Often viewed with distrust if not openly opposed by the rock of the 70s (a decade in which the Stranglers' amazing “Walk On By” was released), Burt Bacharach's music was rediscovered by subsequent generations of musicians, particularly fascinated by the lounge sounds of the 50s and 60s, subject to an impressive work of rediscovery and revisitation in the 90s, by Portishead's trip-hop & C. to Belle & Sebastian's lullabies up to the new ranks of Britpop and even the electronic scene, complete with unpredictable sampling (like that of “Blue On Blue” in Royksopp's “So Easy”).
But, looking more carefully, the shadow of the Bacharach-sound – that irresistible mix of strings and soft piano phrases embellished with the suspensions of jazz and the velvety rhythms of bossa nova – had already hovered over the most refined English pop for some time, since the days of the 80s new cool of Style Council, Sade, Matt Bianco and Everything But The Girl (the “Alfie” reinterpreted by Tracey Thorn is wonderful), or the sophisti-pop of Prefab Sprout, Lloyd Cole & The Commotions, Blow Monkeys, Aztec Camera and Deacon Blue (authors of an excellent EP with four Bacharach covers in 1990).
A tribute constant over time, fueled by an inexhaustible mass of covers, from “(There's) Always Something There To Remind Me” by Naked Eyes (one of the maestro's most appreciated) to “Make It Easy On Yourself” by Ash and Divine Comedy, from “Close To You” by Paul Weller to the astonishing “I Just Don't Know What To Do With Myself” by the White Stripes, prophets of the rock-revival of the year 2000 (complete with torrid video clip directed by Sofia Coppola, starring a provocative version of Kate Moss lap dancer).
To the new wave bacharachiana cinema has also joined in: from “American Beauty” to “Forrest Gump”, passing through “Big Fish” and arthouse cults such as “Fear and Loathing in Las Vegas” (Gillian), the American composer's songs have (re)begun to flood the big screen.
These and many other homages have consecrated him as the Coolfather of pop. And we celebrate him once again with a playlist of 21 songs, which collects some of these reinterpretations of his songs by pop-rock artists of all backgrounds.
Antonio Santini for SANREMO.FM
