he Songs of Bacharach & Costello, personally compiled by Elvis Costello, brings together all of the published songs that Costello has written with the legendary Burt Bacharach, one of the great composers of popular music in the 20th and now 21st Century.
Releasing March 3 via UMe, The Songs of Bacharach & Costello, celebrates a collaboration which began in 1995 and which continues to this day.
Those who were surprised by the writers of “I’m Not Angry” and “What’s New Pussycat?” working together perhaps overlooked that Bacharach was engaging in musical collaboration for only the second time in his storied career - the first resulting in just a handful of songs musically written with Neil Diamond.
It was Costello who wrote the first musical draft of “God Give Me Strength,” communicating from Dublin to Los Angeles by fax - back in the 20th Century - and far from being offended by this presumption, Bacharach sent back an amended copy, laying out the signature intro motif for flugelhorn, adding the expansive bridge section and making all sorts of subtle but crucial amendments to the melodic and rhythmic phrasing of Costello’s first draft.
This song was a commission for the Allison Anders’ motion picture, “Grace Of My Heart,” and though both song and movie were overlooked by the Academy Awards, the song did place in the GRAMMY nominations of the following year, as Costello remarked in his book “Unfaithful Music & Disappearing Ink”: “To have written a song like “God Give Me Strength” and simply stopped would have been ridiculous.”
So began a series of face-to-face songwriting sessions in both California and New York City.
Their working methods ranged from one writer responding to the other’s opening musical statement to Costello trying to put lyrical substance and definition to a complete Bacharach composition that did not need any such musical reply. By the end of their initial sessions, there were occasions when they were seated across the room at two pianos, writing successive bars of the new tune.
Recorded in Hollywood in 1998, the album, Painted From Memory – orchestrated by Bacharach with the exception of the title track which was arranged by the great Johnny Mandel – has gone on to capture an appreciative worldwide audience far beyond its initial release. The song “I Still Have That Other Girl” even managed to wrestle a GRAMMY away from both Celine Dion and Van Morrison - no easy task in the crowded field of the “Best Collaboration With Vocals” category of the 41st Awards.
The idea that the songs and lovelorn themes of Painted From Memory might be realised on the Broadway stage were perhaps an unlikely prospect, given that, as Costello puts it in his essay, such a show might feel, “Like Eugene O’Neill's “Long Day’s Journey Into Night” only with less tap-dancing.”
Nevertheless, this was the belief of dedicated Painted From Memory aficionado and television comedy mogul, Chuck Lorre, who together with Tony Award-winning writer, Steven Sater, set about threading a story through the original folio of songs, creating a tale and set of characters who demanded that Bacharach and Costello write more than a dozen additional songs.
Writing the lyrics of these new songs, Costello told us, “These reflect the stories and impulses of a group of people who are, obsessive and vain, who are betrayed and become disappointed in life but long tenderly for a happier time, who are unfaithful, dishonest, destructive and turn out to be the inventors of a dangerous past, who are guilty, haunted and romantically deluded, desperate, vengeful and even cruel.”
“In their musical form they are different kinds of dark love songs that anyone might sing if they happened to be an artist, his model, a wife, a fantasist, a lover, a philanderer or disillusioned daughter.
You know, fun for all the family.”
These songs are all found on Taken From Life, opening and closing with “You Can Have Her” and “Look Up Again,” arranged by Vince Mendoza and recorded at Capitol Studios, Hollywood in September 2021 under the direction of Bacharach.
The Taken From Life collection also brings together performances on which Bacharach led The Imposters for the GRAMMY winning album, Look Now, and songs from the proposed score from the E.P. Purse and the Decca Records release, The Sweetest Punch, on which guitarist Bill Frisell arranged the then brand new Bacharach/Costello songs for the voice of Cassandra Wilson and the clarinetist, Don Byron.
The Taken From Life title track is a 2022 recording with The Imposters produced by Sebastian Keys and the collection is completed by startling and beautiful vocal performances of other songs from the “Painted From Memory” musical score by Audra Mae and Jenni Muldaur with the piano accompaniment of Jim Cox and Thomas Bartlett, including the tragic, “I Looked Away” and the deranged catalogue song, “Shameless,” just two of the 19 previously unreleased tracks included in the set.
Along with multiple lyrical drafts of “This House Is Empty Now” which reveal the harrowing disillusionment beneath the more measured tone of the finished lyric, pages from the draft script are also reproduced with pencil annotations proposing lyrical changes and even other unwritten songs.
Opportunities to see Bacharach and Costello perform on stage were rare. Their 1998 tour opened at Radio City Musical Hall, NYC and closed five shows later at the Royal Festival Hall, London, after just a handful of television and radio appearances.
However, Costello and Steve Nieve began the “Lonely World Tour” – taking its title from a line in the Painted From Memory song, “What’s Her Name Today?” – opening with an appearance with the Swedish Radio Symphony Orchestra at Berwaldhallen in Stockholm on the Feast Of The Epiphany, 1999 and proceeded to place the Bacharach/Costello songs central to their concert repertoire from Toronto to Tokyo, and closing in Osaka on December 18th, in a concert in which forty songs were performed.
A selection of these performances can be heard on the third disc of the box set: “Because It’s A Lonely World - Live.”
