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“I’m simply fortunate” – this is a line from a song penned by Mack David in 1945 for Duke Ellington, the same Mack David who collaborated with Burt Bacharach on “Baby It’s You”, a tune I initially heard from The Beatles.
However, even though there is a clear connection to its origins, Burt Bacharach does not conform to the conventional standards of rock music. When a stubborn reporter criticized his lack of involvement in the 1950s rock and roll movement, Bacharach replied, “I was studying under the French avant-garde composer Darius Milhaud and listening to Dizzy Gillespie. Bill Haley’s music just didn’t resonate with me.”
At the 1963 Royal Variety Performance, John Lennon jokingly proposed that the audience in the Royal Box shake their jewelry. Meanwhile, Burt was practicing Marlene Dietrich’s Where Have All The Flowers Gone? backstage as her musical director.
Prior to being introduced to the sound of electric guitars and a Tamla drum rhythm, my interest in music was sparked by the amusing bassoon tune in Perry Como’s rendition of Burt Bacharach and Hal David’s Magic Moments, which was playing on the radio in our basement apartment in Olympia, west London, in 1958.
Bacharach and David’s nearly continuous collaboration from then until 1973 produced countless songs, more than one could possibly sing in a single evening, or even a week of evenings. Even if they had only written the bridge of “Alfie,” their contribution to music would still surpass that of a bin full of progressive rock concept albums. Despite Tom Jones initially thinking “What’s New Pussycat?” was a joke when Burt first played it for him, Bacharach was responsible for iconic songs such as “Walk On By,” “The Look of Love,” “A House Is Not a Home,” and “I Say a Little Prayer” (as sung by Aretha Franklin), while others like Manfred Mann, Mel Tormé, and Love fought over “My Little Red Book.” Even today, it’s likely that you’re only 20 feet or a few minutes away from hearing someone perform one of his compositions.
Bacharach’s compositions are often categorized as “easy listening,” but this label does not do justice to their restraint and complexity. While modern ballads are often constructed in a formulaic manner, Bacharach’s music is meticulously crafted and incorporates unusual time signatures, demonstrated in the song “Anyone Who Had a Heart.” The use of odd bars such as 3/8, 9/8, and 7/8 adds depth and accuracy to the emotions of longing and heartache expressed in the song. These unconventional time signatures represent the unpredictable and overwhelming nature of love.
Dionne Warwick is a highly talented singer, possibly one of the best of all time. She first released the song “Anyone Who Had a Heart,” although this may disappoint fans of Cilla Black. Dionne initially worked as a demo singer for Burt and Hal, but they soon realized that she possessed a rare ability to sing both quiet and loud notes with incredible accuracy. She was also able to effortlessly convey the intricate rhythms in Hal’s lyrics.
I have personal experience with the second challenge, as I worked with Burt from 1995 until shortly before his passing, collaborating on over 30 songs. While Burt was already a highly accomplished songwriter, our unique method of writing through long-distance communication only fueled our desire to come together and explore what else we could create. We first met at his writing studio in Santa Monica, then continued our work in a grand New York hotel suite, and finally in a Greenwich Village apartment using an old spinet piano.
I made sure to edit the lyrics, but it was a testament to Burt’s inquisitive nature that he allowed me to collaborate on some songs with him. Despite never learning music in school or college, working with Burt proved to be a valuable learning experience for me as a songwriter of 50 years. He was extremely meticulous and detail-oriented, often staying up until 4am even when I was up at 3am. He once told me, “I used to strive for perfection, but now I’m satisfied with 95%.”
I am not trying to compare myself to Oscar Hammerstein Jr., but I believe that Burt Bacharach is the successor to Richard Rodgers in the legacy of American songwriting. One time, I convinced Burt to play a song by another composer, and he chose Little Girl Blue by Rodgers and Hart. It sounded as though it could have been one of his own songs.
Burt had numerous partnerships with his third spouse, Carole Bayer Sager, such as That’s What Friends Are For and Arthur’s Theme (Best That You Can Do), which would be the main focus in this tale compared to my small collection of songs written together. Despite being surrounded by many advancements in popular music, Burt’s musical style remained distinct and easily recognizable, evolving over time like Rodgers’ transition from My Funny Valentine to You’ll Never Walk Alone.
Burt will forever hold a special place in my heart. I am grateful for all the moments we shared.
Source: theguardian.com
