![]() Usually compilations of songs other performers had already made successful, they seldom showed off his compositions to their best effect. You could see why – his own albums, such as 1965’s Hit Maker! or 1967’s Reach Out, tended towards syrupy arrangements and cooing vocal choruses. He often got lumbered with the term easy listening. Look at the charts from 1966 or 1967 and you’ll find a stark split: Strawberry Fields Forever and Purple Haze v Engelbert Humperdinck and Ken Dodd’s Tears.ĭionne Warwick sued both Bacharach and Hal David for damaging her career by splitting upīut Burt Bacharach’s music existed somewhere in the middle. The twain very seldom met: if anything, the divide became more pronounced as the 1960s wore on and a cocktail of new technology and new drugs meant the music aimed at teenagers became more adventurous, strange and innovative. Look at the charts from 1952 or 1953, and they’re packed with songs that seem to target an older demographic, who didn’t want shock or rebellion or white-hot excitement, but something to soothe or buoy them along, what eventually became known as easy listening. And then there was the music that carried on much as it had in the years between the end of the second world war and the appearance of Bill Haley, Elvis Presley, Little Richard et al. There was music aimed squarely at the recently discovered teenager that frequently seemed to have the specific intention of alienating their forebears. With the arrival of rock’n’roll, pop music divided, broadly speaking, into two categories.
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