Painted From Memory by Burt Bacharach

Painted from Memory is a collaboration between Elvis Costello and Burt Bacharach. It was released 29 September 1998 on Mercury Records, a division of Universal Music Group. The collaboration commenced with "God Give Me Strength", a commission for the 1996 film Grace of My Heart, directed by Allison Anders, starring Illeana Douglas, with lead vocals by Kristen Vigard. Apparently pleased with the result, the pair expanded the project to this full album, the first for Costello after an absence of two years, and for Bacharach after an absence of 21 years. Lyrics and music are co-credited to both Bacharach and Costello. In his 2015 autobiography, Unfaithful Music and Disappearing Ink, Costello wrote, "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 […]."A companion album, The Sweetest Punch, was made concurrently by jazz guitarist Bill Frisell, released in 1999 on another Universal label, Decca Records. It consists of jazz arrangements of the Painted From Memory songs done by Frisell and his studio group. It features vocals by Costello on two songs, and by jazz singer Cassandra Wilson on two songs, one of which is a duet employing both. Costello had long been a Bacharach fan, and had recorded several Bacharach songs, beginning with "I Just Don't Know What to Do with Myself," released on a 1978 Stiff Records compilation Live Stiffs Live. Costello would also cover "I'll Never Fall in Love Again" for the soundtrack to Austin Powers: The Spy Who Shagged Me. "I Still Have That Other Girl" won a Grammy Award in 1998 for "Best Pop Collaboration with Vocals" for Bacharach and Costello. Costello later wrote, "One day, while writing "I Still Have that Other Girl", we reached an impasse as to how to get to the full chorus. I was looking out of the window for inspiration when Burt began to play something I'd never heard before. It sounded beautiful, sort of Viennese. We were running a digital recorder to catch our working sketches, but when the recording was played back it was mostly obscured by me yelling, "That's it, you've got it, [...] Fortunately my overexcited babble didn't completely cover the invention, and we were able to decode the recording and complete the song".