New Musical Express, October 10, 1998: Difference between revisions

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<center><h3> Painted From Memory </h3></center>
<center><h3> Painted From Memory </h3></center>
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<center> Neil Thomson </center>
<center> Neil Thomson </center>
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It would be difficult to find anyone in the field of songwriting more respected or revered than Costello and Bacharach and, given Costello's history of collaboration with artists such as Roger McGuinn on ''Back From Rio'' and even Paul McCartney (1989's ''Spike'' album) his desire to write with Bacharach would seem predictable, if not inevitable.


It would be difficult to find anyone in the field of songwriting more respected or revered than Costello and [[Burt Bacharach|Bacharach]] and, given Costello's history of collaboration with artists such as [[Roger McGuinn]] on ''[[Roger McGuinn: Back From Rio|Come Back To America]]'' and even [[Paul McCartney]] (1989's ''[[Spike]]'' album) his desire to write with Bacharach would seem predictable, if not inevitable.
With the seeds of ''Painted From Memory'' planted by a couple of transatlantic phone calls from the Hollywood producers of ''Grace Of My Heart'' — the result being this album's aching full stop "God Give Me Strength" — subsequent furious brainstorming around the piano ensued. Eleven further collaborations of bitter sweet melody and recollections of lost love are the consequence.
 
With the seeds of ''[[Painted From Memory]]'' planted by a couple of transatlantic phone calls from the Hollywood producers of ''[[Grace Of My Heart: Original Motion Picture Soundtrack|Grace Of My Heart]]'' — the result being this album's aching full stop "[[God Give Me Strength]]" — subsequent furious brainstorming around the piano ensued. Eleven further collaborations of bitter sweet melody and recollections of lost love are the consequence.


Despite their eminence, the idea of this collaboration could cause trepidation. After all, Bacharach's brightly coloured melodies seem to belong in a perpetual Los Angeles summer day, while Costello's most celebrated work is laced with the demons of distrust and anxiety. But it's Bacharach's long established style of smooth piano dramatics and trademark pauses that characterise this record, his contribution which is the guiding light.
Despite their eminence, the idea of this collaboration could cause trepidation. After all, Bacharach's brightly coloured melodies seem to belong in a perpetual Los Angeles summer day, while Costello's most celebrated work is laced with the demons of distrust and anxiety. But it's Bacharach's long established style of smooth piano dramatics and trademark pauses that characterise this record, his contribution which is the guiding light.


For example, on "[[Tears At The Birthday Party]]," a sad tale of a displaced husband imagining the object of his affections enjoying a party without him, Bacharach's patented schmaltz acts as a foil to the serrated edge of Costello's voice.
For example, on "Tears At The Birthday Party," a sad tale of a displaced husband imagining the object of his affections enjoying a party without him, Bacharach's patented schmaltz acts as a foil to the serrated edge of Costello's voice.


That said, Costello isn't at his most inaccessible or bombastic. First track "[[In The Darkest Place]]" features the line, "Since you put me down / It seems I've been very gloomy / You may laugh / But pretty girls look right through me". It might appear disposable, a simplistic tribute to Bacharach's most famous lyricist [[Hal David]], but Costello's familiarly raw voice adds pathos and ruefulness, in much the same way as the Manics interpreted "[[Raindrops Keep Fallin' On My Head|Raindrops Keep Falling On My Head]]" on the ''Help'' album. Costello's emotional ghosts haunt tracks like "[[This House Is Empty Now]]," taking the album beyond suspicions that this project might be merely a self-indulgence on Costello's part or an over-reverent tribute to the great man.
That said, Costello isn't at his most inaccessible or bombastic. First track "In The Darkest Place" features the line, ''"Since you put me down / It seems I've been very gloomy / You may laugh / But pretty girls look right through me."'' It might appear disposable, a simplistic tribute to Bacharach's most famous lyricist Hal David, but Costello's familiarly raw voice adds pathos and ruefulness, in much the same way as the Manics interpreted "Raindrops Keep Fallin' On My Head" on the ''Help'' album. Costello's emotional ghosts haunt tracks like "This House Is Empty Now," taking the album beyond suspicions that this project might be merely a self-indulgence on Costello's part or an over-reverent tribute to the great man.


This collaboration, like the record, seems to have been a mellow affair, and the result is a powerful and occasionally elegiac reminder of the art of the song. Respect to the elders.  
This collaboration, like the record, seems to have been a mellow affair, and the result is a powerful and occasionally elegiac reminder of the art of the song. Respect to the elders.  


8/10
{{cx}}


{{tags}}[[Painted From Memory]] {{-}} [[Burt Bacharach]] {{-}} [[Roger McGuinn]] {{-}} [[Roger McGuinn: Back From Rio|Back From Rio]] {{-}} [[Paul McCartney]] {{-}} [[Spike]] {{-}} [[Painted From Memory]] {{-}} [[Grace Of My Heart: Original Motion Picture Soundtrack|Grace Of My Heart]] {{-}} [[God Give Me Strength]] {{-}} [[Tears At The Birthday Party]] {{-}} [[In The Darkest Place]] {{-}} [[Hal David]] {{-}} [[Raindrops Keep Fallin' On My Head]] {{-}} [[This House Is Empty Now]]
{{cx}}
{{cx}}


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[[image:1998-10-10 New Musical Express photo 01 rs.jpg|240px]]
[[image:1998-10-10 New Musical Express photo 01 rs.jpg|260px|border]]
<br><small>Photo by [[Roger Sargent]].</small>
<br><small>Photo by [[Roger Sargent]].</small>


[[image:1998-10-10 New Musical Express cover.jpg|x120px]]
<small>Cover.</small><br>
<br><small>Cover.</small>
[[image:1998-10-10 New Musical Express cover.jpg|x120px|border]]


{{Bibliography notes footer}}
{{Bibliography notes footer}}

Latest revision as of 18:55, 24 November 2022

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NME

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Painted From Memory

Elvis Costello with Burt Bacharach

Neil Thomson

8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews8 stars (out of 10) reviews

It would be difficult to find anyone in the field of songwriting more respected or revered than Costello and Bacharach and, given Costello's history of collaboration with artists such as Roger McGuinn on Back From Rio and even Paul McCartney (1989's Spike album) his desire to write with Bacharach would seem predictable, if not inevitable.

With the seeds of Painted From Memory planted by a couple of transatlantic phone calls from the Hollywood producers of Grace Of My Heart — the result being this album's aching full stop "God Give Me Strength" — subsequent furious brainstorming around the piano ensued. Eleven further collaborations of bitter sweet melody and recollections of lost love are the consequence.

Despite their eminence, the idea of this collaboration could cause trepidation. After all, Bacharach's brightly coloured melodies seem to belong in a perpetual Los Angeles summer day, while Costello's most celebrated work is laced with the demons of distrust and anxiety. But it's Bacharach's long established style of smooth piano dramatics and trademark pauses that characterise this record, his contribution which is the guiding light.

For example, on "Tears At The Birthday Party," a sad tale of a displaced husband imagining the object of his affections enjoying a party without him, Bacharach's patented schmaltz acts as a foil to the serrated edge of Costello's voice.

That said, Costello isn't at his most inaccessible or bombastic. First track "In The Darkest Place" features the line, "Since you put me down / It seems I've been very gloomy / You may laugh / But pretty girls look right through me." It might appear disposable, a simplistic tribute to Bacharach's most famous lyricist Hal David, but Costello's familiarly raw voice adds pathos and ruefulness, in much the same way as the Manics interpreted "Raindrops Keep Fallin' On My Head" on the Help album. Costello's emotional ghosts haunt tracks like "This House Is Empty Now," taking the album beyond suspicions that this project might be merely a self-indulgence on Costello's part or an over-reverent tribute to the great man.

This collaboration, like the record, seems to have been a mellow affair, and the result is a powerful and occasionally elegiac reminder of the art of the song. Respect to the elders.


Tags: Painted From MemoryBurt BacharachRoger McGuinnBack From RioPaul McCartneySpikePainted From MemoryGrace Of My HeartGod Give Me StrengthTears At The Birthday PartyIn The Darkest PlaceHal DavidRaindrops Keep Fallin' On My HeadThis House Is Empty Now

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New Musical Express, October 10, 1998


Neil Thomson reviews Painted From Memory.

Images

1998-10-10 New Musical Express photo 01 rs.jpg
Photo by Roger Sargent.

Cover.
1998-10-10 New Musical Express cover.jpg

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