9,' 'Jailhouse Rock,' 'Kansas City,' 'Ruby Baby,' 'Fools Fall in Love,' 'Youngblood,' 'You're so Square,' 'Charlie Brown,' 'Trouble,' 'Poison Ivy,' 'Stand By Me,' and a collaboration with Mann-Weil in 'On Broadway') Neil Diamond ('Girl, You'll be a Woman Soon,' 'Sweet Caroline,' 'I'm a Believer,' 'Red Red Wine,' 'A Little Bit Me, A Little Bit You,' 'Kentucky Woman') Doc Pomus and Mort Shuman ('A Teenager in Love,' 'This Magic Moment,' 'Save the Last Dance for Me,' 'Surrender,' 'Little Sister,' 'Marie's the Name,' 'Viva Las Vegas') Neil Sedaka ('Breaking Up is Hard to Do,' 'Calendar Girl,' 'Love Will Keep Us Together,' 'Oh! Carol,' 'Where the Boys Are,' 'Stairway to Heaven'. When Goffin-King or Mann-Weil weren't available, artists had to fall back on B-side hacks such as Burt Bacharach and Hal David ('Do You Know The Way to San Jose,' 'I Just Don't Know What to Do With Myself,' 'What the World Needs Now is Love,' 'I'll Never Fall in Love Again,' 'Walk on By,' 'I Say a Little Prayer,' 'The Look of Love,' 'Raindrops Keep Falling on My Head,' 'Close to You,' 'Only Love Can Break a Heart,' 'Alfie,' 'One Less Bell to Answer,' 'Always Something There to Remind Me,' 'Anyone Who Had a Heart,' 'This Guy's in Love with You') Jerry Leiber and Mike Stoller ('Hound Dog,' 'Love Potion No. On her second studio album, 'Tapestry,' which sold 25 million worldwide and won four Grammys, King cut a few of those, but also carved newer solo songs into the pop-mosphere: 'You've Got a Friend,' 'So Far Away' and 'I Feel the Earth Move.' In addition to Mann and Weil, another once-married couple, Gerry Goffin and Carole King turned out a few, too: 'Up on the Roof,' '(You Make Me Feel Like) A Natural Woman,' 'The Loco-Motion,' 'One Fine Day,' 'Will You Still Love Me Tomorrow?,' 'Pleasant Valley Sunday,' 'Some Kind of Wonderful,' 'Take Good Care of My Baby,' 'Go Away Little Girl' and scads more.

But their more sophisticated lyrical/melodic content took off in a youth-oriented baby boom, bringing old-fashioned croon, swing and harmonies to meld with guitars, belters and backbeats. That stable of songwriter-producers churned out so much indelible pop it became its own mini-genre, a metonym for the '60s music it spawned.Įven before rock 'n' roll, Brill Building songwriters were crafting hits for big bands, for Benny Goodman, Glenn Miller, the Dorsey brothers and more.

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