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On the change of the original version of La Passione (1996) by Warner Vision: ...they thought it was a great idea and we started - and more and more … - Chris Rea
" "On the change of the original version of La Passione (1996) by Warner Vision: ...they thought it was a great idea and we started - and more and more people were turning up and I didn’t know who the fuck they were. ‘Oh, that’s Arty somebody, he’s from Warner Vision, he’s flown over from…’ and they’re all yapping away and none of them could get their heads round the idea that it wasn’t meant to be a story. [...] Anyway, egos went all over the place and I lost complete control of it and what I intended it to be hardly went in to the terrible, boring film. And the other thing that really hurt was I did three tracks - which sadly we lost - where, if something mischievous happened, the original idea was to bring in the slide guitar that would start playing a Count Basie routine. All that never happened, it was a shame. [...] They didn’t understand at all, especially the Americans, I mean… I got permission at Ferrari to have their place for a day and there was no film stock left - and I think that sums up the project.
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About Chris Rea
Christopher Anton Rea (born 4 March 1951) is an English singer-songwriter, guitarist and record producer.
Also Known As
Birth Name:
Christopher Anton Rea
Alternative Names:
Christopher Rea
•
Benny Santini
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Additional quotes by Chris Rea
On working at La Passione (1996): Day one, the damage was done. All it was meant to be was one hour of a little boy’s dreams. And I had things I wanted to do with the guitar that hadn’t been done before. Like, there’s one number called "Olive Oil", where I was actually playing slide guitar in the same scale as a saxophone. [...] But then in came millions of executives from America. So in the end, it fell flat on its arse. And it came out the same week that Britpop took off. Blair had just won the election. Oasis. Spice Girls. So something a bit Fellini-ish – about a little boy who loved red cars – went straight over the top. It was like, ‘Well, don’t you have a 335 guitar with a Union Jack on it?’
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On Charley Patton's voice and music style: I heard this fella, and his voice sounded like my voice. I’d always thought, ‘Well, I could never be a singer with this horrible voice’. I hated it. Absolutely hated it. Still do. But he sounded like the same kind of thing. I didn’t know black American terms: a boll weevil or turnpike blues. But there was an emotion that clicked with me. I became fascinated with gospel blues. I still play more gospel than Chicago. I very rarely go anywhere near that speed, aggression, Clapton thing. Someone once reviewed me, saying the testosterone was missing from my blues solos, because I don’t do Chicago. It’s just alien to me.
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