Produced in New York in 1940, Cynthia Weil started composing hit songs in the 1960s and went on to really have a long and varied career as a composer. She continued writing to the 1980s, however, and helped compose tunes like “Running With the Night” for Lionel Ritchie. A lot of her best known tunes were composed in partnership along with her husband and fellow composer Barry Mann.
Songwriter. Created October 18, 1940, in Nyc and raised to the Upper West Side, Cynthia Weil started her long and prolific songwriting profession when she was in her early 20s. She started out working at Frank Loesser’s music publishing company, but her extraordinary power to write lyrics that went to the heart of human emotion and experience finally led her to Aldon Music.
For Cynthia Weil, though, the main songwriter in the Brill Building was Barry Mann, an exceptionally gifted composer. The two became a songwriting team in 1960 and shortly started churning out hits in once as their professional partnership became private. Weil afterwards recalled that an immediate crush on Mann was really the reason she joined Aldon Music: “While I had been composing with Teddy, Barry came up with Harry Greenfield to play him a tune. Therefore I mentioned, ‘So who is the cute man?’ I inquired who he was, and when he had a girlfriend as well as the whole thing. Judy Tannen, who had been the secretary there, said, ‘Well he writes to get a buddy of mine named Don Kirshner. So just why do not you go up there and perhaps you will see him and get him to ask you outside.’ I went up there, really stalking Barry, and were left having a profession. But everything starts with lust!”
By 1961, the pair’s relationship had blossomed into full blown love affair plus they wed in August of this year. You needed to make. You needed to make quickly. You’d to learn. You made plenty of errors, and you composed lots of junk. But it had been all section of the learning procedure.” Mann and Weil would go to appreciate among the very most successful songwriting careers in history; the two are believed to result in the selling of 200 million records world-wide.
Weil’s lyrics helped shape the rebellious approach that came to characterize the decade. She wrote about real people who have real issues and was not frightened to handle hot-button issues like racism, war, and urban decay. She was also among the very emotionally honest and provocative lyricists of her time, composing love songs that resonated widely. “I was really lucky,” Mann said, “to possess a writing associate that really is excellent with words and in once quite soulful. Cynthia’s lyrics consistently expressed the feelings folks felt but they could not express themselves.”
Among the duo’s best tunes was 1964’s “You’ve Lost That Lovin’ Feeling,” composed for The Righteous Brothers. We loved what we heard, went back to the resort, and composed two verses and refrains of ‘You’ve Lost That Lovin’ Feeling.’ We were not certain how to stop the refrain and believed the name was not powerful enough. We called and played what we’d over the phone for Phil. He went on to create among the very soulful, advanced and creative records ever made.”
But Mann and Weil kept going strong, exhibiting an ability to keep present by adjusting to new times and new fashions. As Weil said, “We never purposely changed designs. We wrote what seemed good to us and expected it might locate a house… We somehow were able to live through the tendencies without succumbing to them. When disco came in, we survived without composing a disco tune.”
In 1977, Weil helped Dolly Parton cross over from state into pop music using the hit “Here You Come Again.” Twenty years after, Weil composed the chart-topping country record “Wrong Again” for Martina McBride. In 1983, Weil co-composed “Running With the Night” with Lionel Ritchie and helped establish R&B vocalist James Ingram’s career with “Just Once.” Weil and Mann also co-composed “Somewhere Out There” with composer James Horner. In exactly the same year, Mann and Weil together won induction to the Songwriter’s Hall of Fame.
Weil and Mann have continued to work jointly through recent decades. Weil, who’d dreamed of a job as a dancer or performer as a young girl, was thrilled to get an opportunity to appear on Broadway. Mann sang and played their tunes while Weil recounted stories from their profession and private lives. In 2008, Mann and Weil composed an initial pop musical on the basis of the film Mask.
When asked what advice she’d give to budding songwriters, Weil responded: “As William Goldman said in regards to the film industry, ‘Nobody knows anything.’ It is the exact same thing in the music business. Lots of men spend their lives saying no because it is a simpler solution to maintain your occupation. You have to believe in yourself when you have got something, and just keep pounding on the door, because in case you thump long enough, somebody will open it. You will likely strike these in the face, but occasionally it is something you have got to do. There’s the great creative section of it. The writing is the best component. When you feel great in what you have composed, there’s only no high that’s greater.”