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Singer, songwriter, and pianist Neil Sedaka enjoyed two distinct periods of commercial success in two slightly different styles of pop music: first, as a teen pop star in the late '50s and early '60s, then as a singer of more mature pop/rock in the '70s. In both phases, Sedaka, a classically trained pianist, composed the music for his hits, which he sang in a boyish tenor. And throughout, even when his performing career was at a low ebb, he served as a songwriter for other artists, resulting in a string of hits year in and year out, whether recorded by him or someone else. For himself, he wrote eight U.S. Top Ten pop hits, including the chart-toppers "Breaking Up Is Hard to Do," "Laughter in the Rain," and "Bad Blood." The most successful cover of one of his compositions was Captain & Tennille's recording of "Love Will Keep Us Together," another number one. And over the years his songs were recorded by a wide range of pop, rock, country, R&B, and jazz performers including ABBA, Frankie Avalon, LaVern Baker, Shirley Bassey, Teresa Brewer, Carol Burnett, Glen Campbell, the Carpenters, Nick Carter, David Cassidy, Cher, Petula Clark, Richard Clayderman, Patsy Cline, Rosemary Clooney, Sheryl Crow, Vic Damone, Bobby Darin, John Davidson, Neil Diamond, Gloria Estefan, the 5th Dimension, the Four Seasons, Connie Francis, Crystal Gayle, Lesley Gore, the Happenings, Engelbert Humperdinck, Wanda Jackson, Jan & Dean, Tom Jones, Carole King, Earl Klugh, Peggy Lee, Little Anthony & the Imperials, Tony Martin, Johnny Mathis, Susannah McCorkle, Clyde McPhatter, Mandy Moore, Nana Mouskouri, Maria Muldaur, the Monkees, Jim Nabors, Wayne Newton, Jane Olivor, Donny Osmond, Patti Page, the Partridge Family, Bernadette Peters, Wilson Pickett, Elvis Presley, Cliff Richard, the Searchers, Sha Na Na, Kay Starr, John Travolta, Dinah Washington, Andy Williams, and Glenn Yarbrough, among many others.
Sedaka was born in Brooklyn on March 13, 1939. His father, Mac Sedaka, a taxi driver, was the son of Turkish immigrants; his mother, Eleanor (Appel) Sedaka, was of Polish-Russian descent. He first demonstrated musical aptitude in his second-grade choral class, and when his teacher sent a note home suggesting he take piano lessons, his mother got a part-time job in a department store for six months to pay for a second-hand upright. He took to the instrument immediately. In 1947, he auditioned successfully for a piano scholarship to the prestigious Juilliard School of Music's Preparatory Division for Children, which he began to attend on Saturdays. He also maintained an interest in popular music, and when he was 13, a neighbor heard him playing and introduced him to her 16-year-old son, Howard Greenfield, an aspiring poet and lyricist; the two began writing songs together.
In high school, Sedaka formed a vocal group, the Tokens. After singing at local functions, they got an audition with a music publisher in Manhattan at 1619 Broadway -- the famed Brill Building. This, in turn, led to an audition with the head of a small label, Melba Records, which released a single containing two Sedaka/Greenfield compositions, "I Love My Baby" and "While I Dream," in 1956. It achieved some airplay locally, but did not become a national hit, and Sedaka left the group, which later reorganized and went on to professional success in the '60s. Around the same time, another song written by Sedaka earned a more prominent recording. He had collaborated with his brother-in-law, Eddie Grossman, on "Never Again," which Grossman arranged to have published and which was recorded by Dinah Washington for Mercury Records.
Meanwhile, the budding composer continued to attend Lincoln High School in Brooklyn and to pursue his classical studies. In 1956, he was one of a small group of New York City high school students chosen in a competition judged by Artur Rubinstein to play on the local classical radio station, WQXR. Upon his graduation from high school, Sedaka was accepted by the college division of Juilliard. At the same time, however, he and Greenfield continued writing songs and taking them to publishing companies at the Brill Building and another Manhattan office building just up the street at 1650 Broadway. There they encountered a new firm, Aldon Music, run by Al Nevins and Don Kirshner, who signed them to a songwriting contract and also signed Sedaka to a management contract as a performing artist. In 1957, without his prior knowledge, two demonstration recordings he had made of his songs "Laura Lee" and "Snowtime" were released as a single by Decca Records, giving him his first solo disc. Again, the record was not a hit. But the team of Sedaka and Greenfield finally did reach the charts when they placed "Stupid Cupid" with the new singing star Connie Francis in 1958. Francis had broken through with a revival of the '20s ballad "Who's Sorry Now," while "Stupid Cupid" was up-tempo rock & roll. It peaked at number 14 on Billboard's Hot 100 in September, and Francis followed it with another Sedaka/Greenfield composition, "Fallin'," which peaked at number 30 in November. (As a harbinger of things to come, the songs were even more successful in the U.K., where "Stupid Cupid" hit number one and "Fallin'" made the Top 20.)
Another of Sedaka's demos, "Ring-a-Rockin'," turned up on disc in 1958 and even earned an airing on the American Bandstand television series, but did not become a hit. Nevertheless, interest in Sedaka as both a songwriter and a performer was clearly growing. In the fall of 1958, he took a leave of absence from Juilliard, and he auditioned at RCA Victor Records. He was signed, and RCA quickly issued his first formal solo single, the Sedaka/Greenfield song "The Diary," which peaked at number 14 in February 1959. But its follow-up, the uptempo "I Go Ape," missed the Top 40 (despite reaching the Top Ten in Great Britain), and his third RCA single, "Crying My Heart Out for You," was a flop.
In his 1982 autobiography, Laughter in the Rain: My Own Story, Sedaka writes that, after the disappointing performance of his second RCA single and the failure of his third, "I knew I had to have a hit. I would get no more chances." To come up with that hit, he consulted the international charts in Billboard, then went out and bought the three most successful records he saw listed and listened to them repeatedly, "analyzing what they had in common. I discovered," he writes, "they had many similar elements: harmonic rhythm, placement of the chord changes, choice of harmonic progressions, similar instrumentation, vocals phrases, drum fills, content, even the timbre of the lead solo voice. I decided to write a song that incorporated all these elements in one record." The result of this deliberate effort was his fourth RCA single, "Oh! Carol" (dedicated to songwriter Carole King, an early girlfriend of his), which turned his performing career around, becoming his first American Top Ten hit as an artist in December. (In 1962, the Four Seasons covered it on their chart album Sherry & 11 Others.)
Meanwhile, RCA had released his debut album, Neil Sedaka, and it earned a nomination for the 1959 Grammy Award for Best Performance by a "Top 40" Artist, losing to Nat King Cole's "Midnight Flyer." And as a songwriter, he had other hits during the year: LaVern Baker reached the Top Five of the R&B chart with "I Waited Too Long"; Connie Francis took "Frankie" into the pop Top Ten; Clyde McPhatter reached the R&B Top 20 with "Since You've Been Gone"; and Roy Hamilton had a pop chart entry with "Time Marches On."
After the success of his fifth RCA single, "Stairway to Heaven," which peaked in the Top Ten in May 1960, the 21-year-old Sedaka finally began making personal appearances to support his records. Soon, he was touring extensively, including shows in South America, the Far East, and Europe. (He also began recording in Italian, German, Japanese, and Spanish, increasing his international popularity.) Meanwhile, the hits kept coming. His next single was a double-sided success, with "You Mean Everything to Me" making the Top 20 and "Run Samson Run" the Top 30, and his third 45 of 1960, "Calendar Girl," gave him his third Top Ten hit with a number four peak in February 1961. He seemed to have less time to write songs for other artists, but Jimmy Clanton peaked in the Top 30 in June 1960 with "Another Sleepless Night." Clanton had another Sedaka/Greenfield song, "What Am I Gonna Do," out by the end of the year, and it charted in January 1961.
The busy pace seemed to take a toll on Sedaka by 1961. "Little Devil" gave him his sixth consecutive Top 40 hit in May, but his next single, "Sweet Little You," was his first with a song that he had not composed himself (it was written by Barry Mann and Larry Kolber), and it broke his string of hits. "Happy Birthday, Sweet Sixteen," another Sedaka/Greenfield composition, was out before the end of the year and returned him to the Top Ten with a peak at number six in January 1962, however. (Neil Diamond covered it on his 1993 chart album Up on the Roof: Songs from the Brill Building.) Also in 1961, Sedaka released his second album of new studio recordings, Circulate, on which he sang pop standards. And his pen was far from idle otherwise. He and Greenfield had written the song score for the film Where the Boys Are, Connie Francis' acting debut, which resulted in a Top Five, gold-selling hit in her recording of the title song in early 1961.
"King of Clowns," Sedaka's first single of 1962, missed the Top 40, but he scored his biggest hit yet with "Breaking Up Is Hard to Do," which went to number one in August. It was nominated for the 1962 Grammy Award for Best Rock & Roll Recording, but lost out to Bent Fabric's "Alley Cat." The song went on to become perhaps Sedaka's most valuable copyright, being revived for a pop singles chart entry by the Happenings in 1968, an R&B Top 30 and pop Top 40 hit by Lenny Welch in 1970, and a Top 30 pop hit (and U.K. Top Five) by the Partridge Family in 1972, while also appearing on chart LPs by the Four Seasons, Little Eva, and Sha Na Na, all before Sedaka himself revived it for a hit again in the mid-'70s.
Sedaka's third single of 1962, "Next Door to an Angel," reached the Top Five. RCA marked the completion of his fourth year as a hitmaker by releasing Neil Sedaka Sings His Greatest Hits, which became his first LP to reach the charts. Meanwhile, the Sedaka/Greenfield team placed "Venus in Blue Jeans" with Jimmy Clanton for a Top Ten hit (it also made the U.K. Top Ten in a rendition by Mark Wynter), and "Keep a Walkin'" on Bobby Darin's chart album Twist with Bobby Darin.
By 1963, Sedaka reportedly had sold 25 million records worldwide. But at this point his career began to go into decline. He released four singles in 1963, and all of them charted, with three in the Top 40 and one, "Alice in Wonderland," even making the Top 20, but that was a disappointing performance after his previous successes. 1964, the year the Beatles arrived in America and launched the British Invasion, was worse, with Sedaka's three single releases resulting in only one brief appearance in the Hot 100 for "Sunny," and 1965 wasn't much better, as another three Sedaka singles produced only two chart entries for "The World Through a Tear" and "The Answer to My Prayer" (both written by Chris Allen, Peter Allen, and Richard Everitt). In 1966, Sedaka released two last singles on RCA, but they failed to chart, and by early 1967 he was without a record label. He was not, however, without a publisher. Aldon had been sold to Screen Gems and offered him plenty of opportunities to place his compositions. Screen Gems' main priority at the time was the Monkees, the group created for a television series patterned on the Beatles movie A Hard Day's Night, and the Sedaka/Greenfield song "When Love Comes Knockin' (At Your Door)" appeared on their second album, More of the Monkees; it was a number one hit in early 1967. That spring the Cyrkle reached the charts with Sedaka/Greenfield's "We Had a Good Thing Goin'." "Workin' on a Groovy Thing," written by Sedaka with Roger Atkins, was a Top 40 R&B hit and pop chart entry for Patti Drew in the summer of 1968, and a year later earned Top 20 rankings in the pop and R&B charts in a cover by the 5th Dimension. Also in 1968, Sedaka had a cut on Frankie Valli's chart album Timeless called "Make the Music Play." In 1969, Sedaka/Greenfield's "The Girl I Left Behind Me" appeared on the Monkees LP Instant Replay. Also, for the first time in three years, Sedaka had his own release, on Screen Gems' SGC label, the single "Star-Crossed Lovers," which became a hit in Australia, but not in the U.S. Nevertheless, he had a second SGC release in 1970, "Rainy Jane," a song covered by former Monkees singer Davy Jones for a chart entry in 1971. Also in 1970, the 5th Dimension recorded Sedaka/Greenfield's "Puppet Man" for a Top 30 pop hit, and a year later Tom Jones also had a Top 30 hit with it. Peggy Lee cut Sedaka/Greenfield's "One More Ride on the Merry-Go-Round" for her 1970 chart album Make It with You, and the team also wrote songs for an animated children's TV series about the comic basketball troupe the Harlem Globetrotters called The Globetrotters.
Perhaps the most significant recording in Sedaka's career in 1971 was one he himself was not involved with, Carole King's breakthrough album Tapestry, which topped the charts. The LP demonstrated the new appeal of soft rock singer/songwriters and made veteran writers from the Brill Building era hip again. Don Kirshner negotiated a manufacturing and distribution deal with RCA for his new Kirshner Records label, and he signed Sedaka to a contract, resulting in the release of Sedaka's first album of new original material in 12 years, Emergence, in September 1971. He also began performing in showcase clubs like New York's Bitter End. The album didn't chart, but it was a new beginning. Meanwhile, Sedaka continued to place songs with other performers. Tony Christie scored a Top 20 hit in the U.K. with "Is This the Way to Amarillo" (aka "Amarillo") in the fall of 1971; TV star Carol Burnett gave great prominence to a Sedaka tune on her early 1972 chart album by calling it Carol Burnett Featuring "If I Could Write a Song"; and Cher had a chart entry in September 1972 with "Don't Hide Your Love."
At this point, Sedaka made two important changes in his attempt to resurrect his career. First, he decided, after 20 years, to sever his songwriting partnership with Howard Greenfield in favor of a new partner who could write in a style more consistent with what he called in his autobiography the "more elusive, more poetic" lyrics of the '70s singer/songwriters, rather than Greenfield's "very slick and polished" words. (He did continue to work with Greenfield occasionally thereafter.) At his publisher's, he met Phil Cody, and they began to write. Second, finding that he was getting a better reception in Great Britain than in the U.S., he moved to London to concentrate on mounting a comeback there. His increasing profile was confirmed by the Top 20 British success of a maxi-single containing three of his old songs, "Oh! Carol," "Breaking Up Is Hard to Do," and "Little Devil," in the fall of 1972. Also that fall, Kirshner Records released his next album, Solitaire, which he had recorded in England with a backup band that would emerge later as 10cc. The album did not chart, but it produced two chart singles in the U.K., "Beautiful You" and "That's When the Music Takes Me," the latter reaching the Top 20. Glen Campbell recorded "That's When the Music Takes Me" for his concert album Live at the Royal Festival Hall, which charted in 1977, and other singers found material on Solitaire. Donny Gerrard scored an R&B chart entry in 1975 with "(Baby) Don't Let It Mess Your Mind," and Yvonne Elliman put the same song on her 1978 chart album Night Flight. But it was the title song from Solitaire that became another of Sedaka's most successful copyrights. Andy Williams' cover became a Top Five hit in Britain in the winter of 1973-1974; the Carpenters' version was a Top 20 hit in the U.S. in 1975; and the song appeared on chart albums by Johnny Mathis, Elvis Presley, and Jane Olivor on its way to being a much-performed standard. Sheryl Crow sang it on the Carpenters tribute album If I Were a Carpenter in 1994, and in 2004 Clay Aiken, a runner-up from the American Idol TV talent show, took his recording to number four.
Having reestablished himself in the U.K., Sedaka signed to the European label Polydor, which assigned him to its MGM subsidiary, and he recorded a new album, The Tra-La Days Are Over, which was released in the U.K. in the summer of 1973. In the U.S., MGM tested the waters with a couple of singles, but when they did not succeed, the LP was not released in America. In Britain, it was a different story. "Standing on the Inside" and "Our Last Song Together" (the latter, appropriately, the last song Sedaka had written with Greenfield before their split) both made the Top 40, and the LP made the Top 20. Sedaka followed in 1974 with Laughter in the Rain, released on the main Polydor label, which also made the Top 20 and threw off two Top 40 hits, "A Little Lovin'" and the title song. Again, the album was not released in the U.S. Around this time, Sedaka and Cody's expertise was called upon by Swedish songwriters Benny Andersson and Björn Ulvaeus when they wrote English lyrics for "Ring Ring," one of ABBA's early songs.
While in England, Sedaka met Elton John, at the time the top pop recording star in the world, who was about to launch his own label, Rocket Records. John agreed to sign Sedaka for the U.S., and for his first release they assembled a compilation album drawn from Solitaire, The Tra-La Days Are Over, and Laughter in the Rain. The album was called Sedaka's Back, and it lived up to its name. It was preceded by the release of "Laughter in the Rain" as a single, and the song topped the charts in February 1975, Sedaka's first number one single in nearly 13 years. (To become a hit, the Sedaka version had to outdistance one by Lea Roberts that made the R&B charts; the song was also recorded on chart albums by Johnny Mathis and Earl Klugh.) The album made the Top 30 and went gold, and it spawned two more Top 40 hits, "The Immigrant" and "That's When the Music Takes Me." After "Our Last Song Together" appeared on the album, Bo Donaldson & the Heywoods covered it for a singles chart entry. In addition, Captain & Tennille covered "Love Will Keep Us Together" (another of Sedaka's final collaborations with Greenfield) from the album and released their version as a single that hit number one in June 1975. (Among the many other recordings of the song, Wilson Pickett revived it for a pop chart entry in 1976 and James Taylor Quartet featuring Alison Limerick had an R&B chart entry in 1995.) Captain & Tennille also tapped Sedaka's Back for "Sad Eyes," which they recorded for their 1977 Come in from the Rain LP (that album also contained the Sedaka song "Let Mama Know"). "Sad Eyes" earned another cover by Maria Muldaur on her 1976 chart album Sweet Harmony, after having been a number 11 hit on the Easy Listening chart for Andy Williams in the fall of 1975. "The Other Side of Me," another track from Sedaka's Back, gave Williams a British chart entry in 1976 and was featured on U.S. chart albums by Shirley Bassey and Crystal Gayle. But Donny Osmond had beaten them all by putting it on his chart album Alone Together back in 1973, just after its initial appearance on The Tra-La Days Are Over.
Sedaka toured the U.S. as an opening act for the Carpenters; by the end of the year, he was a Las Vegas headliner. Meanwhile, he had continued to record for the U.K. market, issuing a concert LP, Live at the Royal Festival Hall, in the fall of 1974 and, in the spring of 1975, a new studio album, Overnight Success, featuring the Top 40 hit "The Queen of 1964." Again, this LP was not issued in the U.S., but in the late summer, with Sedaka reestablished, American disc jockeys began playing a cut from it, "Bad Blood," which featured a prominent backup vocal by Elton John. This forced a quick U.S. release for the song, and Overnight Success, with a couple of track substitutions, appeared in America in September 1975 under the title The Hungry Years. "Bad Blood" soared to number one and went gold, and the album made the Top 20 and went gold, while also throwing off a new slow-tempo version of "Breaking Up Is Hard to Do" that peaked in the Top Ten in early 1976, leading to the odd occurrence that the 14-year-old tune earned a nomination for the 1976 Grammy Award for Song of the Year, which it lost to Bruce Johnston's "I Write the Songs." "Breaking Up Is Hard to Do" was given a new lease on life. Jimmy Bee and Ernie Fields & His Orchestra covered it for an R&B chart entry in 1976, and the same year the Carpenters put it on their chart LP A Kind of Hush. In 1983, the American Comedy Network had a pop chart entry with a parody, "Breaking Up Is Hard on You," and Gloria Estefan sang it on her double-platinum 1994 album Hold Me Thrill Me Kiss Me. Also, Captain & Tennille located another Sedaka-penned hit on The Hungry Years, recording "Lonely Night (Angel Face)" for a gold-selling Top Five hit in early 1976, and Wayne Newton scored a chart entry with the album's title song, which also earned covers in 1976 on chart albums by Johnny Mathis, Engelbert Humperdinck, Shirley Bassey, and Rita Coolidge.
Sedaka finally managed to put out the same album in the U.S. and overseas at the same time in the spring of 1976 with Steppin' Out, but it was not as big a hit as its predecessors, even though it reached the Top 30 and contained three chart hits, "Love in the Shadows," "You Gotta Make Your Own Sunshine," and the title song. None of the album's songs became hits for other performers, but John Travolta recorded a new Sedaka composition, "I Don't Know What I Like About You Baby," for his self-titled 1976 chart album. Steppin' Out concluded Sedaka's contract with Rocket Records, and he moved to Elektra for 1977's A Song, produced by George Martin of Beatles fame, another modest success that contained his chart revival of his song "Amarillo" as well as "You Never Done It Like That," which Captain & Tennille covered for a Top Ten hit. The duo also recorded "Love Is Spreading Over the World," a new Sedaka song, on their Dream album in 1978, while Jane Olivor put "The Big Parade," another song Sedaka himself had not recorded, on her 1977 Chasing Rainbows LP.
Sedaka's second Elektra album, All You Need Is the Music (1978), missed the charts, suggesting that his second commercial resurgence as a record seller had subsided. But he returned in the spring of 1980 with In the Pocket. It was preceded by the single "Should've Never Let You Go," which he sang as a duo with his daughter Dara Sedaka. The single made the Top 40 and earned a cover by Bernadette Peters on her self-titled chart album released at the same time. In the Pocket only made the lower reaches of the charts, however, and 1981's Neil Sedaka: Now, Sedaka's fourth and last Elektra album, did not chart at all. He switched to MCA/Curb, which had him record oldies in the company of other veteran stars, resulting in an Adult Contemporary chart hit with Dara Sedaka on the old Marvin Gaye/Tammi Terrell hit "Your Precious Love" in 1983-1984, an Adult Contemporary chart entry with a revival of the Cascades' 1963 hit "Rhythm of the Rain," and the LP Come See About Me.
Clearly, Sedaka's days as a major recording act were over by the mid-'80s, but he had amassed a sufficient backlog of hits that he could perform successfully for decades in theaters and hotel casinos in the U.S. and internationally. That's what he did, meanwhile issuing occasional new recordings and re-recordings of his old songs. The death of Howard Greenfield from AIDS in 1986 prompted the release of the double-album My Friend, containing the duo's best-known work. In 1991, Polydor's Timeless: The Very Best of Neil Sedaka became a Top Ten hit in the U.K. Varèse Sarabande's 1995 collection Tuneweaver found Sedaka revisiting many of his old hits, and the same year saw the release of Classically Sedaka on Vision, an album on which he adapted classical themes into songs with new lyrics that he wrote himself. Tales of Love and Other Passions, featuring a jazz trio, appeared in 1997. In 1999, a TV-advertised collection, The Very Best of Neil Sedaka, charted in the U.K. Brighton Beach Memories: Neil Sedaka Sings Yiddish was released on Sameach in 2003, and the same year Sedaka self-released an album of new songs to which he had written both music and lyrics, The Show Goes On. Early 2010 brought another set of new songs, The Music of My Life, which was packaged with a disc of his greatest hits. As the decade rolled on, Sedaka remained a fixture in the U.K., calling the country his home and, appropriately, most of his albums were released primarily in Britain. This included reissues -- Ace compiled his songwriting efforts with Howard Greenfield on a 2011 set called Where the Boys Are, a two-fer of his Rocket albums. The Tra-La Days Are Over and Overnight Success appeared the following year -- as well as the new album The Real Neil, which comprised new songs with re-recordings of old tunes.
Neil Sedaka (born March 13, 1939) is an American pop/rock singer, pianist, and composer. His career has spanned nearly 55 years, during which time he has sold millions of records as an artist and has written or co-written over 500 songs for himself and other artists, collaborating mostly with lyricists Howard Greenfield and Phil Cody.
Early life: Juilliard and the Brill Building
Sedaka was born in Brooklyn, New York. His father, Mac Sedaka, was a taxi driver and a Sephardi Jew of Turkish descent ("Sedaka" and "Sadaka" are variants of "tzedakah", which translates in both Hebrew and Arabic as the word charity). Neil's mother, Eleanor (née Appel), was an Ashkenazi Jew of Polish-Russian descent. He grew up in Brighton Beach, on the shore of the Atlantic Ocean. Sedaka is a cousin of the late singer Eydie Gormé.
He demonstrated musical aptitude in his second-grade choral class, and when his teacher sent a note home suggesting he take piano lessons, his mother took a part-time job in an Abraham & Straus department store for six months to pay for a second-hand upright. In 1947, he auditioned successfully for a piano scholarship to the Juilliard School of Music's Preparatory Division for Children, which he attended on Saturdays. His mother wanted him to become a renowned classical pianist like the contemporary of the day, Van Cliburn, but Sedaka was discovering pop music. When Sedaka was 13, a neighbor heard him playing and introduced him to her 16-year-old son, Howard Greenfield, an aspiring poet and lyricist. They became two of the legendary Brill Building's composers.
Sedaka and Greenfield wrote songs together throughout much of their young lives, with Sedaka going on to being a major teen pop star and the pair also writing hits for a litany of other artists as well as for Sedaka's own career. However, when The Beatles and the British Invasion took American music in a different direction, Sedaka was left without a recording career and decided a major change in his life was necessary, moving his family to Britain in the early 1970s. Sedaka and Greenfield mutually agreed to end their partnership with "Our Last Song Together". Sedaka began a new composing partnership with lyricist Phil Cody, from Pleasantville, New York. After Sedaka returned to the United States, the Sedaka-Greenfield team eventually reunited and continued until Greenfield's death in 1986.https://www.jewishvirtuallibrary.org/jsource/biography/Sedaka.html http://www.thejc.com/arts/arts-interviews/31730/interview-neil-sedaka Dettelbach, Cynthia. "From angst-ridden teenager to world-class music star", Cleveland Jewish News, July 30, 2004; accessed September 23, 2009. "That includes instant face and name recognition, a star on the Hollywood Walk of Fame, a place in the Songwriters Hall of Fame, and even a street named after him in his native Brighton Beach, Brooklyn."
ContentsEarly career1.1 Rise to fame with RCA Victor: the late 1950s1.2 Big hits in the early 1960s1.3 Writing for other performers1.3.1 Connie Francis1.3.2 Jimmy Clanton1.4 Foreign-language recordings
Rise to fame with RCA Victor: the late 1950s
After graduating from Abraham Lincoln High School, Sedaka and some of his classmates formed a band called The Tokens. The band had minor regional hits with songs like "While I Dream", "I Love My Baby", "Come Back, Joe", and "Don't Go", before Sedaka launched out on his own in 1957. Eventually, after a few personnel changes, in 1961, the Tokens hit No. 1 on the Billboard pop charts with the international smash "The Lion Sleeps Tonight". Meanwhile, the very young Sedaka's first three solo singles, "Laura Lee", "Ring-a-Rockin'", and "Oh, Delilah!" failed to become hits (although "Ring-a-Rockin'" earned him the first of many appearances on Dick Clark's American Bandstand), but they demonstrated his ability to perform as a solo singer, so RCA Victor signed him to a recording contract.
His first single for RCA, "The Diary", was inspired by Connie Francis, one of Sedaka and Greenfield's most important clients, while the three were taking a temporary break during their idea-making for a new song. Francis was writing in her diary, Sedaka asked if he could read it, and Connie promptly replied with a "no." After Little Anthony and the Imperials passed on the song, Sedaka recorded it himself, and his debut single hit the Top 15 on the Billboard Hot 100, peaking at No. 14 in 1958.
However, his next two singles did not fare so well. His second single, a novelty tune titled "I Go Ape", just missed the Top 40, peaking at No. 42 but it became a much successful single in the United Kingdom with a No. 9. The third single, "Crying My Heart Out for You", was a commercial failure, missing the Hot 100 entirely, peaking at No. 111 but it also became a much successful single on the pop charts in Italy with a No. 6. RCA Victor had lost money on "I Go Ape" and "Crying My Heart Out For You" and was ready to drop Sedaka from their label. But Sedaka's manager, Al Nevins, persuaded the RCA executives to give him one last chance.
Knowing he would not get another chance if he failed again, and desperate for another hit, Sedaka himself bought the three biggest hit singles of the time and listened to them repeatedly, studying the song structure, chord progressions, lyrics and harmonies—and he discovered that the hit songs of the day all shared the same basic musical anatomy. Armed with his newfound arsenal of musical knowledge, he set out to craft his next big hit song, and he promptly did exactly that: "Oh! Carol" delivered Sedaka his first domestic Top 10 hit, reaching No. 9 on the Hot 100 in 1959 and going to No. 1 on the Italian pop charts in 1960, giving Sedaka his first No. 1 ranking. In addition, the B-side, "One Way Ticket", reached No. 1 on the pop charts in Japan. Sedaka had dated Carole King when he was still at high school. This caught his eye to write the song. Gerry Goffin - King's husband - took the tune, and wrote the playful response "Oh! Neil", which King recorded and released as an unsuccessful single the same year. Thus, this was the only time the melody of the song was used by a popular artist and a future sensation around the same time.
Big hits in the early 1960s
After establishing himself in 1958, Sedaka kept churning out new hits from 1960 to 1962. His flow of Top 30 hits during this period included: "Stairway to Heaven" (No. 9, 1960); "You Mean Everything to Me" (No. 17, 1960); "Run, Samson, Run" (No. 27, 1960); "Calendar Girl" (No. 4, 1961; also reached No. 1 on the Japanese pop charts); "Little Devil" (No. 11, 1961); "Happy Birthday Sweet Sixteen" (No. 6, 1961); his signature song, "Breaking Up Is Hard To Do" (No. 1, two weeks: August 11 and 18, 1962); and "Next Door to an Angel" (No. 5, 1962). Singles not making the Top 30 during this time period included "Sweet Little You" (No. 59, 1961) and "King of Clowns" (No. 45, 1962). RCA issued four LPs in the United States and Great Britain of his works during this period, and also produced Scopitone and Cinebox videos of "Calendar Girl" in 1961, "Breaking Up Is Hard To Do" in 1962, and "The Dreamer" in 1963. (His second LP was the only one made in the big band style with songs combined in a single record.) He made regular appearances on such TV programs as American Bandstand and Shindig! during this period.
Writing for other performers
When Sedaka was not recording his own songs, he and Howard Greenfield were writing for other performers, most notably in their earliest days Connie Francis. Francis began searching for a new hit after her 1958 single "Who's Sorry Now?". She was introduced to Sedaka and Greenfield, who played every ballad they had written for her. Francis began writing in her diary while the two played the last of their songs. After they finished, Francis told them they wrote beautiful ballads but that they were too intellectual for the young generation. Sedaka suggested to Greenfield a song they had written that morning for a girl group. Greenfield protested because the song had been promised to the girl group, but Sedaka insisted on playing "Stupid Cupid". Francis told them they had just played her new hit. Francis' song reached No. 14 on the Billboard charts.
While Francis was writing in her diary, Sedaka asked her if he could read what she had written. After she refused to let him peek into "that little book/ the one that has the lock and key," Sedaka was inspired to write "The Diary", his own first hit single. Sedaka and Greenfield wrote many of Connie Francis' hits, such as "Fallin'" and the "Theme from Where the Boys Are", the film in which she starred. This hit the Top 5 on the Billboard pop singles chart and Francis had several No. 1 singles. "Where the Boys Are" eventually became her signature song.
Sedaka and Greenfield also wrote some of Jimmy Clanton's hits, such as "Another Sleepless Night," "What Am I Gonna Do?" and "All the Words in the World." Sedaka himself recorded each of these three songs: "Another Sleepless Night" appears on his Rock With Sedaka debut album; "What Am I Gonna Do?" was the B-side of "Going Home to Mary Lou" and appeared on his 1961 album Neil Sedaka Sings "Little Devil" and His Other Hits; and "All the Words in the World" was recorded but was kept in the RCA vaults until 1977, at the height of Sedaka's return to popularity, when it was released on the album Neil Sedaka: The '50s and '60s.
Sedaka was very popular in Italy. Many of his English-language records were released there and proved quite successful, especially "Crying My Heart Out For You" (Italian No. 6, 1959) and "Oh! Carol" (Italian No. 1, 1960).Neil Sedaka: Italiano, from 1964, the first of three Italian-language LPs released by RCA Italiana
In 1961, Sedaka began to record some of his hits in Italian, starting with "Esagerata" and "Un giorno inutile", local versions of "Little Devil" and "I Must Be Dreaming". Other recordings were to follow, such as "Tu non lo sai" ("Breaking Up Is Hard to Do"), "Il re dei pagliacci" ("King of Clowns"), "I tuoi capricci" ("Look Inside Your Heart"), and "La terza luna" ("Waiting For Never"). "La terza luna" reached No. 1 on the Italian pop charts in April 1963. Cinebox videos exist for "La terza luna" and "I tuoi capricci". From a language standpoint, his recordings in Italian had very little American accent. RCA Victor's Italiana department distributed his records in Italy and released three compilation LPs of Sedaka's Italian recordings.
Sedaka also recorded in Spanish, German, Hebrew, and Japanese. Even in these countries, his English-language recordings were quite popular; "One-Way Ticket to the Blues" and "Calendar Girl" scored a No. 1 on the Japanese pop charts in 1959 and 1961, respectively. He enjoyed popularity in Latin America for his Spanish-language recordings. Many of these were pressed onto 78 rpm discs.Curt Schleier (7 June 2012). "Q&A: Neil Sedaka on Adele and Carole King – The Arty Semite – Forward.com". The Forward. Retrieved 19 March 2013. "Carole King - Oh, Neil / A Very Special Boy (Vinyl) at Discogs". discogs.com. Retrieved 18 March 2013. James E. Perone (2006). The words and music of Carole King. Greenwood Publishing Group. ISBN 978-0-275-99027-5. Michael Billig (1 June 2001). Rock 'n' Roll Jews. Syracuse University Press. p. 95. Retrieved 18 March 2013.
The year 1962 provided Sedaka with one of his career's most important years, as Sedaka scored a No. 1 with "Breaking Up Is Hard To Do" and a No. 5 with "Next Door To An Angel". But after 1962, Sedaka's popularity began to wane. His singles for 1963 enjoyed modest success: "Alice In Wonderland" (No. 17), "Let's Go Steady Again" (No. 26), "The Dreamer" (No. 47), and "Bad Girl" (No. 33). "Bad Girl" would be Sedaka's last Top 40 hit in the US until 1974.
Starting in 1964, Sedaka's career went into a sharp decline, hastened by The Beatles' arrival on the radio and especially their much-hyped February 1964 appearance on CBS's The Ed Sullivan Show and the rest of the British Invasion. When describing the Beatles' effect on his career in the mid-1960s, he puts it brusquely: "The Beatles—not good!" From 1964 to 1966, only three of his singles cracked the Hot 100: "Sunny" (No. 86, 1964), "The World through a Tear" (No. 76, 1965), and "The Answer to My Prayer" (No. 89, 1965). His other singles from this era—"The Closest Thing To Heaven", "I Hope He Breaks Your Heart", "Let The People Talk", "The Answer Lies Within" and "We Can Make It If We Try"—all missed the Hot 100, the same fate since Sedaka's second single, and became commercial failures.
To make matters worse, Sedaka's employers at RCA Victor refused to release his new recording, "It Hurts to Be in Love", because he had not recorded it in their studios, as stipulated by his contract. Sedaka attempted another recording of this song in RCA's studios, but the results were unsatisfactory. Howard Greenfield and Helen Miller, the song's co-writers, offered it instead to one of Sedaka's close friends, Gene Pitney. Pitney took the existing musical track, replacing Sedaka's lead vocal track with his own. Everything else was Sedaka's, including his own arrangement and backing vocals, piano-playing, and usual female backup singers. Pitney ended up with a No. 7 hit for himself and his record label, Musicor, in 1964.
For the remainder of his tenure with RCA Victor, Sedaka never fully recovered from the effects of Beatlemania, the loss of "It Hurts to Be in Love" to Pitney, or the failure of his recordings. RCA decided not to renew his contract when it expired in 1966, leaving him without a record label.
Although Sedaka's stature as a recording artist was at a low ebb in the late 1960s, he was able to maintain his career through songwriting. Thanks to the fact that his publisher, Aldon Music, was acquired by Screen Gems, two of his songs were recorded by The Monkees, and other hits in this period written by Sedaka included The Cyrkle's version of "We Had a Good Thing Goin'" and "Workin' on a Groovy Thing", a Top 40 R&B hit for Patti Drew in 1968, and a Top 20 pop hit for The 5th Dimension in 1969. Also, "Make the Music Play" was included on Frankie Valli's charting album Timeless.
On an episode of the quiz show I've Got a Secret in 1965, Sedaka's secret was that he was to represent the United States in classical piano at the 1966 Tchaikovsky competition in Moscow, and he impressed the panelists with his performance of Frederic Chopin's "Fantaisie Impromptu" on the show. Prior to his piano performance, panelist Henry Morgan challenged Sedaka with the fact that the Soviet bureaucracy despised—and, in fact, outlawed—rock 'n' roll music, and that any Western music that young Russians have was by underground smuggling. This exchange continued before the panel learned that Sedaka was to represent the United States at the Tchaikovsky classical piano competition, which Van Cliburn had won in 1958. Morgan's warning turned out to be true: despite Sedaka's classical roots, because of his "other" life as a pop star, he was disqualified by the Soviet Union as America's entrant for the competition.
Sedaka also made an appearance in the 1968 movie Playgirl Killer, with a scene of him performing a song called "The Waterbug".Neil Sedaka, 7 April 2006; Neil Sedaka Live at the Royal Albert Hall: The Very Best of Neil Sedaka – The Show Must Go On DVD set Neil Sedaka on I've Got A Secret (1965) on YouTube
Struggles of the late 1960s to early 1970s
A new hope in Australia?
Sedaka worked to revive his solo career in the early 1970s. Despite his waning chart appeal in the USA in the late 1960s, he remained very popular as a concert attraction, notably in the UK and Australia. Years later he thanked Bob Rogers and Australia for standing by him. "... You know, Bob, in my lean years—I called them The Hungry Years—it was Bob Rogers and Australia who welcomed me." He made several trips to Australia to play cabaret dates, and his commercial comeback began when the single "Star-Crossed Lovers" became a major hit there. The song went to No. 5 nationally in April 1969—giving Sedaka his first charting single anywhere in four years. It also came in at No. 5 in Go-Set magazine's list of the Top 40 Australian singles of 1969.
Later that year, with the support of Festival Records, he recorded a new LP of original material entitled Workin' on a Groovy Thing (released in the United Kingdom as Sounds of Sedaka) at Festival Studios in Sydney. It was co-produced by Festival staff producer Pat Aulton, with arrangements by John Farrar (who later achieved international fame for his work with Olivia Newton-John) and backing by Australian session musicians including guitarist Jimmy Doyle (Ayers Rock) and noted jazz musician-composer John Sangster.
One of the tracks from the album, "Wheeling, West Virginia," reached No. 20 in Australia in early 1970. The LP is also notable because it was Sedaka's first album to include collaborations with writers other than longtime lyricist Howard Greenfield; the title track featured lyrics by Roger Atkins and four other songs were co-written with Carole Bayer Sager.
Emergence and Solitaire
In 1971, Sedaka released the Emergence album. Singles from that album included "I'm A Song (Sing Me)," "Silent Movies," "Superbird," and "Rosemary Blue." Emergence and the next year's Solitaire album were both released on the RCA Victor label, marking a short-lived reunion between Sedaka and RCA. Good friend and New York music impresario Don Kirshner attempted to make the U.S. release of "Emergence" a comeback for Sedaka, but the album and single releases had no appreciable success, and RCA showed little interest in promoting the album. After the failure of "Emergence" in the US market, Sedaka left New York and moved his family to the UK.
In 1972, Sedaka embarked on a successful English tour and was introduced by Harvey Lisberg to the four future members of 10cc (best known to American audiophiles for "I'm Not in Love" and "The Things We Do for Love") with whom he recorded the Solitaire album at Strawberry Studios in Stockport. As well as the title track, which was successfully covered by Andy Williams (UK Top 5 singles chart) and The Carpenters (US Top 20), it included two UK Top 40 singles, one ("Beautiful You") also charted briefly in America, Sedaka's first US chart appearance in ten years; but its minor performance did little to generate interest in restarting Sedaka's career.The Bob Rogers Show, Radio 2CH, 11:18 AEST, 10 September 2010. Go-Set chart, 19 April 1969 Go-Set Top 40 for 1969 Neil Sedaka Discography 1958-1969 Go-Set Top 40 chart, 7 March 1970 "Neil Sedaka is back and ready to mix old and new music on autumn tour". Retrieved 1 April 2014.
ContentsReturn to Success in the Mid-1970s1.1 Newfound success1.2 Career with The Rocket Record Company1.3 Sedaka's Back1.4 Writing for artists of the 1970s1.5 Overnight Success/The Hungry Years1.6 Steppin' Out
Return to Success in the Mid-1970s
A year later he reconvened with the Strawberry team, who had by then charted with their own debut 10cc album, to record The Tra-La Days Are Over for MGM Records, which started the second phase of his career and included his original version of the hit song "Love Will Keep Us Together" (also a US No. 1 hit two years later for Captain & Tennille). This album also marked the effective end of his writing partnership with Greenfield, commemorated by the track "Our Last Song Together." They would reunite, however, and begin composing together again before Greenfield's death in 1986. From 1974 onward, Sedaka's records were issued in Europe and around the world on the Polydor label. His first album of new material with Polydor was Laughter in the Rain.
Career with The Rocket Record Company
Elton John and Sedaka met at a party in London in 1973. When John realized Sedaka had no American record label, John suggested he sign with The Rocket Record Company, Limited, and Sedaka accepted the proposition. When John visited Sedaka's London apartment, they discussed the plans for relaunching his career in the United States.
John said he had "always been a Sedaka fan anyway". He went on to say:So the basic plan was as simple as finding out what he wanted to have on his album - which turned out to be a compilation from his British albums. It had been like Elvis coming up and giving us the chance to release his records. We couldn't believe our luck.
Sedaka returned to the U.S. album charts with the release of Sedaka's Back, a compilation of songs from three albums he had already recorded in the UK—namely "Solitaire," "The Tra-La Days Are Over," and "Laughter in the Rain." It was only the second Sedaka album ever to chart in the U.S. Sedaka was known principally as a singles artist up to that point in his career; his only other American charting album was Neil Sedaka Sings His Greatest Hits, a compilation of his early singles. Although the single was released in the autumn of 1974 and was very slow in building in sales and at radio, eventually Sedaka found himself once again topping the Billboard Hot 100 singles chart (February 1, 1975) with "Laughter in the Rain." It was Sedaka's second No. 1 single thus far at that point in his career (after 1962's original version of "Breaking Up Is Hard to Do") and solidly reestablished Sedaka's popularity in America.
One of Sedaka's most well-received compositions during this period was the second single, "The Immigrant" (US pop No. 22, US AC No. 1). Critics hailed its beautiful orchestration and evocative lyrics: wistful, nostalgic, and no doubt enhanced and embellished by both pride and disillusion with the contemporary state of affairs in the United States. The third consecutive Billboard Top 25 hit from Sedaka's Back was the uptempo rocker "That's When the Music Takes Me" (US pop No. 25, US AC No. 7), originally from the 1972 Solitaire album. This song was a rarity at the time as it was one of the few songs Sedaka had written by himself, without a collaborator. It remains today his standard curtain-call concert closer. In the US, Sedaka's records were issued first on the Rocket label (1974–77) and on the Elektra label (1977–81).
Writing for artists of the 1970s
Sedaka and Greenfield co-wrote "Love Will Keep Us Together," a No. 1 hit for Captain & Tennille and the biggest hit for the entire year of 1975. Toni Tennille paid tribute to Sedaka's welcome return to music-business success with her ad lib of "Sedaka is back" in the outro while she was laying down her own background vocals for the track. "Captain" Daryl Dragon and Toni also recorded a Spanish-language version of the song the same year that cracked the top half of Billboard's Hot 100 chart ("Por Amor Viviremos," US pop No. 49).
In 1975, Sedaka was the opening act for The Carpenters on their world tour. According to The Carpenters: The Untold Story by Ray Coleman, manager Sherwin Bash "deliberately" fired Sedaka at the request of Richard Carpenter, allegedly because Sedaka was becoming more popular than the Carpenters. The firing resulted in a media backlash against The Carpenters after Sedaka publicly announced he was off the tour. This, however, was before Karen and Richard recorded Sedaka's "Solitaire," which became a Top 20 hit for the duo. Richard Carpenter denied that he fired Sedaka for "stealing their show," as was the widespread rumour; Richard Carpenter responded that he and Karen were proud of Sedaka's success. However, Bash was fired as The Carpenters' manager a short time after. However, according to The Carpenters Story: Only Yesterday, a 2007 U.K. television biography, Bash claims he was fired by Richard following a concert in Las Vegas after Tom Jones, who was in the audience, was introduced by Sedaka, who was the opening act. Bash states that it is customary for the headliner, in this case The Carpenters, to introduce special guests. Bash then states that after Richard fired him, Richard also fired Sedaka from the tour, and Sedaka promptly fired Bash as well.
Overnight Success/The Hungry Years
In late 1975, Sedaka's most successful year of his career continued as he earned yet more chart success with the release of his second Rocket Records album, The Hungry Years. This album was an American edition of Sedaka's British Polydor album "Overnight Success." The first single, "Bad Blood," hit No. 1 on the Billboard 100 and stayed there for three weeks (October 11, 18, and 25, 1975), was certified Gold by the Recording Industry Association of America (RIAA), and was the most individual commercially successful single of his career. Elton John provided uncredited backing vocals for "Bad Blood." Despite their later falling out that would result in a change from Sedaka's record label from Elton's Rocket Records to Elektra, Elton has been credited by Sedaka as being responsible for his breakthrough back into the U.S. pop music scene. Elton has been quoted as saying: "I only appear on the records of people I really know or like."
Another highlight from "The Hungry Years" was Sedaka's new version of "Breaking Up Is Hard to Do." His 1962 original, a No. 1 hit single, was an upbeat pop song, while the remake was a slow ballad, based on a similar arrangement by a Lenny Welch 1970 recording. Sedaka's version hit No. 8 on the Hot 100 in early 1976, making him the only artist to ever record entirely reworked and rearranged versions of the same song to both reach the Billboard Top 10. The 1976 ballad version also hit No. 1 on Billboard's Adult Contemporary chart.
Later in 1976, Sedaka released a third (and final) album with Elton John's label The Rocket Record Company, Steppin' Out. The first single, "Love in the Shadows," was an uncharacteristically solid rock song featuring a scorching guitar solo. While it peaked at No. 16 on the Hot 100, it was the first of his three "comeback" albums' debut singles not to hit No. 1—or even the Top 10. The second single was the album's title track, once again featuring Elton on uncredited backing vocals. While it cracked the Top 40 (peaking at No. 36), it would also signal the beginning of a slowdown in Sedaka's music sales and radio play not unlike what he experienced in 1964 when The Beatles and the "British Invasion" arrived.
By this point, Elton John was starting to lose interest in Sedaka, and some members of John's inner circle, jealous of Sedaka's success, worked to undermine the friendship between John and Sedaka by telling John falsehoods about him. Consequently, when it was time to renegotiate Sedaka's contract with Rocket, John did not offer Sedaka the amount of money he was looking for, and he did not promote Steppin' Out as extensively as he did Sedaka's Back and The Hungry Years. Sedaka left Rocket and made the move to Elektra Records.
Sedaka would meet John again several times following his departure from Rocket, and he described their meetings as "cordial—but cold".Elton John "Story of Pop special" - p 36, Phoebus Publishing, London, 1975. Shannon, Bob (2007). "IT'S THE SINGER, NOT THE SONG". bobshannon.com. Retrieved 7 January 2010. "Neil Sedaka: The Music of My Life" - interview with Johnnie Walker for BBC Radio 2, broadcast 28 December 2010
Late 1970s Decline
Transition from Rocket to Elektra
Sedaka's new US label, Elektra, did not put as much effort into promoting Sedaka's music as Elton John had at Rocket Records, and that, combined with the arrival of the disco era, marked another downturn in Sedaka's career.
His first Elektra album, A Song, enjoyed only moderate success. Things got worse with his 1978 album All You Need Is the Music which was a dismal failure, because as Sedaka attempted to release disco-themed music himself in the late 1970s, his album sales were weak and singles could not get a foothold on the radio. However, on one track of "All You Need Is the Music" was a beautiful ballad called "Should've Never Let Her Go." Sedaka released the song but it was not a success. In his next album, 1980's In the Pocket, he released an early single in the autumn of 1979, "Letting Go," which peaked just above the Hot 100. For the second single in the winter of 1980, Sedaka changed the lyrics and title to "Should've Never Let You Go," and re-recorded the song with his then-17-year-old daughter, Dara. Their father-daughter duo, along with Frank and Nancy Sinatra and Nat "King" (posthumously) and Natalie Cole (via recording manipulation in "Unforgettable", 1991) are the only father-daughter duets to reach the Top 40. Neil and Dara's pairing would return Neil to the Top 20 for his last Hot 100 charted single, and also the Top 5 on the Adult Contemporary Chart.
Re-issue of RCA-era recordings
Throughout the 1970s, Sedaka's old record company, RCA, would re-issue his 1960s-era songs on several compilation LPs on the RCA Victor and RCA Camden labels, a practice which continues to this day. The idea was to capitalize on Sedaka's newfound popularity by making his RCA-era recordings available to younger generations of fans.
Sedaka also released one final album of new material with RCA, consisting of a live concert he gave in Sydney, Australia. The album was released on the RCA International label in Australia and Europe as Neil Sedaka On Stage in 1974. It saw a US release on the RCA Victor label in 1976 as Sedaka Live In Australia. The songs on the album were mostly cover versions of rock and pop songs from the previous 25 years, such as "Proud Mary", "Everything Is Beautiful", and "The Father Of Girls".
RCA and Sedaka have been at odds for decades over ownership rights over Sedaka's original master tapes from his late 1950s/early 1960s hits. RCA has released assorted repackaging of his old hits, prompting Sedaka to re-record his old hits and make them sound as close and authentic to the originals as possible.
1980s and 1990s
Sedaka released one final album with Elektra – Neil Sedaka: Now in 1981. None of the songs on this album made any significant waves on the pop music charts.
During this time, Sedaka lost his father to cancer. Sedaka's mother and father had moved to Fort Lauderdale, Florida in the 1970s. Mac Sedaka had a tumor in his colon, and had it surgically removed. After that, they thought he would recover, but the cancer had spread to his bones. Neil was at his bedside singing his father's favorite song, "Pictures From The Past" (a song he had recorded twice, in 1965 and 1981), when his father briefly awoke from his coma and then passed away a moment later, on June 6, 1981.
Meanwhile, due to the failure of "Now", Sedaka left Elektra and signed with Curb Records. Sedaka recorded two albums on the Curb label – Come See About Me in 1983 and The Good Times in 1986. Both of these albums fared poorly on the charts and in sales, with only modest success for the singles released from those albums. After 1986, Sedaka was once again left without a record label.
He then created his own music label, ensuring that his catalog of hits would find the marketplace, and he released occasional CDs of self-produced new, original material. He also proved to be a popular concert draw on both sides of the Atlantic Ocean, performing for thousands of adoring fans. To this day, he maintains a rigorous tour schedule.
Ben Folds, an American singer-musician-songwriter and judge on NBC's a cappella vocal-group competition series The Sing-Off, credited Sedaka on his "iTunes Originals" album as an inspiration for song publishing. Hearing Sedaka had a song published by the age of 13 gave Folds the goal of also getting a song published by his 13th birthday, despite the fact that Sedaka did not actually publish his first song until he was 16.
In 1985, songs composed by Sedaka were adapted for the Japanese anime TV series Mobile Suit Zeta Gundam. These included the two opening themes "Zeta-Toki wo Koete" (originally in English as "Better Days Are Coming") and "Mizu no Hoshi e Ai wo Komete" (originally in English as "For Us to Decide", but the English version was never recorded), as well as the end theme "Hoshizora no Believe" (written as "Bad and Beautiful"). Due to copyright, the songs were replaced for the North American DVD.
In 1994, Sedaka provided the voice for Neil Moussaka, a parody of himself in Food Rocks, an attraction at Epcot from 1994–2006.
A musical comedy based on the songs of Sedaka, titled Breaking Up Is Hard to Do, was written in 2005 by Erik Jackson and Ben H. Winters; it is now under license to Theatrical Rights Worldwide.
A biographical musical, Laughter in the Rain, produced by Bill Kenwright and Laurie Mansfield, starring Wayne Smith as Sedaka, had its world premiere at the Churchill Theatre, in the London borough of Bromley, on 4 March 2010. Sedaka attended the opening and joined the cast onstage for an impromptu curtain call of the title song."NPR Programs: Wait Wait... Don't Tell Me! Podcast". Npr.org. Retrieved 2012-04-04. Theatricalrights.com
ContentsInto the 21st century1.1 American Idol1.2 Amarillo - Guinness World Record1.3 New recording contract, new chart success
Into the 21st century
Sedaka maintains a rigorous concert schedule in the second decade of the 21st century, in the U.S. and around the world, despite having passed the age of 70. He was inducted into the Songwriters' Hall of Fame in 1983, has a star on the Hollywood Walk of Fame, and was an October 2006 inductee of the Long Island Music Hall of Fame. On November 15, 2013, Pacific Pioneer Broadcasters in Los Angeles gave him their Art Gilmore Career Achievement Award at a luncheon in his honor.
In May 2003, near the end of the second season of the Fox TV series American Idol, Sedaka appeared as a guest judge and mentor to the five remaining finalists. (The "guest judge" aspect of the series has long since been discontinued.) Several of the contestants' performances from Sedaka's songbook sparked particular praise from the guest judge. One of those performances came from eventual third-place finalist Kimberley Locke, who sang "Theme from Where the Boys Are". The Sedaka/Greenfield composition was originally recorded by Connie Francis and has gone on to become her signature song. Sedaka termed Locke's performance "ear-licious."
Eventual Season 2 runnerup Clay Aiken chose Sedaka's 1972 song "Solitaire" for his performance. As Aiken explained to the studio and TV audiences, host Ryan Seacrest, and the four total judges, "Solitaire" had long been one of his mother's all-time favorite songs. When she learned that Sedaka was going to be a guest judge and that the finalists would be singing Sedaka's songs, she begged him to sing "Solitaire". The performance was uniformly given extraordinarily high praise by the judges (including perennial skeptic Simon Cowell). Sedaka dissolved into tears, telling Aiken that he officially passed ownership of the performance of "Solitaire" to Clay, offering to record and produce a single of the song or an entire CD with him.
Although it did not appear on his debut CD itself, Aiken recorded and added "Solitaire" as the B-side to the single "The Way," whose sales were faltering. "Solitaire" was quickly moved to the A-side, and radio airplay and single and download sales responded immediately. "Solitaire" hit No. 1 on the Billboard Hot Singles Sales chart and was, in fact, the top-selling single for all of 2004. It also hit the Top 5 on Billboard's Hot 100. Sedaka was invited back to American Idol to celebrate the success of "Solitaire" several times, as it continued to reach new milestones. Since then, Aiken has mined the Sedaka songbook again, recording a cover of probably Sedaka's best-known song, "Breaking Up Is Hard to Do," on the "deluxe version" of his 2010 CD release, Tried and True.
Sedaka continues to be seen in the American Idol studio audience—most recently on May 19, 2011, when Seacrest had Sedaka stand and greet the audience on-camera during Season 10's "Top 3" results show.
Amarillo - Guinness World Record
On a business trip to New York in mid-1971, Harvey Lisberg, who was a longtime fan of Sedaka, asked Don Kirshner if he'd written anything new. Kirshner took Lisberg to a small room with a piano where Sedaka was already seated, and he tapped out a few songs. One of these was the Sedaka/Greenfield composition "(Is This the Way to) Amarillo?" which Lisberg loved and placed with his artist Tony Christie who recorded and released it in 1971. The song did relatively well on the UK singles chart, reaching the Top 20.
It lay dormant for more than three decades, when UK comic Peter Kay lip-synched it for a 2002 video in his TV series Peter Kay's Phoenix Nights. For the 2005 annual Comic Relief charity drive, he solicited a number of celebrity friends of his and updated the video, and it became an enormous hit. The original 1971 Tony Christie single was re-released to radio and CD/download sales, and hit No. 1 for seven weeks and was the biggest hit in Britain for all of 2005.
When interviewed for an "extras" feature for a DVD set of a concert filmed in London on 7 April 2006 (see below), Sedaka jokingly had heard that Christie had retired and was "golfing in Spain." The sudden revival of "Amarillo" summoned Christie back to the UK for an unexpected return to fame. Sedaka also released the song in the U.S. in 1977 as the shortened "Amarillo," but it was only a mid-chart entry, peaking just shy of the Top 40. In early 2006, the song received new life yet again when a dance beat was added and the lyrics were revised to become a novelty hit, released as "Is This the Way to the (England) World Cup?", to mark the appearance of the England football team at that summer's FIFA World Cup finals .It was used yet again later that summer by the Central Band of the Royal British Legion prior to the Men's Finals of the 2006 Wimbledon tennis tournament.
On 7 April 2006, Sedaka was appearing at the Royal Albert Hall and filming for the above-referenced CD/DVD package, when he was interrupted mid-concert by a gentleman who walked onstage from the wings. The planned scenario was that Sedaka was to begin performing "Amarillo", and after one verse, the audience was to be surprised by the appearance of Christie for an eventual duet. But at the interruption, a seemingly annoyed Sedaka asked, "What is this?" The interloper was a representative from Guinness Records, and he was there to present Sedaka with an award from Guinness World Records: British Hit Singles and Albums for composing "(Is This the Way to) Amarillo?", the most successful UK single of the 21st century (up to that date, of course). After the presentation, Sedaka proceeded into "Amarillo", Christie entered onstage to an eruption of cheers from the audience, and after the successful duet performance, the two men walked offstage together as the first half of Sedaka's concert came to a close – with the entertainer the latest recipient of a new Guinness World Record.
New recording contract, new chart success
Since Sedaka had lost his recording contract in the mid-1980s, he had used his own business, Neil Sedaka Music, to finance the recording, production, and distribution of new CDs and repackaging of his existing catalog of music. Because of ongoing disputes with RCA Records over the ownership of Sedaka's original late 1950s/early 1960s hits, in 1991, Sedaka re-recorded those early recordings, note-for-note. Sedaka has taken meticulous care of his voice over the years and still sings in the original keys recorded in his youth. This allowed him to repackage his catalog to include both his early recordings along with his mid- to late 1970s hits and later recordings.
In early 2007, Sedaka signed his first recording contract in nearly two decades with Razor and Tie Records, a small-but-growing, New York-based independent label with a talent roster that also includes Joan Baez, Vanessa Carlton, Foreigner, Joe Jackson, and Ladysmith Black Mambazo. The first release was The Definitive Collection, a life-spanning compilation of his hits, along with outtakes and songs previously released but unavailable in CD and/or download format. It debuted in the Top 25 on Billboard's Top 200 Albums chart in May 2007, one of the highest-charting albums of his entire career. It also includes the song which RCA had refused to release in 1964. Best known as a "singles artist," this album chart activity was considered a significant comeback for the veteran entertainer. The last time Sedaka had an album on the Top 200 albums chart was in 1980, with his 1979 album In the Pocket – when "Should've Never Let You Go," the 1980 duet with Sedaka and his daughter Dara, was Sedaka's last Top 20 hit on the Hot 100 singles chart.
Waking Up Is Hard to Do was Sedaka's next release with Razor and Tie, hitting the albums chart in May 2009. The CD was a children's album that used the melodies of many of Sedaka's best-known songs but changed the lyrics to fit, and hopefully have fun with, the everyday lives of babies and toddlers, along with their parents, grandparents, babysitters, and other caregivers. The CD title is an example. Lastly, The Music of My Life entered the albums chart in February 2010 and comprised almost all new material. The first track, "Do You Remember?," is Sedaka's first foray into spicy salsa and was produced by music producer, composer, and pianist David Foster. "Right or Wrong," co-written with original music partner Howard Greenfield, was done in traditional street-corner, layered doo-wop vocal harmonies with Sedaka overlaying his own voice to achieve the effect for which he was well known in his "early" heyday of the late 1950s and early 1960s. The final track, "You", has been previously released, but was remastered for this project and is one of several titles dedicated to his wife and career guide of nearly 50 years, Leba. Neil Sedaka Music continues to be listed as co-producer along with Razor and Tie.
A concert performance on 26 October 2007 at the Lincoln Center in New York City paid homage to the 50th anniversary of Sedaka's debut in show business. Music impresario (and producer for The Music of My Life track "Do You Remember?") David Foster served as emcee. Other guests included The Captain and Tennille; Natalie Cole; Connie Francis; recording legend and decades-long Sedaka friend and former manager Don Kirshner; and new Solitaire "owner" Clay Aiken, among many others. Also in 2007, Donny Osmond released a CD, Love Songs of the '70s, which included a cover of Sedaka's 1975 No. 1 hit "Laughter in the Rain."
During his 2008 Australian tour, Sedaka premiered a new classical orchestral composition entitled "Joie de Vivre (Joy of Life)." Sedaka also toured The Philippines for his May 17, 2008, concert at the Araneta Coliseum.
In early 2010, his original uptempo version of "Breaking Up Is Hard to Do" (performed by a group of uncredited singers) was being heard as the impetus for a series of insurance TV commercials, featuring actor Dennis Haysbert assuring that TV viewers not insured by Allstate can break up with their current insurer without much ado at all.
On September 11, 2010, Sedaka performed to a public and TV audience at the Hyde Park, London, venue of the "Proms in the Park" for the BBC. The UK continues to be probably Sedaka's most welcoming nation, and has been since first moving his family there (temporarily) four decades ago. The irony of the place whose music scuttled his "first" career, namely the Beatles and the British Invasion, and yet has constantly welcomed him with open arms for more than 40 years, is not lost on him, he has stated in many interviews. Indeed, it was his work with the musicians who would, in a few years, become the hit-making group 10cc that brought him back to the U.S. as a major star with No. 1 hits and a number of other major Top 40 singles. The UK always takes up a major portion of Sedaka's touring year in the 21st century.
In early 2011, Sedaka recorded two duets ("Brighton" and "The Immigrant") with singer Jim Van Slyke for Van Slyke's Neil Sedaka tribute album, The Sedaka Sessions. LML Records released this album in August 2011.
On November 13, 2013, Sedaka received the Art Gilmore Career Achievement Award at a Pacific Pioneer Broadcasters luncheon in his honor.Neil Sedaka at the Songwriters Hall of Fame http://tolucantimes.info/section/inside-this-issue/pacific-pioneer-broadcasters-to-honor-sedaka/ Music Week. "It's Time For Tony". pp. 31–37. Retrieved 29 January 2011. Neil Sedaka being interviewed by Paul Gambaccini in Neil Sedaka Live at the Royal Albert Hall: The Very Best of Neil Sedaka — The Show Must Go On DVD set "extra" Anne Carlini official website "Still Keeping It Together" interview by Russell A. Trunk with Neil Sedaka for AnneCarlini.com, Russell Trunk's Exclusive Magazine. Retrieved 07/16/11. Billboard Top 200 Albums chart dates and information for The Definitive Collection, Waking Up Is Hard to Do, and The Music of My Life courtesy Billboard.com Munro, Ian (2008-04-21). "The master songwriter turns maestro". The Sydney Morning Herald. Retrieved 2008-05-12. Neil Sedaka arrives in RP for concert, 05/15/2008 "Jim Van Slyke Releases New Studio Recording "The Sedaka Sessions" (LML Music) August 9". PRWeb. Vocus PRW Holdings, LLC. Retrieved 24 August 2011.
Sedaka attended Abraham Lincoln High School in Brooklyn, graduating in 1956.
He and his wife Leba (née Strassberg) have been married since 1962. They have two children: a daughter, Dara, a recording artist and vocalist for television and radio commercials (who sang the female part on the Sedaka duet "Should've Never Let You Go"), and a son, Marc, a screenwriter who lives in Los Angeles with his wife Samantha and three children.Hechinger, Fred M. "ABOUT EDUCATION; Personal Touch Helps", The New York Times, January 1, 1980; accessed September 20, 2009. "Lincoln, an ordinary, unselective New York City high school, is proud of a galaxy of prominent alumni, who include the playwright Arthur Miller, Representative Elizabeth Holtzman, the authors Joseph Heller and Ken Auletta, the producer Mel Brooks, the singer Neil Diamond and the songwriter Neil Sedaka."