame in the past, but this, to our knowledge, is the first instance of what might be called a celebrity endorsement.

Here, by way of background, is a clip from today’s LA Times music blog:

Live: Elvis Costello at Amoeba Music in Hollywood

“You have to come out to a record shop to hear a brand-new song,” said Elvis Costello, raising an eyebrow and offering up an unreleased gem midway through his set at Amoeba Music in Hollywood Monday night. The statement was patently false — Costello’s performance was streamed live on Amoeba’s website — but it suited the evening’s mood and the rock raconteur’s new persona.

Costello is promoting “Secrets, Profane and Sugarcane,” a new album produced by the country-esque auteur T Bone Burnett and flavored with several varieties of Americana seasoning. This show’s instrumentation — he played acoustic guitar, joined by Jim Lauderdale on the same instrument and Mike Compton on mandolin — spoke of Nashville, but the songs, as well as their singer’s purple flim-flam-man costume and pencil-thin mustache, spoke of other locales and eras, from the antebellum Deep South to P.T. Barnum’s Eastern Seaboard and beyond.

This stop was part of a classic stunt of which Barnum would have approved. At noon, Costello played at the Amoeba outlet in San Francisco. Then he and his mates hopped a plane for the night’s gig in L.A…

Of the fresh compositions, the first was a gallows tale that crossed the darkness of Johnny Cash with the narrative flair of Marty Robbins, very much in his current mode, while the second hinted at a future return to the spit-flinging rock he’s made with his bands, the Attractions and the Imposters…

Mostly Costello highlighted the “Sugarcane” material, which reflects his love of the historical from several perspectives. “Red Cotton” was a dramatically rendered parlor tale of slavery and moral decay. “My All Time Doll” slinked along like a tune at last call in a smoky nightclub. The heartfelt (if slightly off-key) “Crooked Line,” which he co-wrote with Burnett, is “the only true love song I’ve ever written where I didn’t leave myself an escape hatch in the third verse”…

Costello clearly relished his ringleader position. He told some jokes, held up a pair of pink “Ypsilanti Panties” he’d acquired at the noon show (a reference to a line in “Sugarcane’s” title track), and tipped his fedora with a smile that suited the shady character he’s now playing…

If you like, you can watch the whole hour-long gig here! (It’s quite good.) The song, “Sugarcane,” starts at about the 52-minute mark. The line in the song about Ypsi – “Here in Ypsilanti, they don’t wear any panties” – occurs at around the 57-minute mark. And, a little bit after that, is when he removes the Ypsipanties from his pocket and begins talking about how someone handed them to him in San Francisco.

Here’s a somewhat rushed transcription of what Mr. Costello had to say:

…We were up at the Amoeba in San Francisco earlier today and someone gave me a gift that I wanted to share with you. In the final verse of the song, Sugarcane, it makes a suggestion that the ladies of Ypsilanti are a little bit… selective about their undergarments. And I have in my hand a pair of (yells come from the crowd as he takes them out of his pocket) Ypsilanti panties. (Laughter.) I kid you not. They go back a long way. There’s an accompanying note with them. (Takes a letter out of his pocket to read it.) This is the historical part of the show. (He reads.) “Never a rip, never a tear, with Ypsilanti underwear.” (Laughs.) At a Tom Jones show, the audience throws their underwear on the stage. We like to throw it out, into the audience.

And, then, in spite of having just said that, he promptly returns the Ypsipanties to his pocket for safe keeping.

Anyway, I want to pass along a great big “Thank you” to whomever it was out there that made the supreme panty sacrifice, choosing to hand off their cherished Ypsipanties to Mr. Costello for the good of all those unfortunate souls still remaining here in Ypsi. It’s much appreciated. On top of everything else, we didn’t need Elvis Costello fans around the world thinking that our women didn’t have panties. We may just be the poor descendants of appalachian slaves, but we have our dignity.

Oh, and if you like hearing Elvis say the word “Ypsilanti,” you can order the new record, "Secret, Profane and Sugarcane"

"Oh we don't have a barrel of money. Maybe we're ragged and funny"

The Sun: Paul Benbow: 2nd July, 2012.

At Cornbury Festival on Saturday night Elvis Costello And The Imposters belted out a two-hour, hit-packed set to the same people, but this time they were in cagouls and Hunter wellies.

Many were also there with kids now older than their parents were when Elvis first told everyone he didn’t want to go to Chelsea.

Opener I Can’t Stand Up For Falling Down ended with a “One, two, three, four” and it was straight into another tune.

And the energy was kept up to an encore of Oliver’s Army, Pump It up and (What’s So Funny ‘bout) Peace, Love And Understanding.

Being around for years has its advantages, for Elvis it’s knowing what the crowd wants and supreme confidence in delivering it.

Is It Worth It?

The Guardian: Elisabeth Mahoney: June 28th, 2012

It takes a big song to fill an hour's programming dedicated to it but Shipbuilding – written by Elvis Costello and Clive Langer, and sung by Robert Wyatt– easily justified Is It Worth It? (Radio 2). An exemplary music documentary, this explored both the track's social and political context, and the teensiest details of its making.

I loved hearing how Langer played the melody to Costello in his car outside a party at Nick Lowe's house ("I had a Golf, it had a good stereo in it – I was la-la-laing it in a Robert Wyatt style"). After hearing that, Costello penned the lyrics while on tour in Australia and called Langer. "I've written the best lyric I've ever written," Costello told him. "I've written the best tune I've ever written," Langer replied. They were on to something: a song so absolutely of its time, but also timeless and always a directly emotional, powerful listen.

The programme, presented by Annie Nightingale, drew a picture of its time really well, with input from a Falklands widow, men who worked on Tyneside shipyards and a war veteran who served there. Paul Morley and Pat Kane described the political and cultural scene ("the lingering aftershock of punk"), while David Gray analysed the song's meaning ("can't we do something else, something brighter and more beautiful than war-making and bullying?"). Costello spoke about how his family history had been shaped by war and the shipyards, and was as forthright as ever. "In British history," he said, "they nearly always get a working-class boy to do the killing."

Personal history is the structure for Meeting Myself Coming Back (Radio 4), an always interesting listen and sometimes an extraordinary one. This week's, with Clive James listening to his life in archive clips, was the latter: a very moving look back at a life full of spark and brilliance but now in its final stage. "I'm getting near the end," James told John Wilson. "I am a man who is approaching his terminus."

Elvis Costello

Elvis Costello & The Imposters will be performing at the Cornbury Fesitval, Great Tew Park, Oxfordshire, England on Saturday June 30th, 2012.

Tickets on sale now and are available from the Cornbury Festival website.

"The Cornbury Festival is one-of-a-kind: an eclectic and eccentric musical carnival - a dynamic summer festival disguised as a country fayre - a lovingly crafted, top notch, very English open air party, tailor-made for the whole family"

Costello back to his best

Hot Press: Olaf Tyaransen

Following 2009’s well received Secret, Profane & Sugarcane, the wonderfully titled National Ransom is Elvis Costello’s second album in two years to have been recorded in Nashville and co-produced with legendary cohort T-Bone Burnett. While the caustic title track is a foot-stomping dive bar rant about the state of the capitalist world (“Woe betide all this hocus pocus/ They’re running us ragged at their first attempt/ Around the time the killing stopped on Wall Street/ You couldn’t hold me baby with anything but contempt”), this sprawling double album is far more eclectic than previously hinted (word was they were making a no-nonsense, back-to-basics guitar album).

Guitars do occasionally feature, mind, but this largely acoustic affair certainly couldn’t be categorised as a rock record: it’s actually more of a rolodex one. Featuring longtime collaborators Steve Nieve and Pete Thomas, and guests such as Vince Gill, Leon Russell, Dennis Crouch and Marc Ribot, these sixteen songs range from speakeasy jazz (‘Jimmie Standing in the Rain’) and crooned moody blues (‘You Hung The Moon’) to classic country-pop (‘I Lost You’) and folk-rock (‘Dr Watson I Presume’). A veritable jukebox that sees him returning to various forms, it’s the most musically multi-layered, heartfelt and experimental Costello album so far this millennium. Free-flowing as effortlessly as it does, it’s also probably one of the best of his career.

Key Track: ‘One Bell Ringing’

Listen To 'National Ransom'

The Blue Beguilers Play Aspen

The Blue Beguilers
Aspen, Colorado
Featuring John McFee, Davey Faragher and Pete Thomas
June 16th, 2012

Welcome To The Working Week

Red Shoes

Mystery Dance

Uncomplicated

Brilliant Mistake

Blame It On Cain - all featuring the red-hot electric guitar of Mr. John McFee

Good Year For The Roses

Tonight The Bottle Let Me Down - both with John McFee on pedal steel guitar

Cry Cry Cry

Sneaky Feelings

Why Don't You Love Me Like You Used To Do? - all featuring Mr. John McFee on the electric guitar

Solo Interlude

Everyday I Write The Book

A Slow Drag With Josephine

New Amsterdam/You've Got To Hide Your Love Away

Sulphur To Sugarcane - featuring John McFee on the eletric violin

Watching The Detectives - featuring the Vox Continental stylings of Mr. Elvis Costello

Less Than Zero - Salute to Augie Meyers

Alison - featuring the electric guitar of Mr. John McFee

Encore

Stella Hurt - featuring the psychedelic stylings of The Blue Beguilers...

Pump It Up

Peace, Love And Understanding

"Equal Parts carnival barker and Ronnie Barker"

Rhythm Circus: Ollie Carlisle: June 7th, 2012

Elvis Costello takes to the stage at 8pm and blasts out four songs back-to-back without pausing for breath while a go-go dancer performs in a cage to one side. He finally leaves the stage three hours later, having put so much into the show he is ordered by doctors to postpone the following night’s gig and give his voice a rest…

After the initial burst of songs Elvis introduces us to a giant wheel of fortune known as The Spectacular Spinning Songbook, for which he assumes his alias, Napoleon Dynamite (something he came up with in the mid-eighties, long before the film of the same name). Equal parts carnival barker and Ronnie Barker, he brings members of the crowd up to spin the wheel with the help of glamorous assistant, and Tess Daly lookalike, Katya from the Ukraine. There are around forty songs listed on the wheel as well as mysteriously vague themes for linking songs, such as ‘girls’ and ‘I can sing a rainbow’. This gives an unpredictable edge to proceedings as we could just as much end up with big hits, cover versions, or obscure album tracks. The first spin throws up the latter, Bedlam from 2004’s The Delivery Man, but Elvis is good enough to throw in his own selections between spins so all angles of his career are covered, from Alison to an acoustic set from his latest album, National Ransom.

The spontaneous approach is highlighted when someone celebrating their birthday is allowed an extra spin. This lands on the word ‘numbers’ so we are treated to five consecutive songs Elvis has written with numeric titles, such as Two Little Hitlers and Less Than Zero. The guest spinners are shown to a seat in front of Steve Nieve’s keyboard compendium to enjoy their selection with a bright red or blue cocktail. Frequently they are also invited to join the go-go dancer in the cage for an awkward boogie. The only downside of the wheel is that you find out which songs didn’t come up. Still, it’s hard to feel short-changed when you hear classics like Shipbuildingand Tramp The Dirt Down.

During a lengthy version of Watching The Detectives Elvis segues into blues standard Help Me, wandering from the stage to find another helper from the back of the audience. Their spin is given a helping hand by Katya to land on another thematic keyword. This time it simply says ‘happy’ which means we get I Can’t Stand Up For Falling Down and High Fidelity from 1980’s Get Happy. Immediately following this are show closers Oliver’s Army, Pump It Up and(What’s So Funny ‘Bout) Peace Love & Understanding, raising the party atmosphere up to eleven. This may explain Elvis’ lack of voice the next day but is something for which the good people of Cambridge can be very grateful as, over the course of thirty songs, he has proved his songwriting prowess to be equalled by his music hall revival style abilities as a showman.

Costello alone - and super sharp

Afton Bladet: June 10th, 2012

It is undoubtedly a little luxury to see Elvis Costello on such a small scene that Rival, ahead of just over 600 people. In particular he indulges us with nearly 30 songs for two and a half hours.

He will completely solo, with its many guitars and a piano, and ask of course, apologises for the fact that he had set up in such a short notice in the autumn. However, there was good reason. Costello's father and his father's wife passed within just a few days, last November.

We are facing an equally sharp and entertaining performer as usual tonight, joking about all young people in Stockholm who travels around Stockholm in a truck, listening to techno.

But his feelings for his father, a jazz musician who once got The Beatles autographs for Costello, and the rest of the family puts its stamp on the evening.

The love of jazz and old American evergreens as much as British, has been allowed to blossom in recent years He sings with the heart of his three sons, and tells the story of his grandparents, which formed the basis of the old hit "Veronica".

Costello puts a lot of commitment into newer songs like, "For more tears" and interpreting Dylan, Young and Sinatra.

Even the audience who came for the classics will be richly rewarded.

I have rarely heard a finer "Shipbuilding" and "I Want You", where Costello sings over her own sampled loop, blazes strongly.

"Rendezvous In Reykjavik"

When I Paint My Masterpiece
Red Shoes
Good Year For The Roses
Brilliant Mistake
Last Boat Leaving
She’s Pulling Out The Pin
Everyday I Write The Book
Bedlam
One Bell Ringing
Beyond Belief
She
Watching The Detectives
Quiet About It
Veronica
Church Underground
Suit Of Lights
Dr. Watson, I Presume
My Three Sons

Encore 1

A Slow Drag With Josephine
Jimmie Standing In The Rain
For More Tears
Shipbuilding
National Ransom No.9

Encore 2

Alison
Oliver's Army

Encore 3

Who’s The Meanest Girl In Town, Josephine
A Voice In The Dark
Sulphur To Sugarcane
I Want You
Peace, Love And Understanding

"Shut Up And Don't Sing"

SvD: June 9th, 2012

Quick Costello Doesn't Have The Sense To Finish On Time

It was five years ago when Elvis Costello was in Sweden last.

In that time, the ever-industrious 57-year-old, in addition to unremittingly work with and present their music, distinguished itself as the host of a notable talk show on television. Interviewing musicians colleagues took him just fine; excavation work in music history has been intensified and deepened since he was an angry young man pub rock/punkman in London in the 1970s.

To the old cinema lounge at Mariatorget, he is alone with six guitars, a digital piano, four speaker boxes and some effects pedals. The latter he is playing around with and like everyone else these days, he must necessarily circulate itself to a enmansorkester. A piece in the concert, he presents himself as a guest artist before he sits in a chair a little on the side and plays One bell ringing, an exemplary ease David Crosby-sounding song from latest album National ransom.

The man in the hat catch a few songs from the album, and layering them seamlessly with no obvious låtval side-by-side on the songs, which can all be: "Watching The Detectives", "Alison" and Shipbuilding. Just as seamlessly includes songs written by others. From the concert opener of Bob Dylan's "When I Paint My Masterpiece to Nick Lowes closing (What's so funny ' bout) peace, love and understanding?

Is it actually a lot.

The concert is at a quick tempo, it is always of very neat approach and fully in black dressed Costello, but is still too long.

He is good when he stops singing, going forward to the stage edge to receive joy and celebration, but has difficulty ending the concert at the appointed hour . There will be two huge lengthy encore before he has the intelligence to withdraw.

"I Love The Smell Of Techno In The Morning"

Elvis Costello
Rival, Stockholm, Sweden
June 8th, 2012

When I Paint My Masterpiece (Dylan)
Red Shoes
Good Year For The Roses
Brilliant Mistake
Last Boat Leaving
Everyday I Write The Book
Bedlam
One Bell Ringing
All Or Nothing At All
She
Down By The River (Neil Young)/Watching The Detectives
Quiet About It (Jesse Winchester)
Veronica
Church Underground
Suit Of Lights
Dr. Watson, I Presume
My Three Sons

Encore 1

A Slow Drag With Josephine
Jimmie Standing In The Rain
For More Tears
Shipbuilding
National Ransom No.9
A Voice In The Dark
Alison/In Another Room

Encore 2

Who’s The Meanest Girl In Town, Josephine?
Sulphur To Sugarcane
I Want You
Peace, Love And Understanding

"Someday Everything Is Going To Be Different"

"Elvis Costello Alone In Eindhoven"

Elvis Costello
Muziekgebouw, Eindhoven, The Netherlands
June 7th, 2012

When I Paint My Masterpiece
Red Shoes
New Amsterdam
Good Year For The Roses
Last Boat Leaving
Brilliant Mistake
Bullets For The New-Born King
She’s Pulling Out The Pin
Everyday I Write The Book
All Or Nothing At All
She
Watching The Detectives
Our Little Angel
Quiet About It
Church Underground
Suit Of Lights
Dr. Watson, I Presume
My Three Sons

Encore 1

A Slow Drag With Josephine
Jimmie Standing In The Rain
For More Tears
Shipbuilding
National Ransom No.9

Encore 2

Who’s The Meanest Girl In Town, Josephine
I Want You
Peace, Love And Understanding
All These Strangers

Elvis Costello, Royal Albert Hall

Daily Mail: Adam Woods: June 2012.

About 25 Years ago, Elvis Costello did a tour that revolved around a big wheel, which he named the Spectacular Spinning Songbook. The wheel bore the names of his best-known songs, fans were invited on stage to spin it, and Costello's excellent band - then known as the Attractions, now the Imposters - played whatever was selected. It was a bright idea that didn't come off so well in reality. Costello's manner with the fans was sour, and it was just too tantalising if your favourite song was sitting there on the list, not being played.

Now he has brought the wheel out again, and this time it works. His youthful acidity has softened just enough to turn into humour, and he has solved the set-list issue by simply cheating. As he puts it, in a piece of unanswerable logic: 'If you can't cheat in the Royal Albert Hall, where can you cheat?'

Now 57, Costello is three entertainers in one: a twisted post-punk, a caustic balladeer, and a rocking connoisseur. The post-punk launches an opening salvo of fast and furious tracks from his first few albums, resurfaces later for a rousing Oliver's Army and a furious Pump It Up, and evokes the spirit of 1977 with an entertaining republican rant.

The balladeer gives us subtly bruised feelings on Alison, elegiac modern history on Shipbuilding, and melodrama on Favourite Hour, as Costello delivers an anguished vocal accompanied only by Steve Nieve, the Tim Burton of the keys, playing a demented solo on the colossal house organ. It's like The Phantom Of The Opera, but better.

The Connoisseur embroiders his own songs with snippets of everything from Purple Rain to Day Tripper, slips in a well-judged cover (the Stones' song Out Of Time) and conjures up the sound of the Twenties on the intimate Slow Drag With Josephine.

Costello has done so many interesting things, from writing with Burt Bacharach to presenting his own chat show, that he has ended up rather marginalising himself. Seeing him serve up nearly three hours of eclectic brilliance, you feel that he must have another great album in him.

Curly Moore says, "Don't Pity Me"

Elvis Costello and the Wheel of Fortune: Meeting of a secret society

For half a minute, looking irritated the reviewer to the right. On the stage Elvis Costello & The Imposters play "Human Hands", an eternal favorite of the reviewers. He uttered a cry of ecstasy as he recognized the song.

But then he made the mistake of looking at how the stranger next to him responds. Your response to "Human Hands" is silence.

She had not respond, even on "I Hope You're Happy Now" and "Man out of Time".

Her hands are folded motionless on the Kostümchenhose.

She stares forward througn Zwirbelbügeln glasses

Oh, one more song.

The reviewer also now staring at this woman he has secretly named Tanya, and wants to shake her.

Tanya are there no more sparks of passion in you?

"Human Hands"! Imperial Bedroom!

But he controls himself, probably for fear of the reaction.

“Imperial what?”

Perhaps Tanya was expecting something else when she read the announcement. "Revolver," "The Spectacular Spinning Songbook" - that sounds like Revüe, to cabaret, with go-go dancers and Dixieland jazz.

But of all that, there are only hints.

Viewers may be selected, no, primarily female audience members, guided by an assistant spin of the colorful wheel of fortune choosing the next song.

While dancing on stage left, another assistant ledergestiefelt and netzbestrumpft, behind a beaded curtain and encourages the audience to do the same.

With a top hat and cane, Costello slips into his alter ego and Napoleon Dynamite is the emcee. But 80 percent of the evening is nothing more than a Costello concert.

All good, but obviously not what Tanya has hoped.

“Here’s our audience!"

The muddy sound of "(I Do not Want to Go to) Chelsea" is not Elvis Costello's fault. The blame is not Steve Nieve’s, whose stumbling for the character of the song, which essentially with the organ of a front is flattened out loud too dull and mushy bass guitar.

No, it is the fault Hall 1 of the Hamburg Congress Centre CCH.

And while we're on the blame.

The fact that Costello his only concert in Germany this year, playing in front of, at best, half-filled is sad but the shame of the Reviewer is at the infamous crappy sound at CCH .

Costello takes at least it with humour.

He simply declares the audience meeting of a “Secret Society.”

When a spectator spins the Joker jackpot and was allowed to choose a song, but had to admit that he really doesn’t know any of the songs,

Costello cracks up: "This is our audience."

Eventually, Costello is at once next to the reviewers, in search of new fairies. The reviewer looks intently at his pad, set the pen in hand, to let this cup go past him.

Bashfully he looks left, looks impressed by Costello's sweat-soaked suit, looks to the right to Tanya. Tanya looks forward motionless. Costello continues. Someone else must dance in go-go cage. Thank you, Tanya!

For fans of fortune is sometimes a curse.

You may look at songs that are in the set but above all he sees those which do not make it.

So"Beyond Belief" attracts the wheel of fortune over all the pieces of Painted from Memory, Costello's collaboration with Burt Bacharach.

But every now and then fate smiles on the fans of "Strict Time" and "Green Shirt", which were not expected.

Pianist Steve Nieve is allowed to make a wish. He chooses a popular selection. "She", the schmaltzy song by Charles Aznavour, Costello recorded for the soundtrack of “Notting Hill”

Even Tanya raises an eyebrow.

Ah, that's Hugh Grant, right?

The reviewer, however let’s the pathos pass over him and is pleased for the appeal. This little crowd-pleaser seems to be much of a good thing

Costello takes the auditorium seats, his legs propped the chair back, throws a critic’s notebook up the aisles and laughs and then gives then it back to him.

Supernatural "Shipbuilding"

After a brief hiatus Costello is alone on stage.

The short acoustic set that he plays now is reminiscent of his solo concert in Berlin in 2011 – even then in front of half-full house.

When he sings "Jimmie Standing in the Rain" in Hamburg, he almost ruins the atmosphere that it has been established with "A Slow Drag with Josephine."

Tanya yawns and her eyes are not open, as Costello sings another Josephine, "The Meanest Girl In Town, Josephine."

Even when the Imposters return to the stage Costello and the band play to dizzying heights with a supernatural version of "Shipbuilding", which summarizes this reviewer’s heart, Tanya remains stubbornly unimpressed, externally.

But a little later, the reviewer draws hope.

The band plays on without a pause. The early hits: "Pump It Up," "(What's So Funny 'Bout) Peace, Love and Understanding", "Oliver's Army".

The audience is up and Tanya is not sitting.

But when he just wants her fall in ecstasy around her neck in collective ecstasy, she sits down again.

The reviewer rushes forward on the edge of the stage.

Costello is eligible for a final encore on stage: "I Want You" – in the shadow on the border of an orgy of love pain, as you would expect from this great song.

The reviewer stumbles back to his place, now it is all clear.

"I Want You, Tanya," he moans feverishing.

But his words go unheard in the draining room.

Tanya is already gone.

Get Happy Magazine: Fabian Wallmeier:

"Concert of the year" by Elvis Costello in the CCH

Hamburger Abendblatt: Heinrich Oehmsen: June 4th, 2012

Costello is not only singer, but also entertainers in a gaudy show - the audience goes with all happy faces.

Hamburg:

The large wheel rotates once. Who does not dream of it? Andrea, Ella, Christian, Yolanda and a few more fans of Elvis Costello to get this opportunity within the vaudeville show of British singer and guitarist, on the stage of CCH.

Led by the long-legged Assistant Katarina on the stage, they must the colourful Ferris wheel "spinning wheel", rotate and select the song Costello, and his Imposters next play.

In 40 fields are songs from the character repertoire, there are also a few jackpot fields. Andrea, first candidate, turns right on the jackpot "Time" and the four-piece band plays then three numbers on the subject of time: "Strict Time", "Man Out Of Time" and "Out Of Time" by the Rolling Stones.

Costello is not only a singer, but also master of ceremonies in this gaudy show.

He scurries back and forth between dance cage, wheel of fortune , climbs down into the Hall to select candidates, interviews them, and depending on which song the wheel magically stops, switches quickly between acoustic and electric guitar.

He inherited this soft spot for this form of entertainment from his grandfather and his father, who were both musicians in entertainment orchestras.

The 57 year-old reflected his political involvement as a first-class entertainer, but and his anger about many injustices in the world is not left in the dressing-room.

Naturally, we heard "Shipbuilding" in the program, that wreathed melancholic anti war song that he wrote twenty years ago during the Falklands war and also "National Ransom", his angry statement with greedy brokers during the 31 songs he plays in 165 minutes of relentless.

The audience in the only half-full great Hall of CCH is completely out of the House, jumps up again and again standing to applaud Costello, and as the wheel of fortune on the joker is retained, it calls in particular "I Want You".

As the final song of the last Encore, he plays this passionate love song

As the Auditorium flows out shortly before 11 P.m, one sees all happy faces and hears same comment again and again: "Concert Of The Year!"

Pull Out Your Thumb And Count What's Left On Your Fist

GAFFA: June 2nd, 2012

Distinguished musician between post-modernist medley and ironic vaudeville

Declan Patrick McManus -or Elvis Costello, if you like, has never been quite easy to just classify or put in pre-defined boxes.

In an interview prior to the concert, he explained as follows:

“I think people are taking it too seriously.

All the analysis is meaningless to me.

When it comes down to it, there is nothing more important than your loved ones lives and well-being.

We take care of each other and try not to stab each other in the back. Otherwise nothing means anything ...

There is nothing in pop music that is “genius”. There are just “good”, regardless of whether it has good intentions or if it comes from the heart

I have never made anything from an analytical point of view or as an exercise in making myself to appear smart. I have done everything, because I am curious. If it has appeared grandiose or pretentious to others, that is their problem.”

Personified Postmodernism

On the current tour-including in the evening in Aarhus, Costello decided to compound the unpredictability further by dusting of a good 25 years old trick of The Spectacular Spinning Songbook.

The Spinning Songbook helped determine tonight's set with the help of the audience, while a go-go-dancer twists herself into a cage to the left of the stage, where several members of the audience also has the opportunity to flourish in this evening's show

At the Center remains, Costello, not just as the ringmaster with top-hat and silver-top walking cane, but also as the front man for a close rockin' trio, delivering an evening with more than two hours of energetic efforts.

Characteristically, there are historical rock references in the form of chunks of songs from Hendrix ' Angel to The Beatles Day Tripper and The Animals early hit, "Don't Let me be Misunderstood.

“Characteristic”, because people say that Costello, rather than to being a genuine God-pardoned songwriter himself, presented himself as post modernist musical melting pot.

Enough, he is a child of the end of the seventies the new wave, but steeped in pop music and rock'n ' roll musical universe from the late 1950s and early 1960s.

Mad Rock

The initial handful of songs come the nearest to a kind of distorted, insanity-rock'n ' roll, out of time, while in the course of the set it becomes more nuanced.

Costello himself emerges as a brilliant singer, sometimes even without microphone and guitarist in several wild solo-ride.

A gentle interpretation of George Jones A Good Year For the Roses is a climax, and the involvement of the audience works excellently, with single people and couples, men and women are invited up to spin on the wheel and dancing in the cage in varying degrees of enthusiasm.

It all exploded in an ironic Vaudeville-universe with scantily ladies and Costello as the sarcastic and sympathetic compere. His perhaps most memorable hit So Like Candy was followed by Alison in honour of a young couple after a middle-aged man had played the game enthusiastically and confidently.

It's all nice and fun and works well - despite the classy musicianship, which exhibited. Tonight's show, appears as a postmodern potpourri in a deliberately anachronistic and ironic setup rather than an approximation to the authentic ideal, so prevalent in the popular musical Parnassus.

It is both entertaining and downright rockin' but on the other hand cannot avoid a degree of natural, theatrical, distance. We do not become involved in emotional terms, as at a Springsteen or Dylan in concert . We were entertained nonetheless.

"Are You Finally Happy Now"

Stuttgarter Nachrichten.De: June 5th, 2012

It is a crimson evening in Hamburg. –

“I Want You” is an ode to the desire that wants so, that Elvis Costello ends a show which begin, seemingly harmlessly with "I hope you're happy now", a hyperactive, funny, twisted pamphlet of complaint at the end of love and ending with a psychodrama of such a damned obsession that Michael Winterbottom made a movie from the song in 1998.

In between, there is a two there a half hours cross-section through the amazing diversity of work and Costello characters. Sunday in the Hamburg Congresscentrum, is his only German concert.

It is a common misconception that the Internet for the death of the LP, and therefore responsible for the decline of pop.

Actually hardly anyone hears through albums from beginning to end, they put together playlists from his favorite songs.

And musicians, who think that their songs are understandable only in the overall context of an album, have a problem. But ultimately the pop finds so back to its beginnings, the single was the nucleus of pop.

He had as a teenager, Elvis Costello says he heard only singles, And the superstructure of the singles; The Beatles, Kinks, or Hollies he heard at that time, did not need to be heard, like his own songs, in the form of an album.

This is demonstrated also in the countless rearrangement, where nature of the songs is released.

Therefore, with his repertoire in a game show of chance and on a stage of colorful fun, it is among the great ideas of the now 57 year-old.

After opening with a handful of overdriven Pub rock numbers such as "Heart Of The City" or "Radio Radio", played hot, the actual "The Return Of The spectacular spinning Songbook" begins, “The Happy Wheel” is celebrated.

Audience decides the songs and the order.

Elvis Costello sets up his cylinder, transforms into his alter ego Napoleon Dynamite, promises a blend of presenter, ringmaster and pop Barker "Songs about love, sex, death and the dancing, but not necessarily in that order".

Again and again, Costello and his assistant get people on stage who spin the wheel of fortune and thus decide on the set.

In addition to the song titles there is also a “Joker” selection and Jackpot titles such as "Crime & Punishment" or "I Can Sing You A Rainbow" on the wheel and Costello takes the liberty to play songs on this subject.

The tops the pointer at "Time", and he covers “Out Of Time" from The Stones. Later, he plays "Day Tripper" by The Beatles or “Purple Rain" play by Prince.

The volunteers from the audience in a borrowed from a Burlesk show dance cage be dragged in which they around must linger or dance on stage for the song of their choice. It is clear that it has fallen into a satire of pop.

Costello the Irrwitzigkeit of pop circus presents enjoyable, the superficial, the vanity, even moments of utmost seriousness He presents always: this is interchangeable. This is pop. That's show business.

You know it never know exactly what is Elvis Costello, who although he has lived many years in the United States with the jazz singer Diana Krall and has two small children, still has his British sarcasm

“The Wheel of Fortune” is well named in Hamburg

Worlds collide between his numbers. Here reggae of "Watching The Detectives" or the lively "Peace, Love & Understandng", there the ballad "Shipbuilding".

Or the knurrige "National Ransom" re-worked over an evil, stuttering reef, or "She", in which he acts as the crooner, climbs down from the stage and on one of the Sperrsitze on the Orchestra's cozy there.

In the midst of this colorful confusion of the game of pop Costello does a series of acoustic Ragtime numbers like "A Slow Drag Named Josephine" on the guitar and the ukulele.

Because it is a wheel of Fortune this evening with Hamburg, there are also hits like "Chelsea" or "Everyday I Write A Book" to hear.

And then as a final bonus, then "I Want You".

It begins with the disturbing guitar chords in familiar but later there is only an electric piano and the voice of Elvis, which eerily echo through the Hall, before this singer- songwriter finally dispensed with entirely on the mic.

An intimate moment, he is sensitive then the front of the stage in the dark, calls unamplified, "I want you!", "I want you!" into the hall.

Once you are ready to believe that he is really serious about it now, the light goes on, Costello grins.

The show is over.

The Happy Wheel In Top Form With The Only Concert In Germany.

Regioactive.De : Jan Wolfer: June 5th, 2012

Elvis Costello & The Imposters live in the Congress Center Hamburg

He is one of the greatest musicians of our time, even though he could never achieve the commercial mega success.

Currently, the British musician on "Revolver" tour through Europe. During his only concert in Hamburg, Germany left Elvis Costello fans the song selection.

They are determined by Fortune.

Despite some chances but hilarious all got their money, because at the end of Costello was still burning from the great Hitfeuerwerk.

Go back to the year 1986.

Elvis Costello has just recorded the last album with his first band The Attraction, “Blood and Chocolate” and will appear for last time with his old backing band on tour. At this point, however, that no one suspects.

The theme of this tour, however, was spectacular: "The Spectacular Spinning Songbook" based on a giant wheel of fortune, were on the dozens of song titles.

The trick was that viewers were from the laconic host Napoleon Dynamite (aka Elvis Costello) called on stage to spin the big wheel and thus to determine the next song.

Costello announced in 2011 "The Return Of The Spectacular Spinning Songbook" for his North American tour on where the show was launched on the same concept again. With Wheel of Fortune (albeit with a different song selection), where the lucky chosen ones were allowed to take place and be cared for by Mr. Dynamite’s assistant with drinks and with Miss Dixie, who is dancing in the cage stage.

Now the tour ended up in Europe. Germany had to accept but only one gig in Hamburg.

The CCH is unfortunately only about half full.

A fact that is probably due to the fact that Costello is an artist whose recent publications in this country, and hardly promoted, so more and more became an insider tip.

To those who have yet found the way to the concert, you can download the fascinating scenery and soon after hired a two members of a precise and active band that has played together for 33 and 1/3 years.

Bassist Davey Faragher has been member of the Imposters for at least ten years as Costello now calls his band.

They are able play about 70 songs on command, it needs. It need a base. On this evening soon becomes clear that these Imposters are the base, with ease.

The first five songs - all from the first ten years of her career - will not break and no announcement after the other rocked the audience.

It's a start but the sweeps and lengths cannot be detected.

After the first spectator is brought to the stage.

To the sound of Blood Sweat & Tears "Spinning Wheel, they can turn the wheel of fortune, and it comes "Round and round it goes - where it stops, no one knows” to the word “Time.

Behind it “Strict Time, “Man Out Of Time” and the Rolling Stones' cover of “Out Of Time” as a jackpot of the same topics, is another Überraschug.

During the gradiosen cover of “Out of Time”, Dr. Costello and Mr. Dynamite chooses those for the cage stage and leads them back into the crowd.

Another program feature is called "The Hammer of Songs", in which a small high striker is used.

This is asked a couple on stage. Both have to swing the hammer. Anyone who has reaches the bell to the free choice of song.

It is good that the young woman desires “Everyday I Write The Book”.

But her silly companion refuses the option on the grounds that he doesn’t know any of the songs.

Nice, but again Costello takes the fact of the affair and he conjures “Purple Rain” by Prince out of a hat.

Then he plays alone, acts as its own intermediate program, with an entirely unamplified “A Slow Drag With Josephine: before the audience.

The next effect is the most beautiful show "guitar shrinking trick", which is a fully ausgewachsenene a ukulele guitar for the song “Who's The Meanest Girl In Town, Josephine”.

Later, he rises again with his terrific band with “Shipbuilding”.

Among the few lengths of the evening include a slow, somber interpretation of National Ransom, which comes much tougher than in the rousing version of his last studio album.

The unexpectedly fantastic version of Dylan’s “When I Paint My Masterpiece” but pulls out all at once.

Reaching a protracted “Watching the Detectives” one can suspect that the concert was going to end now.

Far from it: Napoleon Dynamite once again brings two female fans on stage and asks her to spin the songs for the finals to be determined.

It gets one of the two wild symbols and the right to free choice, an opportunity that turns out to be more difficult than expected.

Thankfully, Mr. Dynamite then switched to the "give-the-people-what-they-want" mode and the now-standing audience still a hit-package skin around the ears. In between, he brings “Day Tripper:, and – “God Save The Queen” for the Jubilee.

At the end of the stage is bathed in red light.

Costello rises again very deeply in “I Want You”.

A spooky effect will be the voice and he quotes “I Say a Little Prayer” - this song is not always so intense.

That evening, however, he makes a perfect finish, oh that “Alison” is not heard. It does not seem to bother the audience.

It is also no true that there was no reason for the Hamburg audience to carp, there have been plenty of opportunities to hear this classic.

From Circus Costello To Lonesome Elvis

DeMorgen: Bart Steenhaut: June 1st, 2012

That Elvis Costello has many variations is known, but the two sold-out performances that the glass wearing singer/songwriter has done in the past few days in the Ancienne Belgique and the Royal Circus couldn't be more different.

Elvis Costello has more than thirty CDs behind his name and virtually every genre covered.

He began his career in the mid-seventies London pub-scene, was later one of the most prominent figures from the British punk, and subsequently built a repertoire from which both country, soul, jazz, opera and classic were dealt with. In addition to his acting, whose actual name is Declan MacManus, in the last few years he has become a supreme talk show host.

That latest show Wednesday evening in the Ancienne Belgique fitted well, where he, together with The Imposters put on a show of The Spectacular Spinning Songbook, a concept where Costello traveled through the USA last year.

The idea is simple: there will be a great Wheel on the podium on which song titles and themes are listed. Costello's assistant, a hormone-stirring, mirrored, freaky Russian type, picks random people from the public who may have a go on the wheel, and so to sets the scene for the night.

Then they will, under a little persuasion, be led to a cage where they will entertain the crowd by doing a little dance, helped by a sexy professional whose bones seem to appear elastic.

Meanwhile on Wednesday, Costello would creep into the skin of his sardonic alter-ego, Napoleon Dynamite as a ringmaster, with top hat and a stick- and entertain the crowd.

To be honest: the kit is not essentially different to the regular shows done by The Imposters, but the ingenious package ensured that from the first note it was a party. The band played tight and at a rip-roaring pace through classics like “I hope you're happy now”, “Radio Radio” and “Mystery Dance”

Costello made up to two walks through the room, had a solo moment to show some of his new work, among others the song written for the to the recently deceased Doc Watson "Dr. Watson, I presume'. But after popular covers of Prince (“Purple Rain”) and Johnny Cash ("Cry, Cry, Cry”) in the final stretch the hits came through like confetti with 'Oliver's Army', “Indoor Fireworks”, “Pump It Up” and as always,the heart-pounding, “I Want You”, as the apotheosis.

In between, they played the intimate, “Almost Blue” for shy Lana and the charming Joker Spin gave “Clubland” on the show. Occasionally there was even cheating.

The obscure "Hoover Factory" was turned twice but not played, and there was a bell that once struck with a hammer, provided another wildcard. The request “Alison” was chosen, even though the Wheel did not stop at that song.

Where the show in the Ancienne Belgique, actually a large give-the-people-what they-want-show, the following day it was the solo concert in the Royal Circus, one for the connoisseurs, with many less obvious songs, and a generous selection from the National Ransom, his most recent CD.

Not a bad thing, since, live, those songs were extremely good with the intimate “Jimmie Standing In The Rain” and “Bullets for the New Born King: as surprising winners.

In addition, to being a stunning songwriter Costello is also a masterful narrator, who therefore had no difficulty to keeping the public entertained in his two hours and 45 minutes.

He switched between acoustic and electric guitars. His cover of Aznavour's 'She' was one that made you emotional. “For More Tears”, played at the piano, is an excellent new song that has not even been recorded.

During the final round, a surprise, Steve Nieve steps out onto the stage, and their sober, half-improvised version of “I want you" - one of the few overlaps with the set the previous day, was again a hit.

Nick Lowe’s (What's so funny About) Peace, Love and Understanding' - the traditional bang - that was it.

Two times Costello, two times different, two times an excellent concert. As a true Elvis befits.

"A Lady Sawing Us In Half"

The Red Accordion Diaries: Brigid Kaelin: June 1st, 2012

Playing with Elvis ... again.

Namedropping alert!

The problem with Elvis is that he's just so completely down-to-earth it's hard not to be convinced he's a friend. Then you look over and see the Spectacular Spinning Songwheel and remember that you're joining him on-stage for a massive sold-out show in Glasgow and that, perhaps, this is kind of a big deal.

David and I bought tickets to the Elvis Costello show many weeks before the event, and I was just hoping to catch EC backstage for a quick hug and hello. But the minute I let him know we were coming to the show, I got an invite to bring my saw and accordion. Of course I was hoping that would happen, but I was also completely cognizant of the fact that he's got his own thing going and can't exactly just invite anyone on stage with him. So, yeah, I was not expecting anything more than a great concert and a fun weekend in Glasgow.

This particular tour just screamed for special guests, though, and it was such a fun night. Elvis's little brother's band, Biblecode Sundays, also joined the Imposters onstage ... you can see all of us below, in a video my dad found online. David was obeying the laws and not recording the show, so this and a few pics are all we've got to remember it by:

In addition to the above raucous finale, I played musical saw on a medley of "Mr. Feathers" and "God's Comic," plus sang a bit of backup. ("Put a vocal mic on Brigid!" was one of my favorite moments of soundcheck.) The show was so much fun, I almost wish I could have been in the audience. But giggling and chatting backstage with Biblecode Sundays while we watched Steve Nieve in awe (I got a private theremin demonstration post-soundcheck and wish I had more time to talk gear with SN) was oodles of surreal fun.

At least David got to see the show from the audience.

It's going to take everything I have not to name this little boy Elvis or Declan now.

Elvis Costello presents highs, Lowes and Russell Crowe

The Spectator: Nic Fildes: May 30th, 2012

"A fantastic blend of rarely heard classics (‘Strict Time’, ‘Deep Dark Truthful Mirror’); hits such as a dubby ‘Watching the Detectives’ and snippets of well-known covers including ‘Out of Time’ and ‘Day Tripper’ all kept the go-go dancers on their toes. Even new material was well-received. A vampy version of ‘National Ransom’, with menace missing from the studio recording, pushed the tale into more familiar ‘sneer’ territory."

Read More...

"Le Deux Rois de Belgique"

Elvis Costello & The Imposters
Acienne Belgique, Brussels, Belgium
May 30th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Beyond Belief - Spin 1

Almost Blue - Spin 2

"Beauty Or Beast" Jackpot - Spin 3

All This Useless Beauty
Monkey To Man

Watching The Detectives vs Hoover Factory - Spin 4

Watching The Detectives/Help Me - Unanimous Decision

Clubland - Spin 5

Stella Hurt - IMPROMPTU

Cash - Spin 6

Cry Cry Cry

Good Year For The Roses - IMPROMPTU

The Hammer Of Songs

Alison

Everyday I Write The Book - IMPROMPTU

Purple Rain - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Dr. Watson I Presume - Napoleon Solo - For Doc Watson And His Family

Indoor Fireworks - with the Imposters

Finale

"Time" Jackpot - Spin 7

Strict Time
Out Of Time

"Happy" - Jackpot - Spin 8 - Napoleon's Command

I Can't Stand Up For Falling Down

High Fidelity

Oliver's Army

Pump It Up

Peace, Love and Understanding

I Want You
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Elvis Costello
Cirque Royal, Brussels, Belgium
May 31st, 2012

(The Angels Wanna Wear My) Red Shoes

When I Paint My Masterpiece

Veronica

Brilliant Mistake - un vers avec Le Roi de Belgique

Bullets For The New-Born King

New Amsterdam/You've Got To Hide Your Love Away

Everyday I Write The Book

Bedlam

One Bell Ringing

All Or Nothing At All

She

Who's The Meanest Girl In Town, Josephine

Watching The Detectives

No Particular Place To Go

Our Little Angel

Church Underground

Suit Of Lights

A Slow Drag With Josephine

Jimmie Standing In The Rain

Interlude

Poison Moon

Tramp The Dirt Down

For More Tears - E.C at the piano

Shipbuilding - E.C. at the organ

National Ransom No. 9

Encore 1

My All Time Doll - with Steve Nieve at the piano.

My Three Sons - with Steve Nieve at the piano.

Accidents Will Happen - A Request

Encore 2

All These Strangers

I Want You

Peace, Love And Understanding

Elvis Costello And The Imposters, Live At The O2 - This Wheel was certainly on fire!

Hot Press: Colm O Hare: May 28th, 2012

You have to hand it to Elvis Costello! With a vast body of consistently high-quality work stretching back 35 years, he has solved the problem of how to present it, without resorting to the usual tired mix of greatest-hits-and-plugging-the-new-album scenario. The Spectacular Spinning Songbook – which he has revived from the mid 1980s – is a game of chance in which everybody wins. The idea is simple: song titles are written in garish colours on a giant wheel of fortune and audience members are invited (or in some cases, press-ganged) into spinning it.

That’s the theory – and on the night, with a bevy of leggy, “lovely girls” on hand and a stage-set that is part cheesy lounge, part Vegas, but more workman’s club on bingo night, he delivered a set that pleased die-hards and casual fans alike.

Dressed in a check suit and bowler hat, he looked like a song-and-dance man from a 1930s music hall variety show, but when he donned the Fender Jazzmaster for the likes of ‘Radio Radio’, ‘Hi-Fidelity’, ‘Pump It Up’ and ‘I Don’t Want To Go To Chelsea’, he sounded just as ferocious as the angry young man who was once described as “looking like Buddy Holly after drinking a can of STP”.

Of course, rules are made to be broken and Elvis did just that more than once tonight, as when a girl “spinner” said she really wanted the wheel to stop at ‘Good Year For The Roses’. She was out of luck but he did it anyway, on the basis that “you can’t turn down a lady’s request, can you?” When the wheel stops at ‘Happy’, he plays several from the seminal Get Happy album, including, ‘I Can’t Stand Up Falling Down’, while ‘Joanna’ of course wasn’t an EC song but cockney rhyming-slang for “piano” – a cue for his long-time sidekick, the great Steve Nieve, to pick a tune or two. He chose a pair of gems in ‘I Still Have That Other Girl’ from Costello’s overlooked collaboration with Burt Bacharach, and the Charles Aznevour hit ‘She‘ from the Notting Hill soundtrack. Other highlights on this hugely entertaining and at times very funny evening, included the McCartney collaboration ‘Veronica’, a soulful ‘Everyday I Write The Book’ and the evergreen ‘Alison’. He ended proceedings with his incendiary version of Nick Lowe’s ‘What’s So Funny About Peace Love and Understanding’. But Elvis hadn’t quite left the building and with the stage drenched in blood red lights, he finally finished up with an extended ‘I Want You’, which was as intense and powerful as ever.

This Wheel was certainly on fire tonight!

"The Results Of The Paris Jury"

Elvis Costello & The Imposters
Paris, France
May 29th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Motel Matches - Spin 1

Accidents Will Happen - Spin 2

"Joanna" Jackpot - Spin 3

I Still Have That Other Girl
She
Talking In The Dark

"Numbers" Jackpot - Spin 4

Less Than Zero
45
One Bell Ringing

Watching The Detectives/Help Me - Spin 5

Oliver's Army - Spin 6

Bedlam - Spin 7 - M. Antoine de Caunes' Spin

Chelsea - Featuring The Crazy Go-Go Stylings Of M. Antoine de Caunes - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Veronica - with the Imposters

Shipbuilding

National Ransom No.9

The Hammer Of Songs

So Like Candy/Don't Let Me Be Misunderstood

Everyday I Write The Book - IMPROMPTU

Alison/The Wind Cries Mary

Finale

"Happy" Jackpot - Napoleon's Choice

I Can't Stand Up For Falling Down

High Fidelity

Pump It Up

Peace, Love And Understanding

Poor Napoleon - Pour Sofia et Thomas

I Want You

"The Return Of The Revolver"

"These "Revolver Tour" dates have been joyful, comical, humbling, inspiring and restoring nights, after a time of doubt and sorrow. Thanks to all those who attended, span the Wheel, swung the Hammer of Songs, shook a tailfeather and lifted their voices. It's been good to be back."

Thanks must also go to our special guests, Bible Code Sundays, the MacManus Brothers, Chris Difford, Ian Prowse, Russell Crowe, Martin Belmont, Glenn Tilbrook, Mr. Nick Lowe and Albert's Giant Royal Organ."

Watch this space for future announcements about new "Revolver" dates.

"Basingstoke Postponement Announcement"

"Regretfully, we have to announce that tonight's Spectacular Spinning Songbook concert by Elvis Costello and the Imposters at the Anvil Theatre in Basingstoke has been postponed due to short term vocal fatigue and doctors advice.

Elvis Costello sent the following message to ticket holders...

"I would like to apologize to our friends in Basingstoke for not being able to sing this evening but I would not want to end this Spectacular Spinning Songbook tour of the U.K. with what I know could only be a sub-standard performance. I thank you for your understanding and I look forward to our rescheduled show in your fine theatre.

Our recent "Revolver Tour" dates have joyful, comical, humbling, inspiring and restoring occasions after a very difficult personal time. I want to send my sincere thanks to all those who attended, span the Wheel, swung the Hammer of Songs, shook a tailfeather and lifted their voices. It's been good to be back and that goes for the Imposters too.

We are presently seeking a suitable date for a re-scheduled Basingstoke concert.

Watch this space for future announcements about new "Revolver" dates.

Elvis Costello and the Imposters can be seen at the Cornbury Festival on Saturday June 30th."

Elvis Costello and the Imposters return to Paris

Elvis Costello and the Imposters return to Paris as the Spectacular Spinning Songbook show reaches the world famous L'Olympia Theatre at 20.00, Mardi 29 Mai, 2012. "Revolution permanente... Ne jamais s'arrêter"

L'Olympia Theatre...

"Shut Up And Sing"

GiGSeen: Neil Reed: May 25th, 2012

"I’ve always sat on the fence with Elvis Costello. I love some of his songs...I don’t however enjoy my popstars getting political...Pop stars are paid to entertain, if I wanted educating I’d go back to school."

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Elvis Costello, Royal Albert Hall.

The Kentish Towner: Susie Innes: May 25th, 2012

"He brought his brothers on, with a tear-jerking verbal tribute to their late dad. And after two and a half hours of continuous stage presence, on came special guests to help out. Out of nowhere a rocking Russell Crowe, overjoyed to be singing Elvis with Elvis. Then, a delightful and delighted Glen Tilbrook."

Read More...

"The real master and commander."

London Evening Standard: Rick Pearson: May 24th, 2012

"The rollicking rock’n’roll of (What’s So Funny ’Bout) Peace, Love and Understanding brought this epic show to an end. And while Crowe will grab the headlines, it was Costello who was the real master and commander."

"Man Of A Thousand Faces, Band Of A Thousand Voices"

"Some curious and bizarre comparisons made during the Revolver Tour"

The Birmingham Press: Steve Beauchampe: May 18th, 2012 – Lennon and McCartney

"He could hardly fail. Elvis Costello, arguably Britain’s finest singer/songwriter since Lennon and McCartney (and don’t overlook the importance of those words ‘finest singer’), performing at Britain’s most acoustically splendid concert hall, and with hundreds of quality songs at his disposal from his 35-year recording career."

Liverpool Daily Post: Laura Davis: May 17th, 2012 – The Child Catcher

The show’s now renowned format gave him the chance to reveal more of his personality than a traditional concert would – prowling the stage like the Child catcher in Chitty Chitty Bang Bang looking for his next contestant and joking with those invited to spin the wheel.

The Times: Stephen Dalton: May 15th, 2012 – Eric Morecambe & Cole Porter

"Looking and sounding like Eric Morecambe’s impish rock-star nephew, Elvis Costello revealed his hitherto untapped talents as a music-hall comedian at the first British date of his Revolver tour."

Liverpool Echo: May 14th, 2012 – Joker & Riddler

Prior to all this he struts round the stage with a cane and trademark hat as some kind of hybrid of the Joker and the Riddler.

STV: Kirsten Lynn: May 12th, 2012 – Rihanna

The smoky jazz lounge rendition of I'll take Care Of You was particularly impressive, with Costello channelling the sultry ways of Rihanna.

Irish Times: Tony Clayton – Lea: May 11th, 2012 – Tommy Cooper & Woody Allen

"It was as much a pleasure to see him channel his inner Tommy Cooper and Woody Allen as it was to realise that, in the middle of all the gaiety and wisecracks, he’s still got the nerve and steely self-possession to conclude a lengthy show (it lasted for almost three hours, no intermission) with a guitar-shredding version of I Want You"

The TimesNews.Com: Keren Rivas: April 30th, 2012 - Elvis Costello gives Durham crowd a psychedelic performance

Indyweek.com: Lisa Sorg: April 30th, 2012 – Bruce Springsteen

During the gig's three relentless hours, with an indefatigability and spontaneity reminiscent of Bruce Springsteen shows of yore, Costello played 35, 40, maybe 50 songs.

The Palm Beach Post: Andrew Nathanson: April 26th, 2012 – Pat Sajak

The giant wheel, a recreation from the plans of the original 1986 wheel, since donated to the Hartlepool Museum of Showbusiness Machinery according to Costello’s website, insures a unique show every night. Later spins by others garnered playing of “Peace, Love, and Understanding” and “The Joker.” Eat your heart out Pat Sajak.

Tampa Bay Times: Sean Daly: April 25th, 2012 – Young Scruff mouthing off to the cops

There he stood, in buttoned suit, clunky specs, porkpie hat, still able to hold a tune like a young scruff mouthing off to the cops

CTV News: Robert Collins: April 11th, 2012 – The Price Is Right

Last night at Vancouver's Orpheum Theatre the game show was the Spectacular Spinning Songbook; a twenty-foot wheel, possibly reclaimed from The Price Is Right, bearing the names of songs from Costello back catalogue

CliffView Pilot: Jerry Demarco: October 6th, 2011 - A Sultry Pink Panther styled version of Inch by Inch

Hour Community: Kevin Laforest: July 31st , 2011 – Six Stringed Samurai

"Costello seemed to be having a lot of fun, singing with a lot of conviction and proving to be quite the six-string samurai!"

3 Minute Record: Scott Allen: July 2nd, 2011 – Chuck Woolery

Moving the show along, a couple is brought to the stage as the next contestants to the giant spinning wheel. Costello took the role of Chuck Woolery making a “Love Connection” joking with the two, “you might get lucky! The wheel has the power of love for couples” describing that a young man in Boston proposed to his girl on the spot

The Pitch: David Hudnall: July 1st, 2011 – A Four Headed One Man Rat Pack

Like a four-headed, one-man rat pack, Costello and the Imposters burned through hits, covers and back pages like time was irrelevant.

STL: Allison: July 1st, 2011 - Elvis Costello is just such a ringmaster. Minus the pickle juice.

Rochester City Newspaper: Frank De Blasé: June 18th, 2011 – Groucho Marx

Costello oversaw the proceedings with a particularly impish glee and with a slight Groucho Marx lean to his gate while expounding: "Round and round she goes. Where she stops, nobody knows."

Rolling Stone: Patrick Doyle: May 24th, 2011 – Bruce Springsteen, James Brown, Neil Young.

Next, the wheel landed on "Time," an umbrella topic that included songs with "Time" in the title. He performed a heartfelt take of Get Happy's "Clowntime is Over," a raucous "Strict Time" and then "Man Out of Time," which built like a Springsteen epic.

Costello set his guitar down, stepped offstage and wandered the crowd, at one point dropping nearly to his knees like James Brown.

He then performed a rousing "I Don't Want to Go to Chelsea" and then "I Want You," a thudding blues jam that had him stabbing his guitar Neil Young-style, his vocals drenched in effects, bouncing from speaker to speaker.

Boston Globe: Jonathan Perry: May 23rd, 2011 – Barnum & Bailey

With his trio of Imposters, Costello managed to cram nearly two dozen favorites (an ageless “Alison’’; the dub reggae-tinged “Watching the Detectives’’; the blunted boil of “Pump It Up’’) into a free-wheeling, two hour-plus set spiked with Barnum & Bailey-style banter.

Brown Cat Bakery: May 20th, 2011 – I Like Cake

Chicago Tribune: Bob Gendron May 16th, 2011 - Carnival-barker persona by talking like a snake-oil huckster –

Wheel's on fire with Costello's rage and delicacy

This Is Nottingham: May 21st, 2012.

"And the true peaks were the quieter, more intense moments, ranging from a delicate Alison to Costello's seething political rage on the oddly-still-topical Shipbuilding and Tramp The Dirt Down.
The wheel was truly on fire. And so was the show."

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Elvis Costello City Hall, Newcastle

The Guardian: Dave Simpson: May 20th, 2012

"Most rewarding is the return of his political fire. After a beautifully eerie Shipbuilding, he explains that he has revived the anti-Thatcher Tramp The Dirt Down ("a song I never thought I'd sing again") owing to the return of right-wing conservatism, and sings it with brutally unrestrained venom."

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Elvis Returns To The Building

The Birmingham Press: Steve Beauchampe: May 18th, 2012

"He could hardly fail. Elvis Costello, arguably Britain’s finest singer/songwriter since Lennon and McCartney (and don’t overlook the importance of those words ‘finest singer’), performing at Britain’s most acoustically splendid concert hall, and with hundreds of quality songs at his disposal from his 35-year recording career."

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Elvis Costello's Revolver Tour at the Liverpool Empire

Liverpool Daily Post: Laura Davis: May 17th, 2012

It’s rare that you get a concert by such a well-established artist that is totally unique – The Revolver Tour is just that while at the same time remaining quintessentially Costello.

Elvis Costello, Manchester Apollo

Lancashire Evening Post: Martin Blenco: May 17th, 2012

"Costello prowls the stage, wisecracking as he goes and descending into the audience to sing some numbers, even appearing in the balcony."

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Elvis Costello, Clyde Auditorium, Glasgow and Apollo, Manchester

The Herald: Keith Bruce: May 14th, 2012

"All the echoes of an earlier era of music hall not only suits Costello's recent material – particularly in a later solo section that ends with a spot of ukulele strumming – but allows him to dip into any era of his career, as well as including reference to the recent death of his big-band singer father, and some sharp barbs about Leveson and the Government. In both cities, the song that brought the audience roaring to its feet was the Spike album's anticipation of the death of Margaret Thatcher, Tramp the Dirt Down."

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Elvis Costello's Birmingham Symphony Hall gig sends shivers down your spine

Coventry Telegraph: Sister Of Mercy: May 17th, 2012

THE deep dark truth is that Elvis Costello, even after more than 40 years in show business can send shivers down your spine.

"Looking and sounding like Eric Morecambe's impish rock-star nephew"

The Times: Stephen Dalton: May 15th, 2012

Looking and sounding like Eric Morecambe’s impish rock-star nephew, Elvis Costello revealed his hitherto untapped talents as a music-hall comedian at the first British date of his Revolver tour.

Based on a live format from the veteran post-punk singer’s 1980s heyday, first revived on a US tour last year, much of the marathon set list was decided by inviting audience members on stage to operate the Spectacular Spinning Songbook, a giant wheel featuring the names of dozens of Costello songs. A people-powered search engine 20ft tall, this was interactive entertainment at its most hands-on.

Costello’s elaborate stage set resembled a cross between a Victorian fairground and a Sixties TV game show, complete with cocktail bar and burlesque go-go dancers. Fronting a trio that included two of his trusted longtime collaborators, the keyboard player Steve Nieve and the drummer Pete Thomas, the 57-year-old singer performed in a vintage three-piece suit, jaunty straw boater and occasional top hat. Roll up, roll up for the wisecracking ringmaster of vaudevillian rock.

While the Spectacular Spinning Songbook was an impressive visual gimmick, Costello soon made it clear that some choices were rigged, and largely abandoned it during the second half. Instead, he digressed into solo numbers and more rootsy interludes, including a guest appearance by his younger brother Ronan MacManus, together with his Celtic folk band Biblecode Sundays. The singing siblings duetted delicately on American Without Tears and Little Palaces, paying tender tribute in the process to their late father, the trumpet player Ross MacManus.

Costello also briefly put his comic persona on hold to revisit his political protest-singer past. Tramp the Dirt Down, an impassioned hate song unapologetically relishing the prospect of Margaret Thatcher’s death, earned a riotous standing ovation. Glasgow clearly does not forgive and forget. The mournful Falklands war requiem Shipbuilding, wrapped in a silken jazzy arrangement and warm vibrato vocal, was more understated but all the more powerful for it.

On stage for almost three sweat-soaked hours, Costello’s style-hopping versatility and Springsteen-style stamina levels were extraordinary, even if he sometimes seemed to be overwhelming us with quantity over quality. A few too many meandering plodders weighed down the show’s first half, including an ungainly reworking of Chuck Berry’s No Particular Place to Go.

But the final hour was pure joy, from the Cole Porter-style ditties of the singer’s most recent album, National Ransom, to the thunderous closing stampede of Costello classics, including Oliver’s Army and Pump it Up. As the exhausted Glasgow crowd filed out afterwards, Eric and Ernie crooned Bring me Sunshine over the venue sound system. The perfect coda to a funny, boisterous, big-hearted musical-hall variety show.

Elvis Costello, Liverpool Empire Theatre

Liverpool Echo: May 14th, 2012

"He struts round the stage with a cane and trademark hat as some kind of hybrid of the Joker and the Riddler."

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Elvis Costello, SECC, Glasgow

The Telegraph: Matthew Magee: 14th May, 2012

"Costello’s performance was dark, brooding and movingly intense. These two songs ("Tramp The Dirt Down and "Shipbuilding) were delivered with a malevolent passion that felt specific to this time, this place, these people. It was powerful, polemical and personal, all the more moving for being sandwiched between slices of shallow showground playfulness."

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"Costello channelling the sultry ways of Rihanna"

STV: Kirstin Lynn: May 12th, 2012

With a flapper girl, go-go dancer, and as much chance as a game of Russian roulette, nauseating circus colours and a real live version of his Spectacular Spinning Songbook both decorated the stage, and decided the fate of Elvis Costello's quick fire set.

With trilby style hats all round, I Hope You're Happy Now put the boogie into action, though in comparison to the garish colours of the backdrop, the star's vocal was low in the mix, not doing any favours for the slightly mature crowd of the Clyde Auditorium.

Forward rolling through their first four tracks with no stops, the Grammy Award winner, now in his late 50's showed no signs of fatigue with hip twists and stage roaming to the Hammond organ whirl of his rock'n'roll.

Having a quick pause for breath and a change into top hat and cane, our ringmaster adopted his Napoleon Dynamite persona and a New York accent, to introduce his big wheel (much like the Wheel Of Fortunate that lies dormant in a dark cupboard of STV, vomited in new colours). Getting the audience participation factor into full swing, Costello's flapper girl, Caterina, selected one lucky fan to spin the wheel, resulting in a down-tempo Good Year For The Roses.

During the track, the audience member was kept in a holding bay/ lounge bar at the side of the stage to sway through her song choice before her ejection and subsequent replacement. The same format continued, through a young couple and Sheila's Wheels style sisters with upbeat, and often hilarious chat from Costello between numbers. With much focus on the Leveson enquiry, and a particular disdain for Rupert Murdoch, his sarcastic sense of humour suited the Scottish crowd.

Getting out his Gibson Super 400 to perform Chuck Berry's No Particular Place To Go as he did in a tribute to Mr Berry at a prestigious award ceremony earlier in the year, the ongoing tales of Costello act as reminders of his incredible career.

A medley of Bob Dylan's This Wheel's On Fire, Allen Toussaint collaboration The River In Reverse and Gil Scott-Heron's I'll Take Care Of You, showcased the stars versatility as he ambled from one track to the next and back again, with ease and character, as if the songs were his very own. The smoky jazz lounge rendition of I'll take Care Of You was particularly impressive, with Costello channelling the sultry ways of Rihanna in a potent infusion with the wisdom of Scott-Heron.

A microphone change saw the volume of the show finally being a bit more obnoxious for Chelsea, before the London born musician visited his Irish heritage, inviting his younger brother and accompanying folk band onstage. Playing a song about their grandfather, before reverting into a series of jigs and reels, the show that just kept giving threw something else into the big box of tricks.

Leaning into best loved tracks as he played past his second hour of performance, Costello teased more and more fans to their feet with Tramp The Dirt Down, Shipbuilding and the much anticipated I Want You.

Like his last album and songbook, spectacular is just what Costello was live, with old school entertainment value and prestige rarely seen today, leaving everyone and Oliver's Army wanting him tonight.

Elvis Costello, Glasgow Clyde Auditorium

Scotsman.com: David Pollock: May 12th, 2012

Costello played the part of fairground ringmaster well, stepping into the cage to dance along with fans, strolling through the audience to holler the lean funk of Bedlam and introducing his brother Ronan MacManus’ band BibleCode Sundays for the tender folk of American Without Tears and Little Palaces.

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"It was as much a pleasure to see him channel his inner Tommy Cooper"

Irish Times: Tony Clayton-Lea: May 11th, 2012.

"It was as much a pleasure to see him channel his inner Tommy Cooper and Woody Allen as it was to realise that, in the middle of all the gaiety and wisecracks, he’s still got the nerve and steely self-possession to conclude a lengthy show (it lasted for almost three hours, no intermission) with a guitar-shredding version of I Want You"

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Elvis Costello Reinvents The Wheel! 2012 'Revolver' Spring UK Tour

Elvis Costello will bring the ‘Spectacular Spinning Songbook’ to the UK and Ireland in May 2012. Opening on the 9th in Dublin, the tour concludes in Basingstoke on the 27th of May.

An overture of five uninterrupted rock and roll tunes announces Elvis Costello & the Imposters to the stage, after which members of the audience are invited to spin the gigantic vaudevillian contraption and select the next song.

Tickets on sale now and are available to buy from www.bookingsdirect.com / 0844 338 0000. Prices start at £30. Limited ticket availability at all venues.

Elvis Costello & The Imposters play:

May

Wed 9th DUBLIN, The O2 Dublin

Fri 11th GLASGOW, Clyde Theatre

Sat 12th MANCHESTER, Apollo Theatre SOLD OUT

Sun 13th LIVERPOOL, Empire Theatre

Tue 15th BIRMINGHAM, Symphony Hall SOLD OUT

Wed 16th BRIGHTON, Brighton Centre

Fri 18th NEWCASTLE, Newcastle City Hall

Sat 19th NOTTINGHAM, Royal Concert Hall

Sun 20th BOURNEMOUTH, BIC

Tue 22nd BRISTOL, Colston Hall SOLD OUT

Wed 23rd LONDON, Royal Albert Hall SOLD OUT

Thurs 24th LONDON, Royal Albert Hall

Sat 26th CAMBRIDGE, Corn Exchange SOLD OUT

Sun 27th BASINGSTOKE, The Anvil SOLD OUT

Fortune may deliver hits such as ‘Oliver’s Army’, ‘Everyday I Write The Book’ and ‘Watching The Detectives’ or land on a ‘Jackpot’ selection such as ‘Time’ and ‘Girl’, demanding a sequence of songs, each containing these words.

Such career highlights as ‘Shipbuilding’ or ‘God Give Me Strength’ can spin into view alongside hidden gems from the Costello songbook like, ‘Town Cryer’ or tunes by The Rolling Stones, Johnny Cash and, of course, Bob Dylan’s ‘This Wheel’s On Fire’.

Bolder participants may shake a tailfeather in the Hostage-To-Fortune Go-Go Cage, while the more reserved take a seat in the Society Lounge.

‘The Revolver Tour’ arrives following an acclaimed run of US dates during the Spring and Summer of 2011. Due to popular demand, the tour was extended three times drawing over 10,000 attendees in New York City alone and received rave notices from coast to coast.

Rolling Stone said the show combined, “the kitsch of a game show and lounge act:....when he wasn't singing or slamming at his guitars, Costello worked the stage like a burlesque-club emcee, cracking wise at a mile a minute and spinning a dandy's walking stick.”

Under a by-line, “Singer jams hits, rarities and covers in epic two-and-a-half-hour long show”, another Rolling Stone reported that, “Costello switched from a Fender to a gold Les Paul, howling away and wailing on piercing wah-wah notes. He rocked out even harder to "Uncomplicated," feeding off the energy of a female dancer in the go-go cage shaking maracas.”

The New York Times opined that there was, “no way to keep Mr. Costello’s songs in any shallow entertainment mode. His torrents of words hold desire, rage, wounds and revenge.”

The Los Angeles Times described the show as “the kind of uniquely invigorating experience that warrants a buzzword all of its own; inspiring.”

This acclaim was echoed in review after review:

“Given the gig’s by-pant-seat, chimerical format, Costello’s consummate ability to entertain, his like-wine-aged croon and the band’s master musicianship in meeting him at every step, this was by far one of the most engaging and outright fun shows…” – Nashville Scene

"Unfettered, free-wheeling fun" – Minneapolis Star-Tribune

"The Wheel was the perfect way to shake up a set list with a couple decades' worth of excellent material" – Columbus Dispatch

"Three hours of hilarity, musicality, and unabated joy" – St. Louis Post-Dispatch

"It's hard to imagine any other musician in the world playing the show that Elvis Costello did" – Pittsburgh Post-Gazette

“Elvis Costello has the goods to entertain without relying on props, stunts or tricks. But when he does employ them, it actually turns out to be that much better.” – Oakland Free Press

The Imposters are Steve Nieve (keyboards), Pete Thomas (drums) Davey Faragher (bass)

Elvis Costello’s original wheel tour took place in 1986, opening at the Beverly Theatre, Los Angeles with Tom Waits as a guest M.C. and visiting New York, Paris, Stockholm, Rome, before playing for three nights at the Royal Albert Hall.

Costello donated the original Spinning Songbook wheel to the Hartlepool Museum of Showbusiness Machinery but this new one has been reconstructed from the original blueprints.

Marisol of L.A. band, La Santa Cecilia lends her wonderful voice to "Don't Let Me Be Misunderstood"

E.C. and the Imposters would like to thank Marisol of L.A. band, La Santa Cecilia for lending her wonderful voice to "Don't Let Me Be Misunderstood" during our return to The Wiltern Theatre with the "Spectacular Spinning Songbook".

If you should like to hear and find out more about La Santa Cecilia go to:

http://lasantacecilia.com/

Elvis Costello will bring the ‘Spectacular Spinning Songbook’ to the UK and Ireland in May 2012. Opening on the 9th in Dublin, the tour concludes in Basingstoke on the 27th of May. Limited ticket availability at all venues. - www.bookingsdirect.com

Elvis Costello brings rage-steeped tunes to Durham

Newsobserver.com: David Menconi: April 30th, 2012.

"One audience spinner was a young woman in a red dress that appeared to be spray-painted on, and she did an impressive dance routine in the go-go cage along to "Veronica." Another young woman requested "My Funny Valentine," which appeared to just melt her; she sat onstage quietly weeping as Costello played it."

Even with the spinning-wheel format, few of Costello’s standards went missing. By the end of the night, he’d included “Alison,” “Watching the Detectives” and “Everyday I Write the Book.” He made ’em all sound brand new.

Elvis Costello gives Durham crowd a psychedelic performance

TheTimesNews.com: Keren Rivas: April 30th, 2012

Before ending the show with an up-beat finale, Costello delighted the audience with an acoustic rendition of three ballads from his 2010 album “National Ransom,” proving he can still entertain an audience without all the bells and whistles.

Live: In Durham, Elvis Costello becomes his own king

Indyweek.com: Lisa Sorg: April 30th, 2012

Honestly, I lost count after the band reeled out an otherworldly psychedelic jam, complete with theremin and feedback that lifted me from my seat.

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Elvis Costello delivers with an audience-driven tour de force

Jacksonville.com: Heather Lovejoy: April 29th, 2012

"The band found a groove with a great version of Johnny Cash’s “Cry! Cry! Cry!” A few songs later, the rousing “National Ransom” was one of the musical highlights of the show."

Read more ...

Bringing out the big wheel, Elvis Costello highly entertaining at the Hard Rock

The Palm Beach Post: Andrew Nathanson: April 26th, 2012

"A slight shift in color and sound spectrum brought “Red Shoes” – one attendee named Melissa said she’d been waiting for that song the entire show. Melissa and her boyfriend Alex and a group of friends back from the Wanee festival had extra tickets, and before the gig apparently gave them to several sailors here for Fleet Week; very generous of the group to give to those who sacrifice for our country"

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Smashing all boundaries: The music of Elvis Costello

Jacksonville.com: Heather Lovejoy: April 25th, 2012

To some, Elvis Costello’s 35-year career may come off like a game of pin-the-tail-on-the-donkey. When the tail lands on the gut, he unleashes an angry anthem. Near the heart? Time for a ballad. On a hoof? Must be the cue for a ballet. Right on the rear? How boring.

Not knowing what to expect is about the only thing you can expect from Costello. That, and his unmistakable, nasally voice. And a myriad of hats, nerdy glasses and a sardonic wit.

Versatility and a seemingly insatiable artistic curiosity have led the Englishman from new wave to Nashville to pop standards. But Elvis Costello is always Elvis Costello, no matter what he records.

He’s been accused of having repeated identity crises, but perhaps that’s unfair.

Pick up a music geek’s iPod and put it on shuffle. Island calypso might be followed by anarchist British punk, which might then transition to an Appalachian flat-picking masterpiece. It’s not necessarily a sign of uncertainty or lack of opinion, but instead can point to a listener rapt in the wonder of music itself.

As Costello has said as host on his television show, “Spectacle,” he’s simply a guy who really, really loves music. Without limits. Maybe the only difference between him and the music geek with the erratic playlist is that he's not just a listener. He’s also a creator.

He'll share his songs tonight at the Florida Theatre with his band The Imposters.

THE NEW WAVER

Having abandoned his pub-rock roots and birth name, Declan MacManus, he exploded onto the angry youth movement in England in 1977. It was the same year the Sex Pistols’ “God Save the Queen” was released, and punk and new wave were rising side-by-side. As the two genres became more defined, Costello’s pop sensibilities aligned him stylistically with new wave. Just as with punk rock, the genre was marked by anti-government sentiments, disgust with societal institutions and what was considered a superficial and consumer-driven culture, expressions of sexual frustration, and an overall radical discontent. Costello, with his band the Attractions, was a major player.

LISTEN TO

“Watching the Detectives” from “My Aim Is True,” 1977
“Pump It Up” from “This Year’s Model” (with the Attractions), 1978
“(What’ So Funny ’Bout) Peace, Love and Understanding?” from “Armed Forces” (with the Attractions), 1979

THE BALLADEER

Even as a new waver, Costello was writing slow ballads. His croon crops up throughout his discography, but is most clearly and easily recognized on some of his 1990s efforts, including “All This Useless Beauty” and “Painted From Memory,” the latter being a collaboration with singer/composer Burt Bacharach. He’s never been 100 percent rocker, so while it may seem out of character, it’s really not. Just a few years before the Bacharach album, his cover album included tunes by a couple of king-crooners, Randy Newman and Mose Allison.

LISTEN TO

“Alison” from “My Aim Is True,” 1977
“I’ve Been Wrong Before” from “Kojak Variety,” 1995
“God Give Me Strength” from “Painted From Memory” (with Burt Bacharach), 1998

THE COUNTRY/?BLUEGRASS PICKER

Costello is hardly strictly a bluegrass man. On a couple of albums produced by T-Bone Burnett during the past few years, he displays a slight bluegrass bent, dabbling a bit with musicians who helped provide twangy and jangly picking. But on his album of country music covers, “Almost Blue,” there's a distinct jazziness. Plus, with his non-traditional songwriting, and distinct and decidedly non-bluegrass, non-country sounding voice, every song has an undeniably Costello feel. If you want to hear a true bluegrass album, pick up something by Flatt and Scruggs.

LISTEN TO

“Sweet Dreams” from “Almost Blue,” 1981
“Complicated Shadows" from “Secret, Profane and Sugarcane” (with the Sugarcanes), 2009
“National Ransom” title track, 2010

THE CLASSICAL MUSICIAN

Classical music is a challenge few pop artists dare (or even care to) undertake. Not Costello. His artistic vines grew into chamber music for his project, “The Juliet Letters,” with The Brodsky Quartet providing instrumentation. It was not a one-off classical music experiment. He later composed a chamber music score to back a narration of the children's story “Tom Thumb,” and completed a full-length orchestral work, “Il Sogno,” a ballet inspired by Shakespeare’s “A Midsummer Night's Dream.” The ballet debuted at No. 1 on Billboard's classical music chart.

LISTEN TO

“I Almost Had a Weakness” from “The Juliet Letters” (with The Brodsky Quartet), 1993
“Hermia and Lysander” from “Il Sogno” (performed by the London Symphony Orchestra), 2004

THE JAZZ MAN

Jazz has been a part of Costello’s life since childhood. His father was a professional singer-trumpeter and his mom a record store employee who took him to jazz and classical concerts. Those early jazz influences can be detected throughout his career, in his work with New Orleans pianist/songwriter Allen Toussaint, the Dirty Dozen Brass Band, jazz guitarist Bill Frisell and others. He wrote lyrics to some of Charles Mingus’ compositions, and has performed those songs live with the Mingus Big Band. He’s also a frequent guest singer and writer for The Jazz Passengers.

LISTEN TO
“Stalin Malone” from “Spike” (with the Dirty Dozen Brass Band), 1989
“Aubergine” from The Jazz Passengers’ “Individually Twisted,” 1996
“Someone Took the Words Away” from “North,” 2003

Sources: “Complicated Shadows: The Life and Music of Elvis Costello,” by Graeme Thomson; elviscostello.com; allmusic.com; “Elvis Costello to Music Critics: “National Ransom' is not a bluegrass album,” by Jenny Charlesworth for spinner.com; “Costello’s Jazz Jones” by Christopher Porter for jazztimes.com.

Can you beat the 'Price is Right' wheel?

SunSentinel.com: Ben Crandell: April 25th, 2012

“If I spun the wheel 100 times, I would expect a normal distribution of speeds with a standard deviation of 0.1 radians per second. This is essentially what is done with the Monte Carlo method for uncertainty. … Oh, let me just say that I want to start with an initial angular speed of two radians per second.”

Read More...

Elvis Costello Extends Critically Acclaimed Tour

American Rock Scene: LittleQueen: April 25th, 2012

Elvis Costello will be playing at The Florida Theater, located in Jacksonville, on April 27 and he’s bringing his interactive show, complete with a spinning set list wheel along with him. Members of the audience will be invited to spin the gigantic vaudevillian contraption and select the next song Costello plays on the set list. Costello’s website gave the following description of the show:

For the first time in 25 years, Costello will let the fans rule the repertoire. In the return of the Spinning Songbook, an oversized Wheel of Fortune takes center stage and leaves the performance of Costello classics and musical genius to chance. The good news is that there are no losers in this playful interactive show.

Costello’s creativity connects with the audience. And, once again this iconic and versatile artist delivers a legendary performance that is not to be missed.

The interactive show is part of Costello’s current ‘Revolver Tour’, which arrives following an acclaimed run of US dates during the Spring and Summer of 2011. Due to popular demand a flood of rave reviews, the tour was extended three times drawing over 10,000 attendees in New York City alone and received rave notices from coast to coast. Rolling Stone Magazine gave the following review of the show:

“The show combined the kitsch of a game show and lounge act:….when he wasn’t singing or slamming at his guitars, Costello worked the stage like a burlesque-club emcee, cracking wise at a mile a minute and spinning a dandy’s walking stick.”

Under a by-line, “Singer jams hits, rarities and covers in epic two-and-a-half-hour long show”, another Rolling Stone reported that, “Costello switched from a Fender to a gold Les Paul, howling away and wailing on piercing wah-wah notes. He rocked out even harder to “Uncomplicated,” feeding off the energy of a female dancer in the go-go cage shaking maracas.”

Buy Tickets For The Florida Theater.

The ageless punk

Tampa Bay Times: Sean Daly: April 25th, 2012

"Costello dared the audience to keep up. Stomping on effects pedals, he'd follow the whims of his audience (Clubland, Everyday I Write the Book) with his own fanciful wanderings. During a solo acoustic intermission (as his band "put on makeup for the big glam-rock finish") he covered the the Flying Burrito Brothers' Hot Burrito #1, to honor that band's recently fallen bassist Chris Ethridge."

Read More...

Costello dusts off surprises at Caesars Windsor

The Windsor Star: Ted Shaw: April 23rd, 2012

In typical Costello style, most of the songs were short and to the point. There were some notable exceptions, like I Want You, from the Blood and Chocolate album. The slashing guitar solos by Costello and the echoey vocals were underpinned by Steve Nieve's luscious keyboards.

Read More...

Elvis Costello at King Center for the Performing Arts

Orlando Sentinel: Jim Abbott: April 24th, 2012

When the wheel landed on another wild-card, “Allen Toussaint,” Costello responded with the Big Easy legend’s “Nearer to You.” That soulful ballad took Costello into his expressive falsetto — and to the balcony, where he snagged yet more folks to spin for the next song.

The Revolver Tour - Where Spinning Equals Winning Every Time!

Tango Diva.Com: April 16th, 2012

The master showman does it again. A spectacular music event where “on demand” takes on new meaning!

Costello’s creativity connects with the audience. And, once again this iconic and versatile artist delivers a legendary performance that is not to be missed.

For die-hard fans – like this Diva – the tour is a truly a gift from the music gods!

A Grammy Award Winner and Rock & Roll Hall of Fame Inductee, Elvis Costello has few rivals in the realm of talent. Timeless ballads like “Alison” and powerful poetic songs the likes of “Peace, Love and Understanding” set the bar high…heavenly high in a world often cluttered with senseless noise.
You still have four show dates left this month to see the Elvis and his faithful band at work stateside… before the tour crosses the pond in May.

North Florida is graced with a performance in late April.
Location: The Florida Theatre, Jacksonville, Florida
Date: Friday; April 27
Time: 8p.m.
Tickets: $33.50+
Order online at www.floridatheater.com or call 904-355-2787

Additional Southeast U.S. Tour Dates:

Clearwater, Florida – Ruth Eckerd Hall; 4/24

Hollywood, Florida – Seminole Hard Rock Hotel; 4/25

Durham, North Carolina - Durham Performing Arts Center; 4/29

For the full tour schedule, visit the official Elvis Costello website – www.elviscostello.com

"Muchas Gracias, Marisol, Merci Beaucoup, Vanessa"

The show was also lit up by the appearance of our friend, Vanessa Paradis, trading lines on "Alison" in French, singing harmony on "Out Of Time" and taking the lead on a lovely song originally recorded by The Zombies, "This Will Be Our Year".

It was a gas to share the stage with you both.

As if we were not already fortunate sons, our pals, Vicki and Debbie Peterson of The Bangles appeared at closing time to once again lend their voices to "(What's So Funny About) Peace, Love and Understanding".

It was later rumoured that Mr. Costello went home with the great looking gal who was playing the killer piano during this finale number.

If you should like to hear and find out more about La Santa Cecilia go to:

http://lasantacecilia.com/

Ask for their latest release at your favourite record emporium or find it at this address:

http://itunes.apple.com/us/album/el-valor-ep/id508848829

Or catch this glimpse from your place in the stalls:

RAMBLE ON, LEVON

We were heading out to Casinorama, at Rama, Ontario when the news about Levon arrived.

They tell me this is "Gord Country" - as in "Lightfoot" - but I suppose it might once have been "Hawks County".

It was very strange to see our friend Larry Campbell's name on the BBC news, as the spokesman for the family but I imagine right now he is a strong right arm just as he has been producer and musical cohort during Levon’s most recent recording and performing adventures.

Those thoughts that are like prayers go out at a time like this. Some are of praise, while others can only wish for strength in those who remain, especially, Levon's wife, Sandy, his daughter, Amy, their family and closest friends.

Given the health Levon had suffered a long time and how hard he lived at times and yet come through, it is difficult to accept that he didn't make it this time.

I know I’m not alone in being thankful for all he gave us while he was here and know that it will endure while people still have humour and heart.

The are few more stirring sounds in all recorded music than the drags and press rolls and that announce in the last chorus of “The Night They Drove Old Dixie Down”. No other drummer ever sang with such sadness and longing. Few singers of any kind could manage it.

Very little outside of the recordings of James Brown is as funky as the opening bars of “Up On Cripple Creek”, nothing short of Mae West and Groucho Marx as lusty and mischievous as Levon’s vocals on “Don’t Ya Tell Henry”, “Strawberry Wine” and “Ophelia”.

He had it, he told, he sang and he played it in an unrepeatable, unbeatable fashion. Asked to describe the style of his playing, I once said his time- defying fills sounded like a tap-dancer jumping out of the corner of a rapidly flooding room. I can’t top that this evening.

I feel very fortunate to have shared a stage with him for even a few occasions, finding him to be the marvelous character that I always wondered about after hearing him sing and play, spending those hours staring at those impenetrable pictures on "The Band" album cover.

We first met at the Lone Star Café in New York City, some foggy time in the 80s. He and Rick Danko were performing, I’m not sure if they were billed under their own names or that of “The Band” but the music was as vivid as I could have wished.

Now, the previous time I’d seen them perform was from the field of a crowded Wembley Stadium in the summer of ’74, in brilliant sunshine that seemed at odds with their songs.

I suppose the tide was out a little further by the time they played the Lone Star but I was so overcome at meeting Levon and Rick that I’m not sure if I talked like a fool or talked at all, rather just found them open and welcoming.

Our paths next crossed in Boston when the Attractions and I pitched up in the same hotel as the Ringo Starr and His All-Stars Band. Levon and Rick were part of the troupe and living the life of riley, as they say and we were more than happy to join them for a minute or two.

Although these encounters were thrilling and great tales to be told, it was only in recent years that I actually had the chance to play music with Levon.

The fame of “The Midnight Ramble”, shows held in the barn attached to his house in Woodstock, attracted both guest artists and a loyal and gathering audience that saw the show transplanted to the Beacon Theatre, the Ryman Auditorium and many other venues as Levon’s health rallied and vocal strength returned, also allowing him to record the great albums, “Dirt Farmer” and “Electric Dirt”.

It was my great fortune to be invited to make a “Ramble” guest appearance on the same evening as Allen Toussaint.

Now A.T. and Levon had not been in each other’s company since the preparations for The Band’s “Rock Of Ages” live album in 1971 for which Allen had traveled up from New Orleans with a suitcase of horn charts, which he promptly left in a taxi and then had to re-write on location.

They picked up as if they had been talking just a week earlier and the welcome I received was equally generous.

Being a fan of Levon’s daughter Amy, from her work with Ollabelle, I was delighted to hear preparations to open the evening with an acoustic set of stringband numbers. I asked if I could sit in.

“On which number”, father and daughter asked.

“All of them”, I replied and then read their hands for the changes for everything from a Stanley Brothers number to Bruce Springsteen’s “Atlantic City”

Meanwhile, Allen Toussaint was sitting quietly in a chair in the den that served as a dressing room, while musicians tuned and prepared around him. He was sketching out impromptu horn parts for the then unreleased song, “The River In Reverse”, which we proceeded to perform with Levon laying down the drums after hearing the song once backstage.

Once he was behind the kit, things really moved up a gear. Levon sang “Don’t Ya Tell Henry” and we all pitched in on “I Don’t Want To Hang Up My Rock And Roll Shoes”.

Snow was falling hard all the time we were playing. It turned out to be the worst storm since 1947, so if we’d all ended up trapped there for days, at least we would have had songs to sing.

As it was just ten days later, I found myself in another band with Levon at a Howlin’ Wolf tribute at “B.B. King’s” on 42nd St. featuring Hubert Sumlin. That night everything was just as it should be in the drum department, which is not always the case when heavy hands batter the blues.

Now given what I’d witnessed at The Ramble, it seemed natural to invite Levon and Allen to be part of an edition of the “Spectacle” television programme that I hosted for two seasons.

The official premise for the show was that we were constructing a one-time-only band. In reality, all of the participants knew that we were really saluting Levon but I feared that he might not agree to take part if it were put to him that way.

I plotted out a four-act show.

Richard Thompson would open the show backed by the Imposters rhythm section. Then Allen Toussaint would join us at the piano, before Nick Lowe took over the bass chair.

We picked out numbers that could introduce each songwriter in turn and they would come together as an ensemble for a finale with everything pointing in Levon’s direction.

Richard, Allen and Nick each had rich and affectionate things to say about the influence of The Band and particularly Levon’s contribution to the group but it was the fourth act that threatened to be problematic.

I had heard in advance that Levon was again suffering from vocal strain and would be unlikely to be able to sing. Although this was disappointing, his vocal well-being was far more important than any T.V. show and we had plenty of vocalists on hand to cover the musical selections. But I didn’t anticipate what Levon would tell me when I greeted him at the Apollo Theatre.

“I’d like to help you out but I can’t sing. I CAN’T TALK!!!”

Despite the fact that Levon was actually doing rather more talking backstage than he probably should have done, while greeting his cohorts, it was clear that he shouldn't speak under the strain of stage lights and cameras.

This might have made for a three-legged beast but fortunately I arrived at a solution that seemed to appeal to Levon’s sense of humour. I would list drummers who I imagined featured in his personal hit parade, if he would respond with a drum fill.

So, we began our “Mister Ed” act…

“Earl Palmer” received an enthusiastic roll around the toms.

“Ziggy Modeliste”, triggered a funky little hi-hat fill.

"Peck Curtis" received a press roll and a cymbal smash that sounded like a round of applause but then Levon had purchased and preserved Mr. Curtis' hand painted kit from his days playing with Sonny Boy Williamson on the "King Biscuit Time" radio show on KFFA and put it on display in the Delta Cultural Center in Helena, Arkansas.

“Jimmy Lee Keltner”, as Levon called him, brought another affectionate rimshot and tom tattoo, followed by an expression of surprise at the unexpected inclusion in the list of Lightning Hopkins’ drummer “Spider Kilpatrick”.

The drums were all that Levon needed to speak to the crowd.

In the end, the notion of an integral four-piece band was sacrificed to the joy there was to be had in all playing together.

Levon insisted that Pete Thomas play alongside him through the finale and Nick Lowe handed the bass back to Davey Faragher after one tune and picked up a guitar and with Larry Campbell augmenting on electric alongside Richard Thompson, we set about playing some music.

Ray Lamontagne, who had taped an edition of the show earlier in the week, had stayed in town specifically to see Levon perform and agreed to join us in the closing performance of “The Weight” which brought the show to just exactly the sort of wonderfully chaotic and joyful climax that seemed so suited to it’s honouree.

The last time I sang with Levon was in the summer of 2010, when I sat in with his band at the Orpheum Theatre in Vancouver. He was back singing a little, sharing the vocal duties with the members of the ensemble but playing drums and mandolin with such command.

The songs we played that night, the Grateful Dead’s “Tennessee Jed” – which might have been written for him to sing – “I Shall Be Released” and “The Weight” never felt better.

However, the memory that will always live with me was of singing “Tears Of Rage”. There seemed to be so much space between each backbeat without the song ever dragging. I finally understood from the inside out, how much Levon’s drumming must have liberated, Richard Manuel and Rick Danko’s singing - two more of the marvels of the recorded era.

I’ve sung this beautiful song since I was 17 years old, coming in time after time to an appreciation of its mystery and sorrows or at least my own comprehension of them.

Needless to say, we played "Tears Of Rage" again tonight at the Casinorama. Next to the surreal experience of singing it in an acoustic duo with the author of its lyric in St Louis, a few years back, the Vancouver rendition would be hard to top but tonight’s performance was certainly heartfelt.

Pete Thomas told me that he switched to an underhand grip such as Levon employed for that number and it was then that the emotion of playing the song came flooding in. He and Levon got on famously, as drummers do.

Yet it seemed wrong, even presumptuous to end on such a somber note, even if life is so terribly brief, even at 71, so we played "Peace Love and Understanding" to raise the roof and then closed with the Dead's "Ramble On Rose".

We'd learned this song just a week ago for a San Francisco surprise and reprised it when the Boston Celtics' legendary Deadhead, Bill Walton came up to spin the Wheel in San Diego three nights ago, but which, for this evening's purposes, was dedicated, if not sung as, "Ramble On, Levon".

And "Amen" to that...

Elvis Costello's spontaneous 'Spinning Songbook'

Los Angeles Times: Randy Lewis: April 18th, 2012

Hand it to Elvis Costello: With his delightfully zany “Spectacular Spinning Songbook” conceit, the indefatigable British singer and songwriter has created a musical game show in which he not only gets to host but also cheat, and the audience often hopes he’ll do so.

Read More…

Elvis Costello - The Wiltern

LA Weekly: Daniel Kohn: 18th April, 2012

"Costello turned the Wiltern into his own bizarre funhouse"

Read More…

Elvis Costello and the Imposters Spin Their Wheel at the Warfield

SF Weekly: Jonathan Kiefer: April 16th, 2012

Costello to orchestra section, after having visited balcony section: "Up in that balcony they're all high as a kite."

Read More…

Ticket Sales Reach A Worrying Low

Oh I Just Don't Know Where to Begin...

The Stranger: David Schmader: April 13th, 2012

Last night, Elvis Costello and the Imposters brought their Spectacular Spinning Songbook show to the Paramount, and it was wonderful. As I mentioned in my Preview Piece:

What I learned last night: the cage-dancers are, more often than not, the lucky wheel-spinners themselves, and I am happy to report that despite our region's reputation for not dancing at rock shows, last night's audience-participation cage dancers totally brought it. I don't know if I've ever been more proud of my city. (I'm looking at you, Freaky Steve, and also at you, couple that's been married for 26 years and shimmied together in the cage to "(What's So Funny 'Bout) Peace, Love, and Understanding?".)

The band: amazing. Keyboardist Steve Nieve remains Costello's greatest not-so-secret weapon, fleshing out the melodies with simultaneously high-drama/low-cheese touches. Costello is a ridiculous charming showman, veering between enthusiastic carnival barker-isms and wry self-deprecation. And, somehow, Costello's contentious singing voice sounds better and less-strained live than it does on record (or at least than it has on recent records).

Highlights: the aforementioned "Peace, Love, and Understanding," "Girls Talk," "Accidents Will Happen," "Man Called Uncle," "(I Don't Want to Go to) Chelsea," and covers of the Beatles' "Please Please Me" and Chuck Berry's "No Particular Place to Go." Also, a slamming version of "Waiting for the End of the World" that made me wish Costello & co would deign to do a full re-recording of My Aim Is True, the thin, flat sound of which has always been slightly at odds with the brilliant compositions.

Dashed Hopes: The wheel never landed on Imperial Bedroom's "Man Out of Time" or King of America's "Suit of Lights."

Spectacular Spinning Songbook dishes out happy surprises at the Schnitz

The Oregonian: Marty Hughley: April 14th, 2012

"The wheel never did land on the jackpot strip marked “Happy.” But you’d never have known that by looking at the crowd."

Read More...

Elvis Costello spins rock 'n' roll wheel at Paramount

The Seattle Times: Gene Stout: 13th April, 2012

"The show rocked pretty hard for most of its 2 ½ hours, but Costello was often at his best when he cooled things down for ballads, such as "A Slow Drag With Josephine" and "Veronica" or the moving, a cappella "Jimmie Standing in the Rain."

Read More…

Elvis Costello's 'Ransom' a nice surprise

Bangor Daily News: Kevin Steeves: April 13th, 2012

Costello goes farther back into history than the 1960s and comfortably lands in the 1940s with a collection of songs that serve as a refresher course in Costello’s musical encyclopedia — and hopefully causes listeners to give the artist’s often overlooked output of the last 20 years another listen.

Read More…

Listen To "National Ransom"

Elvis Costello: The Hall-Of-Famer

Seattle Weekly: David Stoesz:

"There are whole other decades of great Elvis music to discover. It's definitely time to join Team Costello. Especially since so many of you are already wearing the uniform."

Read More…

Show Reveals Surprisingly Aggressive Anti-East Coast Sentiment Among Seattleites

Seattle Weekly: Mike Seely: April 13th, 2012

" a long-married couple named Chuck and Mary Lou jumped in the cage, it was clear that Chuck's moves never quite advanced beyond the "mercilessly grind your groin into the hot cheerleader's rump and pretend you're not wearing jeans" phase."

Elvis Costello spins his hits to a captivated audience

The Globe And Mail: Fiona Morrow: April 11th, 2012

"A heartbreaking rendition of his anti-Falklands War ode Shipbuilding, for instance, was made more poignant with the backdrop of current events revisiting the islands’ sovereignty, while an acoustic interlude of songs from the T-Bone-Burnett-produced 2010 album National Ransom was captivating."

Read More...

Elvis Costello spins a fine show in Vancouver

The Vancouver Sun: Francois Marchand: April 10th, 2012

"Costello was smart enough to know when to take matters into his own hands...spinning himself a "Joker" slot to do I've Been Wrong and The Comedians, where Nieve shone on keys."

Read More...

Inspired Lunacy

CTV News: Robert Collins: April 11th, 2012.

"The Imposters swaggered back on stage, which cued an avalanche of hits – "Alison," "(I Don't Want To Go To) Chelsea," Chuck Berry's "No Particular Place To Go" and "Pump It Up." During the onslaught Costello wandered back into the crowd and brought up his wife, Diana Krall, for a spin of the wheel, who in turn was offered the seat of the brilliant Steve Naïve on keyboards for the grand finale of "(What's So Funny ‘Bout) Peace, Love and Understanding."

Read More...

Critic's pick: Elvis Costello and the Imposters, 'The Return of the Spectacular Spinning Songbook!!!'

Kentucky.com: Walter Tunis: April 9th, 2012

"Get a hold of it, Brian, and spin it and don't let the fact that these people's happiness in the next five minutes is completely in your hands. Spin that wheel!"

So says Elvis Costello to an audience volunteer who has been ushered to the stage for a crack at the Spectacular Spinning Songbook, a Wheel of Fortune for the post-New Wave generation — and a magnificent stage prop that ignited in 2011 one of the most courageously fun rock tours since, well, the last time Costello took this traveling pop carnival on the road some 25 years ago.

Hence the title The Return of the Spectacular Spinning Songbook!!!, a new CD/DVD set that presents Costello and his long-running band, the Imposters (the same lineup as the Attractions but with bassist Davey Faragher replacing Bruce Thomas), in onstage action.

This is a riot of a live album that displays Costello with all of his pop rambunctiousness intact. Just hear the way he and the Imposters rip through the show-opening I Hope You're Happy Now (whose hullabaloo backbeat is one of Songbook's most immediate delights), Nick Lowe's Rockpile-era nugget Heart of the City, Mystery Dance and Radio Radio in rapid succession. This is the sound of Costello in pure rock 'n' roll splendor, channeling the punkish charge of his past into a wholly new brand of combustible dance-pop that is in no way retro.

But the real party atmosphere of Songbook emerges on the DVD, where we glimpse the visual fun of the tour. The stage sports a go-go cage on stage right and the big wheel at stage left. A hostess named Katerina picks contestants from the audience, the wheel spins and Costello merrily ad-libs as his carnival barker alter-ego, Napoleon Dynamite (sorry geeky-grunge film hounds, the singer co-opted the name over 15 years before the movie came out).

Sadly, the CD and DVD sports a running time that is only half the length of Costello's stage shows on the tour. But compensation comes in the form of differing set lists that provide exclusives for the two discs, like a regal solo version of Slow Drag With Josephine ("rock and roll like I imagined it to be in 1921") for the DVD and a volcanic Lipstick Vogue with keyboardist Steve Nieve and drummer Pete Thomas in full vigor for the CD. Luckily, both discs boast an absolutely incinerating reading of I Want You and a patient, pop-soul cover of the Rolling Stones' Out of Time.

Part vaudeville, part post-punk sideshow, Songbook is a living concert snapshot of a master pop stylist relishing the spotlight but letting his audience very much in on the fun.

"The Spectacular Spinning Songbook - The Results"

Elvis Costello & The Imposters
Amsterdam, The Netherlands
June 5th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Shipbuilding - Spin 1

Everyday I Write The Book - IMPROMPTU

Stella Hurt - Spin 2

Condemned Man/I Put A Spell On You - Spin 3

Clubland - Spin 4

"Numbers" Jackpot - Spin 5

My Three Sons - Spinner's Number
Less Than Zero

Watching The Detectives/Help Me/ Happy Birthday - for "Dixie de la Fontaine" - Ms. Melissa Valdez, her cake, clogs and orange No.14 shirt.

The Hammer Of Songs

Brilliant Mistake - Swinger's Request

Cry Cry Cry - IMPROMPTU

Alison - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Suit Of Lights - with the Imposters

Chelsea

Oliver's Army

Finale

"Happy" Jackpot - Spin 6

I Can't Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse
Possession
Secondary Modern
Watch Your Step

Encore

Lipstick Vogue

Pump It Up

Peace, Love And Understanding

I Want You

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Elvis Costello & The Imposters
Zurich, Switzerland
June 4th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Turpentine - Spin 1

"Joanna" Jackpot - Spin 2

She
Talking In The Dark

Tokyo Storm Warning - Spin 3

No Dancing/Please Please Me/Be My Baby - Spin 4

Accidents Will Happen - Spin 5

Condemned Man/I Put A Spell On You - Spin 6

"Beauty Or Beast" Jackpot - Spin 7

All This Useless Beauty
Monkey To Man

No Particular Place To Go - IMPROMPTU

The Hammer Of Songs

I Want You

Prelude To Interlude

Yodelling & Button Accordion Improvisation by Erika Stucky

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

Shipbuilding

National Ransom No.9

Finale

Watching The Detectives/Help Me

Chelsea - Spin 8

"Time" Jackpot - Spin 9

Strict Time
Out Of Time

Pump It Up

Peace, Love And Understanding/God Save The Queen

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Elvis Costello & The Imposters
Hamburg, Germany
June 3rd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Time" Jackpot - Spin 1

Strict Time
Man Out Of Time
Out Of Time

Living In Paradise - Spin 2

Chelsea - Hostage-To-Fortune-Go-Go-Cage Escapee's Request

Human Hands - Spin 3

The Stations Of The Cross - Spin 4

"Joanna" Jackpot - Napoleon's Choice

She
Talking In The Dark

The Hammer Of Songs

Everyday I Write The Book/Purple Rain

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

My All Time Doll - with the Imposters

Shipbuilding

National Ransom

When I Paint My Masterpiece

Finale

Watching The Detectives/Help Me

"I Can Sing A Rainbow" Jackpot - Spin 5

Greenshirt
Red Shoes

"Joker" - Spin 6

Pump It Up

Peace, Love And Understanding/God Save The Queen

Oliver's Army

Encore

I Want You

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Elvis Costello & The Imposters
Aarhus, Denmark
June 2nd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Oliver's Army - Spin 1

I Want You - Spin 2

"Joker" - Spin 3

Everyday I Write The Book

"Time" Jackpot - Spin 4

Strict Time
Man Out Of Time
Out Of Time

The Spell That You Cast - Spin 5

Good Year For The Roses - Spin 6

New Lace Sleeves - Spin 7

Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs

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

Alison/You've Been Cheating/Suspicious Minds/The Wind Cries Mary/Somewhere Over The Rainbow - Swinger's Choice

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Joanna Interlude

She - with Steve Nieve

She Handed Me A Mirror - with Steve Nieve - for Kasper Bech Holten

My All Time Doll - with the Imposters

Shipbuilding

Finale

"Imperial Chocolate" Jackpot - Spin 8

Shabby Doll

Chelsea

Pump It Up

Peace, Love And Understanding

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Elvis Costello & The Imposters
Brussels, Belgium
May 30th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Beyond Belief - Spin 1

Almost Blue - Spin 2

"Beauty Or Beast" Jackpot - Spin 3

All This Useless Beauty
Monkey To Man

Watching The Detectives vs Hoover Factory - Spin 4

Watching The Detectives/Help Me - Unanimous Decision

Clubland - Spin 5

Stella Hurt - IMPROMPTU

Cash - Spin 6

Cry Cry Cry

Good Year For The Roses - IMPROMPTU

The Hammer Of Songs

Alison

Everyday I Write The Book - IMPROMPTU

Purple Rain - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Dr. Watson I Presume - Napoleon Solo - For Doc Watson and His Family

Indoor Fireworks - with the Imposters

Finale

"Time" Jackpot - Spin 7

Strict Time
Out Of Time

"Happy" - Jackpot - Spin 8 - Napoleon's Command

I Can't Stand Up For Falling Down

High Fidelity

Oliver's Army

Pump It Up

Peace, Love And Understanding

I Want You

----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Paris, France
May 29th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Motel Matches - Spin 1

Accidents Will Happen - Spin 2

"Joanna" Jackpot - Spin 3

I Still Have That Other Girl
She
Talking In The Dark

"Numbers" Jackpot - Spin 4

Less Than Zero
45
One Bell Ringing

Watching The Detectives/Help Me - Spin 5

Oliver's Army - Spin 6

Bedlam - Spin 7 - M. Antoine de Caunes' Spin

Chelsea - Featuring The Crazy Go-Go Stylings Of M. Antoine de Caunes - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Veronica - with the Imposters

Shipbuilding

National Ransom No.9

The Hammer Of Songs

So Like Candy/Don't Let Me Be Misunderstood

Everyday I Write The Book - IMPROMPTU

Alison/The Wind Cries Mary

Finale

"Happy" Jackpot - Napoleon's Choice

I Can't Stand Up For Falling Down

High Fidelity

Pump It Up

Peace, Love And Understanding

Poor Napoleon - Pour Sofia et Thomas

I Want You

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Elvis Costello & The Imposters
Cambridge, England
May 26th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Bedlam - Spin 1

Living In Paradise - Spin 2

Big Tears - Spin 3

Shabby Doll - IMPROMPTU

"Numbers" Jackpot - Spin 4

My Three Sons
Less Than Zero
Two Little Hitlers
45
One Bell Ringing

Accidents Will Happen - Spin 5

Alison - IMPROMPTU

The Hammer Of Songs

Everyday I Write The Book
Chelsea

Shipbuilding - IMPROMPTU

Watching The Detectives/Help Me - IMPROMPTU

Clubland - Spin 6

Good Year For The Roses - Spinner's Request

Interlude

A Slow Drag With Josephine - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

National Ransom No.9

Encore

"Happy" Jackpot - Ms. Valentine's Choice

I Can't Stand Up For Falling Down
High Fidelity

Finale

Oliver's Army

Pump It Up

Peace, Love And Understanding

---------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
London, Royal Albert Hall, England
May 24th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Lipstick Vogue
You Belong To Me
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

"Girl" Jackpot - Spin 1

This Year's Girl
Spooky Girlfriend
Party Girl

"Happy" Jackpot - Spin 2

I Can't Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse

Alison - Spin 3

"Time" Jackpot - Spin 4

Strict Time
Man Out Of Time
Out Of Time

"KIng's Ransom" Jackpot - Spin 5

The Stations Of The Cross/Get Ready

Poisoned Rose - sung by Mr. Nick Lowe with the Imposters

Watching The Detectives/Help Me

The Hammer Of Songs

Favourite Hour - with Mr. Steve Nieve at the Royal Albert Hall Organ

Deep Dark Truthful Mirror

Shipbuilding

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

National Ransom No.9

Oliver's Army

Finale

Beyond Belief

Purple Rain

Clubland

Pump It Up/Day Tripper

Heart Of The City - duet with Mr. Nick Lowe and the Imposters

Peace, Love And Understanding - duet with Mr. Nick Lowe with the Imposters with Mr. Steve Nieve at the Royal Albert Hall Organ

---------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
London, Royal Albert Hall, England
May 23rd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

The Stations Of The Cross/Get Ready - Spin 1

New Lace Sleeves - Spin 2

Beyond Belief - Spin 3

Oliver's Army - Spinner's Request

Long Honeymoon - Spin 4

Cash - Spin 5

Cry Cry Cry
I Still Miss Someone

American Without Tears - Ms. Valentine's Choice - the Imposters with Bible Code Sundays plus Kieran MacManus on whistle - second verse sung by Ronan and Ruairi MacManus - For Ross and Sara

Little Palaces - with Bible Code Sundays - Ronan MacManus - Guitar, Paddy Franklin - Fiddle, Andy Nolan - Accordion, Carlton Hunt - Drums with Kieran MacManus - Whistle

"Joanna" - Jackpot - Napoleon's Choice

Shot With His Own Gun - For Mrs. Nason

Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs

Alison

Everyday I Write The Book - IMPROMPTU

Chelsea - IMPROMPTU

I Want You

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

Shipbuilding

Pearl Jubilee Revue

Trouble - Lieber/Stoller - sung with Russell Crowe - Martin Belmont on guitar

Folsom Prison Blues - sung by Russell Crowe - Martin Belmont on guitar

From A Whisper To A Scream - duet with Glenn Tilbrook with Martin Belmont on guitar and Tennsesse Thomas on second drumkit

Pump It Up - with Glenn Tilbrook with Martin Belmont on guitar and Tennsesse Thomas on second drumkit and Bible Code Sundays

Peace, Love And Understanding - with Glen Tilbrook and Ronan and Ruairi MacManus on vocals, Kieran MacManus on piano, Tennessee Thomas on second drumkit, Martin Belmont on guitar, Paddy Franklin on fiddle, Andy Nolan on accordion and Steve Nieve on the Royal Albert Hall Organ

--------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Bristol, England
May 22nd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Good Year For The Roses - Spin 1

I've Been Wrong Before - Spin 2

Chelsea - Spin 3

"Imperial Chocolate" Jackpot - Spin 4

Shabby Doll
Almost Blue
Honey, Are You Straight Or Are You Blind?

The Comedians - Spin 5

Watching The Detectives/Help Me - Spin 6

The Stations Of The Cross/Get Ready - Spin 7

The Hammer Of Songs

Oliver's Army

Less Than Zero - IMPROMPTU

Cash - Spin 8

Cry Cry Cry

Accidents Will Happen - Spin 9

God's Comic - Spin 10

Beyond Belief - IMPROMPTU

National Ransom - Spin 11

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain- Napoleon Solo

Tramp The Dirt Down - with the Imposters

Shipbuilding

Finale

Greenshirt

Red Shoes

Pump It Up

Peace, Love And Undersrtanding

I Want You

------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Bournemouth, England
May 20th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Joanna" - Jackpot - Spin 1

Alison - lead by the piano stylings of Mr. Steve Nieve

Please Please Me/No Dancing/Be My Baby - Spin 2

Harry Worth - Spin 3

This Wheel's On Fire/The River In Reverse/On Your Way Down/I"ll Take Care Of You/This Wheel's On Fire - Spin 4

New Lace Sleeves - Spin 5

Greenshirt - IMPROMPTU

Country Darkness - Spin 6

No Particular Place To Go - IMPROMPTU

Veronica - Veronica's Request

Living In Paradise - Spin 7

Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs

Everyday I Write The Book

Chelsea

Beyond Belief

Waiting For The End Of The World

You Belong To Me

Pump It Up

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain- Napoleon Solo

Tramp The Dirt Down - with the Imposters

National Ransom No.9

Oliver's Army

Shipbuilding

Peace, Love And Understanding

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Elvis Costello & The Imposters
Nottingham, England
May 19th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Bedlam - Spin 1

Everyday I Write The Book - Spin 2

"King's Ransom" - Jackpot - Spin 3

The Stations Of The Cross/Get Ready
Indoor Fireworks
Suit Of Lights

Joker - Spin 4

Beyond Belief - Spinner's Request

"Happy" Jackpot - Spin 5

I Can't Stand Up For Falling Down
High Fidelity

Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs

Alison - Alison's Request

"Imperial Chocolate" Jackpot - Spin 6

Shabby Doll
Human Hands
I Want You

"Time" Jackpot - Spin 7

Strict Time
Man Out Of Time
Out Of Time

No Particular Place To Go - Spin 8

The Spell That You Cast - IMPROMPTU

Shipbuilding - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

Finale

Chelsea

Oliver's Army

Pump It Up

Peace, Love And Understanding

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Elvis Costello & The Imposters
Newcastle, England
May 18th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Harry Worth - Spin 1

Everyday I Write The Book - Spin 2

Chelsea - Spin 3

You Little Fool - Spin 4

"Time" Jackpot - Spin 5

Strict Time
Next Time Round
Man Out Of TIme
Out Of Time

The Hammer Of Songs - Double Swing

Good Year For The Roses - Strike 1

Alison - Strike 2

Watching The Detectives/Help Me - IMPROMPTU

Deep Dark Truthful Mirror - Spin 6

Accidents Will Happen - Spinner's Request

"I Can Sing A Rainbow" Jackpot - Ms. Valentine's Request

Greenshirt
Red Shoes
Purple Rain

Oliver's Army - IMPROMPTU

Shipbuilding - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Tramp The Dirt Down - with the Imposters

National Ransom No.9

Finale

"Happy" Jackpot - Spin 7

I Can't Stand Up For Falling Down - Napoleon's Choice

"Imperial Chocolate" Jackpot - Jeremy's Selection

Pump It Up

Peace, Love And Understanding

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Elvis Costello & The Imposters
Brighton, England
May 16th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Shipbuilding - Spin 1

New Lace Sleeves - Spinner's Request

Oliver's Army - Spin 2

She - IMPROMPTU - due to technical problems

Talking In The Dark - IMPROMPTU

"Numbers" Jackpot - Spin 3

Less Than Zero
45
Two Little Hitlers
One Bell Ringing

Joker - Spin 4

All This Useless Beauty/Do You Know What I Am Saying?

The Hammer Of Songs - Swung by Chris Difford

"Joanna" Jackpot - MR. Difford's Choice

Tempted - with Steve Nieve

Cool For Cats - the Imposters with Chris Difford on lead vocal

Watching The Detectives/Help Me - IMPROMPTU

I've Been Wrong Before - Spin 5

Cash - Spin 6

Cry Cry Cry

I Can't Stand Up For Falling Down - IMPROMPTU

High Fidelity - IMPROMPTU

Lipstick Vogue - IMPROMPTU

Clubland - IMPROMPTU

I Want You - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo

Alison - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

Finale

Beyond Belief

Chelsea - Spin 7

Monkey To Man - pour le peré du Pierre, Phil Thomas

Peace, Love And Understanding

Substitute

Pump It Up

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Elvis Costello & The Imposters
Birmingham, England
May 15th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Joanna" Jackpot - Spin 1

Talking In The Dark
She

"Numbers" Jackpot - Spin 2

Less Than Zero
Two Little HItlers
My Three Sons

So Like Candy - Spin 3

Don't Let Me Be Misunderstood - IMPROMPTU

"Girl" Jackpot - Spin 4

This Year's Girl
Party Girl
Girls Talk

"King's Ransom" Jackpot - Spin 5

Poisoned Rose
Suit Of Lights
All These Strangers

The Hammer Of Songs

Motel Matches - Swinger's Request

Bedlam - Swinger's Request

No Particular Place To Go - IMPROMPTU

I've Been Wrong Before - IMPROMPTU

"Beauty Or Beast" Jackpot - Spin 6

All This Useless Beauty
Rocking Horse Road
King Horse

I Want You - Spinner's Request

Interlude

A Slow Drag With Josephine - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

Oliver's Army

Shipbuilding

Finale

Watching The Detectives

Chelsea

Peace, Love And Understanding

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Elvis Costello & The Imposters
Liverpool, England
May 13th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"King's Ransom" - Jackpot - Spin 1

Brilliant Mistake
Poisoned Rose
The Stations Of The Cross

Temptation - IMPROMPTU

Everyday I Write The Book - Spin 2

Accidents Will Happen - Spin 3

Tiny Steps/Ferry 'Cross The Mersey - Spin 4 - with Ian Prowse

Shipbuilding - IMPROMPTU

Watching The Detectives - Spin 5

Oliver's Army - Spin 6

Alison - Spin 7

Chelsea - IMPROMPTU

"Joanna" Jackpot - Napoleon's Spin

I Still Have That Other Girl
Talking In The Dark
She

The Hammer Of Songs

Please Please Me/Be My Baby/No Dancing/Be My Baby

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Tramp The Dirt Down - with the Imposters

National Ransom No. 9

Finale

Beyond Belief

Tokyo Storm Warning - Spin 8

I Can't Stand Up For Falling Down

High Fidelity

Pump It Up

Peace, Love And Understanding/Rosalita - for Rosalita Prowse with Ian Prowse

--------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Manchester, England
May 12th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Joker - Spin 1

Everyday I Write The Book

Accidents Will Happen - Spin 2

Deep Dark Truthful Mirror - Spinner's Request

Joker - Spin 3

Alison

Shabby Doll - IMPROMPTU

Beyond Belief - Spin 4

Clubland - IMPROMPTU

Chelsea - Spin 5

I've Been Wrong Before - Spin 6

"Joanna" - Jackpot - Napoleon's Spin

Talking In The Dark
She

The Hammer Of Songs

Watching The Detectives/Help Me

"Time" - Jackpot - Spin 7

Strict Time
Man Out Of Time
Out Of Time

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Tramp The Dirt Down

Shipbuilding

National Ransom No. 9

Finale

I Can't Stand Up For Falling Down

High Fidelity

Peace, Love And Understanding - Spin 8

Oliver's Army

Pump It Up

-------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Glasgow, Scotland
May 11th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Good Year For The Roses - Spin 1

"King's Ransom" Jackpot - Spin 2

The Stations Of The Cross
Poisoned Rose
Brilliant Mistake

No Particular Place To Go - Spin 3

Payday - IMPROMPTU

This Wheels On Fire/The River In Reverse/I'll Take Care Of You - Spin 4

Man Out Of Time - Spin 5

Chelsea - Spin 6

American Without Tears - Spin 7 - Ms. Valentine's Choice - duet with Ronan MacManus and Bible Code Sundays

Little Palaces - Set of Jig and Reels - with Bible Code Sundays - Paddy Franklin - fiddle, Andy Nolan - button accordion, Ronan MacManus - guitar and Carlton Hunt - floor tom

Tramp The Dirt Down - IMPROMPTU - with the Imposters

Shipbuilding - IMPROMPTU

Bedlam - IMPROMPTU

The Hammer Of Songs

I Want You

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Finale

Indoor Fireworks - with the Imposters

Mr. Feathers/God's Comic - the Imposters with Brigid Kaelin on the musical saw

Watching The Detectives/Help Me

Oliver's Army - Spin 8

Pump It Up - the Imposters with Biblecode Sundays and Brigid Kaelin on piano accordion

Peace, Love And Understanding - duet with Ronan MacManus with Biblecode Sundays and Brigid Kaelin on piano accordion

---------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Dublin, Ireland
May 9th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Happy" Jackpot - Spin 1

I Can't Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse

Chelsea - Spin 2

Good Year For The Roses - Spinner's Request

"Cash" - Spin 3

Cry Cry Cry

Motel Matches - Spin 4

Please Please Me - IMPROMPTU

Alison - Spin 5 - Double Spin

Beyond Belief - Spin 5 - Double Spin

Watching The Detectives/Help Me - IMPROMPTU

The Hammer Of Songs

Oliver's Army

"Joanna" Jackpot - Spin 6

I Still Have That Other Girl

She

Everyday I Write The Book - Spinner's Request

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Who's The Meanest Girl In Town, Josephine - Napoleon "Ukulele" Solo

Suit Of Lights - IMPROMPTU

Veronica - IMPROMPTU

National Ransom No. 9 - IMPROMPTU

Finale

Pump It Up

Peace, Love And Understanding - Spin 7

His Latest Flame

Uncomplicated/Purple Rain

I Want You

The Spectacular Spinning Songbook - The Results

Elvis Costello & The Imposters
Durham, NC
April 29th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

No Particular Place To Go - Spin 1

"Happy" Jackpot - Spin 2

I Can't Stand Up For Falling Down
High Fidelity
Possession

Temptation - IMPROMPTU

Veronica - Spinner's Request

Bedlam - Spin 3

Country Darkness - Spin 4

Payday - IMPROMPTU

"Cash" - Spin 5

Cry Cry Cry

Oliver's Army - Spin 6

Watching The Detectives/Help Me

The Hammer Of Songs

My Funny Valentine - (acapella) - Strike One

Alison - Strike Two

Everyday I Write The Book - Strike Three

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

(Who's The Meanest Gal In Town) Josephine - Napoleon "Ukulele" Solo

Indoor Fireworks - IMPROMPTU

New Lace Sleeves - Request

"Time" Jackpot - Spin 7

Crying Time
Strict Time
Night Time
Out Of Time

"Girl" - Jackpot - Spin 8

Girls Talk
This Year's Girl

Beyond Belief - IMPROMPTU

National Ransom No.9 - IMPROMPTU

Clubland - Spin 9

Finale

Peace, Love And Understanding
Pump It Up
Please Please Me

-------------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Jacksonville, FL
April 27th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Peace, Love And Understanding - Spin 1

"Time" Jackpot - Spin 2

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time

Oliver's Army - Spin 3

No Particular Place To Go - IMPROMPTU

Monkey To Man - Spin 4

"Cash" - Spin 5

Cry, Cry, Cry

"King's Ransom" Jackpot - Spin 6

Poisoned Rose
Brilliant Mistake
National Ransom No.9

Everyday I Write The Book - Spin 7

The Hammer Of Songs

So Like Candy/Don't Let Me Be Misunderstood - Strike 1

Veronica - Strike 2

Chelsea - IMPROMPTU

I Want You - Strike 3

Interlude

A Slow Drag With Josephine - Napoleon Solo

Alison - Unamplified

(Who's The Meanest Gal In Town) Josephine - Ukulele Solo

Watching The Detectives/Help Me - IMPROMPTU

"Girl" Jackpot - Spin 8

Girls Talk
This Year's Girl

Finale

Pump It Up
Uncomplicated
I Can't Stand Up For Falling Down
High Fidelity
Red Shoes/Purple Rain

-----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Hollywood, FL
April 25th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Pump It Up
Heart Of The City
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

Chelsea – Spin 1

Beyond Belief – Spinner’s Request

Waiting For The End Of The World – IMPROMPTU

I Want You – Spin 2

“Numbers” Jackpot – Spin 3

Less Than Zero
Two Little Hitlers
45
Five Gears In Reverse

King Horse – IMPROMPTU

Peace, Love And Understanding – Spin 4

Watching The Detectives/Help Me – IMPROMPTU

The Hammer Of Songs – Double Swing

Please Please Me – Strike One

Everyday I Write The Book - IMPROMPTU

Alison – Strike Two

Interlude

No Particular Place To Go

Finale

“Happy” Jackpot – Spin 5 – Ms. Valentine’s Spin

I Can’t Stand Up For Falling Down
High Fidelity

Uncomplicated – IMPROMPTU

“Joker” – Spin 6

Red Shoes – Spinner’s Request

Purple Rain

----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Clearwater, FL
April 24th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You’re Happy Now
Heart Of The City
Miracle Man
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

“Happy” Jackpot – Spin 1

I Can’t Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse

“Numbers” – Jackpot – Spin 2

Less Than Zero
Secondary Modern/Watch Your Step
One Bell Ringing

Detectives vs Hoover Factory – Spin 3

Watching The Detectives – Unanimous Decision

I Want You – Spin 4

Everyday I Write The Book – Spin 5

The Hammer Of Songs

Clubland

Stella Hurt – IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
I’m Your Toy

Shipbuilding – Request

Alison – Spin 6

Uncomplicated – IMPROMPTU

Chelsea – IMPROMPTU

National Ransom – Spin 7

Peace, Love And Understanding – Spin 8

Pump It Up - Finale

----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Melbourne, FL
April 23rd, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"I Can SIng A Rainbow" - Jackpot - Spin 1

Greenshirt
Red Shoes
Almost Blue

So Like Candy - Spin 2

Don't Let Me Be Misunderstood - IMPROMPTU

"Time" - Jackpot - Spin 3

Strict Time
Man Out Of Time
Out Of Time

"Toussaint" -

Nearer To You - Spin 4

"Crime and Punishment" - Jackpot - Spin 5

Condemned Man
Alibi
Watching The Detectives/Help Me

Alison - Spin 6

Everyday I Write The Book - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Church Underground - Napoleon Solo

"Joanna" Jackpot - Spin 7

I Still Have That Other Girl
Talking In The Dark

The Hammer Of Songs

Episode Of Blonde
Pump It Up
Peace, Love And Understanding/Substitute/Peace, Love And Understanding

----------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Windsor, ON
April 21st, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Time" - Jackpot - Spin 1

Strict Time
Man Out Of Time
Crying Time
Out Of Time

Pump It Up - Spin 2

Stella Hurt - Spin 3

I Want You - Spinner's Request

"Happy" - Jackpot - Spin 4

I Can't Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse

"Big Boo Small Hoo" - Jackpot - Spin 5

Town Cryer
Cry Cry Cry

"Numbers" - Jackpot - Spin 6

Less Than Zero
Watch Your Step - IMPROMPTU
Secondary Modern

Watching The Detectives/ Help Me - Joker - Spin 7

Alison - Spin 8

Everyday I Write The Book - Spin 9

Red Shoes/Purple Rain - IMPROMPTU

Finale

Tears Of Rage
Peace, Love And Understanding

---------------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Los Angeles, CA
April 17th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Pump It Up
Heart Of The City
Lipstick Vogue
Watching The Detectives / Help Me

The Spectacular Spinning Songbook

Riot Act - Spin 1

No Particular Place To Go - Spin 2

"Cash" - Spin 3

Cry Cry Cry

So Like Candy - Spin 4

You're No Good/Don't Let Me Be Misunderstood - duet with Marisol of Santa Cecilia - IMPROMPTU

"Happy" - Jackpot Spin 5

I Can't Stand Up For Falling Down
High Fidelity
Five Gears In Reverse
King Horse

I've Been Wrong Before - IMPROMPTU

Accidents Will Happen - Spin 6

The Hammer Of Songs

Everyday I Write The Book

Please Please Me - IMPROMPTU

Interlude

Quiet About It - Solo - Jesse Winchester song for Levon Helm

A Slow Drag With Josephine - Napoleon Solo

Alison - duet with Vanessa Paradis in French

"I Walked With A Zombie" Ms. Valentines's Spin

This Will Be Our Year - lead vocal Vanessa Paradis

Out Of Time - duet with Vanessa Paradis

Finale

"Joanna" - Jackpot

I Still Have That Other Girl
Talking In The Dark

Chelsea - Spin 7

Radio Radio
Beyond Belief
Tokyo Storm Warning
Peace, Love And Understanding - with Vicki and Debbie Peterson of The Bangles and Diana Krall on piano

-----------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
San Diego, CA
April 16th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Deep Dark Truthful Mirror – Spin 1

Watching The Detectives – Spin 2

Everyday I Write The Book – Spin 3

Toussaint - Nearer To You – Spin 4

“I Can Sing A Rainbow” Jackpot – Spin 5

Greenshirt
Red Shoes
Purple Rain

Harry Worth – Spin 6

The Hammer Of Songs

Alison

Pump It Up - Spin 7 – Bill Walton

You Belong To Me - IMPROMPTU

Radio Radio – IMPROMPTU

Ramble On Rose – Bill’s Request

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

The Comedians - IMPROMPTU

Veronica – Spinner's Request - IMPROMPTU

“Girl” Jackpot – Spin 8

This Year’s Girl,
Girls Talk
Chelsea

Finale

Peace, Love And Understanding

-----------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
San Francisco, CA
April 15th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Lipstick Vogue
Watching The Detectives/Help Me

The Spectacular Spinning Songbook

Turpentine - Spin 1

"Big Boo Small Hoo" - Jackpot - Spin 2

Big Tears
Town Cryer
Little Triggers

Everyday I Write The Book - Spin 3

Episode Of Blonde - Spin 4

"Time" - Jackpot - Spin 5

Strict Time
Man Out Of Time
Out Of Time

Beyond Belief - Spin 6

Stella Hurt - Spin 7

No Particular Place To Go - Spin 8

Country Darkness - IMPROMPTU

His Latest Flame - IMPROMPTU

Bedlam - Spin 9

Deep Dark Truthful Mirror - Spin 10

Motel Matches - IMPROMPTU

Please Please Me - IMPROMPTU

Interlude

I've Been Wrong Before

The Hammer Of Songs

"Happy" - Jackpot

I Can't Stand Up For Falling Down
High Fidelity

Mystery Dance - IMPROMPTU

Uncomplicated - IMPROMPTU

Radio Radio - IMPROMPTU

Chelsea - IMPROMPTU

"Roses" - Spin 11 - Napoleon's Spin

Good Year For The Roses
Poisoned Rose
Ramble On Rose

Finale

Peace, Love And Understanding

-------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Portland, OR
April 13th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Pump It Up
Heart Of The City
Mystery Dance
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook

I Want You - Spin 1

"Time" Jackpot - Spin 2

Strict Time
Clowntime Is Over
Out Of Time
Man Out Of Time

No Particular Place To Go - Spin 3

Stella Hurt - Spin 4

"Joanna" Jackpot - Spin 5

Just A Memory
Talking In The Dark

Clubland - Spin 6

"Cash" - Spin 7

Cry Cry Cry

Brilliant Mistake - IMPROMPTU

The Hammer Of Songs - Birthday Edition

Watching The Detectives - Strike 1
Veronica - Strike 2
One Bell Ringing - Strike 3

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

Alison IMPROMPTU

Please Please Me - IMPROMPTU

Finale

Lipstick Vogue
Beyond Belief
Chelsea

Oliver's Army - Spin 8

Peace, Love And Understanding

----------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Seattle, WA
April 12th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Beauty Or Beast?" Jackpot - Spin 1

Monkey To Man
Rocking Horse Road/Wild Thing
Men Called Uncle
All This Useless Beauty/Do You Know What I'm Saying?

Turpentine - Spin 2

Accidents Will Happen - Spin 3

Chelsea - IMPROMPTU

Waiting For The End Of The World - Spin 4

Hurry Down Doomsday (The Bugs Are Taking Over) - IMPROMPTU

No Particular Place To Go - IMPROMPTU

Peace, Love And Understanding - Spin 5

"Girl" Jackpot - Spin 6

Girls Talk
This Year's Girl
Party Girl

Shipbuilding - Napoleon's Spin 7

Talking In The Dark - IMPROMPTU

The Hammer Of Songs

Deep Dark Truthful Mirror - Songs Of Sneer

Please Please Me - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Veronica

Finale

Watching The Detectives - Spin 8

This Wheels On Fire/The River In Reverse/I'll Take Care Of You/This Wheel's On Fire - Spin 9

Everyday I Write The Book - Spin 10

------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Vancouver
April 10th, 2012

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

New Lace Sleeves - Spin 1

"Cash" Cry Cry Cry - Spin 2

Clubland - Spin 3

Detectives/Help Me - Spin 4

"Time" - Jackpot - Spin 5

Strict Time
Out Of Time
Man Out Of Time

Shipbuilding - Spin 6

The Hammer Of Songs - Songs Of Sneer

Accidents Will Happen

Beyond Belief - Spin 8

You Belong To Me - IMPROMPTU

Radio Radio - IMPROMPTU

"Joker" - Napoleon's Spin

I've Been Wrong Before

The Comedians - IMPROMPTU

Secondary Modern - Watch Your Step - Spin 10

"Happy" Jackpot - Napoleon's Spin

Five Gears In Reverse
King Horse

Everyday I Write The Book - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

Alison - IMPROMPTU

Finale

Chelsea - Spin 12

No Particular Place To Go

Pump It Up

"King's Ransom" Jackpot - Mrs. Dynamites' Spin

One Bell Ringing

Peace, Love and Understanding - the Imposters with DIana Krall on piano

Elvis Costello

Elvis Costello & the Imposters today announce new West Coast dates for the unpredictable, uninhibited Spectacular Spinning Songbook tour in 2012, including stops in Seattle, Portland, San Francisco, San Diego and Windsor, ON.

With set lists that in total have boasted over 200 different songs, the tour hit more than 30 cities in 2011, garnering acclaim at every turn – from the "fun and irreverence" incited in Indianapolis, to the "hilarity, musicality, and unabated joy" in St. Louis, and on to the "frantic energy" that filled the house in Nashville.

At each performance, select fans are invited onstage to spin the Wheel, helping to create new sets at each performance from a collection of 40 banners including hits, rarities, and a few surprises. This tour marks the Wheel's first appearance in 25 years and includes an on-stage go-go cage and "Society Lounge" in addition to the monumental game-show wheel.

2012 Spectacular Spinning Songbook Tour Dates:

4/10 – Vancouver, BC – Orpheum Theatre
4/12 – Seattle, WA – Paramount Theatre *NEW DATE
4/13 – Portland, OR – Arlene Schnitzer Concert Hall *NEW DATE
4/15 – San Francisco, CA – Warfield Theatre **NEW DATE
4/16 – San Diego, CA – Humphreys *NEW DATE
4/17 – Los Angeles, CA – The Wiltern
4/21 – Windsor, ON – Colosseum at Caesars Windsor ***NEW DATE
4/23 – Melbourne, FL – King Center
4/24 – Clearwater, FL – Ruth Eckerd Hall
4/25 – Hollywood, FL – Seminole Hard Rock Hotel & Casino
4/27 – Jacksonville, FL – Florida Theatre
4/29 – Durham, NC – Durham PAC

   * on sale 1/14
   ** on sale 1/13
   *** on sale 1/21

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and Davey Faragher (bass).

Elvis Costello

On April 3rd, 2012, Universal Music Enterprises (UMe) will release the
deluxe edition of Elvis Costello & The Imposters: The Return Of The
Spectacular Spinning Songbook!!! The digipak includes a CD, DVD and 28
page booklet filled with musings from Napoleon Dynamite (aka Elvis
Costello), the emcee of The Spectacular Spinning Songbook show.

The CD and DVD will also be available separately.

Recorded over a 2-night stand at The Wiltern in Los Angeles on May 11
and 12, 2011, the first disc is a CD recording culled from both nights’
performances, shows which The Los Angeles Times said were “the kind of
uniquely invigorating experience that warrants a buzzword all its own:
inspiring.”

The DVD is from Costello’s show on May 12, 2011, including
a special guest appearance by The Bangles. The DVD contains bonus
footage including an alternate intro by Napoleon Dynamite and
behind-the-scenes moments captured with the Imposters— Steve Nieve
(keyboards), Pete Thomas (drums), and Davey Faragher (bass)—as well as
extra performances not included in the main set of the show.

“The Spectacular Spinning Songbook” made its first appearance in 1986 at the Beverly Theatre in Los Angeles during the “Costello Sings Again Tour.”
Last year, Elvis Costello and the Imposters set out on The Revolver Tour
and, for the first time in 25 years, Costello once again allowed his
set-list to be chosen by "The Spectacular Spinning Songbook,” a
monumental game-show type wheel spun by select fans and featuring songs from his latest critically acclaimed release National Ransom, plus new
renditions of hits, rarities and very unexpected covers. Expanded from
its initial short run in the spring to encompass summer and fall dates,
the tour was greeted by popular acclaim and rave notice across the
country, with Rolling Stone reporting, “Costello worked the stage like a
burlesque-club emcee, cracking wise at a mile a minute and spinning a
dandy's walking stick.”

Elvis Costello & The Imposters: The Return Of The Spectacular Spinning
Songbook!!!

Disc One/CD
The Music
•    I Hope You’re Happy Now
•    Heart Of The City (Nick Lowe)
•    Mystery Dance
•    Radio Radio
•    Everyday I Write The Book
•    God Give Me Strength
•    Watching The Detectives
•    Tear Off Your Own Head (It’s A Doll Revolution) featuring Susanna Hoffs of The Bangles
•    Out Of Time (Mick Jagger-Keith Richards)
•    I Want You
•    Stella Hurt
•    All Grown Up
•    Lipstick Vogue
•    Man Out Of Time
•    National Ransom
•    (What’s So Funny‘Bout) Peace, Love and Understanding

Recorded Live at The Wiltern, Los Angeles, CA, May 11 & 12, 2011

Disc Two/DVD
The Film
•    I Hope You’re Happy Now
•    Heart Of The City (Nick Lowe)
•    Mystery Dance
•    Radio Radio
•    Clubland
•    God Give Me Strength
•    Tear Off Your Own Head (It’s A Doll Revolution) featuring Susanna Hoffs of The Bangles
•    Out Of Time (Mick Jagger-Keith Richards)
•    I Want You
•    Everyday I Write The Book
•    Stella Hurt
•    A Slow Drag With Josephine
•    Jimmie Standing In The Rain
•    Alison
•    Earthbound
•    (What’s So Funny ‘Bout) Peace, Love And Understanding

Bonus Tracks
•    Uncomplicated
•    Watching The Detectives
•    Monkey To Man

Filmed Live at The Wiltern, Los Angeles, CA, May 12, 2011

Available from Amazon US & Amazon UK

"I always dreamed of stepping into the boots of Albert Stubbins"

The Guardian: Caroline Davies: April 2nd, 2012

New faces on Sgt Pepper album cover for artist Peter Blake's 80th birthday

British pop artist Sir Peter Blake has taken inspiration from his most famous artwork – the Beatles' Sgt Pepper's Lonely Hearts Club album cover – to celebrate the British cultural figures he most admires as he marks his 80th birthday.

Twiggy, Amy Winehouse, Grayson Perry, JK Rowling, and even Monty Python's emblematic foot all feature in a reworked version of the 1967 cover created for his birthday celebrations.

Blake, often called the godfather of the British pop art scene, said: "I've chosen people I admire, great people and some who are dear friends.
"I had a very long list of people who I wanted to go in but couldn't fit everyone in – I think that shows how strong British culture and its legacy of the last six decades is."

Singer Noel Gallagher, formerly of Oasis, was "chuffed" to be included. "To be on there with the likes of Vivienne Westwood, Mick Jagger and Paul Weller, just those three people alone, is amazing for me as I wouldn't put myself up with any of those," he said.

Rowling said: "Given that I've devoted quite a lot of time to gazing at the original Sgt Pepper album cover, you can perhaps imagine what it means to me to be featured."

Playwright Tom Stoppard said his inclusion was "an honour that outdoes delirium" while singer Elvis Costello said: "I always dreamed that I might one day stand in the boots of [Liverpool footballer] Albert Stubbins."

The original 1967 artwork also featured James Dean, Bob Dylan, Karl Marx and Marilyn Monroe.

The new version has been created for a special birthday celebration of Blake's life at Wayne Hemingway's Vintage Festival at Boughton House, Northamptonshire, in July.

Hemingway, co-founder of the Red or Dead fashion brand, said: "The new artwork is a tribute to Britain's standing as the world's leading creative nation."

It was "an incredible honour" for Blake to "reimagine such an iconic work of art", he said, adding: "We are proud to be dedicating the Sunday at Vintage this year to celebrate his 80th birthday and creative and cultural legacy."

Terry Jones, the actor, director and original Python, said: "Monty Python is flattered to have had his foot selected, but there are better parts of his body available at very little cost."

The foot itself was borrowed by Terry Gilliam from Venus, Cupid, Folly and Time, a work by 16th century Florentine painter Bronzino.

His Python co-star, Michael Palin, added: "It's a great tribute to a fine foot – just don't tell Bronzino or he'll want royalties."

'Robert Johnson at 100' at the Apollo Theater

New York Times: Nate Chinen: March 7th , 2012.

Elvis Costello took a different tack, paring down to acoustic guitar and percussion for a leisurely, conversational “From Four Until Late,” drawing his listeners toward him.

"Late Night With Jimmy Fallon" Honors Bruce Springsteen With A Week Of Musical Tributes

Thursday, March 1st , 2012 – “ Elvis Costello backed by Fallon’s house band the Roots performed “Brilliant Disguise” from Springsteen’s album “Tunnel of Love” . Elvis Costello also perfomed Bruce Springsteens "Fire".

Click on links below to watch video.

"Brilliant Disguise"

"Fire"

Chuck Berry, Leonard Cohen Get First PEN Songwriting Awards

Rolling Stone: James Sullivan: February 27th, 2012.

Keith Richards, Elvis Costello, Paul Simon pay tribute at JFK Library

Midway through Paul Simon's praise of Chuck Berry, who was honored alongside Leonard Cohen as the first two recipients of PEN New England's Song Lyrics of Literary Excellence Award Sunday at the John F. Kennedy Library in Boston, Berry beckoned Simon to lean over so he could whisper in his ear.

The presenter returned to the microphone laughing. Berry, he said, told him he had a bad ear and couldn't hear a word he was saying.

Yet fans of Berry and Cohen, unquestionably two of the most original writers the rock & roll era has produced, have been listening very closely from the beginning. Addressing a tony crowd of writers and rock fans, Salman Rushdie presented Cohen's award, and Elvis Costello and surprise guest Keith Richards (introduced as "the best-selling author in this room") performed in tribute to Berry.

Given the intent of the Song Lyrics award, the event was peppered with references to great writers. In an email read by organizer Bill Flanagan, Bob Dylan called Berry "the Shakespeare of rock & roll" and Cohen "the Kafka of the blues." Cohen, accepting his award, compared Berry's "Roll Over Beethoven" to Walt Whitman's joyful noise – his "barbaric yawp."

"If Beethoven hadn't rolled over," he said, "there'd be no room for any of us."

After quoting key lines from Cohen's "Bird on the Wire" – "Like a bird on the wire/ Like a drunk in a midnight choir/ I have tried, in my way, to be free" – the author Rushdie, a former president of PEN American Center, said, "Put simply, if I could write like that, I would."

Last year the New England chapter of the world's oldest literary and human rights organization convened a panel to select the first recipients of the new songwriters' award. The panel included Costello, Simon, Rushdie, Bono, Rosanne Cash, Smokey Robinson and poet Paul Muldoon. After opening remarks from Caroline Kennedy, who spoke of her father's conviction that "the artist has a special responsibility in our democracy," PEN New England Chairman Richard Hoffman explained the symbolism of the oversize image of a lyre projected above the stage. It was a reminder, he said, that through most of history, "literature was sung."

After Shawn Colvin sang Cohen's "Come Healing" from his new album Old Ideas, Costello took the stage to pay tribute to Berry. "This is one of the more intimidating things you'll do," he joked – "play a Chuck Berry song in front of Chuck Berry, without a band." But his characteristically tweaked version of "No Particular Place to Go" drew smiles and finger-points from the master, who, at 85, looked the same as ever in his sailor's cap and string tie.

Rather than take the microphone to make an acceptance speech, Berry surprised the event organizers by indicating he'd just as soon take Costello's hollow-body guitar off his hands. After fumbling with some feedback, he played a muted version of "Johnny B. Goode."

"That's the way rock & roll is," he said when he finished. "It's funky. Is that too bad a word to say?"

For the event's final surprise, Richards, who famously squabbled with his guitar hero during the filming of Hail! Hail! Rock 'n' Roll, stepped out of the front row and onto the stage, where he took Costello's guitar and joined him – Costello grabbing an acoustic – on an unrehearsed romp through Berry's cross-country yarn "Promised Land."

"We have a Mount Rushmore thing going on here," as Flanagan noted earlier in the program. The guests of honor were, of course, united in rock.

Elvis Costello, Keith Richards, Paul Simon, Salman Rushdie pay tribute to Chuck Berry and Leonard Cohen at JFK Library

The Boston Phoenix: Carly Carioli: February 26th, 2012.

"At the end, it was Costello with Keith Richards clanging guitars together on stage at the John F. Kennedy Library, playing a suitably sloppy and euphoric version of Chuck Berry's "Promised Land" as a shit-ton of famous talent -- almost as much in the audience as made it onstage -- gathered to see Berry and Leonard Cohen receive the first annual PEN New England Awards for Song Lyrics of Literary Excellence."

Friday February 17th at 4pm EST Jim Del Balzo

Tune in to hear former record company executive Jim Del Balzo and Elvis Costello discuss their experiences working and performing with Bruce Springsteen, which includes a world premier of Elvis Costello & The Imposters playing a Springsteen classic.

Tune in....

World Cafe Looks Back: Elvis Costello - Rebroadcast today for one day only.

Monday's session of World Cafe is dedicated to Elvis Costello a London native who's been reinventing what it means to be a rock musician since 1970. Spanning punk, new wave, underground rock and even bluegrass, Costello has more than 30 studio albums to his name, and has collaborated with many of the world's most talented musicians.

Today, David Dye looks at a 2009 interview following the release of Costello's T-Bone Burnett produced album Secret, Profane and Sugarcane; a 2006 interview with Costello and Allen Toussaint about their post-Katrina album The River in Reverse; segments from sessions in 2003 and 2002; and a 1993 session with Costello and his keyboardist Steve Nieve.

In the span of Costello's articulate interviews on this episode, listen for his take on the "humbling" experience of singing with Johnny Cash in 1979, the way his vocal collaboration in Toussaint's "Nearer to You" changed the song's meaning, and the influence and encouragement of his father, trumpeter-turned-vocalist Day Costello.

Listen Now....

Chimes of Freedom - The Songs of Bob Dylan Honoring 50 Years of Amnesty International

"To celebrate the North American release of Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International, Amnesty is streaming all 76 tracks, including Elvis Costello's version of "License To Kill", on their Facebook page. Click the link below to listen to and order this amazing collection http://on.fb.me/uVj6Tb."

American Songwriter: Evan Schlansky: 9th January 2012
"So what works? Dierks Bentley and Steve Earle shine on their respective remakes (“Senor” and “One More Cup Of Coffee”). You’d think the lyrics and the song “License To Kill” belonged to Costello – it’s never sounded better.

Read More...

"And Now A Word From Our Georgia Correspondents"

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"When We Were Cruel No.99"

25 things to look forward to in 2012 - The Irish Times

The Irish Times - December 31, 2011

6 Elvis Costello and the Imposters -

O2, Dublin

As befits someone with the nickname the Beloved Entertainer, Elvis Costello is bringing over from the US his acclaimed Revolver Tour. We get the reference to his Liverpudlian background, but this revolver has a twist, if not a twirl. The show, on May 9th, is the return of the Spinning Songbook, a vastly enjoyable concept Costello previously brought to the Olympia Theatre in Dublin in 1986. Audience members spin a wheel with song names instead of numbers. For all the risk you might imagine could be involved, with Costello’s estimable back catalogue to dig into, this is one safe bet.

Ottawa's Top Concerts in 2011

Ottawa Citizen: Lynn Saxberg: 30th December 2011

Elvis Costello, Ottawa International Jazz Festival, June 24
Singer-songwriter Elvis Costello will be remembered for giving what was probably the most rocking concert ever witnessed at the venerable jazz festival. He was a ball of energy, putting his band through their paces while he handled the guitar work. The song selection spanned almost 40 years of pop, and showed that Costello is still a vital force in music.

Our correspondent's list of best St. Louis concerts of the year

stltoday.com: Daniel Durchholz: 29th December 2011

1. Elvis Costello & the Imposters at the Pageant, July 1: Costello chose the set list via his "Spectacular Spinning Songbook" game-show wheel, injecting an element of chance into a show that was otherwise a sure thing. Added bonus: a surprise appearance by Eddie Vedder.

Red Cotton

“It’s only money
It’s only numbers
Maybe it is time to put away these fictitious wonders”

Red Cotton...

National Ransom

“Woe betide all this hocus pocus
They’re running us ragged at the first attempt
Around the time the killing stopped on Wall St.
You couldn’t hold me, baby, with anything but contempt"

National Ransom...

The Scarlet Tide

“Man goes beyond his own decision
Gets caught up in the mechanism
Of swindlers who act like kings
And brokers who break everything”

The Scarlet Tide...

A Voice In The Dark

“King’s reign beneath umbrellas
Hide pennies down in cellars
And money pours down and yet
Not everyone gets soaking wet”

A Voice In The Dark...

American Gangster Time

“Next week there’ll be some fashionable new sin
For each harlot and each puritan
Pull off their wings, stick ‘em on a pin
And just watch the money roll in”

American Gangster Time...

Elvis Costello

Elvis Costello is proud to announce the return of the “Spectacular
Spinning Songbook” to Los Angeles on the heels of 2 triumphant sold out
shows at LA's famed Wiltern Theatre last spring. Fans who missed these
shows will be able to see it live on April 17th.

The tour also makes its 2012 Canadian debut at The Orpheum Theatre in
Vancouver, BC on April 10th.

With set-lists boasting over 200 different songs, the tour hit more than
30 cities in 2011, garnering acclaim at every turn; from the "fun and
irreverence" incited in Indianapolis, to the "hilarity, musicality, and
unabated joy" in St. Louis, and on to the "frantic energy" that filled
the house in Nashville.

These shows precede the Spinning Songbook dates in the Southeast US
later on in April, with more to be announced soon.

Spring 2012 North American Tour Dates:

4/10 – Vancouver, BC – Orpheum*
4/17 – Los Angeles, CA – The Wiltern*
4/23 – Melbourne, FL – King Center
4/24 – Clearwater, FL – Ruth Eckerd Hall
4/25 – Hollywood, FL – Seminole Hard Rock Hotel & Casino
4/27 – Jacksonville, FL – Florida Theatre
4/29 – Durham, NC – Durham Performing Arts Center

*on sale 12/9

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and
Davey Faragher (bass).

"A second-generation Dylan who doesn't mind doubling on stage as a third-generation Rickles"

The Wrap: Chris Willman.

"Eternally full of vinegar, but also quite willing to take the piss out of himself, Costello’s a second-generation Dylan who doesn’t mind doubling on stage as a third-generation Rickles."

Read More...

Described by the Sunday Times as a "phenomenal live album", the music and DVD from "The Return Of Spectacular Spinning Songbook" will be available at a more affordable price early in 2012.

Louis Armstrong fans flock to Queens for 'Satchmo: Ambassador of Jazz' limited edition CD box set

NYDaily News

The wonderful world of Louis Armstrong is captured in a new box-set package — and jazz fans will have to trek to Queens to snag a copy.

"On Broadway"

Talk Tunesworld.com: 30th November 2011

"The Louis Armstrong House Museum recently purchased every remaining copy from its North American distributor and has become the only place where you can walk in and buy this acclaimed collection for $149.99."

It is with profound sorrow that we announce the passing of Ross MacManus at the age of 84.

It is with profound sorrow that we announce the passing of Ross MacManus at the age of 84.
He had a rich and remarkable life.
Ross passed peacefully after a long illness.
He was surrounded by love at the end.
The family are deeply grateful for the care and kindness he received from the doctors and nursing staff and for the kindness and support of their friends.

"Let's make things sparkling clear"

We at www.elviscostello.com find ourselves unable to recommend “The Return Of The Spectacular Spinning Songbook” as the price appears to be either a misprint or a satire.

All our attempts to have this number revised have been fruitless so we are taking the following unusual step.

If you want to buy something special for your loved one at this time of seasonal giving, we suggest, “Ambassador Of Jazz” - a cute little imitation suitcase containing ten re-mastered albums by one of the most beautiful and loving revolutionaries who ever lived – Louis Armstrong.

The box should be available for under one hundred and fifty American dollars and includes a number of other tricks and treats.

Frankly the music is vastly superior.

If you should still want the component items in the above mentioned elaborate hoax, they will be available separately at a more affordable price in the New Year, unless you are one of those pirates who imagines they are evangelists or that other people’s rights absolve their own thievery, in which case this is between you and your dim conscience.

Tickets are currently on-sale for the Spectacular Spinning Songbook appearances in the U.S., U.K. and Europe during April, May and June of Spring of 2012. More dates will be announced in the very near future.

Steal This Record

A Pastoral Address From The Right Reverend Jimmy Quickly

There was a time when the release of a new title by your favourite record artist was a cause for excitement and rejoicing but sadly no more.

6th December 2011 sees the issue of “The Return Of The Spectacular Spinning Songbook” by Elvis Costello and the Imposters.

This beautifully designed compendium contains all manner of whimsical scribblings, photographs and cartoons, together with some rock and roll music and vaudevillian ballads.

Tape and celluloid were rolling at the Wiltern Theater, Los Angeles in April this year and present a vivid snapshot of the early days of the Spectacular Spinning Songbook show on “The Revolver Tour” of 2011.

The live recording finds the Imposters in rare form, while the accompanying motion picture blueprints the wilder possibilities of the show, as it made its acclaimed progress across the United States throughout the year.

Unfortunately, we at www.elviscostello.com find ourselves unable to recommend this lovely item to you as the price appears to be either a misprint or a satire.

All our attempts to have this number revised have been fruitless but rather than detain you with tedious arguments about morality, panache and book-keeping - when there are really bigger fish to filet these days - we are taking the following unusual step.

If you should really want to buy something special for your loved one at this time of seasonal giving, we can whole-heartedly recommend, “Ambassador Of Jazz” - a cute little imitation suitcase, covered in travel stickers and embossed with the name “Satchmo” but more importantly containing TEN re-mastered albums by one of the most beautiful and loving revolutionaries who ever lived – Louis Armstrong.

The box should be available for under one hundred and fifty American dollars and includes a number of other tricks and treats. Frankly, the music is vastly superior.

If on the other hand you should still want to hear and view the component parts of the above mentioned elaborate hoax, then those items will be available separately at a more affordable price in the New Year, assuming that you have not already obtained them by more unconventional means.

Tickets are currently on-sale for the Spectacular Spinning Songbook appearances in the U.S., U.K. and Europe during April, May and June in the Spring of 2012. More dates will be announced in the very near future.

Elvis Costello European Tour Postponement Announcement

It is with the deepest regret that Elvis Costello has to postpone the following dates on his current European Solo Tour.

Sunday November 13, Stockholm Sweden, Rival
Monday November 14, Malmoe Sweden, Nojesteatren
Thursday November 17, Brussels Belgium, Cirque Royal
Friday November 18, Eindhoven Netherlands, Muziekgebouw
Monday November 21, Reykjavik Iceland, Harpa

This course of action is unavoidable and necessary due to a grave deterioration of his father’s health and the need to return to England without delay.

Elvis Costello appreciates all the good wishes he has received in this regard and wants to express his thanks for understanding at this extremely difficult time.

It is hoped that it will be possible to reschedule these shows in 2012.

Elvis Costello

Elvis Costello and the Imposters today announce the first Spectacular
Spinning Songbook dates of 2012 with shows in the Southeast
US this April. Stay tuned for more Spinning Songbook dates coming soon.

The tour hit more than 30 cities in 2011, garnering acclaim at every
turn – from the "fun and irreverence" incited in Indianapolis, to the
"hilarity, musicality, and unabated joy" in St. Louis, and on to the
"frantic energy" that filled the house in Nashville.

At each performance, select fans are invited onstage to spin the Wheel,
helping to create new sets at each performance from a collection of 40
banners including hits, rarities, and a few surprises. This tour marks
the Wheel's first appearance in 25 years and includes an on-stage go-go
cage and "Society Lounge" in addition to the monumental game-show wheel.

Spring 2012 Tour Dates:

4/23 – Melbourne, FL – King Center*
4/24 – Clearwater, FL – Ruth Eckerd Hall**
4/25 – Hollywood, FL – Seminole Hard Rock Hotel & Casino**
4/27 – Jacksonville, FL – Florida Theatre**
4/29 – Durham, NC – Durham Performing Arts Center**

*Tickets for September 2011's canceled show at Bob Carr PAC in Orlando can be refunded at point of purchase. Purchasers will have the opportunity to buy tickets for the Melbourne, FL performance prior to the general public on sale in December.
** Rescheduled from September 2011, please visit your local box office for further details.

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and
Davey Faragher (bass).

"Elvis Costello In Antwerp: "Sonic Youth reminding noise-version of 'Watching The Detectives""

DeMorgan.be: Bart Steenhaut: 10th November 2011.

Halverwege zijn al maanden uitverkochte concert in de Elisabethzaal doet
Elvis Costello een bekentenis. "Het nummer dat ik nu ga spelen haat ik
écht", zegt hij. Wat volgt is een bloedstollende versie van 'Everyday I
Write The Book', een van de grootste hits uit zijn carrière. Het was
maar een van de vele hoogtepunten uit het soloconcert dat hem
gisteravond naar Antwerpen bracht.

Costello Solo. Dat was, in België, althans, al van 1989 geleden. Toen
speelde hij in zijn eentje de hele affiche van Torhout-Werchter naar
huis met een akoestische set die bij iedereen die er toen bij was op het
netvlies staat gebrand.

Het optreden is Antwerpen was compleet anders, maar haast even magisch.
Dat heeft uiteraard alles te maken met het feit dat Costello niet alleen
een meesterlijk songschrijver is, maar ook een bevlogen performer. En
ook al stond hij solo op het podium, toch suggereerde het arsenaal
instrumenten op het podium dat er elk moment een heuse band uit de
coulissen kon stappen. Dat gebeurde ook, want Larkin Poe, dat op
uitnodiging van de zanger het voorprogramma had verzorgd, dubbelde
tijdens een paar nummers als begeleidingsband voor onze beloved
entertainer. De eerlijkheid gebiedt me te zeggen dat dat niet meteen de
beste passages waren. De twee zangeressen van deze Amerikaanse
bluegrassband pasten que stemtimbre niet écht bij Costello, maar het
spelplezier - en langs de kant van het publiek: het gevoel dat je iets
unieks meemaakte - compenseerde veel.

Maar het beste was Costello uiteraard als hij moederziel alleen op het
podium stond en schijnbaar nonchalant grasduinde door zijn
indrukwekkende repertoire. Hij strooide met hits zoals een kippenboer
met maïskorrels. De set begon sterk met 'Oliver's Army', en in een mum
van tijd had hij ook 'Good Year For The Roses' en het samen met Paul
McCartney geschreven 'Veronica' prijsgegeven. Opmerkelijk trouwens hoe
Costello songs die hij al duizenden keren live had uitgevoerd toch met
een buitengewoon inlevingsvermorgen bleef vertolken. Niet allen dat,
maar op de koop toe wist hij in 'Alison' en het verschroeiende 'I Want
You' ook nog invalshoeken bloot te leggen die tot nog toe onaangeroerd
waren gebleven. Geen geringe verdienste.

Daarnaast diepte Costello - naargelang de inspiratie van het moment -
ook wat covers op. The Beatles ('You've Got To Hide Your Love Away'!)
Charles Aznavour (het op applaus onthaalde 'She'), de onlangs overleden
Bert Jansch ('It Don't Bother Me'),... allemaal vertolkten ze
gastrolletjes in een eclectische set die bleef verrassen. Ook wanneer
Costello plots achter de piano ging zitten voor een bloedstollende
versie van 'Shipbuilding', of een aan Sonic Youth herinnerende
noise-versie van 'Watching The Detectives' uit de snaren kneep, stond je
keer op keer perplex van zoveel veelzijdigheid.

De bisrondes, goed voor een tiental extra's, puilden uit met nog meer
moois - we onthouden een rauwe, door een megafoon gezongen versie van
'National Ransom' die het beste van Tom Waits naar de kroon stak' en het
als ultieme uitsmijter geserveerde 'A Voice In The Dark'. Een stem in de
duisternis, inderdaad. Maar wát voor één. Op zijn zevenenvijftigste
blijft Elvis Costello - nog steeds met die zwarte hoornen bril en dat
eeuwige strooien hoedje - een categorie apart. En wat beter is: hij
vertoont niet de minste tekenen van slijtage.

Elvis Costello komt op 17 november naar het Koninklijk Circus te Brussel
voor een extra concert. Info op www.greenhousetalent.be

Beyond The Melkweg

Elvis Costello:
Amsterdam: Rabozaal: 10th November 2011

Greenshirt
Bullets For The New-Born King
Rocking Horse Road/Wild Thing
Good Year For The Roses
New Amsterdam/You've Got To Hide Your Love Away
Everyday I Write The Book
The Stations Of The Cross
All Or Nothing At All
Radio Silence
She
A Slow Drag With Josephine
Who's The Meanest Gal In Town, Josephine
Jimmie Standing In The Rain
Blame It On Cain
Love Field
I Turn Around
Red Shoes

Watching The Detectives
Alison/Suffering Face
After The Fall
Oliver's Army
I Want You

National Ransom No.5
Shipbuilding
Chelsea
Peace, Love And Understanding
The Crooked Line
Brilliant Mistake

The Scarlet Tide

Tour Dates:

November 12 – Sentrum Scene – Oslo, Norway - SOLD OUT
November 13 – Rival – Stockholm, Sweden - Buy Tickets
November 14 – Nojesteatren – Malmoe, Sweden - Buy Tickets
November 17 – Cirque Royal – Brussels, Belgium - Buy Tickets
November 18 – Muziekgebouw – Eindhoven, Netherlands - Buy Tickets
November 21 – Concert House – Reykjavik, Iceland - SOLD OUT

"Like A Broken Bassoon" - Touched For The Very First Time

Berliner Morgenpost: 8th November 2011.

It's the ultimate test for a musician, when he introduces himself without a band to his fans. Elvis Costello mastered the challenge of Germany in his only concert bravura. With changing guitars he entertained the more than 3000 listeners in the Tempodrom in Berlin two and a half hours. Whether "Alison", "Watching the Detectives" or the Charles Aznavour classic "She", which he sang a decade ago for the film "Notting Hill": hardly a hit was missing.

Costello, Declan Patrick McManus bourgeois, has been experimenting in his more than 30 years in the music business with a variety of directions. As a punk rocker he started, in the meantime he played everything from piano ballads to rock and roll. There were plates with opera singer Anne Sofie von Otter, Evergreen's composer Burt Bacharach, the songwriter-legend T Bone Burnett. Most recently, Costello said, matching the current turbulence in the atmosphere of the Great Depression of the '20s and made it a year ago, the album "National Ransom."

In Berlin, Costello was more of a rocker, also alone. In suit and a hat over his black horn-rimmed glasses of the typical 57-year-old came on stage, with the first few bars of one of his first songs - "(The Angels Want to Wear My) Red Shoes."

The whole evening was amazing how a man can be forgotten with a guitar, bass, drums or background vocals. Finally Costello's unmistakable voice sounds like an instrument itself: sometimes clear, sometimes husky, sometimes deep, sometimes pressed together like a broken bassoon. Just the voice filled the solidified into concrete circus tent full of the Tempodrom, gave the guitar to the rhythm.

And how can the man play! Costello felt at a point on his beginnings as an entertainer in a bar reminded - and this hard school is unmistakable. Often enough you could almost think that there are really two people fall in the strings, the highlight of the evening, the wistful ballad "I Want You" moaned and boomed the heartbreaking guitar in his hands.

The ballad "Everyday I Write A Book" (Costello, "A song that I really hate") sounded like the strings of crystal clear pinpricks. For "No Wonder" and "Shipbuilding" he sat down at the e-piano, with the early song "Radio Sweetheart" he recruited the audience to the accompaniment. Finally, Costello sang very intimate even without a microphone on stage and urged the audience to come closer to the stage easily.

The only concert in Germany the solo tour is also likely to be the last time being - Costello promised to come back next time with a backing band.

Es ist die ultimative Prüfung für einen Musiker, wenn er sich ohne Band seinen Fans stellt. Elvis Costello meisterte die Herausforderung bei seinem einzigen Deutschland-Konzert bravourös. Mit wechselnden Gitarren unterhielt er die mehr als 3000 Zuhörer im Tempodrom in Berlin zweieinhalb Stunden lang. Ob „Alison“, „Watching the Detectives“ oder der Charles-Aznavour-Klassiker „She“, den er vor gut zehn Jahren für den Film „Notting Hill“ einsang: Kaum ein Hit fehlte.

Costello, bürgerlich Declan Patrick McManus, hat in seinen mehr als 30 Jahren im Musikgeschäft mit unterschiedlichsten Richtungen experimentiert. Als Punk-Rocker fing er an, inzwischen spielte er alles von Rock'n'Roll bis Klavier-Balladen. Es gab Platten mit der Opernsängerin Anne Sofie von Otter, dem Evergreen-Komponisten Burt Bacharach, der Songwriter-Legende T Bone Burnett. Zuletzt versetzte sich Costello, passend zu den heutigen Turbulenzen, in die Stimmung der großen Wirtschaftskrise der 20er-Jahre und machte daraus vor einem Jahr das Album „National Ransom“.

In Berlin war Costello eher der Rocker, auch allein. In Anzug und mit einem Hut über seiner typischen schwarzen Hornbrille kam der 57-Jährige auf die Bühne, mit den ersten Takten eines seiner ersten Songs – „(The Angels Wanna Wear My) Red Shoes“.

Den ganzen Abend war es erstaunlich, wie ein Mann mit einer Gitarre Bass, Schlagzeug oder Background-Sänger vergessen lassen kann. Schließlich klingt Costellos unverkennbare Stimme selbst wie ein Instrument: mal klar, mal heiser, mal tief, mal zusammengepresst wie ein kaputtes Fagott. Allein schon die Stimme füllte das in Beton erstarrte Zirkuszelt des Tempodroms voll aus, dazu gab die Gitarre den Rhythmus vor.

Und wie kann der Mann spielen! Costello fühlte sich an einem Punkt an seine Anfänge als Alleinunterhalter in einer Bar erinnert – und diese harte Schule ist unverkennbar. Oft genug konnte man fast denken, dass da in Wirklichkeit zwei Leute in die Saiten greifen, beim Höhepunkt des Abends, der wehmütigen Ballade „I Want You“ stöhnte und dröhnte die E-Gitarre in seinen Händen herzzerreißend.

Zur Ballade „Everyday I Write A Book“ (Costello: „Ein Song, den ich wirklich hasse“) klangen die Saiten wie kristallklare Nadelstiche. Für „No Wonder“ oder „Shipbuilding“ setzte er sich ans E-Klavier, beim frühen Song „Radio Sweetheart“ rekrutierte er das Publikum zur Begleitung. Zum Schluss sang Costello sogar ganz intim ohne Mikrofon am Bühnenrand und rief das Publikum auf, einfach näher zur Bühne zu kommen.

Das einzige Deutschland Konzert der Solo-Tour dürfte auch vorerst das letzte bleiben – Costello versprach, nächstes Mal mit einer Begleitband wiederzukommen.

Schnappschuss von Berlin

Elvis Costello
Berlin: Tempodrome: 7th November 2011.

Red Shoes
Either Side Of The Same Town
Veronica
Good Year For The Roses
New Amsterdam/You've Got To Hide Your Love Away
Bullets For The New-Born King
The Stations Of The Cross
Everyday I Write The Book
Bedlam
Radio Silence
All Or Nothing At All
She
No Wonder
Watching The Detectives
Radio Sweetheart
God's Comic
Alison/In Another Room

Don't Bother Me/It Don't Bother Me
A Slow Drag With Josephine
Who's The Meanest Gal In Town Josephine - Creamer/Brown/Ackerly
Jimmie Standing In The Rain
Brilliant Mistake
I Want You

National Ransom No.5
Shipbuilding
Peace, Love And Understanding
All These Strangers
A Voice In The Dark

Tour Dates:
November 7 – Tempodrome – Berlin, Germany -
November 8 – Oosterpoort – Groningen, Netherlands - Buy Tickets
November 9 – Queen Elisabeth Hall – Antwerp, Belgium - SOLD OUT
November 10 – Rabozaal – Amsterdam, Netherlands - SOLD OUT
November 12 – Sentrum Scene – Oslo, Norway - SOLD OUT
November 13 – Rival – Stockholm, Sweden - Buy Tickets
November 14 – Nojesteatren – Malmoe, Sweden - Buy Tickets
November 17 – Cirque Royal – Brussels, Belgium - Buy Tickets
November 18 – Muziekgebouw – Eindhoven, Netherlands - Buy Tickets
November 21 – Concert House – Reykjavik, Iceland - SOLD OUT

"Elvis Costello Plays Prague Tonight"

"Playing a catchy pop with dank strands of reggae and a cool mod look...his latest, folk-based incarnation is only the most - The Prague Post"

Buy Tickets.....

"All These Strangers Tour - Another Snapshot"

Elvis Costello
Bucharest : Sala Palatului: 3rd November 2011.

Red Shoes
Either Side Of The Same Town
Veronica
Inch By Inch
New Amsterdam/You've Got To Hide Your Love Away
Everyday I Write The Book
Bedlam
She's Pulling Out The Pin
After The Fall
All Or Nothing At All
She
A Slow Drag With Josephine
Watching The Detectives
Radio Sweetheart
Alison

Don't Bother Me/It Don't Bother Me
I Want You

National Ransom No.5
Shipbuilding
Peace, Love And Understanding
Pump It Up

Tour Dates:

November 4 – Congress Center – Prague, Czech Republic - Buy Tickets
November 7 – Tempodrome – Berlin, Germany - Buy Tickets
November 8 – Oosterpoort – Groningen, Netherlands - Buy Tickets
November 9 – Queen Elisabeth Hall – Antwerp, Belgium - SOLD OUT
November 10 – Rabozaal – Amsterdam, Netherlands - SOLD OUT
November 12 – Sentrum Scene – Oslo, Norway - SOLD OUT
November 13 – Rival – Stockholm, Sweden - Buy Tickets
November 14 – Nojesteatren – Malmoe, Sweden - Buy Tickets
November 17 – Cirque Royal – Brussels, Belgium - Buy Tickets
November 18 – Muziekgebouw – Eindhoven, Netherlands - Buy Tickets
November 21 – Concert House – Reykjavik, Iceland - SOLD OUT

Six Guitars And A Hat: Elvis Costello Shines At The Vienna Konzerthaus

"For our German-speaking readers: Rave Notices For Vienna Concert Hall Show"

Kurier: 01.11.2011: Elvis Costello: Sechs Gitarren und ein Hut

Kritik: Der britische Singer/Songwriter Elvis Costello begeisterte mit einer Solo-Performance im Wiener Konzerthaus. Lesen Sie mehr......

Die Presse.com: 01.11.2011: Costello-Solo: Weises Vergnügen

Wiener Konzerthaus: Elvis Costello wechselte zwischen fünf Gitarren und überzeugte mit Humor, Spielwitz und wunderbar geölter Stimme. Lesen Sie mehr......

Kleine Zeitung: 01.11.2011: Elvis Costello brilliert im Wiener Konzerthaus Lesen Sie mehr......

Vienna Online: 01.11.2011: Elvis Costello begeisterte im Wiener Konzerthaus

Wohlverdienten Applaus heimste der britische Musiker Elvis Costello am Montag Abend bei seinem Solo-Auftritt im Großen Saal des Konzerthauses in Wien ein. Lesen Sie mehr......

"The All These Strangers Tour"

"In his generous set – I counted 25 songs and it runs 25 minutes over – the highlights include an exquisite, stripped-down "Good Year for the Roses", sung like it belongs in a David Lynch/Wim Wenders film, a suitably vicious ("though it nearly took a miracle to get you to stay/ It only took my little fingers to blow you away") "Watching the Detectives" and the gorgeous lament "Alison". The Independent

Tour Dates:

October 26 – Megaron – Athens, Greece - Buy Tickets
October 28 – Festival at Queens – Belfast, Ireland - Buy Tickets
October 29 – Sligo Live Music Festival – Sligo, Ireland - SOLD OUT
October 31 – Konzerthaus – Vienna, Austria - Buy Tickets
November 2 – TIM Show Center – Istanbul, Turkey - Buy Tickets
November 3 – Sala Palatului – Bucharest, Romania - Buy Tickets
November 4 – Congress Center – Prague, Czech Republic - Buy Tickets
November 7 – Tempodrome – Berlin, Germany - Buy Tickets
November 8 – Oosterpoort – Groningen, Netherlands - Buy Tickets
November 9 – Queen Elisabeth Hall – Antwerp, Belgium - SOLD OUT
November 10 – Rabozaal – Amsterdam, Netherlands - SOLD OUT
November 12 – Sentrum Scene – Oslo, Norway - SOLD OUT
November 13 – Rival – Stockholm, Sweden - Buy Tickets
November 14 – Nojesteatren – Malmoe, Sweden - Buy Tickets
November 17 – Cirque Royal – Brussels, Belgium - Buy Tickets
November 18 – Muziekgebouw – Eindhoven, Netherlands - Buy Tickets
November 21 – Concert House – Reykjavik, Iceland - SOLD OUT

"In a remarkable solo performance in the Cultural Centre last night, Elvis - Elvis Costello that is - showed his songs are just as sharp, his lyrics as biting and his voice as powerful as they were when the British singer-songwriter burst onto the scene as the angry young man of pop more than three decades ago." - South China Morning Post

Al Kooper on "When Green Eyes Turn Blue"

The Morton Report: Al Kooper: 28th October, 2011

Who knew when I was enjoying “Tiny Steps,” “Alison,” and “So Like Candy” that THAT guy could sing like THIS? I guess that amazing Bacharach album was a real tipoff, but there’s no Burt to count on here. Elvis wrote the song, the arrangements and co-produced this inclusion from the 2003 "North" album. Kevin Killen was his producing partner and engineered and mixed this brilliantly. Someday, I wanna hear him duet with Tony Bennett on this song. Meanwhile I’m content hearing him Krall-ing around on this version. And a sumptuous way to calm down this week's shenanigans as well. Will I see you in November? Happy Halloween!"

Check out all of Mr Kooper reports and recommendations:

Purchase "North" UK

Purchase "North" US

"No, I Eat Both Vegetables And Humans"

Elvis Costello
Athens: Megaron: 26th October 2011

Bullets For The New-Born King
Accidents Will Happen
Veronica
Either Side Of The Same Town
New Amsterdam
Last Boat Leaving
Everyday I Write The Book
Bedlam
Don't Bother Me/It Don't Bother Me
She
Watching The Detectives
A Slow Drag With Josephine
Jimmie Standing In The Rain
Alison

Almost Blue
Shot With His Own Gun
A Voice In The Dark
I Want You

National Ransom No.5
Shipbuilding
Peace, Love And Understanding
Oliver's Army
All These Strangers

Tour Dates:

October 26 – Megaron – Athens, Greece

October 28 – Festival at Queens – Belfast, Ireland

October 29 – Sligo Live Music Festival – Sligo, Ireland

October 31 – Konzerthaus – Vienna, Austria - Buy Tickets

November 2 – TIM Show Center – Istanbul, Turkey - Buy Tickets

November 3 – Sala Palatului – Bucharest, Romania - Buy Tickets

November 4 – Congress Center – Prague, Czech Republic - Buy Tickets

November 7 – Tempodrome – Berlin, Germany - Buy Tickets

November 8 – Oosterpoort – Groningen, Netherlands - Buy Tickets

November 9 – Queen Elisabeth Hall – Antwerp, Belgium - SOLD OUT

November 10 – Rabozaal – Amsterdam, Netherlands - SOLD OUT

November 12 – Sentrum Scene – Oslo, Norway - SOLD OUT

November 13 – Rival – Stockholm, Sweden - Buy Tickets

November 14 – Nojesteatren – Malmoe, Sweden - Buy Tickets

November 17 – Cirque Royal – Brussels, Belgium - Buy Tickets

November 18 – Muziekgebouw – Eindhoven, Netherlands - Buy Tickets

November 21 – Concert House – Reykjavik, Iceland - SOLD OUT

"Monster Went And Ate My Red 2"

Elvis Costello sings "Monster Went And Ate My Red 2" with Sesame Street's Elmo and Cookie Monster. Episode "Baby Bear's Doll" which Airs on PBS Kids on Friday 21st October.

'Sesame Street's' latest victim: Elvis Costello

Los Angeles Times: Todd Martens: 18th October, 2011

It's never too early to get the young'uns comfortable with the idea that at some point between the ages of 15 and 20 a significant other will most likely instill in them a lesson in absolutely brutal heartbreak.

So when some folks in The Times' office squealed with joy at the sight of Elvis Costello singing along wtih Elmo, it seemed like a fine time to applaud "Sesame Street" for easing kids into what will surely be an inevitable cynicism toward love by rewriting Costello's she-left-me-for-another-man staple "(The Angels Wanna Wear My) Red Shoes" into "Monster Went and Ate My Red 2."

There are furry puppets and missing numbers instead of girls and their lame boyfriends, and the "Sesame Street" tune ends on a rather upbeat note. But just because there's a giant No. 2 that's on the loose, the metaphor still comes across loud and clear. It's about girls, right?

Watch The Video......

Exclusive performance of Elvis Costello's "Jimmie Standing in the Rain"

Exclusive performance of Elvis Costello's “Jimmie Standing in the Rain” now available on the T Bone Presents The Speaking Clock Revue album, which is the Amazon MP3 “Daily Deal” – Get it today for only $3.99!

In October 2010, T Bone Burnett organized an impressive group of musicians, dubbed The Speaking Clock Revue, and joined with Participant Media for concerts benefiting arts education. The Speaking Clock Revue was recorded at the Beacon Theater in New York, and featured a house band made up of musicians from many T Bone-produced recordings and led by music director and guitarist Marc Ribot. The resulting album contains 11 previously unreleased performances by Elton John and Leon Russell, Elvis Costello, John Mellencamp, Gregg Allman, Ralph Stanley, Jeff Bridges, Neko Case, Yim Yames, Punch Brothers, Karen Elson, and The Secret Sisters.

T Bone was inspired to do the fundraising concerts after attending an early screening of Participant's documentary Waiting for Superman, from Academy Award®-winning filmmaker Davis Guggenheim (An Inconvenient Truth, It Might Get Loud), which focused on the troubled state of public education in the U.S., following a handful of promising students through a U.S. public school system and offering creative new approaches to education reform. Proceeds from the sale of the album benefit arts and music education in public schools.

"Get Well Hubert"

Best wishes for a speedy recovery go to Hubert Sumlin who recently joined us at the Wellmont Theatre, Montclair for a run of songs that he first performed with Howlin’ Wolf.

Hubert’s spirit and humour are undimmed by less robust health and it was a gas for us to share the stage with him and heartening to see him get the acclaim that he received from those in attendance.

Photo: Toni-Ann Mamary

The Last Revolution 2011

We cannot close here without tipping our hat to Hubert Sumlin who joined us at the Wellmont Theatre, Montclair for a run of songs that he first performed with Howlin’ Wolf.

Hubert’s spirit and humour are undimmed by less robust health and it was a gas for us to share the stage with him and heartening to see him get the acclaim that he received from those in attendance.

If such institutions as the Rock and Roll Hall of Fame are to have any meaning, Hubert has to be in there in the “Sideman” category (along with Luther Perkins and Marshall Grant but don’t get me started on that one).

To do otherwise is to make a nonsense of the other ennoblements. I urge you to write to your congressman to get this fixed. It’s not as if they have anything else to do.

The Last Revolution 2011

So, as we say farewell to the Spectacular Spinning Songbook for the year of 2011, we’d like to thank all of those who attended, span, swung the hammer and tripped the light fantastic…

I would especially like to thank the Imposters both for their remarkable playing and for being sterling fellows, especially as the current melancholy situation made it uncertain whether I would be able to complete these dates.

This show has always been about the balance between vaudeville nonsense and the very large number of songs that we have in our hands. We got to play many of them this year and there are many more still to be performed.

There are many stories to be assembled from the existing fragments, whether determined by chance or not. Recording and even composing is not a matter of urgency to me right now. There are more important matters to which I must attend.

We cannot close here without tipping our hat to Hubert Sumlin who joined us at the Wellmont Theatre, Montclair for a run of songs that he first performed with Howlin’ Wolf.

To do otherwise is to make a nonsense of the other ennoblements. I urge you to write to your congressman to get this fixed. It’s not as if they have anything else to do.

If all is well or for as long as it is possible, a European solo tour will commence on the 26th of October in Athens.

The grave uncertainty over my father’s health made it necessary to regretfully cancel two shows, in order that I be free to visit him at regular intervals.

It has truthfully been as difficult to take to the stage with a light heart recently, as it has been welcome to lose myself in song.

I would like to thank those who have sent their good wishes without knowing the real circumstances and grateful for the understanding of those for whom we have been unable to perform.

The Spectacular Spinning Songbook will return in 2012. We hope to revisit as many of the U.S towns to which we were recently unable to journey as will welcome us back and a few more besides, before the Wheel travels to Europe in the Spring of next year.

Until then, I hope you will be practicing your steps for The Frug, The Continentel and the Loddy-Lo.

Photo: Joe Papeo.www.irocktheshot.com

The Romance of Travel

It says much about how far we’ve traveled from those heady days of flying on Pan-Am, Braniff and Allegeny Airlines, that a curling iron or Alexander Graham Bell’s less attached cousin could be mistaken for a “suspicious object” and cause such a fright.

The Imposters were on their way to hitch a ride to their last engagement of 2011, only to find that upon landing in Columbus, the plane taxied to a remote corner of the airfield and was immediately attended by fire engines and people wearing a variety of uniforms and Hazmat suits.

Now, if you ever happen to be involved in an evacuation such as this, I suspect that being asked to stand for forty minutes, in blazing sun of the mosquito-infested grass at the edge of the tarmac, just two hundred yards from a large metal tube full of petrol is going to be about as much use as being told to “duck and cover” during a nuclear attack.

Fortunately, help was on the way, it just didn’t have a very loud voice or a terribly clear message.

After a short scenic drive and a very nice massage from some uniformed people in rubber gloves, our happy band of travelers was welcomed to Ohio with a generous feast of stale chocolate and warm Dasani, water with all the unpleasant water taste taken out.

For the next three and a half hours we got to watch the competing authorities from the airline, the TSA and local law officers, all the way up to FBI, as they sprang into action like previously-caged panthers.

Several passengers were now reading aloud from their mobile devices. The local news was quoting an airport authority spokesman as stating that the “alert” was over, the runways back open and everything was under control.

So it was never very clear what was to be achieved in holding us in this secure transit lounge, cooled by a faulty air-conditioning unit, most effective in drowning out the low murmur of incoherent explanations and lowering expectations.

The passengers in the vicinity of Row 17 had apparently walked the short distance from being customers to being suspects and were being taken off for questioning in groups of four or five.

People will tell you these are the times in which we live and that it is better to be safe than sorry but that is an awful lot easier to believe when those providing this flimsy, discourteous, sometimes belligerent illusion of security are using common sense and not just checking off the steps of a laminated agenda. In this case it was enough to make you want to grab someone and shake them, although that would probably not be the thing to do in the circumstances.

That those who least need to feel threatened or anxious are those who have just been, or are about to be, catapulted into the sky often seems to get lost.

As the third hour slipped into the fourth, any thought of the band reaching a soundcheck evaporated along with one young woman’s plan to attend a wedding. People missed their connections and a couple of them required medical attention. A few folks even started to get a little testy at being held against their will.

I suspect that if we’d been there another forty five minutes we might have all been painting our faces green and roasting that courtesy can of chicken salad over a roaring campfire of discarded boarding passes, like the kids in “Lord Of The Flies”.

Then all at once, a law officer with an immaculate coiffure announced that our personal belongings would be arriving along a small conveyor belt.

We made the show in Huntington with twenty minutes to spare.

Elvis Costello Rocks the Keith

Huntington News: 10th October, 2011

Huntington, WV (HNN) - Arriving in Huntington 20 minutes before show time, British music icon Elvis Costello once again proved the value of the Keith Albee Performing Arts Center and the Marshall Artists Series. Costello and his band almost did not make their first West Virginia appearance --- they were held up for four hours in Columbus, Ohio, by members of the TSA which had found a curling iron in the jet’s overhead bin. His show opens with the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine tastefully go-go dancing in a gilded cage before Costello and his band unleash a session of five rapid firing classics --- “I Hope You’re Happy Now,” “Heart of the City,” “Mystery Dance,” “Uncomplicated” and “Radio Radio.”

Providing a vaudeville magician appearance (complete with top hat and walking stick) with a giant “Wheel of Fortune” containing the names of his songs, Costello calling himself Napoleon ("We got all these hits") Dynamite hosts an out of the box routine where guests mount the stage and have a spin of the Spectacular Singing Songbook.

Challenging the audience, Costello croons the aisles selecting lucky "are you man or woman enough to spin the wheel" contestants. Before long, the stage rocks with pure serendipity and it’s obvious that Costello loves every minute of it, too. Among those on the Keith Albee Performing Arts Center stage were Kerry Nessel and family members.

Costello’s one hell of a jack hammering guitarist, and he's the latest world renown "star" to grace the Spanish Moorish themed house of the grand Keith Albee. Normally, eclectic acts fail to stop in Huntington in favor of a glam-rock chart toppers that guarantee a large mainstream audience. If not for the MAS and it's sponsors,

Actually, the British musician and The Imposters are fortunate to be added to the list of Keith Albee performers, especially considering that the elegant Thomas Lamb designed theatre palace has survived two fiery close calls and the abrupt closure a year after Pullman Square opened. Huntington residents came together and Costello had a regal venue in which to entertain, and a restored vertical sign coming soon.

Elvis At The Wellmont

Baristanet: Erika Bleiberg: 6th October, 2011

"One of my favorite moments — and I was in good company in my appreciation, based on the cheering — was when he was alone on the stage and stepped away from the microphone. Costello’s vocals carried unassisted through the venue, and his rendition of A Slow Drag With Josephine was memorable in its simplicity.

And yes, Elvis, since you asked, it was well worth the wait."

Read More.....

What goes around comes around better for Elvis Costello

Cliffview Pilot.com: Jerry Demarco: 6th October, 2011:

The diabolical “I Want You” smoldered, as it should, building in vicious intensity, with Costello jack-hammering the guitar and Pete Thomas – as muscular and lightning-fast as ever -- snapping the skins. It was almost as if John Lennon was fronting Crazy Horse, in a fitting end to the regular set.

Read More.....

"The Imposters are on point to deliver a killer show, and they're doing it on a nightly basis"

Hippiesaredead.com: 4th October, 2011

The highlight of the evening came when Costello invited the crowd to leave the venues seating chary behind and rush the stage. Only at that point did it truly come together and feel like a rock show. Surrounded by an adoring fanbase, the band delivered the last 30 minutes of the show in true style, with Costello prowling the perimeter of the stage, and delivering a "quiet" set with Steve Nieve before delving into the band's full encore, which seemed close to endless. At the end of the night, we were damned tired, so it's hard to imagine how Costello was feeling. Suffice it to say: the Imposters are on point to deliver a killer show, and they're doing it on a nightly basis.

Read More......

Elvis Costello

Examiner: Jim Bessman: 3rd October, 2011

"One other wheel-spinner merits special mention: the lovely Mary Louise Parker. She may not have survived last week's Weeds' season-ending cliffhanger, but she was certainly alive here, responding to Costello's "feel free to shake a tail feather" permit by doing just that in the go-go cage after her spin landed on *"Monkey To Man." He rewarded her with an impromptu version of the other Elvis's "(Marie's The Name) His Latest Flame," then ushered her over to the "Society Lounge" in front of Nieve's keyboard fortress--where the "solid gold chairs," he said, were a present from Rick Perry."

Read More......

"The Spectacular Spinning Songbook - The Results"

Elvis Costello & The Imposters
Huntington, WV
October 8th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Clubland - Spin 1

This Wheel's On Fire/The River In Reverse/On Your Way Down/I'll Take Care Of You - Spin 2

Alibi - Spin 3

Brilliant Mistake - Spin 4

The Hammer Of Songs

Peace, Love and Understanding
Substitute

"I Can Sing A Rainbow" Jackpot - Napoleon's Choice - Spin 6

Greenshirt
Red Shoes
Purple Rain

Everyday I Write The Book - Spin 7

Watching The Detectives/Help Me - IMPROMPTU

"Happy" Jackpot - Spin 8

I Can't Stand Up For Falling Down
High Fidelity

"Time" Jackpot - Ms. Valentine's Choice

Strict Time
Out Of Time

Chelsea - IMPROMPTU

"Happy" - Spin 9

Motel Matches

I Want You - Spin 10

Pump It Up - Spin 11

Interlude

A Slow Drag With Josephine

Sweet Dreams - with the Imposters

Tonight The Bottle Let Me Down

Cry Cry Cry

Finale

Alison

National Ransom

Pump It Up

---------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Montclair
October 6th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Lipstick Vogue
Heart Of The City
Mystery Dance
Honey, Are You Straight Or Are You Blind?
Watching The Detectives/Help Me

The Spectacular Spinning Songbook

Pump It Up - Spin 1

Everyday I Write The Book - Spin 2

Brilliant Mistake - Spin 3

"Joanna" Jackpot - Spin 4

Why Can't A Man Stand Alone?
Talking In The Dark

Kid About It - IMPROMPTU

Oliver's Army - Spin 5

"Cash" - Spin 6

Cry Cry Cry

The Hammer Of Songs - Songs Of Sneer

Alibi

Riot Act - Spin 7

Interlude

Commit A Crime - with Hubert Sumlin and the Imposters

Hidden Charms - with Hubert Sumlin and the Imposters

Killin' Floor/Shake For Me - with Hubert Sumlin, T Blade and the Imposters

"Napoleon Solo"

Poison Moon
Pennies From Heaven/A Voice In The Dark

The Spectacular Spinning Songbook

Chelsea - IMPROMPTU

Inch By Inch/Fever - Spin 8

Alison - Spin 9

"Joker" - Spin 10

Radio Radio

Finale

American Gangster Time
Red Shoes
Purple Rain
National Ransom
Peace, Love and Understanding

--------------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Montclair
October 5th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
Blue Chair
Miracle Man
Radio Radio

The Spectacular Spinning Songbook

"Time" Jackpot - Spin 1

Strict Time
Man Out Of Time
Out Of Time

Inch By Inch - Spin 2

Payday - IMPROMPTU

Sulky Girl - Spin 3

Love Field - IMPROMPTU

"Joker" - Spin 4

Peace, Love and Understanding

Slow Down - IMPROMPTU

Chelsea - Spin 5

"Imperial Chocolate" - Spin 6

Shabby Doll
Town Cryer
You Little Fool
Uncomplicated
I Want You

Interlude

Commit A Crime - Chester Burnett

The Hammer Of Songs - Songs Of Sneer

Bedlam

"Joanna" Jackpot - Napoleon's Choice

Still
I'm In The Mood Again
Pills And Soap

New Lace Sleeves - Spin 8

Riot Act - Spin 9

Interlude

A Slow Drag With Josephine

Finale

Alison
Everyday I Write The Book
Pump It Up

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Elvis Costello & The Imposters
Red Bank
October 3rd, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Heart Of The City
Welcome To The Working Week
Uncomplicated

The Spectacular Spinning Songbook

Let Him Dangle - Spin 1

Condemned Man - IMPROMPTU

"Cash"

Cry Cry Cry - Spin 2

Monkey To Man - Spin 3

Country Darkness - IMPROMPTU

Peace, Love and Understanding - Spin 4

"Girl" Jackpot - Ms. Valentine's Choice - Spin 5

Girls Talk
This Year's Girl
Sulky Girl

"Joker" - Spin 6

Pump It Up

Spooky Girlfriend - IMPROMPTU

Alibi - IMPROMPTU

Watching The Detectives/Help Me

"The Hammer Of Songs" - Songs Of Sneer

Alison

Interlude

Veronica - Napoleon Solo
I'm A Mess - Napoleon Solo

"Joanna" Jackpot - Napoleon's Choice - Spin 7

Poor Fractured Atlas
Talking In The Dark
My Three Sons

Finale

Lipstick Vogue
Beyond Belief
Chelsea
I Want You

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Elvis Costello & The Imposters
New York
October 1st, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Alison
Lipstick Vogue
Watching The Detectives/Help Me

The Spectacular Spinning Songbook

The Judgement - SPIN 1

Everyday I Write The Book - SPIN 2

"Cash" - SPIN 3

Cry, Cry Cry
I Still Miss Someone

Stella Hurt - SPIN 4

Monkey To Man - SPIN 5 - Mary-Louise Parker

His Latest Flame - IMPROMPTU

Waiting For The End Of The World/I Can Only Give You Everything - SPIN 6

You Little Fool - SPIN 7

Town Cryer - IMPROMPTU

New Lace Sleeves - SPIN 8

"Time" Jackpot - SPIN 9

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time (Jagger/Richards)

Chelsea - SPIN 10

Pump It Up - SPIN 11

Heart Of The City
Radio Radio
Red Shoes
Purple Rain/Rain

Interlude

"Joanna" Jackpot - Napoleon's Choice

I'm In The Mood Again
I Still Have That Other Girl

Suit Of Lights - with the Imposters

"Commercial Break"

The Stations Of The Cross

"The Hammer Of Songs" - Songs Of Sneer

Watch Your Step
Secondary Modern

Finale

National Ransom
Peace, Love and Understanding
Wheels (Gram Parsons/Chris Hillman)

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Elvis Costello & The Imposters
Huntington
September 30th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
Mystery Dance
Uncomplicated
No Action
Radio Radio

The Spectacular Spinning Songbook

Everyday I Write The Book - Spin 1

Accidents Will Happen - Spin 2

And Your Bird Can Sing - IMPROMPTU

Pump It Up - Spin 3

"Joker" - Spin 4

I Want You

Payday - IMPROMPTU

Monkey To Man - Spin 5

Long Honeymoon - Napoleon's Spin

Detectives vs Hoover Factory - Spin 6

Watching The Detectives - UNANIMOUS DECISION

"The Hammer Of Songs"

Peace, Love and Understanding

Waiting For The End Of The World/I Can Only Give You Everything - IMPROMPTU

Interlude

Condemned Man

Chelsea - IMPROMPTU

"King's Ransom" - Spin 7

Sleep Of The Just

A Slow Drag With Josephine - Napoleon Solo

----------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Washington
September 29th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

Lipstick Vogue
Watching The Detectives

The Spectacular Spinning Songbook

So Like Candy - SPIN 1

Don't Let Me Be Misunderstood - IMPROMPTU

Other End Of The Telescope - SPIN 2

My All Time Doll - IMPROMPTU

I Want You - SPIN 3 (HELD)

"Time" Jackpot - SPIN 4

Strict Time
Man Out Of Time
Next Time Round
Out Of Time

"Cash" - SPIN 5

Cry, Cry, Cry
I Still Miss Someone

Town Cryer - SPIN 6

You Little Fool - SPIN 7

The Hammer Of Songs - Songs Of Sneer

Pump It Up

Heart Of The City - IMPROMPTU

Chelsea - IMPROMPTU

I Want You - SPIN 3 PERFORMED

Interlude

All These Strangers - Napoleon Solo

A Slow Drag With Josephine - Napoleon Solo

Bullets For The New-Born King - Napoleon Solo

Sleep Of The Just - with the Imposters

Finale

Welcome To The Working Week
No Action
Uncomplicated

"Double Joker" - SPIN 8

Beyond Belief

"Joker" - SPIN 9

New Lace Sleeves

National Ransom - IMPROMPTU

Peace, Love and Understanding - SECOND JOKER

---------------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Indianapolis
September 26th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Stella Hurt - SPIN 1

You Bowed Down - SPIN 2

Shabby Doll - IMPROMPTU

"Happy" Jackpot - SPIN 3

I Can't Stand Up For Falling Down
High Fidelity
Secondary Modern

Watch Your Step - IMPROMPTU

"King's Ransom" - Jackpot - SPIN 4

Brilliant Mistake
Stations Of The Cross
American Without Tears
National Ransom

Peace, Love And Understanding - SPIN 5

Interlude

A Slow Drag With Josephine
Veronica

The Hammer Of Songs - Requests

Red Shoes

Purple Rain - IMPROMPTU

Pump It Up

The Spectacular Spinning Songbook

"Time" Jackpot - Napoleon's Choice

Strict Time
Man Out Of Time
Out Of Time

Finale

Quiet About It - Jesse Winchester
Alison
I Hope - Bobby Charles

---------------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Nashville
September 25th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Can't Stand Up For Falling Down
High Fidelity
Heart Of The City
Radio Radio

The Spectacular Spinning Songbook

You Bowed Down - SPIN 1

"King's Ransom" Jackpot - SPIN 2

The Spell That You Cast
Indoor Fireworks
Stations Of The Cross
Brilliant Mistake
National Ransom

The Hammer Of Songs - Request

Almost Blue

The Spectacular Spinning Songbook

Detectives vs Hoover Factory - SPIN 3 - UNANIMOUS DECISION

Watching The Detectives

Monkey To Man - SPIN 4

Payday - IMPROMPTU

His Latest Flame - IMPROMPTU

Clubland - SPIN 5

Everyday I Write The Book - SPIN 6

Interlude

A Slow Drag With Josephine

Jimmie Standing In The Rain

This Wheel's On Fire/The River In Reverse/On Your Way Down/I'll Take Care Of You - IMPROMPTU

The Spectacular Spinning Songbook

Chelsea - SPIN 7

Joker - SPIN 8

I Want You

Finale

Pump It Up

Peace, Love and Understanding

Substitute

----------------------------------------------------------------------------------

Elvis Costello & The Imposters
Atlanta
September 24th, 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Cash" - Cry Cry Cry - SPIN 1

Town Cryer - SPIN 2

Alison - SPIN 3

Stella Hurt - SPIN 4

Watch Your Step - SPIN 5

Secondary Modern - IMPROMPTU

"I Can Sing A Rainbow" Jackpot - SPIN 6

Greenshirt
Red Shoes
Purple Rain

"Joanna" - Jackpot - Napoleon's Choice

Poor Fractured Atlas
Talking In The Dark

Payday - IMPROMPTU

His Latest Flame - IMPROMPTU

Beyond Belief - SPIN 8

Accidents Will Happen - SPIN 9

And Your Bird Can Sing - IMPROMPTU

Everyday I Write The Book - SPIN 10

Interlude

Condemned Man - IMPROMPTU

Watching The Detectives - IMPROMPTU

Finale

Peace, Love And Understanding - SPIN 11

Elvis Costello

Newsday: Glenn Gamboa: 30th September, 2011

"When people started screaming for “Alison” in the middle of the song, he simply walked to the mic and finished it up and then walked off the stage. He did not return, ending what was still a wonderful opening night for The Paramount.

Costello was right to walk off the way he did."

Read More…..

"Elvis Costello Warner Theatre Concert Curiosities"

Washington City Paper: Chris Klimek: September 30th, 2011

The Imposters returned to the stage to join him on “Sleep of the Just,” a ballad from 1986’s King of America that felt of-a-piece with National Ransom’s caravan of weary hustlers, deserters, and entertainers.

Read More……

Elvis Costello and the Imposters at The Ryman

Nashville Scene: The Spin: 25th September, 2011

How ‘bout getting show highlights like a smooth “Watching the Detectives,” which saw Costello singing walking around the theater floor? Or a captivating, slow-drawn take on Bob Dylan & The Band’s “This Wheel's on Fire” that the word “transcendent” couldn’t even begin to describe?

Read More….

Elvis Costello and the Imposters sold a few vowels at Chastain

Creative Loafing: James Kelly: September 26th, 2011

In spite of his well-documented disdain for the somewhat stuffy Chastain Park vibe, Costello was a gentleman throughout the set, opening with a four-song roar, then donning his top hat and becoming the slightly demented host

Read More……

Fun, irreverence rule Elvis Costello show

Indystar.com: David Lindquist: September 27th, 2011

As the 57-year-old applied smooth vocals to cinematically narrate 1981's "Watch Your Step," it became clear rock 'n' roll got lucky when Costello made the genre his main vocation.

Read More……

Elvis Costello At The Ryman Auditorium

American Songwriter: Blake Boldt: September 26th, 2011

This wasn’t a night to be predicting anything. Elvis Costello’s stop at the Ryman Sunday night was most notable for its wacky format: A part of his Spectacular Spinning Songbook Tour, the performance established him as suave ringmaster to this musical circus. Excitable fans were invited onstage to spin a multi-colored wheel, featuring 40 song titles that include classic hits, obscure album cuts and a few well-known covers. The 2 1/2 hour seminar in pop music enabled its star to express his disregard for tradition and dig into his expansive catalog. Nonplussed by the pressures of the wheel, Costello addressed each quandary with a smile and a series of terrific guitar licks.

Costello’s willingness to go with the flow is a key aspect of his remarkable run over the last 35 years. Already having acquired a reputation as a masterful writer and performer, he allowed these game show antics to take measure of his prowess. Less seasoned performers would’ve been left struggling to collect their thoughts, but Costello was too busy seducing the audience with such concert staples as the sly “Every Day I Write the Book” and the seductive “I Want You.” From the first spin of the wheel (“You Bowed Down”) to the last (“Chelsea”), Costello’s backing band The Imposters matched the evening’s effervescent spirit with master strokes. The MVP of the evening was Steve Neive, whose theatrical flair on the keyboards accentuated the frantic energy of the moment. Veteran sidemen Pete Thomas (drums) and Davey Faragher (bass) were excellent in their own right.

Costello, clad in a plaid gray suit that stood in contrast to his colorful surroundings, had other buoyant supporters. A pair of scantily-clad hostesses selected audience members and sashayed inside a tall cage lined with string-of-pearl curtains. But the smoothest moves were offered through the music. With their often intricate vocabulary, Costello’s thoughtful songs give voice to the ABCs of life (“Cash,” “Happy,” “Time”) and love (“Alison,” “Joanna,” “Veronica”). Though the mood was mainly upbeat throughout the performance, an acoustic break during the second act offered evidence that Costello is no victim of his own versatility. Hearing his plaintive wail, lonely but not alone, cry out across the venue proved one of his old song titles true: There’s a story in your voice.

In this modern industry, it’s certainly no secret that Costello remains relevant without becoming a relic of the past. In fact, his interpretive skills only seem to improve with time. After a rousing rendition of Nick Lowe’s “Peace, Love and Understanding” towards the end of the evening, fans likely left hoping for a little more of all of the above.

"The Revolver Tour"

"The Revolver Tour" will resume this Saturday at Chastain Park, Atlanta before proceeding to the Ryman Auditorium, Nashville and the Murat Theatre, Indianapolis and beyond.

Thanks go to our friends in Alabama and Florida for their understanding over the urgent need for the postponement of shows and look forward to seeing them as soon as possible in 2012.

It is hoped that the recent and continuing concerns over serious family illness will allow the completion of the remaining dates.

Mr. Costello and his family would also like to send thanks to those who expressed their good wishes and prayers.

Napoleon Dynamite will do his best to see that you have a Spectacular Spinning Songbook time...

'Elmo's Super Heroes' comes to Times-Union Center'

Jacksonville.com: Tom Szarloeta: September 16th, 2011.

Today’s issue of Jack was supposed to be all about Elvis Costello, the Rock and Roll Hall of Famer who was scheduled to appear at the Florida Theatre next week. But Costello had to postpone his show, leaving us scrambling for something to put in the paper.

Fortunately, his close personal friend, Elmo Monster, happens to be in town this weekend with “Sesame Street Live: Elmo’s Super Heroes.”

Mr. Monster wasn’t available for an interview, so we found someone who knows him well.

Read More.....

Postponement Announcement

It is with regret and sorrow that Elvis Costello announces that he must delay the start of the next leg of "The Spectacular Spinning Songbook Tour" until the 24th of September in Atlanta. This is due to matters pertaining to the very serious illness of a close family member. All shows prior to the 24th will be postponed.

A spokesman for the tour stressed that Mr. Costello's wife and children were in excellent health but declined to elaborate further hoping that people would understand the desire and need for calm and privacy at this difficult time.

Ticket holders for the shows from September 15th through September 22nd should contact the venue box office or ticket broker for further details. It is hoped that all of these dates will be rescheduled as early as possible in 2012.

Elvis Costello

Having begun as a brief two-week stint this spring, the Spinning
Songbook tour soon expanded to include 17 additional cities in June and
July, garnering acclaim at every turn:

"Unfettered, free-wheeling fun" – Minneapolis Star-Tribune

"The Wheel was the perfect way to shake up a set list with a couple decades' worth of excellent material" – Columbus Dispatch

"Three hours of hilarity, musicality, and unabated joy" – St. Louis Post-Dispatch

"It's hard to imagine any other musician in the world playing the show that Elvis Costello did" – Pittsburgh Post-Gazette

At each performance, select fans are invited onstage to spin the Wheel,
helping to create new sets at each performance from a collection of 40
banners including hits, rarities, and a few surprises.

Fall 2011 Tour Dates

9/15 – Mobile, AL – Saenger Theatre
9/17 – Clearwater, FL – Ruth Eckerd Hall
9/18 – Hollywood, FL – Seminole Hard Rock Hotel & Casino
9/19 – Orlando, FL – Bob Carr Performing Arts Center
9/21 - Jacksonville, FL - Florida Theatre
9/22 – Durham, NC – Durham Performing Arts Center
9/24 – Atlanta, GA – Chastain Park
9/25 – Nashville, TN – Ryman Auditorium
9/26 - Indianapolis, IN - Murat Theatre
9/29 – Washington, DC – Warner Theatre
9/30 – Huntington, NY – Paramount Theater
10/1 – New York, NY – United Palace Theatre
10/3 – Red Bank, NJ – Count Basie Theatre
10/5 – Montclair, NJ – The Wellmont Theatre*
10/6 – Montclair, NJ – The Wellmont Theatre
10/8 - Huntington,WV - Marshall University

* rescheduled from 5/18

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and
Davey Faragher (bass).

The New York Times - Another Spin of the Musical Wheel

The New York Times: Jon Pareles: May 24th, 2011

“If I can’t cheat, who can?” he teased.

But the real and gratifying cheat was that there is, in the end, no way to keep Mr. Costello’s songs in any shallow entertainment mode. His torrents of words hold desire, rage, wounds and revenge, from the scathing personal scale of “Alison” to the historical sweep of “Oliver’s Army.” The music converges from all over — punk, soul, British Invasion, Tex-Mex, tango, country — to carry those words and sort out their emotions.

Even in music dating to the 1970s, the Imposters didn’t treat the songs as rote oldies. They were still pushing and pulling at them, putting (for instance) a guitar-scratching funk finale onto “(I Don’t Want to Go to) Chelsea.” And Mr. Costello inhabited his characters completely when he sang: all the ache, all the venom. None was more telling than “I Want You,” a slow, seething, self-lacerating and furious confession of passion and need, with jabs of bitter lead guitar. It didn’t feel like show business at all. Maybe that was the real proof of Mr. Costello’s showmanship.

Elvis Costello Rocks Amazing Singing Songbook Set

Rolling Stone: Patrick Doyle: May 24th 2011

"For the final encore, Costello emerged in a gold suit and leopard-print hat and welcomed an audience member who exemplified the downside of a show with such heavy crowd participation. After Costello began the tender classic "Alison," she made her way to the go-go cage and broke out some pole-dancing moves. Then she grinded up against Costello and fell down. He discreetly motioned for a go-go dancer to take her away. "Come and get your girlfriend!" he asked her companion helplessly when she still wouldn't leave.

But the energy only encouraged Costello. He quickly moved into a soul medley including "Tracks of My Tears" "Tears of a Clown," and "Suspicious Minds." He then ripped into a raucous "Purple Rain," inviting T-Bone Burnett busting out some seriously jagged dance moves. He wasn't done yet, performing "Pump it Up," while working in lines of "Subterranean Homesick Blues" – likely in honor of Bob Dylan's birthday today. We can only imagine what kind of tribute Costello will give Dylan tonight."

Spectacle: elvis costello with..... Season Two now showing on Sky Arts UK

Elvis Costello kicks off his new series of intimate interviews and performances with some of the biggest names in music by welcoming Bono and The Edge.

In front of Costello’s live studio audience, the U2 vocalist and guitarist discuss the forming of their band. “We had no history of musicianship,” Bono says. “Remember, we formed a band before we could play.... It’s kind of comedic. We’re looking at all these [more experienced] people, going, ‘OK, we’ll have that and we’ll have that and we’ll have that,’ like you’re walking around with a shopping bag. But somebody else said, ‘You also need the talent bit.’ And it never dawned on us that we mightn’t have any.”

Bono and The Edge also discuss the influence and wisdom of their producer Brian Eno, as well as a time when the former Roxy Music man became so exasperated with their recording of Where The Streets Have No Name, that he tried to erase the song from the album. “A junior engineer had to physically drag him out of the recording studio,” the pair remember. Bono also recalls a time when Paul McCartney came to the studio to give them a pep talk. He slid down the bannisters on the way in and explained how he, Ringo, John and George would begin recording backing tracks at 9am, go for an egg sandwich, pint and cigarette at 12, and then return and finish the songs by five. Inspired by their system, U2 tried a similar strategy that week, Bono explains, yet wound up still in the recording studio at 4am.
In between amusing anecdotes about their albums, charity work and song-writing, Bono and The Edge perform tracks including Stuck In A Moment You Can’t Get Out Of, rounding things off by performing Pump It Up/Get On Your Boots with Costello.

Over the course of the series, Costello will also welcome artists including Sheryl Crow, Lyle Lovett, Nick Lowe and Bruce Springsteen.

For more information, Video's and TV listings click here.....

"Don't Try This At Home, Kids"

Another Report From Our Georgian Correspondents

"Holy Freaking Flying Monkeys Of Fire - Larkin Poe's P.O.V."

In which Larkin Poe opens for the fantastic Elvis Costello (in Interlochen, Michigan). Holy, freaking, flying monkeys of fire; what an amazing night.... Thank you, thank you to Elvis and all his amazing folk for having us along! For more information about the little ole' opening band, please visit: www.LarkinPoe.com.

"Song of the Day"

Song of the Day: 'Sparkling Day,' Elvis Costello

The Star-ledger: Jay Lustig: 22nd August, 2011

You would have never predicted it during his angry-young-man days, but Elvis Costello should now be considered one of the greatest crooners of his generation. He doesn't often work in a lushly romantic style, but when he does -- as on his 1998 album with Burt Bacharach, "Painted From Memory," or on his underrated 2003 album "North" -- the results have often been exceptional.

Read More.....

"Our Georgian Correspondents Speak Again"

Elvis Costello's original song 'Sparkling Day' will lead the soundtrack of Focus Features August 2011 release 'One Day'

Twenty years. Two people…To be released by Focus Features in theaters nationwide on Friday, August 19th, 2011, One Day stars Academy Award nominee Anne Hathaway and Jim Sturgess (Across the Universe). Directed by Lone Scherfig (director of An Education, Academy Award-nominated for Best Picture), the motion picture One Day is adapted for the screen by David Nicholls from his beloved bestselling novel “One Day.” After one day together – July 15th, 1988, their college graduation – Emma Morley (Anne Hathaway) and Dexter Mayhew (Jim Sturgess) begin a friendship that will last a lifetime. She is a working-class girl of principle and ambition who dreams of making the world a better place. He is a wealthy charmer who dreams that the world will be his playground. For the next two decades, key moments of their relationship are experienced over several July 15th's in their lives. Together and apart, we see Dex and Em through their friendship and fights, hopes and missed opportunities, laughter and tears. Somewhere along their journey, these two people realize that what they are searching and hoping for has been there for them all along. As the true meaning of that one day back in 1988 is revealed, they come to terms with the nature of love and life itself.

The music featured on the soundtrack One Day bookmarks moments in Dexter and Emma’s lives, mapping out a musical timeline that ties in to the complexity of their ever-evolving relationship.

TRACK LISTING:

1.         Sparkling Day - Elvis Costello
2.         Roll To Me - Del Amitri
3.         Aftermath - Tricky
4.         Reverend Black Grape - Black Grape
5.         Born Of Frustration - James
6.         Rocks - Primal Scream
7.         Praise You - Fatboy Slim
8.         The Rhythm Of The Night - Corona
9.         Angels - Robbie Williams
10.       Life Is A Rollercoaster - Ronan Keating
11.       Sowing The Seeds Of Love - Tears For Fears
12.       Joy - François Feldman
13.       Tear Off Your Own Head (It's A Doll Revolution) - Elvis Costello
14.       One Day - main title - Rachel Portman
15.       Wedding Chorus - Rachel Portman
16.       July 15th - Rachel Portman
17.       We Had Today - Rachel Portman

Buy Now From....

iTunes US

iTunes UK

"Elvis Bridlington?"

Confusion surrounds who now owns the grade II-listed historic pier in Colwyn Bay.

It has been closed since its owner was made bankrupt in July 2008, and it came under the control of a trustee in bankruptcy.

The trustee has now formally given up any interest in the pier because its condition is getting worse.

The pier's former owner, Steve Hunt, said he believed the pier should now come back to him.

Victoria Pier was opened in June 1900, and over the years has hosted performances from artists as diverse as Morecambe and Wise, Harry Secombe and Elvis Costello.

But very little maintenance has been done in the last three years since Mr Hunt was made bankrupt in a dispute with Conwy council over unpaid business rates and council tax.

On 4 August 2011, a panel of the decking broke off and fell onto the promenade.

George Harrison Fund For UNICEF's Month of Giving

On August 1, 1971, George Harrison of The Beatles and Ravi Shankar brought together a star-studded cast of musicians for The Concert for Bangladesh, which became one of the most ambitious humanitarian efforts in music history. In honor of the 40th anniversary of the concert, the George Harrison Fund for UNICEF has designated August as the ‘Month of Giving’ to raise funds for the crisis in the Horn of Africa.

In the humanitarian spirit of George Harrison, to show that musicians and fans can still make an impact around the world, Elvis Costello is asking you to join me in continuing to support the Month of Giving with UNICEF USA. Please visit TheConcertforBangladesh.org where you can watch the latest video, learn more about the original concert, and discover the many ways YOU can get involved to help save children’s lives.

http://bit.ly/4-a-friend

Soundtrack For "One Day", Features New Song From Elvis Costello

On August 16th, 2011, Universal Music Enterprises (UMe) releases digitally the motion picture soundtrack for the new movie One Day, starring Anne Hathaway and Jim Sturgess. The soundtrack "One Day" features a brand new track written and composed exclusively for the movie by Elvis Costello; titled “Sparkling Day,” the song is only available on this soundtrack. Also included is a stellar roster of songs by a diverse group of artists from the last two decades; and plus selections from the original film score by Academy Award winner Rachel Portman (Emma, The Cider House Rules, Chocolat).

Twenty years. Two people…To be released by Focus Features in theaters
nationwide on Friday, August 19th, 2011, One Day stars Academy Award nominee Anne Hathaway and Jim Sturgess (Across the Universe). Directed by Lone Scherfig (director of An Education, Academy Award-nominated for Best Picture), the motion picture One Day is adapted for the screen by David Nicholls from his beloved bestselling novel “One Day.” After one day together – July 15th, 1988, their college graduation – Emma Morley (Anne Hathaway) and Dexter Mayhew (Jim Sturgess) begin a friendship that will last a lifetime. She is a working-class girl of principle and ambition who dreams of making the world a better place. He is a wealthy charmer who dreams that the world will be his playground. For the next two decades, key moments of their relationship are experienced over several July 15th's in their lives. Together and apart, we see Dex and Em through their friendship and fights, hopes and missed opportunities, laughter and tears. Somewhere along their journey, these two people realize that what they are searching and hoping for has been there for them all along. As the true meaning of that one day back in 1988 is revealed, they come to terms with the nature of love and life itself.

The music featured on the soundtrack "One Day" bookmarks moments in Dexter and Emma’s lives, mapping out a musical timeline that ties in to the complexity of their ever-evolving relationship.

TRACK LISTING:

1.         Sparkling Day - Elvis Costello
2.         Roll To Me - Del Amitri
3.         Aftermath - Tricky
4.         Reverend Black Grape - Black Grape
5.         Born Of Frustration - James
6.         Rocks - Primal Scream (*digital version only)
7.         Praise You - Fatboy Slim
8.         The Rhythm Of The Night - Corona
9.         Angels - Robbie Williams
10.       Life Is A Rollercoaster - Ronan Keating
11.       Sowing The Seeds Of Love - Tears For Fears
12.       Joy - François Feldman
13.       Tear Off Your Own Head (It's A Doll Revolution) - Elvis Costello
14.       One Day - main title - Rachel Portman
15.       Wedding Chorus - Rachel Portman
16.       July 15th- Rachel Portman
17.       We Had Today - Rachel Portman

Buy Now From....

iTunes US

iTunes UK

Elvis Costello's original song 'Sparkling Day' will lead the soundtrack of Focus Features August 2011 release 'One Day'

Based on the #1 international bestselling novel and starring Anne Hathaway and Jim Sturgess, which is scored by Academy Award winner Rachel Portman.

Twenty years. Two people…

Directed by Lone Scherfig (director of An Education, Academy Award-nominated for Best Picture), the motion picture One Day is adapted for the screen by David Nicholls from his beloved bestselling novel One Day.

After one day together – July 15th, 1988, their college graduation – Emma Morley (Academy Award nominee Anne Hathaway) and Dexter Mayhew (Jim Sturgess of Across the Universe) begin a friendship that will last a lifetime. She is a working-class girl of principle and ambition who dreams of making the world a better place. He is a wealthy charmer who dreams that the world will be his playground.

For the next two decades, key moments of their relationship are experienced over several July 15ths in their lives. Together and apart, we see Dex and Em through their friendship and fights, hopes and missed opportunities, laughter and tears. Somewhere along their journey, these two people realize that what they are searching and hoping for has been there for them all along. As the true meaning of that one day back in 1988 is revealed, they come to terms with the nature of love and life itself.

One Day.....

Elvis Has Left The Building

Like The Dew.com: Jeff Cochran; 15th August, 2011

Tuesday, August 16, 1977. It was a scheduled day off, but there I was anyway, at Peaches Records and Tapes in Atlanta, perusing a shipment of Oldie 45s delivered the evening before. I was the store’s singles buyer, a prominent slot. The record companies and radio stations knew we endeavored to stock every 45 available. When items priced at less than a buck made for 3% to 4% of a store’s weekly sales of $100,000 or more, it was obvious we moved a lot of singles. The music industry also knew our store helped to “break” new records, with promo men lurking about to push their new releases. But while it seemed job one was stocking the hits, maintaining our extensive inventory of oldies was just as important. Customers, from way outside the Atlanta area, especially on the weekends, would traverse to Peachtree Road in order to add stacks of Oldie 45s to their collections. When they’d pick one, they’d pick another, and another. They were happy with what they bought. We were happy too. Ca-Ching!

It was a choice shipment of oldies that I’d put out the next day. Since it was Tuesday, they could sit in the stockroom another 24 hours. They’d be on the shelves by lunchtime Wednesday, with many purchased by Sunday. Classics by the Drifters, Buddy Holly, the Beach Boys, Aretha Franklin, Hank Williams and a big shipment of Elvis Presley oldies ordered the week before would bolster my department’s share of store sales. The increase would commence tomorrow. It was a day off, after all.

On leaving the stockroom, I noticed an album entitled My Aim IS True by an Elvis Costello. It had only been released in the U.K. the month before but our chain’s Imports buyer, Greg Biggs, had it in our stores already. Elvis Costello? What’s that all about? Something to check out later.

Several hours passed on a rather leisurely day when the news bulletin came in from Memphis. I was visiting my folks at their house, south of Atlanta. Having gotten bad news when TV shows were interrupted several times over the last 10-15 years, we knew the drill. We got real quiet real fast. Elvis Presley was dead.

First there was the pain over losing someone who had made great music, someone who changed music. There was also pain over the sadness and confusion many of us assumed had permeated Presley’s life in recent years. Then something else kicked in: the recollection of several boxes of oldies in the Peaches stockroom. Hurridly I told my folks I needed to get to work. In less than twenty minutes, I made it from I-75 near the State Farmers Market to 2282 Peachtree Road on Atlanta’s north side. Five minutes after walking into the store, the Elvis Presley 45s were in the racks, even as some customers grabbed whatever was in my hands as I walked out of the stockroom.

Our full inventory of Elvis Presley 45s, given the hysteria. wouldn’t last more than an hour or two. A big order was called in to our warehouse in Los Angeles. Amazingly enough, they arrived in two days. Our store got a heavy shipment of Presley albums as well. It didn’t matter to the customers packing the store which albums. They’d just as happily take the soundtrack to Presley’s Speedway movie if all the greatest hits collections were sold out. The Elvis Presley albums and singles that collected dust a month or so before were now hot commodities.

The fascination with all things Presley lasted a few weeks more. As summer turned to autumn, customers who weren’t likely to visit record stores continued to stop by Peaches looking for Elvis Presley records. They were only a few years younger than Elvis was (42 when he passed away) but they seemed quite older and a bit out of place among us long-hairs. The people buying records by “The King of Rock and Roll” didn’t care much for the rock and rollers who, as it turned out, were just discovering another Elvis. Elvis Costello, that is.

Have You Heard The News? . . . A few weeks after Presley’s death a promo guy from Atlantic Records called the store about an impromptu appearance for later that afternoon by teen star Leif Garrett. Word of his appearance would be leaked just in time for a couple of hundred girls, mostly pre-teens, to come to the store, see the 16 year-old Garrett, then jump and scream and jump and scream some more.

Another of the store’s buyers, Jack Redus, and I were informed that we’d be joining Leif Garrett, along with a WQXI disc jockey, a guy from Atlantic and Garrett’s management team for dinner at a Buckhead hotel restaurant, 2-3 miles north of Peaches. Fine. It was part of the job. So even if Garrett’s teeny-bopper product made David Cassidy’s recordings seem profound, if forced to, we could forget that and be gracious guests. We’d make small talk and ask Garrett about his acting roles, like in the Walking Tall films. It would be an evening of steaks, beers (for those of us over 18) and conversation with Buford Pusser’s son.

There wasn’t that much conversation, though. It was, instead, a rather awkward time as Garrett appeared bored and weary over the day’s events. We didn’t get his opinions on Buford Pusser and vigalante justice. He did express interest, though, in watching an exhibition NFL game on TV that evening, thus putting to rest Jack’s idea of sneaking him out to a Randy Bachman (the Guess Who, BTO) concert at the Great Southeast Music Hall. “I felt sorry for the kid, said Jack, “ I thought he might enjoy seeing a rock and roll show with a real musician.”

So upstairs to his hotel room went Leif Garrett. The NFL awaited. But before Garrett left the table, his manager added a new dimension to hyperbole. He laid it on thicker than the steaks before us. “You know, guys,” he told us, grabbing at his heart and looking above, “Elvis is gone. He was the King, but this young man, Leif Garrett, is going to take his place.” OK. Whatever. All of a sudden, getting home to watch the exhibition football game seemed appealing.

My friend Jack shouldn’t have worried over Leif Garrett’s lack of exposure to the rock scene. Garrett would get to see plenty — and then some. The quiet and well-mannered teen, who seemed, like Donny Osmond, a candidate for a Chocks overdose, became a poster boy for bad behavior. A little more than two years after our dinner, Garrett, under the influence of quaaludes and alcohol, crashed his car, leaving his passenger and best friend, Roland Winkler, a paraplegic. At least three drug arrests followed, including two in the last five years for possession of heroin.

Garrett’s troubles hardly registered with us at Peaches. Even just a few days after the dinner, we gave him little thought. His records hardly sold at most Peaches stores. It was at the suburban stores in malls and strip centers that his fans did their music shopping. At Peaches, we were still doing our best to keep a full stock of Presley records and promote the new groups we favored, such as the Dwight Twilley Band and Talking Heads.

Now I Try To Be Amused. . . Also getting a lot of our attention was Elvis Costello’s My Aim Is True. In a time in which “corporate rock” was rearing its ugly head, the album served as a revelation. Costello brilliantly coalesced the rebellious spirit of the New Wave movement with an incisive approach to both words and music. Already it seemed a sure-bet that he would continue to create smart and engaging songs, with much of his material calling to mind the Beatles. It wasn’t so much that his songs were Beatlesque, it was just that no other act had shown such a creative spark within the rock idiom since The Beatles. Very quickly Costello lived up to his promise, and even with a few albums (out of more than 30) that disappointed even his most ardent followers over the decades, his has been a brilliant career.

As a recording artist, Elvis Costello has been at it for over 34 years, only 8 years less than the time Elvis Presley spent on this earth. When thinking back to that morning of August 16, 1977, it was obvious by looking at the cover of My Aim Is True that Elvis Costello was a determined young man. On what was a sad day for the world of music, the promise of fresh new sounds was sitting in the Peaches stockroom, waiting to be unwrapped and heard. There’d be good rockin’ for thousands of nights to come.

The Smartest Music Show On T.V

Current: Enrique Lopetegui: 3rd August, 2011.

After a few seconds of a Hammond-driven version of U2’s “Mysterious Ways,” Elvis Costello puts his guitar down, grabs the microphone, and, while the band keeps playing the song, transforms himself into Spectacle’s master of ceremonies. He’s equal parts preacher, rapper, and circus ringmaster.

"Long ago, my friends, giants and monsters walked the Earth,” he yells loudly, delivering each line in sync with the band’s backbeat. “There were Beatles, there were Stones, the Who, the Where, the Why, and a Zeppelin of Led, and the faithful worshipped at their feet. But in time giants grow old. And the people asked, ‘Who shall join their company? Who shall climb up and take their place on the mountain?’ Four lads pushed their way to the top of the mountain and said, ‘Let us try to go up the mountain.’ And the wise among us laughed, ‘Ha!’”

Costello then jumps to the song’s “It’s alright, it’s alright” chorus, but before the “she moves” part, he goes right back to the intro.

“Were they brave? Were they blessed? Or were they simply barmy? Because they kept on climbing, even when their fingers slipped on the dark and howling night, they kept on climbing … Ladies and gentlemen, please give a warm welcome to the last rock stars … Bono and The Edge!”

Between 2008 and 2010, the two seasons and 20 episodes of Spectacle: Elvis Costello With… (co-produced by Elton John, who was the guest on the first show) was the smartest music show on TV, but chances are you missed it unless your cable company carried the Sundance channel or you are a frequent YouTube surfer. With the release of the show’s complete second — and, as of today, last — season on DVD, you can now discover this gem and even see extras that were not shown on TV. According to the show’s publicists, there won’t be a Season Three (Season One was released on DVD in 2009).

Spectacle was unpredictable, but it usually began with Costello performing his own version of a song by the show’s guest, followed by a hilarious and informative guest introduction, a smart conversation, a song by the guest, and a duet. Despite the notoriety of the guests (besides Elton John, Season One featured, among others, Lou Reed, Rufus Wainwright, James Taylor, the Police, Tony Bennett, and even former President Bill Clinton) this wasn’t a star-driven show — the songs themselves, and the things that triggered the artists to write those songs, are the real stars of the show.

“My wanting to sing and play came from being a fan,” Lyle Lovett told Costello, who always found a way to ask simple questions in ways that made the guest dig deeper. “Lucinda Williams, Guy Clark, Townes Van Zandt … just the great thinking that exists in their songs made me want to try to write something. … They taught me songs could have a narrative quality, that you could paint these wonderful pictures and find yourself inside these stories, living in the song. That’s a very powerful thing.”

Highlights within the consistently gorgeous sound and images of Season Two include Bruce Springsteen and Costello’s funny (and ultimately failed) attempt at Roy Orbison’s “Oh, Pretty Woman,” an exhilarating version of U2’s “Stuck In A Moment You Can’t Get Out Of” (by Costello, Bono, and The Edge), a not-seen-on-TV bonus version of Costello’s epic “I Want You,” and Ray LaMontagne’s accurate description of the art of creation.

“Writing is such a strange thing,” LaMontagne tells Costello, speaking on songs’ elusiveness in creation. “Oh, they’re tricky, they’re so tricky. … Those little sons of bitches.”

"Spectacle elvis costello with..." Available Now

George Harrison Fund For UNICEF's Month Of Giving

George Harrison was an inspiration to many musicians across the world. In 1971, his friend Ravi Shankar asked him to help the children of Bangladesh. George took action by hosting the Concert for Bangladesh in support of UNICEF. Elvis Costello is proud to join the anniversary celebration and honor George’s legacy by supporting the George Harrison Fund for UNICEF. Please watch the video below and join me in supporting this great cause.

A message to our friends in Richmond, VA.

"We share your regret and disappointment at the recent cancelations in your most excellent town but they were due to circumstances beyond the control of all concerned.

When the original show was postponed due to illness on 20th of July, it was rescheduled with surprising alacrity.

Unfortunately, it seems that this August 1st date did not catch the eye and fancy of the majority of original ticket holders, having made plans to be elsewhere.

Matters of personal well-being, whim or the weather played absolutely no part in the decision to cancel this second show.

It is hoped that we will be able to return to Richmond at a more opportune moment.”

Osheaga - Top Five Acts

Naption Urban Daily: Max Mertens: 2nd August, 2011

Elvis Costello will be turning 57-years-old this month, yet his Saturday headlining set proved that he still has more energy than many bands at Osheaga half his age. Despite having a significantly smaller crowd than Eminem the previous night, the English singer-songwriter seemed unfazed, as he lead his three-piece backing band The Imposters through a tight set. This featured plenty of material from his classic 1977 album My Aim Is True, including Watching The Detectives and Pump It Up. Impeccably dressed in a suit, purple shirt and tie and brimmed hat, Costello had the audience eating from the palm of his hand, as he invited fans onstage, introduced his go-go dancer in a cage and took audience requests. Not bad for a guy old enough to be the grandfather of the majority of festival-goers.

Read More...

40th Anniversary Of The Concert For Bangladesh

Today Elvis Costello is proud to honor the legacy of George Harrison and the very first major music concert for a cause “The Concert for Bangladesh”. Join me in supporting the great work of the George Harrison Fund for UNICEF and their work with the children affected by the famine in Africa.

Newport Folk Festival

The Providence Journal: Rick Massimo: 1st August, 2011

” Elvis Costello, playing with his crack band, The Imposters, though billed as an acoustic performance, included gentle numbers such as “American Without Tears,” “Brilliant Mistake” and “Scarlet Tide” (with a guest appearance by Emmylou Harris). The highlights came when they raged through a cover of Elvis Presley’s “Marie’s the Name (Of His Latest Flame)” and the closing “What’s So Funny ‘Bout Peace, Love and Understanding.”

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Elvis Costello leads a bona fide guitar orgy

Hour Community: Kevin Laforest: 31st July, 2011

"Costello seemed to be having a lot of fun, singing with a lot of conviction and proving to be quite the six-string samurai!"

On A Good Night The Mob Doesn't Rule

Montreal Gazette: Markjlepage: 31st July, 2011

"Elvis Costello headlines the central night of Osheaga 2011, and there is moonlight on the ground between the stagefront fans and those sitting in the bleachers."

Elvis Costello still pleases fans from Maine

The Portland Press Herald: Aimsel Ponti: 29th July, 2011

"Lipstick Vogue" from 1978's "This Year's Model" started the show off right with Costello strutting on stage wearing a straw fedora and a three-piece glen plaid suit. "Watching the Detectives" came next, much to the audience's delight and that's when Costello started his shenanigans"

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Danceable Night Of Songs

Cape Cod Times: Doug Fraser: 28th July, 2011

"There was a go-go dancer, dressed in classic Hullabaloo, as well as audience members who also came up on stage to dance in the cage. And it was an extremely danceable night of songs. An up tempo version of the classic put down “Alison” segued into Smokey Robinson’s “Tracks of My Tears.” A speed guitar intro led into “Strict Time” that showed Costello hadn’t moved far from his roots in the early British punk scene. “I Can’t Stand Up for Falling Down, Pump It Up,” a really rocking version of The Byrds’ hit “So You Want to Be A Rock and Roll Star,” and “What’s So Funny ‘Bout Peace Love and Understanding” had the sold-out crowd on its feet and dancing most of the night"

A Theatre Of 450 Seats

Town & Country: Patrick Galway: 28th July, 2011

A highlight for the evening was the song “Town Cryer”, which is virtually never played live. It was absolutely fantastic!

The reinvention of Elvis Costello

Asbury Park Press: Kelly-Jane Cotter: 28th July, 2011

"Two lovely dancers, who served as Costello’s game-show assistants, also gyrated in the cage and added energy and spunk to the show".

Life On The Ocean Wave

The Hartford Courant: Jack Coraggio: July 25th, 2011

"Elvis Costello and the Imposters brought an unbelievably fantastic show that likely proselytized some New Wave converts. An energetic closer of "Pump It Up" and the fitting "What's So Funny (About Peace, Love and Understanding)" could not be denied brilliance. On "Watching the Detectives," a track that bobs like any anchored boat floating the sound, Costello proved he could host brilliant jam sessions of jungle drumming, scatting and wailing guitars that could easily rival the likes of jam band princes and earlier performer Moe"

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Fashion Notes

Examiner.com: Jim Bessman: 24th July, 2011

"Sky high temperatures being what they were, he did wear less than his usual business attire, doffing the dark suit jacket for long-sleeved shirt and vest. Longtime keyboard ace Steve Nieve at least picked up the sartorial slack, in what appeared to be some sort of Civil War era preacher's black garb."

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Gathering of the Vibes dials up the heat and smoke

SoundSpike: John Voket: 25th July, 2011

"Not without his own brief tribute to Jerry Garcia, Costello's version of "It Must Have Been the Roses," was another highpoint of the show -- perhaps contributing to the best set of the weekend."

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The Gathering Of The Vibes

Connecticut Post: Sean Spillane: 23rd July, 2011

"Costello, in his encore, performed the title track from his album “Sulphur to Sugarcane,” which namechecks Bridgeport, although it’s not certain if he’s talking about the host city of the Vibes.

Anyway, the lyrics say, “Down in Bridgeport, the women will kill you for sport,” so I hope it’s another city of the same name.

Either way, his mentioning Bridgeport drew a loud reaction from the concertgoers, most of which have never heard the song.
Costello even got into the spirit of the Gathering of the Vibes by performing The Grateful Dead’s “It Must Have Been the Roses,” which thrilled the crowd to no end."

Borgata Hotel Casino

Elvis Costello sincerely regrets that due to illness he must postpone his July 22nd Elvis Costello and the Imposters concert date at Borgata Hotel Casino & Spa.

Please click here for updates on ticket refunds and reschedule information.

Costello spins gold at Wolfe Auditorium show

Citizen Times: Tony Kiss: 20th July, 2011

"The first spin of the wheel yielded “This Wheel’s On Fire.” Then came “I Want You,” “Joanna,” “Episode of Blonde,” “Bedlam” and “Girl". Another game gimmick was the “Hammer of Songs,” a sort of strong man routine, in which a contestant pounded a bell-ringing carnival device to determine the next song. That brought “Pump It Up.”

Late in the gig, he brought out (T Bone) Burnett for a couple of tunes, including “It Wasn’t God Who Made Honky Tonk Angels" ("The Wild Side Of Life"). The crowd was into it through the night, jumping to its collective feet again and again. It all made for a memorable musical night."

Innsbrook Pavillion, Richmond, VA. Announcement

Elvis Costello sincerely regrets that due to illness he is postponing his July 20th Elvis Costello and the Imposters concert date at Innsbrook Pavilion in Richmond, VA.

This show has been rescheduled for Monday August 1 and will remain as "An evening with". All tickets purchased for the July 20 date will be honored for the new date.

Any patron seeking a refund may do so at the point of purchase. We apologize for any inconvenience this may cause. If you purchased online from Ticketstobuy, you will be contacted directly via email today.

"Elvis Costello's Jackpot Hits"

Charleston City Paper: T. Ballard Lesemann: 19th July, 2011

"Costello's mastery of lyrics, melodies, and arrangements were on full display all night. A bold wit and vaudevillian sense of humor blended with a sweet appreciation of his fans and colleagues as well. Seeing, hearing, and feeling it all was a wonderful experience"

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Revolver Fires Up Again In Charlotte

Charlotte Observer: Courtney Devores: 17th July, 2011

"He appeared solo to begin a quieter, rootsier run of songs that included “Sulphur to Sugarcane” then encored looking fittingly `70s movie thug in a shiny copper leather jacket and leopard print hat for “Watching the Detectives.” After nearly three hours he ended the set with “Everyday I Write the Book” and “Pump It Up.” The latter bookended the wild, punky feel of the beginning."

Costello delivers classics, inventive flair to locals

The Post and Courier: Devin Grant: 19th July, 2011

"Costello definitely gave the audience, estimated at 1,500, its money's worth, showing them that a rock concert doesn't simply have to be a series of songs performed live."

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Elvis Costello's Spectacular Spinning Songbook Rolls On Into July

Following boffo business at the box office, popular demand and press acclaim, Elvis Costello and the Imposters will be bringing the Spectacular Spinning Songbook to most of their dates during July.

7/16 Belk Theater-Charlotte, NC

7/18 N. Charleston PAC-N. Charleston, SC

7/19 Wolfe Auditorium-Asheville, NC

7/22 Borgata-Atlantic City, NJ

7/24 Westhampton Beach PAC-Westhampton Beach, NY (SOLD OUT)

7/26 Count Basie Theatre-Red Bank, NJ (SOLD OUT)

7/28 State Theatre-Portland, ME (SOLD OUT)

"The Revolver Tour" crossed the United States from Reno to New York City during May, concluding with a sold out three-night stand at that the Beacon Theatre.

As Rolling Stone reported, the evening combines the "kitsch of a game show and lounge act: a bar, a go-go cage with dancer and an Austin Powers-style hostess-dollybird; his own eye-popping selection of fedoras and sport jackets. When he wasn't singing or slamming at his guitars, Costello worked the stage like a burlesque-club emcee, cracking wise at a mile a minute and spinning a dandy's walking stick.”

Despite the carnival elements of the show, The New York Times opined: "There is, in the end, no way to keep Mr. Costello's songs in any shallow entertainment mode...It didn't feel like show business at all. Maybe that was the real proof of Mr. Costello's showmanship."

While the Los Angeles Times called “"The Revolver Tour", A uniquely invigorating experience that warrants a buzzword all its own: inspiring."

The only exceptions to this announcement of further "Revolver" dates are the festival and concert appearances at;

7/20 Innsbrook Pavilion-Richmond, VA

7/23 Gathering of the Vibes-Bridgeport, CT

7/27 Cape Cod Melody Tent-Hyannis, MA

7/30 Osheaga Festival-Montreal, QC

7/31 Newport Folk Festival-Newport, RI

At the multiple act festival dates it would be impossible to construct and install the Wheel on-stage in the time allowed, while in a few other instances safety or production issues have prevented the Wheel from being part of the presentation.

These "Don't Take Your Guns To Town" dates will be free-programmed shows, as Elvis Costello and the Imposters choose from their newly expanded repertoire of favourites, hits of the future and surprising covers.

As for the rest of the summer shows, the Philadelphia Inquirer could not have put it better when they wrote, "The Best Costello show I've seen in an eon. Let's hope it doesn't take 26 years for him to give the Wheel another spin."

It seems it didn't ...

Elvis Costello

Elvis Costello and the Imposters today answer the call of unanimously cheering audiences and critics from coast to coast, announcing a further extension of the massively successful Spinning Songbook tour with a string of fall dates in the Eastern U.S., on sale July 15.

Having begun as a brief two-week stint this spring, the Spinning Songbook tour soon expanded to include 17 additional cities in June and July, garnering acclaim at every turn:

"Unfettered, free-wheeling fun" – Minneapolis Star-Tribune

"The Wheel was the perfect way to shake up a set list with a couple decades' worth of excellent material" – Columbus Dispatch

"Three hours of hilarity, musicality, and unabated joy" – St. Louis Post-Dispatch

"It's hard to imagine any other musician in the world playing the show that Elvis Costello did" – Pittsburgh Post-Gazette

At each performance, select fans are invited onstage to spin the Wheel, helping to create new sets at each performance from a collection of 40 banners including hits, rarities, and a few surprises.

Fall 2011 Tour Dates (on sale dates):

9/15 – Mobile, AL – Saenger Theatre (7/15)
9/17 – Clearwater, FL – Ruth Eckerd Hall (7/15)
9/18 – Hollywood, FL – Seminole Hard Rock Hotel & Casino (7/29)
9/19 – Orlando, FL – Bob Carr Performing Arts Center (7/15)
9/22 – Durham, NC – Durham Performing Arts Center (7/15)
9/24 – Atlanta, GA – Chastain Park (on sale now)
9/25 – Nashville, TN – Ryman Auditorium (7/15)
9/29 – Washington, DC – Warner Theatre (7/15)
9/30 – Huntington, NY – Paramount Theater (8/5)
10/1 – New York, NY – United Palace Theatre (on sale now)
10/3 – Red Bank, NJ – Count Basie Theatre (7/15)
10/5 – Montclair, NJ – The Wellmont Theatre*
10/6 – Montclair, NJ – The Wellmont Theatre (on sale now)

* rescheduled from 5/18

The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and Davey Faragher (bass).

Look out for further "Revolver Tour" announcements.

Taken For A Fool

Clashmusic.com: Robin Murray: 8th July, 2011

The Strokes Team Up With Elvis Costello

The Strokes are set to release their duet with Elvis Costello as the B-side of their new single.

Returning with their new album 'Angles' The Strokes ended five years of silence. However since then a series of awkward live shows have given rise to claims that the New York outfit could be close to the end.

Yet when the mood strikes them, The Strokes can still raise their game. Taking to the stage in Madison Square Garden earlier this year, the New York outfit were in a confident mood on home turf.

Taking place on April 1st, the show saw Elvis Costello emerge for an impromptu support slot. An important influence on the band, the English songwriter played three tracks to a bemused audience.

Later, Costello was invited to perform with The Strokes with the two running through 'Taken For A Fool'. Captured on film, it now seems that the duet is set to gain an official release later this year.

Available on July 26th, 'Taken For A Fool' is set to gain a full single release. Available as a digital download and on seven inch vinyl, The Strokes are planning to press the Elvis-assisted live cut on the B-side.

Seattle Mariners Baseball is Like an Elvis Costello Album

Bleacher Report: Alex Carson: July 8th, 2011

Sometimes I like to cruise through Wikipedia by using the random article link.

Today, while clicking said link, an Elvis Costello album randomly appeared on my screen. It contained a track listing that made me think quite a bit about the Mariners.

I suppose I could click the random link again, and if I tried hard enough, I could take anything and somehow relate it to the Mariners. Pyramidalis Bertini just isn't going to be as easy as this Costello album, that's all.

So the album is titled Momofuku. It was released in 2008 and I'm sure it's a fine collaboration of musical instruments and the sweet vocal sounds of Mr. Costello. These tracks reminded me of our lovable M's:

"No Hiding Place" - Indeed. The Mariners have hung around in contention, but we all know their weaknesses and they can't hide behind the pitching in a sustainable manner.

"Turpentine" - The Mariners offense is thin. Almost like it was doused with turpentine over and over.

"Flutter and Wow" - A real definition for flutter is "to vibrate in irregular spasms." That's the Mariners offense, and we are all left to just say "wow" each night.

"Go Away" - This makes me think of Chone Figgins mostly. Sometimes Jack Wilson, Carlos Peguero, Brendan Ryan in the two-hole, Adam Kennedy in the three-hole, the Moose and anyone who starts the wave late in a tight game.

Thank you, Mr. Costello. Your music has inspired me without even having listened to it.

Listen to Momofuku...

More about Momofuku....

"The Spectacular Spinning Songbook - The Results"

Elvis Costello & The Imposters
St. Louis
July 1st , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
Substitute - duet with Eddie Vedder

The Spectacular Spinning Songbook

Pump It Up - SPIN 1 - EDDIE'S SPIN

Human Hands - SPIN 2

Living In Paradise - SPIN 3

"I Can Sing A Rainbow" Jackpot - SPIN 4

Greenshirt
Blue Chair
Red Shoes
Purple Rain

Everyday I Write The Book - SPIN 5

Veronica - SPIN 6

Long Honeymoon - SPIN 7 (HELD)

Alison - SPIN 8

Radio Radio - IMPROMPTU

Mystery Dance - IMPROMPTU

You Belong To Me - - IMPROMPTU

Accidents Will Happen - IMPROMPTU

And Your Bird Can Sing - IMPROMPTU

Turpentine - SPIN 9

Chelsea - SPIN 10

Riot Act - SPIN 11

Watching The Detectives/Help Me - IMPROMPTU

This Wheel's On Fire/The River In Reverse/On Your Way Down/I'll Take Care Of You/This Wheel's On Fire - SPIN 12

Interlude

Lipstick Vogue - IMPROMPTU

Beyond Belief - - IMPROMPTU

Waiting For The End Of The World/I Can Only Give You Everything

Spectacular Spinning Songbook Finale

"Girl" Jackpot - Ms. VALENTINE'S SPIN

This Year's Girl
Spooky Girlfriend

"Happy" Jackpot - Ms. VALENTINE'S SPIN

I Can't Stand Up For Falling Down
High Fidelity

"Time" Jackpot - Ms. VALENTINE'S SPIN

Strict Time
Man Out Of Time
Out Of Time

Peace, Love And Understanding - SPIN 13

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Elvis Costello & The Imposters
Kansas City
June 30th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

"Joanna" Jackpot - SPIN 1

Talking In The Dark

Clubland - SPIN 2

Peace, Love And Understanding - SPIN 3

Earthbound - SPIN 4 (with recitation)

This Wheel's On Fire (SPIN 5) vs Human Hands (SPIN 6)

Human Hands - UNANIMOUS DECISION - REQUEST LIGHT

Watching The Detectives/Help Me - IMPROMPTU

Joker - SPIN 7

Chelsea

"Imperial Chocolate" Jackpot - SPIN 8

Almost Blue
Shabby Doll
I Want You

Birthday Twin Spin Finale

Brilliant Mistake/Happy Birthday - SPIN 9

Joker - SPIN 10

Pump It Up - Mother's Request Shouted From Front Row

Alison/Purple Rain - SPIN 11

Encore

Sulphur To Sugarcane - with Rebecca and Megan Lovell of Larkin Poe on mandolin, dobro and vocals with the Imposters

The Crooked Line - duet with Rebecca Lovell featuring Megan Lovell and the Imposters.

The Scarlet Tide - with Rebecca and Megan Lovell with the Imposters

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Elvis Costello & The Imposters
Minneapolis
June 29th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Joker - SPIN 1

Watching The Detectives/Help Me

Shipbuilding - SPIN 2

God's Comic - SPIN 3

"Time" Jackpot - SPIN 4

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time

Veronica - SPIN 5

Commercial Break

The Stations Of The Cross

This Wheel's On Fire/The River In Reverse/On Your Way Down/I'll Take Care Of You/This Wheel's On Fire

So Like Candy/Don't Let Me Be Misunderstood - SPIN 6

Interlude

A Slow Drag With Josephine - Napoleon Solo

Jimmie Standing In The Rain - Napoleon Solo

Pump It Up In 6/8/ Busted

"Joanna" Jackpot - SPIN 7

All Grown Up
Talking In The Dark

You Tripped At Every Step - SPIN 8

Finale

Chelsea
Beyond Belief
Turpentine
Everyday I Write The Book
Purple Rain
Alison
Peace, Love And Understanding

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Elvis Costello & The Imposters
Grand Rapids
June 27th , 2011

Overture

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

The Spectacular Spinning Songbook

Accidents Will Happen - SPIN 1

"Happy" Jackpot - SPIN 2

I Can't Stand Up For Falling Down
High Fidelity
I Stand Accused

New Lace Sleeves - SPIN 3

Oliver's Army - SPIN 4

"Joanna" Jackpot - SPIN 5

Black Sails In The Sunset
Talking In The Dark

"Happy" Jackpot (AGAIN) SPIN 6

New Amsterdam - Steve Nieve departs the stage due to severe muscle spasm

Man Out Of Time - SPIN 7 - played as a trio

Pump It Up - REQUEST - played as a trio

Peace, Love And Understanding - SPIN 8 - played as a trio

Interlude - NAPOLEON SOLO

A Slow Drag With Josephine
You Little Fool
Red Shoes
Everyday I Write The Book
Sulphur To Sugarcane
Radio Sweetheart
God's Comic

Finale

"The Elvis Costello Experience" direct from Weatherfield Social Club with former World Motorcross Champion, Miss Cindy Withers.

Chelsea
Less Than Zero
Bedlam
Watching The Detectives/Help Me/Love That Burns
Peace, Love And Understanding

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Elvis Costello & The Imposters
Toronto
June 23rd , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Everyday I Write The Book - SPIN 1

"Joanna" Jackpot - SPIN 2

I Still Have That Other Girl

Turpentine - SPIN 3

Long Honeymoon - SPIN 4

I Want You - SPIN 5

Beyond Belief - IMPROMPTU

Big Tears - IMPROMPTU

Shabby Doll - IMPROMPTU

Accidents Will Happen - SPIN 6

Leave My Kitten Alone - IMPROMPTU

Living In Paradise - SPIN 7

"Girl" Jackpot - SPIN 8

Spooky Girlfriend
Party Girl
Girls Talk
Girl

Alison - IMPROMPTU

Commercial Break

The Statation Of The Cross

Shipbuilding

Interlude

A Slow Drag With Josephine
For More Tears

Joker - SPIN 9 - (HELD)

Earthbound - SPIN 10

Peace, Love And Understanding (JOKER PAID)

Finale

Chelsea
Waiting For The End Of The World
I Can Only Give You Everything
Pump It Up
Purple Rain
Man Out Of Time
I Hope

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Elvis Costello & The Imposters
Interlochen
June 21st , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Hand In Hand - IMPROMPTU - And Your Bird Can Sing - SPIN 1

New Lace Sleeves - SPIN 2

Monkey To Man - SPIN 3

Slow Down - IMPROMPTU

Sulky Girl - SPIN 4

Man Out Of Time - SPIN 5

Joker - SPIN 6

Possession - REQUEST

The Other Side Of Summer - REQUEST

Veronica - NAPOLEON'S SPIN (7)

"Girl" Jackpot - SPIN 8

This Year's Girl
Girl
Spooky Girlfriend

Chelsea - IMPROMPTU

Waiting For The End Of The World/I Can Only Give You Everything - IMPROMPTU

Watching The Detectives - IMPROMPTU

Pump It Up - IMPROMPTU

Alison - IMPROMPTU

Finale

A Slow Drag With Josephine - NAPOLEON SOLO

Sulphur To Sugarcane - The Imposters with Rebecca and Megan Lovell of Larkin Poe on mandolin, dobro and vocals.

The Crooked Line - duet with Rebecca Lovell. Megan Lovell on dobro and vocal harmony

Peace, Love And Understanding - The Imposters with Rebecca and Megan Lovell.

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Elvis Costello & The Imposters
Detroit
June 20th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

I Hope You're Happy Now
Heart Of The City
Mystery Dance
Uncomplicated
Pump It Up

The Spectacular Spinning Songbook

Oliver's Army - SPIN 1

Chelsea - SPIN 2

Hand In Hand - IMPROMPTU

And Your Bird Can Sing - SPIN 3

Detectives vs Hoover Factory

Watching The Detectives - SPIN 4 (UNANIMOUS)

Help Me - IMPROMPTU

Joker - SPIN 5

Black And White World

Beyond Belief - IMPROMPTU

Daddy Can I Turn This? - IMPROMPTU

I Want You - SPIN 6

"I Can Sing A Rainbow" Jackpot - NAPOLEON' SPIN (7)

Greenshirt

Doll Revolution - SPIN 8

So Like Candy/Don't Let Me Be Misunderstood - SPIN 9

Red Shoes - "I Can Sing A Rainbow" Jackpot (Continued)

Purple Rain - "I Can Sing A Rainbow" Jackpot (Concluded)

Interlude

Pills And Soap - "Joanna" Choice with Steve Nieve

"I Can Sing A Rainbow" Again - Jackpot - SPIN 10

Almost Blue

New Lace Sleeves - REQUEST

Lipstick Vogue - IMPROMPTU

Waiting For The End Of The World/I Can Only Give You Everything - IMPROMPTU

Finale

A Slow Drag With Josephine - NAPOLEON SOLO
Sulphur To Sugarcane
Alison
Peace, Love And Understanding
Substitute

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Elvis Costello & The Imposters
Columbus
June 19th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Bedlam - SPIN 1

Deep Dark Truthful Mirror - SPIN 2

"Happy" Jackpot - SPIN 3 & 5 (Double Spin)

I Can't Stand Up For Falling Down
High Fidelity
I Stand Accused

Detectives vs Hoover Factory - SPIN 4

Watching The Detectives (UNANIMOUS)

Riot Act - SPIN 5

And Your Bird Can Sing - SPIN 6

Waiting For The End Of The World - IMPROMPTU

Beyond Belief - IMPROMPTU

Chelsea - SPIN 7

Turpentine - IMPROMPTU

Interlude

My Three Sons - "Joanna" Choice with Steve Nieve

Long Honeymoon - SPIN 8

God Give Me Strength - SPIN 9

Less Than Zero - REQUEST

Finale

Indoor Fireworks - REQUEST

Alison - SPIN 10

Everyday I Write The Book - IMPROMPTU

A Slow Drag With Josephine - "Napoleon Solo" choice
Pump It Up/Busted
Peace, Love And Understanding

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Elvis Costello & The Imposters
Rochester
June 17th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Joker - SPIN 1

Everyday I Write The Book

Detectives vs Hoover Factory - SPIN 2

Hoover Factory
Watching The Detectives

"King's Ransom" Jackpot - SPIN 3

The Spell That You Cast
American Without Tears
Brilliant Mistake
National Ransom

Monkey To Man - SPIN 4

Temptation - with Steve Nieve - IMPROMPTU
All Grown Up - with Steve Nieve - IMPROMPTU

Veronica - SPIN 5

45 - IMPROMPTU

Commercial Break

The Stations Of The Cross

Almost Blue - IMPROMPTU
Chelsea - IMPROMPTU
Less Than Zero - IMPROMPTU

Beyond Belief - SPIN 6

Waiting For The End Of The World - IMPROMPTU
You Belong To Me - IMPROMPTU
Next Time Round - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

Pump It Up/Busted (Harlan Howard) - IMPROMPTU

"Girl" Jackpot - SPIN 7

This Year's Girl
Spooky Girlfriend
Girl (Lennon/McCartney)

Alison - IMPROMPTU

Finale

This Wheel's On Fire/The River In Reverse/On Your Way Down/I'll Take Care Of You/This Wheel's On Fire
Peace, Love And Understanding

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Elvis Costello & The Imposters
Pittsburgh
June 16th , 2011

Overture - featuring the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

You Tripped At Every Step - SPIN 1
Everyday I Write The Book - SPIN 2

Joker - SPIN 3

Pump It Up
I Can't Stand Up For Falling Down - IMPROMPTU

Joker - SPIN 4

Spooky Girlfriend

"Girl" - Jackpot - NAPOLEON'S SPIN (5)

Party Girl

Sulky Girl - SPIN 6

So Like Candy - REQUEST

Monkey To Man - SPIN 7

Chelsea - IMPROMPTU

All Grown Up - NAPOLEON'S REQUEST

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
God's Comic

"Time" - Jackpot

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time

Finale

Peace, Love And Understanding
Substitute
Watching The Detectives
I Want You

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Elvis Costello & The Imposters
Wolf Trap, Vienna
June 15th , 2011

Overture - featuring the return of the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Pump It Up In 6/8/Busted - SPIN 1

Alison - SPIN 2

"Girl" Jackpot - SPIN 3

This Year's Girl
Party Girl
Girl - Lennon/McCartney

"King's Ransom" Jackpot - SPIN 4

The Spell That You Cast
Indoor Fireworks
Brilliant Mistake
National Ransom

Everyday I Write The Book - SPIN 5

Joker - SPIN 6

Roxanne - IMPROMPTU
I Want You - JOKER CHOICE

Joker - SPIN 7

And Your Bird Can Sing - JOKER CHOICE

Chelsea - IMPROMPTU
Beyond Belief - THE REQUEST LIGHT
Waiting For The End Of The World - IMPROMPTU

So Like Candy - SPIN 8

Don't Let Me Be Misunderstood - IMPROMPTU

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

"I Can Sing A Rainbow" Jackpot - SPIN 9

Greenshirt
Red Shoes
Purple Rain

Finale

Honey Are You Straight Or Are You Blind?
Peace, Love And Understanding

Elvis Costello in a gem of a show at the Pageant

stltoday.com: Daniel Durchholz: July 3rd, 2011

Costello interpolated songs like Sonny Boy Williamson's "Help Me," and Them's "I Can Only Give You Everything" into his own tunes, creating something new along the way. The technique was never more effective than when he began Bob Dylan and the Band's apocalyptic "This Wheel's on Fire," then moved into his own impassioned post-Katrina plea for New Orleans, "The River in Reverse."
It was a powerful but sobering moment in a concert that otherwise offered nearly three hours of hilarity, musicality and unabated joy.

Read more...

"He Worked The Room Of Teenagers To 60-Year-Olds Like A Master Of Ceremonies"

3 Minute Record: July 2nd, 2011

Before calling for song three, shouts and applause rose from the audience as out from the shadows walked Eddie Vedder to the stage! In town for his date at the Fabulous Fox Theatre the same night, Vedder helped Costello belt a raucous version of The Who classic “Substitute.” Not sharing the microphone, but standing close with a handheld, Vedder sang along with the ferocious power he’s known for. After the song, Costello called for Vedder to spin the wheel, his result landing on the classic “Pump It Up.” Off to a great start, the night was already special and only the four song of the set had passed.

Read More...

"Pat Sajak Impersonations And A Little Sexy Swiveling?"

Riverfront Times: Christian Schaeffer: July 2nd, 2011

"As Costello and his crew left the stage, drummer Pete Thomas gave an errant spin of the wheel as the house lights came on. It landed on "I Want You," almost certainly Costello's darkest song of violent lust and barely contained sexual rage. Fitting, then, that after a night of excess, the wheel leaves us with a message about insatiable desire. The crowd certainly would have stuck around for one more song, or twenty, but Costello understands that showbiz adage: Always leaving them wanting more"

"We certainly understand the logic of only allowing pretty girls to get up there"

The Larryville Chronicles: July 1st, 2011

"I especially dug the second-encore jamboree with the Southern sisters from the opening act, who added some sweet pedal steel to 'Sulphur to Sugarcane' with Costello vamping it up to lyrics like 'I gave up married women cause I heard it was a sin / Now I'm back in Kansas City I might take em up again." Who doesn't love when singers include the name of the city they're in!"."

Read More....

"Earthworms!!! Run For Your Lives!!!"

The Kansas City Star: Joel Francis: 1st July, 2011

“(What’s So Funny ‘Bout) Peace, Love and Understanding,” usually an encore, came up early. So did “Earthworms,” a song Costello wrote for singer Wendy James in the early ‘90s but never recorded himself.

"Like A Phoenix, Touched For The Very First Time"

The Pitch: David Hudnall: July 1st, 2011

Down in front, a night's convention of happily married couples chicken-danced to devilish and desperate songs about the hells of divorce and infidelity. "I Want You," turned the stage lights blood red. In this trial-like song that throws a cheating heart and its victim through an incinerator, he wrenched and wailed some of his sickest lyrics three times over: Did you call his name out as he held you down? The irony was rich, jolly and irreproducible.

Then he sang the lines of the once-TV-banned "Radio, Radio." I wanna bite the hand that feeds me / I wanna bite that hand so badly / I wanna make them wish they'd never seen me. In this bizarre world, Costello's conquest of America turns the would-be gimmick of the Revolver Tour into a rising phoenix...

"Minus The Pickle Juice"

ReviewSTL: Allison: July 1st, 2011

"He selected a preteen who excitedly danced her way onto the stage and spun “Bedlam” as the next song. She jived first in an on-stage lounge and later in the go-go dancer’s cage as the band performed a version that had been slightly slowed down and jazzed up since its release on 2004′s The Delivery Man."

Spinning Wheel, Elvis Keeps On Turning

StarTribune: Jon Bream: June 30th, 2011

The evening actually opened with a shotgun-paced barrage of early Elvis, including a revved-up "Mystery Dance" and a rollicking "Radio Radio." Then it became "Wheel of Fortune" meets "Austin Powers" as Costello's quick wit often offset the ballad-heavy luck of the 40-song roulette spin. At one point, he just took over and, without explanation, offered a medley of the Band's jubilant rocker "This Wheel's on Fire" and the smoldering blues "The River in Reverse." That had to rival the "time" medley for the long night's musical highlights as Costello and the Imposters played a few songs with "time" in the title, ending with the intense "Man Out of Time" with the star strolling through the crowd singing and high-fiving fans.

"Perhaps he was just being a joker all along"

City Pages: Jeff Gage: 30th June 2011

The first member of the audience who got to spin the big wheel sitting on stage at the State last night was a woman named Heidi. She ran up on stage, squealing with delight, and gave Elvis Costello an enormous hug. "My friend and I have been following you for 30 years!" she exclaimed. At that, Costello, dressed in a black top hat, ushered Heidi's friend, Lisa, on stage as well, and the two women spun the wheel together to see what song would be played next.

Read More.....

"The Last Five Minutes On Earth"

StarTribune: Jon Bream: June 30th, 2011

Costello had fun with whomever came onstage to spin his rock roulette wheel. There were two women, best friends since high school who had been listening to Elvis for 30 years; a young woman and her grandmother; a series of married couples, etc. and hurled some political zingers, telling one wheel spinner that the world’s last five minutes of entertainment was in her hands because the Rapture is coming. Said Elvis: "The goal here is that they take Glen Beck and Michele Bachmann first."

"The Spinning State"

The Journal: Jeremy Zoss: 30th June, 2011

With each spin of the wheel, Costello and the band launched into a veritable mini-concert. Each bite-sized set was accompanied by its own theatrics, such as a caged go-go dancer with boundless energy, Costello singing in the aisles and remixed versions of some of his most popular songs The crowds were on their feet at the end of nearly every mini-set – Costello’s voice has lost little over the years and he still plays guitar with more bite and flash than musicians half his age.

"Funnest Show On Earth!"

Torontoist: Jim Kelley: 25th June, 2011

"Costello brings the night to a subdued and dignified close with “I Hope,” a bonus track from the Japanese pressing of his latest, National Ransom. A crowd-pleasing two hours and 40 minutes after it began, the Spectacular Spinning Songbook is over. It feels like the circus has folded up the Big Top and left town. But we got to dance in the lioness’s cage and take the Ringmaster’s wheel for a spin. The Funnest Show on Earth!"

"Steve Nieve Is Completely Well"

"We are pleased to announce that Steve Nieve is completely well, having experienced a severe muscle spasm during the Spectacular Spinning Songbook show in Grand Rapids, Michigan. The episode forced Mr. Nieve from the stage after two stellar piano performances of the songs "Black Sails In The Sunset" and "Talking In The Dark". Thankfully, he is now completely recovered and "The Revolver Tour" will next play the State Theatre in Minneapolis on Wednesday the 29th of June.

"On the eve of the Grand Rapids show, an impromptu decision was made to incorporate the Spectacular Spinning Songbook in the appearance at Meijer Gardens, a beautiful setting not originally thought to be suitable for the presentation, as shows there take place in both broad daylight and are completely open to the elements. Although forecast bad weather did not make an appearance, the show took a rather unexpectedly dramatic turn after about 55 minutes when Mr. Nieve was suddenly unable to continue.

To avoid causing unnecessary alarm while Mr. Nieve was being examined as a standard precaution, Mr. Costello took the decision to continue with the show in solo performance, featuring such songs as "You Little Fool", "Everyday I Write The Book". "Radio Sweetheart" and "Sulphur To Sugarcane".

"The Elvis Costello Experience" then made its first appearance since 1980 in the Channel Islands, playing trio versions of "Chelsea", "Less Than Zero" "Bedlam" and an extended "Watching The Detectives", incorporating verses from "Help Me" and "Love That Burns". These unique renditions seemed to meet with audience approval despite the unfortunate circumstances. Although tonight's total performance lasted more than two and a quarter hours, the entire company look forward to a full return engagement on some future occasion.

Napoleon Dynamite, Elvis Costello and the Imposters would like to extend special thanks to local gal, Keri Larsen Kujala, who, at very short notice, danced the role of "Miss Cindy Withers", in the absence of the originally unscheduled, regular cast member Melisa Valdez ("Dixie De La Fontaine"). Ms Kujala brought an especially lively presence to the void on stage right during the closing numbers. We will always think fondly of her contribution."

"For More Tears"

FOR MORE TEARS

Too many teardrops
And still we’re crying out loud
For more tears
You said that we’d never part
You didn’t take that to your heart

Now dark bells will chime
For our sins and our crimes
96 times
Four more tears

One hundred years have passed
A poppy pinned to your breast
For more tears
They say, “We’ll never forget”
But the earth is thirsty yet

And muffled drums will drag
As they’re folding up the flag
Zipping up the bag
For more tears

Oh, I can’t stop for trying
Oh, so come to now
And don’t delay
There’re too many tears to wipe away
Or be betrayed

Eight angry men and four furies
Surely a hangman's jury
Hung up overnight
Next morning
Read the report of the pistols sold and bought

A tale of long tale of misery
Repeats the same sorry history
Butchers cut them down to size
Spilling out their guts and lies
Soothing breezes and last sighs
For more tears

Oh, I can’t stop for trying
Oh, so come to now
And don’t delay
There’re too many tears to wipe away
Or be betrayed

FIRST PUBLIC PERFORMANCE - TORONTO 23/06/11

"Wah-Wah"

Buffalo News: Jeff Miers: 26th June, 2011

"During a brisk-tempoed take on “Turpentine,” keyboardist Nieve played theremin, and set the stage for a lengthy guitar solo from Costello, who seemed to be fully partaking of the pleasures afforded by an abused wah-wah pedal. He blew another killer solo during an inspired reading of “Clubland,” added significant guitar grit and muscle to the previously clean and neat “Beyond Belief,” and simply burned through a punk-fueled “Stella Hurt.”

Step right up, folks, for the amazing Elvis Costello

The Globe And Mail: Brad Wheeler: 24th June, 2011

To a theatre full of people who adored him, Elvis Costello reflected their good taste and justified their fandom. The big, illuminated and colourful wheel that dominated stage right was the Spectacular Spinning Songbook, a gaudy gyrating résumé for the amazing singing Elvis. “Round and round it goes,” he said like a dandy carnival barker more than once, “where it stops, nobody knows.”

One could say the same thing about Costello, an untiring artist whose remarkableness and charm were in plain sight and pleasing earshot for two hours and more. It was a merry, rocking event, enjoyed by the Cole Porter-loving post-punk onstage and surely everyone else in the building – with non-stop highlights.

I Hope You’re Happy Now, Heart of the City, Mystery Dance, Uncomplicated and Radio Radio Offered with no breaks (other than a “1-2-3-4”) between them, the first numbers were something of a sprint to the starting line. The tempo was uniformly upbeat, the organ sounds were cheesy, a booted booty-shaker go-goed in a cage and the three-piece Imposters raced, rumbled and rolled. On his various keyboards and theremin, Steve Nieve was busier than a one-eyed mole-whacker.

Everyday I Write the Book Finally a breather, as Costello, 56, donned a top hat, picked up a cane and introduced himself as Napoleon Dynamite. A snazzy lady audience-wrangler brought up the night’s first wheel-spinner from the crowd; her modest twirl landed on this 1983 hit done in a slightly funky fashion, with Costello’s Fender Telecaster making scratchy, trebly noises.

Turpentine A percussive track from 2008’s curiously titled Momofuku had audience-member Mary in the go-go cage shaking a pair of maracas and other things with grace and confidence. All the while, wheel-whirlers who gave their names as Allison and Gord enjoyed a cocktail at the onstage “Society Lounge.”

Leave My Kitten Alone Little Willie John’s rockabilly R&B classic was done as you would imagine the Beatles did it in Hamburg (except for the reedy organ bit, of course).

Alison A moving number, with Costello’s distinctive voice breaking affectingly. Audience members helped, their aim true too.

Tracks of My Tears/Tears of a Clown/The Wind Cries Mary/Over the Rainbow/Somewhere Alison segued into a medley of song snippets, offered seamlessly and in a melodic stream of consciousness. One would imagine the musical egghead with the fedora and spectacles could have stretched this out for a hundred tunes, no sweat.

A Slow Drag with Josephine From 2010’s National Ransom, “rock ‘n’ roll, like I imagine it in 1856,” explained Costello, who whistled, strummed an acoustic and rhymed “adieu, my little ballyhoo” with “broke my heart in two” on a bluesy parlour-room shuffle.

(What’s So Funny ‘Bout) Peace, Love and Understanding and (I Don’t Want To Go To) Chelsea What’s so funny about filmmaker Bruce McDonald and about 30 others dancing on stage? Nothing, nothing at all.

I Hope After Pump it Up (in 6/8 time), a commendable bit of Prince’s Purple Rain and the country soul of Man Out of Time, Costello left with a sparse breakup ballad. “Keep on dancing and let the music play” is a beaten man’s request. An eloquent winding down, to a stunning evening.

"Costello

canoe.ca: Jane Stevenson: 24th June, 2011

"Whether he realizes it or not, he is cool, talented, charming and often quite sexy, whether he’s crooning a ballad or rocking out intensely."

Costello provides his own thunder at rain-soaked Jazz Festival

Ottawa Citizen: Lynn Saxberg: 24th June, 2011

Ottawa — Singer-songwriter Elvis Costello bounded on to the stage of the TD Ottawa International Jazz Festival and lit into what was probably the most rocking concert ever witnessed at the venerable festival.

Instead of relying on a wheel-driven game of chance to determine the song selection, a gimmick he's been using in other cities on his current tour, Costello played whatever the heck he wanted, and seemed to take the opportunity to let loose. There was a setlist, but he didn't follow it very closely.

Looking trim in a dapper suit and sporting his trademark fedora and thick-rimmed glasses, the 56-year-old Brit kicked things off with a high-octane version of Pump It Up, which immediately commanded the attention of the small but enthusiastic crowd. A torrential downpour earlier in the evening kept many fans away, although the weather cleared in time for Costello's headlining performance, and he started right on time.

"Lovely weather we're having," he commented at one point, "(but) having spent the last six years living in British Columbia, this is a sunny day to us."

The former Declan MacManus was a ball of energy during the entire show, putting his band through their paces early on a taut and speedy Heart of the City before careening back to the mid-70s nugget, Mystery Dance. His band, the Imposters, which consisted of keyboardist Steve Nieve, drummer Pete Thomas and bassist Davey Faragher, was fantastic, effortlessly keeping up with the pace set by their boss.

Costello delivered a show that will be remembered by the 2,500 or so who braved the cool, damp conditions. His voice sounded great and he was a charming frontman, showing little of his famous curmudgeonly streak. The crowd-pleasing performance ended on a high that included a string of familiar songs re-energized by the chemistry of the band. From Watching The Detectives and Alison to Honey Are You Straight? Red Shoes, I Can't Stand Up, High Fidelity, a surprising but fun cover of the Stones song, Out of Time, and Costello's anthem, Peace Love and Understanding, the mood was one of elation as the crowd bopped along.

Costello handled the guitar work, both electric and acoustic, on his own, turning in the sharp, tasty licks that add so much to his music, while keyboardist Nieve was responsible for filling in the spaces with inventive passages that roamed from straightforward piano to outer space and back.

They charged through Strict Time and Clown Strike early on, and then slowed the tempo in the middle for a nice, torchy version of Almost Blue, the title track from Costello's 1981 album with the Attractions. Costello hammed it up for the on-stage video camera, planting a big kiss on the lens. Another ballad highlight was the old-timey A Slow Drag With Josephine, from last year's album, National Ransom.

Back by Popular Demand, Elvis Costello and the Imposters Return to NYC/NJ

Three New Spectacular Spinning Songbook Shows Added, More Anticipated.

Elvis Costello and the Imposters announced additional dates featuring the Spectacular Spinning Songbook, with three new tri-state area shows this fall, on sale Friday, June 24. The shows include Costello's re-scheduled May 18 performance, now set for October 5, as well as two new dates by popular demand:

10/1 – United Palace Theater (New York, NY)

10/5 – The Wellmont Theatre (Montclair, NJ - rescheduled from 5/18*)

10/6 – The Wellmont Theatre (Montclair, NJ)

* All tickets for the original date will be honored for the Oct 5th show only.

Critics nationwide unanimously raved for Costello's spring "Revolver" dates, and nowhere more fervently than in New York. New York Times wrote that "there is, in the end, no way to keep Mr. Costello’s songs in any shallow entertainment mode" and Rolling Stone called the show "epic", heralding the "velocity and challenge" with which he and his band stormed the New York stage.

Lucky audience members will once again be invited up on stage to help create uniquely fated sets on every bill by spinning the enormous Wheel, which includes 40 banners providing hits, rarities, and surprises.
The Imposters are: Steve Nieve (keyboards), Pete Thomas (drums), and Davey Faragher (bass).

Stay tuned for more updates....

Elvis Costello takes fans for a songbook spin in Royal Oak

The Oakland Press: Gary Graff: 21st June, 2011

Highlights included an emotive "I Want You," "Doll Revolution," "So Like Candy" (one of several songs Costello's co-written with Paul McCartney), "New Lace Sleeves" and "Pills and Soap." During one of the encores, meanwhile, he dipped into his recent Americana-flavored releases for the swinging "Sulphur to Sugarcane."

As iconoclastic as he is iconic, Costello's never been one to follow any sort of rules throughout his career. On Monday in Royal Oak, he continued to do it strictly on his own terms — which proved to be the best way indeed.

"A Writer Speaks"

The Writing Life: Katey Schultz: 22nd June, 2011

"The band played for about two hours, effectively nonstop. For the last 40 minutes, 80% of the audience was on their feet, with perhaps 100 folks slammed up against the edge of the stage, bouncing and twitching to the beats"

"Sitting their watching Costello’s entire body vibrate with his art, infusing the crowd of thousands—ten-year-olds to seventy-year-olds—I had to admit that the road life can be pretty good to some artists. That some people make a life of it forever, so that home becomes movement and movement becomes second nature. And so of course, when “Pump It Up” came belting over the speakers in that telltale, sandpaper, distinct voice of his, I had only one thing to do: get up and dance."

Read More....

"Men Knock Upon My Door In Odd And Even Numbers But None Of Them As Wild As I Discovered In Columbus"

My Favorite Songs Of All Time - Elvis Costello "Relationship Status: Uncomplicated"

Colin Gawel.com: JUNE 21, 2011

Among the many, many reasons I love rock n roll so much is that infidelity is strongly encouraged and is in fact essential to maintain a healthy bond. Sure, I may be in a committed long term relationship with the likes of Bruce Springsteen, The Kinks, Cheap Trick and The Replacements ECT.. But I reserve the right to have tawdry affairs whenever my throbbing biological urges become too much to take.

Or put another way, I may fix Lucinda Williams breakfast in bed every Sunday morning for all eternity, but get a few drinks in me on Saturday night and I transform into a rock n roll slut, content to jam (or Ram if you will) my tongue down Judas Priest's throat begging to hear "Electric Eye" at 120 db one more time. "Let me lick the frosting and someone else can have the cake", if you know what I mean. Ah yes, drinking and fooling around, the very essence of rock n roll.

I maintain an open relationship with thousands of bands and we have some harmless fun. Nobody gets hurts. No commitment. No drama. I may not reach out for months or even years and then suddenly bang on the"Rhapsody" door at 3am looking for a nightcap and just one kiss.

However, once in a while, one of these affairs turns into something a little more serious. It's an unsettling feeling falling for somebody new. I start to get a little jealous. Stalking the band on face book, watching endless clips on YouTube, boring my friends to tears with endless talk of how great they are. Suddenly I wake up needy. My other affairs don't mean as much. I stop texting Iron Maiden and blow off my date with Public Enemy just to sit at home wondering what they are doing.

This is where I am at with Elvis Costello. When I saw he was coming to Columbus with the Imposters this June, I knew this was my make or break moment. It was time for me to "Invest" in "us". Truth be told, I have been seeing his album "Blood and Chocolate" on the side now for a couple of years. I find myself sitting in my driveway alone at night listening to "Uncomplicated" and "Battered Old Bird" while my wife is inside asleep in our bed. These two songs are so powerful. So fearless. I find myself returning to them over and over. Yet, I couldn't seem to embrace the rest of Elvis's catalog with the same passion I had for this record.

I knew it wasn't him. He is great. Everybody I respect will vouch for what a great guy Elvis is. He has done so many interesting projects. I knew I was the one to blame for holding our relationship back. Commitment issues. (Again)

So I prepared for this concert. I wanted to build 'us' into something more than stale beer and wrinkled bedsheets. I wanted us to take the next step. I wanted to show Elvis I was serious about this and would be willing to do my part to help us succeed. So I listened and listened to his catalog preparing for our big date. I showed up at the concert with a dozen roses, a head full of Costello tunes and a 40oz draft beer in hand. I was ready to be swept off my feet.

And boy was I. I'm smitten. As he was tearing the roof off the LC with a blistering version of "Uncomplicated", I turned to my friends Brian Phillips and Joe Peppercorn and said, "If my ticket cost $100 and he only played this one song, it would have been worth it". It was that good. So Elvis and I are getting serious. Though officially our status is still "Uncomplicated" . Special shout to Nick Lowe for some of the greatest production in the history of rock n roll. Colin Gawel is a songwriter/baseball fan/drooling fanatic who moonlights as a hack writer and coffee shop owner. He plays in Watershed and fronts the Lonely Bones. Colingawel.com

Wheel Spins A Memorable Evening

The Columbus Dispatch: Gary Budzak: 20th June, 2011

"There were women dancing throughout the show in the go-go cage, and Costello himself even did a stint in it, and it reminded one of something out of Austin Powers or Laugh-In and worked as a gilded bird cage - at one point, Costello sang And Your Bird Can Sing from the Beatles' Revolver album (the name of Costello's tour, appropriately enough, was "The Revolver," on its fourth stop)."

"One of the best shows I have ever seen"

Rochester City Newspaper: Frank De Blase: 18th June, 2011

"After spinning the wheel guests were invited to sit in the mondo cool lounge and sip something blue in fancy stemware or dance in the go-go cage. This included one young lady --- I'm guessing about 14 years old --- that had some moves that I'm sure got her grounded later."

"From Our Cheese And Poetry Correspondent"

Democrat And Chronicle: Jeff Spevak: 18th June 2011

"Today's jazz haiku

In rock, and life too,
the wheel is a funny game
loaded with jokers"

Talented Costello Keeps Crowd Thrilled

Pittsburgh Tribune: Rege Behe: June 17th, 2011

The wheel landed on some rare gems, notably "Silky Girl" and "Party Girl."

All of the audience participants were female -- including an adorable 11-year-old named Lily -- save one guy named Jack from Cleveland who was greeted with a round of boos. He also admitted he skipped out from work to attend the show. Guess what Jack? You're busted, but perhaps his song, "Spooky Girlfriend" was compensation enough.

Read More......

Elvis Costello's Spinning Songbook is a win-win

Pittsburgh Post-Gazette: Scott Mervis: 17th June, 2011

Then, Elvis ran off, changed and returned in the guise of game-show host Napoleon Dynamite, promising "songs about love, songs about sex, songs about death, and dancing, but not necessarily in that order." The first spin, in the rain, from Katie, came up on the "You Tripped At Every Step," and so it went, with "Every Day I Write the Book" from Haley, and old frat-rock fave "Pump it Up" (a Joker "request" spin from Amy).

In the end, we were all winners of the Spinning Songbook, lucky to witness an artist who, through the course of two and a half hours and 30 songs, managed to be charming, funny, nimble, disturbing and very rock 'n' roll.

"I Wouldn't Talk Down To You"

Even despite the gold lame jacket he sported at the end of the night, Costello can only delve so far into gaudy tastelessness -- the songs are just too good to go there. The wheel brought up "King's Ransom", which led to the country soul of "Indoor Fireworks" and the dry wit of "Brilliant Mistake" from his King of America album. "I Want You" was requested after another spin, and the result was haunting. "Pump It Up" was transformed from a New Wave rocker to a sweaty, bluesy 6/8 grind. Well-executed covers were peppered throughout the show, including "And Your Bird Can Sing" and "Girl" from The Beatles, "Roxanne" (sung for a fortuitously named audience member) and even snippets of Prince's "Purple Rain" during the encore.

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Elvis Costello's Spectacular Spinning Songbook Rolls On Into June And July Dates

Following boffo business at the box office, popular demand and press acclaim, Elvis Costello and the Imposters announced today that they will be bringing the Spectacular Spinning Songbook to most of their dates during June and July.

6/15 Wolf Trap-Vienna, VA

6/16 Trib Total Media Amphitheatre-Pittsburgh, PA

6/17 Kodak Hall-Rochester, NY

6/19 LC Pavilion-Columbus, OH

6/20 Royal Oak Theatre-Detroit, MI

6/21 Kresge Auditorium-Interlochen, MI

6/23 Sony Centre-Toronto, ON

6/29 State Theatre-Minneapolis, MN

6/30 Crossroads-Kansas City, MO

7/1 The Pageant-St. Louis, MO

7/16 Belk Theater-Charlotte, NC

7/18 N. Charleston PAC-N. Charleston, SC

7/19 Wolfe Auditorium-Asheville, NC

7/22 Borgata-Atlantic City, NJ

7/24 Westhampton Beach PAC-Westhampton Beach, NY

7/26 Count Basie Theatre-Red Bank, NJ

7/28 State Theatre-Portland, ME

"The Revolver Tour" crossed the United States from Reno to New York City during May, concluding with a sold out three-night stand at that the Beacon Theatre.

While the Los Angeles Times called “"The Revolver Tour", A uniquely invigorating experience that warrants a buzzword all its own: inspiring."

The only exceptions to this announcement of further "Revolver" dates are the festival and concert appearances at;

6/24 Ottawa Jazz Fest-Ottawa, ON

6/25 Buffalo Rocks the Place-Buffalo, NY

6/27 Meijer Gardens-Grand Rapids, MI

during the month of June

7/20 Innsbrook Pavilion-Richmond, VA

7/23 Gathering of the Vibes-Bridgeport, CT

7/27 Cape Cod Melody Tent-Hyannis, MA

7/30 Osheaga Festival-Montreal, QC

7/31 Newport Folk Festival-Newport, RI

during the month of July

It seems it didn't ...

Elvis Costello's Tribute to Neil Young

On January 29, 2010, Neil Young was honored as the 2010 MusiCares Person of the Year. At a gala event in Los Angeles, superstar artists paid tribute to the legendary singer, songwriter and performer with inspired versions of some of his most memorable songs.

Elvis Costello's performance of Neil Young’s “(When You’re On) The Losing End” is now on DVD and Blu-ray! A MusiCares Tribute to Neil Young also features such artists as Neko Case, Crosby Stills & Nash, John Fogerty, Ben Harper, Elton John, Dave Matthews, James Taylor and Wilco performing inspired versions of some of Neil’s most memorable songs.

Proceeds from the sale of this release will provide essential support for MusiCares, which ensures that music people have a place to turn to in times of financial, medical and personal need. Available wherever you buy music, DVDs and Blu-ray discs!

More Info....

Bruce Springsteen and Elvis Costello Perform 'Seeds' On 'Spectacle'

Rolling Stone: Barry Walters: 7th June, 2011

In the fall of 2009 – during downtime on his Working On A Dream Tour – Bruce Springsteen taped an amazing appearance on Elvis Costello's talk show Spectacle. Recorded at Harlem's Apollo Theater, the two artists talked for hours and performed an killer set backed by members of the E Street Band and the Impostors. A DVD of the entire second season of Spectacle hits stores today. Check out this clip of Springsteen and Costello performing Springsteen's lost 1980s classic "Seeds."

Springsteen has kept a very low profile over the past year and a half. There's been the occasional charity gig and guest appearance as well as scattered rumors of recording sessions at his New Jersey home studio, but that's about it. Here's some unsolicited career advice: take a page out of the Prince playbook and announce a 28-night stand at New Jersey's Izod Center. Some markets on the Working On A Dream tour were soft, but that'll never happen in New Jersey. Also, the Nets don't play there anymore – so the venue will bend over backwards to accommodate him.

The second season of Costello's chat show once again features famous songwriters answering serious questions about their craft and performing with Costello's Impostors. Bruce Springsteen's visit is especially fascinating; during two 50-minute segments, he and Costello touch on a vast array of topics, including the musical tastes of Springsteen's three kids (punk, Top 40 and Dylan), and bang through a charged-up medley of Springsteen's "Radio Nowhere" and Costello's "Radio Radio." Also great: the episode featuring Bono and the Edge, where the frontman wails "Two Shots of Happy, One Shot of Sad," a rare 1997 track that U2 wrote for Frank Sinatra.

Spectacle: Elvis Costello With ...Season Two To Be Released on Blu-ray and DVD on June 7, 2011

Includes one-time-only performances and rare, in-depth interviews with Bono and the Edge of U2, Bruce Springsteen and many others....

Video Services Corp. (VSC) and MVD Entertainment Group (MVD) will release the Sundance Channel hit, Spectacle: Elvis Costello With... Season Two on June 7th in standard DVD and Blu-ray formats. The two-disc sets feature all seven episodes of the second season of the show, plus over one hour of bonus features.

Viewers will share in the passion of seven intriguing episodes of chords and conversation with superstars and some of the best singers and songwriters in the business, including: Bono and The Edge Of U2, Bruce Springsteen, Neko Case, Sheryl Crow, Ron Sexsmith, Jesse Winchester, Nick Lowe, Richard Thompson, Allen Toussaint, Levon Helm , John Prine, Lyle Lovett, and Ray Lamontagne.

Shot in 2009 at the storied Harlem's Apollo Theater and Toronto’s Masonic Temple, the second season of Spectacle features this amazing line-up of guests and Costello and his band ,The Imposters, wowing their audiences with unforgettable performances and colorful and creative discussions. The press has been rapturous:

“An engaging showcase for a curious mind” (No.1 pick) Time Magazine

“The appeal has much to do with Mr. Costello’s intergenerational coolness.” “Top 10 shows on TV” The New York Times

“We love the show!” Rolling Stone

Costello is thrilled by the caliber of musicians who appear on the show. “Our guests have been faultlessly generous with their time, their reflections and their music,” he says.

Bonus features include: the behind-the-scenes documentary Spectacle: Elvis Costello With...Inside Notes hosted by Executive Producer David Furnish and never-before-released bonus songs from Elvis & The Imposters and guests not seen in the original broadcast versions, including Bono and The Edge performing Costello’s “Alison”.

“The response we've had to the show is so gratifying - not only from people who've seen it, but all the artists who've come on with Elvis have been thrilled to be a part of something that's genuinely – and passionately - about music,” said Executive Producer and guest star Sir Elton John. SPECTACLE is produced by Toronto’s SpyBox Media, Prospero Pictures and Reinvention Entertainment, and by London-based Rocket Pictures, in association with Alex Coletti Productions.

Spectacle: Elvis Costello With… contains fascinating behind-the-scenes stories and unique, intimate performances. It’s a veritable video library of the history of modern music that matters.

“Elvis Costello takes his performances and interviews a step further than most, capturing music history and memorable anecdotes from A-list music legends,” said VSC President Jonathan Gross. "As a DVD boxed set, it works both as an emotionally involving television series and as a must-see episode in the history of popular music."

Elvis Costello Sings With Grover And All The Gang

The Wall Street Journal: Marshall Heyman: 3rd June 2011

One of the things that's frustrating about going to a fund-raiser at Cipriani 42nd Street is that, sitting through speeches and waiting for dinner to be served, you could eat a lot of breadsticks. The perfectly salty Cipriani carbohydrates are usually in the center of the table in water glasses. They're offered in addition to a croissant-like circular roll lying in wait on your bread plate.

In fact, sometimes you're so hungry or bored or both or, let's face it, the breadsticks are just there, that you could plow through them like Cookie Monster eats cookies. Except, as we learned Wednesday at Sesame Workshop's annual benefit there, Cookie Monster doesn't eat so many cookies anymore.

"We helped Cookie Monster deal with his obsessive compulsive disorder," said Gary Knell, the president and CEO of Sesame Workshop. "Now he knows that cookies are a sometime food and not an every time food."

Cookie Monster's diet is just one of the many things "Sesame Street" has changed, world-wide, to help children modify their habits toward healthier living. (Recent adaptations have sprouted in China and Nigeria.) This was the general message of the evening. (Richard T. Clark from Merck and Charles MacCormack from Save the Children were honored, too.)

"We even have Elmo model the correct way to sneeze," added Mr. Knell.

The dinner served to guests, which started with a green- bean salad and moved onto that Cipriani branzino that you can usually request as a substitute for steak, was pointedly healthy. But still there were those pesky breadsticks, which, thankfully, Cookie Monster doesn't appear to enjoy, leaving them for the rest of us, including a table mate who was wearing a tie with Elmo on it. The Sesame Workshop benefit is, apparently, one of the few events in the city where you can safely wear a tie with a red furry creature on it and be complimented.

"Dinner? Oh that my favorite," said the actual Cookie Monster when he appeared on-stage to introduce the meal. The great pleasure of this particular party is that the Muppets mingle with the guests.

With a carrot in his mouth, Mr. Monster reminded everyone that "Cookie is a sometime food and vegetables is an everything food, so me just eat three centerpieces." (On point, centerpieces were made of yellow peppers and green apples.) "But me hope cookies for dessert!"

No such luck, Cookie Monster: It was berries and sorbet in a dark-chocolate basket.

Continuing the preoccupation with taking care of ourselves, after dinner, Grover—emcee with Deborah Roberts—came out in jogging attire. "Come on, everyone, it's jumping-jack time," he said. "Everyone feel the burn. We want furry blue buns of steel."

It's hard enough to get patrons to show up to these events sometime—though the Sesame Workshop benefit certainly ranks up with the best of them—let alone get them to work out in festive dress, so Ms. Roberts quickly calmed Grover down. Instead she introduced the musical guest: Elvis Costello, who blended right in with the rest of the "Sesame Street" denizens on hand.

"Come on, Grover," Mr. Costello said. "Be a cute fuzzy rock star like me and sing along."

Grover, Cookie Monster and Telly Monster joined Mr. Costello for a rousing performance of "Alison." Then Abby Cadabby and Kami (a muppet from the South African "Takalani Sesame") sang backup for "Peace, Love & Understanding." It was pretty thrilling, a throwback to those "Muppet Shows" of our youth.

"This is the hardest I've ever rocked," said Ms. Cadabby, a 3-year-old fairy-in-training.

Napoleon Remembers...

My many years in showbusiness have taught me that the audience is actually a group of individuals who - though deserving of respect and any even affection – may be transformed into an angry beast in the frenzy of the night.

I take the precaution of keeping a whip and chair close at hand, at all times.

So, it was with some trepidation that I picked up my cane, put on the pancake and powder and once again doffed a topper to assume my role as the M.C. of The Spectacular Spinning Songbook.

Could so patently absurd an entertainment as this survive in our Age Of Entitlement?

Well, cynicism be damned!

A rocking good time was had by one and all!

The public absolutely hurled themselves into this show with good humour and untrained limbs.

It was enough to melt my cruel old vaudeville heart.

While some people cavorted in the “Hostage-To-Fortune Go-Go Cage”, others whispered testimonials and personal asides, just shy of the spotlight.

They were both surprising and humbling.

You don’t expect to find such heart in the middle of the circus.

“The Revolver Tour” lit out from Reno on 7th of May, taking in two nights apiece at the Oakland Fox and Wiltern Theatre, Los Angeles.

The last of these shows was filmed for a future motion picture release.

The Spectacular Spinning Songbook featured forty banners, both individual song titles and a number of Jackpots prizes.

The operation of the Wheel was scrupulously fair at all times but as you know the house always wins.

This wheel doesn't revolve around the company store.

Neither does it stop exclusively for pirates, brigands or stamp collectors, let alone revenue collectors…

It is The People’s Wheel…

And it costs a pretty penny…

Faithful versions of hits and favourites like “Chelsea” and “The Other Side Of Summer” were heard alongside spanking new arrangements of “Veronica” and “Pump It Up”, the latter running on into a two-keyboard rendition of Harlan Howard’s “Busted”.

The revolution of fortune sometimes offered the chance to introduce the hits of the future like, “Flutter & Wow” and “A Slow Drag With Josephine” or rarely heard songs such as “All Grown Up”, accompanied solely by the grand piano of Steve Nieve.

The proposition “Detectives vs Hoover Factory” was met with a split audience decision on three occasions and both titles were performed, while “Watching the Detectives” prevailed on two other evenings.

The jackpot named, “Time” triggered a sequence of songs with that word in the title, including such tunes as, “Clowntime Is Over”, “Strict Time”, “Man Out Of Time” and the Jagger/Richards composition, “Out Of Time, while the “I Can Sing A Rainbow” jackpot revealed; “Greenshirt”, “Blue Chair”, “Red Shoes” and Prince’s “Purple Rain”.

In the one echo of the original “Costello Sings Again Tour” of 1986, the special guests at the second Wiltern show were once again, The Bangles.

Time has only brought greater beauty to their vocal harmonies.

Their dancing was absolutely groovy and tip-top.

Susanna Hoffs took the lead vocal on “Doll Revolution”, while the ensemble came together for a reprise of the “Blood and Chocolate” tune, “Next Time Around”, first performed at the Beverly Theatre in ‘86, together with completely off-the-cuff harmonies on the Lennon/McCartney song, “Girl”.

“The Revolver Tour” next touched down at Chicago Theatre, where the Wheel gave us a rare performance of “The Element Within Her” and an arrangement of “The River In Reverse” which turned out to incorporate the Bob Dylan/Rick Danko tune, “This Wheel’s On Fire”.

The show pressed on to the Taft Theatre in Cincinnati, against doctor’s orders, borne up against malady by the good people of Ohio and Kentucky and where the finale included a version of The Who’s “Substitute”.

Medical advice meant it was necessary to rest the voice for one evening but we hope that the patrons of the postponed concert in the Wellmont Theatre in New Jersey will be more than happy with the forthcoming announcements.

The tour resumed on the 15th of May in the typical uproar of the Tower Theatre Philadelphia.

This magnificent honky-tonk has been a regular stop since 1978 and the welcome on this occasion did not disappoint.

The MacManus Family made an appearance in Boston, when brothers, Declan and Ronan, harmonized in public for the first time ever, as Biblecode Sundays joined Elvis Costello and the Imposters for performances of “American Without Tears” and “Little Palaces”.

One young man was so overcome by the awesome sight of the Spectacular Spinning Songbook that he dropped to his knees, produced a ring and asked his gal to marry him in front of more than 2000 witnesses.

She accepted…

Then hugged me first…

We wish them every happiness…

As soon as my ordination in the ministry is complete we hope to offer a complete service.

My friend of thirty years or more, Peter Wolf, without whom I quite literally might not have lived to tell the tale, joined the finale of the Boston show for a seductive version of Sonny Boy Williamson’s “Help Me” and his song, “Cry One More Time”, which I had not had occasion to perform since 1975.

“Revolver Tour” concluded with a three-night, sold-out stand at the Beacon Theatre in New York City.

Hearts swelled and eyes filled with tears at the sight of the legendary, Xavier Valentine being reunited with his niece, Katarina, Valentina Valentine, who had, until this night, been our sole guide from your place in the stalls to your place in the stars.

The Valentine Family have two estranged branches, one hails from the lace capital of Carrickmacross and the other from the Ukraine.

This was their first appearance together.

Biblecode Sundays, returned in New York to raise the roof on the second evening with a set of traditional fiddle and accordion tunes played off the back of “Little Palaces”.

A second red sparkle drumkit was also in place that night, as Tennessee Thomas joined Pete Thomas in a father and daughter drum corps for the set-closing versions of “Turpentine” and “Uncomplicated” and encore performances of “Pump It Up" and “Peace, Love and Understanding”.

Alex Turner of the Arctic Monkeys arrived backstage, hotfoot from Ed Sullivan Theatre to rehearse “Lipstick Vogue” in the dressing room, five minutes from showtime and on which he shared the vocal duties during in the finale.

Special guest spinners over the three evenings included, Mike Myers, Willie Garson of “Sex In The City” and “White Collar” fame and Questlove from The Roots, who also manned the drumkit for a totally impromptu rendition of “Black And White World” on the final night.

Jim Lauderdale also joined the company on the last evening for the “King’s Ransom” jackpot, which yielded, “Indoor Fireworks” and “Brilliant Mistake” from “King Of America” and the co-written hit, “I Lost You” from the recently deleted album, “National Ransom”.

This followed a birthday salute to the author in the form of a solo rendition of Bob Dylan’s timely, “License To Kill”.

A secret plan to ask Rachel Ray to make pancakes for the entire audience following a guest spin was only thwarted by a scheduling clash.

And then it was done, the lights dimmed and the wheel rolled out of town.

So, as I return to my own private Elba and The Spectacular Spinning Songbook is dispatched back to the Hartlepool Museum of Showbusiness Machinery, where it will be on exclusive public display until late August, I would like to take a moment to send the following salutations.

Thanks go out to our, mostly locally recruited, official go-go dancers:

The Rt. Hon. Penelope Halfpenny, Ms. Kitty “Meow” McMuffin of “The Lusty Lady”, direct from “The Wookey Hollow”, Belmont Road, Liverpool, Miss Candy Mugglestone, The Tersichorean Stylings of Miss Felicity Sisters, Her Royal Highness, Jacinta Trimble, the Duchess of Lexington, The Baroness Astrid von Koolhaven, Ms Sventlana Smashkahnova, Susie Darling and the former Mother Superior of Our Lady Of Perpetual Torment, Dixie De La Fontaine.

They left not a tail feather unshaken...

We would also like to acknowledge the tireless efforts of all of our production team, crew and drivers.

Without you, we are but stringless puppets...

But thanks go most of all to our participants, contestants, protestants, supplicants and especially to the witnesses who didn’t make it to the stage, for their part in the adventure.

We hope we shall see you again, when the Spectacular Spinning Songbook comes to your town in the near future.

Yours through music and mischief. Napoleon Dynamite.

Elvis Costello's Wheel Of Fortune

Rolling Stone : David Fricke: May 25th 2011

Elvis Costello came out of the gate on May 24th – the last night of a three-show run at New York's Beacon Theater and the final date of his "Revolver Tour" – like he was playing the concert in reverse. The singer-guitarist and his Imposters – drummer Pete Thomas, bassist Davey Faragher and keyboard player Steve Nieve, Costello's long-serving update of the Attractions – jumped into what, on any other evening, would have been a rush of encores: "I Hope You're Happy Now," Nick Lowe's "Heart of the City," "Mystery Dance," "Uncomplicated" and "Radio Radio."

The energy and entertainment went up from there. Costello was celebrating the 25th anniversary of his Spinning Songbook, a giant wheel of fortune he took on the road in 1986, and he came armed with the combined kitsch of a game show and lounge act: a bar, a go-go cage with dancer and an Austin Powers-style hostess-dollybird; his own eye-popping selection of fedoras and sport jackets. When he wasn't singing or slamming at his guitars, Costello worked the stage like a burlesque-club emcee, cracking wise at a mile a minute and spinning a dandy's walking stick.

Fans – and one celebrity, drummer ?uestlove of the Roots – were plucked from the audience to spin the wheel, which featured song titles and album references covering Costello's hits and deeper work. Some labels, with sly references to tunes and topics, allowed the host to have his own fun with the results. When the wheel landed on "Detectives vs. Hoover Factory," Costello told the audience they could vote for "Watching the Detectives" (huge roar) or the early rarely-performed "Hoover Factory" (surprisingly loud cheer). Then he played both, prefacing the latter with memories of riding the bus to his own factory job in London, back in 1973.

Costello pointed out how much time had passed since he last rolled out the Spinning Songbook. He was then touring behind two of his best albums, the solo King of America and the electric Blood and Chocolate, made with the Attractions. But instead of hitting the charts, Costello noted ruefully, "they were buried in a field in Utah." He paused. "Now there is no Columbia Records," he said of his old U.S. label, grinning like a victor. With country singer-guitarist Jim Lauderdale, Costello performed "Indoor Fireworks" and "King of America," both from that album. And earlier, when the wheel came up "Imperial Chocolate," Costello followed a double shot of Imperial Bedroom (including a harrowing "Shabby Doll") with the long slow snarl of Blood and Chocolate's "I Want You," drawing out its obsessive desire and intimidation with a hissing vocal and acidic splashes of Fender twang.

The Spinning Songbook was the treat and centerpiece of the show, but Costello has never worked or traveled without a version of that wheel. His encyclopedic passion for popular music is a vital component of his helter-skelter work rate, as fuel and ideal, and at the Beacon, Costello punched up his loves like numbers on a jukebox. He celebrated Bob Dylan's 70th birthday with a solo reading of "License to Kill" from Infidels and threw a snatch of "Subterranean Homesick Blues" into "Pump It Up." Costello covered Prince ("Purple Rain") and Wings ("Let Me Roll It"), quoted Jimi Hendrix ("The Wind Cries Mary") and paid roundabout tribute to British soul singer Chris Farlowe with a version of the Rolling Stones' "Out of Time" – a British Number One for Farlowe in 1966.

Costello and the Imposters ended the night as they started it, with velocity and challenge: the Who's "Substitute" and Lowe's "(What's so Funny 'bout) Peace Love and Understanding." Before he left the stage, Costello swore to the crowd he'd see them again soon. He may not have the wheel, but he'll have that Songbook in his head, spinning hard.

Elvis Costello Helps West Hartford Man Propose to Girlfriend on Stage

Hartford Courant: Eric R.Danton

Well that's a bold thing: West Hartford resident Mike Youmans proposed to his girlfriend, Hilory Wagner of Glastonbury last Friday on stage at an Elvis Costello concert in Boston.

Costello's set lists this tour are determined by fans spinning a wheel of fortune marked with songs from his catalog. Under the ruse of having been selected to give the wheel a whirl, Youmans brought Wagner on stage and, witih an assist from Costello, popped the question.

"I always envisioned proposing to you in Paris," Youmans began, before Costello made him hunker down on one knee. (See the video below.)

A tearful Wagner, who's also a singer and songwriter, said yes, which is pretty much the outcome you especially hope for when you're proposing in front of a few thousand people. As Wagner accepted a ring and an Eiffel Tower necklace from Youmans, Costello picked the next song by request: "(What's So Funny 'Bout) Peace Love and Understanding," which Youmans suggested.

And what about that trip to Paris?

"Maybe the honeymoon," Wagner says by e-mail.

Elvis Costello Invites ?Uestlove To Jam Onstage

Female First: 26th May 2011

Hip-hop star AHMIR '?UESTLOVE' THOMPSON enjoyed an impromptu jam session with Elvis Costello on Tuesday (24 May 11) when the veteran rocker invited THE ROOTS drummer to join him onstage in New York.

Costello was performing with his band, The Imposters, on the last of three dates at the Beacon Theater when he spotted Thompson in the audience and beckoned him to the platform to spin a wheel to decide on which song to play next.

But his encounter with Costello only got better - he was asked to sit in with The Imposters to give drummer Pete Thomas a quick break as the singer continued with his show.

Thompson was then allowed to take a seat onstage to watch the rest of the concert up close and personal.

Posting a photo of his view from the front on his Twitter.com blog, he wrote, "Best Seat In house!!!"

"Flutter And Wow"

nj.com: Tris McCall: 24th May 2011

When Costello allowed the Spinning Songbook to take its own course, its choices proved inspired. "Black and White World," a track from the soul-rock album "Get Happy!!," gave him an excuse to show off his sensitivity on the sonorous low strings of his electric guitar. "Flutter and Wow," a little-known ballad from the recent "Momofuku" album, was even better — a slow-burning statement of a man surprised by desire. When the needle stopped at "Flutter and Wow," there were a few groans of displeasure; by the time the terrific song was finished, nobody was dissatisfied.

"Songs About Love, Death And Dancing - Though Not Necessarily In That Order."

Boston Globe: Jonathan Perry: May 23rd 2011.

When a songwriter like Elvis Costello takes as many risks, twists, and turns as he does — collaborating with Allen Toussaint and Tony Bennett; writing for Johnny Cash and teaming with Paul McCartney — there’s only one thing left to do: Expect the unexpected.

And then leave it to Costello to brainstorm something else entirely. Like recording with classical musos the Brodsky Quartet, for instance. Or, when the mood strikes him, heading to Nashville to make a country-rock record with Leon Russell and Buddy Miller, as he did on last year’s “National Ransom.’’

After nearly 35 years and nearly as many albums — not to mention more greatest hits collections than the sum total of records most bands muster — it’s tough to be taken totally unawares by this onetime punk instigator-turned-pop institution’s modus operandi.

And yet Friday evening, when Costello brought his band the Imposters, and a carnival-sized wheel of glowing bulbs and game-show gaudiness dubbed “The Spectacular Spinning Songbook’’ to the Wang Theatre for a night of semi-random reverie, there were surprises.

Let’s get the on-stage marriage proposal — by a nice guy named Mike who dropped to one knee to ask his girlfriend Hilary (is that one “L’’ or two, Hillary?) for her hand in front of Elvis and about 2,800 people as witnesses — out of the way first (she said yes). An exultant rendition of “(What’s So Funny ’Bout) Peace, Love, and Understanding’’ marked the moment as the happy couple danced in a go-go cage.

Then there was Costello’s devout duet on “American Without Tears’’ with his brother Ronan MacManus’s fiddle and accordion-accented band, the Biblecode Sundays, plus a walk-on appearance by Peter Wolf. The veteran J. Geils Band frontman joined his old pal for a blues-soaked reading of Sonny Boy Williamson’s “Help Me’’ and the Geils Band’s own gospel-tinged “Cry One More Time.’’

The best surprise of all, though, was Costello himself. He appeared to have recovered from a bout of bronchitis that caused him to cancel, earlier in the week, a New Jersey installment of this “Revolver Tour,’’ during which he’s inviting audience members on stage to spin that garish wheel of fortune containing roughly 40 songs (with a few thematically linked “jackpot’’ titles thrown in).

Costello was in fine spitfire voice and convivial form, reeling off a clutch of classics in quick succession — “I Hope You’re Happy Now’’; “Heart of the City’’; “Mystery Dance’’ among them — before donning a top hat, assuming his ringmaster alias, “Napoleon Dynamite,’’ and announcing what was in store: “Songs about love, about death, about dancing — though not necessarily in that order.’’ Ah, the element of surprise, yet again.

Fans Hit The Jackpot

Boston Herald: Jed Gottlied: May 22nd 2011

Elvis Costello & the Imposters began Friday’s packed Citi Wang Theatre gig sprinting through five songs in 16 quick minutes. One of them, “Uncomplicated,” even crammed in three (admittedly clipped) guitar solos.
That was just the beginning. There were 20 more songs in 114 more minutes of mad spectacle, guest stars (Peter Wolf!), go-go cage dancing, one wedding proposal (spoiler: she said “Yes”) and genius rock ’n’ roll.

By the time Costello welcomed Peter Wolf for “Help Me” and “Cry One More Time,” the show was in full-on marathon mode. But that didn’t stop the band from pushing on: A four-song second encore ended with a feverish “Pump It Up.”
It was a final 15 minutes as good as the first 15.

A Terrifically Entertaining Two-Hour Show At The Tower Theatre.

philly.com: Dan DeLuca

The terms fun and Elvis Costello don't necessarily go hand in hand. But on Thursday night, they got up to dance together in a go-go cage during a terrifically entertaining two-hour show at the Tower Theatre.

Costello, ably backed by the Imposters, the crack three-man band of drummer Pete Thomas, bass player and backup singer Davey Faragher, and the great keyboard whiz Steve Nieve, also threw in The Who's "Substitute" during a winningly concise final encore that concluded with a "(What's So Funny 'Bout) Peace, Love and Understanding," that featured Nieve making kooky, creepy noises on a theremin. A fittingly nutty ending to the best Costello show I've seen in an eon.

Let's hope it doesn't take another 26 years for him to give the Wheel another spin.

Biblecode Sundays Fire "Revolver" In Boston

Boston Herald: Jed Gottlied: May 22nd 2011

Costello doctored a spin to land on “Napoleon Solo,” did “A Slow Drag With Josephine” on his own then brought out brother Ronan MacManus and band for a pair of duets.

Read More.....

"I Like Cake"

Brown Cat Bakery

Elvis walked off after those two songs, changed into a gold jacket, and came back with the guys for another set. No one spun the wheel. They just played song after song, after song. Then it was over (pouty face.)

I just bought a ticket to see Elvis at the Wolf Trap on June 15th. Woohoo!

"MISTER NAPOLEON SAYS "SEE YOU AT THE TOWER"

The Revolver Tour Resumes At The Tower Theatre at 8pm, Tonight, Thursday the 19th of May.

"The World's Greatest Game Show"

Chris Willman

Susanna Hoffs also took the lead vocal on "Tear Off Your Own Head (Doll Revolution)," a song that Costello gave the Bangles before he recorded it himself. The three lasses stuck around for plenty of Shindig-style shimmying...

Cincinnati Fatback

I doubt any woman could satisfy me sexually to the degree that the Costello show satisfied me as a music fan. He played for two and a half hours and did three encores. He covered Nick Lowe, The Beatles, The Rolling Stones AND The Who. He played at least one song from nearly every single one of the albums in the first ten years of your career. If you have the chance, see him on this tour.

MISTER NAPOLEON REGRETS...

MISTER NAPOLEON REGRETS...

I’m very sorry to have to postpone our date at the Wellmont Theatre but I would rather disappoint our friends and tickets-holders than cheat them with an inferior show.

Having unfortunately contracted bronchitis, the success of the Chicago Theatre show on the 15th of May was in large part thanks to the wonderful crowd and our many willing and good-humoured participants in the Spectacular Spinning Songbook.

They inspired a 2 and 1/2 hour performance well beyond its occasionally audible vocal limitations.

Against the express advice of a doctor but mindful that people had traveled from as far as Cleveland and Lexington for the show in Cincinnati, our show there went ahead on the 16th of May.

We enjoyed an incredible welcome of Taft Theatre crowd, my voice rallied for another show of more than two hours but this was at a cost.

To proceed further without adequate recovery would risk cancellation of the remaining dates of “The Revolver Tour.”

We will make every effort to promptly re-schedule the Wellmont Theatre date when “The Revolver” tour rolls out again in the not too distant future.

Once again, I send my regrets and apologies for any disappointment and inconvenience.

I am looking forward to resuming the tour at the Tower Theatre in Philadelphia on Thursday the 19th of May.

Yours through music. Elvis Costello a.k.a. Napoleon Dynamate – M.C. of The Spectacular Spinning Songbook.

"Viva Las Vegas"

Essential Junk:

Returning to stage later in the night, and always the showman, Costello lamented the missing spinning wheel but joked there’s an app for that. On cue, an i-Pad appeared on stage with a camera trained on its screen as his attractive assistant brought a medley of women on stage to spin the little computer program.

"I Can Sing A Rainbow" was chosen and the band obliged with color songs "Greenshirt", "Red Shoes", and a joyful sing along on Prince’s "Purple Rain" while the women danced happily around Costello. Closing with the favorites "Alison", "Pump It Up", and "Peace Love & Understanding", the atmosphere felt like a party as a few more fans took the stage to dance and sing. One of the finest songwriters to ever play rock and roll, a deep set list, and a spirit of adventure turned the concert into an inspiring celebration of music for both the band and the audience.

"Way cooler than Kravitz..."

At one point, Costello went out into the crowd with a wireless mic and we lost site of him but were still impressed. I've seen a few artists go out into the crowd, most memorably Lenny Kravitz, and I always think it's a cool move. Well, cooler than Kravitz going into the crowd (did I mention he wasn't wearing a shirt?) was when Costello showed up in the balcony. He sang his way up a flight of stairs in the Taft Theater and walked all over the place. I was maybe six feet away from the man!

The Revolver At The Taft

Walter Tunis: The Musical Box.

We always knew there was something of the carnival barker in Elvis Costello. He may forever be viewed as a champion songsmith that has continually taken huge stylistic risks with his music over the past 35 years. But last night at the Taft Theatre in Cincinnati, he left nearly all of his tireless 2 ¼ hour concert beautifully to chance.

The patrons spun the wheel, Costello played the songs it stopped on and a vinyl booted co-hort referred to as “The Duchess of Lexington” (a local lass perhaps?) danced in the stage right “Hostage-to-Fortune Go-Go Cage.” Some of the audience invitees got their turn in the cage, too. Others were allowed to sip drinks in front of Steve Nieve’s keyboard set-up.

"They Can't Take The Competition"

Las Vegas Weekly: Spencer Patterson

“(I Don’t Want to Go to) Chelsea” started intensely, only to devolve into a faux-funk jam session more appropriate for Phishheads than an overwhelmingly older Pearl crowd.
Costello ultimately did produce a wheel … on an iPad screen atop a music stand. A gaggle of ladies came up to “spin it,” then stayed onstage to dance distractingly during the encore. A cliché about insults and injuries comes to mind

The People Speak Once More

El Nino Angeleno

I was around thirteen years old in the eighth grade attending Blessed
Sacrament School two blocks east of Hollywood High School when an up and coming British musician with a iconic American name performed live at
the Hollywood High Auditorium with his backing band, The Attractions. I
was not in the audience that night as I must have been churning out
Pre-Algebra solutions and Hemingway book reports at a record pace during
that time and was oblivious to what was happening down the street on
Highland Avenue. I had no idea of the significance of that Elvis Costello performance back then nor the number of people I would meet in the next thirty three years who claim to have been at that show.
Fast-forward to 2011 to a perfect Los Angeles evening at the deco
masterpiece, Wiltern Theatre where Elvis Costello and 2 of the 3
original Attractions plus a new bass player (now called the Imposters)
performed an unpredictable epic showcase of hits, obscurities and
surprising covers for 2 ½ hours. The show opened with a fast session of
familiar songs including “I Hope Your Happy Now“, “Heart of The City“,
“The Mystery Dance” and “Radio Radio“. At the conclusion of “Radio
Radio“, a song known for its impromptu rebellion way back on a SNL
performance, Elvis changed to a black top hat and introduced the largest
“Attraction” on the stage, a twelve foot, multi-colored spinning wheel
of songs. Elvis’ spinning song wheel first made its debut 25 years ago
on his tour bringing a “request only" concert to the stage way before
its time. Audience members were hand picked by Elvis and his assistant
to spin the wheel and the band performed each song with utmost
precision, while only Elvis’ guitar changed to accommodate each song.
The selected audience members danced on stage during their song(s), with
one memorable “wheel spinner”, a stunning beauty named “Bjork” daring to
enter the Go-Go booth up on the stage during the song performed from her
spin of the wheel. She almost seemed planted to perform in the Go-Go
booth as her hips swayed to the beat of the music while her long hair
waved about the cage, but she was just an adoring fan like the rest of
us. The wheel produced some songs that probably wouldn’t make it to a
regular Elvis show such as “Monkey to Man“, “God Give Me Strength“, “I
Want You” and “Earthbound” but the band was committed to each of the
songs selected with just a little fudging along the way. Somehow the one
song which I wanted to hear the most, “Clubland” from the 1981 album,
"Trust", hit the mark on a slow pitched wheel spin and the song
immediately commenced with the brilliant piano work by the incredible
Steve Naive. Among the hits performed from the song wheel spins were
“Watching The Detectives” and “Everyday I Write the Book“, “Angels Want
to Wear My Red Shoes” and “Tear Off Your own Head ( It’s The Doll
Revolution)”. Elvis brought out Susanna Hoffs, Vicki and Debbie Peterson
from The Bangles to perform the vocals on “Doll Revolution” much like
they did at The Beverly Theater show in 1986. Susanna Hoffs must have
been in a time machine for the last 25 years because she looks much as
she did during her Walk Like An Egyptian Days. Other surprises included
several covers such as “Girl” (The Beatles), “Out of Time” (The Stones),
“Don’t Let me Be Misunderstood” (The Animals) and a surprise encore of
“Purple Rain” (Prince) all performed with unique Elvis interpretations.
Another interesting rendition came with a slowed down and almost
unrecognizable version of “Pump It Up” with Elvis hitting the ivory keys
on his mega famous radio hit.

The four encores were a show within itself. Among the highlights was the
song that started it all for Elvis back in 1977, “Alison“. For the encore, Elvis called back one of the audience wheel spinners who was aptly named Alison , in a moment in time she will remember for eternity. In the midst of “Alison“, Elvis switched over to “Tracks of My Tears” by Smokey Robinson and then beautifully finished his song with every member of the audience singing those soft lyrics, “Aaaaalison…..my aim is true,my aim is true…..”, while the chords quietly came to that famous lyrical end. The final encore couldn’t have been more perfect for this night given the times we live in today , “(What’s So Funny ‘bout) Peace, Love and Understanding” simply could not be followed with drummer Pete Thomas pounding the skins, Elvis wailing on the guitar with the all too familiar riff and the audience in complete euphoria. Thirty three years from now wherever I am or "if" I am at all, I can say I was in the audience for that unforgettable Elvis Costello performance at The Wiltern Theatre way back in the Spring of 2011.

Elvis Costello's wheel of fortunate songs makes for thrilling show

Chicago Tribune: Bob Gendron: May 16th 2011

Add tacky game-show host to the list of Elvis Costello's myriad guises. It's just one of the roles he played Sunday at a nearly sold-out Chicago Theatre, where a giant revolving wheel and audience interaction guided a marathon 140-minute concert loaded with surprise and urgency. Costello debuted the "Spectacular Spinning Songbook" 25 years ago but hasn't used the contraption since. Its return made for inspired entertainment and a welcome revisitation of several of the artist's great albeit seldom-aired album tracks.

Listing the names of dozens of Costello tunes as well as a few categories, the multi-color wheel anchored a kitschy display that included a go-go dancer platform and dumpy cocktail lounge. Plucked out of the crowd by assistants and invited onstage by Costello—embracing his carnival-barker persona by talking like a snake-oil huckster—fans spun the wheel to determine what song would come next. On occasion, Costello manipulated the stopping point. But by and large, he and the Imposters abided by chance.

While it yielded unscripted thrills, the random approach risked thwarting momentum. Yet aside from slogging through a low-key treatment of "The Element Within Her," the band maintained a cohesive flow. Indeed, the quartet established a feisty tone during a set-opening flurry, racing through five fast-paced songs ("Uncomplicated," "Mystery Dance" included) inside of 16 minutes, ripping into each selection with breathless speed and nervous energy. Agitated, aggressive and amplified, the performance contrasted with Costello's acoustic solo appearance last December at the same venue, during which he focused on exploring various genres. Not tonight.With Steve Nieve dialing up everything from sci-fi sound effects to soulful textures on keyboard, Hammond organ and grand piano, and a fist-tight rhythm section providing solid footing, Costello got reacquainted with his harder rock and harmonic pop sides. He buried disappointment amidst big hooks ("Next Time Round"), filtered fuzz-drenched reverb through pounding beats ("Strict Time") and dealt with the detritus of ruined relationships via crescendos that straddled celebration and sadness ("Rocking Horse Road").

Costello also extended bridges and refrains, giving him license to flirt with distorted avant-garde solos that would've been at home in New York's late 70s no-wave scene. Such spontaneous rearrangements and changes often preceded thematic covers ranging from The Band's "This Wheel's On Fire" to the Rolling Stones'"Out of Time" to Prince's "Purple Rain." Having added perspective to his original songs, the seamless transitions and interpretive snippets should convince Costello to permanently drop setlists from his repertoire.

Los Angeles Times: Elvis Costello at the Wiltern Theatre.

Randy Lewis: May 12th 2011

Long before the word “interactive” became an entertainment-industry mantra, Elvis Costello was there with his fabled "Spinning Songbook."

A quarter century after he first cooked up the idea that exponentially amped up the practice of taking requests from the audience, Costello and his band the Imposters have resurrected the concept for a new generation, although the sold-out crowd on hand Wednesday for the first of two nights at the Wiltern Theatre clearly included a good number of those who’d been following him since his first go-round.

The new Revolver tour sees music as a thing of joy -- something of a revolutionary statement in and of itself in these days, when another of big buzzwords in the music business is monetization. This isn’t the garden-variety promotional tour designed primarily to build familiarity with -- and sales of -- an artist’s latest product, although he did manage to cleverly work in a couple of numbers from his most recent release, “National Ransom,” during an extended round of encores after a 2½-hour set.

Rather, Costello, keyboardist Steve Nieve, bassist-vocalist Davey Farragher and drummer Pete Thomas played like guests of honor at the most invigorating kind of living room party where attendees challenge one another in a combination of “Name That Tune” and “Top That!”

The Spinning Songbook wheel itself lends an additional measure of festiveness, allowing the always-engaging Costello to fully inhabit his alter ego as a raconteur and master of ceremonies par excellence, something he showcased regularly on his Sundance cable channel series “Spectacle.”

Without fanfare, Costello and the band strode onstage Wednesday and let loose an initial four-song volley that began with “I Hope You’re Happy Now” from 1986’s “Blood & Chocolate,” segued directly into “Tear Off Your Own Head (It’s a Doll Revolution)” and crested into his freshman and sophomore album songs, “Mystery Dance” and “Radio Radio,” the latter maybe a little too fast and furious for its own good.

But with the take-no-prisoners ambiance established, the host traded his porkpie hat for a dapper silk top hat and quickly obliterated anything resembling a fourth-wall between performer and audience.

A comely assistant helped choose fans to come onstage and spin the 10- to 12-foot-in-diameter brightly colored wheel with 32 song titles representing Costello classics (“Alison,” “Pump It Up,” “Veronica”) to esoteric (“Flutter & Wow,” “Monkey to Man,” “Stella Hurt”) to a smattering of covers (Paul McCartney’s “Let Me Roll It,” Lennon-McCartney’s “And Your Bird Can Sing” -- do we detect a theme here?).

The wheel also held eight purple “bonus” strips with words such as “Happy,” “Time,” “Girl” and “Napoleon Solo,” the latter, Costello explained when it came up midway into the show, a license for him to choose anything he felt like playing at the moment. (At that moment it was “Leave My Kitten Alone,” a celebrated outtake most famously associated with -- surprise! -- the Beatles.) When the wheel later landed on “Time,” he told the audience it served as a theme for which he’d come up with as many songs mentioning “time” as he could. That yielded a playful set-within-the-set that included “Clown Time Is Over,” “Next Time 'Round,” the Rolling Stones’ “Out of Time” and back to his own “Man Out of Time.”

Costello asked the first wheel spinner which song she most hoped to hear (“I Want You,” she said; “I think that’s a song title,” Costello drolly replied and then let it rip. It landed on “Everyday I Write the Book,” which the band gamely served up as the fan looked on from a stool at a bar in the “Society Lounge” positioned in front of Nieve’s bank of keyboards, a cool drink in her hand supplied by Costello’s lovely assistant. Other selectees took advantage of the “Hostage to Fortune Go-Go Cage” at Costello’s right, flashing their footwork while the band pounded away nearby.

And on it went. The random element certainly helped keep the musicians on their toes and prevented the possibilities of a rote performance from slavish adherence to a set list.

Costello’s his own best friend in that regard, having written himself a stockpile of hundreds of songs over the last 35 years, a remarkably deep storehouse of some of the most pointed, literate and finely crafted songs of the rock era. When he turned near the end to a solo performance of the "National Ransom" song "A Slow Drag With Josephine,"a dazzling marriage of melody, words, rhymes, ideas and acoustic guitar finger-picking, he left no doubt that he’s evolved into a writer every bit the master of song craft as anyone who ever came out of Tin Pan Alley.

In the end, it created an evening that went well beyond merely interactive, the kind of uniquely invigorating experience that warrants a buzzword all its own: inspiring.

Elvis Costello spins an epic at the Wiltern

The Orange County Register
Ben Wener: May 12th 2011

Out of 20-some shows in 20-some years of encountering Elvis Costello live, from suddenly announced club gigs to lavish evenings with Burt Bacharach, I’ve probably seen two or three consistently stronger performances than the one he and his first-rate band The Imposters turned in Wednesday night, their first of two sets at the art-deco Wiltern in Los Angeles this week.

But I don’t think I’ve seen a better one overall, and none have been nearly as memorable -- in part because, like the Bacharach teaming, I know this is something I’ll likely never see again. Surely those who witnessed the debut of this Spectacular Singing Songbook idea at the Beverly Theater in 1986 must have felt the same way: by its very nature, the concept guarantees no other show will be quite the same.

That night, as part of a stretch of themed performances that included a set with the Attractions and another with the Confederates (the one-off group that backed him on the rootsier advances of King of America), Costello unveiled this most crowd-enlivening of his many concert conceits over the years: a stage design adorned with a shimmering go-go cage at one end (guests are welcome to dance) and a giant carnival wheel at the other, covered in yellow and red (and a few purple) wedges, with song titles on each. (At the Wiltern, this scene was further enhanced by an encompassing backdrop of a faded old TV set locked on a color test pattern.)

“The theatrical marvel of the age” was how our host described it with vaudevillian exaggeration Wednesday night, just after a brisk four-song opening that harked back not only to his earliest days (via rips through “Mystery Dance” and “Radio Radio,” as breakneck-paced as ever) but also to the life-changing, career-shifting era from whence the Spinning Wheel emerged. It’s telling that he seems to be opening all of these Revolver Tour engagements (the month-long run began in Reno and ends with three nights at NYC’s Beacon Theatre) with “I Hope Your Happy Now” -- that’s among his fiercest (yet buoyant) attacks on lost love, yet its title sentiment couldn’t be more fitting.

Back in ’86, when the brilliantly thorny Blood & Chocolate was dumped into the marketplace mere months after the heralded King of America, Costello was just beginning to come out of turmoil, divorcing both his first wife and first stateside label, altering course by taking up with (and soon marrying) then- Pouges bassist Cait O’Riordan and moving from Columbia Records (which failed to promote him sufficiently) to Warner Bros. (where he wound up facing the same problem). Seemingly liberated both creatively and romantically, he nonetheless still seemed trapped by the industry.

These days, though record execs still don’t know what to do with him, Costello, 56, is a much happier entity unto himself: revered singer-songwriter, iconic yet iconoclastic Hall of Famer, encyclopedic talk-show host, Mr. Diana Krall. He’s a major-label artist working in independent fashion, issuing genre-hopping projects from a widening array of niche-filling outlets (although lately he’s suggested he may not make another album).

These Wiltern shows ostensibly promote last November’s National Ransom, one of his best assortments. Yet, despite a sublime solo-acoustic first encore comprised of the disc’s two bittersweet tunes that evoke the ’20s and ’30s -- the deceptive swing of “A Slow Drag with Josephine” and the doleful lament “Jimmie Standing in the Rain,” both of which lent some structure to the evening’s play-it-as-it-lays approach -- revisiting the Spinning Songbook right now seems primarily a lark. It’s something fun to do simply because he can.

And to some extent it isn’t as fully rehearsed as you might expect. When the wheel landed on Paul McCartney's “Let Me Roll It,” it was apparent in Costello’s chunky assessment of the song’s signature squiggle riff that he hadn’t attempted it much, nor did the Imposters always know where their bandleader was headed during a striking rethinking of “Pump It Up” that traded the usual thump-thump-thump for a strolling N’awlins piano blues in 6/8.

Even on numbers this bunch has dashed through dozens, maybe hundreds of times -- “Everyday I Write the Book,” “I Want You” -- there was still a sense of winging it, of the band instinctively knowing where to go next yet being confounded when Costello would decide to, say, turn back into a chorus sooner than expected, or scuttle from one dynamic to another.

That’s what I mean about experiencing greater consistency elsewhere: When they know precisely what’s on the setlist, Costello and his group tend to lock in magnificently, maintaining tighter parameters around their expansiveness and explosiveness. But that’s also what I mean about never seeing a show like this again: Costello has rarely been so loose yet still commanding, and so eager to mix in the unexpected. Never mind the McCartney tune -- when else are you likely to hear him consecutively play complete versions of most every tune he has with “Time” in the title?

That’s what happened when he landed on one of eight “Jackpot” wedges, bonuses that produce several songs on a theme. (Unless “Napoleon Solo” comes up, in which he case he chooses whatever he likes -- this time “Leave My Kitten Alone.”) You can tell he favors landing on a few of these during each show, as he cheated the wheel twice to get “Time” and “Girl” to come up at key points.

Hey, it’s his wheel, he can do as he likes. For instance: Isabella, the woman sitting in front of me, got swept away from her boyfriend by Costello as he sauntered across the floor of the Wiltern during “The Long Honeymoon,” then returned to the stage with her on his arm. She wanted to hear “I Want You,” but first the wheel hit “Stella Hurt” and then “New Lace Sleeves.” Costello was undeterred: “You know what? We’re just gonna play ‘I Want You.’ Damn show-business machinery!”

The Jackpot wedges were certainly worth tilting the wheel for, however. “Time,” which he nudged toward instead of “Accidents Will Happen,” yielded first the slow version of “Clowntime Is Over,” then a rollicking “Strict Time” and “Next Time Round,” a singalong for The Rolling Stones' “Out of Time” and finally a suitably mighty “Man Out of Time” to end the main set. (In Oakland, at the Fox Theater, he landed on “I Can Sing a Rainbow” the second night and performed color songs: “Green Shirt,” “Blue Chair,” “(The Angels Wanna Wear My) Red Shoes,” a bit of “Purple Rain.”)

“Girl,” on the other hand, which he spun into place after a dramatic reading of “All Grown Up” abetted only by pianist Steve Nieve (the first time they’ve performed that 1996 track), helped build to a roaring third-encore conclusion. It began with a lovely handling of The Beatles' “Girl,” followed by the aptly titled “Spooky Girlfriend” and “Sulky Girl.” (Oakland also got “This Year's Girl” and “Party Girl.”) Then came another clutch of Costello standards: “(I Don’t Want to Go to) Chelsea,” “Watching the Detectives,” a rousing “(What’s So Funny ’Bout) Peace, Love, and Understanding.”

He played 18 songs in the main set, more than half of which were chosen by guests (mostly women) who got to admire their wheel selections while sipping martinis at the on-stage bar next to Nieve. Then Costello changed hats and jackets -- now plaid, now gold lamé -- and played another 13 songs in three encores. It was epic, riveting, constantly surprising -- utterly unforgettable.

The People Speak Again

As a special feature of this tour, Elvis had listed a bunch of his songs on the Spectacular Spinning Songbook and was inviting selected members of the audience up to the stage to give it a spin. The song that the wheel landed on would be the song that the band would play. I would've probably pissed myself if I got a chance to go up there and spin it, but I desperately wanted to anyway. As we have learned previously, that night I was more important than 97% of the people in attendance of the concert, but this still left 3% to crush my dreams.

In the weeks leading up to the concert I tried not to think about the possibilities too much. I didn't really think I would get picked, especially if my seat was out in the hall as I feared, but secretly I kept hoping anyway.I even had a song lined up if I spun the wheel and it said I got to request a song. I had absolutely NO knowledge of there being a 'request' section of the wheel, but I thought I'd better be prepared just in case.

I would've requested 'Tokyo Storm Warning'.
or 'I Want You'.
or 'Indoor Fireworks'...
Goddamnit. I could never choose just one.

It turns out that there was a request portion, but the only person who got to make a request was Mr. Costello himself. Well if it isn't gonna be me...

Those goddamn life-ruining shitbird 3% bastards that got to go up on stage, after they spun the wheel, were offered a drink and a seat at a special (not the eating ping-pong balls filled with tuna special, I mean the good kind!) lounge at the side of the stage or they could dance for the crowd in a go-go cage. A surprisingly high percentage of people elected for the cage. Some were funny and awkward, one was beautiful and awkward, and one looked like a drunken cow when she fell out of the cage.

My favorite of the amateur dancers managed to lure Elvis into the cage with her for a brief dalliance before he slyly hopped out the other side. She was charming and funny and somehow managed to cage dance to a slowish tune about a husband cheating on his wife called The Long Honeymoon. When she had originally spun the wheel, people had cheered for the song as it came up because they had been told that it was her fifteenth wedding anniversary, the song obviously had the word honeymoon right in the title, and her husband was somewhere in the crowd. Often lyrics aren't listened to because people are simple.

I feel like I should say more about the music, but my abilities to describe what I heard and how delighted I was are lacking... let's see, um, Great Songs. See what I mean?
Maybe I could explain it a different way.
Elvis played a song that I always love on his live recordings, and don't think I've ever actually heard in person, called God's Comic. It is a beautiful, tragically funny song that has this part where traditionally a live audience is supposed to shout the phrase 'Now I'm dead!' back at Elvis after he sings his line. This is not a hit-single type of song and apparently not a whole lot of people around me knew we were supposed to participate. So on the first time through, almost no one near me, besides me, sang the line. It didn't get any better the second time either. Normally this would encourage me to pipe down and not sing it at all the next time through. I'm definitely not the singing by myself type.

I sang it louder each time because I was so happy that night.

Read More.....

"A Vaudevillian Writes"

This was actually my first time seeing Costello live (in-person that is). I’m perhaps what you might call a “casual fan” of sorts. My wife certainly has a deeper understanding of the catalog than I do. However, that didn’t stop me from having a great time. The music sounded amazing. Sure, there were tracks I recognized, but there were many more that – despite not knowing the words – I still danced and tapped along to the beat. It’s hard not to, the music is just so damn good, it’s practically infectious.

"The Spectacular Spinning Songbook - The Results"

Elvis Costello & The Imposters
New York
May 24th, 2011

Overture - featuring the return of the former Mother Superior of Our Lady of Perpetual Torment, Dixie De La Fontaine

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

The Spectacular Spinning Songbook

Veronica – SPIN 1

“Joanna” Jackpot – SPIN 3

Pills And Soap

Detectives vs Hoover Factory – SPIN 3 - SPLIT DECISION

Hoover Factory
Watching The Detectives

“Napoleon Solo” Jackpot – SPIN 4 (DEFERRED)

“Imperial Chocolate” Jackpot – SPIN 5 by Questlove of The Roots

Shabby Doll – from “Imperial Bedroom”
Beyond Belief – from “Imperial Bedroom”
I Want You – from “Blood And Chocolate”

Black And White World – TOTAL IMPROMPTU – with Questlove on drums and Pete Thomas on background vocals

Let Me Roll It – IMPROMPTU

Accidents Will Happen – SPIN 6

Chelsea – Spin 7

Hand In Hand - IMPROMPTU
And Your Bird Can Sing – IMPROMPTU

Interlude

License To Kill – “Napoleon Solo”

“King’s Ransom” Jackpot – FIX

Indoor Fireworks – with Jim Lauderdale and the Imposters
I Lost You – with Jim Lauderdale and the Imposters
Brilliant Mistake – with Jim Lauderdale and the Imposters

“Girl” Jackpot – SPIN 8

This Year’s Girl
Earthbound – IMPROMPTU
Alison – IMPROMPTU
Honey, Are You Straight Or Are You Blind? – IMPROMPTU
Party Girl
Purple Rain - IMPROMPTU

Finale

Out Of Time
Pump It Up
Substitute
Peace, Love And Understanding

----------------------------------------------------------------------------------

Elvis Costello & The Imposters
New York
23rd May, 2011

Overture - featuring former free-style rodeo champion, Susie Darling, direct from her engagement at the “Tethered Steed”.

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

The Spectacular Spinning Songbook

Detectives vs Hoover Factory – SPIN 1

Detectives – UNANIMOUS DECISION

“Time” Jackpot – SPIN 2

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time

Oliver's Army – SPIN 3

A Slow Drag With Josephine – Napoleon Solo – spun by Willie Garson

American Without Tears - duet with Ronan MacManus with The Biblecode Sundays

Little Palaces/Set Of Traditional Fiddle & Accordion Tunes with The Biblecode Sundays

So Like Candy/Don’t Let Me Be Misunderstood – SPIN 4

All Grown Up – IMPROMPTU with Steve Nieve

Turpentine – SPIN 5 – spun by Alexa Chung with Tennessee Thomas on second drum-kit

Uncomplicated – IMPROMPTU - with Tennessee Thomas on second drum-kit

Encore

Lipstick Vogue – duet with Alex Turner of The Arctic Monkeys

Waiting For The End Of The World
Chelsea
I Want You

Finale

Alison – SPIN 6

Red Shoes
Purple Rain
Pump It Up - with Tennessee Thomas on second drum-kit
Peace, Love And Understanding - with Tennessee Thomas on second drum-kit

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Elvis Costello & The Imposters
New York
May 22nd, 2011

Overture featuring the former lead singer of "The Hand-Embroidered Mystery", Miss Svetlana Smashkahnova

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

The Spectacular Spinning Songbook

Black And White World - SPIN 1

Flutter And Wow – SPIN 2

“Girl” Jackpot - SPIN 3

This Years Girl
Girls Talk
Girl

Veronica - SPIN 4

Alison - SPIN 5

God Give Me Strength – SPIN 6 by Mike Myers

Everyday I Write The Book – SPIN 7

The Long Honeymoon – SPIN 8

“Time” Jackpot - SPIN 9

Strict Time
Man Out Of Time
Next Time Around
Out Of Time

Interlude

A Slow Drag With Josephine - Napoleon Solo
Jimmie Standing In The Rain - Napoleon Solo

Pump It Up In 6/8/Busted - IMPROMPTU
God’s Comic - IMPROMPTU

Finale

Chelsea
Waiting For The End Of The World
Watching The Detectives
Clowntime Is Over
Substitute
Peace, Love And Understanding

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Elvis Costello & The Imposters
Boston
May 20th, 2011

Overture - The Former Mother Superior Of Our Lady Of Perpetual Torment: Dixie De La Fontaine

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

The Spectacular Spinning Songbook

The Other Side Of Summer - SPIN 1

The Other Side Of Summer – SPIN 2

New Lace Sleeves – SPIN 3 (RE-SPIN)

“I Can Sing A Rainbow” Jackpot – SPIN 4

Greenshirt
Blue Chair
Red Shoes
Purple Rain

On-Stage Wedding Proposal – Nothing Left To Chance

Peace, Love And Understanding – First Dance

Napoleon Solo - Interlude

A Slow Drag With Josephine

American Without Tears – with The Biblecode Sundays duet with Ronan MacManus
Little Palaces/Set Of Fiddle & Accordion Tunes – with The Biblecode Sundays.

Alison – SPIN 5

Detectives vs Hoover Factory – SPIN 6

Hoover Factory
Watching The Detectives

Chelsea – IMPROMPTU

Encore

“Beauty Or Beast?” – SPIN 7

Help Me – with Peter Wolf
Cry One More Time – Peter Wolf

Finale

I Can't Stand Up
High Fidelity
Out Of Time
Pump It Up

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Elvis Costello & The Imposters
Upper Darby
May 19th, 2011

Overture - featuring The Baroness Astrid Von Koolhaven of Lake Tahoe and Gstaad

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

The Spectacular Spinning Songbook

Human Hands - SPIN 1
Living In Paradise - SPIN 2

Shabby Doll - IMPROMPTU

"Napoleon Solo" Jackpot - SPIN 3 (Held)

"Time" Jackpot - SPIN 4

Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time

Brilliant Mistake - SPIN 5

"Joanna" Jackpot - SPIN 6

Pills & Soap

"Detectives vs Hoover Factory" - SPIN 7

Hoover Factory
Watching The Detectives

Black & White World - SPIN 8

Beyond Belief - IMPROMPTU
Let Me Roll It - IMPROMPTU

Interlude

A Slow Drag With Josephine - Napoleon Solo
Jimmie Standing In The Rain - Napoleon Solo

Finale

Chelsea
Everyday I Write The Book
Pump It Up
Substitute
Peace, Love And Understanding

----------------------------------------------------------------------------

Elvis Costello & The Imposters
Cincinnati
May 16th, 2011

Overture – featuring Her Royal Highness, Jacinta Trimble, The Duchess Of Lexington

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

The Spectacular Spinning Songbook

Doll Revolution – SPIN 1
Good Year For The Roses – SPIN 2
New Lace Sleeves – SPIN 3
Long Honeymoon – SPIN 4
End Of The World – SPIN 5

Alison – IMPROMPTU

Everyday I Write The Book – SPIN 6

“Girl” Jackpot – SPIN 7 – The Grand Duke Of Lexington, Her Father.

This Years Girl
Girl

“Girl” Jackpot – SPIN 8

Girls Talk

Chelsea/Cincinnati Fatback - IMPROMPTU
Human Hands - REQUEST

“Time” Jackpot – SPIN 9

Clowntime Is Over
Strict Time
Out Of Time

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

“Model” Jackpot – SPIN 10

Watching The Detectives - IMPROMPTU
Lipstick Vogue

Finale

Substitute
Pump It Up
Peace, Love And Understanding

----------------------------------------------------------------------

Elvis Costello & The Imposters
Chicago
May 15th, 2011

Overture - featuring The Tersichorean Stylings of Miss Felicity Sisters.

I Hope You’re Happy Now
Doll Revolution
Mystery Dance
Uncomplicated
Radio Radio

The Spectacular Spinning Songbook

45 - SPIN 1
This Wheel’s On Fire/The River In Reverse - SPIN 2
Living In Paradise - SPIN 3
The Other Side Of Summer - SPIN 4
Accidents Will Happen - SPIN 5

“Time” Jackpot - SPIN 6

Strict Time
Out Of Time
Next Time Around
Man Out Of Time

The Element Within Her - SPIN 7

“Girl” Jackpot - SPIN 8

This Years Girl
Girls Talk
Girl

Chelsea - SPIN 9
Beyond Belief - SPIN 10

“Napoleon Solo” Jackpot - SPIN 11

Pump It Up/Busted

Interlude

A Slow Drag With Josephine
God's Comic
Alison

“Beauty Or Beast” Jackpot – SPIN 12

Rocking Horse Road/Wild Thing

Finale

Waiting For The End Of The World
Watching The Detectives
Peace, Love And Understanding/Purple Rain/Peace, Love And Understanding

------------------------------------------------------------------------------------

Elvis Costello & The Imposters
Las Vegas - "No Revolver Show"
May 13th, 2011

I Hope You're Happy Now
Heart Of The City
Mystery Dance
Uncomplicated
Radio Radio
Everyday I Write The Book
Brilliant Mistake
Clownstrike
The Spell That You Cast

The Request Light

So Like Candy/Don't Let Me Be Misunderstood
Watching The Detectives
Chelsea
Clubland
Beyond Belief
Oliver's Army

Interlude

A Slow Drag With Josephine
God’s Comic

The Spectacular “Stonehenge” Songbook iPad Application

“I Can Sing A Rainbow” – SPIN 1 – with dancing girls

Greenshirt
Red Shoes
Purple Rain

Alison – IMPROMPTU

Pump It Up – SPIN 2
Peace, Love And Understanding – SPIN 3

---------------------------------------------------------------

Elvis Costello & The Imposters
Los Angeles
May 12th, 2011

Overture - featuring Ms. Kitty "Meow McMuffin" of The Lusty Lady

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

The Spectacular Spinning Songbook

I Want You – SPIN 1
Monkey To Man – SPIN 2
God Give Me Strength – SPIN 3
Watching The Detectives – SPIN 4

And Your Bird Can Sing - IMPROMPTU

Clubland – SPIN 5

Doll Revolution - lead vocal, Susanna Hoffs with The Bangles - IMPROMPTU

“Girl” Jackpot – SPIN 6

Girl – E.C. with The Bangles

Next Time 'Round – E.C. with The Bangles - IMPROMPTU
Out Of Time - - Dancing by The Bangles - IMPROMPTU

Everyday I Write The Book – SPIN 7
Stella Hurt – SPIN 8

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Pump It Up in 6/8/Busted

The Spectacular Spinning Songbook

Wheels – SPIN 9
Earthbound – SPIN 10
So Like Candy/Don't Let Me Be Misunderstood – SPIN 11

Encore

Alison

“I Can Sing A Rainbow” Jackpot – “SPIN 12”

Red Shoes
Purple Rain

Finale

Peace, Love And Understanding

-----------------------------------------------------------

Elvis Costello & The Imposters
Los Angeles
May 11th, 2011

Overture - featuring direct from "The Wooky Hollow", Belmont Rd., Liverpool, Miss Candy Mugglestone

I Hope You’re Happy Now
Doll Revolution
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

Everyday I Write The Book – SPIN 1
Let Me Roll It – SPIN 2

Leave My Kitten Alone – (McCartney) – IMPROMPTU

Pump It Up In 6/8/Busted -(Harlan Howard) – SPIN 3
Brilliant Mistake – SPIN 4
Beyond Belief – SPIN 5
Long Honeymoon – SPIN 6

I Want You – IMPROMPTU

“Time” Jackpot – SPIN 7

Clowntime Is Over
Strict Time
Next Time Around
Out Of Time – (Jagger/Richards)
Man Out Of Time

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain

The Spectacular Spinning Songbook

Flutter & Wow – SPIN 8
Alison – IMPROMPTU

“Jonna” Interlude – NO SPIN

All Grown Up

Finale - "SPIN 9"

Girl (Lennon/McCartney)
Sulky Girl
Chelsea
Lipstick Vogue
Watching The Detectives

Encore

National Ransom
Peace, Love And Understanding

---------------------------------------------------------

Elvis Costello & The Imposters
Oakland
May 9th, 2011

Overture - featuring Ms. Kitty "Meow McMuffin", soon to be appearing at the "Arched Eybrow"

I Hope You're Happy Now
Heart Of The City
Strict Time
Mystery Dance

The Spectacular Spinning Songbook

Shipbuilding - SPIN 1

"I Can Sing A Rainbow" Jackpot - SPIN 2

Green Shirt
Blue Chair
Red Shoes/Purple Rain

The Other Side Of Summer - SPIN 3
Chelsea - SPIN 4
This Wheel’s On Fire/River In Reverse - SPIN 5

Monkey To Man - SPIN 6
Counting Darkness - IMPROMPTU

Harry Worth - SPIN 7
Alison/Wind Cried Mary/Somewhere Over The Rainbow/Somewhere - SPIN 8

Interlude

A Slow Drag With Josephine
Jimmie Standing In The Rain
Pump It Up - in 6/8 - Busted

The Spectacular Spinning Songbook

"Girl" Jackpot - FINAL SPIN

Girl
This Years Girl
Doll Revolution

Finale

You Belong To Me
Next Time Around
Peace, Love And Understanding

----------------------------------------------------

Elvis Costello & The Imposters
Oakland
May 8th, 2011

Overture - featuring Ms. Kitty "Meow McMuffin", soon to be appearing at the "Arched Eybrow"

I Hope You're Happy Now
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

Chelsea
Bedlam
Beyond Belief
The Other Side Of Summer

“Joanna” Jackpot

Temptation – arr. Steve Nieve

The Spectacular Spinning Songbook

Long Honeymoon
Peace, Love And Understanding
Clubland
God's Comic
You Tripped At Every Step

“Girl” Jackpot

Girl
Spooky Girlfriend
Sulky Girl
This Year's Girl
Party Girl

Finale

A Slow Drag With Josephine
Jimmie Standing In The Rain
Pump it up

“Napoleon Solo” Jackpot

I Can't Stand Up For Falling Down
High Fidelity

Encore

Alison
--------------------------------------------------

Elvis Costello & The Imposters
Reno
May 7th, 2011

Overture - featuring The Rt. Hon. Penelope Halfpenny of "Maison Sophisticaté"

I Hope You’re Happy Now
Mystery Dance
Radio Radio

The Spectacular Spinning Songbook

Stella Hurt
Greenshirt
Almost Blue
Red Shoes
Veronica
Chelsea
Beyond Belief
Shot With His Own Gun
Girl
Sulky Girl
This Year’s Girl
Party Girl
Clubland
Man Out Of Time
And Your Bird Can Sing
Oliver’s Army

Finale

A Slow Drag With Josephine
Pump It Up
The Other Side Of Summer
Alison
Peace, Love And Understanding

"The Revolver Tour" Receives Ten Standing Ovations In Oakland, Sells Out In Los Angeles"

"The Revolver Tour" receives ten standing ovations in Oakland.

"I Wish I Was In New Orleans"

Consequence Of Sound
Paul de Revere on May 7th

It’s impossible to talk about New Orleans and its music (and broader culture) without talking about the city’s recent strife. Period. So forgive me, apolitical readers, and political ones who flinch at the possibility of bring preached to.

It goes without saying that New Orleans and the Gulf Coast (from which I live about half an hour away in North Florida) has a had a string of shitty luck in the last few years. Maybe “luck” isn’t the right word. Divine improvidence or damning from God, perhaps, if you believe that. However you want to explain it away, it fucking sucks for the Coast and particularly New Orleans, once the thriving commerce and cultural capital of America and The New World.

In short, New Orleans has got the blues.

People, particularly white folks, underestimate the existential, all-encompassing nature of what “the blues” is. Even stylistically, blues applies to artists from the authentic Robert Johnson to the co-opted John Mayer, from as seemingly disparate as Leadbelly to Jimi Hendrix or, hell, Rush. The blues is all-encompassing musically and philosophically. It was, is and forever will be America’s most signature form of music. Jazz evolved from it. The white Alan Lomax may not have understood “the blues” in its primal infancy but he knew it well enough, or knew it to be special enough, to use it to gain opportunity from it, even cravenly profit off of it.

And thank God that Lomax did, otherwise we wouldn’t have Elvis Costello or, for that matter, Allen Toussaint, who orchestrated 2006’s The River in Reverse so utterly perfectly– re-contextualizing songs, rearranging them, reanimating them– it’s as if a hand transcending time and space guided the creation of the record. It’s that good.

To understand the record’s weighty significance, you have to understand where New Orleans is more than where it has been. As someone who just visited New Orleans two consecutive weekends, including Jazz Fest, let me give you my personal encapsulation of where New Orleans is now:

Hurricane Katrina’s clouds still linger over the city in some form. A Jazz Fest publicist told me she was still on “Katrina time” in doubting that press materials dropped into a U.S. Post Office box would get to me in time for my arrival.

And let me hammer this home: If you don’t think The Deepwater Horizon oil spill still gushes like a fresh wound on the traumatized psyche of the city, state and region, you’re out of your mind. British Petroleum still stains the city’s consciousness and inspires some of the most angry, ugly street art I’ve ever seen scrawled.

Speaking of righteous anger, at Jazz Fest, Dr. John mentioned Louisiana’s endangered wetlands, as he does constantly, it’s a pet cause of his, but it’s hard for me to quote him directly. Sometimes, if you clean his words up, his quotes aren’t much of a sentence. For example:

“How much do they expect us to take?” Dr. John asked New York Magazine’s Mark Jacobson. “The inside information is guys on the rig saw rubber and shit, stuff from the blowout protector, coming to the surface back in late February, early March. They were told to keep drilling. Drill, baby, drill. Kill, baby, kill. There ain’t no place in this country that’s been attacked like Louisiana. Forty percent of our coast has been destroyed, washed away. They’re trying to get the rest, the fuckers. The marshes are dead. Dead from greed. When you’re a coon-ass kind?, you eat coon, shrimp, all that. What are you going to eat now? These scumbags are trying to starve us out.”

There’s always trouble to be found in port and river cities: folks getting into trouble (N.O.’s crime rate is infamously high) but also the “troubling of the water” (to paraphrase the slave-song, gopsel refrain that would later evolve into a secular blues one), the same that flooded the city six years ago this summer and the oily mix on the Gulf of Mexico floor. And still, the crescent-shaped city clutches the canal that has given it life, port industry and artistry for so long, and so much misery lately. New Orleans is simultaneously a city in decay and decline, yet still insistently, almost naively, thriving. Like a girlfriend you break ties with because she’s kind of a fuck-up and run into 10 years later… only to find she’s exactly the same.

Former Pantera and supergroup Down front man Phil Anselmo is a New Orleans resident. Anselmo titled one of Down’s songs “New Orleans Is a Dying Whore”. Bassist of essential New Orleans funk band The Meters, George Porter Jr., called New Orleans “an old, fat whore.” This is not a coincidence.

Of course, there’s lots of love in the N.O., too.

At Jazz Fest, I heard strains of “Who’s Gonna Help Brother Get Further?” written by Allen Toussaint, who I was chagrined to chat with briefly at the festival. The song is progressive populism in the language of funk. As New Orleans is in one, it needs funk to get out of one.

In the sequence of “River in Reverse”, the track is near the centerpiece of the record: its title track, with a slow, churning New Orleans funk groove where Costello sings, “Here comes the flood if you catch my drift,” a double-meaning kiss off worthy of being put next to “Radio, Radio” or, hell, “London Calling”, in which Joe Strummer sneers that “London is drowning and I live by the river.”

It doesn’t stop there. There’s so many examples of flood and water metaphors and double-meanings not just in this record but throughout human civilization. Awfully wide-lensed, I know, but the subject matter, and album, demands it. When all is said and done, The River in Reverse will, at least, go down as an essential document of post-Katrina New Orleans music.

HAVE BAG. WILL SHAKE. HAVE WIG. WILL OUT.

The Revolver Tour rolls out of Reno in less than a week and our mailbag has been full of enquiries as to how this show is going to work.

The simple answer is that members of the audience will be invited onto the stage to spin the newly constructed, “Spectacular Spinning Songbook” – an almost immense wheel of songs.

Elvis Costello and the Imposters will then play whatever comes up.

This is an entirely different way to shake the bag.

You will hear many of the songs on offer, whether they are hits, rarities or songs by other artistes.

While the curious among you will see a number of famous tunes spinning by, rehearsals have also yielded a number of songs that have rarely, if ever, been heard in concert. As the old song says, a splendid time is guaranteed for all.

We are not in a position to reveal the entire repertoire but can tell you that 34 songs will be named nightly among the forty banners that make up the Spectacular Spinning Songbook. Many of these will change from show to show.

Six additional purple “Jackpot” banners will also be in place.

These may include one that reads: “Happy”.

Should this selection come up, the number of songs performed from the album “Get Happy” will be found in a sealed envelope.

On other nights, these banners may read “Aim”, “Imperial Chocolate”, “Model” or even “King’s Ransom”. We will leave it to your imagination as to what will occur, if these should be selected.

Other Jackpot banners that may be featured include, “I Can Sing A Rainbow”, “Joanna”, allowing for song with accompaniment by Steve Nieve to be chosen spontaneously from a large pile of sheet music and one that simply reads, “Girl”.

Elvis Costello will once again take the role of the M.C. “Napoleon Dynamite” – a showbusiness alias later abducted by aliens. Consequently, it should be easy to guess the significance of the Jackpot banner reading, “Napoleon Solo”.

Contestants will be offered light refreshments in the Society Lounge during the performance of the song that their spin has selected but those of a less nervous disposition may care to shake a tailfeather in Hostage To Fortune Go-Go Cage.

A “Request” light will also be in operation from time to time to further change the scene.

The Spectacular Spinning Songbook was first seen in 1986, when Elvis Costello and the Attractions had only eleven albums in the racks plus a handful of songs by pop giants from Prince to ABBA.

Elvis Costello and the Imposters will be performing songs from more than thirty record albums, including several made by other people, having rehearsed approximately, 157 and a half separate titles prior to this engagement, not including the songs they intend to learn on the night.

Many of you present at those earlier shows will fondly remember the part played by Xavier Valentine - “Your guide from your place in the stalls to your place in the stars”. We are delighted to announce that Xavier’s niece, Katya Valentina Valentine, will be joining the company.

The first rule of this show seems to be that there are no actual rules just some made up stuff.

Elvis Costello and the Imposters reserve the right to play whatever the hell they feel like and will on occasion, cheat, quite shamelessly.

Moon Conway. May Day. By telegraphic wire from the parking lot of the Cal-Neva Lodge.

Dylan delivers, Elvis excels at Bluesfest

Two performing legends proved they can still tell the musical stories their generations of fans want to hear last night.

Bob Dylan and Elvis Costello both delivered powerhouse shows at the Byron Bay Bluesfest proving their advancing years had in no way diminished their extraordinary abilities.

Dylan, nearing 70, and Costello, 56, have sold million of records during long, glittering careers that have seen them pass from young upstarts to icons of the music industry.

Both are now in a position to make the music they want to, regardless of whether it sells or not, or whether it is fashionable or otherwise.

Dylan rarely speaks publicly these days, while Costello interviews musicians as host of his own television show.

But last night both singer-songwriters demonstrated why live shows are the best way for them to keep their stories alive.

Bob Dylan's America is a mix of tangled loves and lovers, of small towns, cars and trains, small cafe jazz and blues, with rockabilly tossed on top as the main dressing.

The folk pioneer has always written rockabilly and early rock and roll songs, fused with the beat-poet lyrics.

Diehard Dylan fans, who had seen him play in Melbourne and Adelaide, said the Byron show was his best yet.

The performance began with the stage going black and Bob, resplendent in stylish white hat, started at the organ, pumping out a new roadtrip rockabilly piece Gonna Change My Way of Thinking before delving back to Don't Think Twice, It's Alright.

The rockabilly returned with The Levee's Gonna Break ahead of an eerie, almost spiritual version of Tangled Up in Blue.

The set list was like a car journey through America's rock and roll heartland, with several different stops and changes in direction.
The rollicking Tweedle Dee and Tweedle Dum opened the door to the infamous Hard Rain, delivered as a clipped sea shanty like Nick Cave's The Ship Song.

Slap bass heralded the driving Summer Days, again with Bob on organ, before the highlight of the night, a heartfelt rendering of Simple Twist of Fate, one of Dylan's most poignant songs from the Blood on the Tracks album.

Guitarist Charlie Sexton played a gorgeous repeated guitar figure, while the band played the song strongly, but sympathetically.

It was a wonderful moment, with Bob telling how two lovers "would sit together in the park", until "their eyes grew dim and the lights got dark".

It drew a massive response, before Dylan and band pushed on the rockabilly accelerator and delivered a stinging Highway 61.

A note-perfect version of Ballad of Thin Man followed, which stunned and electrified the audience.

"Something is happening, but you don't know what it is," Bob barked.
The encores were Like a Rolling Stone, where the Mojo Tent crowd bellowed the chorus in deafening volume.

Finally, Bob staked his claim and stood his ground with the declarative, gospel piece, Forever Young.

His voice is not as flexible as it was 50 years ago, or even 30 years ago, but Dylan was passionate and engaged, something he hasn't always been on previous visits to Australia.

He received a massive reception before Elvis Costello walked straight on stage and immediately hit the crowd between the eyes with a surging version of Pump It Up.

Elvis never let the pressure ease, pumping out a string of hits including Watching the Detectives, Good Year for the Roses, I Don't Want to Go To Chelsea and Clubland.

The achingly-pretty Alison, morphed into his famous namesake's Suspicious Minds.

He sang some old-style country songs with the Secret Sisters, including an old Hank Williams number, before scorching through encores Oliver's Army and (What's So Funny About) Peace, Love and Understanding.

Mr Costello was in red-hot form and his band, which included regular members, Pete Thomas on drums and Steve Nieve on keyboards also delivered and then some.

A great show closer from one of the best songwriters of the past two decades.

Sydney Morning Herald: Elvis Costello and the Imposters at the State Theatre

The start was breathless, four songs banging up against each other like late running commuters impatient at the turnstiles: coming through, coming through, make way. I Hope You’re Happy Now noisy and rollicking, Tear Off Your Own Head busy and sneakily poptastic, High Fidelity brisk soul dancing away, Uncomplicated muscular and snappy. Fifteen minutes or so, not a word said, barely a pause between final chord and first drumbeat, corrections made on the run, energy.

But even before the first breath was taken, in the Texas torch song of Either Side Of The Same Town, you could hear the base notes of this night’s show and it wasn’t knock-me-down rock’n’roll. What permeated almost every corner of the next two hours was what has always fed Elvis Costello’s music: country and soul. There was the Chicago groove now underneath Everyday I Write The Book and the deeper well of Flutter & Wow, the usually raucous Why Don’t You Love Like You Used To Do done Opry style followed by a rockabilly take on Luxembourg, and even the sleazy cabaret lounge just behind the veil of New Lace Sleeves picking up a hint of rye rather than cheap scotch blend.

This is one versatile, almost infinitely flexible band of keyboard adventurer Steve Nieve (who was criminally low in the mix for a little too long), seemingly ageless drummer Pete Thomas, loose limbed bassplayer and spot-on backing vocalist Davey Faragher and Costello in some career-best form on guitar. When they want to they can sound dense and dangerous like late ‘70s Attractions or sit back in the song and just point you in the right way.

Mind you, one of the evenings highlights didn’t feature the band (or much country soul) at all as first Costello took a solo, old time radio-style stroll through the comi-tragic tale of Jimmie Standing In The Rain before the seriously charming and winning voices of support act Secret Sisters played chorus line to his neo-Bing Crosby in A Slow Drag With Josephine.

Having cleared a space with these delicacies though, Costello and the Imposters went out the way they came in, bustling through a final triumvirate of National Ransom, Pump It Up and (What's So Funny ‘bout) Peace, Love And Understanding convincing us briefly that our lack of breath was excitement not ageing.

Elvis Costello and the Imposters play at the Byron Bay Blues Festival this weekend.

Elvis Costello seasoned to taste

Slick and sharp as ever, Elvis Costello showed his State Theatre audience that at 56 he may be seasoned but to just about everyone’s taste.
In a 90-minute set that ranged over four decades of his cleverly crafted material, Costello and his band The Imposters moved seamlessly from crowd favourites like Every Day I Write The Book and Tear Off Your Head to more recent songs from his Momofuku and National Ransom albums.

Costello, perhaps the most versatile of rock performers, is no stranger to Sydney, having appeared with the Brodsky Quartet in the 2006 Sydney Festival as well as performing with the Sydney Symphony.

But it’s been a while since he’s been seen here with his amazingly tight band - keyboardist Steve Nieve, bassist Davey Faragher and drummer Pete Thomas.

Looking dapper in one of his trademark hats and a metallic grey suit, Costello zapped through the first six numbers before throwing a hurried “how are you?” to the audience, changing from a Telecaster to his trademark Jazzmaster and launching into the next medley of hits.

The breakneck pace eventually slowed for his heartrending country-style Either Side Of The Same Town. After that there was some banter with the audience before he settled down to an acoustic session, working his way through a battery of guitars including a Guild which had been given to him for a recording gig in 1978 and hadn’t been out of its case since.

He boasted about the qualities of his tenor guitar before singing Monkey To Man, switching back to a solid body for Beautiful played with a distortion so dirty it was close to disintegration.

Always generous to other musicians, he brought on support act, the wonderful Secret Sisters - Laura and Lydia Rogers from Muscle Shoals, Alabama - to join him for a couple of numbers near the end of the set, including the beautiful A Slow Drag With Josephine and an acoustic rendering of Jimmy Standing In The Rain.

This last song he described as the tale of a vaudevillian who travels the world in a straw hat and a book of poems by Dante and who has “chosen the wrong moment to go into cowboy music”.

Finally the band came back for a farewell 20 minutes with the audience up on its feet and singing and dancing to King of America and Nick Lowe’s (What’s So Funny) About Peace, Love and Understanding.

This is the only rock concert I know of where the audience came out to the strains of English comedy duo Eric Morecambe and Ernie Wise singing Give Me Sunshine. All part of the Costello experience!

Costello, along with the Secret Sisters, is appearing in the Byron Bay blues festival over the Easter weekend.

Spectacle elvis costello with ... Now showing on Sky Arts UK

In front of an intimate theatre audience, Elvis Costello presents a series of interviews and live performances from some of the biggest names in the music business.

Lou Reed, Elton John, James Taylor, Rufus Wainwright and Norah Jones all grace the stage to discuss their careers, give intimate solo performances and jam with Costello and the other guests. Stewart Copeland and Sting argue about who calls the shots in The Police, and former US President Bill Clinton discusses his early jazz aspirations.

The shows will be on daily from 12 April at 9pm.

   1.      Elton John – 12 April
   2.      Smokey Robinson – 13 April
   3.      Renee Fleming – 14 April
   4.      Bill Clinton – 15 April
   5.      Lou Reed – 16 April
   6.      The Police – 17 April
   7.      Tony Bennett – 18 April
   8.      Rufus Wainwright – 19 April
   9.      Jakob Dylan, Jenny Lewis and She & Him – 20 April
   10.   James Taylor – 21 April
   11.   Diana Krall interviewed by Elton John– 22 April
   12.   Herbie Hancock – 23 April
   13.   Norah Jones, John Mellencamp, Kris Kristofferson & Rosanne Cash – 24 April

http://www.skyarts.co.uk/music/article/spectacle-elvis-costello/

Elvis Costello Plays Three Shows In NYC For April Fools Day ... Again, Joins Strokes...

Back in 1979 Elvis Costello & The Attractions celebrated April Fools’ Day by playing a total of three shows in New York City. Thirty-two years later, Costello has duplicated the feat in spectacular fashion.

Back in 1979 Elvis Costello and The Attractions kicked off April Fools’ Day with a short set at the Lone Star Cafe, moved to The Bottom Line for a 15-song barn-burner and finished the night with a legendary performance at Great Gildersleeves that’s just as well known for the brawl that ended the show as for the music. Who says history never repeats itself?

"My dog he turned to me and he said..."

Elvis Costello Joins Furthur for Band’s Final New York Blowout.

He fronts the band on classics like 'Tennessee Jed' and 'Friend of the Devil

Rolling Stone : By Patrick Doyle March 28, 2011

When Furthur hit the stage for their third consecutive headlining show
at Radio City Music Hall last night (and their eighth show in New York
City this month), surprises were expected. But it's safe to say everyone
was shocked when, after two songs, Elvis Costello sprinted out wearing a
navy checkerboard suit, silver hat and thick-rimmed glasses strapped on
an acoustic guitar and fronted the band on a stomping, joyous rendition
of "Tennessee Jed," trading verses with guest guitarist Larry Campbell
in front of vintage psychedelic visuals. Afterwards, he waved to the
crowd, appearing he was leaving the stage, but simply took a sip of
water and headed back to the mic, where he stayed for the majority of
the first set.

Costello and the Dead may sound like a weird pairing, but
they have some history; Costello and Jerry Garcia sang country songs
together at a 1989 show in Mill Valley, California. Last night, Costello
easily adapted to the band's loose sensibilities. He delivered an
uplifting "Friend of the Devil" and then turned into a balladeer on a
13-minute jam of 1973’s "Ship of Fools," which shifted into the boozy
sing-along "It Must Have Been the Roses," with Larry Campbell adding
soaring fiddle – and then seamlessly moved back to "Ship of Fools."
Costello covered the two songs acoustically on 2000’s Stolen Roses
tribute disc, but hearing him belt over Lesh and Weir’s wall-of-sound
sounded otherworldly. Costello capped the set duetting with wife Diana
Krall on a gorgeous "Ripple."

The 10-song set two was performed without Costello, and included
impassioned performances of "St. Stephen," "UncleJohn’s Band" and
"Morning Dew," delivered excellently by guitarist John Kadlecik. Weir
and Lesh have been playing some of the songs for four decades, but it
was amazing how aggressively they are still willing to break the mold of
the studio recordings. For the encore, about three hours after first
emerging, Costello emerged with Krall and sang the blues classic
"Fever," Costello jabbing screeching high notes out of his black Les
Paul next to Weir. To close out the night, they invited Teresa Williams
out and all harmonized American Beauty’s prayer "Attics of my Life."

My library book is so overdue that I'm expecting to get in a lot of trouble later

Elvis Costello kicks off season three of Public Television's Live From The Artists Den on April 1st, 2011.

New York, NY --The third season of the innovative music series Live from
the Artists Den will premiere nationwide on public television beginning
April 1, 2011 with a special performance by rock icon Elvis Costello
backed by his band, The Sugarcanes, at The New York Public Library’s
world-famous Stephen A. Schwarzman Building. The show airs nationally on
public television. Check local listings or ArtistsDen.com

“My library book is so overdue that I’m expecting to get in a lot of
trouble later,” Elvis Costello said with a smile before his show at The
New York Public Library. He went on to say, “There’s something
definitely different about playing in New York Public Library. There’s
not many venues I play that have big stone lions outside.”

Elvis Costello’s episode is the result of a private concert he performed
on November 2, 2010 for 500 lucky fans in celebration of his new album's
release that day. Within the ornate and awe-inspiring Celeste Bartos
Forum, Costello – along with The Sugarcanes and Pete Thomas on drums –
performed new songs from National Ransom as well as hits spanning his
three-decades-and-counting career.

Live from the Artists Den is an Emmy-nominated TV series connecting
music fans with a curated lineup of icons and rising stars performing in
unique and intimate venues. The exciting new season also features
Robert Plant, Ray LaMontagne, Grace Potter and The Nocturnals, Squeeze,
Daniel Merriweather, A Fine Frenzy, and Lisa Hannigan. A Public
Television Rocks! presentation, the series is a co-production of Artists
Den Entertainment and WLIW21 in association with WNET New York Public
Media and distributed by American Public Television.

The Sugarcanes are: Jerry Douglas (dobro), Stuart Duncan (fiddle), Mike
Compton (mandolin), Jeff Taylor (accordion), Dennis Crouch (double
bass), and Jim Lauderdale (acoustic guitar).

IT'S APRIL FOOLS DAY

So naturally Elvis Costello & The Imposters are doing a special 11:00pm show at the Gramercy Theatre, 127 East 23rd Street, New York, NY!

Tickets on sale Saturday, March 26th at 10:00am. $50 in advance, $75 at the door. Check your local Ticketmaster outlet for the official show listing at 12pm EST Friday – www.ticketmaster.com | www.Livenation.com

Where else might they turn up??

For Our Younger Readers

World Premiere of Rabbit Ears’ Newest Title TOM THUMB Set for March 20, 2011 at International Family Film Festival

Narrated by John Cleese with Music by Elvis Costello

A new version of the classic children’s story, “Tom Thumb,” told by John Cleese with original music by Elvis Costello, will have its world premiere Sunday, March 20, 2011 during the International Family Film Festival at Raleigh Studios in Hollywood. This is the first new Rabbit Ears title released in more than a decade.

“Tom Thumb” is the story of Tiny Tom, no larger than his father's thumb, who embarks on a series of fantastical adventures that lead him to King Arthur's court. After saving King Arthur from the clutches of an evil sorcerer he becomes a member of the Knights of the Round Table, and the darling of Queen Guinevere. The tale is narrated hilariously by John Cleese, with music composed and produced by Elvis Costello and illustrations by Tim Gabor. This rollicking story, written by Brad Kessler and directed by Chris Campbell, is produced in hi-def with a digitally recorded soundtrack. Following the premiere it will be available as a DVD or digital download through Rabbit Ears Entertainment’s ecommerce site http://www.rabbitears.com Targeted for ages 5 and up, the story uses gentle dissolve animation and humor, the signature style of the award-winning Rabbit Ears series of timeless children's tales.

“Tom Thumb” is the latest in the Rabbit Ears catalog of “great stories, well told.” The highly-acclaimed library of books, DVDs and CDs began in the 1980s with “The Velveteen Rabbit,” narrated by Meryl Streep with music by George Winston which aired on PBS. Two seasons of Rabbit Ears Radio aired on public radio. Random House Listening Library re-released the entire library on CD in 2006, and Rabbit Ears launched its own ecommerce site in 2007.

The 25-minute film is directed by Chris Campbell. Executive Producers are Mark Sottnick and Chris Campbell. It was edited by David Russell at Palace Digital Studios, South Norwalk, Conn. The audio mix is by Chris Nelson.

“We are delighted to have “Tom Thumb” debut at the International Family Film Festival,” says Campbell. “Rabbit Ears is committed to restoring the lost art of storytelling through our videos, books, and audio recordings, and we think our goal of providing quality family entertainment that respects the intelligence of young and old fits perfectly with the mission of the festival to promote evergreen fare.”

Rabbit Ears was launched by its founders, Mark Sottnick and Doris Wilhousky, with the belief that quality entertainment can inspire children with an appreciation for literature, art and music. The classic children’s stories are brought to life by the world’s most respected narrators, musicians, and illustrators. Narrated by Hollywood’s top celebrities, scored by renowned musicians, and illustrated by well-known artists, the more than 65 programs have earned a reputation for achieving the highest degree of artistic quality. The resulting books, videos, and audio products have garnered many prestigious awards from design, educational, and entertainment organizations, including 2 Grammy Awards, 18 Grammy Award nominations, 21 Parents' Choice Awards, 7 Action for Children's Television awards, a National Education Association Award, and the Humanitas Prize.

HAVE WIG - WILL OUT. Elvis Costello

“HAVE WIG – WILL OUT. Elvis & The Imposters performing in Bridgeport, CT at “The Gathering of the Vibes” music festival on Saturday July 23rd . What Grateful Dead song would you like to hear in the set?”

Mexico and South America Tour Announcement

To all our fans and friends in Mexico and South America we regret to announce that due to circumstances beyond our control we have had to cancel our tour scheduled for early April. We hope to be able to reschedule and return in the near future!

Elvis Costello - Hong Kong Cultural Centre

South China Morning Post

Elvis lives. In a remarkable solo performance in the Cultural Centre last night, Elvis - Elvis Costello that is - showed his songs are just as sharp, his lyrics as biting and his voice as powerful as they were when the British singer-songwriter burst onto the scene as the angry young man of pop more than three decades ago. But my how the rest of us have aged.

When I last saw him perform, on his Punch the Clock tour in 1983, we jumped up and down in front of the stage in a fug of sweat and lager. Last night, I clapped along self-consciously from my seat with middle-aged parents frighteningly like myself in a venue better suited to stage plays and minor orchestral works.

Elvis has hardly changed but we have - and watching his raw energy surge through the Cultural Centre seemed as incongruous as watching a string quartet perform on the main stage at Glastonbury. It was to his great credit that he had most of the 1,000-strong audience onto their feet doing a kind of mystery dance by the end of a gripping two-hour show.

Whippet-thin and strutting and skipping across the stage, with acoustic guitar and no microphone, the 56-year-old took to a bare stage. Perhaps sensing the oddness of the setting, he introduced Beyond Belief with the words: "Allow me to introduce my special guest - It's me."

Slower numbers like Alison, Good Year for the Roses and Shipbuilding were spine-tingling. It was the faster numbers like Oliver's Army and Pump It Up that made us feel our age because we probably all wanted to get up and dance but couldn't because of where we were.

Finally, during the encore, rebellion ripped through the audience and people rose to clap along to an aggressive and magnificent rendition of (What's So Funny 'Bout) Peace Love and Understanding. Had we been younger, we might have ripped up the seats and charged forward for a proper pogo. Last night, we'd probably have done our backs in.

The Rebel Kind.com

Last night the Elvis Costello show rolled through our clotted metropolis of Hong Kong and put on a spectacle worthy of the ages. Throughout his over two-hour solo performance, Elvis finessed, lathered, charmed and slayed with the ferocity and precision of a matador in the ring. The stage was literally "in the round" with the crowd surrounding Elvis and prompting him at times to stroll the periphery, arm raised in mock self-aggrandisement like Mussolini at Rome's Palazzo Venezia. The only thing missing were chants of "Elvis Is King!"

With a wink to China's surveillance state, he opened with "Green Shirt" from 1979's Armed Forces:
There's a smart young woman on a light blue screen
Who comes into my house every night
And she takes all the red, yellow, orange and green
And she turns them into black and white

From there he dipped deeply into his rich catalogue, stretching from his first-ever recording - "Radio Sweetheart" - to the ragtime-inspired, "A Slow Drag With Josephine" off his most recent, the excellent, National Ransom. Highlights included a genuinely acoustic rendition of "Jimmie Standing in the Rain," done without electricity when he stepped away from the mic and unplugged his guitar; a mash-up of "New Amsterdam" and the Beatles' "You've Got To Hide Your Love Away"; a smoldering "Almost Blue," sung again unplugged as he strolled around the stage; a truly moving version of "Shipbuilding; and "Oliver's Army" with the shout out for us, "Hong Kong is up for grabs!"

http://therebelkind.blogspot.com/2011/03/elvis-in-hong-kong-up-for-grabs.html

Elvis Costello concludes a six-date Asian tour in Singapore.

Time Out Singapore: 05.03.11

Armed with an encyclopaedic musical knowledge, a true wordsmith’s love of language and 35 years’ performing experience, Elvis Costello waxes lyrical on a life in music prior to his MBS show on 7 March

If you’re not busy at the same time, do you and the lady wife [Diana Krall] travel together round the world on tours?

We travel so much that it is the greatest luxury to be at home.

You’ll be the first artist to perform at Marina Bay Sands Grand Theater. According to one weblink I saw, you will ‘gratify audiences from all around the world’. That’ll be nice. Have you seen Marina Bay Sands yet? It’s pretty big. There’s a casino too, if you’re feeling lucky after the gig.

‘Gratifying’ people is what I was made to do. I haven’t seen either the theatre or location but I won’t be a patron of the gambling room. I will wager but never bet odds.

So your Asian tour is stopping off in Hong Kong, Japan and Korea. Is there an Asian city you prefer performing in above all others?

I do not have a favourite. Obviously, I have visited Japan for more than 30 years, while I am making my Korean debut, so comparisons are not really possible.

A lot of people over here know you for your rendition of ‘She’ (it comes up a lot on TV trailers, local radio and love-song compilations) but some are probably a bit young to know your older stuff. For someone who’s written so many originals, does it get on your nerves that one of your most famous tracks is a cover?

There is an old saying: ‘You don’t buy a house if you only like the door.’ I would be surprised if people come to a concert only to hear one song. I’ve had a number of successes [with] other people’s songs, so it would be foolish of me to resent them.What reason do people have for attending the show? They will hear songs from every year and even from the future.

The last album National Ransom was another collaboration with T-Bone Burnett, who produced some of your older records and like yourself is highly prolific and diverse, having worked with a wide range of artists including Counting Crows and Gillian Welch. What is the special quality he brings that makes you two jell?

We have had a great time together. He has never needed to lie about [his] height. He knows the words and which ones to say among musicians. I am in complete agreement with [his] dislike of mp3 and other brittle, insubstantial methods of insulting your ears and brain.

You’ve revived your Spinning Songbook gimmick for the upcoming American tour with The Imposters, and the Singapore gig will be a greatest-hits set too. Is that big wheel coming out over here too?

‘The Spectacular Spinning Songbook’ is not a ‘gimmick’ but a highly sophisticated system of avoiding the obvious and a finely tuned piece of showbusiness machinery that is still under construction at a secret location, so will not appear in Singapore on this occasion.

You’ve been pursuing a country tip of late, but is there any particular period of your career you tend to avoid when you’re playing live – albums where you’re perhaps not so proud of the results, collaborations that didn’t work as well as you’d hoped?

I tend to avoid my infant years.

We’ve got our Mosaic Music Festival just after your gig – the big festival of the year with artists like Aphex Twin, Saint Etienne, The National, Jamie Lidell, Joanna Newsom and The Bad Plus all playing. You’re on an Americana tip at the moment but are known for your eclectic tastes – do any of those names appeal? Which current artists do you prefer?

You like the word ‘tip’, don’t you? Did you win it in a raffle? Seriously though, I very much enjoyed Joanna Newsom’s last release. She is a tremendous artist. Anyone who confidently issues a triple album in these days gets my vote.

I loved your TV show Spectacle: Elvis Costello with…. My favourite episodes were the ones with Bruce Springsteen, Jenny Lewis/She & Him/Jakob Dylan, and Rufus Wainwright with his (sadly now deceased) mother Kate McGarrigle. Who was your favourite guest?

Those were all fine shows. I loved singing [The Miracles’] ‘You Really Got a Hold on Me’ with Smokey Robinson, doing crazy background vocals with Kris Kristofferson for Norah Jones’ setting of an unpublished Hank Williams lyric, twanging the electric guitar on Neko Case’s ‘Prison Girls’ and sharing the last verse of [The Band’s] ‘The Weight’ with Ray LaMontagne in a one-off band with Levon Helm on drums. That was an unbeatable evening. The Imposters gave terrific backing to Bono and The Edge, and Bruce Springsteen could not have been more generous with his time. I think many people’s favourite single performance was that of Jesse Winchester. It completely stopped the show and brought a tear to the eye of several people present.

Will that show be re-commissioned?

Not at the present time.

What do your kids like to listen to – do you play them your own favourite music at home, or do they make their own discoveries?

They like all kinds of music: Nat ‘King’ Cole, The Beatles and Geeta Dutt are current favourites. They are just discovering that sound also comes from those flat, round, black discs of vinyl and shellac. ‘When My Sugar Walks Down the Street’ conjures a completely different picture in the mind of a four-year-old.

The recent album of yours I enjoyed the most was the one you did with Burt Bacharach, Painted from Memory. Is there any chance you two might work together again?

Burt and I wrote two further songs over the last couple of years. I would be happy to work with him any time.

If push came to shove, would you be able to choose your favourite from your own songs that you’ve recorded since 1977?

Like anybody, a favourite song would depend on the mood of the day. I always like the answer that is attributed to Duke Ellington to the question, ‘What is your favourite composition?’. He would apparently reply, ‘My next.’

I last saw you at the Glastonbury Festival in 1995 with The Attractions. You played for about three hours and totally rocked. ‘Pump It Up’ was amazing. Thanks for that.

Three hours? Really? I’m glad you enjoyed the show. See you again soon.

Elvis Costello Announces The Return Of The Spectacular Spinning Songbook For The First Time In 25 Years On "The Revolver Tour"

Elvis Costello and the Imposters have announced “The Revolver Tour” during the merry month of May.

For the first time in 25 years, Costello will let his set-list be chosen by ”The Spectacular Spinning Songbook”, a monumental game-show wheel that features 40 song-titles, including hits, rarities and very unexpected covers.

Audience members will be invited onstage where they may spin "The Wheel" and then be offered a chance to enter the "Hostage to Fortune Go-Go Cage", while their selection is performed.

Alternatively, they may choose to take a seat in the on-stage “Society Lounge”, where light refreshments will be served, during what promises to be a splendid and surprising evening.

The original Wheel was famously donated to the Hartlepool Museum Of Showbusiness Machinery but it has been meticulously reconstructed from the original blueprints.

"The Revolver Tour" includes stops at The Wiltern in Los Angeles May 11 &12, and three nights at New York's Beacon Theatre May 22, 23 & 24.

See below for a complete list of dates.

The Imposters are: Steve Nieve (keyboards); Pete Thomas (drums) and Davey Faragher (bass).

"The Revolver Tour" Dates:
5/7 -    RENO, NV GRAND SIERRA THEATRE
5/8 -    OAKLAND, CA THE FOX
5/9 -    OAKLAND, CA THE FOX
5/11 -   LOS ANGELES, CA THE WILTERN

5/12 - LOS ANGELES, CA THE WILTERN
5/15 - CHICAGO, IL CHICAGO THEATRE

5/16 - CINCINNATI, OH TAFT THEATRE
5/18 -    MONTCLAIR, NJ WELLMONT THEATRE (Sold Out)
5/19 -    UPPER DARBY, PA TOWER THEATRE
5/20 -    BOSTON, MA WANG THEATRE
5/22 -    NEW YORK, NY BEACON THEATRE
5/23 -    NEW YORK, NY BEACON THEATRE

5/24 - NEW YORK, NY BEACON THEATRE

Elvis Costello Live From The Artists Den Season Three Premieres on Public Television Beginning April 1, 2011.

New Season Features Elvis Costello, Ray LaMontagne, Robert Plant and more

The third season of the innovative music series Live from the Artists Den will premiere nationwide on public television beginning April 1, 2011
(check local listings).

The Emmy-nominated show connects music fans with an incredible, curated line up of icons and rising stars performing in unique and intimate venues. The exciting new season features Elvis Costello, Ray LaMontagne, Robert Plant, Grace Potter and The Nocturnals, Squeeze, Daniel Merriweather, A Fine Frenzy, and Lisa Hannigan. A Public Television Rocks! presentation, the series is a co-production of Artists Den Entertainment and WLIW21 in association with WNET New York Public Media and distributed by American Public Television.

Artists Den Creator and Executive Producer Mark Lieberman comments, “Season Three showcases once-in-a-lifetime concert experiences filmed in some of the most imaginative settings in America. Millions of public television viewers are in for a rare treat.

Beginning April 1 – Elvis Costello, backed by his band, The Sugarcanes, at The New York Public Library’s world-famous Stephen A. Schwarzman Building.

"Phew. That Was A Near Thing"

Movie City News: Trent Reznor on why Elvis Costello didn't suit Social Network

And Now For Something Completely Different

"Puck 1" an excerpt from Carolina Crowns 2009 production entitled "The Grass is Always Greener." The music is 'Puck 1" from Elvis Costello's Il Sogno.

"Groucho Costello: Fashion Leader and Oracle."

"Groucho Costello: Fashion Leader and Oracle."

"And when you were 15 your life was changed completely by 'Tamla Motown', which song?"

"Bernadette"

"If you had just one sentence to describe 'Spike', what would it be?"

"Totally Brilliant"

To see more of this unique interview with Elvis Costello ... click here.

Elvis Costello Secret Artists Den Show

Elvis Costello and The Sugarcanes’ secret Artists Den show in The New York Public Library’s world-famous Stephen A. Schwarzman Building. Full episode to air this Spring 2011 during the third season of “Live from the Artists Den.” This is only available in the USA.

Christmas with Elvis Costello: killing, cold, and a great catalog

Christmas with Elvis Costello: killing, cold, and a great catalog
Chicago Sun Times: Mark Guarino: 22.12.10

Christmas with Elvis Costello evidently does not include chestnuts roasting, sleigh bells ringing or children singing while dressed as Eskimos. Monday night at the Chicago Theatre, he paid homage to the season but in a way more expected from this acerbic rocker: a song about poisoning the family clan over the Christmas ham and another that imagines winter winds as tentacles coming to get you.

The holiday concert was in part an annual promotion for WXRT-FM (93.1) and also a chance for Costello to perform alone, armed with only his charisma and songbook. Both go far.

The single acoustic guitar in Costello’s hands wasn’t the only instrument in the room. The barest of settings illuminated just how potent his voice is, either reaching a high falsetto on songs like “Either Side of the Same Town,” or commanding a hushed authority on “I Hope,” a song from “National Ransom,” a new album. On the former, as well as “A Slow Drag With Josephine,” another new song, he strolled away from the microphone and sang without amplification. To his credit, the entire theater grew quiet and his voice carried all 3,600 seats.

Songs mixed together casually. “New Amsterdam” turned into a tribute to John Lennon’s melancholia, including passages of “You’ve Got to Hide Your Love Away” and “I’m a Loser.” “Radio Sweetheart” blended into Van Morrison’s “Jackie Wilson Said,” and “So Like Candy” became “Don’t Let Me Be Misunderstood” by the Animals. Even “Alison,” saved for near the end, borrowed elements from musicals, “Over the Rainbow” and “Somewhere.”

The familiar became less so through versions that strayed from their originals. On “Watching the Detectives,” Costello created digitized loops from his electric guitar, resulting in layers of sound that in the end wasn’t successful but pried the audience away from expectations. More satisfying were “Beyond Belief,” its dizzying flow of words sounding particularly neurotic, and “God’s Comic,” from the days Costello used to write song portraits inked with deadly black humor.

Then there were those Christmas songs. On “St. Stephen’s Day Murders,” a song he co-wrote with Paddy Moloney of the Chieftains, Costello imagined a deadly family dinner the day after Christmas.

But the greatest contribution to the holiday canon may be “Winter Song,” a song Costello introduced from the late British folk-rock songwriter Alan Hull. The song turns the season on its head, connecting the menace of the winter gales to the personal cold front taking place on city sidewalks each day.

“Do you spare a thought for the homeless tramp who wishes he was dead / Or do you pull the bedclothes higher, dream of summertime instead?” Costello sang quietly, while sitting. With each verse, “Winter comes howling in.”

Then, just a half hour later, exiting into State St. as the first snow of an evening storm fell, it did for real.

The many faces of Elvis Costello: The iconic rocker gave the audience a peek at his many personas
Chicago Tribune: Bob Gendron: 21.12.10

As host of the Sundance Channel's "Spectacle," Elvis Costello gets fellow artists to open up about their creative process, and often perform stripped-down versions of beloved songs. The British singer/guitarist followed his television show's cue Monday during a wide-ranging solo concert at the Chicago Theatre, giving a sold-out crowd a rare glimpse into the intricate workings and bare essentials of his own material.

Never short on ideas, Costello has adopted nearly every imaginable musical guise throughout his 33-year career. Many of these flirtations surfaced during a 140-minute, 29-song set dependent on little more than voice, guitar and periodic loops. Keeping banter to a minimum, Costello embraced myriad roles — clowning minstrel, sincere balladeer, backwater bluesman, street busker, blue-eyed crooner, boxcar-hopping folkie, Dixie-whistling vaudevillian. No matter the style, his timbre seemed immune to age. Occasionally Costello walked away from the microphone, his voice still ably projecting, and capable of emphasizing dramatic impact.

Elvis Costello plays career-spanning Holiday acoustic snow in Chicago
Spinner: Anna Deem: 21.12.10

With large snowflakes projected on the curtains behind him, Elvis Costello took the stage at the Chicago Theatre on Monday night for a sold-out solo acoustic show that was billed as a special "career-spanning once-in-a-lifetime event."

Indeed, Costello lived up to his "consummate showman" title as he stood humbled before the massive audience, which gave standing ovations after nearly every song in his two-hour long set. Decked out in a smart dark gray suit and matching hat, Costello wasted little time chatting with the crowd and instead blazed through most of his set. Kicking his performance off with '(The Angels Wanna Wear My) Red Shoes,' Costello mixed in classics such as his set list with classics like 'Alison,' 'New Amsterdam' and 'Green Shirt' with newer fare such as 'A Slow Drag With Josephine,' 'Jimmie Standing in the Rain' and 'The Spell That You Cast' from 2010's 'National Ransom.'

"The last time I was in this theater, there was another singer singing after me and I only sang a few songs," Costello said, finally addressing the crowd. "We'll make up for that tonight." The room cheered and Costello launched into 'Veronica,' a song he penned with Paul McCartney for his 1989 album, 'Spike.' After each song, Costello graciously bowed and raised his glass to the crowd, clearly showing how appreciative he was of their dedication.

"So this is where the people in reindeer sweaters come out and dance," Costello joked as he sat down in front of a music stand. Instead of dancers, Costello played 'St. Stephen's Day Murders,' a tongue-in-cheek Christmas tune he co-wrote with the Chieftains in 1991. Trading in his acoustic guitar for an electric one, Costello tore through 'Watching the Detectives' several songs later, extending the solo and transforming the song's reggae melody into a feedback-laden punk rock affair, much to the crowd's delight as they sang along excitedly.

Their voices carried over into the encore, where Costello played over half a dozen songs, including a classic cover of the Animals' 'Don't Let Me Be Misunderstood.' Although the holiday season isn't over just yet, it was clear as Costello's set wound down that Christmas came early for fans in Chicago.

"The Future Lies Ahead"

"The Future Lies Ahead"

Elvis Costello has just released his 33^rd studio album… and it might be his last. Feeling that the era of the album was ending, the rock veteran says he threw everything he had into National Ransom, a double-LP, single CD as wildly varied and absolutely intriguing as Costello’s career. With T-Bone Burnett at the helm, Costello recorded both with country music virtuosos as well as his rock band, the Imposters. The sessions also returned the Rock and Roll Hall of Famer to Nashville, the same place he and the Attractions made Almost Blue, nearly 30 years ago. Costello recently took time out of his schedule to chat with Gibson.com about the first time he came to Nashville, his approach to live performances and why he may never make another album.

First, I want to congratulate you for the Grammy nomination for “Kiss Like Your Kiss.”

Somebody sent me a message about that and I said, “What nomination, I’m not even eligible.” [Laughs] So it was kind of a surprise, but I’m very pleased for Lucinda [Williams]. I think it’s one of the most beautiful songs she’s ever written and I just try to stay out of her way. They wanted us both to sing it. Truthfully, it sounds way better on her new record when she sings it alone. No, I’m not being falsely modest. It genuinely does sound better as a solo. But it’s a great song and I’m glad she got acknowledged.

Growing up in England, what was your mental picture of Nashville?

Um, well I don’t know that I had one. I knew that it wasn’t exclusively country music. I did know that because I knew that Dylan had recorded Blonde on Blonde there. I won’t say growing up, but as a young musician, I really loved Charlie Rich. I knew Charlie Rich made records in Nashville and I didn’t really think they were country records even though Billy Sherrill produced a bunch of them, you know? They were kind of like sophisticated R&B records. I guess you’d call it that. Some of them were ballad records. Anyway… and Ray Price, what kind of singer is he? Started out certainly as a country singer, but, I mean, he’s such an elegant singer, there’s all kinds of music. I mean, you know, Hank Garland. Gary Burton, these jazz records. I think it’s just that it’s a rich musical town, that’s the truth. Over the years, there’s been different movements in country music that I’ve retrospectively become aware of. I have my favorites among the recording artists. I have to be honest, of the ones that record in Nashville, I don’t think of so many on the current country charts as being among my favorites, but that’s ever the way, you know? It’s not being made for me to listen to, it’s for somebody else.

When you first came to Nashville, did it meet your expectations?

It did in many ways. I don’t know if you know how it was I first came to Nashville.

No, I don’t.

Well, it was somewhat unusual in that I had released my first album and I think my second album was maybe just out and I was in Europe doing shows. We were probably only playing clubs at that point. And I got a call in Copenhagen to say that I’d been invited to play on a George Jones record, that they were going to cut my song, “Stranger in the House,” which had been an outtake from My Aim is True, my first album. We had left it off the album because, mainly it was a country song in style. And it was reasoned by my managers that it would probably confuse the hell out of the people who had the notion that we were something to do with this new sound that was coming out of London. And I didn’t really care one way or another. I had a ballad on there, “Allison,” so I figured that the record already had a ballad on it, there didn’t necessarily need to be more than one. Most of the songs on the record were up-tempo, mid-tempo, so that seemed to be the right thing, you know? You want to make a nice, clear– I had written all sorts of types of songs before I had started recording, and I had worked out that I probably needed to get my foot in the door with a clear statement of intent. And that was that first record.

So, somebody – well not somebody – an A&R man at Columbia in New York, sent it down to Billy Sherrill. And for whatever reason, they decided I should be included on this duets record. Which was a bold decision on Billy Sherrill’s part, given that I could have been, literally, a flavor of the month. They didn’t know, I could have been around for five minutes with one record out, maybe two records out, my reputation was just starting out. And the next thing I was in the company of Tammy Wynette and Loretta Lynn and Emmylou Harris and Willie Nelson and Waylon Jennings and James Taylor and Dr. Hook and the Staple Singers – I mean, it’s an incredible lineup on that record. And I traveled to Nashville to record the vocal and George, for whatever reason, couldn’t make the session. So I ended up playing a guitar solo on the record at Billy Sherrill’s insistence, which was embarrassing for me because I really didn’t rate myself as a guitar player and I didn’t have my guitar with me. I literally got a guitar out of the box and played a solo and Billy Sherrill said he was going to wipe a Pete Drake steel solo to incorporate my– ’cause it was like a split chorus. I forget, I think there might be fiddle on the front of it and then my guitar-kind of thing. So my first appearance on a Nashville record was as a guitar player.

That’s pretty wild.

Very wild, for me. And I went away a little bit disappointed that I didn’t get to meet George and I didn’t think the record– they had cut the track already, so it was all people like “Pig” Robbins and Pete Drake playing on it. It was the A-team and we were in, like, the studio I had read about, B, Columbia B. It turned out then, of course, that it did take quite a while to finish the album. And a year later, I was called and I was back through town and I got to actually do the recording with George. So that was my introduction. It was slightly unusual, you might say, ’cause I suppose there are songwriters who wait their whole life hoping to get covered by George Jones, much less sing on the record with him. I can’t say that I did a sparkling job on the vocal, I did the best I could, you know? And he was great. Still is great.

Well that’s baptism by fire, certainly.

And then I got the idea that I should come back, a couple of years later. I had made five records in quick succession and what was in my heart were songs that were very straight ahead, lyrically. Those were the songs I was writing, and most of the songs I liked at that time happened to be country songs. I didn’t see myself so much as a country singer, but as a ballad singer at that moment, a blue ballad singer. I asked Billy Sherrill to produce the record and we came in ’81 and cut an album in about nine days. We cut about 30 tracks – everything from Stonewall Jackson songs to Johnny Cash songs and Gram Parsons tunes, who had been very instrumental in people like myself, who grew up in England, in appreciating the soulfulness of country music and not just the novelty records that we’d heard on the radio in the ’60s.

That record I did in Studio A at Columbia, because they were refitting B by then. So, really, we could have been anywhere in the world, but Billy was the producer. And I think he was a little bewildered why we wanted to cut all of these old songs, and I think he was also a bit horrified by these kind of pale and trembling young men who would come into the studio in the morning, having stayed up all night doing God knows what. But we certainly managed to cut a record. I didn’t cut it with Nashville musicians, I cut it with– the band was really a band at that point and I wasn’t ready to go and cut a record with anybody else. We brought John McFee from the west coast, who now plays with the Doobie Brothers and played on my first album, to play steel. So we didn’t even use a Nashville steel player. We did have Tommy Jackson, who played fiddle, and there were singers and strings that Billy added. It was sort of our version of country music.

But for you, was it important to make Almost Blue in Nashville, for the sake of the feel of the record?

I think going on location always puts you in the mind. I thought something good would come of it, and it certainly did. We had a big hit record with Jerry Chesnut’s “A Good Year for the Roses” in England, a big, big hit record. The year before we had put out our first album without any single success, Trust. And most people– it was one of the many times we had been written off. It was sort of like, “It’s all over for these guys now.” We had had a pretty unbroken run from late ’77 to early ’80. We’d had three years where everything we made had been in the Top 30 in England and a couple other records that had been near – the second and third singles had had a degree of success. We were pretty much in the pop world in that time.

Of course, we weren’t so well-known in America. We were just getting started. You know, it takes two or three records for people to even known your name in a country so vast. And we spent most of that time touring, probably more far-reaching than most of our contemporaries. We were harder working than most of them. We could play better and we could go further. And people played only on the coasts a lot of the time. They thought they had been to America; they’d only been to New York and Los Angeles. We’d been to Tulsa. We’d been to Biloxi. We went to wherever they would book us, you know? We went right through the middle. On my first tour in ’77, the first date was in San Francisco, the second was in Los Angeles and the third was in New Orleans. And then the second tour, we opened in Austin. We made a point of taking it on, trying to get into the different regions. That way, we saw something of the country that we had heard through music. Of course, it was all different that you had imagined. You couldn’t just look, you couldn’t find the music and I didn’t have any friends to show me where the music was happening. Nashville, perhaps, is a little easier. When we went there, I got to find the stores where you could get the great records and heard a little music. Most of the time, I was probably a little more interested in chasing chambermaids. [Laughs]

Since Almost Blue, you’ve recorded in Nashville a few more times. What brought you back for National Ransom?

I came about five years ago and did a little of the recording for The Delivery Man, which was mostly made in Oxford, Mississippi, to record my version of “The Scarlet Tide” with Emmylou Harris. And then she sang on a song called “Heart Shaped Bruise,” which is my salute to Felice and Boudleaux Bryant. I’ve sung a bunch of those songs with Emmylou in concert. Just recently, I did the Bridge School Benefit and we sang three of the Bryant songs, that were recorded originally by the Everlys. We did “Love Hurts,” “Sleepless Nights” and “Brand New Heartache,” because I had heard them interpreted by Gram and Emmylou, so I loved them twice over.

I came a couple of years ago with T-Bone. We hadn’t made a record together since ’89 with Spike. I had worked a little in the studio with Dennis Crouch and Stuart Duncan on a couple of things that we were doing. I had played at Merlefest with Jerry Douglas and Jim Lauderdale, Sam Bush, Byron House and Larry Campbell in a country lineup. So I kind of tried out the string band lineup in concert – as is often the case, some of the best ideas start out in performance. And then we came and I booked three days at the Sound Emporium with T-Bone and we made the Secret, Profane & Sugarcane album. That was a very deliberately austere record. It was a ballad record, there were a few up-tempo things, but it was mainly ballads, a lot of narrative songs.

But once I took the band out on the road, the following year when the record was issued, of course it turned into a rock and roll band very fast – and because we started adapting some of my older songs to the musical possibilities of that lineup. We had vocal harmonies to a degree that I’d never enjoyed. Davey Faragher in the Imposters sings harmonies, but the Attractions couldn’t sing at all. So, I’d never had vocal harmonies as a major component of my live performance. Obviously, the timbres of those instruments, having soloists like Stuart Duncan and Jerry Douglas and Jeff Taylor on the accordion, and the foundation laid down rhythmically by Dennis Couch and Mike Compton – in some ways the kick and snare of that lineup. And I didn’t miss drums, playing that repertoire with that lineup.

By the end of touring, in ’09, I had written five songs that were recorded in the sessions for National Ransom – two of them written with Jim Lauderdale, I had enjoyed singing with him and we’d come up with those in the last days of the tour. And I called T-Bone and said I’d like to go back in. Then I wrote a bunch more songs which really called for there to be electric guitars and drums and I wanted those people to be Marc Ribot and Steve Thomas and Steve Nieve and, in the end, electric bass called for Davey Faragher as well – so really all of the Imposters and the Sugarcanes were employed in different combinations. And that’s what you hear on the album. It’s not like one band versus the other band, it’s new ensembles, really. You’ve got the Vox Continental organ with the mandolin and the double bass.

As you listen to album, different instruments come together and you might think it’s going this way, but then it goes in a completely different direction.

Obviously, we live in an impatient world where everything is supposed to arrive in single, 99 cent-bite pieces, soundbite kind of thinking. I had seen the end in sight a couple of times. A couple of times I had thought it was the end of the road for recording albums. Not recording, obviously, because we can record willy-nilly. I think it’s certainly true that the album is almost at an end. I figured that was most likely to be the case as we see the end of retail where the thought of stumbling upon an album that’s unknown to you and finding a compendium like you would in a book store. “On this looks interesting,” read the dust jacket, read a few pages, and you’re intrigued enough to buy it – that just doesn’t happen now. I don’t think browsing online does the same thing, because it’s a short step to knowing of its existence to downloading a piece of it, thereby dismantling any structure that was intended. Recorded music will thrive forever more, so long as people have new ideas. But the album compendium is clearly something that’s in some degree has something to do with the medium that it’s riding on, and that medium is now obsolete. I mean, the CD’s been obsolete for… eight, nine years, maybe. There was too much invested in admitting it. And it was way too much swindling in admitting it was a substandard medium to begin with, to which they penalized the artists and willfully overcharged the customer, thereby alienating the customer in the long run.

I think everybody knows in their heart that vinyl is a more attractive entity. It not only sounds better, but you get the artwork, if the artwork is of any consequence, and it’s in a scale that you can read and with scope for the visual design. So, perhaps there will be a case for making collections on vinyl in the future, but I think we’re moving toward instant communication. Or no communication – that’s the other possibility. Come off the grid and just play live. Either way could work. For someone like me, it could definitely be the latter. So, I figured, while nobody was going to stop me, I’d make a double album and if this was going to be the sign-off for the recorded career as I’ve known it, I wouldn’t be doing it in any sort of melancholy or melodramatic way. I would make the record, it would come out, it would exist and then I’d move on to the next reality, which is what I’ve been doing all along anyway, which is playing. I can’t change it. Conforming to the structure of a CD-length thing, whatever that’s supposed to be, as opposed to a four-sided vinyl record, wouldn’t change the fortunes of the record business one way or another. I just put out the 16 songs that I liked the best. And, like you said, there’s a lot of different contrasts, because I would think it’s an affront to the audience to make a record on which all the songs sounded the same. I know and love lots of different moods of music and I have the players to play it. So it obviously is not everyone’s taste to go all these different ways, but if you take time to listen, this record flows very well.

Well, for anyone who is familiar with your work, this shouldn’t come as a great surprise. There’s no need for the “warning label” that was included as a joke on Almost Blue.

I do get a little exasperated sometimes at how much coverage is spent on the trying to fit this into the jigsaw… it’s not strictly speaking appreciation or, in the proper sense of the word, criticism, to simply list the genres that are identified. It doesn’t prove that you’re that observant to simply go, “that is a sort of rock and roll song and this is a sort of a ballad.” What kind of insight is that? That’s self-evident. You just need to put the record on to know that. What’s within the songs and what the songs are about hardly gets commented on with anybody’s music these days. Possibly it’s because people are making such instantaneous judgments and they couldn’t be bothered to think harder than that.

I’ve never made records in reference to the other records I’ve made, except that I’ve probably done that thing and it doesn’t interest me in the immediate future. Then I might return to a form again and try to do something different with it, say, the next time I get to do a rock and roll combo record. I like all of the records I’ve made in that form, but they’re all different. This Year’s Model doesn’t sound like Blood & Chocolate, Blood & Chocolate doesn’t sound like Brutal Youth, Brutal Youth doesn’t sound like Momofuku. They share some of the features of my writing and some of the players. But National Ransom wasn’t set up in competition with King of America than Secret, Profane & Sugarcane was. I don’t understand the impulse to want to put them in a hierarchy. I know that National Ransom is a better record that many others that I’ve made, or that you’ll hear today, but it’s a record that does invite listening, that’s for sure. I think there’s enough things that will hook you right away and that’ll get you involved in it, if you want to.

But, most importantly, it’s just an announcement of a repertoire. Otherwise, I’d be making that announcement from the stage. And that’s probably where I will be making it in the future. You know, “Here’s a new song. Would you like to hear it?” It may cut down the speed of which new material can be disseminated, because, obviously, people are less willing to listen to a lot of new material in a theater. They will listen to one or two songs that are new. So, I think we’ve got to see where the future lies with recorded music and how it’s compiled. I think it’ll be very interesting. I think there will be a case for instantaneous communication with the audience and the new media. But there could be a tendency for some people to go to a live performance, as the best place to drop these songs in. Because the minute they’re performed, they’ll be excerpted on whatever phone camera is running at that moment, so they’ll still exist…

They’ll be on YouTube by the end of the night.

Yeah, that’s all right, that’s all right, because I’m not getting paid anyway, so what difference does it make? It’ll just be an inferior version. It won’t be the one that I would have made. But, I’m not going to spend my own money making records. I don’t have any. So that was a period of time that we lived through. Here it is. It’s over now, and here are the new songs in performance. I could spend 10 years just playing songs that already exist. I could play shows for a year and never repeat myself, you know?

You mentioned that you’re usually only able to do one or two new songs in a show. Do you find that people get restless if you do more than that?

Actually, no it’s not the case, necessarily. I’m just saying that, if you advertise it up-front, people are going to want to know that they’re going to hear the hits. My experience of playing the songs of National Ransom in performance ahead of the release of the album was that every single concert that we played “Jimmie Standing in the Rain” or “Slow Drag with Josephine,” it stole the show. I mean, I played a two-hour show with the Dallas Symphony, two nights, actually, in the summer. And, as an encore, I came out and played “Josephine” on my own, without a microphone, and completely upstaged everything. Now, there’s a certain trick to doing something that’s very, very immediate like that. Singing directly to people has a certain showman aspect to it, but the song has to work, as well.

I opened a show recently with “Bullets for the New-Born King.” Now that’s not a typical opener, is it? It’s a ballad. And it really created a great mood, and, what it did, it created– people leaned forward in their chairs. And then, when we hit them with the first rhythmic number, it kind of upped the… So, I now have a group of songs which can change the architecture of the show quite a bit. I’ve found that over the last little while, taking a moment to play, whether it’s an acoustic guitar version of “Bedlam” or “Stations of the Cross” or “One Bell Ringing” – these songs can capture a moment. And that’s something you share with 1,500 or 2,000 or 3,000 people in a theater. That’s very different than shooting something out into the void of a recorded medium, never knowing for a moment how people are listening – whether they are listening with intent and concentration, or if they’re half-hearing it and saying, “Well, it hasn’t got much of a beat.” Well, that’s not what it’s about, you know? But if you’re in a room and you’re in control of the mood and people are with you and listening, that’s a very persuasive thing, that we’re all feeling something about what’s going on in that moment. This is what makes live performance… I don’t want to say superior, but richer and more nuanced than anything you’re capable of recording on a record.

It’s all about the moment, about what’s happening right now.

Well, that’s all recordings are. They’re that moment. That’s why we record the way we do, as performances, rather than these highly crafted records – some of which I’ve made and enjoyed making. But right now, I don’t hear recording that way. And, as the resources become less and less for recording, there can only ever be sketches in the future, until there’s a new paradigm. So, I think that’s why I wanted to take full advantage of the richness of the possibilities of National Ransom, because I literally don’t know when we’re going to do this again. Because, to gather those musicians together to make a recording that’s going to be issued on a disc is a very different thing than bringing those musicians together to go on stage and play. The one thing is a viable commercial equation and the other isn’t.

The Right Rev. Jimmy Quickly says

"Happy Christmas To All And To All A Good Night"...

Wishing You An Improbably Peaceful 2011"