Listening to Burt Bacharach's arrangements on his own-name releases always reminds me of what marks these recordings as a league above the ranks of singers he farmed his compositions out to. The Bacharach style of melody-driven pop is as ubiquitous and distinctly pastiched as whole genres of music, but even now, after his influence is perhaps finally waning, it's clear that Burt was still an absolute original.
Take one example of the sort here, in the form of a clip from 1970's 'The Phantom Tollbooth'. All elements are there; the flurries of strings, the infectious, sunny vocal melody, the walk-on solos, the woodwind, the call-and-response instrumentation... however you can always tell the well-intentioned imitators from the real deal. Where a melody like 'Milo's Song' strays; repeating its key melody with neat efficiency and soft glides, you're left wanting in Bacharach's own recordings. With fine tact, they avoid the caricatured tunes which drowned the charts in his wake. For an example (not from this album), the first time I heard Bacharach's '(They Long To Be) Close To You' was a revelation for how different the emphasis was when compared to the famous Carpenters version. With the latter you remember the sweet main refrain and its indelible lyrics. However, with the former, this bouncy, saccharine opening section is a slow horn section, with vocals as no more than a supporting instrument. The emphasis of the song is shifted completely to Bacharach's avuncular croon on the chorus - a gorgeous melody which is downplayed entirely in The Carpenter's rendition.