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| <center><h3> Painted from Memory </h3></center> | | <center><h3> Painted from Memory </h3></center> |
Revision as of 23:59, 25 June 2015
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Painted from Memory
Elvis Costello With Burt Bacharach
Le Devoir
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La presse rock britannique a beau s'agenouiller et baiser le plancher du vénérable studio de Hollywood où se tint la rencontre inespérée entre le "king of bachelor-pad music" et le "prince of new wave" (dixit le journaliste en émoi du Mojo d'octobre), il résulte plutôt ceci de l'acoquinage tant attendu de Burt Bacharach et Elvis Costello: un gros paquet de chansons trop volontairement sophistiquées pour être vraiment mémorables.
C'était couru: Bacharach et Costello furent tous deux en leur temps des as de la mélodie recherchée avec des tas d'accords diminués et augmentés. Fatalement, les airs communs ne sont pas exactement simplistes. D'entrée de jeu, aux premières mesures d' "In The Darkest Place," on constate: c'est emberlificoté.
C'est le Costello et le Bacharach de maintenant qui tentent de faire du Burt Bacharach-Hal David millésimé 1964. Et qui échouent. Pas lamentablement: il y a trop de talent en jeu. Le disque est émaillé de quasi réussites, notamment la délicate bossa "Toledo." Mais les tournures mélodiques sont constamment forcées, pas du tout naturellement heureuses comme l'étaient les San Jose, "Anyone Who Had A Heart" et autres "Alfie" de l'âge d'or, qui bénéficiaient en plus d'interprétations lumineuses des Cilla Black, Dusty Springfield et Dionne Warwick. Si Costello n'a jamais mieux chanté, il n'a certainement pas le registre de la matante à Whitney Houston (Warwick), et assure comme il peut les vertigineux creux et saillies des gammes de Bacharach. À la fin, on a un peu mal au coeur. À porter au dossier des curiosités historiques.
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Painted From Memory
Elvis Costello With Burt Bacharach
English via Google Translate...
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The British rock press has to kneel and kiss the floor of the venerable Hollywood studio where stood the unexpected encounter between the "king of bachelor-pad music" and the "prince of new wave" (according to the reporter in the October edition of Mojo), it is rather the result of this long-awaited collaboration between Burt Bacharach and Elvis Costello: a large package of songs too sophisticated to be truly voluntarily memorable.
It was ran Bacharach and Costello were both in their time as the melody sought with lots of diminished chords and augmented. Inevitably, common tunes are not exactly simplistic. From the outset, the first steps of "In The Darkest Place," there is: it's tangled.
This is Costello and Bacharach now trying to make Burt Bacharach-Hal David vintage 1964. And they fail. Not miserably: there is too much talent in game disc is studded with almost successes, including the delicate bossa of "Toledo." But the melodic phrases are constantly forced, not naturally happy as were San Jose, "Anyone Who Had A Heart," "Alfie" and others from the Golden Age, which benefited from brighter interpretations by Cilla Black, Dusty Springfield and Dionne Warwick. If Costello has never sung better, it certainly did not register with the aunt of Whitney Houston (Warwick), and he can provides dizzying hollow protrusions in Bacharach's ranges. At the end I was a little queasy. File under historical curiosities.
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