Leiber and stoller biography of donald

The breadth is even evident in their association with their most famous single partner, Elvis Presley, who managed to ride some of Big Mama's rollick in "Hound Dog", to choreograph Leiber and Stoller's high-spirited title tune for his "Jailhose Rock" film, to tame himself down to a genteel jump in "Treat Me Nice", and to croon passionately on "Don't".

Their adopted rhythm-and-blues roots continued to serve the pair well when "Kansas City", a tune they'd recorded in with Texas blues man Little Willie Littlefield, spawned leiber and stoller biography of donald different versions inwith Wilbert Harrison's ascending to the top of Billboard's charts and rock legend. By this time, Leiber and Stoller had already relocated to New York to be closer to the virtual teen pop factory centered in and around the Brill Building.

They effectively strengthened the foundations of rock by combining the functions of songwriters and producers and daring to experiment with effects, such as the strings placed behind the Drifters on the haunting "There Goes My Baby" As music journalist Robert Palmer has noted, "They didn't just perform songs for these artists; they arranged the songs, picked the backing musicians, supervised the recording sessions.

Having formed their first label, Spark, during the early pre-rock stage of their career, Leiber and Stoller began shifting more of their attention from writing to producing with their formation of Red Bird in Although they also issued blues on their Blue Cat subsidiary, Red Bird served as a nest for "girl groups" such as the Dixie Cups and the Shangri-Las as well as for the prolific husband-and-wife song writing duo of Jeff Barry and Ellie Greenwich.

Leiber and Stoller have relaxed from their hectic pace of making records in the late '50's and early '60's, reappearing briefly by producing " Stuck In the Middle With You Stealers Wheel, ". The song hit commercial heights again in when included on the soundtrack of Quentin Tarantino's Reservoir Dogs. Stoller had graduated from Belmont High School.

After school, Stoller played piano and Leiber worked in Norty's, a record store on Fairfax Avenue, [ 9 ] [ 10 ] and when they met, they found they shared a love of blues and rhythm and blues. Their first hit composition was "Hard Times", recorded by Charles Brownwhich was a rhythm and blues hit in Allen pronounced Presley "a good sport", and the Leiber-Stoller song would be forever linked to Presley.

Leiber and Stoller's later songs often had lyrics more appropriate for pop musicand their combination of rhythm and blues with pop lyrics revolutionized pop, rock and roll, and punk rock. They formed Spark Records in with their mentor, Lester Sill. The label was later bought by Atlantic Records [ when? For the Coasters alone, they wrote 24 songs that appeared in the US charts.

After their rescue, Leiber greeted Stoller at the dock with the news that " Hound Dog " had become a hit for Elvis Presley. They even signed in under their own names, as the producers apparently were certain that the panel would not know who they were. In the early s, Phil Spector served an apprenticeship of sorts with Leiber and Stoller in New York Citydeveloping his record producer 's craft while observing and playing guitar on their sessions, including the guitar solo on the Drifters' " On Broadway ".

After leaving the employ of Atlantic Records—where they produced, and often wrote, many classic recordings by the Drifters with Ben E. After selling Red Bird, they continued working as independent producers and songwriters. Earlier in the decade, they had a hit with Lee with " I'm a Woman " Their last major hit production was " Stuck in the Middle With You " by Stealers Wheeltaken from the band's eponymous debut album, which the duo produced.

A remixed and expanded version of the album was released in as Peggy Lee Sings Leiber and Stoller. Inmezzo-soprano Joan Morris and her pianist - composer husband William Bolcom recorded an album, Other Songs by Leiber and Stollerfeaturing a number of the songwriters' more unusual and satiric works, including "Let's Bring Back World War I", written specifically for and dedicated to Bolcom and Morris; and "Humphrey Bogart", a tongue-in-cheek song about obsession with the actor.

Stoller and Butler's music received a Drama Desk Award nomination. Stoller wrote both music and lyrics to the song "Charlotte", recorded by Steve Tyrell and released in advance of the Democratic National Convention in Charlotte, North Carolina. Smokey Joe's Cafe was also nominated for seven Tony awardsand became the longest-running musical revue in Broadway history.

In the s the rhythm and blues of the black entertainment world, up to then restricted to black clubs, was increasing its audience-share in areas previously reserved for traditional pop musicand the phenomenon now known as " crossover " became apparent. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools.

Leiber and stoller biography of donald: In a couple of rhythm and

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Leiber and stoller biography of donald: Leiber and Stoller were an

That afternoon, they started writing, and they have been working together ever since. Leiber and Stoller's early years were filled with long days of writing at the piano. Leiber told Rolling Stone, "We used to go to Mike's house, where the upright piano was. We went there every day and wrote. We worked ten, 11, 12 hours a day. Then we'd go home, and we'd call each other up.

After a year or so of writing songs, Leiber and Stoller's first real professional opportunity came when they met Lester Still, who worked for a local independent label, Modern Records. Still took the boys around to different studios to meet artists and executives and to play some of their songs. We couldn't believe it. Songs came fast and easy for them in those days.

Leiber and Stoller wrote their first big hit, "Hound Dog," in less than a quarter of an hour. In Johnny Otis, a leader of a popular blues band, asked the pair to come to a rehearsal, meet the singers, and write some songs for them. One of the singers, Big Mama Thornton, was one of "the saltiest chick[s]" they had ever seen, as Leiber told Palmer.

They wanted to capture her personality in the song by writing a mean one, and the first printable line that came out was "You ain't nothin' but a hound dog. Presley was so pleased with the success of "Hound Dog" that he asked the two to write songs for his movies, including Jailhouse Rock and King Creole. Because Presley was the most popular singer of his day, these two became the most popular song writers.

Normally at this time, record companies kept people on staff to arrange the songs and oversee the recording process. When Leiber and Stoller wrote a song, they conceived the final sound as they wrote it. But when others produced their songs, the pair were not satisfied with the results. When Thornton and Otis went to record "Hound Dog," Stoller and Leiber explained and demonstrated how they thought it should sound to the band, and sat in control in the sound booth.

The following year, inLeiber and Stoller established their own label, Spark Records, so that they could always produce their own songs.

Leiber and stoller biography of donald: Jerry Leiber and Mike

A few years later, they got tired of the business end of the process, sold Spark Records, and contracted to Atlantic Records as the first independent producers ever: they became musical arrangers who were not on staff, but were instead brought in for specific recordings. Today, most producers work independently. Leiber and Stoller's phenomenal success in the late s and early s as both songwriters and producers gave the pair the freedom to do whatever they wanted; when they got bored with one activity, they went on to the next.

After writing songs for a few Elvis Presley movies, they looked for something more challenging, and started producing more and more songs for Atlantic and other labels, including their own Red Bird Records between and