Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Pretty self-explanatory
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supplydavid
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby supplydavid » Fri Oct 13, 2017 9:58 am

Received an email my SACD is on the way

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby johnfoyle » Fri Oct 13, 2017 10:46 am

the ravishing sonics afforded on this collectible edition


We'll get to hear , at last , the sound , in the background, of the paper curling out of the fax machine. Back in 1998 much was made of the use of that now rather quaint machine in the writing and preparation of this album. In fact , we were thoroughly sick and tired of fax machines when Elvis or Bert banged on about it for the hundredth time.

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby sweetest punch » Sun Mar 04, 2018 12:04 pm

Elvis tweets a photo from the recording sessions of Painted From Memory today: https://twitter.com/ElvisCostello/statu ... 32289?s=20
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby sweetest punch » Sun Mar 04, 2018 4:33 pm

The recording sessions were 20 years ago?
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Ymaginatif
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby Ymaginatif » Mon Mar 05, 2018 8:51 am

Looks like it's a photo of a photo
More about me (including some Elvis Costello covers): http://ymaginatifandmusic.blogspot.com/

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And No Coffee Table
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby And No Coffee Table » Mon Mar 05, 2018 10:38 am

Ymaginatif wrote:Looks like it's a photo of a photo

My guess is the photo is on the wall at United Recording Studios, where EC seems to have been recording last Wednesday, and where Painted From Memory was recorded 20 years ago when it was called Ocean Way Studios.

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docinwestchester
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby docinwestchester » Mon Mar 05, 2018 11:38 am

Nice little bit of memorabilia on that twitter thread:

https://twitter.com/sproutsfan/status/9 ... 3480988672

Image

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby emotional_fascism076 » Thu Mar 08, 2018 1:30 am

I think I'll be purchasing the MFSL one. It seems like an album that will benefit from this process.
Who on earth is tapping at the window?

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby sweetest punch » Tue May 22, 2018 2:06 pm

Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby sweetest punch » Fri Sep 28, 2018 12:25 pm

Painted From Memory turns 20: https://www.stereogum.com/2016373/elvis ... niversary/

Painted From Memory turns 20


Elvis Costello and Burt Bacharach go way back. They go back further than 1998’s Painted From Memory. More than 40 years, in fact.

Back in the late 1970s, “I Just Don’t Know What To Do With Myself” was a staple of Costello’s antsy live shows with the Attractions and even popped up on the 1978 comp Live Stiffs, featuring artists from Stiff Records’ roster. A clever performance, it’s the kind of thing you’d expect from the group circa This Year’s Model: a burst of fidgety sexual energy that nevertheless proved that the angry young agitnerd in the thick-framed specs harbored a love for the pop music of the previous decade — in particular, the succinct songcraft of Bacharach and his writing partner Hal David. And Costello shows he has the interpretive chops to deliver the song in a meaningful way, to make the cover sound like something more than just a stunt. There’s confusion and some anger in his voice, but no irony or condescension regarding what must have been at the time deeply unhip source material.

Nearly 20 years later, Costello covered the song again. In the meantime he had tossed those spectacles in the gutter, along with his image as England’s angry young man. For one thing, he wasn’t young anymore; in 1998 he turned 44. For another, while many fans still consider punk to be his default setting, he was only ever punk by association, combining the volatility of that movement with the ragged straightforwardness and innate Britishness of pub rock. But even that was just a springboard for subsequent forays into the arch C&W of 1981’s Almost Blue, the polished West Coast pop of 1986’s King Of America, and the everything-plus-the-kitchen-sink of the ’80s-closing Spike. He released three studio albums in the 1990s, but they were overshadowed by one-offs like 1993’s The Juliet Letters (a collaboration with the Kronos Quartet) and 1995’s Kojak Variety (a covers album as collaboration series).

In 1996 Costello resurrected “I Just Don’t Know What To Do With Myself” for Costello & Nieve, a live companion to the same year’s All This Useless Beauty. You can hear all the years that have passed between the two versions, all the lessons that Costello has learned during what was even then a long and respectable career. He savors the melancholy of the lyrics, the drama of that pleading melody, and he emerges as a technically stronger and much more confident vocalist, sustaining the notes and filling more of the song with his voice. “It’s different every time we sing it, that one,” he tells the crowd, and you believe him.

All of which is to stay that it shouldn’t have come as a surprise to anyone that Costello would get around to making a full record with Bacharach, who had already emerged as a musical hero for the man born Declan MacManus. What is truly startling, however, is how sturdy that record turned out to be, how well the two complemented each other. Even 20 years later, it’s more than a mere curio in either man’s catalog, more than lark or a bit of hero worship. For Costello it was the culmination of a lifelong obsession with Bacharach; for Bacharach, it was more like coming out of hiding, like Livingston emerging from the jungle.

He hadn’t released an album since the late ’70s, back when Costello was first trying his luck with “I Just Don’t Know What To Do With Myself.” That’s an eternity in pop music — just long enough for a new generation to discover his catalog. The year of our lord 1998 was pivotal for the songwriter, marked not only by the release of the box set The Look Of Love: The Burt Bacharach Collection (still the best overview of his career) but also by his brief cameo in Austin Powers: International Man Of Mystery. A whole generation was introduced to the songwriter when he crooned “What The World Needs Now Is Love” atop a double-decker bus as Mike Myers and Elizabeth Hurley danced along. What might have been ironic was anything but: especially with that intro from Myers, the film presented him as the ultimate symbol of pop sophistication who had less trouble adjusting to the ’90s than the title character.

Painted From Memory has its roots in film, in particular Alison Anders’ Grace Of My Heart, a loose fictionalization of the ’60s pop scene from the Brill Building to the West Coast beaches. Costello teamed with Bacharach to pen “God Give Me Strength,” writing the song and its arrangement via fax. As Costello explains in his 2015 memoir Unfaithful Music & Disappearing Ink, “To have written a song like ‘God Give Me Strength’ and simply stopped would have been ridiculous, so about a year later we began a series of writing sessions, the first at Burt’s work studio near Santa Monica and later in a hotel suite on Park Avenue… One of us would lead the way with an opening statement, perhaps a verse or even all the way through a refrain, and the other would naturally follow with an ever more elaborate bridge of resolution, but as the exchange of ideas got faster and faster, we found ourselves completing each other’s musical sentences at the piano.”

Each brought the best out in the other. Bacharach sounded newly focused, with few of the florid flourishes that made some of his ’60s material so (joyously, wonderfully) cheesy. And Costello didn’t settle for cleverness or sour into bitterness. These are some of his most generous songs of the 1990s, full of complex and contradictory characters who find themselves often at odds with their most deeply felt romantic impulses. “Such Unlikely Lovers” conjures both the excitement and the trepidation of a new relationship, and while there’s a chance it might be in one unlikely lover’s head, Costello never pulls the rug out from under them. That kind of sweetness might be typical from Bacharach, but it’s new from Costello.

“If you can’t be my lover, be my thief,” he sings on the very next song, as though surrendering himself to being lovelorn. “I feel almost possessed, so long as I don’t lose this glorious distress.” These are songs about the romance of heartache, the weight of pain that reminds us we’re at the very least alive. Maybe there was something old-fashioned in that notion circa 1998, but both Costello and Bacharach seem to realize they’re men out of time, subsisting on the pop confections of the distant past. They just don’t know what to do with themselves, or so they say. What Painted From Memory does is propose a very new sound for adult contemporary pop music in the new millennium. At a time when that meant either the bombast of Celine Dion’s “My Heart Will Go On” or the alt-pablum of Goo Goo Dolls, Costello and Bacharach infuse the genre with something like quiet dignity, as though adult might be something to embrace rather than avoid. In 2018, that almost sounds radical.

Painted From Memory launched both Costello and Bacharach into the new millennium renewed and reinvigorated. Bacharach even made a solo record, 2005’s At This Time, a supremely breezy protest album that was largely underrated upon release (and I should know, as I underrated it). Costello, meanwhile, took Painted as the template for a series of albums that all put him in conversation with a range of collaborators: T Bone Burnett, the Roots, Allen Toussaint. His latest, Look Now, may be his first in a decade that’s just a plain old Elvis Costello record: Rather than burrow into one style or genre, he mashes up all those previous pairings together into a wild and adventurous sound, as though it’s the culmination of the last two decades of one-offs and experiments. And right in the middle of it is Bacharach, playing piano on “Photographs Can Lie” like it’s 1998 all over again.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby rightbrain » Fri Sep 28, 2018 3:01 pm

"one-offs like 1993’s The Juliet Letters (a collaboration with the Kronos Quartet)"

Ugh.

Fact check?

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verbal gymnastics
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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby verbal gymnastics » Sat Sep 29, 2018 7:40 am

Still a decent appreciation though.
It’s such a shame you had to break the heart you could have counted on

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Re: Painted From Memory on vinyl , June 2017, Mobile Fidelity's hybrid SACD , Oct. '17

Postby sweetest punch » Thu Apr 23, 2020 11:21 am

https://www.telegraaf.nl/entertainment/ ... s-costello

Ultiem troostvoer en instant-nostalgie in dat ene album

Platenkastgoud: Burt Bacharach plus Elvis Costello

Dienstmededeling: deze bij gebrek aan concerten en festivals opgestarte rubriek met het allermooiste uit onze platenkast, gaat nog even verder. Graag uw aandacht voor het prachtig troostende Painted from memory.

De samenwerking tussen Burt Bacharach en Elvis Costello uit 1998 dus. Ook toen al twee musici die niets meer te bewijzen hadden. De Amerikaanse Bacharach, 91 is hij inmiddels, schreef in de jaren 50 en 60 al nummers als Walk on by voor Dionne Warwick en Say a little prayer voor Aretha Franklin en staat te boek als een der laatste grote evergreen-componisten.

De in Londen geboren Costello bleek eind jaren 70 een buitengewoon slim alternatief voor onder meer de toen in Engeland heersende punk. De Brit was groot liefhebber van Bacharach. Niet alleen coverde hij al nummers van hem zoals I just don’t know what to do with myself en I’ll never fall in love again, hij had zelfs diens stijl al eens proberen te imiteren met Losing you, wat hij schreef voor Dusty Springfield.

Grace of my heart

Halverwege de jaren 90 slaan de twee de handen voor het eerst ineen, zij het niet letterlijk. Ze worden gevraagd een nummer voor de film Grace of my heart te schrijven. Het resultaat komt tot stand via de telefoon en de fax, met Costello in Ierland aan de ene en Bacharach in Los Angeles aan de andere kant. God give me strength wordt enkele dagen later zo verbluffend bevonden dat het volgens Costello dom geweest was het bij dit ene lied te laten.

Wat Painted from memory, de enige plaat die dit duo ooit samen maken zal, zo bijzonder maakt? Wat ons betreft twee dingen. Op de eerste plaats zit er alles in deze muziek die respectievelijk Bacharach en Costello zo goed maakt. De bijzondere akkoorden van de eerste, de originele, scherpe teksten van de tweede. Terwijl het niet zo is dat Bacharach die akkoorden in zijn eentje schreef of Costello puur de teksten.

Bitterzoet

Maar bovenal is het de betoverende, orkestrale muziek zelf die na al die jaren nog steeds naar adem doet happen. Het is de warmte van de strijkers, de blazers, de percussie. Het is het filmische karakter van neoklassiekers als This house is empty now, Toledo en I still have that other girl. Het is bitterzoete instant-nostalgie van een soort dat in 1998 al amper meer gemaakt werd en inmiddels echt al bijna helemaal niet meer.

Toch wat in de put over het verbod op concerten, festivals en andere evenementen tot 1 september? Laat u troosten door Painted from memory. Daar is deze plaat voor.

—————————-
Google translate:

Ultimate comfort food and instant nostalgia in that one album

Record case gold: Burt Bacharach plus Elvis Costello

Service announcement: this section, launched with the most beautiful items from our record cabinet, started for lack of concerts and festivals, goes a little further. Please pay attention to the beautifully comforting Painted from memory.

So the collaboration between Burt Bacharach and Elvis Costello from 1998. Even then two musicians who had nothing to prove. The American Bacharach, 91 now, has already written songs like Walk on by for Dionne Warwick and Say a little prayer for Aretha Franklin in the 50s and 60s and is known as one of the last great evergreen composers.

London-born Costello turned out to be an exceptionally smart alternative in the late 1970s to, among other things, the punk that prevailed in England at the time. The Briton was a big fan of Bacharach. Not only did he cover songs from him like I just don't know what to do with myself and I'll never fall in love again, he even tried to imitate his style with Losing you, which he wrote for Dusty Springfield .

Grace of my heart

The two joined forces for the first time in the mid-90s, although not literally. They are asked to write a song for the movie Grace of my heart. The result is achieved by telephone and fax, with Costello in Ireland on one side and Bacharach in Los Angeles on the other. A few days later, God give me strength is found to be so stunning that, according to Costello, it would have been stupid to leave this one song alone.

What makes Painted from memory, the only record this duo will ever make together, so special? As far as we are concerned, two things. In the first place there is everything in this music that makes Bacharach and Costello so good. The special chords of the first, the original, sharp lyrics of the second. While it is not the case that Bacharach wrote those chords alone or Costello purely the lyrics.

Bittersweet

But above all, it is the enchanting, orchestral music itself that still breathes after all these years. It is the warmth of the strings, the wind instruments, the percussion. It is the cinematic character of neoclassics such as This house is empty now, Toledo and I still have that other girl. It is bittersweet instant nostalgia of a kind that was barely made in 1998 and by now almost never anymore.

Still in the pit about the ban on concerts, festivals and other events until September 1? Let yourself be comforted by Painted from memory. That's what this record is for.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.


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