Top 20 Burt Bacharach Songs

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Our Top 20 Burt Bacharach Songs List looks at the music of one of the most wondrous composers ever. There are not enough adjectives in the English language to describe the talent and music of Burt Bacharach. For those of us who grew up in the second half of the 20th century, the music of Burt Bacharach served as the soundtrack to our lives. Hit after hit filled the airwaves, especially in the 1960s. The incredible vocal talents of many great singers, such as Dionne Warwick, Dusty Springfield, Jackie DeShannon, Tom Jones, and so many more, brought Burt Bacharach’s music alive. Burt Bacharach’s Songs have been covered by more artists than probably any other famous music songwriter in history. Over thousands of professionally signed major label recordings artists had covered Burt Bacharach Songs.

One can not compose a list of Burt Bacharach Songs without first mentioning all of his great songwriting partners. Burt Bacharach’s most crucial songwriting partner and the author of all those great lyrics that filled the Burt Bacharach songs of the 60s was the great Hal David. The brilliant lyricist who charmed our hearts first met Burt Bacharach at the legendary New York Brill Building. It was where songwriters like Carole King, Neil Diamond, Laura Nyro, and many others composed hits. Burt Bacharach also had other songwriting partners, including Bob Hilliard, Bruce Roberts, Carole Bayer Sager, and Elvis Costello.

Burt Bacharach’s professional songwriting career began with his first hit song recorded by Mart Robbins in 1957 entitled “The Story of My Life.” It was a grand start for Burt Bacharach and Hal David as the song went straight to number one on the county music charts in the United States. The song even proved successful on the Billboard Hot 100, peaking up to number fifteen. Over the next couple of years in the late 1950s and early 1960s, Burt Bacharach and lyricists Hal David and Bob Hilliard would find commercial success with their songs being recorded and turned into hits by artists such as Gene Pitney, The Four Coins, Perry Como, Jane Morgan, The Avons, Gene McDaniels, The Drifters, The Shirelles, and even the Dick Van Dyke.

1961 would be a significant turning point in Burt Bacharach’s career. 1961 was the year Burt Bacharach discovered Dionne Warwick’s vocal talents. The songwriter and singer would put their talents together and celebrate a twenty-year history in which they scored twenty-two top 40 hits and almost forty songs that charted on the pop charts. In simple terms, the pair made a lot of money together, and many people were happy, from record companies to record stores to radio stations, spreading their music across multiple cultures with colossal success.

Burt Bacharach released his first album in 1965 entitled Hit Maker!: Burt Bacharach plays the Burt Bacharach Hits. The album featured half the members of Led Zeppelin as both Jimmy Page and John Paul Jones performed on the record. The album was recorded in London. Burt Bacharach’s following two albums would also serve as film soundtracks entitled What’s New Pussycat? and After the Fox. In 1967, Burt Bacharach released the outstanding album Reach Out. 1967 was a busy year for Burt as he released soundtrack albums to Casino Royale and On The Flip Side.

Burt Bacharach would score his second gold album of his young career in 1969 with the release of the album Make It Easy on Yourself. Burt Bacharach would finish his incredible decade with two more album releases in 1969, including the Butch Cassidy and the Sundance Kid Film Soundtrack and the Original Broadway Cast Recording Promises, Promises.

Burt Bacharach would continue to release albums and have his songs recorded throughout the 1970s, 80s, and onward. He had multiple modern-day hits, scoring big with Arthur’s Theme and the massive 1985 hit “That’s What Friends Are For.” One of his later day great projects was an album of new songs he recorded and wrote with Elvis Costello in 1998 entitled Painted from Memory. The album won a Grammy Award. The two reunited in 2018 and wrote three new songs that appeared on Elvis Costello’s latest album.

With a career spanning five decades and earning six Grammy Awards, three Academy Awards, and over one hundred top 40 hits combined between the United States and the United Kingdom, the word legendary does not seem to be enough to describe Burt Bacharach’s success. In the end, for us, it’s not about his success; it’s about his songs….so many of them. We wish we could list a hundred of them, but the page would never load. So, we have to be selective, and that is tough. But it’s also fun. So here are our top 20 Burt Bacharach songs.

# 20 – God Give Me Strength

We open up our top 20 Burt Bacharach songs with one of his most recent compositions, “God Give Me Strength.” This is a brilliant song that Burt Bacharach wrote with Elvis Costello. It was initially released on the album Painted From Memory in 1998. It is one of the greatest albums released in the past 30 years. Painted from Memory, released on September 29, 1998, through Mercury Records, stands as a landmark collaboration between the rock ‘n’ roll poet and the king of orchestral pop. This album marked a significant return for both artists: Costello re-emerging after a two-year hiatus and Bacharach after a staggering 21-year absence from the album scene.

The genesis of this partnership is traced back to “God Give Me Strength,” a track initially crafted for the 1996 film Grace of My Heart. The synergy between Costello’s poignant lyrics and Bacharach’s lush arrangements was undeniable, prompting them to embark on a full-scale album project. Painted from Memory became a canvas for their combined talents, with each song meticulously co-written and crafted, blending Costello’s biting wit and Bacharach’s melodic grace.

In his 2015 autobiography, Unfaithful Music and Disappearing Ink, Costello reflects on the absurdity of stopping after just one song. The subsequent writing sessions birthed an album that was both a nod to the past and a stride into uncharted musical territory. The duo’s limited live performances, including a memorable episode on the American public television program Sessions at West 54th, added an exclusive aura to the project.

With Steve Nieve on piano, Costello’s subsequent Lonely World Tour saw Painted from Memory take center stage, its songs resonating with audiences in a stripped-down, intimate setting. This period showcased Costello’s versatility, seamlessly transitioning from rock band frontman to a more nuanced, solo performance style.

Even years after its release, the album’s influence persists in the live repertoires of both artists. Costello’s 2004 live album My Flame Burns Blue features a stirring rendition of “God Give Me Strength,” while Bacharach’s concerts, often with John Pagano, continue to celebrate the song’s enduring beauty.

# 19 – That’s What Friends Are For

In a poignant reunion that bridged a decade-long rift, Dionne Warwick’s rendition of “That’s What Friends Are For” marked a storied re-collaboration with Burt Bacharach, reigniting a partnership that had once defined a golden era of music. This 1985 anthem, laced with the shared genius of Warwick and Bacharach, not only healed old wounds but also became a beacon of hope in the fight against the burgeoning AIDS crisis.

The journey back to the studio was spurred by their initial reconnection for “God Give Me Strength,” a powerful piece for the film Grace of My Heart. The magic of their renewed collaboration was undeniable, leading Warwick to reflect on their bond as friends and as family, a sentiment deeply felt in the familiar yet evolved synergy of their work together.

The track transformed into a monumental charity single with the addition of music royalty: Gladys Knight, Elton John, and Stevie Wonder, each bringing their unique essence to the song, creating a harmonious blend that transcended its original form. This supergroup’s version, set against the backdrop of E♭ major, wasn’t just music; it was a mission, raising over $3 million for the American Foundation for AIDS Research, a cause close to Warwick’s heart.

In the U.S., the song soared, clinching the top spot on various charts including the Billboard Hot 100, where it reigned supreme for four weeks, becoming the anthem of 1986. This marked a poignant milestone, being the final U.S. number one for all the artists involved, except for Elton John. The song’s universal appeal was further evidenced by its international success, topping charts in Canada and Australia and making significant inroads across Europe and beyond.

The Grammy Awards of that year bore witness to the song’s impact, honoring “That’s What Friends Are For” with the Best Pop Performance by a Duo or Group with Vocals and crowning Bacharach and Bayer Sager with Song of the Year. This rendition’s legacy was further cemented as it found a place on Billboard’s Greatest Songs of All Time.

A reunion performance in 2011, after 23 years, at the 25th Anniversary amfAR gala in New York City brought the magic of the song full circle, showcasing the enduring power of music to bring people together, heal wounds, and fight for a cause. The personnel behind this iconic track, from Warwick’s captivating vocals to Wonder’s signature harmonica and the foundational rhythms laid down by the likes of Freddie Washington and John Robinson, created a piece that was more than a song—it was a moment in history, encapsulated in melody and harmony.

The chart-topping success, the Grammy accolades, and the global recognition all tell a tale of a song that was more than its melody—it was a message, a memory, and a milestone in music history, embodying the very essence of friendship, collaboration, and the timeless pursuit of making the world a better place through the power of song.

 # 18 – A House Is Not a Home

“A House Is Not a Home” stands as a testament to the timeless craft of Burt Bacharach and Hal David. Penned for the 1964 silver screen drama bearing the same title, the song found its first voice in Dionne Warwick, whose rendition was laid down in the hallowed halls of Bell Sound Studios in New York City. Though it nestled modestly at #71 on the pop charts, tucked away as the B-side to “You’ll Never Get to Heaven (If You Break My Heart),” it was a tune that refused to be overshadowed.

Simultaneously, Brook Benton’s take on the ballad—imbued with cinematic grace for its inclusion in the film—made its waves, debuting a fortnight ahead on the Billboard Hot 100 and peaking at #75. The airwaves were split, a duel of interpretations, yet neither Warwick nor Benton could claim definitive victory in the charts.

North of the border, Warwick’s version found a warmer reception, breaking into the top 40 in Canada and even grazing the R&B top 10 in Cashbox—a rare feat that underscored the song’s soulful resonance, unbounded by the constraints of a single artist’s rendition.

Yet, the true apotheosis of “A House Is Not a Home” was still to come, years down the line, in the hands of Luther Vandross. In 1981, Vandross, a maestro of R&B and soul, reimagined the ballad for his debut album Never Too Much. Stretching over seven minutes, Vandross’s rendition wasn’t just a cover; it was an odyssey of emotion, a performance so powerful it would become one of his hallmark tracks. When Vandross graced the stage at the 1988 NAACP Awards, his delivery of the song moved Warwick herself to tears—an homage and a transcendence.

# 17 – Trains and Boats and Planes

In the mid-60s, “Trains and Boats and Planes” emerged as a quintessential anthem of longing and separation. Crafted by the legendary duo Burt Bacharach and Hal David, the song’s journey through the charts and into the hearts of listeners is a tale of artistic vision and collaboration.

Initially envisioned for Gene Pitney, the song was met with reluctance, leading Bacharach himself to step into the recording booth. His rendition, backed by the ethereal harmonies of The Breakaways, laid the groundwork for what would become a classic track, encapsulated on his 1965 album Hit Maker!: Burt Bacharach Plays the Burt Bacharach Hits.

Simultaneously, Billy J. Kramer, under the guidance of Brian Epstein, lent his vocals to the song, creating a version that would vie with Bacharach’s own for chart dominance in the UK. Despite the competition, Bacharach’s orchestral interpretation soared to No. 4, while Kramer’s pop-infused take found its place at No. 12, marking his final appearance on the charts.

Yet, it was Dionne Warwick who would ultimately imbue the song with a soulful depth unmatched in previous versions. In 1966, Warwick, a longtime collaborator of Bacharach and David, recorded “Trains and Boats and Planes,” wrapping her voice around the melody with an effortless grace that only she could achieve. Released as a single from her album Here Where There Is Love, Warwick’s rendition climbed the Billboard Hot 100, peaking at No. 22 and further solidifying the song’s place in the pop and soul pantheon.

This track’s legacy didn’t end with Warwick’s version. Over the years, it has been reinterpreted by a diverse array of artists, from Chet Baker’s jazz-inflected cover to the country twangs of Dwight Yoakam, showcasing the song’s versatile appeal. Each rendition has added layers to the song’s rich tapestry, illustrating the enduring power of Bacharach and David’s songwriting.

# 16 – What’s New Pussycat?

Burt Bacharach and Hal David’s “What’s New Pussycat?” found its perfect voice in the powerhouse vocals of Welsh singer Tom Jones, becoming synonymous with the film it was penned for. With an opening that broke the mold, featuring a 13-second instrumental capped with the sound of shattering glass, the song was a departure from the ordinary, later streamlined in its various reissues.

Tom Jones, initially wary of the track, couldn’t see the fit at first. The song, with its flamboyant flair, seemed a curious choice for his robust vocal style. Yet, it was Bacharach’s conviction in Jones’ ability to elevate the “bloody crazy song” that ultimately won him over. As Jones stepped into the studio, little did he know he was about to lend his voice to what would become a cult classic.

Charting a successful course, “What’s New Pussycat?” clawed its way into the hearts of listeners, securing a spot as Jones’ third UK top 30 hit and peaking impressively at number 11. Across the pond, the song fared even better, reaching number 3 in the US and marking Jones’ second foray into the top 40. Its infectious energy and distinctive character led to a nomination for the Academy Award for Best Original Song in 1966, though it was edged out by “The Shadow of Your Smile.”

The song’s impact resonated far beyond its initial release, inspiring an eclectic mix of covers from artists like Bobby Darin and Steve Lawrence to unexpected renditions by Stefán Karl Stefánsson and even The Wailers. Barbra Streisand wove it into her “Color Me Barbra Medley,” while Alvin and the Chipmunks gave it their signature twist in Chipmunks à Go-Go. Its quirky charm even found a place in the synthesized meows of Wendy Carlos’ moog version and the heavy metal adaptation by Leo Moracchioli of Frog Leap Studios.

# 15 – Alfie

Crafted for the 1966 film of the same name, this track not only captured the essence of the Michael Caine-starring British drama but also became a defining moment in the careers of two musical giants: Cilla Black in the UK and Dionne Warwick in the US.

Despite Bacharach’s personal fondness for “Alfie,” convincing him and David to pen a promotional song for the film wasn’t straightforward. The task seemed uninviting initially, with David finding the lead character’s name less than inspiring. However, the challenge of encapsulating the film’s thematic depth into a song intrigued Bacharach enough to take it on, leading to a composition process that saw David, stationed on Long Island, drawing inspiration directly from the film’s script, particularly Caine’s poignant line, “What’s it all about?”

The song’s journey to the recording studio was equally compelling. Though Bacharach and David initially envisioned Dionne Warwick, their go-to muse, to breathe life into “Alfie,” the film’s British backdrop necessitated a UK voice. Enter Cilla Black, Liverpool’s own chart-topping songstress, who was initially reluctant to tackle a song about a character she’d more likely name a pet than a person. It took nothing less than Bacharach’s personal intervention, promising to arrange, play, and conduct the recording, to sway Black.

The recording session at Abbey Road Studios, under George Martin’s production and with Bacharach at the helm, was nothing short of epic. Bacharach’s perfectionism pushed Black to her limits, with countless takes to capture the “magic” he sought. The result was a rendition that not only satisfied Bacharach’s exacting standards but also became a top ten hit in the UK, cementing its place in Black’s legacy and even influencing the epitaph on her gravestone.

Across the pond, Dionne Warwick’s version brought “Alfie” to the American audience, adding a soulful layer to its rich tapestry. While Black’s version resonated deeply in the UK and Commonwealth countries, Warwick’s rendition broadened the song’s appeal, showcasing the universal themes of love, life, and self-reflection that “Alfie” so elegantly explores.

The song’s impact was further amplified by the myriad of covers from artists across the spectrum, from Cher’s soulful take in the film’s worldwide release to the easy listening renditions that flooded the airwaves. Yet, it’s the original versions by Black and Warwick that stand as testaments to Bacharach and David’s songwriting prowess, capturing the complexities of human emotion and the timeless question posed by Alfie himself: “What’s it all about?”

# 14 – One Less Bell to Answer

Initially penned for Keely Smith in 1967, the song found its definitive home with the 5th Dimension, thanks to the keen ear of producer Bones Howe. The group’s rendition, featured on their 1970 debut album for Bell Records, Portrait, with Marilyn McCoo’s lead vocals, turned the song into a platinum-selling classic, showcasing the group’s ability to blend soulful harmonies with the lush orchestration characteristic of Bacharach’s compositions.

The song’s poignant narrative of heartbreak and loss resonated deeply with listeners, propelling it to the No. 2 spot on the Billboard Hot 100, just behind George Harrison’s “My Sweet Lord.” Its success wasn’t confined to the pop charts; it also topped the Adult Contemporary chart and made significant inroads on the Best Selling Soul Singles chart, underscoring its broad appeal across different musical landscapes.

Bacharach himself recognized the song’s special quality, featuring it as a closing number on his 1971 self-titled A&M album, with Cissy Houston lending her vocals to his rendition. This nod from the composer further cemented the song’s place in the Bacharach-David canon.

The song’s versatility and emotional depth have made it a favorite for covers by a wide array of artists, transcending genres and generations. Rosemary Clooney’s 1968 easy listening take brought a different flavor to the song, while Barbra Streisand’s 1971 medley “One Less Bell to Answer/A House Is Not a Home” on her album Barbra Joan Streisand offered a dramatic reinterpretation that showcased her vocal prowess and interpretative depth.

Rita Reys’ rendition on her Rita Reys Sings Burt Bacharach album not only won her an Edison Award but also highlighted the song’s jazz potential. Dionne Warwick, a frequent Bacharach and David collaborator, added her own touch to the song on her 1972 album Dionne, further solidifying its status in the pop and soul repertoire.

The song’s influence extended well beyond the 1970s, with artists like Shirley Bassey, Vikki Carr, Michael Ball, Vanessa Williams, Trijntje Oosterhuis, and Sheryl Crow each bringing their unique styles to their covers.

# 13 – Arthur’s Theme (Best That You Can Do)

This is one of the funniest movies we have ever seen in our lives. Dudley Moore was just off-the-charts incredible. Burt Bacharach, along with Christopher Cross, Carole Bayer Sager, and Peter Allen, wrote themselves a number-one song with this one and the great Christopher Cross singing lead vocals.

The genesis of “Arthur’s Theme” is as intriguing as its melody is infectious. Born out of a cross-pollination of creative minds, the song’s most iconic line, “When you get caught between the moon and New York City,” emerged from an unreleased Allen-Bayer Sager number, inspired by Allen’s aerial limbo above JFK Airport. This slice of lyrical gold set the stage for a song that was destined to become more than just a movie theme.

Upon its release, “Arthur’s Theme” ascended swiftly to the pinnacle of the Billboard Hot 100 and Hot Adult Contemporary charts in October 1981, a clear signal that this was more than just a fleeting movie tie-in. This universal acclaim was a testament to the song’s seamless blend of Cross’s smooth vocals, Bacharach’s lush arrangements, and the poignant, narrative-driven lyrics crafted by Bayer Sager and Allen.

The accolades that followed were inevitable. “Arthur’s Theme” clinched the title of Best Original Song at both the 54th Academy Awards and 39th Golden Globe Awards, a dual triumph that underscored its cinematic and musical excellence. Further cementing its legacy, the song was ranked No. 79 in the American Film Institute’s 100 Years…100 Songs survey in 2004, a nod to its enduring place in the American musical canon.

In the broader context of pop music history, “Arthur’s Theme” stands as a bridge between the orchestral pop of the ’60s and ’70s and the more synthesized sounds that would dominate the ’80s. It showcased Bacharach’s ability to evolve and remain relevant in the fast-changing music industry, while also highlighting Cross’s unique talent in delivering a song that resonated with audiences worldwide. The collaboration between these artists, each at different stages of their careers, created a moment of pop music alchemy that remains golden to this day.

# 12 – I’ll Never Fall in Love Again

Written for the 1968 musical Promises, Promises, this song spun its melodic and lyrical alchemy into the hearts of listeners worldwide, becoming a staple on the airwaves in 1969. Dionne Warwick,  whose voice had become synonymous with Bacharach’s compositions, delivered the song’s most iconic rendition in December 1969. Her version soared to number 6 on the Billboard Hot 100, and dominated the Easy Listening charts for three weeks, a feat that underscored Warwick’s unparalleled ability to translate Bacharach’s intricate compositions and David’s profound lyrics into pop music gold.

Across the pond, Bobbie Gentry’s rendition became a sensation in its own right, capturing the top spot on the UK charts. Gentry’s soulful interpretation resonated not just in the UK but also in Australia, Ireland, South Africa, and Norway, showcasing the song’s universal appeal and Gentry’s unique artistry.

At the 12th Annual Grammy Awards, the song’s craftsmanship was recognized with a nomination for Song of the Year, a nod to Bacharach and David’s sophisticated songwriting. While they didn’t clinch the award, the nomination was a testament to their enduring influence on the musical landscape of the era.

The song’s journey on the charts began with Johnny Mathis’s rendition, which introduced “I’ll Never Fall in Love Again” to the Easy Listening audience in May 1969. Bacharach’s own version, characterized by a female chorus, soon followed, adding a distinct texture to the song’s rich tapestry of covers and showcasing Bacharach’s flair for arrangement.

Warwick’s version, however, with Bacharach’s poignant piano counterpoint in the coda, became the definitive recording in the US, capturing the emotional depth and melodic sophistication of the song. It also found significant success in Canada, topping the Adult Contemporary chart and making a strong showing on the pop chart

# 11 – I Just Don’t Know What to Do with Myself

During the 1960s pop scene, where the British Invasion met the sophisticated songcraft of the American songbook, Dusty Springfield’s rendition of “I Just Don’t Know What to Do with Myself” stands as a beacon of raw emotional delivery and vocal prowess. Recorded at the hallowed Olympic Studios in London, under the nominal production of Philips Records’ Johnny Franz, Springfield took the reins, asserting a level of artistry and control that would define her career. The arrangement, masterfully orchestrated by Ivor Raymonde, featured the formidable talents of Big Jim Sullivan on guitar and Bobby Graham on drums, laying down a foundation that allowed Springfield’s voice to soar.

Springfield’s choice to cover “I Just Don’t Know What to Do with Myself” came from a transformative overnight trip to New York City in February 1964, where she met the song’s composer, Burt Bacharach. This meeting proved pivotal, not just for Springfield, but for the song itself, which became the third UK single of her solo career. It marked a departure from the “Brill Building” sound of her earlier hits, showcasing instead the depth and maturity of her vocal style. Peaking at number 3 in the UK Singles Chart during the summer of 1964, the track solidified Springfield’s status as a vocal powerhouse, a position she would reaffirm with her 1966 chart-topping “You Don’t Have to Say You Love Me.”

Across the Atlantic, the American landscape was being shaped by Dionne Warwick, another iconic interpreter of Bacharach and David’s compositions. Warwick’s version of “I Just Don’t Know What to Do with Myself,” recorded in the esteemed Bell Sound Studios in August 1966, was imbued with her own unique blend of soulful clarity and emotional subtlety. Released as part of her third album, Here Where There Is Love, on Scepter Records, the track achieved moderate success on the US Hot 100 and R&B charts, particularly resonating in Detroit where it broke into the Top Ten.

Warwick’s rendition was part of a trilogy of Bacharach/David singles that included “Message to Michael” and “Trains and Boats and Planes,” all of which underscored her as a seminal voice of the era. This series of singles not only showcased Warwick’s adaptability and range but also her profound connection with Bacharach and David’s songwriting, a partnership that would continue to yield musical gold with her subsequent hit “Alfie.”

In examining the careers of Springfield and Warwick, “I Just Don’t Know What to Do with Myself” emerges as more than just a song; it’s a narrative thread that weaves together two distinct yet parallel stories of artistic evolution and expression. Both versions, each marked by its own regional successes and stylistic nuances, contribute to the rich tapestry of 1960s pop music, highlighting the era’s interplay between British and American musical influences and the transcendent power of song to connect, emote, and endure.

# 10 – Wishing And Hoping

“Wishin’ and Hopin’,” was immortalized by Dusty Springfield’s sultry and soulful delivery. Initially brought to life by Dionne Warwick in the fall of 1962, the song found modest success on French charts but remained relatively under the radar until Springfield’s rendition catapulted it into the spotlight.

Springfield, already known for her keen ear for potential hits, stumbled upon “Wishin’ and Hopin'” on Warwick’s debut album Presenting Dionne Warwick. Captivated by its melodic charm, she recorded her version at London’s Olympic Studios in January 1964, with a session band featuring the likes of Bobby Graham on drums and Big Jim Sullivan on guitar, under the production prowess of Johnny Franz.

The recording session, orchestrated by Ivor Raymonde, laid down a track that was not only technically impeccable but also emotionally resonant, capturing the longing and wistfulness of the song’s lyrics. Springfield’s interpretation, characterized by her signature vocal style, imbued the song with a new depth, making it an instant classic upon its release.

The song’s journey to American airwaves is a tale of serendipity and savvy promotion. Encouraged by David and Bacharach, New York DJ Jack Lacy gave the song airtime, leading to its official release as a single in the US by Philips’ label in May 1964. “Wishin’ and Hopin'” quickly became a summer hit, peaking at No. 6 on the Billboard Hot 100 and No. 4 on the Easy Listening chart, solidifying Springfield’s status as a transatlantic pop sensation.

In the UK, however, “Wishin’ and Hopin'” faced competition from Springfield’s own “I Just Don’t Know What to Do with Myself,” another Bacharach and David gem. This led to the Merseybeats, a UK band riding the wave of the British Invasion, covering the song and achieving a respectable No. 13 on the UK Singles Chart, highlighting the song’s adaptability across different musical styles and groups.

Despite its chart success and widespread acclaim, “Wishin’ and Hopin'” became more than just a hit single; it became synonymous with Springfield’s artistry and the 1960s pop landscape. Her performances of the song, including a memorable lip-synced duet with the Merseybeats on “Ready Steady Go!” and a rendition backed by Martha Reeves and the Vandellas, underscored Springfield’s ability to connect with a song and make it unmistakably her own.

Through Springfield’s “Wishin’ and Hopin’,” listeners were treated to a masterclass in pop vocal delivery, set against the backdrop of Bacharach’s intricate arrangements and David’s evocative lyrics.

# 9 – Always Something There To Remind Me

# 8 – Do You Know The Way To San Jose

“Do You Know the Way to San Jose” catapulted Dionne Warwick to new heights of international stardom, encapsulating the disillusionment of the American Dream with its tale of a failed quest for fame in Los Angeles.

Released as part of Warwick’s gold-certified album Dionne Warwick in Valley of the Dolls in 1968, the song followed the success of “(Theme from) Valley of the Dolls”/ “I Say a Little Prayer,” continuing Warwick’s streak of top ten hits. Its upbeat tempo belied the story of a San Jose native’s return home, defeated by the unyielding entertainment industry of LA, making it a relatable anthem for dreamers facing the harsh realities of ambition.

Charting impressively across the globe, from the UK and Ireland to far-reaching locales like Japan and Lebanon, “Do You Know the Way to San Jose” not only solidified Warwick’s status as a pop icon but also showcased the universal appeal of Bacharach’s compositions and David’s lyrics. The song’s success, with over 3.5 million copies sold worldwide, was a testament to its resonant message and Warwick’s compelling delivery.

The production of the track marked the end of an era, being the last Warwick single recorded at New York City’s Bell Sound Studios. It featured innovative studio techniques, notably the distinctive bass drum sound achieved by engineer Ed Smith and the skilled session work of musicians like Gary Chester and Lou Mauro. This meticulous attention to detail in the song’s production underscored Bacharach and David’s commitment to sonic excellence.

Despite its overwhelming success, Warwick’s relationship with the song was complex. She openly expressed her disdain for the track, likening it to other hits like “Heartbreaker” that she did not personally favor. Yet, “Do You Know the Way to San Jose” became one of Warwick’s most enduring hits, a staple in her live performances and a beloved classic among fans.

The song’s accolades further cemented its place in pop music history, with Warwick winning her first Grammy Award for Best Female Pop Vocal Performance in 1969. This recognition was not just a milestone for Warwick but a crowning achievement of her collaborative journey with Bacharach and David, a partnership that produced some of the most memorable hits of the 20th century.

# 7 – (They Long to Be) Close to You

For this classic song, Bacharach and lyricist Hal David, found its most iconic voice in the beauty of Karen Carpenter.  Released in May 1970, the single not only ascended to the pinnacle of the US Billboard Hot 100 and Adult Contemporary charts but also garnered international acclaim, becoming a gold-certified record.

While the song’s journey began with Richard Chamberlain’s 1963 version and saw renditions by Dionne Warwick and Dusty Springfield, it was the Carpenters’ interpretation that captured the zeitgeist, transforming the tune into a global phenomenon. The version stood out not only for Karen’s heartfelt vocal delivery but also for the lush arrangements and the innovative use of a flugelhorn solo, initially intended for Herb Alpert but masterfully executed by Chuck Findley.

The genesis of this hit traces back to Bacharach’s music, which predated David’s evocative lyrics. The song’s narrative, a poignant meditation on the inescapability of love’s memory, was set against a backdrop of intricate melodies and rich orchestration. The Carpenters’ rendition, imbued with Karen’s emotive contralto and Richard’s sophisticated arrangements, turned the song into a sonic emblem of longing and love’s lingering presence.

Recording at A&M Records with the famed Wrecking Crew providing instrumental backing, the Carpenters’ version was initially met with skepticism by Karen and Richard. However, under Alpert’s persuasion and Daugherty’s production, they crafted a rendition that transcended its predecessors, imbuing the song with a timeless quality that resonated with audiences worldwide.

The song’s commercial success was mirrored by critical acclaim, earning the Carpenters a Grammy Award for Best Contemporary Performance by a Duo, Group, or Chorus in 1971, marking the beginning of their illustrious Grammy journey. The RIAA gold certification in August 1970 was a testament to the song’s widespread appeal, further cemented by its high chart positions across the globe, from Canada to Australia.

# 6 – The Look Of Love

“The Look of Love” stands as a perfect remembrance of 1960s pop perfection. First immortalized by Dusty Springfield’s sultry delivery, the song’s bossa nova undercurrent and atmospheric sensuality marked it as an instant classic. Its inclusion in the 1967 James Bond spoof Casino Royale amplified its allure and embedded it firmly into the era’s cultural history.

Bacharach initially envisioned the piece as an instrumental and found inspiration in the allure of Ursula Andress, translating her cinematic presence into a melody that David would later complement with evocative lyrics. This synergy between visual and musical artistry underscored the song’s eventual impact, extending its reach beyond mere auditory experience to become a sensory portrait of allure and longing.

The song’s journey from conception to global acclaim is a testament to its universal appeal. Stan Getz’s initial instrumental rendition laid the groundwork for what would become a multi-artist odyssey, with Dusty Springfield’s versions—both for the Casino Royale soundtrack and her Philips Records single—elevating the song to commercial success. Springfield’s interpretation, characterized by its breathy delivery and an iconic tenor saxophone solo, captured the song’s essence, propelling it to the top of the charts and into the Grammy Hall of Fame in 2008.

The song’s adaptability across genres is further evidenced by its diverse covers, from Claudine Longet’s eponymous album rendition to Nina Simone’s inclusion on her album Silk & Soul. Each artist brought a unique perspective to the song, underscoring its versatility and enduring appeal across musical landscapes.

Sérgio Mendes & Brasil ’66’s rendition, notable for its bossa nova authenticity and Janis Hansen’s rare lead vocals, brought “The Look of Love” to the forefront of the pop charts, a feat amplified by their performance at the Academy Awards. This version, with its infectious rhythm and polished production, encapsulated the song’s essence, bridging the gap between Latin jazz and mainstream pop.

The song’s influence extended into the soul and funk genres, with Isaac Hayes offering a rendition on his album …To Be Continued, infusing the track with his signature deep soulful resonance and funk-infused arrangements. This version highlighted the song’s flexibility, proving its relevance across different musical expressions.

Throughout its numerous incarnations—from Andy Williams’ smooth crooning on his album Love, Andy to the Delfonics’ soulful interpretation and the Four Tops’ Broadway-esque take—the song has demonstrated an extraordinary capacity to resonate with a broad spectrum of audiences.

# 5 -I’ll Say A Little Prayer

“I Say a Little Prayer,” found its most celebrated voice through Dionne Warwick. Originally peaking at number four on the U.S. Billboard Hot 100 in December 1967, the song became a poignant reflection of the era, touching on themes of love and longing against the backdrop of the Vietnam War.

Warwick’s recording in April 1966 was a departure from the quick, efficient sessions typical of her collaborations with Bacharach, requiring an uncharacteristic ten takes. Despite Bacharach’s reservations about the final product, the track was unleashed onto the world in September 1967, finding its way onto the airwaves and into the hearts of listeners, thanks to its inclusion on the album The Windows of the World.

The song’s ascent was propelled by its infectious rhythm and Warwick’s emotive delivery, capturing the collective consciousness of a nation embroiled in conflict and personal battles. Its commercial success was undeniable, achieving gold certification by the RIAA in January 1968, and proving to be a significant hit for Warwick, both on the pop and R&B charts.

However, the song’s journey didn’t end with Warwick. Aretha Franklin’s rendition in 1968, featured on her album Aretha Now, offered a soulful reinterpretation that resonated deeply with the public and critics alike. Franklin’s version, backed by the Sweet Inspirations and highlighted by Clayton Ivey’s piano work, brought a new dimension to the song, earning it a place in the top ten of the Hot 100 and R&B singles chart once again.

This version’s impact extended beyond the shores of the United States, securing Franklin’s status as an international star and becoming her biggest UK hit until her collaboration with George Michael. The song’s harmonic nuances, particularly in Franklin’s version, showcased a departure from Warwick’s original, introducing a richer, more soul-infused interpretation that captivated audiences worldwide.

In 1997, Jamaican artist Diana King brought “I Say a Little Prayer” into the reggae realm with her cover, which not only charted internationally but also featured prominently in the soundtrack of the film My Best Friend’s Wedding. King’s version, infused with a reggae beat and modern production, introduced the classic to a new generation.

# 4 – Walk On By

“Walk On By” stands as one of Dionne Warwick’s greatest vocals and of course, Bacharach’s best songs he ever composed Recorded at the famed Bell Sound Studios in New York City, Warwick’s rendition didn’t just climb the charts upon its release in April 1964—it became an anthem, embodying the cool sophistication and emotional depth of the era.

The track’s ascent to number 6 on the US Billboard Hot 100 and its dominance at the top of Cash Box’s R&B chart underscored Warwick’s unparalleled ability to convey complex emotions with a blend of subtlety and power. The session, rich with the talents of musicians like Gary Chester on drums and Russ Savakus on bass, captured a moment in time, blending orchestral pop with soulful rhythms to create something timeless.

“Walk On By” wasn’t confined to Warwick’s discography. Aretha Franklin lent her voice to the track in 1964, infusing it with her own brand of gospel-infused soul. Isaac Hayes’ rendition in 1969 took the song into new territory, transforming it into a sprawling, funk-infused epic that resonated with a new generation of listeners, further proving the song’s adaptability and enduring appeal.

Decades later, in a testament to its lasting influence, Warwick’s original version was sampled by Doja Cat for her 2023 single “Paint the Town Red,” bringing Warwick’s iconic voice back to the top of the charts. This not only introduced the classic to a new generation but also marked a triumphant return for Warwick, showcasing the timelessness of “Walk On By” and its place in the fabric of popular music.

# 3 – This Guy’s In Love With You

Herb Alpert, primarily known for his work with the Tijuana Brass and his trumpet prowess, took a leap of faith by lending his vocals to the track. The result was a lush, romantic single that showcased Alpert’s warm, understated vocal style, perfectly complemented by Bacharach’s sophisticated arrangement. Released in May 1968, Alpert’s rendition soared to the top of the U.S. Billboard Hot 100, marking a significant milestone as his first No. 1 single, as well as the first for his A&M record label. The song’s success was a testament to Alpert’s artistry and the timeless appeal of Bacharach and David’s songwriting.

The song’s journey didn’t end with Alpert. Its universal theme of love and longing inspired several notable covers, particularly by female artists who flipped the perspective with “This Girl’s in Love with You.” Dionne Warwick, a frequent Bacharach-David collaborator, delivered a poignant version that reached the top 10 in the U.S., further cementing the song’s place in the canon of classic pop songs.

The song’s adaptability was further proven by a diverse array of artists who made it their own. From the soulful interpretations of Aretha Franklin and Dusty Springfield to the easy listening renditions by Eydie Gormé and Tony Mottola, “This Guy’s in Love with You” demonstrated its versatility across genres and styles. Even Sammy Davis Jr. brought his unique flair to the song, incorporating it into his live performances with memorable results.

The track’s influence extended beyond the U.S. shores, resonating with international audiences and artists alike. The Australian group the Reels breathed new life into the song with their 1982 version, which became a significant hit down under, showcasing the song’s enduring appeal across decades and continents.

In a unique twist, Noel Gallagher of Oasis fame performed the song with Bacharach himself on piano in 1996, highlighting the song’s ability to bridge generational gaps and connect with audiences of all ages. This performance, aired on BBC Radio 2, underscored the song’s timeless quality and its place in the hearts of music lovers everywhere.

# 2 – Raindrops Keep Falling On My Head

At the number two position on our Burt Bacharach songs list, we present the Burt Bacharach song entitled “Raindrops Keep Falling On My Head.” The song was released in 1969. Crafted for the soundtrack of the 1969 classic film Butch Cassidy and the Sundance Kid, the song became an instant classic, capturing the essence of carefree resilience with its breezy melody and hopeful lyrics.

B. J. Thomas’ rendition of the song soared to the pinnacle of charts worldwide, clinching the number one spot in the United States, Canada, and Norway, and making a respectable showing in the UK Singles Chart. The song’s reign at the top of the Billboard Hot 100 for four weeks in January 1970 heralded the dawn of a new decade, marking it as the first American No. 1 hit of the 1970s. Its dominance extended to the adult contemporary chart, where it enjoyed a seven-week tenure at the summit.

The commercial success of “Raindrops Keep Fallin’ on My Head” was staggering, with over 2 million copies sold by March 1970, a testament to its widespread appeal. The track’s accolades were crowned with an Oscar win for Best Original Song, a testament to Bacharach and David’s songwriting prowess, with Bacharach also snagging the Oscar for Best Original Score.

The journey to the final version of the song was not without its challenges. Thomas’ recording, which took seven takes to satisfy Bacharach’s exacting standards, was imbued with a unique texture due to Thomas’ recovery from laryngitis, lending a husky quality to his vocals distinct from the single release. This authenticity added a layer of depth to the film version, which was punctuated by a vaudevillian instrumental break accompanying Paul Newman’s bicycle antics.

Initially, Ray Stevens was offered the chance to lend his voice to the song for the film but opted to record Kris Kristofferson’s “Sunday Morning Coming Down” instead. Even Bob Dylan was rumored to have been approached, though he reportedly declined the offer. The song’s bass line, brought to life by the legendary Carol Kaye, added a rich undercurrent to its already compelling composition.

Despite initial skepticism regarding the song’s fit for a western film, director George Roy Hill’s insistence on its inclusion proved to be a visionary choice. Even Robert Redford, one of the film’s stars, initially doubted the song’s compatibility with the film’s theme, a sentiment he later recanted, acknowledging the song’s integral role in the film’s enduring charm.

# 1 – What The World Need Now Is Love

We close out our Burt Bacharach songs list with our favorite Burt Bacharach song of all time entitled “What The World Need Now Is Love.”  The song was released in 1965.

Bacharach, in his 2014 autobiography, shed light on the song’s genesis, revealing the intricate process behind its creation. The melody and chorus, conceived in 1962, languished for two years until David penned the iconic opening line, “Lord, we don’t need another mountain.” This breakthrough led to a swift completion of the song, a process that, according to Bacharach, saw the song virtually “writing itself.”

The song’s underlying commentary on the Vietnam War, veiled within its lyrics, positioned it as a poignant reflection of the era’s tumult and division. Bacharach’s decision to integrate the song into his live performances well into the 2000s highlighted its enduring relevance and the timeless call for love in a fractured world.

Initially intended for Dionne Warwick, the song was deemed “too country” and “too preachy” by the singer, a decision she would revisit years later with her own renditions. The song’s path to DeShannon was not without its hurdles, having been passed over by Gene Pitney over financial disagreements. DeShannon’s recording, orchestrated by Bacharach at New York’s Bell Sound Studios, brought a raw, emotive quality to the song, solidifying its place in the pantheon of classic pop songs.

The song’s influence extended beyond DeShannon’s version, inspiring covers across genres, from The Chambers Brothers’ soulful rendition to Glenn Yarbrough’s take on his 1965 album. Its cultural impact was further cemented with Bacharach’s performance in the 1997 film Austin Powers: International Man of Mystery, where it was lauded as “the heart of our film.”

In a testament to its cultural and historical significance, DeShannon’s version was selected by the U.S. Library of Congress for preservation in the National Recording Registry in 2023, an honor that speaks to the song’s profound impact on American music and its message of love and unity.

Professional Sources, research, experience, and citations

Charting and career information used in the analysis and research of the commercial success of these albums comes from the following sources
https://www.billboard.com/charts/
https://www.loc.gov/item/n80050147/burt-bacharach/
https://en.wikipedia.org/wiki/Burt_Bacharach
https://www.nytimes.com/interactive/2023/12/22/magazine/burt-bacharach-death.html

Further analysis and original thoughts are provided by the writer Brian Kachejian’s experience as a professional musician and music collector for over 50 years and his experience as a New York State certified music and history educator and professional music journalist with the New York Press.

Top 20 Burt Bacharach Songs  article published on Classic RockHistory.com© 2024