What are the qualities of a good song? A catchy beat? A memorable chorus? A great singer? All of these elements play important parts in a tune, but well-crafted lyrics still distinguish a classic from a forgettable song. Imagine lyrics that tell stories of wild women, tough guys, crime, society's underworld, prejudice, gypsies, cheating lovers, confident ladies, and lovelorn teens. For over 60 years, few have unfolded these tales as expertly as Jerry Leiber and Mike Stoller. Their names don't ring any bells? Perhaps you've heard of a few little tunes they've written: "Hound Dog," "Jailhouse Rock," and "Stand by Me."
Initially bonding over their mutual love of the blues, Leiber (singer/lyricist) and Stoller (pianist) formed their partnership at 17. Intent on writing authentic R&B, they eventually wrote for blues legends such as Jimmy Witherspoon, Floyd Dixon, Charles Brown, and Big Mama Thornton (who recorded the original version of "Hound Dog"). They also dabbled in pop, jazz and cabaret, but never lost their tough edge.
In addition, their lyrics and bluesy sound resonated with all audiences. On the back cover of their biography, Hound Dog, Ray Charles is quoted as saying, "They were those bad white boys who wrote the blackest songs this side of the Mississippi. I loved what they did." Indeed, Leiber and Stoller proved they could write authentic soul that vast audiences could appreciate, and broke down color barriers in the process.
Even today, Leiber and Stoller's work sounds tough, defiant, and at times humorous. Their gift for storytelling, whether describing a teenage boy's quest for love through drinking a magic potion or a man's struggle with being unjustly charged with a crime, remains unparalleled.
Amazingly, the duo possessed a talent for writing from a female perspective, particularly through their work with jazz singer Peggy Lee. Delving into their catalog exposes the foundation of rock & roll and its dangerous, rebellious origins. Their songs also demonstrate the close relationships among R&B, blues, jazz, and rock. To learn about their history as well as the songwriting process, their biography Hound Dog is a must read.
The following list explores some of their best material—some songs are well-known, while others rarely receive radio airplay. But they all demonstrate Leiber and Stoller's artistry and uniqueness. Note that many of these tracks have been covered several times, and the most famous recordings may not actually be the original versions.
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Article comments
1 - Glen Boyd
You should chewck out Neil Young's version of On Broadway...
-Glen
2 - Peter Stoller
Thanks for your thoughtful article on the songs of Leiber & Stoller. A few notes that might interest you and your readers:
The original lyrics to "Some Other Guy" are quite different from those in remakes by The Beatles, The Big Three, etc. The correct rhyme for "is makin' me very, very mad" is, "is breakin' the padlock on my pad."
"Kansas City" was first recorded by Little Willie Littlefield as "K.C. Loving" in 1952. It contained the lyric, "they've got a crazy way of lovin' there/and I'm gonna get me some." Wilbert Harrison popularized "crazy little women" in his 1959 hit, a variation introduced (to the best of our knowledge) by Sam Butera in 1957.
"D.W. Washburn" was first recorded by The Coasters, but Date Records wouldn't issue it as a single, so L&S sent the song to The Monkees. One month after The Monkees record came out, Date issued The Coasters' single.
"Only In America" was written with Barry Mann and Cynthia Weil as an ironic protest song for The Drifters. When Atlantic's Jerry Wexler rejected it as too incendiary -- hard to believe now! -- the track was "repurposed" (this time with unintentional irony) for Jay & The Americans.
The Robins was not simply The Coasters under an earlier name; it was a venerable group that continued after two members (lead tenor Carl Gardner and bass Bobby Nunn) left to form The Coasters. Like "Framed," "Riot in Cell Block #9" was also a Robins recording. "Riot" featured a guest performance by bass singer Richard "Louie Louie" Berry of The Flairs; Nunn studied it well before he recorded "Framed."
Like "Only in America," "On Broadway" is a collaboration with Barry Mann and Cynthia Weil. Mann & Weil's original version of the song was recorded by both The Cookies and The Crystals, with no success. The four songwriters worked together to rewrite it for The Drifters. The song has since invited many fascinating interpretations that highlight different emotions, from George Benson's optimism to Neil Young's rage to Jimmy Scott's wistfulness. I can understand why this is your favorite!
3 - Kit O'Toole
Wow, thank you, Peter, for your comments! Really interesting information, particularly concerning the first versions of "On Broadway." Truly, the Leiber and Stoller compositions still sound innovative today. Thanks again for reading!