“Melody wrote a poem that turned out to be “Bridges” and recited it for me. I took it word for word and put it to music. It really magically came together with little changes from the original poem. I loved it, and I set it. It’s the way I like to write, to a guidemark that creates a form within itself, how the words form. Not a word that had to be changed, and it is a gift to get something structured like that. When lyrics can seamlessly break into song, almost in the same “language,” the same believability.”
– Burt Bacharach
Burt Bacharach and Melody Federer have joined creative forces. “Bridges” marks the first collaborative effort from Bacharach and Federer. The two have been able to work together creatively in what is a match made in musical heaven.
Bacharach is hailed as one of the world’s most acclaimed, award-winning composer/songwriters. His music is as diverse as his audiences, spanning generations and continents, as he is celebrated both as a pop culture icon and one of the world’s greatest contemporary composers.
The release of “Bridges” will mark eight decades of Bacharach creating music.
The technical team behind the track includes 2020 GRAMMY nominees Danial Tashian (Producer), Mike Poole (Engineer), and Greg Calbi (Mastering). Tashian and Poole also won big at the GRAMMY’S in 2019 for their work on Kacy Musgraves’ Golden Hour.
Melody Federer’s music is at once enigmatic and candidly charming. Texas-born with a nomadic soul, she honed her craft in New York, Paris, Los Angeles and Nashville and now lives in Seattle, where she continues to gain recognition as an up-and-coming talent in the world of Indie and Pop music.
A noted solo artist as well as an accomplished writer for various musicians, her style is genre agnostic, and her stage presence is effortlessly versatile. She can capture a room with just her voice and guitar or with a full band, and she holds her own standing in as a guest with legends of the industry.
“I found her to be an amazingly good and quick writer, and then I heard her sing in the studio and it took my breath away. I thought that she really had what it took to become a great songwriter and performer. I brought her to England to do two concerts in London at the Royal Festival Hall with a full orchestra. We hadn’t done a guest spot like that since I brought out Noel Gallahger. We did two songs together that went over very well,” says Bacharach of Federer.
“She’s got an amazing way with words and the way she writes. She writes very musically. When I get a lyric that I can just set, that’s very appealing to me. She’s very gifted, and her mind is trigger fast when coming up with good, fine, intelligent lyrics. No wasted words.”
Federer adds, “writing with Burt has been the greatest honor of my songwriting career thus far. He is the hardest working composer I’ve ever met. There isn’t a wasted minute or note with him. He is all about the music and the work. He’s so incredibly passionate about getting the melody and the lyric just right. I’ve grown immensely as a writer since collaborating with him. He pushes me and doesn’t let me settle for good, it has to be right. Another thing about Burt is he’s witty and quick, funny and kind. He’s razor sharp and he has this way of commanding a room, a whole orchestra, without even saying a word. But some of my happiest moments have been just sitting down with him in his kitchen and having a bowl of home-made pasta together and talking about love, life, and politics. He’s extremely passionate about politics. We’ve been writing a lot of political songs lately. I love hearing about his adventures, and when I talk, he really listens. Even with all the GRAMMY’s and Emmy’s and Oscars, he is just so genuine and down to earth. He’s such a badass.”
“With “Bridges”, he asked me to send him some poetry I’d written. I sent him one I’d originally called “4 a.m. Poem” because I’d sent it to someone I had been in love with for many years at 4 a.m. one morning after a show, probably because I’d had one too many gin and tonics. It was a poem sort of saying “I just keep coming back to you, my heart still yearns for that first love.” It starts off ” The one bridge I could never burn, the lesson I could never learn, every time I took that turn I wound up at your door”. What I didn’t realize was when I forwarded the poem, I accidentally forwarded Burt about ten years’ worth of letters and poems exchanged between he and I. So when I showed up to work at Burt’s the next time, he had a stack of poems he’d printed off. “I like these two,” he said. One was mine, and ironically, one was a response. We had a good laugh about that. I left it with him and the next time we worked he showed me what he’d written for it. It took my breath away. It was epic and powerful and everything I’d wanted to convey with the words, except now Burt had given the words a heartbeat. He’d totally elevated and transformed my little poem into this heartbreakingly beautiful ballad. I then had the idea to bring Daniel Tashian on board who’d I’d met during my time in Nashville. He’d just finished the Kacey Musgraves record, Golden Hour, and was also a huge fan of Burt’s.”
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