Burt Bacharach obituary: Composer worked with stars including Dionne Warwick, Dusty Springfield and Tom Jones during seven-decade career
Composer Burt Bacharach – perhaps best known for his Oscar-winning song Raindrops Keep Fallin’ On My Head – has died aged 94.
Hailed as one of the greatest songwriters of the 20th century, he wrote more than 500 songs, which were performed by more than 1,200 different artists, across his seven-decade career.
Despite numerous collaborations, it was the songs he wrote in the 1960s and 1970s with lyricist Hal David and performed by singer Dionne Warwick that achieved the greatest recognition, establishing all three as musical stars in their own rights.
Pic: Dezo Hoffman/Shutterstock
His music – which was often described as ‘easy listening’ or ‘elevator music’ thanks to its catchy melodies – was inspired by an early love of jazz.
But fans of his work would argue that although instantly memorable and addictively hummable, the mixed meters, complex melodies, unusual chord progression and asymmetrical rhythms mean his work was far from ‘easy’.
An accomplished pianist as well as a composer, Bacharach arranged, conducted, and produced the majority of his own songs.
A six-time Grammy Award winner and three-time Academy Award winner, his composing skill earned him comparisons with American music greats including George Gershwin, Cole Porter and Richard Rodgers.
Early collaborations included Perry Como and Jerry Butler, going on to work with stars including Frank Sinatra, Cilla Black, Dusty Springfield, Tom Jones and the Carpenters.
Some of his biggest hits include the Oscar-winning Raindrops Keep Fallin’ on My Head, (They Long to Be) Close to You, Anyone Who Had A Heart, Always Something There To Remind Me, and What the World Needs Now Is Love.
Hollywood also played its part in amplifying his career, with many of his songs going on to become soundtracks to major films.
Pic: AP
The Look of Love, which was used in the 1967 spy parody of a James Bond film, Casino Royale, became a gold record for Dusty Springfield and Brazilian musician Sergio Mendes, and was also inducted into the Grammy Hall of Fame.
Many years later, the spoof movie would lead to cameo roles for Bacharach in all three Austin Powers films, with Mike Myers calling him a “lucky charm” for the films.
What’s New Pussycat? – which featured in the 1965 Woody Allen film of the same name – gave Welsh singer Tom Jones his second top 40 US hit and was also nominated for an Oscar for best original song the following year. It went on to be sung by stars including Barbra Streisand, The Four Seasons and The Wailers.
His mention in Monty Python’s The Meaning Of Life was proof of his rightful place in pop culture, as well as his reputation as a ladies man.
‘I did not want to disappoint my mother’
Born Burt Freeman Bacharach on 12 May 1928, in Kansas City, Missouri, his father was a newspaper columnist and his mother an amateur painter and pianist.
The family moved to New York when he was three. A Jewish family in a largely Catholic neighbourhood, Bacharach said in his 2013 autobiography, Anyone Who Had A Heart: My Life And Music, that he kept his faith to himself, and “didn’t want anybody to know about it”.
It was thanks to his mother’s love of music that Bacharach undertook piano lessons as a child. He hated them with a passion, but later told fans during gigs that he persevered as “I did not want to disappoint my mother”.
He went on to study music at Montreal’s McGill University, Quebec, Canada, before completing his training at Mannes School of Music, in New York, and at the Music Academy of the West in Montecito, California.
Not a fan of the classical music he would play in his classes, he would later sneak into jazz clubs as a teenager, with the style going on to influence his songwriting later in his career.
Drafted into the US army for two years in 1950 during the Korean War, and stationed in Germany, he got his first taste of working in music serving as a pianist at officer’s clubs and arranging music for dance bands.
Burt Bacharach pictured at a media event in Sydney in June 2007
Hitting it off with big band singer and actor Vic Damone during his time in the military, he went on to work with him as a pianist and conductor following his discharge.
Touring with Hollywood royalty
From there he began to play with other artists, including actress Marlene Dietrich who is said to have called working with him “seventh heaven,” according to the 1989 biography Marlene.
Looking back on his time with her in his autobiography, Bacharach wrote: “We went to Russia, Israel, the Middle East. Going with Marlene was like going in with a conquering army.”
As the Hollywood star’s musical director, arranging and conducting her nightclub shows, he gained greater public prominence, however their working relationship came to an end in the early 1960s, when Bacharach decided to devote himself to his own songwriting full time.
Looking back to the start of his career, Bacharach said he initially thought songwriting was “so startlingly simple, I thought I could write five or six a day”.
However, after a year or so of working, and “about a thousand” rejection letters, he concluded: “It’s hard to be simple.”
Without doubt, his most enduring and fruitful professional relationship was with lyricist Hal David, who he met in 1957. In the early and mid-sixties alone, the pair wrote over 100 songs together.
Work with Hal David and Dionne Warwick
But it was in 1961, when they discovered Dionne Warwick who was working as a session singer, that their partnership really took off.
During their time creating songs for Warwick, they wrote 39 of her chart hits including Don’t Make Me Over, I’ll Never Fall In Love Again, Walk On By and Do You Know The Way To San Jose.
In 1969, Bacharach and David ventured into theatre, writing hit musical Promises, Promises, based on the 1960 film The Apartment. Their first and only Broadway show, it won them a Grammy.
Less auspicious was their soundtrack for the 1973 movie Lost Horizon, a massive flop which led to lawsuits between the pair and their professional breakup.
In turn, their parting of ways led Warwick to sue them for failure to honour their contract working with her on her music. It was finally settled out of court in 1979 for $5m (£4.1m).
In 1975, Bacharach worked briefly with David again, producing a Motown album together.
And in 1985, Warwick and Bacharach were reunited too, when she sang his hit That’s What Friends Are For.
Co-written with his then-wife Carole Bayer Sager, the track featured Elton John, Stevie Wonder, and Gladys Knight and went on to win a Grammy for Song of the Year.
Warwick described her relationship with Bacharach at the time as: “Not just friends. We’re family.”
The three would work together once more in 2000, on songs for film Isn’t She Great, based on the life of Valley Of The Dolls novelist Jacqueline Susann.
In the 1980s, Bacharach’s music inspired many of the songs coming out of the post-punk era, and in the 1990s his work was introduced to a whole new generation of fans thanks to a lounge music resurgence, led by bands including Divine Comedy and The Mike Flowers Pops.
Named the “Sexiest Man Alive” by People Magazine in 2000, the noughties saw remixes and samples of his work high in the charts on numerous occasions.
Bacharach performing with the BBC Concert Orchestra in 2008
An American Idol
A guest vocal coach on American Idol, an entire episode was also dedicated to his hits in 2006.
More modern collaborations include Sheryl Crow, Elvis Costello, Noel Gallagher and hip-hop producer Dr Dre.
In June 2015, Bacharach played the main stage at Glastonbury Festival, 15 years after he had been forced to pull out of the event due to a shoulder injury.
Bacharach was awarded the Johnny Mercer Award, the highest honour in the Songwriters Hall of Fame In 1996.
Other honours include the George and Ira Gershwin Award for Musical Achievement from the University of California, Los Angeles, and a Grammy lifetime achievement award, where he was proclaimed music’s greatest living composer, in 2006.
A performer as well as a composer, Bacharach played concerts all over the world throughout his career, often accompanied by large orchestras.
Not known for his political songs, he made an exception in 2018 with Live To See Another Day, dedicated to the survivors of gun violence and with proceeds going to a charity run by the families of some of those killed in the 2012 Sandy Hook Elementary School shooting.
In late 2022, a New York dance troop celebrated Bacharach’s music in an evening of dance titled The Look Of Love, named after one of his biggest hits.
Even his pastime of horseracing – he was an owner and breeder of thoroughbreds for over 30 years – was influenced by his love of music, naming one of his champion horses Heartlight No. One after his Neil Diamond collaboration, inspired by film E.T.
Bacharach was married four times, first to TV actress Paula Stuart between 1953 and 1958, then to actress Angie Dickinson between 1965 and 1980.
Bacharach and Dickinson had one daughter together, Nikki, who took her own life in 2007, aged 40, after battling with Asperger’s Syndrome from a young age.
His third marriage to lyricist Carole Bayer Sager lasted from 1982 to 1991, and they adopted a son, Christopher.
His fourth and final marriage was to former ski-instructor Jane Hanson, 32 years his junior, with whom he has a son and a daughter – Oliver and Raleigh.
Bacharach is survived by ex-wives Dickinson and Bayer Sager, his wife Jane, and children Christopher, Oliver and Raleigh.
Iceland has announced it is boycotting next year’s Eurovision over Israel’s participation in the competition, saying taking part would “neither be a source of joy nor peace”.
The announcement from Iceland‘s RUV follows withdrawals by broadcasters from the Netherlands, Spain, Ireland and Slovenia.
In a statement, RUV said participation of Israeli national broadcaster KAN had “created disunity” among members of the European Broadcasting Union (EBU), which organises Eurovision, and the general public.
Israel‘s place in the contest was confirmed at the EBU’s general assembly last week.
Yuval Raphael represented Israel at this year’s competition in Switzerland. Pic: Reuters/ Denis Balibouse
The past two events have attracted protests and fan boycotts over Israel’s inclusion amid the country’s military action in Gaza. This year, there were also allegations that voting had been manipulated in favour of their contestant.
After growing criticism, members were asked to vote in a secret ballot last week on whether they were happy with tougher new rules introduced in November, or whether they wanted a second vote on participation for 2026.
The majority agreed the changes were enough, although Sky News understands 11 countries were against accepting these without a further vote.
Dutch broadcaster AVROTROS, Spain’s RTVE, Ireland’s RTE and Slovenia’s RTV immediately issued statements announcing their withdrawal.
Becoming the fifth broadcaster to pull out, RUV made the announcement following a board meeting. It said that while the new rules address many of the concerns it has raised, it believes there are “still doubts” about whether the changes are enough.
Spain, represented by Melody earlier this year, is among the countries boycotting the event. Pic: REUTERS/Denis Balibouse
Has issue damaged Eurovision?
“RUV has repeadly raised concerns that various Icelandic stakeholders, such as artist associations and the general public, were opposed to participation in the contest,” the statement said. “Furthermore, RUV had requested the EBU to exclude KAN from the contest in accordance to precedents.
“It is a complex matter which has already damaged the contest’s reputation and EBU, emphasising the necessity of a solution for all concerned parties.”
Austria, which will host next year’s show, last week said it was pleased to see Israel allowed to participate. Roland Weissmann, director-general for Austrian broadcaster ORF, said the contest was a “competition for broadcasters, not governments”.
KAN chief executive Golan Yochpaz has said attempts to remove them from the contest could “only be understood as a cultural boycott”.
Remember Monday represented the UK in 2025. The BBC has said it supports the EBU vote decision. Pic: MANDOGA MEDIA/picture-alliance/dpa/AP
What have other broadcasters said?
The BBC, which broadcasts Eurovision in the UK, also said it supported the decision.
Earlier on Wednesday, Poland’s TVP confirmed its participation.
In a statement, the broadcaster said it was aware of the scale of the tension surrounding the competition and understood the emotions and concerns raised.
“However, we believe that Eurovision still has a chance to once again become a space filled with music. And only music,” a TVP statement said.
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Despite some pressure from the cultural union in Belgium for a boycott, broadcaster RTBF also confirmed its participation last week.
But the walkouts cast a shadow over what is meant to be a celebration of the unifying power of music.
Countries have pulled out or been banned in previous years – most notably Russia in 2022, just days after the invasion of Ukraine – but this is perhap’s Eurovision’s biggest political crisis.
Noa Kirel, who represented Israel in 2023, told Sky News in an interview in October that while the situation now is “very different” from when she took part in May of that year, she believes it should not be about politics and must “focus on the music”.
Today was the deadline for broadcasters to confirm participation. A final list of competing nations will be published early next week, the EBU said.
In response to RUV’s decision, Eurovision director Martin Green said: “We respect the decision of all broadcasters who have chosen not to participate in next year’s Eurovision Song Contest and hope to welcome them back soon…
“We look forward to welcoming around 35 broadcasters and their artists to Vienna next May.”
Entertainment
Why is Warner Bros for sale, what are the controversial bids – and how is Trump involved?
A huge takeover that would rock the entertainment industry looks imminent, with Netflix and Paramount fighting over Warner Bros Discovery (WBD).
Streaming giant Netflix announced it had agreed a $72bn (£54bn) deal for WBD’s film and TV studios on 5 December, only for Paramount to sweep in with a $108.4bn (£81bn) bid several days later.
The takeover saga isn’t far removed from a Hollywood plot; with multi-billionaires negotiating in boardrooms, politicians on all sides expressing their fears for the public and the US president looming large, expected to play a significant role.
“Whichever way this deal goes, it will certainly be one of the biggest media deals in history. It will shake up the established TV and film norms and will have global implications,” Sky News’ US correspondent Martha Kelner said on the Trump 100 podcast.
So what do we know about the bids, why are they controversial – and how is Donald Trump involved?
Why is Warner Bros up for sale?
WBD’s board first announced it was open to selling or partly selling the company in October after a summer of hushed speculation.
Back in June, WBD announced its plan to split into two companies: one for its TV, film studios, and HBO Max streaming services, and one for the Discovery element of the business, primarily comprising legacy TV channels that air cartoons, news, and sports.
It came amid the cable industry’s continued struggles at the hands of streaming services, and CEO David Zaslav suggested splitting into two companies would give WBD’s brands the “sharper focus and strategic flexibility they need to compete most effectively in today’s evolving media landscape”.
The company’s long-term strategic initiatives have also been stifled by its estimated $35bn of debt. This wasn’t helped by the WarnerMedia and Discovery merger in 2022, which led to it becoming Warner Bros Discovery.
WBD’s announced it was open to selling or partly selling the company in October. Pic: iStock
What we know about the bids
The $72bn bid from Netflix is for the first division of the business, which would give it the rights to worldwide hits like the Harry Potter and Game of Thrones franchises – and Warner Bros’ extensive back catalogue of movies.
If the deal were to happen, it would not be finalised until the split is complete, and Discovery Global, including channels like CNN, will not form part of the merger.
Paramount’s $108.4bn offer is what’s known as a hostile bid. This means it went directly to shareholders with a cash offer for the entirety of the company, asking them to reject the deal with Netflix.
Ted Sarandos, CEO of Netflix. Pic: Reuters
This deal would involve rival US news channels CBS and CNN being brought under the same parent company.
Netflix’s cash and stock deal is valued at $27.75 (£20.80) per Warner share, giving it a total enterprise value of $82.7bn (£62bn), including debt.
But Paramount says its deal will pay $30 (£22.50) cash per share, representing $18bn (£13.5bn) more in cash than its rivals are offering.
Paramount claims to have tried several times to bid for WBD through its board, but said it launched the hostile bid after hearing of Netflix’s offer because the board had “never engaged meaningfully”.
David Zaslav, CEO and president of Warner Bros Discovery. Pic: Reuters
Why are politicians and experts concerned?
The US government will have a big say on who ultimately buys WBD, as Paramount and Netflix will likely face the Department of Justice’s (DOJ) Antitrust Division, a federal agency which scrutinises business deals to ensure fair competition.
Republicans and Democrats have voiced concerns over the potential monopolisation of streaming and the impact it would have on cinemas if Netflix – already the world’s biggest streaming service by market share – were to take over WBD.
Democratic senator Elizabeth Warren said the deal “would create one massive media giant with control of close to half of the streaming market – threatening to force Americans into higher subscription prices and fewer choices over what and how they watch, while putting American workers at risk”.
Similarly, Representative Pramila Jayapal, who co-chairs the House Monopoly Busters Caucus, called the deal a “nightmare,” adding: “It would mean more price hikes, ads, and cookie-cutter content, less creative control for artists, and lower pay for workers.”
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Netflix’s business model of prioritising streaming over cinemas has caused consternation in Hollywood.
The screen actors union SAG-AFTRA said the merger “raises many serious questions” for actors, while the Directors Guild of America said it also had “concerns”.
Experts suggest there’s less of a concern with the Paramount deal when it comes to a streaming monopoly, because its Paramount+ service is smaller and has less of an international footprint than Netflix.
How is Trump relevant?
After Netflix announced its bid, the president said of its path to regulatory clearance: “I’ll be involved in that decision.”
And while Mr Trump himself will not be directly involved, he appointed those in the DOJ Antitrust Division, and they have the authority to block or challenge takeovers.
However, his potential influence isn’t sitting well with some experts due to his ties with key players on the Paramount side.
Larry Ellison (centre left) in the White House with Trump. Pic: Reuters
Paramount is run by David Ellison, the son of the Oracle tech billionaire (and world’s second-richest man) Larry Ellison, who is a close ally of Mr Trump.
Additionally, Affinity Partners, an investment firm run by Mr Trump’s son-in-law Jared Kushner, would be investing in the deal.
Also participating would be funds controlled by the governments of three unnamed Persian Gulf countries, widely reported as Saudi Arabia, Abu Dhabi and Qatar – countries the Trump family company has struck deals with this year.
David Ellison, CEO of Paramount Skydance. Pic: Reuters
Critics of the Trump’s administration has accused it of being transactional, with the president known to hold grudges over those who are critical of him, however, Mr Trump told reporters on 8 December that he has not spoken with Mr Kushner about WBD, adding that neither Netflix nor Paramount “are friends of mine”.
John Mayo, an antitrust expert at Georgetown University, suggested the scrutiny by the Antitrust Division would be serious whichever offer is approved by shareholders, and that he thinks experts there will keep partisanship out of their decisions despite the politically charged atmosphere.
What happens next?
WBD must now advise shareholders whether Paramount’s offer constitutes a superior offer by 22 December.
If the company decides that Paramount’s offer is superior, Netflix would have the opportunity to match or beat it.
WBD would have to pay Netflix a termination fee of $2.8bn (£2.10bn) if it decides to scrap the deal.
Shareholders have until 8 January 2026 to vote on Paramount’s offer.
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