Paint The Red Rose Blue: Difference between revisions
(update last known performance) |
(+final(?) 2023 performance) |
||
(10 intermediate revisions by 2 users not shown) | |||
Line 12: | Line 12: | ||
|performer = [[Elvis Costello]] & [[The Imposters]] | |performer = [[Elvis Costello]] & [[The Imposters]] | ||
|producer = [[Sebastian Krys]] & [[Elvis Costello]] | |producer = [[Sebastian Krys]] & [[Elvis Costello]] | ||
|musicians = [[Elvis Costello]]<br>[[Steve Nieve]]<br>[[Pete Thomas]]<br>[[Davey Faragher]] | |musicians = [[Elvis Costello]] - vocals, guitar, piano<br>[[Steve Nieve]] - piano, keyboards<br>[[Pete Thomas]] - drums, percussion<br>[[Davey Faragher]] - bass, vocals | ||
|record_info = | |record_info = | ||
|release_info = January 14, 2022 | |release_info = December 10, 2021 (stream/download track)<br>January 14, 2022 (album) | ||
|albums = [[The Boy Named If]], 2022 | |albums = [[The Boy Named If]], 2022 | ||
|singles = | |singles = | ||
Line 28: | Line 28: | ||
|background = | |background = | ||
|first = [[Concert 2021-10-15 Louisville|October 15, 2021, Louisville, KY]] | |first = [[Concert 2021-10-15 Louisville|October 15, 2021, Louisville, KY]] | ||
|last = [[ | |last = [[Concert 2023-09-22 Luxembourg|September 22, 2023, Luxembourg]] | ||
}}{{song quote | }}{{song quote | ||
| quote = | | quote = The account of someone who has long-courted theatrical darkness, only for its violence and cruelty to become all too real. In its wake, a bereft couple learn to love again, painting a melancholy blue over the red of romance. | ||
| source = | | source = [https://www.theocelot.co.uk/elvis-costello-the-imposters-drop-new-song-paint-the-red-rose-blue/ The Ocelot magazine] | ||
}} | }} | ||
Line 48: | Line 48: | ||
[[Category:The Boy Named If]] | [[Category:The Boy Named If]] | ||
[[Category:Songs]] | [[Category:Songs]] | ||
[[Category:Lyrics | [[Category:Lyrics]] |
Latest revision as of 04:47, 5 October 2023
He was the youngest of five and the only son |
First known performance:
“The account of someone who has long-courted theatrical darkness, only for its violence and cruelty to become all too real. In its wake, a bereft couple learn to love again, painting a melancholy blue over the red of romance.” — The Ocelot magazine
|
|