Bacharach Album Liner Notes

Liner Notes from Burt Bacharach Plays His Hits

My respect and my love for the musician Burt Bacharach is matched by my love and my respect for man. No matter how many curtains open and close between me and the audience--his approval is what I am seeking. What happiness to sing to his melodies and orchestrations which to sing to his melodies and and orchestrations which carry me like a magic carpet to the theatres of the world.
...Marlene Dietrich

Burt Bacharch has revolutionized the world of commercial recording in the most unlikely way -- he has replaced noise with creative music.
...Anthony Newley

There seems little more that one can say about Burt Bacharach. When I first heard "Don't Make Me Over", I burst into tears with sheer joy and excitement and his music has been affecting me this way ever since. To me, he is the end.
... Dusty Springfield

I have worked with many creators of songs and fresh concepts but few have the dynamic talents of Burt Bacharach.
... Gene Pitney

Burt is one of the best of today's composers. He has a fresh approach to music, typical of which is his song "Wives and Lovers" which, I believe, was the first commercially successful jazz waltz. His arrangement are as interesting as tasteful as his melodies and help sell many of his songs. Burt Bacharach is a remarkable man.
... Jack Jones

The charm, personality, and talent of this man speaks for itself. To me Burt is:

Liner Notes from Reach Out (1967)

If you love not tall pines which touch the beginnings
of the sky
If you have never yearned to leap a mailbox, nor longed to
join the street urchins in a game of tag
If you have not sighed and smiled beyond your mind as sleep
 creeps out of the abstract and carries you into its endless night
If violins and cellos harpsichord and piano trumpets, 
flutes and sounds of rippling scales have never lightened your 
If Alfie did not become so much a name, more a lonely island of
song in a sea of human sadness.
If cool water too long hung out of reach has never quenched your
If love comes second or you come first,
If you have never walked without a destination nor
flown without a sense of marvel
If you have known neither pain nor sorrow nor wept for the joy
of release.
If a baby is not a person until it knows your
If your heart has not leapt nor your sense quivered as the
conductor's baton taps the music stand
If you have not stared at a pretty girl in a vacuum in time
across a crowded room and prayed she knew 
If you believe that the essence of a man and his music can
adequately be caught and conveyed within an album liner
note ...
then it is likely that the entrapment of music between these
covers is not for youand though it is sad, you should
walk on by.
But Burt Bacharach, shy, young, handsome, courteous, New Yorker son of a jounalist, married to an actress, is more relevantly,
a fiery complex ingredient in the exciting cauldron of the
musical sixties
Put down by no one, whether peers or followers, put on
by nothing, whether fame or wealth; put off by neither pressure 
nor competitor, Bacharach is a very special man.
He bestrides, like Gulliver, the warring worlds of the 
Establishements' Academy Award system -- from whom he has
wrought two Oscar nominations for "Alfie" & "What's New Pussycat" --
and the contemporary Top Forty scene where the buying power lies
in the hands of the very young.
It is effortless to praise him because he has done so much, so
widely and so well.
Marlene Dietrich doted on him as her arranger and conductor,
adores him as a man.
From Hollywood to New York, across to Europe and the British Isles
in military camps and in brutally sophisticated nightclubs, he
built upon his formal training as a pianist by adding technique
and style and charm
As a songwriter, he decided to create tunes people could hum,
and by now, few singers anywhere in the world haven't sung them.
On this album, his first for A&M Records with whom he has a 
close and vastly rewarding relationship, he has written, arranged, assembled all eleven songs, conducted the orchestra and produced 
the entire album, and because he knows there is nothing you can do that can't be done, he has played piano on all of the tracks and
sung on one of them. This one is called 
"A House is Not a Home," and it is something else.
So is Burt Bacharach.

Liner Notes from Make It Easy On Yourself (1969)

Suddently and splendidly there's a whole new generation of song-makers at work among us, writing the musical accompaniment to our lives. And in this new generation Burt Bacharach seems to me to be unique -- unique because his melodic style is so distinctly and unmistakenly his.

He has a way of doing unconventional things with time, with the length of a phrase, with chord patterns and the logic by which one note follows another. WHat he is after is not just "differentness" but fresh emotion, caught in rhythms which are like the pulsings of life. The result is that a Bacharach songis not faintly reminiscent of ten or a dozen other songs. It has a rightness all its own, and power and intensity.

Burt's very special voice -- honest, unhackneyed, direct, intense and loving, with a kind of underlying urgency even in moments of gaiety -- seems remarkably right and characteristic of our time.

Since Burt recorded his first A&M album "Reach Out," nearly two years ago, he and his lyricist-partner Hal David have written the smash Broadway hit, "Promises, Promises." Five numbers from that great score are included here, along with two brand-new songs, "Pacific Coast Highway" and "She's Gone Away" and four Bacharach standards.

There are voices here, including the Bacharach singers and the master own rumpled and earnest baritone on "Make It Easy On Yourself."

But Burt the arranger has seen to it that this outing is primarily instrumental, the better to showcase Burt the melodist, and incidently Burt plays piano. And the arrangements are as fresh and unhackneyed as the melodies, turning to such unexpected sound-sources as the ocarina, twin flügelhorns, marimba, organ and baroqye toy trumpet to beguile the ear. He even proves that the oboe is a wind that somebody can blow good.

The pleasing and characteristic musical intelligence of Burt Bacharach is doubly at work here.
--CHARLES CHAMPLIN, Los Angeles Times

musical credits from Futures

"My music came alive because of these people..."

Jamie Anders -- "We Should Have Met Sooner," "When You Bring Your Sweet Love to Me"
Peter Yarrow -- "The Younger Grow Younger Every Day"
Joshie Armstead -- "I Took My Strength From You (I Had None)," "Us," "Seconds," "Where Are You"
Melissa Mackay, Sally Stevens and Marti McCall -- "No One Remembers My Name"

Warren Luening, trumpet
Marvin Stamm, trumpet
George Young, sax
David Sanborn, sax

Patti Austin, Lani Groves, Raymond Simpson, Vivian Cherry, Zachary Sanders, Frank Floyd

Burt Bacharach, Richard Tee, Leon Pendarvis, Paul Schaeffer

Joe Beck, Jay Berliner, Charles Chiarenza, David Spinozza, Hiram Bullock, William Pitman, Stuart Scharf, Eric Weissberg

Tony Levin, Donald Bagley, Herb Bushler, William Lee

Ralph MacDonald

Grady Tate, Clyde Duell

Joseph D'Onofrio, concert master and contractor
Margaret Ross, Lois MacDonnell, Kathleen Carroll, Peter Nocella, Emma Kummorow, Pamela Porta, Thomas Sarla, Rebekah Johnson, Helen Janov, Lance Elbeck, Hitai Lee, Richard Amaroso, Sarah Jane Johnson