Just before I sat down to interview Dionne Warwick a few weeks ago, I revisited her 1963 debut album Presenting Dionne Warwick on a drive from Columbus to Dayton. Above the drone of my noisy Volkswagen engine, the shuffling intro to the set’s opening track, “Empty Place,” flooded my speakers.
Eight seconds in, there it was—her caramel-smooth voice that makes every note of whatever song she’s singing a standalone event. It’s no wonder that Scepter Records president Florence Greenberg was immediately taken by her when she signed the then-22-year-old Warwick to her fledgling label in 1962. And there’s no mystery as to why songwriters Burt Bacharach and Hal David embraced her so tightly as their muse.
But Warwick was more than just a vehicle for the Brill Building machine—there was a real creative partnership built between her, Bacharach and David that rested on a foundation of her lived and learned experiences as a musician. The New Jersey native was born into a gospel family, many of whom had been active members of the esteemed vocal group the Drinkard Singers. The Drinkards had been performing since the late 1930s, but reached their halcyon in the latter part of the 1950s when they were signed to and released music for RCA Records.
Warwick herself began singing as a child at the New Hope Baptist Church in the University Heights neighborhood of nearby Newark. Later, she, cousin Cissy—the future mother of Whitney Houston—and sister Dee Dee would form the Gospelaires. She continued performing with them while attending Hartt College of Music in West Hartford, Connecticut, often guesting as background vocalists in live shows and recording sessions in and around New York City. One of those was an October 1961 stint at Atlantic Studios to support the Drifters’ track “Mexican Divorce.” Bacharach, who was one of its co-writers, was impressed by Warwick’s capabilities and hired her to demo some songs he and David had been working on.
Warwick has a singular gift for vocal nuance, always managing to find exactly the right measure of emotion and dynamic in her delivery. Her earliest work with Bacharach and David would evolve into one of the most fruitful musical collaboratives in history. Bacharach’s melodies are tastily unconventional, rife with surprise key changes and rhythmic eccentricities—and David’s relatably ardent lyrics effortlessly carry their weight. The public was captivated, and the hits quickly proliferated—“Don’t Make Me Over,” “Walk On By,” “Anyone Who Had A Heart,” “I Say A Little Prayer.” Between 1963 and 1969 alone, Warwick scored eighteen top forty singles in the United States.
Her 1960s output with Bachrach and David set the stage for the rest of her lionized career as one of music’s most celebrated singers of any generation. She ranks among the forty most commercially successful artists of all time, charting 56 singles on Billboard’s Hot 100 between 1962 and 1998—and a total of 80 of Warwick’s singles have charted on at least one of the magazine’s Hot 100, R&B, and adult contemporary tallies.
In 2019, she released her twenty-ninth and thirtieth studio albums—She’s Back and Dionne Warwick & the Voices of Christmas—both of which were primarily produced by her youngest son, Damon Elliott. Her eldest, David, is also a singer and songwriter and has appeared alongside his mother in a number of performances.
Now, Warwick, who just turned eighty in December, is gaining an entirely new audience thanks to her recent venture into the social media wilderness. Her kindness and wit have enchanted nearly a half-million Twitter followers as she’s playfully summoned other celebrities and engaged generously with her continually growing fan base that—with her permission—affectionately addresses her as Auntie Dionne.
“Everyone seems to be enjoying it,” she says with a grin. “I’m having a good time. That’s what it’s for—It’s supposed to be fun.”
Her conquering of the Twitterverse has also led to new musical projects, including a forthcoming single with Chance The Rapper and The Weeknd entitled “Nothing’s Impossible”—the proceeds from which will benefit the non-profit organization Hunger: Not Impossible, which combats food insecurity in underserved communities across the country.
On schedule, Ms. Warwick and her megawatt smile appear on my computer screen. As she adjusts her iPhone camera, she acknowledges the dialogue happening in the background.
“I’m watching my MeTV,” she explains. ‘I love that channel—it takes me back to my childhood. It’s nice to be able to remember the good old days [laughs]. That’s what they were—the really good old days.”
As she settles into her chair, I admit that I’ve been unusually nervous for our interview.
“What? Really?”
Well...yes. I suggest to her that she’s rather widely considered to be legendary. She smirks a bit incredulously and looks off to the side.
“Okay, well...I don’t know how to take that, but anyway…[laughs] Legendary? Everybody keeps saying I’m a legend. I’m working on it. That’s how I feel.”
Throughout our conversation, Ms. Warwick and I touch on as many milestones of her now seven-decades-long career as we can fit into a half-hour. She’s generous with her laughter and humor, and continually self-effacing—readily naming and offering praise for those who have helped her along the way.
You were just speaking of your childhood, and you grew up in a family that was deeply rooted in gospel music. I’m wondering what kind of artistic and disciplinary preparation that might have afforded you as a pop singer?
You know, more than anything else it gave me the understanding of words—lyrics. And that, primarily, is what I really look for first when a song is presented to me. I don’t refer to Hal David as a lyricist—I refer to him as a poet. His words were not only meaningful, they were words that everyone really wants to say, you know? And understand and find no problem in hearing or listening to. It was my joy being able to sing those words.
Well, let’s start at the beginning with Presenting Dionne Warwick. It’s late 1962 and you’re in Bell Sound Studios in New York with Burt Bacharach and Hal David recording the album that’s going to launch your career. What do you remember most about that experience?
Yeah, it was fun, you know? Over the years, of course, we became very, very good friends. More family than friends, actually. But being able to sing those wonderful words, but then those very intricate melodies—it was a bunch of fun for me because it was like taking an exam every time I went into the studio with them. Burt…[laughs] has his eclectic way of writing—you know, he has his own drummer that he marches to. And if you want to be a part of that musical scene, you have to march along with him.
The fact that I was in college at the time, I became really involved in doing the demonstration records and background work—and finally recording. It was wonderful. It kept me abreast of time signatures, of different key changes—being able to stretch. And he took full advantage of that. He really did. So, it was wonderful working with both of them.
It sounded like Florence Greenberg gave you, Burt, and Hal a lot of latitude to explore and experiment with the music you created together while you were with her label. What sort of input did you have on those records?
Well, they gave me the opportunity to be who I am. There was no way they were going to take what I already had and misuse it. I wouldn’t allow that, first of all [laughs]. Being able to use my musicality was wonderful working with them. If there was a word with one of the notes that Burt insisted upon having that didn’t quite fit, I just changed the word. And Hal allowed me to do that. And vice-versa, if there was a note that didn’t fit a word, and Hal wanted that word to be said, I changed the note. We each had something to bring to the table, and we allowed one another to do that.
I’ve always been curious why you never ventured into songwriting. You’ve always been so wonderfully expressive and you key into a song’s emotional appeal so intuitively, so I’m surprised that wasn’t something you leaned into more.
Yeah, that’s a very special talent, I feel, and I’ve been privy to having some of the best talents who ever did that do it for me. I’ve written one song [laughs] and it made it on the [How Many Times Can We Say Goodbye] CD—"Two Ships Passing in the Night,” it’s called. But I do feel it really is a specialized talent and I feel that you do what you do and let other people do what they do. That’s probably the best reason I could give.
I consider you to be an unparalleled interpreter of music and lyrics. When those compositions come from someone else, to what place do you need to go internally to ensure you connect with that written work?
I feel that every song I’ve sung has been written specifically for me. So, the composer, thankfully, has had a lot to do with how I approach the song based on the fact that they did their homework. They dug into who I was and how I felt, and they kind of became me [laughs] in order to bring those particular words and melodies for me to sing. They took the time to really explore what and who Dionne Warwick is and was. So, it wasn’t too hard.
“Heartbreaker” was probably the first song I consciously connected to you when I was growing up. I know you were reticent to record it at first when Barry Gibb had presented it to you. Do you still feel the same way about it now?
It’s like everything else—I didn’t want to do “Do You Know The Way To San Jose?” either [laughs]. I had no criteria. But, with the insistence of both Hal David with “San Jose” and Barry, who said “you will record this song,” I said “okay, okay...I’ll record the song. Okay.” [laughs] But I gave it the best effort I could, and as it turned out, they were two of the biggest hits I’ve ever had! [laughs] So, I have no criteria.
And 2021 marks the 35th anniversary of “That’s What Friends Are For,” which was another track that I remember so clearly hearing when I started listening to the radio. Obviously, that song and the time you spent recording with Gladys Knight, Elton John, and Stevie Wonder meant a lot to you as it did to millions of others.
That song is very, very special. It had a special meaning for me before we even recorded it. I heard it while watching TV in this part of Night Shift. Rod Stewart sang that song first. And, I had just left Burt and Carole [Bayer Sager], his wife...at the time [laughs], and they had been commissioned to do a few songs for a new project I was doing for Arista. I left to go home after I had listened to some songs they were presenting to me to hear. And that night, Night Shift was on TV, and I watched it, and at the end was when the theme came up of “Friends.” I thought, ‘well, who wrote this song?’ because it struck a note with me. Friendships are very, very vital to my being, and I say it so frequently I sound like a broken record. But it’s true—they’re the blood that runs through my veins. Friends are very important to me.
The next day, I was going back over to hear some more songs, and I brought that song up. It’s so funny because Carole said, “well, now four people know that song.” I said, “what are you talking about, four people?” She said, “well, it’s Burt, myself, Rod—and now you.” I said, “well, it’s time for everybody to hear this song. It’s too good not to be heard. I’d love to invite some friends to be a part of it, because that’s what the song’s about—being there for each other.” And they agreed.
I called Gladys first. I didn’t really ask her—I just said, “you’re going to be at Conway Studios tomorrow evening.” [laughs] She said, “oh, okay!” [laughs] Then, I called Stevie who was visiting his children in New Jersey, and I asked him when he was coming back to L.A. because I was recording and wanted him to be a part of it. He said, “as a matter of fact, I’m coming back tonight.” I said, “wonderful! So, tomorrow night you’ll be at Conway Studios.” Then I saw Elton that evening at the grocery store. He was in the produce department as I was, and I said, “what are you doing here, Elton?” He said, “I’m planning a party for my manager’s birthday.” I said, “well, what are you doing tomorrow night?” He said, “that’s the night of the party.” I said, “oh, Elton, you have to come and record with me.” And he said, [mimicking his accent] “well, of course, darling!” as only Elton can say. So, he showed up, and that’s really how it all came together.
They are friends, and they have been for many years. After we got there to record, it was wild because Elizabeth Taylor was there in the control booth with Burt and Carole. She was a dear friend of theirs. After we recorded, we came back to listen to the song, and she said, “you know, I’m starting a foundation, and it has to do with AIDS.” We all kind of looked at each other —we’d all been touched in some way by it, especially within our industry. We were losing so many people. She asked if we wouldn’t mind giving that song—and giving is the operative word —as a theme for the foundation and for the AIDS issue. We kind of all felt if it was going to help, why not? It was the first fundraiser for the foundation and it raised the first three million dollars. We feel very close to the song, all four of us.
Your music has been healing to generations of people. What music do you listen to when you need that?
I listen to Brazilian music. I find songs that were written by Brazilian composers—and also performed by them—to be happy music. It puts me in a really smiling place. I love it. They could be singing about a rock, and it’s okay. I love it so much [laughs].
There’s a lot of excitement about your upcoming collaboration with Chance The Rapper and The Weeknd. How is that shaping up?
Well, we’ll be getting in the studio very soon, as a matter of fact. [Chance and I] had a conversation about three or four days ago. Right now, he’s working on what he feels the song could use, as far as he’s concerned. We’ll be speaking again...let’s see...it’s Monday...so, on Wednesday we’re going to have another conversation to go over what he feels and what he hears, et cetera. He’s a wonderful young man. I mean, I’m having such a good time getting to know him. I love his spirit, you know? His energy is so real.
And I like the fact that his beliefs are mine, too. He believes desperately in God and I find that very, very appealing. It’s become more than a friendship—he’s almost become like my son [laughs]. It’ll be happening very soon, and it’s for a very good cause. We’re very pleased to be able to do something to combat hunger and homelessness and to help children to get a better education. We hope this particular song will raise everybody up.
I know your faith has always been so central to your being. How does that manifest in your music?
I put him first. God is always before me. I don’t go on a stage without asking him to come and sit in on the show. My grandfather was a minister and I was raised in a gospel-singing family. As I said before, understanding the words I was singing in gospel songs also gave me an understanding of what I was singing in pop music, in jazz, R&B, whatever—just music generally. He or she, however you want to look at it, is a very important entity to me. I don’t go anywhere without him, and nobody can get near me that he doesn’t want to get near me [laughs].
And now your sons David and Damon have followed you into the industry as musicians. What lessons have you learned that you’ve been able to impart to them as they pursue their own careers?
Just be who you are. It’s the same thing I’ve been told all my life—you can’t be anybody other than who you are. That’s very, very vitally important. And get to know who you are and understand who you are. And more importantly, like who you are. I like me. I do. I have a lot of fun laughing at myself and being with myself. It’s a very important part of being. Actually being. And today is a very important day because it’s David’s birthday. He’s in Virginia right now with his daughter—he’s taking her back to school. We find time for each other, always. I wake up in the morning and I either have a message from one of them that says, “good morning, mommy!” or I’ll call them and wake them up [laughs].
What’s the greatest kindness someone has extended to you in your career?
Oh, my...
I’m sure you’ve received many.
Yeah, I really have. I guess it’s been the mentorship I’ve received from the icons of our industry. I was truly blessed and spoiled. I don’t think it could get any better than to be embraced by people who were doing exactly what I wanted to do, and looking the way I wanted to look, and being the way I wanted to be. You know, when you have people like Sarah Vaughan and Lena Horne, and Ella Fitzgerald and Diahann Carroll, and Sammy Davis, Jr. and Frank Sinatra, and Dean Martin...I mean, these people really just threw their arms around me like I was their little baby. And I’m loving every second of it [laughs].
Those people really set the course for me. Marlene Dietrich...I mean, how much bigger could those people be that set the course? And I walked in their footsteps and was sitting on their shoulders. I feel very privileged. I really do.
You’ve seen a lot of changes happen in the industry over the years. What do you hope always persists as part of the experience of making music?
I certainly hope that, eventually, the pendulum will swing back to where it’s supposed to be with words of encouragement—words of joy, of happiness, of prosperity, of hope. Not some of the words I hear some of these kids now throwing at me. I don’t want to hear that. I really don’t. I don’t mind them expressing themselves, but there is an alternative way of doing it. When you speak softly, you can still carry that big heavy stick [laughs].
And what do you hope is in store for you in this next phase of your career? Is there something specific you’re still chasing now?
Oh, the Oscar, the Emmy, the Tony—not necessarily in that order [laughs]. I’m receiving, I believe, all of the rewards I’m supposed to have. I don’t look at what it is I want—I look at what it is what I’m supposed to have. I’ve always said, and I’ll continue to say it, that when it’s supposed to happen, it will happen—whatever it is.
We’re living in an incredibly challenging time in history that will require all of us to look internally to resolve the many issues we’re contending with as a society. How have you been able to emotionally and spiritually transcend all of it?
I don’t find it very difficult. I really don’t, because of the way I was raised and brought up—to understand. You know, I understand the anger, and I understand the discourse that’s happening right now. What I don’t understand is how it’s being perpetuated and who’s doing it. You know, we follow the head, and whenever the head is not a nice person and does evil things —or says evil things or perpetuates evil things—we can’t expect anything else to happen but evil to follow that head. I mean, that whole attitude finally has an end, and we have a compassionate, genuine person walking into that position now. And that will heal—or begin the healing—that we need.
It’s going to take a minute, you know—it’s not going to happen overnight. But (President) Joe (Biden) is a compassionate guy, and I had the pleasure of meeting him and knowing him during my period as the Ambassador of Health for the United States. I got to know a lot of the senators and congressmen and got to speak to them. He’s always been very genuine, which is what we need. We need somebody who listens, who understands, and reacts to it—not somebody who was the “do as I say and not what I do” attitude. That’s what we’ve been living under the past four years and we’ve been led down the primrose path. But every rose has a thorn [laughs].
I’m just hoping that between him and (Vice President) Kamala (Harris), they’ll be able to get us back on track. There’s a right way and wrong way, and hopefully, the right way is what will prevail.
It’s not lost on me that you and I are speaking on Martin Luther King, Jr. Day. I know he’s someone that impacted you profoundly, and you’ve spoken a lot about the racism and segregation you’ve seen and personally experienced, which he dedicated his life to combating. What are you reflecting on today, about him, as those problems persist more than fifty years later?
I just did a video wishing him a happy birthday, which we sent out on social media. Boy, do I miss him. I miss him terribly. I got to know him. Dr. King was a very, very special man. First of all, being a minister, too, had a lot to do with how he thought and how he saw things. I hope that today, other than being a day when the banks and everything are closed, that we all sit and reflect on the goodness that he brought about—he even gave his life bringing it about. I’m hopeful that people remember the goodness he brought out in people by the peacefulness he presented. That’s the reflecting I do today—this day and every day he walked the earth. That’s really what he was all about.
Of course, your recordings, all of the stats, and interviews like these will forever tell a significant part of your story as a professional. But what do you hope the people who have had an opportunity to engage with you personally would say about you?
Basically, that “she’s always Dionne.” It’s really that simple. As I said, I like me, and I’m always who I am. When you and I see each other or speak to each other again, I’m hopeful that this is what you remember me to be, you know, because this is what you’re gonna get the next time we see each other [laughs]!”
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