Word: stoller
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...power and drama behind its freakishness. In the early '60s-before the blooming of the singer-songwriter, before performers were routinely called artists, before the unit of music was an album-groups relied on songwriters and producers to give them hit singles. The Drifters had Jerry Leiber and Mike Stoller producing their hits, and a gang of young pros in the Brill Building (Goffin and King, Pomus and Shuman) writing them. The Seasons were lucky to align with producer Bob Crewe, who had written such hits as "Silhouettes" and "Tallahassee Lassie." They were even more fortunate that Bob Gaudio joined...
...Putting together a trunk show of hits from a composer or group is a matter of choosing from among three options: a pastiche of tunes (as in Smokey Joe's Cafe from the Mike Leiber-Jerry Stoller songbook, the Billy Joel Movin' Out or Swingin' On a Star from lyricist Jimmy McHugh); a new book that finds slots for the songs (as in the ABBA Mamma Mia!, the Elvis All Shook Up or the Gershwin's My One and Only and Crazy for You); or a bio-musical of the artist (the Buddy Holly tribute Buddy or Hank Williams...
...Zimmerman (Deputies); Barbara Dudley Davis, Evelyn Hannon, Jill Ward (Copy Coordinators); Minda Bikman, Doug Bradley, Robert Braine, Bruce Christopher Carr, Barbara Collier, Julia Van Buren Dickey, Dora Fairchild, Judith Kales, Sharon Kapnick, Claire Knopf, Jeannine Laverty, Peter J. McGullam, M.M. Merwin, Maria A. Paul, Jane Rigney, * Elyse Segelken, Terry Stoller, Amelia Weiss (Copy Editors) CORRESPONDENTS: Joelle Attinger (Chief), Paul A. Witteman (Deputy), Suzanne Davis (Deputy, Administration); Chief Political Correspondent: Michael Kramer Washington Contributing Editor: Hugh Sidey Senior Correspondents: David Aikman, Jonathan Beaty, Sandra Burton, Richard Hornik, J. Madeleine Nash, Bruce van Voorst, Jack E. White Washington: Dan Goodgame, Ann Blackman...
...there to sing, of course, though he played a vigorous rhythm guitar, ceding the fancy solos to Scotty Moore. But on one 1957 session, when slap-bassist Bill Black walked out in frustration after being unable to master the rumbling electric-bass intro for the Leiber-Stoller "Baby, I Don't Care," Elvis picked up the instrument and played the line perfectly. He would also push for extra takes to get a song right. He insisted on 31 stabs at "Hound Dog," then listened pensively to the playbacks and said of the final take, "This...
...tough to remain in the vanguard. Consider the four overlapping phases of Elvis' music. Phase 1: At Sun Records, he borrowed blues from blacks and country songs from rednecks, passing them along to the huge middle-class. Phase 2: He got sharp material from top young songwriters (primarily Leiber-Stoller and Otis Blackwell) that he could make his own. But early rock didn't allow for much variety: 12-bar blues, 16-bar pop song. Phase 3 began in late 1957, when every songwriter was handing him drab variants on Blackwell's "Don't Be Cruel...