Well, I am no thief, but a man can go wrong when he's busted The food that we canned last summer is gone and I'm busted The fields are all bare and the cotton won't grow, Me and my family got to pack up and go, But I'll make a living, just where I don't know cause I'm busted. I lied and told her I loved her She didn't care but anyway I told her we'd still be friends And she didn't care but anyway I tried last week for to call her She wasn't home but anyway I think I'll spend my life alone I really don't care right now, but anyway.
I'm quitting cigarette smoking, it's bad for me But anyway, I don't think the tv was joking When it told me this, but anyway The newsman said not to sit on strange toilet seats It's my life he's trying to save, but anyway I found out that I got eye cancer Too many television waves, but anyway repeat 1.
Someday an answer will find us, quite a long shot But anyway, I think the past the past is behind us Be real confusing if not but anyway I put all my hope in tomorrow, it's gonna be great I can tell but anyway I see a new, a new day dawning I like to sleep late, oh, well but anyway rpt 1. Love is funny or it's sad, Or it's quiet or it's mad; It's a good thing or it's bad, But beautiful! Beautiful to take a chance And if you fall, you fall; And I'm thinking I wouldn't mind at all. Love is tearful or it's gay.
It's a problem or it's play; It's a heartache either way, But beautiful! And I'm thinking if you were mine I'd never let you go; And that would be but beautiful I know. But it's all right all right girl Hey, say it's all right all right girl Now there's one thing I wanna say, hey, yeah You'll meet a guy who'll make you pay He'll treat you bad and make you sad And you will lose the love you had Oh, but I hate to say I told you so, but Baby, you gotta gotta reap what you sow But it's all right all right girl You are payin' now, but it's all right So goodbye, now, goodbye, girl You're payin' now, say bye-bye You hurt me once, you hurt me twice Oh, but-a baby, that don't cut no ice Hey, goodbye, baby [fade].
They're writing songs of love, but not for me A lucky star's above, but not for me With love to lead the way I found more clouds are gray Than any rainy day, could guarantee. I was a fool to fall, and get that way I should have known the price, I'd have to pay Although I can't dismiss The memory of his kiss I guess he's not,for me. They're writing songs of love, but not for me. A lucky star's above, but not for me. With love to lead the way, I've seen more clouds of gray Than any Russian play could guarantee.
I was a fool to fall and get that way. Heigh ho, alas, and also lackaday. Although I can't dismiss, the memory of her kiss. I guess she's not for me. She's knocking on the door, but not for me.
She'll plan a two by four, but not for me. I know that love's a game, I'm puzzled just the same. Was I the moth or flame, I'm all at sea. It all began so well, but what an end. This is the time a feller needs a friend.
When every happy plot ends with the marriage knot And there's no knot for me. How I wish that love?? And if I could only find my way back to the time When the problems of this life of mine didn't cross our minds All the answers were found in children's nursery rhymes I'd come running back to you I'd come running back to you And you know we can't Live on dreams alone Just to pay the rent I must leave you all alone But you know I made my choice Many years ago Now this traveling life Is the only one I know.
When people say youre not my kind And that your clothes are out of line And that your hair isnt combed all the time Youre not real pretty but youre mine. We have a great big old society That wont make room for folks like you and me But I got some real bad news for them my friend Theyre on the outside looking in. Weve got a great thing going And its gonna keep on growing And I hope that soon theyll see the light But until that time theyll have to blow their mind Cos it aint us thats gonna lose this fight So when were walking I dont care When all those people stop and stare If theyd look in your eyes theyd see Youre not real pretty but you belong to me.
You tell me you love me, you say you'll be true Then you fly around with somebody new But I'm crazy about you, you butterfly. You treat me mean, you're makin' me cry I've made up my mind to tell you goodbye But I'm no good without you, you butterfly.
I knew from the first time I kissed you That you were the troublin' kind 'cause the honey drips from your sweet lips One taste and I'm outta my mind. I love you so much I know what I'll do I'm clippin' your wings, your flyin' is through 'cause I'm crazy about you, you butterfly. I knew from the first time I kissed you That you were the troublin' kind 'cause the honey that drips from your sweet lips One taste and I'm outta my mind.
Ooh, I love you so much I know what I'll do I'm clippin' your wings, your flyin' is through 'cause I'm crazy about you, you butterfly. Butterfly Baby, lookin' around, Flyin' like crazy, all over town. Oh you little Butterfly Baby, I'll hang around Hopin' that maybe someday you'll settle down.
When you're done and there's only one Who will your honey be? Hear my plea, won't you let it be: Me, it better be me! Butterfly Baby, 'bout time you knew: I love you like crazy, I love only you. Oh you little Butterfly Baby when will you see Butterfly Baby, oooo, you've got a trial with me. Hear my plea won't you let it be Me, it better be me! Butterfly Baby, when you are free, You'll be my baby, ya, exclusively.
Oh you little Butterfly Baby, then you will see Butterfly Baby, oooo, you'll only fly with me. Wa-ooooo, wa-ooooo, Wa-ooooo, wa-ooooo, Wa-ooooo, wa-ooooo, Wa-ooooo. Spoken: A western ranch is just a branch of Nowhere Junction to me. Give me the city where living's pretty and the gals wear finery. East is east and west is west And the wrong one I have chose Let's go where I'll keep on wearin' Those frills and flowers and buttons and bows Rings and things and buttons and bows Don't bury me in this prairie Take me where the cement grows Let's move down to some big town Where they love a gal by the cut o' her clothes And I'll stand out In buttons and bows I'll love you in buckskin Or skirts that I've homespun But I'll love ya' longer, stronger where Yer friends don't tote a gun My bones denounce the buckboard bounce And the cactus hurts my toes Let's vamoose where gals keep usin' Those silks and satins and linen that shows And I'm all yours in buttons and bows Gimme eastern trimmin' where women are women In high silk hose and peek-a-boo clothes And French perfume that rocks the room And I'm all yours in buttons and bows.
This is what I call the simple things, Just a winding stream, Where I can drift and dream And now I'm waiting for you. We'll spend a heavenly day, Here where the whispering waters play. There's a whippoorwill that's calling you-oo-oo-oo, By a waterfall, he's dreaming too. There's a magic melody, Mother Nature sings to me, Beside a waterfall with you. The party's over, the game is ended, the dreams I dreamed went up in smoke.
They didn't pan out as I had intended; I should know how to take a joke. I'll go my way by myself, this is the end of romance. I'll go my way by myself, love is only a dance. I'll try to apply myself and teach my heart to sing. I'll go my way by myself like a bird on the wing, I'll face the unknown, I'll build a world of my own; No one knows better than I, myself, I'm by myself alone.
I'll go my way by myself, here's how the comedy ends. I'll have to deny myself love and laughter and friends. Grey clouds in sky above have put a blot on my fun. I'll try to fly high above for a place in the sun. I'll face the unknown, I'll build a world of my own; No one knows better than I, myself, I'm by myself alone.
By the light of the silv'ry moon I want to spoon To my honey I'll croon love's tune Honey moon, keep a-shinin' in June Your silv'ry beams will bring love's dreams We'll be cuddlin' soon by the silv'ry moon. Park Scene dark Silv'ry moon is shining through the trees Cast: two Me, you Summer kisses floating on the breeze Act one Be done Dialog "where wouldja like to spoon?
By the light of the silv'ry moon I wanna spoon To my honey I'll croon love's tune Honey moon, keep a-shinin' in June Your silv'ry beams will bring love's dreams We'll be cuddlin' soon by the silv'ry moon. Act two. Scene new Roses blooming all around the place Cast three You, me, Preacher with a solemn-looking face Choirs sings, bell rings Preacher: "You are wed forever more" Act two all though Ev'ry night the same encore. By the light not the dark but the light of the silvery moon not the sun but the moon I wanna spoon not croon but spoon To my honey I'll croon love's tune Honeymoon honey moon, honey moonkeep a-shinin' in June Your silv'ry beams will bring love's dreams We'll be cuddlin' soon by the silvery moon The silv'ry moon.
I left her by the River Sainte Marie, We pledged our love until eternity. Along the pebbl'd pathway from her door We kissed and then we kissed again And parted on the shore; The Angelus rang out upon the sea I saw her kneel and say a prayer for me When winter's gone and spring is on I'll meet her by the River Sainte Marie. By the time I get to Phoenix she'll be rising She'll find the note I left hangin' on her door She'll laugh when she reads the part that says I'm leavin' 'Cause I've left that girl so many times before.
By the time I make Albuquerque she'll be working She'll prob'ly stop at lunch and give me a call But she'll just hear that phone keep on ringin' Off the wall that's all. By the time I make Oklahoma she'll be sleepin' She'll turn softly and call my name out loud And she'll cry just to think I'd really leave her Tho' time and time I try to tell her so She just didn't know I would really go.
Spoken If you hate me after what I say Can't put it off any longer I just gotta tell you anyway. The two of us together, just me and you will keep smil-in' smil-in' through So don't you sigh, and don't you cry Bye Bye Blues.
Peaked at 2 for 4 weeks on the Billboard Pop chart but was also 1 for 7 weeks on the Country chart. There goes my baby with-a someone new She sure looks happy, I sure am blue She was my baby till he stepped in Goodbye to romance that might have been.
I'm-a through with romance, I'm a-through with love I'm through with a'countin' the stars above And here's the reason that I'm so free My lovin' baby is through with me. You're up state, up late, and city fed I'm a California label From the top of my head.
Forever, ah See a lot of open sky When the sun goes down There's a hot, lot of loving when you come Around, to free me, ah In a boat to sail, boat to sail, away ah All those letters mailed from a Boat to sail, away ah We are riding in a boat to sail Bare foot, coconut and supermild Jamaica take a look At your own child Forget not Brian Wilson songs are never left behind Don't you worry baby, you're a friend of mine For so long From a boat to sail, boat to sail, away ah All those letters mailed, from a Boat to sail, away ah We are riding in a boat to sail We are riding in a boat to sail.
I was talkin to the whippoorwill He says you got a corny trill Bob White! Whatcha gonna swing tonight? I was talkin to the mocking bird He says you are the worst he's heard, Bob White! Even the owl-tells me you're foul Singin those lullaby notes, Don't be a bring down If you can swing down Gimme those high notes.
There's a lotta talk about you, Bob and they're sayin you're "off the cob" Fake it, Mister B Take it, follow me, Bob white We're gonna break it up tonight. When a girl changes from bobby sox to stockings And she starts trading her baby toys for boys When that once-shy little sleepyhead Learns about love and its lilt You can bet that the change Is more than from cotton to silk.
If a miss wants to be kissed instead of cuddled And to this you are in doubt as what to say When a girl changes from bobby sox to stockings Then she's old enough to give her heart away.
When people ask of me, What would you like to be Now that your not a kid anymore. You're not a kid anymore. I know just what to say, I answer right away, Theres just one thing I've been wishing for I want to be Bobby's girl I want to be Bobby's girl, That's the most important thing to me Still in my heart I pray There soon will come the day That I will have him all to myself What a faithful thankful girl I'd be.
My heart is sad and lonely For you I sigh, for you dear only Why haven't you seen it I'm all for you body and soul I spend my days in longin' And wondering why it's me you're wronging I tell you I mean it I'm all for you body and soul I can't believe it It's hard to conceive it That you turn away romance Are you pretending It looks like the ending Unless I could have one more chance to prove, dear My life a wreck you're making You know I'm yours for just the taking I'd gladly surrender myself to you body and soul.
My life a wreck you're making You know I'm yours for just the taking I would gladly surrender myself to you body and soul. Out on the dance floor I'm holdin' you so tight Gotta make you feel me, Sail Along Silvry Moon - Billy Vaughn - Greatest Hits 1 (Sail Along Silvry Moon) (Vinyl) press your body tight Up against my body grindin' I'm in the mood for the same This is real freaky this is how we groove Ooh, what's on your mind?
It's body bumpin' time baby Love makin' hopefully while we grind Uuh, don't you want me? Cuz I want you Let's do this. Why don't we do it? For my graduation, let you know what's on my mind It's about that time, that I hit you for some bump and grind I'm in the mood for you, I wanna feel your groove girl you Can creep on with me, let's go get up on a room Makin' me do things that I never did before Behind closed doors, I'm gonna make you shout for more This freaky thing is on, body bumpin' all night long No doubt about it if you want it I can bring it on, bump me.
Bump'in, you and me Everybody get your freak on Bump'in, you and me Everybody get your freak on. Give me, body - give me - body - body - give me your body Don't talk, Baby don't talk Body language Give me your body Just give me your body Give me your body Don't talk Body language You got red lips Snakes in your eyes Long legs, great thighs You've got the cutest ass I've ever seen Knock me down for a six anytime Look at me - I gotta case of body language Body language - body language - yeah Sexy body, sexy, sexy body I want yoyr body Baby you're hot Body language.
Is this the real life? Is this just fantasy? Caught in a landslide, No escape from reality. Open your eyes, Look up to the skies and see, I'm just a poor boy, I need no sympathy, Because I'm easy come, easy go, Little high, little low, Any way the wind blows doesn't really matter to me, to me. Mama just killed a man, Put a gun against his head, pulled my trigger, now he's dead. Mama, life had just begun, But now I've gone and thrown it all away. Mama, ooh, Didn't mean to make you cry, If I'm not back again this time tomorrow, Carry on, carry on as if nothing really matters.
Too late, my time has come, Sends shivers down my spine, body's aching all the time. Goodbye, ev'rybody, I've got to go, Gotta leave you all behind and face the truth.
Mama, ooh, I don't want to die, I sometimes wish I'd never been born at all. I see a little silhouetto of a man, Scaramouche, Scaramouche, will you do the Fandango. Thunderbolt and lightning, very, very fright'ning me. Galileo, Galileo figaro Magnifico. I'm just a poor boy and nobody loves me.
He's just a poor boy from a poor family, Spare him his life from this monstrosity. Easy come, easy go, will you let me go. No, we will not let you go. Let him go! We will not let you go. Let me go. Will not let you go. No, no, no, no, no, no, no. Oh mama mia, mama mia.
Mama mia, let me go. Beelzebub has a devil put aside for me, for me, for me. So you think you can stone me and spit in my eye. So you think you can love me and leave me to die.
Oh, baby, can't do this to me, baby, Just gotta get out, just gotta get right outta here. Nothing really matters, Anyone can see, Nothing really matters, Nothing really matters to me.
Pack up your troubles in your old gym bag You gotta dance to the tune of Bolivian Ragamuffin I'll take short breaks, love her to the outbreaks. Standing on the seashore, lookin' at the city See the street Sail Along Silvry Moon - Billy Vaughn - Greatest Hits 1 (Sail Along Silvry Moon) (Vinyl), dog bite, go lady on the TD8 The wax museum and nobody gets to see themselves There's others care to see what nobody wants to be a baby.
Can't break, cabbage head Try and get a salad made Hold my pickle, hold the lettuce Session waters don't upset us. Kick, stand, face look so evil, like Knieval Never make third base like a toilet bowl cleaner Like a squawk eight fool in I don't know orogotus If I have to do rock a roller up a jello.
Facial, connish lie Smoke a bowl of feeling fine Burn and people, try to let us Session waters won't upset us. Hee lee cans Kick in the pants Water fall got on a dance Blame it all Say gotta eve us a trance Ain't gonna do it Ain't gonna do it Ain't gonna do it Ain't gonna do it Ain't gonna do it Let me tell ya a story about a boll weevil Now, some of you may not know, but a boll weevil is an insect.
And he's found mostly where cotton grows. Now, where he comes from, hm, nobody really knows. But this is the way the story goes. The farmer said to the boll weevil "I see you're on the square" Boll weevil said to the farmer "Say yep!
The farmer said to the boll weevil "Say, why do you pick my farm? And the boll weevil spotted a lightning bug. He said "Hey, I'd like to make a trade with you. And the boll weevil called the farmer, 'n' he said "Ya better sell your old machines, 'cause when I'm through with your cotton, heh, you can't even buy gasoline.
And the boll weevil said to the farmer, said " Farmer, I'd like to wish you well. For example, if he was ambitious in his scoring, he was decidedly unambitious in his selection of material. But Connif f was never going to attract a younger demographic with these tunes. There was absolutely no way that Sure, the sounds were enticing, but the material? Do me a favour! In fact, listening now after all of these years, one gets the distinct impression that Conniff had little or no interest in the material per se.
He was later to admit that: Instead of playing trombone solos that other musicians liked, I made an about-face and wrote my arrangements with a view to making the masses understand and buy records. Connif f in Lanza, One can perhaps detect the machinations of a cynic, here. These evergreens were appealing, but already grossly overworked by the late s. Composition Ray Conniffs superb arrangements were one thing, but composition along these lines was an altogether greater challenge.
By the end of the s, a composer was needed who could present dynamic range, tone colourwarmth and all of the textural devices used by the great LP makers of the s. But this composer also had to embrace the qualities inherent in the 45 standardisation as art, interchangeability as an advantage and mass production as a creative sphere.
Burt Bacharach was, like Connif f, trained within the canon of Western classical music but via accompanying a variety of artists after his demob in see onhad also worked extensively within the above realms of timbre and connotation. By adding a range of melody and harmony to the popular song and by, conversely, adding texture and timbre to the European music tradition, he was a budding composer in a position to take advantage of these socio-cultural and musicological consequences.
Working from within apparent restrictions of time and place space, even of fers the opportunity to create music that is at once mainstream and subversive, simple and complex, wearisome and exhilarating. So, in the rapidly changing popular music environment of the s, Burt Bacharach acted as a kind of linkman both with the legendary composers Between the moments he joined the US Forces inand then rented his ofce in the Brill Building on Broadway inBurt witnessed the music industry change beyond recognition.
In fact, Richard Peterson states that: In a matter of two dozen months between late and early rock was for ged in this cauldron of entrepreneurial creativity. Peterson, Bacharach undeniably saw his opportunity and made the conscious decision to try his hand at song writing. He gured, according to Robin Platts, that hearing the mediocre material being pitched to [the acts that he accompanied such as Paula Stewart and Georgia Gibbs] by song pluggers [he] could do at least as well as the stuf f these other songwriters were turning out Platts, pp This actually sounds more than a little premeditated, which is a fascinating hypothesis when one considers his subsequent inuence on all of western popular music for the next 50 years!
Frustration, ambition and expediency may have led to some of the greatest popular music of the 20th century. Even though his music does not resemble that of either Gershwin or Webern, the complexity of his work, aided in no small terms by the equally grown up lyrics of Hal David about whom more latercontinues what many see as a tradition of clever popular music that pre-dates the advent of rock music. But perhaps his greatest contribution was to create music that reected a harmony between these dramatically changing patterns of production and consumption in this synchronic era of post WWII popular music.
Standardisation Many critics of popular culture such as T. Adorno see this link of production to consumption as a negative. They see connections between functional artefacts such as mass produced records and Sail Along Silvry Moon - Billy Vaughn - Greatest Hits 1 (Sail Along Silvry Moon) (Vinyl) artefacts such as the music on those records as being ideological.
Adorno On Popular Music, attempts to expose the destructive ways in which the capitalist mode of production affects all forms of popular music: Music for entertainment  seems to complement the reduction of people to silence, the dying out of speech as expression, the inability to communicate at all. It inhabits the pockets of silence that develop between people moulded by anxietywork and undemanding docility  it is perceived purely as background. If nobody can any longer speak, then certainly nobody can any longer listen  Today [the] power of the banal extends over the whole of society.
Adorno, A powerful and scathing polemic against all popular music, but particularly against the genres I have attempted to illustrate above those attempting to create mood, texture and accompany function. Adornos writing has many strengths he certainly understood that the Tin Pan Alley hit repertoires of the ss revealed a level of sameness that was, according to Richard Middleton:  stultifying.
This is backed up by the accounts we have of the many aspects of the economic structure of the music business then: the drive for prot, the trend towards monopoly and conglomeration, the conservative appeal to the predictable and universally understood.
Middleton, But Adorno fails to see the crucial dif ferences between these functional and textual artefacts. These dif ferences lie in an understanding that the progress made in the s and s in technology the very technology that gave us the LP and the 45 - did not constrain music composition, but enhanced the possibilities for it. If anything, the possibilities for variation were greatly expanded by mass production.
From the s-onwards, the music industry was surrounded by new technologies that were certainly able to maximise prot. Yet in order to do this the industry had to allow a Their approach had to be by necessity pluralistic.
A Burt Bacharach composition is and always will be a material asset. Burt wanted to attack the songwriting process by becoming part of it. As previously stated, he was certainly mif fed at the poor quality of songs aimed at those he accompanied such as Polly Ber gen, his rst wife Paula Stewart, and the Ames Brothers. Like Adorno, he seems to have been primarily concerned with two important traits that emerged in the Tin Pan Alley era.
Firstly, part-interchangeability; by the statements credited to Burt in PlattsBacharach appears to be of the opinion that too many songs were sounding like other songs. Interchangeable parts to songs were qualitatively indistinguishable.
As we have seen, this was undoubtedly linked with an issue of homogeneity in some areas of US popular music. Donald Clarke ed. Clarke [ed. As Gendron states, pseudo-individualization is the indispensable capitalist complement to part interchangeability Gendron, We are seduced into thinking that dif ferences in packaging Pseudo-individualization glamorises style over content. One can certainly understand this in a mids context when cover versions were de rigeur.
Not only was music glamorised in this way, so too were all kinds of mass-produced goods in the post-war Great Society. For example, the year that Bacharach got down to some serious actually that could be a matter of opinion! The public appeared ready, willing and able to pay primarily for differences in style rather than mechanical quality. The public seemed to be as equally compliant in their willingness to shell-out for Geor gia Gibbs of whom more later bleached-out Dance With Me Henry rather than Hank Ballards meatier Roll With Me Henry issued the previous year The song, in itself, was part interchangeable: one was evidently suitable for one marketplace, the other for a distinctive other i.
Despite his success at the Brill Building over a period of about seven years, Bacharach continued to express his distaste for a system that constrained music as a form of assembly line production.
The rock n roll revolution that attracted Burt did putTin Pan Alley out of its compositional misery, somewhat, but did not bring to an end the industrial standardisation of music and Burt is on record stating as much see on.
Howeverwhat Bacharach perhaps did not appreciate in such statements was that although emanating from within the system, his music was an example of quite the reverse trends! This suggests that the industrial presence in music is often greatly exaggerated. Creativity v constraint Bacharachs works and not simply Bacharach, but the compositions of Gerry Gofn and Carole King, Barry Mann and CynthiaWeil, Jerry Leiber and Mike StollerJef f Barry and Ellie Greenwich, Neil Sedaka, Neil Diamond, Doc Pomus and Mort Shuman the list is almost endless were created in an industrial-like environment such as existed at the Brill, but the factors that account for the standardisation of music texts do not fully explain either their creation or reception.
The listener to a Bacharach composition such as say Make It Easy On Yourself was both stretched Sail Along Silvry Moon - Billy Vaughn - Greatest Hits 1 (Sail Along Silvry Moon) (Vinyl) entertained, not repressed. Bacharach s music also changed almost beyond recognition from Magic Moments to Walk On By, so some level of apparent liberalism, pluralism and musical dissent was allowed to ourish!
One might argue that these changes were only stylistic hence merely surface alterationsbut nothing challenges the songwriter quite as much as a consumer wanting change - as Burt, himself, later discovered when Lost Horizon appeared in the public sphere!
Rather than supplanting the dance and big band arrangements of the preLP era, Bacharach was able to combine their rich Sail Along Silvry Moon - Billy Vaughn - Greatest Hits 1 (Sail Along Silvry Moon) (Vinyl) of timbres and compositional techniques with the audibility of the single.
Unlike other unconventional pop composers and bandleaders of the s such as Esquivel and Martin DennyBacharach used the 45rpm record and was able to impact on US culture at a much greater level. He was able to use the constraints of a 45 rpm record to hone his compositions into 2 and 3minute opuses one might say that this was a particularly unusual gift, but actually, as we shall see, his musical background contributed greatly to this understanding of musical miniatures.
Despite being inuenced by the sounds of the great s LPmakers such as e. Conniff, Denny, Melachrino and Les Baxterhis work in rhythm alone far exceeds the feel, the groove and perhaps the limitations? To draw this section to a close I quote Erik Satie, writing in a note to Jean Cocteau: Furniture music for law ofces, banks, etc  No marriage ceremony without furniture music  dont enter a house which does not have furniture music.
Lanza, Satie could have been describing Bacharach s musical touch, here. Explorations in mood and movie soundtracks were also Bacharach s stock-in-trade. Certainly the long playing mood song of Ray Connif f was of vital importance to display what could be done with sound and technology, but, perhaps from the moment he heard the Impressionists, the post-war serialists such as Webern and Berg, and a blast or two from Dizzy Gillespie, Burt Bacharach had some kind of post-industrial music art form already in his head.
Bacharach self-consciously shaped his songs to t specic images created by specic singers. He also pushed the boundaries of creativity in the popular song to undreamed of levels.
But he was also clearly intent on doing whatever it took to entertain an audience including not expecting too much of their time and concentration. He needed to keep everybodys attention. Thus the twin polarities of creativity and constraint were undoubtedly bedfellows in the Bacharach process.
By all accounts, his upbringing was very loving. Burts mother Irma was a portrait painter of some renown and his fatherBert Bacharach, worked in Woolf Bros department store. Bert the elder was to later recall to the Saturday Evening Post: in a moment of fatherly pride, I decided the Bacharach family was ready for a Big Bert and a Little Bert  [but Bertram]  might be considered a nice name in classy circles, but it was comparable to Algernon, Percy or Reginald in Atlantic City, where I went to Grammar School.
Platts, A u was inserted where the e had been and thus Burt was fashioned. When Burt was still a child of 8 years his father became a columnist for King Features, who syndicated his articles to most men s fashion magazines of the day. Bert senior became nationally renowned and continued writing articles and appearing in Universal International newsreels for the next twenty years. The younger Burt undoubtedly loved both of his parents deeply and probably inherited his fathers air for that trademark casual fashion!
Bert Bacharach, the columnist. And Ive got a great mom she has grey hair too, which she keeps grey. Lovely hair. And shes a lovely lady. By his eighth birthday Irma had or ganised piano lessons for her diminutive son, even Bert Bacharach the elder brought to mind that Burt threw himself into his instruction and absorbed absolutely everything offered to him.
Loyalty to his son may well have been clouding his memories a little, however, for it has also been variously recorded that Bacharach s teacher regarded Burt only as an adequate student certainly without the indicators of compositional brilliance that were later to come to the fore. Burt is also on record Biography Channel, as stating with a passion for someone as understated as he that he hated with equal passion, one presumes his music lessons. Burt actually aspired to other things. He was a very sporty child and his burning ambition was to become a professional gridiron US footballer these days he has more interest in soccer.
Irma was very supportive of the young lad perhaps at times overly-so but both she and her son realised that his sporting ambitions were unrealistic.
In a mids Newsweek interview, Burt was to later recall: What a drag for a kid  practicing piano  but what else did I have to do? Lamenting on his lack of physical stature and his apparently diametrically opposed penchant for sports and girls he admitted somewhat curtly that he was too short for either ibid. Despite his growing interest in all things musical, Burt continued to harbour desires for the football eld.
Irma, howeverrecurrently insisted that Burt devote substantial free time to his music studies including cello I couldnt keep time to the radio. I was also a cellist. It was a rented cello. They even gave me a bow: the whole outt [Bacharach to Saal, Newsweek, ]drums, and piano from the age of 12 years and her word as a Jewish mother was legislature.
Burt later admitted to New Musical Express that this period was a difcult one that has continued to af fect him throughout his life.
He is quoted as stating that he had terrible difculty in making contact with anyone in a high school where he was the shortest of 3, kids.
Including girls. As the man rolls back the years he insists even as a celebrated composer, you still carry some of this stuff with you Williams, NME, He is further quoted by Tony Parsons reiterating this insecurity about his stature. It appears that a complex about his Jewish background compounded this lack of condence: I pretended not to be Jewish, which is a terrible thing to do, but I liked the Catholic kids I grew up with and they always spoke disparagingly about Jews.
When we played football against a Jewish team we would be in a huddle and my team would sayLets go and kick shit out of these Jews. So I never let them know. I was also very short there was not a girl in a school of three thousand kids smaller than me so I had enough to get on with without admitting to being Jewish. Parsons, In fact, by the time that Burt reached his formative years as a teenagerIrma and Bert had sat the insecure lad down for a family conference.
Sports were out, apparently. Platts reports that Bert the elder was later to recall to the Saturday Evening Post: His mother and I told him we thought he had a good future in music, but that only he could determine what he wanted to do.
Platts, Perhaps to please his mother, the 13 year old informed his parents that he too wished to continue with his music studies he was their shining star Joel Grey. This was despite a young Burt apparently half-expecting to follow his father into the mens clothing business: I thought Id probably wind up in the men s clothing business.
Thats where my dad had afliations  I thought it was the easiest, most accessible job that my dad might introduce me. Bacharach, Sunday Morning On CBS, Irma attempted to educate her young son in high artmusic from an earlier age but it did not initially prove successful; Robin Platts: In the long Sunday car rides back to New York after visiting relatives in Philadelphia, Irma would tune-in to the New York Philharmonic, but Burt wasnt impressed.
He found most of the Philharmonics repertoire heavy on the Beethoven and Strauss too serious and sad, even depressing. Platts, According to Burt the music seemed to blend in with the dark night sky on these wearisome journeys, particularly in the fall or wintergenerating in him a dismal feeling all the way home.
Burt was to further elucidate to both Us magazine in and The Times in that memories of these childhood days were not altogether joyful. Firstly to Us: I used to hate the rides from Philadelphia with my parents in the car. Sundays, listening to the New York Philharmonic because my mother had it on the radio.
The music was serious; it was sad, it was depressing. Those were not great moments for me [but] I heard some music that cut through the drudgery: Debussy, Ravels Daphnes Et Chloe: Suite no. That was an opening for me. Bacharach to Hunter, Us, Bacharach is on record as stating that he was simply the kid who hated to practice the piano until he discovered the exposed quality of Ravel s unabashed sense of melody one can hear traces of Daphnes Et Chloe in Burt s Looking With My Eyes.
This was further enhanced by the uplifting sounds of the French Impressionists. Burt informed The Times: My mother made me take piano lessons as a child and I hated it. She forced me to practice every night, when all I wanted was to be outside playing. But then two things changed my mind. The rst was hearing Ravel for the rst time.
The second was discovering jazz and big bands. Bacharach to Cowan, The Times, Most groups, even small family units, have their leaders. Irma was such a leader. But good leadership within a family involves an understanding of how this perception of others af fects the family processes.
Both Burt and Bert understood that Irma wished something very specic from her son. In that domestic sphere, they were compliant and Irma usually got what she wanted. However, Irma was no tastemaker and she could do little about her son s aesthetic rejection of German Romanticism. It was the challenging but melodic sounds from the French Impressionists rather than the somewhat depressing sounds of the New York Phils Germanic repertoire Let us, then, briey explore this inuential music: Impressionism, the Impressionists, and Les Six.
Impressionism Already, by the end of the 19 th century, there were the rst rumblings of a musical revolution. These composers were producing music that was considered distinctly peculiar by some. The days of Romanticism in music were drawing to a close and the voices of a new breed of composers were being heard: those who loved melody but were unhappy with the cloying sentimentality of the Romantics.
In particularthere were those French artists who later proved to be an inuence on the young Bacharach during his formative car rides and even later his musical training. They were, not unlike their s bebop counterparts, trying to shake-of f the pattern laid down by the previous in this case T eutonic musical orthodoxy especially that of Wagner although, as we shall see, our hero Burt did not ignore Wagners leitmotiv when it came to lm scoring.
They have been described as Impressionists. Original-Zeitschriften vom Januar Hier finden Sie unsere Magazine vom Dezember Deutschland Single Hits Top Deutschland Album Top Deutschland Vorbesteller Album Top Deutschland Vinyl Top Deutschland Sampler Top Deutsche Pop Charts. DJ Top International.
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