Inteview with Barry Mann & Cynthia Weil (You've Lost That Lovin' Feeling, On Broadway, Just a Little Lovin' (Early in the Morning). "The World of Song Festivals", "The licensing of Music Publishers" , "Songwrting... Writing Standards", AGAC's Vic Mizzy- "Composing for TV & Movies", Nashville Songwriter's Association "Marijohn Wilkin", Buddy Kaye "The Long Distance Songwriter".
Barry Mann &
“With some of your biggest hits; like On Broadway and You’ve Lost That Lovin’ Feeling, you achieved a certain grandeur about them … a bigger than life feeling. Did you strive for that? How did that come about? Did you consiously try to do that?”
… Cynthia responded:
“What you’re trying to get into is the creative process and how some things happen. There are a lot of songwriters reading this and I would just like to say to them that I think we’re all bananas. And the reason I think we’re all bananas, (and this I just started thinking about), is we don’t know where it comes from. You can learn a certain amount of craft. At this point we can write a professional song. Either it’s good, it’s bad or it’s medium, but it’s professional. Where the great ones come from, you don’t know. And you never know where the next one is going to come from and when. When you’re on a hot streak you’re on a hot streak, and when you’re in a slulmp, you in a slump.
“And the process is never ending. It doesn’t stop after you have a hit. If fact, it gets worse because you think you’re never going to write another one. At least in the beginning, you think the first hit has got to come someday, but you’re not that sure about the second.
“But I think we, (probably all creative people), are a little closer to some kind of subsconscious source that most people, and when we unblock, it starts flowing out...
At the beginning of their relationship, Mann and Weil were writing continously. “We had little time left over to interact with other people, and consequently our social life was minimal,: Cynthia states. “There was no difference between night and day. It was all in the studio or at the piano for about six year.”
“We’d write a song and spend five hours cutting a demo on it,” Continues Barry. “Then our publisher would call us and say ‘the Everly Brothers or the Righteous Brothers are going into the studio and we need the song by yesterday.’ So we would start writing again. We used tgo be completely familiar with the charts, and usually there was a call for a song because an artist had a hit and was looking for a follow-up. We’d analyze their style and what had worked for them before.
Mann & Weill Songs
The Crystals Uptown (1962), He's Sure The Boy I Love (1962)
The Drifters On Broadway (1963), Saturday Night At The Movies (1964), Come On Over To My Place (1965)
Jay & The Americans Only In America (1963)
liff Bennett & The Rebel Rousers I'll Take You Home (1964)
Barry Mann Talk To Me, Baby (1964)
The Ronettes Woman In Love (1964),You, Baby (1964), Born To Be Together (1964)
The Righteous Brothers You've Lost That Lovin' Feelin' (1964), You're My Soul And Inspiration(1966)
Wilson Pickett (with Tammi Lynn) Come Home, Baby (1964)
The Walker Brothers Love Her (1965), Walking In The Rain (1967)
The Animals We Gotta Get Out Of This Place (1965)
Paul Revere & The Raiders Kicks (1966),Hungry (1966)
The Monkees Love Is Only Sleeping (1967)
Dusty Springfield Just A Little Lovin' (1968)
Mama Cass It's Gettin' Better (1969), Make Your Own Kind Of Music (1969)
BJ Thomas I Just Can't Help Believin' (1970)
George Benson On Broadway
James Ingram – Just Once
Also in this issue:
- So you want to compose for TV and the Movies by Vic Mizzy
- The Long Distance Songwriter by Buddy Kaye
- NSA Marijohn Wilkin article