NEW YORK — Grammy-winning songwriter Cynthia Weil, who co-wrote dozens of popular songs with her husband, Barry Mann, including “You’ve Lost That Lovin’ Feeling,” “On Broadway,” “Walking in the Rain,” and many others, has passed away at age 82.
Weil passed away on Thursday at her home in Beverly Hills, California, “surrounded by her family,” according to Weil’s daughter Dr. Jenn Mann. The couple’s sole child, Mann, chose not to give a cause of death.
Barry Mann and Cynthia Weil married in 1961 and were among the most popular music-successful duos. They were part of a unique group assembled by music moguls Don Kirshner and Al Nevins and based in Manhattan’s Brill Building district, close to Times Square. The Brill Building song factory produced many of the biggest singles of the 1960s and beyond with hit-making pairings like Carole King, Gerry Goffin, Jeff Barry, and Ellie Greenwich.
Jenn Mann remarked, “I grew up around a lot of music and two wonderful, smart, creative geniuses. “My parents were each other’s greatest musical influences. When things were wonderful, people had each other, and when things weren’t so good, people had their music, according to my mother.
On songs for the Ronettes (“Walking in the Rain”), the Crystals (“He’s Sure the Boy I Love”), and other acts, Weil and Mann worked closely with producer Phil Spector. They also wrote hits for everyone from Dolly Parton to Hanson. James Horner and his team’s song “Somewhere Out There,” created for the “An American Tail” soundtrack, won Grammy Awards in 1987 for best song and best song for a Movie or Television and received nominations for an Academy Award and a Golden Globe. They collaborated on writing the Linda Ronstadt and Aaron Neville duet “Don’t Know Much,” which peaked at number five and won the Grammy for best pop performance in 1990.
“You’ve Lost That Lovin’ Feeling,” an anthem of “blue-eyed soul” composed by Spector as if scoring a tragedy and performed by the Righteous Brothers with frantic passion, is their most well-known song and a piece of history in general. In 1965, “You’ve Lost That Lovin’ Feeling” was the number-one song on the charts and was covered by several other musicians. No other song was played more frequently on radio and Television in the 20th century, according to Broadcast Music Inc. (BMI).
Bill Medley and Bobby Hatfield’s reactions to Weil and Mann’s debut performance of “You’ve Lost That Lovin’ Feeling” for the Righteous Brothers were “dead silence.”
She said to Parade Magazine 2015 that Bill had responded, “Sounds good for The Everly Brothers, not the Righteous Brothers.” “We said, ‘Oh, God.’ What should I do while the large guy is singing? Bobby then asked. Spector’s Phil said, “You can go to the bank.”
When the Beatles became popular in the middle of the 1960s, many of Weil’s contemporaries struggled, but she persisted in scoring hits, occasionally with Mann or with collaborators like Michael Masser, David Foster, and John Williams, with whom she co-wrote “For Always” for the soundtrack to Steven Spielberg’s “A.I. Artificial Intelligence.” Weil contributed to the songs “Here You Come Again,” Parton’s pop breakthrough, “If Ever You’re In My Arms Again” by Peabo Bryson, “Just Once” by James Ingram, “He’s So Shy” by the Pointer Sisters, and “Running With the Night” by Lionel Richie. She again made the top 10 in 1997 with Hanson’s “I Will Come to You.”
“When songs are successful, they’re like little stories. They have an introduction, a middle, and a conclusion. Weil, who eventually published the novel “I’m Glad I Did,” told Parade that the song “paints a picture of the human condition” and makes you feel how the person singing it is feeling.
Her abilities extended far beyond love songs. She and Mann co-wrote “Kicks,” a success for Paul Revere and the Raiders in 1966, one of rock’s earliest anti-drug songs. She also had a talent for writing lyrics full of desire and aspiration, as evidenced by the song “On Broadway” and its iconic opening line, “They say the neon lights are bright/on Broadway.” With their account of working-class angst, “We’ve Got to Get Out of This Place,” The Animals enjoyed success. The 1961 hit song “Uptown” by The Crystals dealt with race and class in a way that wasn’t frequently heard in the early days of rock.
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He is simply one of a million males downtown.
He receives no breaks.
And he takes everything they have to offer.
Because he needs to live.
He then moves uptown, nevertheless.
Where he can proudly raise his head
He is aware that I am nearby in Uptown.
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Weil and Mann were introduced by King at the Rock & Roll Hall of Fame ceremony in 2010.
Weil and Mann were introduced by King at the Rock & Roll Hall of Fame ceremony in 2010, and they were inducted into the Songwriters Hall of Fame in 1987. Mann and Weil played minor roles in the popular King musical “Beautiful,” which debuted on Broadway in 2013 and chronicled the passionate camaraderie and competition between the two married couples. “They Wrote That?” by Mann and Weil was performed for a limited time in 2004.
“Cynthia’s high level of professionalism improved all of us as songwriters. The line “Just a little lovin’ early in the mornin’ beats a cup of coffee for startin’ out the day” is one of my favorite Cynthia lyrics; King posted on her social media pages on Friday, quoting the Mann-Weil song “Just a Little Lovin’,” which has been performed by Dusty Springfield and others.
If we’re lucky, we’ll know this to be true, but she composed it — and in the following line, she made the words “morning” and “yawning” rhyme. I hope Cynthia Weil’s lyrics will live on and communicate to future generations.
Weil, a native of New York City and the daughter of Jewish immigrants from Eastern Europe was trained in dance and piano as a young girl. At Sarah Lawrence College, she concentrated on theatre, but an agent persuaded her to attempt music. At age 20, she began working for the publishing house of “Guys and Dolls” composer Frank Loesser, where she met the man who would become her husband.
Barry walked in to play Teddy Randazzo a song as she was writing it, she said to the Los Angeles Times in 2016. Teddy Randazzo was a young Italian boy singer who was the Frankie Avalon of his time. “I questioned the front desk clerk, ‘Who is this guy? Has he ever been with a girl? ‘He’s signed to a friend of mine, Don Kirshner, and if I call Donny, maybe you can go up there to show him your songs and meet Barry again,’ she suggested. So she took that action. That’s what I did as well. He had no chance at all.
SOURCE – (AP)
