Dolly Parton, The Righteous Brothers, The Animals, Dionne Warwick are just some of the names who have sung her songs; Cynthia Weil's sphere of influence is remarkable.
A pioneer of American pop music, Weil (together with her husband Barry Mann) created a songwriting catalogue that produced hits across four decades.
On Thursday 1 June, Weil passed away at age 82, prompting tributes from musicians and songwriters. From Mark Ronson to Steve Van Zandt; KISS' Paul Stanley to Dolly Parton, the loss of Weil has been felt by many.
Parton, who achieved a successful pivot from country to pop with the Weil-Mann composition 'Here You Come Again', praised Weil as one of the best songwriters to do it.
"She was one of the greatest writers of all time and I owe her such a debt of gratitude because she and her partner, Barry Mann, wrote my first million selling song "Here You Come Again".
So, I have always been grateful and will be eternally grateful to her. I'm sure she'll be missed by all the ones that love her and always be appreciated for all of the wonderful music she left behind."
A New York City native, Weil took her first steps into professional songwriting in the 1960s, becoming a prolific member of the iconic Brill Building -- the Manhattan office hub that became a hit factory instrumental in shaping the emergence of rock 'n roll during the period.
Surrounded by the creative energies of her peers and fellow songwriters including Burt Bacharach, Carole King, Neil Diamond, and Neil Sedaka, the partnership of Cynthia Weil and Barry Mann was soon iron-clad; the couple becoming responsible for music that work that would be performed and covered by generations of artists to come.
From Grammy-winning ballads and Academy Award-nominated compositions, through to songs that have become ingrained in the DNA of contemporary pop music, Weil established a strong legacy of work that is worth ever revisit.
If Cynthia Weil is a name that is perhaps new to you, here are five tracks that will kickstart your journey of discovery.
As we mentioned up top, Dolly Parton's veer from country into the pop world was largely marked by her 1977 collaboration with Weil and Mann on 'Here You Come Again'.
The track is a stand-out for a few key reasons: it won the 1978 Grammy Award for Best Female Country Vocal Performance, hit #3 on the U.S. Billboard Hot 100, providing Parton with her first major pop crossover moment. 'Here You Come Again' is also notable as being a rare Dolly Parton release not written by Parton herself.
The track was also the title song of Parton's nineteenth studio record, her first to be certified Platinum.
'Here You Come Again' shines with its melody; what feels like simple songwriting is actually really impactful, Parton's vocals highlighting the easy romanticism of the lyrics.
Though the track wasn't originally written with Parton in mind, it's hard to imagine it not delivered with her iconic vocals, the steel guitar and vibrant instrumentation.
Possibly one of the more iconic songs in the Weil-Mann catalogue, 'We've Gotta Get Out Of This Place' was another track of the songwriters' not initially intended for the artist who would make it a hit.
In its original form, the track was written for The Righteous Brothers; the group who already had a #1 smash hit from the couple (more on that below).
The demo wound up in the hands of record producer Mickie Most, who was working with British rockers The Animals who, just a year prior, had achieved transatlantic success with 'The House Of The Rising Sun'.
Reworked by The Animals, 'We've Gotta Get Out Of This Place' was officially released in 1965, and became another smash hit for the band.
Becoming an anthem of sorts during such a potent social and political time in the U.S., 'We've Gotta Get Out Of This Place' is noted as being particularly popular with members of the U.S. Armed Forces during the Vietnam War.
For Weil and Mann, it was another example of songwriting strength. In the U.K., the song hit #2 on the singles chart; beaten only by The Beatles, who held the top spot with 'Help!'.
The song has long endured, covered by everyone from Bruce Springsteen, Alice Cooper, Bon Jovi, Blue Öyster Cult, and The Angels; the latter notably releasing their cover of 'We've Gotta Get Out Of This Place' from their 1986 album, Howling.
Released by R&B vocal group The Drifters, 'On Broadway' is a classic, just on its smooth tones and musical delivery alone.
'On Broadway' was a composition that saw Weil and Mann collaborate with fellow songwriting duo, Jerry Leiber and Mike Stoller, who had been responsible for a number of hits already including 'Hound Dog', 'Jailhouse Rock', and 'Stand By Me'.
The Drifters' version, featuring Phil Spector on that distinctive lead guitar solo, became a hit, unsurprisingly, hitting #9 on the Billboard Hot 100. The success of 'On Broadway' wouldn't stop there though; George Benson would come along 10 years later and make it his own.
Releasing his own version of 'On Broadway' on his 1978 album Weekend in L.A., Benson turned the track into a staple of his own iconic catalogue and won the 1979 Grammy for Best Male R&B Vocal Performance for his rendition.
Originally released in 1980 by Mann himself, 'Don't Know Much' is perhaps most well-known as performed by Linda Ronstadt and Aaron Neville - their cover landing nine years later.
The track is a gorgeous love song, a prime example of Weil and Mann's strong knack for balladry and epic romantic moments on record.
Mann's original version was driven by his emotional vocals, backed by big strings and orchestral swells. And then in 1983, Bette Midler put her own touch on 'Don't Know Much', releasing a piano-led version under the title 'All I Need To Know' on her sixth record, No Frills.
Ronstadt and Neville scooped a Grammy for their rendition in 1990, winning Best Pop Performance by a Duo or Group with Vocal -- a certified Gold release from Ronstadt's sixteenth studio album, Cry Like A Rainstorm, Howl Like The Wind.
Easily one of the best known (if not the best known) composition Weil had a role in writing, has to be The Righteous Brothers' 1964 hit, 'You've Lost That Lovin' Feelin''.
Until 2019, 'You've Lost That Lovin' Feelin'' remained the most played song on U.S. radio, before 'Every Breath You Take' by The Police dethroned it.
And to further cement its impact, the U.S. Library of Congress inducted 'You've Lost That Lovin' Feelin'' into the National Recording Registry in 2015 for being "culturally, historically, or aesthetically significant".
Upheld as an example of Spector's famed "Wall of Sound" technique, 'You've Lost That Lovin' Feelin'' has been covered numerous times; testament to the brilliance of the core songwriting, many of these covers stand up as classics in their own right.
Dionne Warwick's 1969 version is presented beautifully, injected with her unforgettable blend of soul and sensuality.
When delivered in duet form by Ms. Roberta Flack and Donny Hathaway in 1971, 'You've Lost That Lovin' Feelin'' gets the slowed down, groove-heavy treatment, true to the era.
The Hall & Oates version, released in 1980, gives the original an update for the synth-era and proved a huge hit for the pop rock duo, overtaking 'Rich Girl' as their highest charting single ('til that point).
In many ways, this song could be considered a flawless pop record,. From the songwriting to the arrangement; the vocal delivery and of course, the exemplary production courtesy of Phil Spector, 'You've Lost That Lovin' Feelin'' is a timeless classic.
The world has lost a true music great in Cynthia Weil, though she leaves a remarkable legacy for generations of music lovers to come.
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