The Greatest Oldies Music

Oldies Musics

‘Anyone Who Had A Heart’ (1964) by Dionne Warwick

The Holy Trinity – Dionne Warwick, Burt Bacharach and Hal David – The Vampire's Wife

About the Song

Dionne Warwick is an American singer, actress, and television host. She is one of the most successful and acclaimed singers of all time, with a career spanning over six decades. Warwick has won numerous awards, including six Grammy Awards and two Academy Awards. She is also a member of the Grammy Hall of Fame and the Songwriters Hall of Fame.

“Anyone Who Had a Heart” is one of Warwick’s signature songs. It was written by Burt Bacharach and Hal David, and it was released in 1963. The song is a classic example of Bacharach and David’s songwriting style, with its memorable melody and poignant lyrics. Warwick’s vocals on the song are simply stunning, and she perfectly captures the heartbreak and emotion of the lyrics.

The song was a commercial success, reaching number one on the Billboard Hot 100 chart. It has also been covered by many artists, including Cilla Black, Dusty Springfield, and Elvis Presley.

“Anyone Who Had a Heart” is a timeless classic that continues to be enjoyed by listeners of all ages. It is a song that is sure to touch your heart.

Here are some additional details about the song:

  • The song was recorded in New York City in 1963.
  • The song was produced by Burt Bacharach.
  • The song’s B-side was “The Love of a Boy”.
  • The song was a commercial success, reaching number one on the Billboard Hot 100 chart and number two on the UK Singles Chart.
  • The song has been covered by many artists, including Cilla Black, Dusty Springfield, and Elvis Presley.

Here are some interesting facts about the song:

  • The song was originally written for the musical Promises, Promises, but it was not used in the show.
  • The song was inspired by the death of Bacharach’s father.
  • The song has been used in many movies and television shows, including The Graduate, Forrest Gump, and The Sopranos.

Dionne Warwick – Wikipedia

Video

Lyrics: Anyone Who Had A Heart

Anyone who ever loved
Could look at me
And know that I love you
Anyone who ever dreamed
Could look at me
And know I dream of youKnowing I love you so
Anyone who had a heart
Would take me in his arms and love me, too
You couldn’t really have a heart
And hurt me like you hurt me
And be so untrue
What am I to do?Every time you go away
I always say
“This time it’s goodbye, dear”
Loving you the way I do
I take you back
Without you I’d die, dear

Knowing I love you so
Anyone who had a heart
Would take me in his arms and love me, too
You couldn’t really have a heart
And hurt me like you hurt me
And be so untrue
What am I to do?

Knowing I love you so
Anyone who had a heart
Would take me in his arms and love me, too
You couldn’t really have a heart
And hurt me like you hurt me
And be so untrue
Anyone who had a heart would love me, too
Anyone who had a heart
Would surely take me in his arms and always love me
Why won’t you?
Anyone who had a heart would love me, too, yeah
Anyone who had a heart
Would surely take me in his arms and always love me
Why won’t you, yeah
Anyone who had a heart would love me, too
Anyone who had a heart
Would surely take me in his arms and always love me

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Tucked away in a private drawer, far from the polished sets of her television show, lay a bundle of 341 letters. These were not press clippings or scripts; they were brittle, handwritten testimonies from servicemen stationed in remote barracks, deep in war-torn tunnels, and across desolate battlefields. During the long years of the Second World War, as Hollywood presented a glossy, curated image of American life, Donna Reed spent her nights reading these letters and, more remarkably, personally answering them. This was the quiet, invisible work that defined her, long before the public labeled her the quintessential television mother. Behind the camera during her production years, Reed was a different person entirely. She was rarely seen holding a script for a scene; she was more likely to be found hunched over lighting diagrams or studying the intricacies of cinematography. She possessed an uncredited producer’s mind, constantly analyzing how the frame could better reflect the reality of the family she was trying to depict. The studio environment was frequently cold and high-pressured, but she moved through it with a meticulous attention to detail that frustrated those who wanted to treat her as merely another pretty face in the cast. These tactile remnants—the stacks of ink-stained paper and the forgotten notes on camera angles—tell the story of a woman who never truly fit the box Hollywood built for her. While the world remembers the steady, comforting image of a television home, she lived a life carved out of hard labor and deep empathy. She carried the weight of those soldiers’ stories and the technical burdens of the studio floor until her final days, forever balancing the fragility of her public image against the demanding, gritty reality of her actual life.