Needles & Grooves AoTM /// Vol. 3 - September 2019 /// Nicole Atkins - Goodnight, Rhonda Lee

Teeeee said:
Clue:

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The Brill Building's name has been widely adopted as a shorthand term for a broad and influential stream of American mainstream popular song (strongly influenced by Latin music, Traditional black gospel, and rhythm and blues) which enjoyed great commercial success in the late 1950s and throughout the 1960s. Many significant American and international publishing companies, music agencies, and recording labels were based in New York, and although these ventures were naturally spread across many locations, the Brill Building was regarded as probably the most prestigious address in New York for music business professionals. The term "The Brill Building Sound" is somewhat inaccurate, however, since much of the music so categorized actually emanated from other locations — music historian Ken Emerson nominates buildings at 1650 Broadway and 1697 Broadway as other significant bases of activity in this field.
By 1962 the Brill Building contained 165 music businesses:[5] A musician could find a publisher and printer, cut a demo, promote the record and cut a deal with radio promoters, all within this one building. The creative culture of the independent music companies in the Brill Building and the nearby 1650 Broadway came to define the influential "Brill Building Sound" and the style of popular songwriting and recording created by its writers and producers.[6]
Carole King described the atmosphere at the "Brill Building" publishing houses of the period:
Every day we squeezed into our respective cubby holes with just enough room for a piano, a bench, and maybe a chair for the lyricist if you were lucky. You'd sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific—because Donny (Kirshner) would play one songwriter against another. He'd say: "We need a new smash hit"—and we'd all go back and write a song and the next day we'd each audition for Bobby Vee's producer.
— Quoted in The Sociology of Rock by Simon Frith[7]
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The Brill Building approach—which can be extended to other publishers not based in the actual Brill Building—was one way that professionals in the music business took control of things in the time after rock and roll's first wave. In the Brill Building practice, there were no more unpredictable or rebellious singers; in fact, a specific singer in most cases could be easily replaced with another. These songs were written to order by pros who could custom fit the music and lyrics to the targeted teen audience. In a number of important ways, the Brill Building approach was a return to the way business had been done in the years before rock and roll, since it returned power to the publishers and record labels and made the performing artists themselves much less central to the music's production.[8]


1619 Broadway[edit]
  • Broadway Video
  • Postworks LLC/Orbit Digital
  • Famous Music
  • Fiesta Records[13]
  • Coed Records, Inc.
  • Mills Music
  • Southern Music
  • Red Bird Records
  • TM Music
  • SoundOne (Primarily Film Sound Editing) AND Sound Mixers (Sound Studio for Jingles and Music Albums)
  • Helios Music/Glamorous Music
  • KMA Music
  • New Vision Communications
  • Paul Simon Music
  • Key Brand Entertainment
  • Maggie Vision Productions
  • Alexa Management – President/CEO- Shafi Khan
  • TSQ LLC
  • Mission Big
  • Studio Center
1650 Broadway[edit]
  • Aldon Music
  • Action Talents agency
  • April/Blackwood Music
  • Bang Records
  • Bell Records, Inc.
  • Buddah Records, Inc.
  • Capezio Dance Theatre Shop
  • Diamond Records
  • Gamble Records, Inc.
  • H/B Webman & Co.
  • Iridium Jazz Club
  • Princess Music Publishing, Corp.
  • Scepter/Wand Records
  • Web IV Music, Inc.
  • We Three Music Publishing, Inc.
  • Just Sunshine Records
  • Allegro Sound Studios (later called Generation Sound Studios)
Roosevelt Music
 
www.azcentral.com

40 best songs of 2016 (so far): FKA Twigs, Angel Olsen, Bat for Lashes, Selena Gomez, Radiohead, Rihanna

FKA Twigs, Angel Olsen, Bat for Lashes, Selena Gomez, Radiohead, Ty Segall, Rihanna made our list of best songs of 2016.
www.azcentral.com

2. Angel Olsen, “Shut Up, Kiss Me”
In which Olsen lets whatever inner punk she has inside her take the wheel on a reckless throwback to the girl group era that somehow reminds me of Elvis Costello writing for the Shangri-Las. Which is to say it’s perfect, a shambling mess of a Brill Building classic that starts with her pouting the words to a single distorted guitar. “I ain’t hanging up this time,” she begins while allowing the final word to linger for a good three syllables. “I ain’t giving up tonight-high-height.” It’s a slow-burning build to the chorus hook, which Olsen’s bandmates bash out with the primitive brilliance of Neanderthals discovering the joy of music (or maybe the Troggs) as she demands that you “Shut up, kiss me, hold me tight” with just the right amount of swagger. The request is undeniable. Unless you don’t like rock and roll (in which case we must never speak of this again).

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Goatfish said:
www.azcentral.com

40 best songs of 2016 (so far): FKA Twigs, Angel Olsen, Bat for Lashes, Selena Gomez, Radiohead, Rihanna

FKA Twigs, Angel Olsen, Bat for Lashes, Selena Gomez, Radiohead, Ty Segall, Rihanna made our list of best songs of 2016.
www.azcentral.com

2. Angel Olsen, “Shut Up, Kiss Me”
In which Olsen lets whatever inner punk she has inside her take the wheel on a reckless throwback to the girl group era that somehow reminds me of Elvis Costello writing for the Shangri-Las. Which is to say it’s perfect, a shambling mess of a Brill Building classic that starts with her pouting the words to a single distorted guitar. “I ain’t hanging up this time,” she begins while allowing the final word to linger for a good three syllables. “I ain’t giving up tonight-high-height.” It’s a slow-burning build to the chorus hook, which Olsen’s bandmates bash out with the primitive brilliance of Neanderthals discovering the joy of music (or maybe the Troggs) as she demands that you “Shut up, kiss me, hold me tight” with just the right amount of swagger. The request is undeniable. Unless you don’t like rock and roll (in which case we must never speak of this again).

ShallowImaginativeBrocketdeer-size_restricted.gif
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supahypeag said:
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Angel Olsen has an album called Sleepwalker.

And the Jekyll/Hyde REALLY fits that Side A/Side B dichotomy I posted about earlier in the thread:

My Woman was recorded at Vox Studios in Los Angeles with producer Justin Raisen.[2] The album was structured as sides of a vinyl record: "On one side, it’s as if you were having an upbeat day and wanted to try something a little hectic. But then, if you feel like things were slowing down and you wanted to be more reflective, then you listen to Side B."[3] With regard to the album's themes, Olsen said that My Woman addresses "the complicated mess of being a woman."[4]

LOCK IT UP FOLKS.
 
Goatfish said:
Apparently... Don't know how I missed this?



Compilation album, don't think it counts.


Now I'm real lost.

My Woman = NOT IT pile
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I looked back earlier in the thread. I believe that it was accepted because there is a collaborative album in 2013 that would make My Woman #4. so the question becomes if collaborative albums count for the number of albums.
 
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