From the BlogMeet Ron



When I talk with a newcomer to A.A., my past looks me straight in the face. I see the pain in those hopeful eyes, I extend my hand, and then the miracle happens: I become healed. My problems vanish as I reach out to his trembling soul. 
Copyright 1990 
Vernon Howard’s SECRETS OF LIFE 
“Let no alcoholic say he cannot recover unless he has his family back. This just isn’t so. In some cases the wife will never come back for one reason or another. Remind the prospect that his recovery is not dependent upon people. It is dependent upon his relationship with God. We have seen men get well whose families have not returned at all. We have seen others slip when the family came back too soon.”
Alcoholics Anonymous 4th Edition
Working With Others, pg. 99


True humility and an open mind can lead us to faith, . . .
My alcoholic thinking led me to believe that I could control my drinking, but I couldn’t. When I came to A.A., I realized that God was speaking to me through my group. My mind was open just enough to know that I needed His help. A real, honest acceptance of A.A. took more time, but with it came humility. I know how insane I was, and I am extremely grateful to have my sanity restored to me and to be a sober alcoholic. The new, sober me is a much better person than I ever could have been without A.A.
From the book Daily Reflections
Copyright © 1990 by
Alcoholics Anonymous World Services, Inc.

“Be still and know that I am God. I am the Christ, the Son of the Living God within me. I am the Principle of Peace within me. I am the manifestation of Love within me. My mind is poised in peace and beauty. All sense of fear or doubt is gone. I rest in calm trust and rely on the Law of Spirit to bring good into my experience.
Ernest Holmes


To make decisions on the way 
I feel is not good for me, 
I lean toward the darkness. 

“The best fighter is never angry.” 
― Lao Tzu
If you put your hands on this oar with me,
they will never harm another, and they will come to find
they hold everything you want.
If you put your hands on this oar with me, they would no longer
lift anything to your
mouth that might wound your precious land –
that sacred earth that is your body.
If you put your soul against this oar with me,
the power that made the universe will enter your sinew
from a source not outside your limbs, but from a holy realm
that lives in us.
Exuberant is existence, time a husk.
When the moment cracks open, ecstasy leaps out and devours space;
love goes mad with the blessings, like my words give.
Why lay yourself on the torturer’s rack of the past and the future?
The mind that tries to shape tomorrow beyond its capacities
will find no rest.
Be kind to yourself, dear – to our innocent follies.
Forget any sounds or touch you knew that did not help you dance.
You will come to see that all evolves us.
– Rumi
(Love Poems From God: Twelve Sacred Voices from the East and West by Daniel Ladinsky)


ACIM Workbook Lesson 194 Insights
“I place the future in the Hands of God.”
This lesson is very comforting to me. When I remember my future is in God’s Hands, all concern, worry and anxiety fade away. If I look honestly at all my thoughts of worry or concern, they all come from a lack of trust in the future, which reflects what I believe the past has taught me. I believe the past has taught me things happened to me I didn’t want to happen. And other things didn’t happen I did want to happen. Thus all my concerns about the future are projections of the past.
Placing my future in the hands of God ends projection. My only hesitation comes from lack of trust in God. This lack of trust is just another reflection of old beliefs from the ego thought system. Even this is gently dealt with in this lesson. We are not expected to instantly no longer have ego-based thoughts or temptations. We are simply reassured that by placing the future in God’s Hands, these ego thoughts will be quickly replaced by Love’s reflection, which is forgiveness. Forgiveness is letting go of the past. And since the past is an illusion, forgiveness is letting go of illusion.
The more I am able to place my future in God’s Hands, the more I open my mind to the Holy Spirit’s gentle correction of my mistaken beliefs. With the future in God’s Hands, I no longer need to spend my days planning for my safety and my survival. They are in God’s Hands. All I need to do is maintain an open mind, a receptive mind, willing to receive Holy Spirit’s guidance and corrective perception.
As with yesterday’s lesson, by practicing each hour letting go of the mistakes of the previous hour, and putting the hour to come in God’s Hands, I become free. Each time a thought of worry enters my mind, I will use it as a reminder to place the future in the Hands of God. Thus I take what was used to make separation and fear seem real and change it into a stepping stone to freedom. With every concern, every apprehension, I remind myself, “I place the future in the Hands of God.” Thus I walk the path of forgiveness that leads me Home.
If I have any worries, it is always about something in the future. The Holy Spirit teaches me these worries are always groundless. We all are always safe, no matter what dreams we dream. We cannot separate from God. We cannot make a world of separation. It cannot be true. We remain safe eternally as God created us.
My dreams may frighten me, but they are not true. There is no past, there is no future, there is no sequential time. There is only the eternal now. Everyone is in Heaven now.
By placing my future in the Hands of God, I open my mind to the eternal truth that I am in God and remain in God eternally. This is eternal safety, eternal happiness, eternal peace. This is what is true. This is what is real. Anything else is wandering in the wilderness, dreaming of separation. God is. Love is. Nothing else is real. This is my comfort today. Today I am willing to surrender all my fear thoughts and return to the Love that is always true now and forever.
I have little sticky notes stuck everywhere in my house. It’s not exactly a Martha Stewart look, but they are very helpful to me because each one has some passage from the Course or some other spiritual book. They remind me often during the day of something I am working on. One of them reminds me that I choose not to make plans against uncertainties and I will add to it today’s lesson to place the future in God’s hands.
Thinking about how we connect everything to the past made me think about something that happened yesterday. I was shopping at Sam’s when I noticed a family shopping near me. The mom was reprimanding the teenager for something he was doing and the baby was crying, the father looked angry and the teenager looked halfway between hurt and defiant. I thought as I continued to shop that this was a familiar scene for them because they all looked comfortable in their roles. I understood this because this could have been my family a few years ago when my son was a young teenager, and we had played out a number of scenes ourselves.
Suddenly I looked back because the confrontation had become louder. I saw the mom pushing the cart away with the wailing baby in it and looking very angry and upset. The father and teenage son were standing toe-to-toe glaring each other down. They looked just moments from throwing punches.
I found myself moving quickly away from the situation. I didn’t want to see this. My son and his father had confronted one another more than once and I knew how bad this could be. The problem was resolved for my son and his father through anger management classes, but for a long time, life was very scary around our house. Watching this family’s drama unfold was extremely upsetting to me because I was replaying my past.
As I hurriedly moved away, my stomach tightening, my anxiety level quickly rising, I suddenly remembered my lesson; “All things are lessons God would have me learn.” Immediately what was happening began to take on a new meaning for me. I had a conversation with myself. At first I berated myself for my reaction and said to myself I shouldn’t feel like this. Then my calmer inner voice reminded me that I feel what I feel. “Okay,” I said, “I shouldn’t react like this. It isn’t helpful.” I was still a little upset so I continued the lesson with, “I will forgive and this will disappear.” I felt myself releasing the anxiety that had held me so tightly just moments before.
I then asked myself what reaction would be appropriate in this situation. What would be helpful? I began to pray for that family. I began to see peace descending on them and enfolding them. I realized that I had been feeling angry and resentful of them because of my reaction and all the unpleasant memories it brought back. As I prayed for them all that melted away. I felt very loving toward them and my prayers became more heartfelt. I can still see their faces very clearly, and I am going to continue to visualize peace and forgiveness for them.
I’ve been thinking about how all that played out. If I had not been doing my lesson, it may have been just another unpleasant moment which would leave me depressed. I would have also been angry with my ex-husband all over again. Instead, I chose to use that moment and that situation to practice releasing the past through forgiveness. I chose to bless that family, and in doing so, to bless mine as well. I feel so grateful that I was in that place at that moment and so was afforded the opportunity to heal.
© 2003, Pathways of Light.
You may freely share copies of this with your friends,
provided this copyright notice and website address are included.
You are, and ever will be, a perfect reflection of Spirit. You were Spirit; now you imagine yourself to be mortal; but by meditation on your true Self, and by performing God-reminding actions constantly, you can remember your forgotten Spirit-nature and remain in that consciousness through all futurity. Since you are immortal, do not burden yourself with earthly limitations.
Paramahansa Yogananda

Burt Bacharach

From Wikipedia, the free encyclopedia
Burt Bacharach
Burt Bacharach 1972.JPG

During a 1972 ABC-TV special
Background information
Birth name Burt Freeman Bacharach
Born May 12, 1928 (age 89)
Kansas City, Missouri, U.S.
Occupation(s) Songwriter, pianist, singer, conductor
  • Vocals
  • piano
  • keyboards
Years active 1950–present
Associated acts
Website Burt Bacharach

Burt Freeman Bacharach (/ˈbækəræk/BAK-ə-rak; born May 12, 1928) is an American composer, songwriter, record producer, pianist, and singer who has composed hundreds of popular hit songs from the late 1950s through the 1980s, many in collaboration with popular lyricist Hal David. A six-time Grammy Award winner and three-time Academy Award winner, Bacharach’s songs have been recorded by more than 1,000 different artists.[4] As of 2014, he had written 73 US and 52 UK Top 40 hits.[5] He is considered one of the most important composers of 20th-century popular music.[6]

His music is characterized by unusual chord progressions, influenced by his background in jazz harmony, and uncommon selections of instruments for small orchestras. Most of Bacharach & David’s hits were written specifically for and performed by Dionne Warwick, but earlier associations (from 1957–63) saw the composing duo work with Marty RobbinsPerry ComoGene McDaniels, and Jerry Butler. Following the initial success of these collaborations, Bacharach went on to write hits for Gene PitneyCilla BlackDusty SpringfieldJackie DeShannonBobbie GentryTom JonesHerb AlpertB. J. Thomasthe Carpenters, among numerous other artists. He arranged, conducted, and produced much of his recorded output.

Songs that he co-wrote which have topped the Billboard Top 100include “The Look of Love” (1967), “This Guy’s in Love with You” (1968), “Raindrops Keep Fallin’ on My Head” (1969), “(They Long to Be) Close to You” (1970), “Arthur’s Theme (Best That You Can Do)” (1981), “That’s What Friends Are For” (1986) and “On My Own” (1986).

A significant figure in easy listening,[2] Bacharach is described by writer William Farina as “a composer whose venerable name can be linked with just about every other prominent musical artist of his era.” In later years, his songs were newly appropriated for the soundtracks of major feature films, by which time “tributes, compilations, and revivals were to be found everywhere”.[7] He has been noted for his influence on later musical movements such as chamber pop[8] and Shibuya-kei.[9][3] In 2015, Rolling Stone ranked Bacharach and David at number 32 for their list of the 100 Greatest Songwriters of All Time.[10] In 2012, the duo received the Library of Congress Gershwin Prize for Popular Song, the first time the honor has been given to a songwriting team.[11]

Early life and education[edit]

Bacharach was born in Kansas CityMissouri, and grew up in the Forest Hills section of New York City, graduating from Forest Hills High School in 1946. He is the son of Irma M. (née Freeman) and Mark Bertram “Bert” Bacharach, a well-known syndicated newspaper columnist,[12][13] His mother was an amateur painter and songwriter, who was responsible for making Bacharach learn piano during his childhood.[4] His family was Jewish, but he says that they didn’t practice or give much attention to their religion. “But the kids I knew were Catholic,” he adds. “I was Jewish but I didn’t want anybody to know about it.”[14]

Bacharach showed a keen interest in jazz as a teenager, disliking his classical piano lessons, and often used a fake ID to gain admission into 52nd Street nightclubs.[4] He got to hear bebop musicians such as Dizzy Gillespie and Count Basie, whose style would later influence his songwriting.[15]

Bacharach studied music (Bachelor of Music, 1948) at Montreal‘s McGill University, under Helmut Blume, at the Mannes School of Music, and at the Music Academy of the West in Montecito, California. During this period he studied a range of music, including jazz harmony, which has since been important to songs which are generally considered pop music. His composition teachers included Darius MilhaudHenry Cowell,[16] and Bohuslav Martinů. Bacharach cites Milhaud as his biggest influence, under whose guidance he wrote a “Sonatina for Violin, Oboe and Piano.”[15]

Beginning work as musician[edit]

Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist and conductor for popular singer Vic Damone. Damone recalls: “Burt was clearly bound to go out on his own. He was an exceptionally talented, classically trained pianist, with very clear ideas on the musicality of songs, how they should be played, and what they should sound like. I appreciated his musical gifts.”[17] He later worked in similar capacity for various other singers, including Polly BergenSteve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). When he was unable to find better jobs, Bacharach worked at resorts in the Catskill Mountainsof New York, where he accompanied singers such as Joel Grey.[18]

Bacharach with Marlene Dietrich in Jerusalem, 1960

In 1956, at age 28, Bacharach’s productivity increased when composer Peter Matzrecommended him to Marlene Dietrich, who needed an arranger and conductor for her nightclub shows.[19] He then became part-time music director for Dietrich, a German actress and singer who had been an international screen star in the 1930s.[20] They toured worldwide off and on until the early 1960s; when they weren’t touring, he wrote songs.[21] As a result of his collaboration with Dietrich, he gained his first major recognition as a conductor and arranger.[22][23]

In her autobiography, she remembered that Bacharach loved touring in Russia and Poland because the violinists were “extraordinary,” and musicians were greatly appreciated by the public. He liked Edinburghand Paris, along with the Scandinavian countries, and “he also felt at home in Israel,” she says, where music was similarly “much revered.”[24][25] Their working relationship ceased by the early 1960s, after about five years with Dietrich, with Bacharach telling her that he wanted to devote his full time to songwriting. She thought of her time with him as “seventh heaven … As a man, he embodied everything a woman could wish for. … How many such men are there? For me he was the only one.”[24]

Songwriting career[edit]

1950s and 1960s[edit]

In 1957, Bacharach and lyricist Hal David met while at the Brill Building in New York City, and began their writing partnership.[26] They received a career breakthrough when their song “The Story of My Life” was recorded by Marty Robbins, becoming a number 1 hit on the U.S. in 1957.[16]

Bacharach with Stevie Wonder in the 1970s

Soon afterwards, “Magic Moments” was recorded by Perry Como for RCA Records, and reached number 4 U.S. These two songs were back-to-back No. 1 singles in the UK, giving Bacharach and David the honor of being the first songwriters to have written consecutive No. 1 UK singles.

Bacharach and David formed a writing partnership in 1963. And Bacharach’s career received a boost when singer Jerry Butler asked to record “Make it Easy on Yourself,” and wanted him to direct the recording sessions. It became the first time he managed the entire recording process for one of his own songs.[27]

In the early and mid-1960s, Bacharach wrote well over a hundred songs with David. In 1961 Bacharach discovered singer Dionne Warwick while she was a session accompanist. After agreeing to work with him, she made her professional recording debut and later that year had her first hit, “Don’t Make Me Over“.[28]

Bacharach and David then wrote more songs to make use of her singing talents, which led to one of the most successful teams in popular music history.[29] Over the next 20 years, her recordings of his songs sold over 12 million copies,[30]:23 with 38 singles making the charts and 22 in the Top 40. Among the hits were “Walk on By”, “Anyone Who Had a Heart,” “Alfie,” “Say a Little Prayer,” “I’ll Never Fall in Love Again, and “Do You Know the Way to San Jose?” She would eventually have more hits during her career than any other female vocalist except Aretha Franklin.[28]

Bacharach released his first solo album in 1965 on the Liberty Records label. “Hit Maker! Burt Bacharach Plays His Hits” was largely ignored in the US but rose to #3 on the UK album charts, where his version of “Trains and Boats and Planes” had become a top 5 single. In 1967, Bacharach signed as an artist with A&M Records, recording a mix of new material and re-arrangements of his best-known songs. He recorded for A&M until 1978.

Although Bacharach’s compositions are typically more complex than the average pop song, he has expressed surprise in the fact that many jazz musicians have sought inspiration from his works, saying “I’ve sometimes felt that my songs are restrictive for a jazz artist. I was excited when [Stan] Getz did a whole album of my music (What The World Needs Now: Stan Getz Plays The Burt Bacharach Songbook, Verve, 1968).[15]

His songs were adapted by a few jazz artists of the time, such as Stan GetzCal TjaderGrant Green, and Wes Montgomery. The Bacharach/David composition “My Little Red Book”, originally recorded by Manfred Mann for the film What’s New Pussycat?, has become a rock standard.[31]

Bacharach composed and arranged the soundtrack of the 1967 film Casino Royale, which included “The Look of Love”, performed by Dusty Springfield, and the title song, an instrumental Top 40 single for Herb Alpert and the Tijuana Brass. Bacharach and David also collaborated with Broadway producer David Merrick on the 1968 musical Promises, Promises, which yielded two hits, including the title tune and “I’ll Never Fall in Love Again.” Bacharach and David wrote the song when the producer realized the play urgently needed another before its opening the next evening. Bacharach, who had just been released from the hospital after contracting pneumonia, was still sick, but worked with David’s lyrics to write the song which was performed for the show’s opening. It was later recorded by Dionne Warwick and was on the charts for several weeks.[30]:28

The year 1969 marked, perhaps, the most successful Bacharach-David collaboration, the Oscar-winning “Raindrops Keep Falling on My Head”, written for and prominently featured in the acclaimed film, Butch Cassidy and the Sundance Kid. The two were awarded a Grammy for Best Cast album of the year for “Promises, Promises” and the score was also nominated for a Tony award.

Other Oscar nominations for Best Song in the latter half of the 1960s were for “The Look Of Love”, “What’s New Pussycat” and “Alfie”.

1970s and 1980s[edit]

He swings. He jumps. He socks imaginary tennis balls from his conductor’s podium. He’s a hurricane that knows where it’s heading.

Rex Reed, American film critic[32]

Throughout the late 1960s and early 1970s, Bacharach continued to write and produce for artists, compose for stage, TV, and film, and release his own albums. He enjoyed a great deal of visibility in the public spotlight, appearing frequently on TV and performing live in concert. He starred in two televised musical extravaganzas: “An Evening with Burt Bacharach” and “Another Evening with Burt Bacharach,” both broadcast nationally on NBC.[30]:24 Newsweekmagazine gave him a lengthy cover story entitled “The Music Man 1970.”[33][importance?]

In 1971, Barbra Streisand appeared on “The Burt Bacharach Special,” where they discussed their careers and favorite songs, followed by performing songs together.[34][35] In 1973, Bacharach and David wrote the score for Lost Horizon, a musical version of the 1937 film. The remake was a critical and commercial disaster and a flurry of lawsuitsresulted between the composer and the lyricist, as well as from Warwick. She reportedly felt abandoned when Bacharach and David refused to work together. Bacharach tried several solo projects (including the 1977 album Futures), but the projects failed to yield hits. He and David reunited briefly in 1975 to write and produce other records.

By the early 1980s, Bacharach’s marriage to Angie Dickinson had ended, but a new partnership with lyricist Carole Bayer Sager proved rewarding, both commercially and personally. The two married and collaborated on several major hits during the decade, including “Arthur’s Theme (Best That You Can Do)” (Christopher Cross), co-written with Cross and Peter Allen;[36] “Heartlight” (Neil Diamond);[37]Making Love” (Roberta Flack); “On My Own” (Patti LaBelle with Michael McDonald.)

Another of their hits, “That’s What Friends Are For” in 1985, reunited Bacharach and Warwick. When asked about their coming together again, she explained:

We realized we were more than just friends. We were family. Time has a way of giving people the opportunity to grow and understand…Working with Burt is not a bit different from how it used to be. He expects me to deliver and I can. He knows what I’m going to do before I do it, and the same with me. That’s how intertwined we’ve been.[38]

Other artists continued to revive Bacharach’s earlier hits in the 1980s and 1990s. Examples included Luther Vandross’ recording of “A House is Not a Home”; Naked Eyes‘ 1983 pop hit version of “(There’s) Always Something There to Remind Me“, and Ronnie Milsap‘s 1982 country version of “Any Day Now“. Bacharach continued a concert career, appearing at auditoriums throughout the world, often with large orchestras. He occasionally joined Warwick for sold-out concerts in Las Vegas, Los Angeles, and New York, where they performed at the Rainbow Room in 1996.[39]

1990s and beyond[edit]

Bacharach performing in 2008

In 1998, Bacharach co-wrote and recorded a Grammy-winning album with Elvis CostelloPainted from Memory, on which the compositions began to take on the sound of his earlier work.

In 2003, he teamed with singer Ronald Isley to release the album Here I Am, which revisited a number of his 1960s compositions in Isley’s signature R&B style. Bacharach’s 2005 solo album At This Time was a departure from past works in that Bacharach penned his own lyrics, some of which dealt with political themes. Guest stars on the album included Elvis CostelloRufus Wainwright, and hip-hop producer Dr. Dre.

In 2008, Bacharach opened the BBC Electric Proms at The Roundhouse in London, performing with the BBC Concert Orchestraaccompanied by guest vocalists AdeleBeth Rowley and Jamie Cullum. The concert was a retrospective look back at his six-decade career. In early 2009, Bacharach worked with Italian soul singer Karima Ammar and produced her debut single Come In Ogni Ora, which became a #4 hit.

In June, 2015, Bacharach performed at the Glastonbury Festival UK, and a few weeks later appeared on stage at the Menier Chocolate Factory to launch ‘What’s It All About? Bacharach Reimagined’, a 90-minute live arrangement of his hits.

In 2016, Bacharach, at 88 years old, composed and arranged his first original score in 16 years for the film A Boy Called Po (along with composer Joseph Bauer [40]). The score was released on September 1, 2017. The entire 30-minute score was recorded in just two days at the legendary Capitol Studios.[41]  The theme song Dancing With Your Shadow, was composed by Bacharach, with lyrics by Billy Mann, and performed by Sheryl Crow.[42] After seeing the film, a true story about a child with Autism, Bacharach decided he wanted to write a score for it, as well as a theme song, in tribute to his daughter Nikki — who had gone undiagnosed with Asperger’s—committed suicide at the age of 40.[43][44] Bacharach asked Director John Asher to see the film and offered to score it. “It touched me very much,” the composer says. “I had gone through this with Nikki. Sometimes you do things that make you feel. It’s not about money or rewards.[41]

Film and television[edit]

Throughout the 1960s and 1970s, Bacharach was featured in a dozen TV musical and variety specials videotaped in the UK for ITC; several were nominated for Emmy awards for direction (by Dwight Hemion). The guests included artists such as Joel Grey, Dusty Springfield,[45]Dionne Warwick, and Barbra Streisand. Bacharach and David did the score for an original musical for ABC-TV titled On the Flip Side, broadcast on ABC Stage 67, starring Ricky Nelson as a faded pop star trying for a comeback. While the ratings were dismal, the soundtrack showcased Bacharach’s abilities to try different kinds of musical styles, ranging from (almost) 1960s rock, to pop, ballads, and Latin-tinged dance numbers.

In 1969, Harry Betts arranged Bacharach’s instrumental composition “Nikki” (named for Bacharach’s daughter) into a new theme for the ABC Movie of the Week, a TV series which ran on the U.S. network until 1976.

During the 1970s, Bacharach and then-wife Angie Dickinson appeared in several TV commercials for Martini & Rossi beverages, and even penned a short jingle (“Say Yes”) for the spots. Bacharach also occasionally appeared on TV/variety shows, such as The Merv Griffin ShowThe Tonight Show Starring Johnny Carson, and many others.

In the 1990s and 2000s, Bacharach had cameo roles in Hollywood movies, including all three Austin Powers movies, inspired by his score for the 1967 James Bond parody film Casino Royale.

Bacharach appeared as a celebrity performer and guest vocal coach for contestants on the television show, “American Idol” during the 2006 season, during which an entire episode was dedicated to his music. In 2008, Bacharach featured in the BBC Electric Proms at The Roundhouse with the BBC Concert Orchestra.[46] He performed similar shows in the same year at the Walt Disney Concert Hall[47] and with the Sydney Symphony.


The whole room would come to life with his conducting—the way he would look over at the drummer and with just a flick of his finger, things could happen. Once the groove was happening in the room, forget it; there was nothing like it. And everything, including the strings, responded to the kind of body movement that Burt had. He brings an incredible amount of life to the studio. He’s probably one of the most amazing musicians in the world.

—Record producer Phil Ramone[48]

Bacharach’s music is characterized by unusual chord progressions, influenced by jazz harmony, with striking syncopated rhythmic patterns, irregular phrasing, frequent modulation, and odd, changing meters. He arranged, conducted, and produced much of his recorded output.[49] Sometimes called “easy listening“, he has expressed apprehension regarding that label. According to NJ.comcontributor Mark Voger, “It may be easy on the ears, but it’s anything but easy. The precise arrangements, the on-a-dime shifts in meter, and the mouthfuls of lyrics required to service all those notes have, over the years, proven challenging to singers and musicians.”[50]Bacharach’s selection of instruments included flugelhorns, bossa nova sidesticks, breezy flutes, molto fortissimo strings and cooing female voices.[48] According to editors of The Mojo Collection, it led to what became known as the “Bacharach Sound.”[48] He explains:

I didn’t want to make the songs the same way as they’d been done, so I’d split vocals and instrumentals and try to make it interesting…For me, it’s about the peaks and valleys of where a record can take you. You can tell a story and be able to be explosive one minute then get quiet as kind of a satisfying resolution.[48]

While he didn’t mind singing during live performances, he tried to mostly avoid it on records. And when he did sing, he explains, “I try to sing the songs not as a singer, but just interpreting it as a composer and interpreting a great lyric that Hal [David] wrote.”[48] When performing in front of live audiences, he would often conduct while playing piano.,[51] as he did during a televised performance on The Hollywood Palace, where he played piano and conducted at the same time.[52]

Personal life[edit]

With actress-wife Angie Dickinson in 1965

Bacharach has been married four times. His first marriage was to Paula Stewartand lasted five years (1953–58). His second marriage was to actress Angie Dickinson, lasting for 15 years (1965–80).[12] Bacharach and Dickinson had a daughter, Nikki Bacharach, who struggled with psychological problems related to Asperger syndrome; she committed suicide in 2007 at the age of 40.[53]

His third marriage was to lyricist Carole Bayer Sager, which lasted nine years (1982–91). Bacharach and Bayer Sager collaborated on a number of musical pieces and adopted a son, Cristopher. Bacharach married his current wife, Jane Hansen, in 1993; they have two children, a son, Oliver, and a daughter, Raleigh.[21] His autobiography, Anyone Who Had a Heart, was published in 2013.

Honors and awards[edit]

  • 1969, Academy Awards and a Grammy award, Butch Cassidy And The Sundance Kid (1969), where “Raindrops Keep Fallin’ On My Head”.
  • 1981, Academy Award and Golden Globe for Best Original Song, “Arthur’s Theme (Best That You Can Do)
  • 1997, Trustees Award from NARAS on the Grammy Awards broadcast.
  • 1997, subject of a PBS “Great Performances” biography, “Burt Bacharach: This is Now,”.[54][23]
  • 1998, Grammy Award for the single “I Still Have That Other Girl,” in collaboration with Elvis Costello.
  • 2000, People magazine named him one of the “Sexiest Men Alive”, and one of the “50 Most Beautiful People” in 1999.[55]
  • 2001, Polar Music Prize, presented in Stockholm by His Majesty King Carl XVI Gustaf of Sweden.[55]
  • 2002, National Academy Of Recording Arts and Sciences (NARAS) New York Heroes Award.[55]
  • 2005, GQ Magazine Inspiration Award.
The success of their creative genius continues today as they each add new songs to what is without question one of the richest and most recognizable multi-generational playlists known to the world. Their creative talents have inspired songwriters for more than five decades, and their legacy is much in the tradition of George and Ira Gershwin, for whom this award is named.

Librarian of Congress, James H. Billington, 2011[56]

  • 2006, George and Ira Gershwin Award for Musical Achievement from UCLA.
  • 2006, Thornton Legacy Award, USC; They also created the Burt Bacharach Music Scholarship at the Thornton School to support outstanding young musicians.[55]
  • 2008, Lifetime Achievement Award, when he was proclaimed music’s “Greatest Living Composer.”[55]
  • 2009, Bacharach received an honorary Doctorate of Music from Berklee College of Music. The award was presented to him during the Great American Songbook concert, which paid tribute to his music.[57]
  • 2011, Gershwin Prize for Popular Song, with Hal David, awarded by the Library of Congress.[11]

Television and film appearances[edit]



  • Hit Maker!: Burt Bacharach plays the Burt Bacharach Hits (1965)
  • What’s New Pussycat? (Film Soundtrack) (1965)
  • After the Fox (Film Soundtrack) (1966)
  • Reach Out (1967)
  • Casino Royale (Film Soundtrack) (1967)
  • On the Flip Side (Television Soundtrack) (1967)
  • Make It Easy on Yourself (1969)
  • Butch Cassidy and the Sundance Kid (Film Soundtrack) (1969)
  • Promises, Promises[58] (Original Broadway Cast Recording) (1969)
  • Burt Bacharach (1971)
  • Portrait in Music (Compilation) (1971)
  • Lost Horizon (Film Soundtrack) (1973)
  • Burt Bacharach in Concert (1974)
  • Living Together (1973)
  • Portrait in Music Vol. II (Compilation) (1973)
  • Futures (1977)
  • Woman (1979)
  • Arthur (Film Soundtrack) (1981)
  • Night Shift (Film Soundtrack) (1982)
  • Arthur 2: On the Rocks (Film Soundtrack) (1988)
  • One Amazing Night (1998)
  • Painted from Memory with Elvis Costello (1998)
  • The Best of Burt Bacharach (Millennium Collection) 20th Century Masters (1999)
  • The Look of Love: The Burt Bacharach Collection [3-Disc Compilation] (2001)
  • Motown Salutes Bacharach [Compilation] (2002)
  • Isley Meets Bacharach: Here I Am with Ronald Isley (2003)*
  • Blue Note Plays Burt Bacharach [Compilation] (2004)
  • At This Time (2005)
  • The Definitive Burt Bacharach Songbook [2-Disc Compilation] (2006)
  • Burt Bacharach & Friends Gold [2-Disc Compilation] (2006)
  • Colour Collection [Compilation] (2007)
  • Marlene Dietrich with the Burt Bacharach Orchestra (2007)
  • Burt Bacharach: Live at the Sydney Opera House with the Sydney Symphony Orchestra (2008)
  • Magic Moments: The Definitive Burt Bacharach Collection [3-Disc Compilation] (2008)
  • Anyone Who Had A Heart – The Art Of The Songwriter [6-Disc Compilation] (2013)
  • A Boy Called Po (Film Soundtrack) (2017)

Broadway works[edit]

Other recordings[edit]

As arranger, conductor
As composer
Tribute albums
  • Stan Getz released the album What the World Needs Now: Stan Getz Plays Burt Bacharach and Hal David in 1968.
  • Jazz musician John Zorn produced a 2-CD set of Bacharach tunes (1997), featuring several avant-garde musicians, as part of his Great Jewish Music series.
  • Marie McAuliffe’s Ark Sextet released the Bacharach tribute album “Refractions” in 1998. McAuliffe had been featured on John Zorn’s tribute album.
  • To Hal and Bacharach is a 1998 tribute album with 18 tunes, performed by notable Australian artists.
  • That’s New Pussycat!: Surf Tribute to Burt Bacharach (2001)
  • Michael Ball recorded the album Back to Bacharach in 2007
  • What the World Needs Now: Big Deal Recording Artists Perform the Songs of Burt Bacharach
  • All Kinds of People: Love Burt Bacharach (2010) is a tribute album produced by Jim O’Rourke, featuring covers from Haruomi Hosonoand Thurston Moore amongst others.[59]
  • The Concord Blue Devils Drum and Bugle Corps’ 2011 show The Beat My Heart Skipped was a tribute to the music of Burt Bacharach.
  • This Girl’s In Love (A Bacharach & David Songbook), released in November 2016 by Anglo-Pakistani singer-songwriter Rumer (real name Sarah Joyce).


  1. Jump up^ “Reviews”Spin. October 2006. ISSN 0886-3032.
  2. Jump up to:a b Jackson 2015, p. 176.
  3. Jump up to:a b Anon. (n.d.). “Shibuya-Kei”AllMusic.
  4. Jump up to:a b c “Burt Bacharach interview: what was it all about?”The Telegraph U.K., June 1, 2013
  5. Jump up^ “Burt Bacharach: A House Is Not A Homepage”. Retrieved May 19, 2011.
  6. Jump up^ John, Bush. “Burt Bacharach”AllMusic.
  7. Jump up^ Farina 2013, p. 144.
  8. Jump up^ “Chamber pop”AllMusic.
  9. Jump up^ Lindsay, Cam (August 4, 2016). “Return to the Planet of Cornelius”Vice.
  10. Jump up^ “100 Greatest Songwriters of All Time”Rolling Stone. August 2015.
  11. Jump up to:a b “Hal David, Burt Bacharach honored in D.C. with Gershwin Prize”Los Angeles Times. May 9, 2012.
  12. Jump up to:a b “Burt Bacharach Biography (1928?-)”. Retrieved May 19, 2011.
  13. Jump up^ Pennsylvania Biographical Dictionary – Google Retrieved 2013-02-20.
  14. Jump up^ Bacharach, Burt. Anyone Who Had a Heart: My Life and Music, HarperCollins (2013) ebook Chapter 1, “The Story of My Life”
  15. Jump up to:a b c “Burt Bacharach: Blue Bacharach”Jazz Times. December 2004. Retrieved 16 July 2013.
  16. Jump up to:a b Written, Narrated and Produced by John Gilliland; Chester Coleman, Associate Producer (February 1969). “Show 24: The Music Men-Part 2”John Gilliland’s The Pop Chronicles. Pasadena, CA: UNT Digital Library. KRLA. Retrieved May 19, 2011.
  17. Jump up^ Damone, Vic. Singing Was the Easy Part, Macmillan (2009) ebook
  18. Jump up^ “Burt Bacharach: A Composer Steps Onstage with Shower of Swinging, Successful Melodies”, Chicago Tribune, June 14, 1970
  19. Jump up^ “Bachrach recalls Dietrich,” ‘Independent Press-Telegram, (Long Beach, CA), March 14, 1971, p. 90
  20. Jump up^ “Burt Bacharach is a direct line to a lost musical world”New Statesman, July 18, 2013
  21. Jump up to:a b “Burt Bacharach at 88: ‘Why would I ever want to stop?'”The Telegraph U.K., June 10, 2016
  22. Jump up^ “Press Raps With Marlene While She Raps the Press,”, The Star Press (Muncie, IN), Jan. 12, 1973 p. 22
  23. Jump up to:a b “This is Now” television special, 1997
  24. Jump up to:a b Dietrich, Marlend. Marlene, Grove Press (1989) ebook
  25. Jump up^ photo of Bacharach and Dietrich in Israel, 1960
  26. Jump up^ “Burt Bacharach remembers Hal David”Los Angeles Times. September 3, 2012.
  27. Jump up^ Dave Simpson. “Burt Bacharach: Marlene Dietrich’s music sucked! But I liked her | Music”. The Guardian. Retrieved 2015-11-09.
  28. Jump up to:a b “Dionne Warwick: dizzying downfall of a bankrupt diva”The Telegraph U.K., March 30, 2013
  29. Jump up^ The Look of Love: The Burt Bacharach Collection-Liner Notes (Audio CD), Rhino/WEA, November 3, 1998
  30. Jump up to:a b c Lohof, Bruce. American Commonplace: Essays on the Popular Culture of the United States, Popular Press (1982)
  31. Jump up^ Robin Platts (2003). Burt Bacharach & Hal David: What the World Needs Now. Collector’s Guide Publishing. ISBN 978-1-896522-77-7.
  32. Jump up^ Reed, Rex. “Special TV Specials: An Evening with Doris Day and Burt Bacharach,” Chicago Tribune, March 14, 1971
  33. Jump up^ Newsweek cover, June 22, 1970
  34. Jump up^ “Burt Bacharach, Barbra Streisand appear tonight, Green Bay Press-Gazette (Green Bay, WI), March 14, 1971
  35. Jump up^ Burt Bacharach with Barbra Streisand, 1971
  36. Jump up^ Photo of Bacharach and Sager after they won the Oscar in 1982 for best song, “Arthur’s Theme” for the film Arthur
  37. Jump up^ Photo of Neil Diamond with Sager and Bacharach in 1987
  38. Jump up^ “Two for the Show: Their musical falling-out long behind them, Dionne Warwick and Burt Bacharach prove that staying apart is hard to do,” The News Journal (Wilmington, DE), Jan. 13, 1997
  39. Jump up^ Dionne Warwick and Burt Bacharach: Live at The Rainbow Room (1996)
  40. Jump up^ Sarabande, Varèse. “A Boy Called Po (Digital Only) | Varèse Sarabande”Varèse Sarabande. Retrieved 2017-09-11.
  41. Jump up to:a b Burlingame, Jon (2017-01-05). “Burt Bacharach Writes From the Heart for ‘Po’ Score”Variety. Retrieved 2017-09-11.
  43. Jump up^ O’Malley, Sheila. “A Boy Called Po Movie Review & Film Summary (2017) | Roger Ebert” Retrieved 2017-09-11.
  44. Jump up^ “Burt Bacharach’s daughter commits suicide”The Washington PostISSN 0190-8286. Retrieved 2017-09-11.
  45. Jump up^ Dusty Springfield singing “A House Is Not A Home”
  46. Jump up^ “BBC Electric Proms 2008”. BBC. Retrieved May 19, 2011.
  47. Jump up^ “Close To You: Burt Bacharach In Concert” July 3, 2008. Retrieved May 19, 2011.
  48. Jump up to:a b c d e The Mojo Collection: 4th Edition, Canongate Books (2003) p. 165
  49. Jump up^ Musiker, Naomi, and Musiker, Reuben. Conductors and Composers of Popular Orchestral Music, Routledge (1998) ebook
  50. Jump up^ Voger, Mark (February 28, 2015). “Burt Bacharach bound for Red Bank, Englewood”
  51. Jump up^ Schoeneweis, Barbara. “Bacharach Opens at Arts Center”, Asbury Park Evening Press, June 29, 1971
  52. Jump up^ Burt Bacharach and Angie Dickinson co-hosting The Hollywood Palace in 1970
  53. Jump up^ Gavin Martin (October 17, 2008). “Burt Bacharach – Meet the maestro”Daily Mirror. UK. Retrieved May 19, 2011.
  54. Jump up^ “Oldies but goodies: PBS documentary looks at Burt Bacharach and those melodies that still sound so good”, Chicago Tribune, May 14, 1997
  55. Jump up to:a b c d e Official Press Biography
  56. Jump up^ “Burt Bacharach, Hal David Named Recipients of Fourth Library of Congress Gershwin Prize for Popular Song”, Library of Congress, Sept. 28, 2011
  57. Jump up^ “Burt Bacharach: Class Act”, Berklee College of Music
  58. Jump up^ “Promises, Promises- Opening Night Production Credits”. Internet Broadway Database. Retrieved 2011-05-18.
  59. Jump up^ “Jim O’Rourke – All Kinds Of People: Love Burt Bacharach”.


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