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Sunday, July 7, 2013

Brill Building, " Song Factory" on Times Square

Through these extreme Deco doors once trudged to work some people who were destined to make it big in pop music ( Paul Simon, Carole King, James Taylor too I believe) and many who were not destined to make it big but created the whole culture in their own way too with what they did..

These were the songwriters--musicians who were sometimes also lyricists-- who slaved away..

Like the young Carole Klein from Queens, NY, ( who now started calling calling herself Carole King)-- read her story of how she sat at a piano in a cubicle toying with melodies..while other people in all these other cubicles around her did the same thing...she saying she sometimes did not know if she were playing HER song or theirs...

But she hit gold early with hits like "Do the Locomotion" with Little Eva ( King plays kettle drums on the recording)...

It is a whole different scene now of course, is more on this what some would call a landmark at North End of Times Square--from Wikipedia--

The Brill Building (built 1931 as the Alan E. Lefcourt Building and designed by Victor Bark Jr.[1][2]) is an office building located at 1619 Broadway on 49th Street in the Manhattan borough of New York City, just north of Times Square and further uptown from the historic musical Tin Pan Alley neighborhood. It is famous for housing music industry offices and studios where some of the most popular American music tunes were written. The building has been described[according to whom?] as "the most important generator of popular songs in the Western world."[3]
The building is 11 stories and has approximately 175,000 square feet (16,300 m2) of rentable area. The "Brill" name comes from a haberdasher that operated a store at street level and subsequently bought the building.[1]

The "Big Band Era"

Even before World War II it became a center of activity for the popular music industry, especially music publishing and songwriting. Scores of music publishers had offices in the Brill Building. Once songs had been published, the publishers sent song pluggers to the popular white bands and radio stations. These song pluggers would sing and/or play the song for the band leaders to encourage bands to play their music.
During the ASCAP strike of 1941, many of the composers, authors and publishers turned to pseudonyms in order to have their songs played on the air.
Brill Building songs were constantly at the top of Billboard's Hit Parade and played by the leading bands of the day:
Publishers included:
  • Leo Feist Inc.
  • Lewis Music Publishing
  • Mills Music Publishing
Composers included:

The "Brill Building Sound"

The Brill Building's name has been widely adopted as a shorthand term for a broad and influential stream of American mainstream popular song (strongly influenced by Latin music and rhythm and blues) which enjoyed great commercial success in the late 1950s and throughout the 1960s. Many significant American and international publishing companies, music agencies and recording labels were based in New York, and although these ventures were naturally spread across many locations, the Brill Building was regarded as probably the most prestigious address in New York for music business professionals. The term "The Brill Building Sound" is somewhat inaccurate, however, since much of the music so categorized actually emanated from other locations—music historian Ken Emerson nominates buildings at 1650 Broadway and 1697 Broadway as other significant bases of activity in this field.
By 1962 the Brill Building contained 165 music businesses:[citation needed] A musician could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building. The creative culture of the independent music companies in the Brill Building and the nearby 1650 Broadway came to define the influential "Brill Building Sound" and the style of popular songwriting and recording created by its writers and producers.[4]
Carole King described the atmosphere at the "Brill Building" publishing houses of the period:
Every day we squeezed into our respective cubby holes with just enough room for a piano, a bench, and maybe a chair for the lyricist if you were lucky. You'd sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific—because Donny (Kirshner) would play one songwriter against another. He'd say: "We need a new smash hit"—and we'd all go back and write a song and the next day we'd each audition for Bobby Vee's producer.
—Quoted in The Sociology of Rock by Simon Frith[5]
The Brill Building approach—which can be extended to other publishers not based in the actual Brill Building—was one way that professionals in the music business took control of things in the time after rock and roll's first wave. In the Brill building practice, there were no more unpredictable or rebellious singers; in fact, a specific singer in most cases could be easily replaced with another. These songs were written to order by pros who could custom fit the music and lyrics to the targeted teen audience. In a number of important ways, the Brill Building approach was a return to the way business had been done in the years before rock and roll, since it returned power to the publishers and record labels and made the performing artists themselves much less central to the music's production.[6]


Many of the best works in this diverse category were written by a loosely affiliated group of songwriter-producer teams—mostly duos—that enjoyed immense success and who collectively wrote some of the biggest hits of the period. Many in this group were close friends and/or (in the cases of Goffin-King, Mann-Weil and Greenwich-Barry) married couples, as well as creative and business associates—and both individually and as duos, they often worked together and with other writers in a wide variety of combinations. Some (Carole King, Burt Bacharach, Neil Sedaka, Neil Diamond, Boyce and Hart) recorded and had hits with their own music.
Other famous musicians who were headquartered in The Brill Building:
Among the hundreds of hits written by this group are "Yakety Yak" (Leiber-Stoller), "Save the Last Dance for Me" (Pomus-Shuman), "The Look of Love" (Bacharach-David), "Breaking Up Is Hard to Do" (Sedaka-Greenfield), "Devil in Disguise" (Giant-Baum-Kaye), "The Loco-Motion" (Goffin-King), "Supernatural Thing" (Fyre-Guthrie), "We Gotta Get Out of This Place" (Mann-Weil), and "River Deep, Mountain High" (Spector-Greenwich-Barry).


The following is a partial list of Studio Musicians who contributed to the Brill Building sound:

Aldon Music—1650 Broadway

Many of these writers came to prominence while under contract to Aldon Music, a publishing company founded ca. 1958 by aspiring music entrepreneur Don Kirshner and industry veteran Al Nevins. Aldon was not initially located in the Brill Building, but rather, a block away at 1650 Broadway (at 51st Street).
A number of Brill Building writers worked at 1650 Broadway, and the building continued to house record labels throughout the decades.
Toni Wine explains:
There were really two huge buildings that were housing publishing companies, songwriters, record labels, and artists. The Brill Building was one. But truthfully, most of your R&B, really rock & roll labels and publishing companies, including the studio, which was in the basement and was called Allegro Studios, was in 1650 Broadway. They were probably a block and a half away from each other. 1650 and the Brill Building.[citation needed]

Selection of businesses currently located at 1619 Broadway (Brill Building) and 1650 Broadway

1619 Broadway

1650 Broadway

  • Aldon Music
  • Action Talents agency
  • Bang Records
  • Bell Records, Inc.
  • Buddah Records, Inc.
  • Capezio Dance Theatre Shop
  • Diamond Records
  • Gamble Records, Inc.
  • H/B Webman & Co.
  • Princess Music Publishing, Corp.
  • Scepter/Wand Records
  • Web IV Music, Inc.
  • We Three Music Publishing, Inc.
  • Just Sunshine Records
  • Allegro Sound Studios (later called Generation Sound Studios)

In fiction

The 1996 movie Grace of My Heart is in parts a fictionalized account of the life in the Brill Building. Illeana Douglas plays a songwriter loosely based on Carole King.
In Sweet Smell of Success, J.J. Hunsecker and his sister Susie live on one of the upper floors of the Brill Building. This is unusual since it is not a residential building.

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