What’s New, Pussycat • Theme Song • Tom Jones & Burt Bacharach Soundtrack from the 1965, Clive Donner film, “What’s New Pussycat?,” with Peter Sellers, Peter O’Toole, Romy Schneider, Woody Allen, Paula Prentiss, Capucine, Louise Lasser, Eddra Gale & Ursula Andress.
Burt Bacharach’s wonderful orchestral arrangement to ‘Here I Am’ for the 1965 Clive donner directed swinging 60s comedy written by woody allen What’s New Pussycat. An all star cast featured Peter O”toole, Peter Sellers, Ursula Andress, Paula Prentiss, Woody Allen himself and the beautiful and tragic Romy Schneider.
“My Little Red Book” (occasionally subtitled “(All I Do Is Talk About You)“) is a song composed by American songwriter Burt Bacharach with lyrics by Hal David. The duo was enlisted by Charles K. Feldman to compose the music to Woody Allen‘s film What’s New Pussycat? following a chance meeting between Feldman and Bacharach’s fiancée Angie Dickinson in London. “My Little Red Book” was composed in three weeks together with several other songs intended for the movie. Musically, the song was initially composed in the key of C major, largely based on a reiterating piano riff performed. David’s lyrics tells the tale of a distraught lover, who after getting dumped by his girlfriend browses through his “little red book” and taking out several girls to dance in a vain effort to get over her.
「My Little Red Book」（時折「（All I Do Is Talk About You- あなたのことを話しているだけです-）」という副題が付けられる）は、アメリカのソングライター、バート・バカラックが作曲し、ハル・デイヴィッドが歌詞を書いた曲である。このデュオはチャールズ・K・フェルドマンからウディ・アレンの映画『What's New Pussycat?』の音楽を作曲するよう依頼された。フェルドマンとバカラックの婚約者アンジー・ディキンソンがロンドンで偶然会った後。 「My Little Red Book」は、映画のために作られた他のいくつかの曲とともに 3 週間で作曲されました。音楽的には、この曲は当初ハ長調のキーで作曲され、主に演奏されるピアノのリフの反復に基づいていました。デヴィッドの歌詞は、ガールフレンドに振られた後、取り乱した恋人が彼の「小さな赤い本」を閲覧し、彼女を立ち直らせようとする無駄な努力の中で数人の女の子をダンスに連れ出すという物語を歌っている。
The initial version of “My Little Red Book” was recorded by British pop group Manfred Mann because they were signed to United Artists Records in the United States. Recorded during a session at EMI Studios in London in April 1965, the session was attended by Bacharach, whose perfectionism the band found difficult to work with. Manfred Mann needed to perform several retakes of the song. Two renditions of the song were recorded, one for inclusion in What’s New Pussycat and one specifically for single release. Issued through Ascot Records in the United States on May 26, 1965, “My Little Red Book” was released in place of Manfred Mann’s contemporary UK single “Oh No, Not My Baby”. Despite receiving good critical reception, the Manfred Mann version stalled at number 124 on the Billboard Bubbling Under Hot 100 chart.
「My Little Red Book」の最初のバージョンは、イギリスのポップグループ、マンフレッド・マンによって録音されました。マンフレッド・マンはアメリカのユナイテッド・アーティスト・レコードと契約していたからです。 1965年4月にロンドンのEMIスタジオで行われたセッション中に録音されたもので、このセッションにはバカラックも参加したが、彼の完璧主義のためバンドは協力することが困難であった。マンフレッド・マンはこの曲を何度かリテイクする必要がありました。この曲は 2 つのバージョンで録音され、1 つは What’s New Pussycat に収録されるため、もう 1 つはシングル リリース用に特別に録音されました。 1965年5月26日に米国のアスコット・レコードを通じて発売されたこの「マイ・リトル・レッド・ブック」は、マンフレッド・マンの現代英国シングル「オー・ノー・ノット・マイ・ベイビー」の代わりにリリースされた。批評家からは好評を博したにもかかわらず、マンフレッド・マンのヴァージョンはビルボード・バブリング・アンダー・ホット100チャートで124位で失速した。
In 1966, “My Little Red Book” once again entered mainstream popularity after American rock band Love recorded it. Love’s leader Arthur Lee and guitarist Johnny Echols saw What’s New Pussycat? in the cinema, and being fans of Manfred Mann, they incorporated it into their setlist. The rendition varies from Manfred Mann’s in tempo along with a more “tambourine-fueled rhythm”. The chord progression was also changed, as Echols had forgotten several chords present in the original release. Recorded in January 1966 at Sunset Sound Recorders in Hollywood, California, together with producer Jac Holzman and Mark Abramson, the song was released as Love’s debut single in March, 1966, through Elektra Records. The single reached number 52 on the Billboard Hot 100 and has been considered a “standard” and archetype of garage rock.
1966 年、アメリカのロック バンド Love が「My Little Red Book」を録音した後、「My Little Red Book」は再び主流の人気になりました。 Love のリーダー、Arthur Lee とギタリストの Johnny Echols は What's New Pussycat? を観ました。マンフレッド・マンのファンだったので、彼らはそれをセットリストに組み入れました。演奏はマンフレッド・マンのテンポとは異なり、より「タンバリンを燃料とするリズム」を伴います。 Echols がオリジナルのリリースに存在していたいくつかのコードを忘れたため、コード進行も変更されました。 1966年1月にプロデューサーのジャック・ホルツマンとマーク・アブラムソンとともにカリフォルニア州ハリウッドのサンセット・サウンド・レコーダーで録音されたこの曲は、1966年3月にエレクトラ・レコードからラヴのデビュー・シングルとしてリリースされた。このシングルはビルボード ホット 100 で 52 位に達し、ガレージ ロックの「スタンダード」かつ原型とみなされています。
Background and composition
By the mid-1960s, Burt Bacharach and Hal David were an established and respected songwriting duo, responsible for several hit singles with easy listening artists such as Dionne Warwick and Gene Pitney.[1] In 1964, British news channel ITV Studios were interested in producing a television special about Bacharach titled The Bacharach Sound, after which he flew to London with his fiancée Angie Dickinson, an actress with filmmaking knowledge.[2] At The Dorchester hotel, Dickinson met producer Charles K. Feldman, who was involved with Woody Allen in a new movie project, What’s New Pussycat? (1965).[3] Being shown a picture of Bacharach by Dickinson, Feldman became interested in working with him after hearing promising words about his songwriting, as Dickinson would state that “he [Bacharach] was a genius in my mind” even though she was unsure of whether he had scored film music before.[2]
David and Bacharach were already composing music for a contemporary movie, Made in Paris (1966) and were afraid they wouldn’t have time for both projects at once; this issue was solved when they had an agent hired by John Heyman, who believed What’s New Pussycat? was the better deal.[4] Allegedly, Bacharach was unaware of this meeting until he only had three weeks left to compose music for the film.[3][5] “My Little Red Book” was among the first songs they composed for the movie, being written before the movie’s title track, composed during the Easter of 1965; Dickinson states that the first songs written for the project were “My Little Red Book”, “Here I Am” and “some Russian thing”.[6] As usual, David wrote the lyrics for the song while Bacharach composed the music.[4] The song lyrically refers to a man missing his previous girlfriend, though in a vain effort to get over her, “goes from A to Z in his red book”, implied to be a telephone directory or an “affectionate journal detailing girls he admired.”[7] According to Manfred Mann vocalist Paul Jones, the lyrics were some of the most clever he sang:
“The lyric is so good. I got really excited about it because of that word, ‘thumbed’ in the second line. ‘I got out my little red book the minute you said goodbye, I thumbed right through my little red book’. A lesser writer would’ve written ‘I looked right through’ or ‘I went right through’. But ‘thumbed’. I could actually see the slightly discolored corners of the paper where the thumb went. Hal [David] is just so precise and concrete.”
— Paul Jones[6]
デヴィッドとバカラックはすでに現代映画『メイド・イン・パリ』（1966年）の音楽を作曲していたが、両方のプロジェクトを同時に行う時間がないのではないかと心配していた。この問題は、What's New Pussycat? を信じたジョン・ヘイマンによってエージェントが雇われたことで解決されました。そのほうが良い取引だった[4]。伝えられるところによれば、バカラックは映画の音楽を作曲する時間が残り3週間しか残されていなかったまで、この会議のことを知らなかった[3][5]。 「My Little Red Book」は彼らが映画のために作曲した最初の曲のひとつで、映画のタイトル曲よりも前に書かれ、1965年のイースター中に作曲された。ディキンソンは、このプロジェクトのために書かれた最初の曲は「My Little Red Book」、「Here I Am」、そして「some Russian thing」だったと述べている[6]。いつものようにデイヴィッドが歌詞を書き、バカラックが作曲した [4] 。この曲は、以前のガールフレンドを忘れた男性が、彼女を乗り越えようとする努力も空しく、「赤本のAからZまで進む」という叙情的な内容で、電話帳や「彼が憧れていた女の子たちについて詳しく書いた愛情たっぷりの日記」を暗示している。 「[7] マンフレッド・マンのボーカリスト、ポール・ジョーンズによれば、その歌詞は彼が歌った中で最も巧妙なものの一つだったという。
Manfred Mann had by this point become internationally successful, scoring a number-one hit in the US with their cover of “Do Wah Diddy Diddy” (1964).[8] Despite having hits with rhythm and blues-oriented compositions, Manfred Mann’s original musical style was largely rooted in jazz, which was useful when Bacharach used them as a basis for writing the song.[9] They were chosen because they were signed to United Artists Records in the United States; this meant Bacharach could hire them extremely cheaply.[9] He had no previous experience in working with a pop band and had opposed of rock and roll during the 1950s;[10] to spite Manfred Mann, Bacharach composed “My Little Red Book” with several unorthodox modulations and chord progressions.[11] Composed in the key of C major, it is built on a “repeating piano line” which only changes during the chorus while it also provides the song its backbeat.[7]
マンフレッド・マンはこの時点で国際的に成功を収めており、「Do Wah Diddy Diddy」（1964年）のカバーで全米ナンバーワンヒットを記録した[8]。マンフレッド・マンのオリジナルの音楽スタイルはリズム・アンド・ブルース指向の楽曲でヒットを飛ばしているにもかかわらず、主にジャズに根ざしており、バカラックが曲を書く基礎としてジャズを使用する際にそれが役に立った[9]。彼らが選ばれたのは、米国の United Artists Records と契約していたからです。これは、バカラックが彼らを極めて安価に雇えることを意味した[9]。彼にはポップバンドと仕事をした経験がなく、1950年代にはロックンロールに反対していた[10]が、マンフレッド・マンを怒らせるために、バカラックはいくつかの型破りな転調とコード進行を使った「マイ・リトル・レッド・ブック」を作曲した[11]。ハ長調のキーで作曲され、サビの間だけ変化する「反復ピアノライン」に基づいて構築されており、曲にバックビートも提供します。 [7]
Recording
Manfred Mann recorded “My Little Red Book” at EMI Studios in London.
Manfred Mann were scheduled to appear at the EMI Studio in London by United Artists after being told that “Burt, Angie and Hal” would be present there.[6] The recording session for “My Little Red Book” was booked amid sessions for their second album Mann Made (1965) so they were paid for by United Artists instead of Manfred Mann’s British label His Master’s Voice.[12] The session, which was held on April 27, 1965, was towards the end of the three week deadline presented to Bacharach and David, which according to Serene Dominic led to the initial version recorded during that session being “lackluster” because of the rushed nature of it. She states it lacks anything characteristic of Manfred Mann besides “Paul Jones” edgy, rough vocals, which meant that the version was relatively simple in terms of overdubbing.[9] The first version recorded by the group is the one which appeared in What’s New Pussycat?.[12] Jones disagreed, saying that the movie version was recorded after the single version of the song.[6]
A second, more refined version of the song was recorded during the same session which according to drummer Mike Hugg was because the group saw problems with the “movie version” of the song, which in his words was because they were unable to capture an “American feel on the record.[13] This second version of the song is thus much more refined, and features overdubbed organ, along with a flute passage by guitarist Mike Vickers, which mirrored the song’s organ riff.[14] Vickers additionally overdubbed saxophone on this version in order to give it more depth.[13]
Due to Bacharach’s perfectionism the band found working on the song extremely difficult.[13] Allegedly, Jones had to re-record his vocal track about 19 times because of Bacharach being dissatisfied with several of them.[15] Vickers also had trouble figuring out the chords for the song, while Bacharach found bass guitarist Tom McGuinness to be the only member that understood his songwriting. [16] On the song’s recording, Bacharach himself played piano.[13][17][15] According to group keyboardist Manfred Mann, the piano chords of the songs were “too strident” which meant that Bacharach sat behind the piano and “pounded it and Mann to submission”.[17] In an interview with Greg Russo, Mann would elaborate that Bacharach wanted Mann to play the piano on beat “without accent” which he found too difficult; this resulted in Bacharach gradually forcing him off the piano until Bacharach stated “why don’t I play it and you’ll tell me if it sounds OK”.[13]
録音
マンフレッド・マンはロンドンのEMIスタジオで「My Little Red Book」を録音した。 マンフレッド・マンはユナイテッド・アーティストからロンドンのEMIスタジオに「バート、アンジー、ハル」が出席すると言われ、ロンドンのEMIスタジオに出演する予定だった[6]。 「マイ・リトル・レッド・ブック」のレコーディング・セッションはセカンド・アルバム『マン・メイド』（1965年）のセッション中に予約されたため、マンフレッド・マンのイギリスのレーベル、ヒズ・マスターズ・ヴォイスではなくユナイテッド・アーティスツが費用を支払った[12]。 1965年4月27日に開催されたこのセッションは、バカラックとデヴィッドに提示された3週間の期限の終わりに近づいていたため、セリーン・ドミニクによれば、そのセッション中に録音された最初のバージョンは、急いでいたために「精彩を欠いた」ものになったという。それの。彼女は、この曲には「ポール・ジョーンズ」のエッジの効いたラフなボーカル以外にはマンフレッド・マンの特徴的なものが何もなく、オーバーダビングという点ではこのバージョンが比較的シンプルであることを意味していると述べている[9]。グループによって録音された最初のバージョンは、What's New Pussycat? に掲載されたものです。 [12]ジョーンズはこれに反対し、映画バージョンはこの曲のシングルバージョンの後に録音されたと述べた[6]。
In preparation for What’s New Pussycat?,Ascot Records issued “My Little Red Book” as a single on May 26, 1965, in the United States.[18] It was released in place of Manfred Mann’s contemporary UK single, “Oh No, Not My Baby“, which saw only modest success, only reaching number 11 on the UK Singles Chart.[19] The B-side of the single, “What Am I Doing Wrong”, was taken from “Oh No, Not My Baby”, although the US version was edited to be shorter.[13]What’s New Pussycat? debuted on June 22, 1965.[20] “My Little Red Book” is featured in a scene set in a discotheque where actors “Peter O’Toole and Paula Prentiss shake things up”.[17] Bacharach was extremely disappointed with the movie because of the way it treated his name and his songs, focusing primarily on “My Little Red Book” as it was not a central part of the movie compared to the title track.[21]
発売と受付 『What's New Pussycat?』の準備として、アスコット・レコードは1965年5月26日に米国で「My Little Red Book」をシングルとして発売した[18]。この曲はマンフレッド・マンの現代英国シングル「オー・ノー・ノット・マイ・ベイビー」の代わりにリリースされたが、英国シングル・チャートでは11位に到達するのみでささやかな成功しか見られなかった[19]。シングルのB面「What Am I Doing Wrong」は「Oh No, Not My Baby」から取られているが、米国バージョンはより短く編集されている[13]。新しいプッシーキャットって何？ 1965年6月22日にデビューした[20]。 「My Little Red Book」は、俳優「ピーター・オトゥールとポーラ・プレンティス」がディスコを舞台にしたシーンで登場する[17]。バカラックは、タイトル曲に比べて映画の中心ではなかったため、主に「My Little Red Book」に焦点を当て、自分の名前と曲の扱い方からこの映画に非常に失望した[21]。
A great single, it reached far more ears on the [What’s New Pussycat?] soundtrack album than it did as a stand-alone item
“My Little Red Book” nonetheless became one of the worst performing singles during Manfred Mann’s original tenure. In Billboard, the single only reached number 124 on the Bubbling Under Hot 100 chart.[22] It fared similarly on the Cashbox Looking Ahead and Record World upcoming singles chart, reaching number 133 and 148 respectively.[23][24] In Australia however, both the film and song were met with acclaim which led the single to reach number 26 on the Kent Music Report during the summer of 1965.[25] The chart failure of the song led to His Master’s Voice refusing to issue the single in the UK, where it would remain unreleased for several years afterwards.[13] In the US, the single would be re-released on April 17, 1968, due to Manfred Mann’s single “Mighty Quinn” (1968) reaching top ten; this reissue featured the suffix “(All I Do Is Talk About You)” though it failed to chart.[18]
素晴らしいシングルで、単体のアイテムよりも [What's New Pussycat?] サウンドトラック アルバムの方がはるかに多くの人の耳に届きました。
— セリーン・ドミニク (2003)[17]
それにもかかわらず、「My Little Red Book」はマンフレッド・マンの最初の在職期間中に最もパフォーマンスの悪いシングルの一つとなった。ビルボードでは、このシングルはバブリング・アンダー・ホット100チャートで124位に達しただけだった[22]。キャッシュボックス・ルッキング・アヘッドとレコード・ワールドの今後のシングル・チャートでも同様の成績を収め、それぞれ133位と148位に達した[23][24]。しかしオーストラリアでは映画と歌の両方が高く評価され、シングルは1965年の夏にケント・ミュージック・レポートで26位に達した[25]。この曲のチャート失敗により、ヒズ・マスターズ・ヴォイスは英国でのシングルの発売を拒否し、その後数年間未発表のままとなった[13]。米国では、マンフレッド・マンのシングル「マイティ・クイン」（1968年）がトップ10入りしたため、このシングルは1968年4月17日に再リリースされた。この再発盤には「(All I Do Is Talk About You)」という接尾辞が付けられていたが、チャートには入らなかった[18]。
Reviews of the single primarily focused on the song’s rhythm; In Billboard, the single is described as having been given a “hard-driving” Chicago dance,[26] and as in a “powerpacked, pulsating blues-tinged style” by Cash Box, who chose the single as a pick of the week.[27] The lyrical content was also noted, with Record World it is given a slightly satirical review in which the review panel believes “that they’ve found a likely candidate for sales” with the single in contrast to the moody subject matter of the song.[28] Retrospectively, the jazz rock element has been noted, with Russo describes the song as “cool jazz rock” which never feels pretentious,[13] and Matthew Greenwald of AllMusic, who describes it as one of Manfred Mann’s “finer earlier tracks” and considers a prelude to the “swinging singles” which would become prevalent on the radio a few years later.[29] The song was initially released on the soundtrack of What’s New Pussycat, which was issued on May 25, 1965.[30][31] It was included as the title track of Manfred Mann’s third American album, My Little Red Book Of Winners! on September 13, 1965.[31]
シングルのレビューは主に曲のリズムに焦点を当てていました。ビルボードでは、このシングルには「激しい」シカゴダンスが施されていると評され[26]、このシングルを今週のピックに選んだキャッシュ・ボックスは「パワー満載で脈動するブルース風のスタイル」と評している。 [27]歌詞の内容も注目され、レコード・ワールドでは、この曲のムーディーな主題とは対照的に、審査委員会はこのシングルが「セールスの可能性が高い候補を見つけた」と信じているという、やや風刺的なレビューが与えられている。[ 28]遡及的にはジャズ・ロックの要素が注目されており、ルッソはこの曲を決して気取った感じのしない「クールなジャズ・ロック」と評し[13]、オールミュージックのマシュー・グリーンウォルドはこの曲をマンフレッド・マンの「より優れた初期の曲」の1つと評し、次のように考えている。数年後にラジオで流行することになる「スウィンギング・シングル」への序曲である[29]。この曲は最初、1965年5月25日に発行された『What's New Pussycat』のサウンドトラックに収録されていた。この曲は、マンフレッド・マンのアメリカでの 3 枚目のアルバム『My Little Red Book Of Winners』のタイトル トラックとして収録されました。 1965年9月13日。[31]
Love版（コードを単純化した）以下、省略
＝＝＝＝＝＝＝＝＝＝＝＝＝＝
My Little Red Book · Manfred Mann · Burt Bacharach · Hal David Down the Road Apiece – the Recordings 1963-1966
Chief Nerd: May 8, 2024:👀クリス・クオモはワクチン接種を受けなかった人々を辱めた事を謝罪しないと語る、今彼はイベルメクチンを服用している事を明かした。 「私の主治医は私が”ロング・コーヴィッド”だと言っている。症状があり、血液検査の結果も見た。私の血中で微小な血栓のようなものが光っているのを見て本当に怖くなった。なので今は全てのプロトコルを実践している… 当時政府が最善の対応策として我々に与えていた物を人々に伝えていた自分を責めることはしない… 今は一定量のイベルメクチンを服用している… 我々はイベルメクチンに関して悪い情報を与えられていた。 本当の問題は何故か？という事だろう。誰もがジョー・ローガンは正しかったと言うだろう。そうだ、正しかった。」
Post See new posts Conversation Edward Dowd @DowdEdward Cuomo asks why were we given bad info on ivermectin?
Well Chris it’s simple….the Emergency Use Authorization for the Covid vaccines required by law that no other existing therapeutics that could treat the illness could be available to issue an EUA
Hence the establishment knew it worked, systematically lied about it and denied treatment in 2020 thereby killing folks needlessly all to pave the way for the vaccines.
2020 was murder scene 1 and vaccine rollout was murder scene 2.
This was a criminal conspiracy IMHO.
Chris was a useful idiot that helped spread this nonsense.
Now he appears to be slowly waking up.
Chief Nerd @TheChiefNerd 👀 Chris Cuomo Says He Does Not Apologize for Shaming People Who Didn’t Take the Vaccine, Reveals He Is Taking Ivermectin Now
“My doctors say I have ‘Long COVID’. I have the symptoms, they showed me my blood work. It scared the bejesus out of me to see this glowing micro-clot stuff that they see in my blood. So I’m doing all the protocols…I do not fault myself for telling people at the time what the government was giving us as best practices…I am taking a regular dose of Ivermectin…We were given bad information about Ivermectin. The real question is why? Everyone is going to say Joe Rogan was right. Yeah we was right.”
A Western centered on two 19th-century outlaws is not where you’d expect to find a ukulele-heavy song called “Raindrops Keep Fallin’ on My Head.”
But more than 50 years ago, Burt Bacharach and Hal David’s whimsical ditty featured prominently in Paul Newman and Robert Redford‘s classic “Butch Cassidy and the Sundance Kid,” which premiered on Sept. 23, 1969.
Beloved now, the song’s inclusion was so controversial at the time that studio executives and Redford – who broke out as a superstar with his performance as the prepossessing, sharp-shooting Sundance Kid – were the song’s leading critics.
“I found out much later that the entire board over at 20th Century Fox didn’t like the song, and Robert Redford didn’t like it too much, either,” Bacharach told USA TODAY in 2019. “But it felt right.”
“When the film was released, I was highly critical – how did the song fit with the film? There was no rain,” Redford says. “At the time, it seemed like a dumb idea. How wrong I was, as it turned out to be a giant hit.”
History has proven it was a good thing that director George Roy Hill insisted on keeping the song. “Raindrops” would turn into a No. 1 Billboard Hot 100 hit, earning Bacharach and David an Oscar in 1970. Bacharach earned another Oscar for his film score (two of the four Academy Awards “Butch Cassidy and the Sundance Kid” would take home).
Bacharach understood the misgivings. After all, the single recorded by B.J. Thomas, who died in 2021 at 78, included curious lyrics like: “Raindrops are falling on my head / And just like the guy whose feet are too big for his bed / Nothing seems to fit.”
Inspiration struck the composer while watching the scene of Newman’s charming outlaw Butch Cassidy showing off his new bicycle to Sundance’s girlfriend Etta Place (Katharine Ross) during a low-key moment in their outlaw existence.
“As Butch was riding, it was the way he looked. I kept hearing melodically what it sounded like with the ukulele and the bicycle, and it was all very simple,” Bacharach said. “I put in these dummy lyrics into the melody I was writing, I knew it made no sense.”
Even after the song was written, the songwriters tried to Western it up. But “nothing beat” the dummy lyrics which became the song title.
“There’s no reason the song should work, but it does, I can’t explain it,” says film historian Leonard Maltin. “It’s catchy, quirky with ethereal lyrics and unusual tempo. But it’s so appealing. And when you’re looking at those attractive people in a Western setting, it all comes together.”
Bacharach said he was unaware of any song criticism at the time, and Hill said nothing. “I caught no flack from him,” said Bacharach. “He never said, ‘This doesn’t work’ or ‘It’s too close to the edge.’ “
“Raindrops” was released ahead of the film in 1969, and Bacharach recalled the reaction in the “Butch Cassidy” premiere was enthusiastic when the scene played out. “The place erupted,” he remembered.
Months after his Oscar win, Bacharach ran into his friend Dick Zanuck, then president of 20th Century Fox, who told him about the flap with other board members and Redford.
The songwriter said he never discussed the issue with Redford. But the film’s star, a founder of Sundance Film Festival, has seen the light. “Today, the song still works from the standpoint of nostalgia. All these years later, it still has resonance,” Redford says.
Bacharach kept his two Oscars in the living room next to his Oscar for 1981’s “Arthur’s Theme (Best That You Can Do).”
“I walk in every day and look at those two and appreciate them. They never will be taken for granted,” he said. “I am just proud that it happened. And it’s a very special film.”
カテゴリー:Bacharach|「私は間違っていた」：ロバート・レッドフォードはバート・バカラックの「レインドロップス」は「ブッチ・キャシディ」には合わないと考えた【19/9/23USA TODAY】’How wrong I was’: Robert Redford thought Burt Bacharach’s ‘Raindrops’ didn’t fit ‘Butch Cassidy’ はコメントを受け付けていません
長い間バカラックを尊敬していたコステロは、映画『グレイス・オブ・マイ・ハート』（1996年）のバラード「God Give Me Strength」でバカラックと初めてコラボレーションしました。二人はその後、グラミー賞を受賞した1998年のアルバム「Painted From Memory」など、いくつかのプロジェクトで協力してきました。
バカラックは「Raindrops Keep Fallin’ on My Head」でアカデミー賞最優秀オリジナル曲賞を受賞しました。この曲は、『明日に向かって撃て！』（1969年）で、ポール・ニューマン演じるブッチ・キャシディのキャラクターがキャサリン・ロスと自転車に乗るシーンで印象的に流れています。
Colin McEvoy は2023 年にBiography.comのスタッフに加わり、それまでは 16 年間ジャーナリスト、ライター、コミュニケーションの専門家として働いていました。彼は、 『Love Me or Else』と『Fatal Jealousy』という 2 冊の本格的な犯罪本の著者です。彼は熱心な映画ファン、読書家、そして素晴らしい物語の愛好家でもあります。
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What It Was Like to Work with Burt Bacharach, in the Words of his Collaborators
Dionne Warwick, Elvis Costello, and Tom Jones were just a few musicians who performed Bacharach’s songs.
Burt Bacharach, the legendary pop composer and songwriter behind such classic hits as “Raindrops Keep Fallin’ on My Head” and “What the World Needs Now,” died of natural causes on February 8 at age 94. He leaves behind a legacy that includes timeless collaborations with musicians such as Aretha Franklin, Dionne Warwick, Elvis Costello, and Tom Jones.
A six-time Grammy Award winner and three-time Oscar winner, Bacharach wrote more than 70 Top 40 hits over his seven-decade career, and he treasured his collaborations with fellow artists, singers, and songwriters. Here are what some of his most famous collaborators have had to say about him.
Elvis Costello
Getty Images
Burt Bacharach and Elvis Costello, seen here at an awards show in 2003, produced Grammy-winning work during their 25-year collaboration.
Costello, who had long admired Bacharach, first collaborated with him on the ballad “God Give Me Strength” for the film Grace of My Heart (1996). The two went on to work together on several projects including the Grammy-winning 1998 album Painted From Memory.
“I first heard the songs of Burt Bacharach when my family was still living in a basement flat near Olympia in the late 1950s,” Costello wrote last month on Twitter. “Never would I have imagined that my admiration for him would grow into a 25-year collaboration and friendship.”
On Bacharach’s passion for working with others, Costello told Billboard: “He doesn’t need to collaborate on music. It speaks of his generosity and curiosity to see what happens.”
Dionne Warwick
Gilles Petard//Getty Images
Burt Bacharach and Dionne Warwick performing together on May 5, 1971.
One of Bacharach’s most storied partnerships was with celebrated singer Dionne Warwick. With his writing partner Hal David, Bacharach wrote several hits for Warwick, including “Walk On By,” “I Say a Little Prayer,” “I’ll Never Fall in Love Again,” and “Do You Know the Way to San Jose?”
Bacharach and Warwick had their falling outs, particularly after Warwick felt abandoned when Bacharach and David dissolved their partnership in the 1970s. But the two reconciled with the release of the 1985 cover of Bacharach’s “That’s What Friends Are For.”
“We realized we were more than just friends. We were family,” Warwick said at the time. “Time has a way of giving people the opportunity to grow and understand. … Working with Burt is not 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.”
Mike Myers
Bacharach got a big late career boost when he made a memorable cameo appearance in Austin Powers: International Man of Mystery (1997), the hit comedy film starring and written by Mike Myers. Bacharach also later appeared in both of its sequels.
What many Austin Powers fans didn’t know was Bacharach helped inspire the film in the first place. Myers began reminiscing about the 1960s while listening to Bacharach’s “The Look of Love” on the radio one day, which led to his idea for the movie.
“It was amazing working with Burt,” Myers told the Gannett News Service in 1997. “His song ‘The Look of Love’ was the inspiration for this film. It was like having Gershwin appear in your movie.”
Tom Jones
Shirlaine Forrest//Getty Images
Tom Jones was initially skeptical about “What’s New Pussycat?,” which became one of his biggest hits.
The Oscar-nominated “What’s New Pussycat?” is one of Jones’ biggest hits. But his initial reaction to it was lukewarm at best.
After Bacharach and David wrote the song for the 1965 Woody Allen film of the same name, Jones first thought, “It’s sort of a backhanded compliment: ‘I’ve got to have you, but this is the song.’” It took some convincing from Bacharach before he agreed to perform it.
“When I first heard it I thought, ‘Christ! What the bloody hell do they want me to sing this for?’” Jones said in a 1991 article from Q magazine. “But Burt Bacharach explained, ‘I want the big voice to sing this bloody crazy song.’ And you put it on, it’s a classic.”
Robert Redford
Bacharach won an Academy Award for Best Original Song for “Raindrops Keep Fallin’ on My Head,” which memorably plays during a scene in Butch Cassidy and the Sundance Kid (1969) when Paul Newman’s Butch Cassidy takes a bicycle ride with Katharine Ross’ character.
Some felt the breezy tune and peppy lyrics was the wrong film for a western film, but director George Roy Hill insisted. Long after the film’s release, it would be revealed that star Robert Redford was among the song’s detractors, though he later offered a mea culpa.
“When the film was released, I was highly critical: How did the song fit with the film? There was no rain,” Redford told USA Today. “At the time, it seemed like a dumb idea. How wrong I was, as it turned out to be a giant hit.”
Colin McEvoy joined the Biography.com staff in 2023, and before that had spent 16 years as a journalist, writer, and communications professional. He is the author of two true crime books: Love Me or Else and Fatal Jealousy. He is also an avid film buff, reader, and lover of great stories.
カテゴリー:Bacharach|バート・バカラックと仕事をするのはどんな感じだったのか、共同制作者の言葉で【23/2/9Biography.com】What It Was Like to Work with Burt Bacharach, in the Words of his Collaborators はコメントを受け付けていません
I’m always bumpin’ into some kind sumpin’ Like a bull in a china shop See all the plates go crashin’ when my arms go thrashin’ I’m a bull in a china shop
I’m kinda hard to control, this I have found So if you own anything that’s lovely and delicate Don’t ask me around Cause it’ll bang! Boom! End up on the ground!
It’s just terrible, it’s unrepairable I wish I could make it stop I think I only shatter All the goods that matter I’m a bull in a china shop
I tend to walk rather fast, don’t move with care And when I try to avoid what’s here Well, I run into this way over there And then it all goes flying everywhere
Don’t know what I’m gonna do…
Cause even when it comes to love I seem to do exactly the same thing And here’s the saddest part I chipped and broke your heart Didn’t intend it But somehow it ended this way
I move in to kiss you But I slip and miss you Cause I trip over my big feet And if you really were to know You give me vertigo When you look at me so sweet
But then I just fall apart when I should be strong I’ve got the knack every single time that it’s going all right I make it wrong And blow the best thing that ever came along….
(instrumental)
Didn’t intend it But somehow it ended this way
When I go antique shoppin’ all the clerks go hoppin’ Cause they know I’m a dang’rous case I go to Bond Street, way across the pond street They all lock the doors when they see my face
I better learn to behave, I must be wise I’ve gotta learn how to cherish all the invaluable things Things that I prize Or they’ll be all gone right before my eyes
You’d better lock up all your fine Portmeirion Cause it’s barbarian The way that I crack and drop
Keep all your Wedgewood hidden Baby, I’m not kiddin’ I’m a bull in a china shop
I better learn to behave, I must be wise I’ve gotta learn how to cherish all the invaluable things Things that I prize Or they’ll be all gone right before my eyes
Don’t know where, I don’t know when But I’m the clumsiest of men Watch out, here I go again…
BURT & THE BUCKET LIST: I had the great fun and privilege of touring with Burt from 2011 until his last show at the end of 2019; but I’d always wondered if there’d be a way for Mari and I to collaborate with him on a song. Working on this album, the opportunity presented itself in the form of a crazy fun little instrumental from one of his solo albums called “Bond Street”.
LYRIC INSPIRATION: Me. I am the bull in a china shop. If there is something to run into or drop or break, I will find it. Mari is the girl from “Sensibility” – elegant, unique, cool. I’m this guy. But I love how the lyric turned out – Mar even found a way to work the words ‘Bond Street’ in there….
IT WAS SUPPOSED TO BE A REALLY SHORT SONG: We cut the track with Eric Astor at The Hideaway studio – myself, Kevin Axt on bass and Grant Geissman on guitar. The original “Bond Street” is all of two minutes long, but we slowed it down slightly and added a vamp at the end that just kept going…and going…and going. It became this wonderful dialogue between the three of us that was so good we couldn’t bear to fade it out (Mike Shapiro added some percussion later). I took it home and overdubbed a whole bunch of bgvs.
DID HE LIKE IT?: You can’t release an existing instrumental with lyrics until you get the composer’s approval – so we finished it and sent it off to Burt. I remember exactly where I was standing when we got the call – that gravelly voice saying “yeah, man, I love it!….” I’m so glad he got to hear it in its finished form, and I’m thrilled to share it with you…..enjoy!
Elvis Costello & Steve Nieve – Asakusa Public Hall, Tokyo – 12 April, 2024 全1:55:33 https://youtu.be/NiNEmeS0Y74
LongVersion SETLIST
00:00 (1) Watching The Detectives / Shot With His Own Gun 13:13 (2) Radio, Radio 17:02 (3) Clubland 21:35 (4) That Blue Look 26:19 (5) So Like Candy 30:38 (6) Magnificent Hurt 34:29 (7) Battered Old Bird 44:44 Debussy: Préludes / Book 1, L. 117→ (8) Unwanted Number 49:40 (9) New Amsterdam / You’ve Got To Hide Your Love Away 小アコーディオン 54:00 (10) Tokyo Storm Warning 1:04:25 (11) Everybody’s Crying Mercy 1:08:40 (12) Look Up Again 1:14:10 (13) I Still Have That Other Girl 1:17:45 (14) She 1:22:25 (15) The Man You Love To Hate 1:28:55 (16) More Than Rain 1:31:25 (17) I Want You 1:39:04 (18) (What’s So Funny ‘Bout) Peace, Love And Understanding? 1:44:25 (19) The Whirlwind 1:48:17 (20) Farewell, OK 1:51:02 (21) Alison 退場 Andy Stewart – Donald Wheres Your Troosers https://youtu.be/4yw0bLHTOb0
続いて『トラスト』（81年）からの「ウォッチ・ユア・ステップ」、『キング・オブ・アメリカ』（86年）からの「ジャック・オブ・オール・パレーズ」といった比較的地味な曲や未発表の「Like Licorice on Your Tongue」が続き反応もおとなしめだったが、初期の大ヒット・アルバム『アームド・フォーセス』（79年）からのおなじみ「アクシデンツ・ウィル・ハプン」で大きな拍手がわく。もともとは畳み込んでいくようなテンポの良い曲ながら、ここでは大胆なアレンジが施され、しかもピアノだけをバックに歌いこまれる。と書くといかにも重そうだが、そうじゃなく曲に新しい滋味を加えていくといった趣で、それがスリリングに響いてくるのだ。さすがコステロ！
そしてここからが前半のハイライトで『トラスト』からの「クラブランド」がプレイされ、それがザ・スペシャルズのNo.1ヒット「ゴースト・タウン」へとつながる流れにびっくり。登場してきたザ・スペシャルズを気に入り1stアルバムをプロデュース、2トーン・ブームを盛り上げたあの時代を振り返るようにキーボードがリーダー、ジェリー・ダマーズのフレーズを奏でる。と感傷に浸ってるとそれが、日本ではアニマルズで知られる「悲しき願い（Don’t Let Me Be Misunderstood）」へつながる。『キング・オブ・アメリカ』に入っているが、あまりステージにかけられることがないので日本での人気を知ってのピックアップだろう。ここらが嬉しい。
日本ではコステロといえばコレというほど人気の高い曲は映画『ノッティングヒルの恋人』の主題歌として使われたシャルル・アズナヴールの名曲。ここでは、ロンドンの名門 Royal College of Music（王立音楽大学）に通った才人ナイーヴのみごとなピアノをバックに、50年代風のヴォーカル・マイクで往年のポピュラー・シンガーのように歌い上げ感動が会場を包み込む。大拍手に送られステージ袖に引っ込むが、一瞬で再登場。アンコールに応えたということか（笑）。
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