Painted From Memory Reviews

All-Music Guide (Stephen Thomas Erlewine)

Throughout his career, Elvis Costello valued one particular musical trait above all others -- craftsmanship. No matter what style he tried, from country to chamber-pop, Costello always appreciated the combination of talent and work that was behind all classic songs. He demonstrated that from the start, covering Burt Bacharach and Hal David's torch song I Just Don't Know What To Do With Myself on his first tour, at a time when he was known as rock's quintessential angry young man. Those incidents were indications of Costello's deep musical appreciation and unpredictable eclecticism, yet some old-school fans and critics were nevertheless shocked when Costello teamed with Bacharach in 1998 to write and record a full album of new material, Painted From Memory. They had previously written the lovely God Give Me Strength, a sweeping ballad featured as the centerpiece in Allison Anders' Grace of My Heart (and also included on this album). It was a stunning song in the tradition of Bacharach's classic '60s collaborations with David, and both composers were impressed enough with their own work to write a full album. Wisely, they chose to work within the stylistic parameters of Bacharach's '60s material, but Painted From Memory never sounds like a stylistic exercise from either writer. Instead, it's a return to form for both artists. Bacharach hasn't written melodies with such grace and power since his glory days, and Costello hasn't released such a fully realized album since King Of America. It's a testament to both musicians that even if the album is clearly in Bacharach's majestic orchestral territory, it feels like a genuine collaboration, not just a set of songs for which Costello provided the lyrics. Often, the music not only evokes the spirit of Dionne Warwick, it is reminiscent of Elvis' torchy ballads for Trust. Costello has kept Bacharach from his schmaltzier tendencies, and Bacharach has kept Costello from indulging his weakness for overwriting. Remarkably, Painted From Memory showcases the strengths of both songwriters, and it has a special place in both of their canons. With its lush arrangements, sighing brass and strings, gentle pianos and backing vocals, it is a beautiful-sounding record, one that is utterly timeless; it's a classicist album in the best sense, one illustrating that not only is craft its own reward, but that it can be genuinely moving. And that's the key to Painted From Memory -- it's easy to admire the craft behind the album without even realizing how moving the tales of love and loss are. Its melodies are immediate, its emotions subtle, its impact lasting. Painted From Memory exceeds any expectations any fan of Costello and Bacharach may have had, and it's all the more special because of it. It's no less than a minor miracle.