Look up Carol or carol in Wiktionary, the free dictionary.

Carol may refer to:

• Carol, a female or male name, see Carl
• Carol (music), a festive song
  • Christmas carol, carols sung at Christmas
• Carol (music/name) To Carola Häggkvist
• Carol (anime), an anime OVA featuring character designs by Yun Kouga
• Carol (novel), a novel by Patricia Highsmith
• Hurricane Carol, a 1954 tropical cyclone
• Mazda Carol, a kei car automobile
• Carol, a Japanese rock band that Eikichi Yazawa once belonged to
• "Carol" (song), a rock 'n roll song written and recorded by Chuck Berry in 1958
• Carol (Chara album), 2009
• Carol (Carol Banawa album), 1997

People[link]

• Carol I of Romania (1839–1914), king of Romania
• Carol II of Romania (1893–1953), king of Romania

Fictional characters[link]

• Carol!, a character on Saturday Night Live
• Carol (Dilbert), a character in Dilbert
• Carol Martin, a character in The Brady Bunch
• Carol (Tomorrow People), a character in the 1970s science fiction series The Tomorrow People
• Carol Anne Freeling is the main character in all three Poltergeist films from the 1980s

See also[link]

• All pages beginning with "Carol" for people with the given name Carol
• Carola (disambiguation)
• Carol City, Florida, part of the South Florida metropolitan area
• Carrols (disambiguation)
• Oh Carol (disambiguation)
• CAROL is a Roland short-range air defence missile system.

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Chuck Berry
Berry in Örebro, Sweden, on July 18, 2007
Background information
Birth name	Charles Edward Anderson Berry
Born	(1926-10-18) October 18, 1926 (age 85) St. Louis, Missouri, U.S.
Genres	Rock and roll, blues, rhythm and blues
Occupations	Musician, songwriter
Instruments	Guitar, vocals
Years active	1955–present
Labels	Chess, Mercury, Atco
Website	www.chuckberry.com
Notable instruments
Gibson ES-355

Charles Edward Anderson "Chuck" Berry (born October 18, 1926) is an American guitarist, singer and songwriter, and one of the pioneers of rock and roll music. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Chuck Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics focusing on teen life and consumerism and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.^[1]

Born into a middle class family in St. Louis, Missouri, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he served a prison sentence for armed robbery between 1944 and 1947. On his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of blues player T-Bone Walker, he was performing in the evenings with the Johnnie Johnson Trio.^[2] His break came when he traveled to Chicago in May 1955, and met Muddy Waters, who suggested he contact Leonard Chess of Chess Records. With Chess he recorded "Maybellene"—Berry's adaptation of the country song "Ida Red"—which sold over a million copies, reaching No. 1 on Billboard's Rhythm and Blues chart. By the end of the 1950s, Berry was an established star with several hit records and film appearances to his name as well as a lucrative touring career. He had also established his own St. Louis-based nightclub, called Berry's Club Bandstand. But in January 1962, Berry was sentenced to three years in prison for offenses under the Mann Act—he had transported a 14-year-old girl across state lines.^[2][3][4]

After his release in 1963, Berry had several more hits, including "No Particular Place to Go", "You Never Can Tell", and "Nadine", but these did not achieve the same success, or lasting impact, of his 1950s songs, and by the 1970s he was more in demand as a nostalgic live performer, playing his past hits with local backup bands of variable quality.^[2] His insistence on being paid cash led to a jail sentence in 1979—four months and community service for tax evasion.

Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986, with the comment that he "laid the groundwork for not only a rock and roll sound but a rock and roll stance."^[5] Berry is included in several Rolling Stone "Greatest of All Time" lists, including being ranked fifth on their 2004 list of the 100 Greatest Artists of All Time.^[6] The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll included three of Chuck Berry's songs: "Johnny B. Goode", "Maybellene", and "Rock and Roll Music".^[7] Today – at the age of 85 – Berry continues to play live.

Early life and apprenticeship with Johnnie Johnson (1926–54)[link]

Born in St. Louis, Missouri,^[8] Berry was the fourth child in a family of six. He grew up in the north St. Louis neighborhood known as "The Ville," an area where many middle class St. Louis people lived at the time. His father, Henry, was a contractor and deacon of a nearby Baptist church, his mother Martha a certified public school principal. His middle class upbringing allowed him to pursue his interest in music from an early age and he gave his first public performance in 1941 while still at Sumner High School.^[9] Just three years later, in 1944, while still at Sumner High School, he was arrested and convicted of armed robbery after robbing three shops in Kansas City and then stealing a car at gunpoint with some friends.^[10][11] Berry's own account in his autobiography is that his car broke down and he then flagged down a passing car and stole it at gunpoint with a non-functional pistol.^[12][13] Berry was sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri,^[8] where he formed a singing quartet and did some boxing.^[10]

After his release from prison on his 21st birthday in 1947, Berry married Themetta "Toddy" Suggs on October 28, 1948, who gave birth to Darlin Ingrid Berry on October 3, 1950.^[14] Berry supported his family doing a number of jobs in St. Louis: working briefly as a factory worker at two automobile assembly plants, as well as being janitor for the apartment building where he and his wife lived. Afterwards he trained as a beautician at the Poro College of Cosmetology, founded by Annie Turnbo Malone.^[15] He was doing well enough by 1950 to buy a "small three room brick cottage with a bath" in Whittier Street,^[16] which is now listed as the Chuck Berry House on the National Register of Historic Places.^[17]

By the early 1950s, Berry was working with local bands in the clubs of St. Louis as an extra source of income.^[16] He had been playing the blues since his teens, and he borrowed both guitar riffs and showmanship techniques from blues player T-Bone Walker,^[18] as well as taking guitar lessons from his friend Ira Harris that laid the foundation for his guitar style.^[19] By early 1953 Berry was performing with Johnnie Johnson's trio, starting a long-time collaboration with the pianist.^[20] Although the band played mostly blues and ballads, the most popular music among whites in the area was country. Berry wrote, "Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering 'who is that black hillbilly at the Cosmo?' After they laughed at me a few times they began requesting the hillbilly stuff and enjoyed dancing to it."^[8]

Berry's calculated showmanship, along with mixing country tunes with R&B tunes, and singing in the style of Nat "King" Cole to the music of Muddy Waters, brought in a wider audience, particularly affluent white people.^[2][21]

Signing with Chess: "Maybellene" to "Come On" (1955–62)[link]

In May 1955, Berry traveled to Chicago where he met Waters, who suggested he contact Leonard Chess of Chess Records. Berry thought his blues material would be of most interest to Chess, but to his surprise it was an old country and western recording by Bob Wills, entitled "Ida Red" that got Chess's attention. Chess had seen the rhythm and blues market shrink and was looking to move beyond it, and he thought Berry might be the artist for that purpose. So on May 21, 1955 Berry recorded an adaptation of "Ida Red"—"Maybellene"—which featured Johnnie Johnson on piano, Jerome Green (from Bo Diddley's band) on the maracas, Jasper Thomas on the drums and Willie Dixon on the bass. "Maybellene" sold over a million copies, reaching No. 1 on Billboard's Rhythm and Blues chart and No. 5 on the September 10, 1955 Billboard Best Sellers in Stores chart.^[8][22]

At the end of June 1956, his song "Roll Over Beethoven" reached No. 29 on the Billboard Top 100 chart, and Berry toured as one of the "Top Acts of '56". He and Carl Perkins became friends. Perkins said that "I knew when I first heard Chuck that he'd been affected by country music. I respected his writing; his records were very, very great." As they toured, Perkins discovered that Berry not only liked country music, but knew about as many songs as he did. Jimmie Rodgers was one of his favorites. "Chuck knew every Blue Yodel and most of Bill Monroe's songs as well," Perkins remembered. "He told me about how he was raised very poor, very tough. He had a hard life. He was a good guy. I really liked him."^[23]

Berry in The Casino Deauville, France, July 13, 1987

In late 1957, Berry took part in Alan Freed's "Biggest Show of Stars for 1957" United States tour with the Everly Brothers, Buddy Holly, and others.^[24] He also guest starred on ABC's The Guy Mitchell Show, having sung his hit song "Rock 'n' Roll Music". The hits continued from 1957 to 1959, with Berry scoring over a dozen chart singles during this period, including the top 10 US hits "School Days", "Rock and Roll Music", "Sweet Little Sixteen", and "Johnny B. Goode". He appeared in two early rock and roll movies. The first was Rock Rock Rock, released in 1956. He is shown singing "You Can't Catch Me." He had a speaking role as himself in the 1959 film Go, Johnny, Go! along with Alan Freed, and was also shown performing his songs "Johnny B. Goode," "Memphis, Tennessee," and "Little Queenie." His performance of "Sweet Little Sixteen" at the Newport Jazz Festival in 1958 is captured in the motion picture Jazz on a Summer's Day.^[25]

By the end of the 1950s, Berry was an established star with several hit records and film appearances to his name, as well as a lucrative touring career. He had established a racially integrated St. Louis-based nightclub, called Berry's Club Bandstand, and was investing in real estate.^[26] But in December 1959, Berry was arrested under the Mann Act after an allegation that he had sex with a 14-year-old Apache waitress whom he had transported over state lines to work as a hat check girl at his club.^[27] After an initial two-week trial in March 1960, Berry was convicted, fined $5,000, and sentenced to five years in prison.^[28] Berry's appeal that the judge's comments and attitude were racist and prejudiced the jury against him was upheld,^[3][29] and a second trial was heard in May and June 1961,^[30] which resulted in Berry being given a three-year prison sentence.^[12] After another appeal failed, Berry served one and one half years in prison from February 1962 to October 1963.^[12] Berry had continued recording and performing during the trials, though his output had slowed down as his popularity declined; his final single released before being imprisoned was "Come On".^[31]

"Nadine" and move to Mercury (1963–69)[link]

When Berry was released from prison in 1963, he was able to return to recording and performing due to the British invasion acts of the 1960s—most notably The Beatles and The Rolling Stones—having kept up an interest in his music by releasing cover versions of his songs;^[32][33] along with other bands reworking his songs, such as the Beach Boys basing their 1963 hit "Surfin' USA" on Berry's "Sweet Little Sixteen".^[34] In 1964–65 Berry released eight singles, including three, "No Particular Place to Go" (a reworking of "School Day"),^[35] "You Never Can Tell", and "Nadine,"^[36] which achieved commercial success, reaching the top 20 of the Billboard 100. Between 1966 and 1969 Berry released five albums on the Mercury label, including his first live album Live at Fillmore Auditorium in which he was backed by the Steve Miller Band.^[37][38]

While this was not a successful period for studio work,^[39] Berry was still a top concert draw. In May 1964, he did a successful tour of the UK,^[35] though when he returned in January 1965 his behavior was erratic and moody, and his touring style of using unrehearsed local backing bands and a strict non-negotiable contract was earning him a reputation as a difficult yet unexciting performer.^[40] He also played at large events in North America, such as the Schaefer Music Festival in New York City's Central Park in July 1969, and the Toronto Rock and Roll Revival festival in October.^[41]

Back to Chess: "My Ding-a-Ling" to White House concert (1970–79)[link]

Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, then in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which Berry had recorded in a different version on his 1968 LP From St. Louie to Frisco as "My Tambourine".^[43] The track became Berry's only No. 1 single. A live recording of "Reelin' And Rockin'" was also issued as a follow-up single that same year and would prove to be Berry's final top-40 hit in both the US and the UK. Both singles were featured on the part-live/part-studio album The London Chuck Berry Sessions which was one of a series of London Sessions albums which included other Chess mainstay artists Muddy Waters and Howlin' Wolf. Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until 1979's Rock It for Atco Records, his last studio album to date.^[44]

In the 1970s Berry toured on the basis of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. Allmusic has said that in this period his "live performances became increasingly erratic, [...] working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike.^[45] Among the many bandleaders performing a backup role with Chuck Berry were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the video Hail! Hail! Rock 'n' Roll that Berry did not even give the band a set list and just expected the musicians to follow his lead after each guitar intro. Berry neither spoke to nor thanked the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Chuck Berry performed at the White House on June 1, 1979.^[38]

Berry's type of touring style, traveling the "oldies" circuit in the 1970s (where he was often paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry was a chronic income tax evader. Facing criminal sanction for the third time, Berry pleaded guilty to tax evasion and was sentenced to four months in prison and 1,000 hours of community service—doing benefit concerts—in 1979.^[46]

Still on the road (1980–present)[link]

Berry performing live in 1997

Berry continued to play 70 to 100 one-nighters per year in the 1980s, still traveling solo and requiring a local band to back him at each stop. In 1986, Taylor Hackford made a documentary film, Hail! Hail! Rock 'n' Roll, of a celebration concert for Berry's sixtieth birthday, organised by Keith Richards, in which Berry reveals his bitterness at the fame and financial success that Richards achieved on the back of Berry's songs.^[47] Eric Clapton, Etta James, Julian Lennon, Robert Cray and Linda Ronstadt, among others, appeared with Berry on stage and film. During the concert, Berry played a Gibson ES-355, the luxury version of the ES-335 that he favored on his 1970s tours. Richards played a black Fender Telecaster Custom, Cray a Fender Stratocaster and Clapton a Gibson ES 350T, the same guitar Berry used on his early recordings.^[48]

In the late 1980s, Berry bought a restaurant in Wentzville, Missouri, called The Southern Air,^[49] and in 1990 he was sued by several women who claimed that he had installed a video camera in the ladies' bathroom. Berry claimed that he had the camera installed to catch red-handed a worker who was suspected of stealing from the restaurant. Though his guilt was never proven in court, Berry opted for a class action settlement with 59 women. Berry's biographer, Bruce Pegg, estimated that it cost Berry over $1.2 million plus legal fees.^[50] It was during this time that he began using Wayne T. Schoeneberg as his legal counsel. Reportedly, a police raid on his house did find videotapes of women using the restroom, and one of the women was a minor. Also found in the raid were 62 grams of marijuana. Felony drug and child-abuse charges were filed. In order to avoid the child-abuse charges, Berry agreed to plead guilty to misdemeanor possession of marijuana. He was given a six-month suspended jail sentence, two years' unsupervised probation, and ordered to donate $5,000 to a local hospital.^[51]

In November 2000, Berry again faced legal charges when he was sued by his former pianist Johnnie Johnson, who claimed that he co-wrote over 50 songs, including "No Particular Place to Go", "Sweet Little Sixteen" and "Roll Over Beethoven", that credit Berry alone. The case was dismissed when the judge ruled that too much time had passed since the songs were written.^[52]

Currently, Berry usually performs one Wednesday each month at Blueberry Hill, a restaurant and bar located in the Delmar Loop neighborhood in St. Louis. In 2008, Berry toured Europe, with stops in Sweden, Norway, Finland, the United Kingdom, the Netherlands, Ireland, Switzerland, Poland, and Spain. In mid-2008, he played at Virgin Festival in Baltimore, MD.^[53] He presently lives in Ladue, Missouri, approximately 10 miles west of St. Louis.^[54] During a New Year's Day 2011 concert in Chicago, Berry, suffering from exhaustion, passed out and had to be helped off stage.^[55]

Legacy[link]

Berry was honored alongside Leonard Cohen as the recipients of the first annual Pen Awards for songwriting excellence at the JFK Presidential Library, Boston, Mass. on February 26, 2012

A pioneer of rock music, Berry was a significant influence on the development of both the music and the attitude associated with the rock music lifestyle. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Chuck Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics successfully aimed to appeal to the early teenage market by using graphic and humorous descriptions of teen dances, fast cars, high-school life, and consumer culture,^[2] and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.^[1] His records are a rich storehouse of the essential lyrical, showmanship and musical components of rock and roll; and, in addition to The Beatles and The Rolling Stones, a large number of significant popular-music performers have recorded Berry's songs.^[2] Though not technically accomplished, his guitar style is distinctive – he incorporated electronic effects to mimic the sound of bottleneck blues guitarists, and drew on the influence of guitar players such as Charlie Christian and T-Bone Walker^[2] to produce a clear and exciting sound that many later guitar musicians would acknowledge as a major influence in their own style.^[51] In the film Hail! Hail! Rock 'n' Roll Eric Clapton states 'If you wanna play rock and roll – or any upbeat number – and you wanted to take a guitar ride you would end up playing like Chuck...because there is very little other choice. There's not a lot of other ways to play rock and roll other than the way Chuck plays it; he's really laid the law down..." In 1992 Keith Richards told Best of Guitar Player "Chuck was my man. He was the one who made me say 'I want to play guitar, Jesus Christ!'...Suddenly I knew what I wanted to do." Berry's showmanship has been influential on other rock guitar players,^[57] particularly his one-legged hop routine,^[58] and the "duck walk",^[59] which he first used as a child when he walked "stooping with full-bended knees, but with my back and head vertical" under a table to retrieve a ball and his family found it entertaining; he used it when "performing in New York for the first time and some journalist branded it the duck walk."^[60][61]

The rock critic Robert Christgau considers him "the greatest of the rock and rollers,"^[62] while John Lennon said that "if you tried to give rock and roll another name, you might call it 'Chuck Berry'."^[63] Ted Nugent said "If you don't know every Chuck Berry lick, you can't play rock guitar."^[64] Among the honors he has received, have been the Grammy Lifetime Achievement Award in 1984,^[65] the Kennedy Center Honors in 2000,^[66] and being named seventh on Time magazine's 2009 list of the 10 best electric guitar players of all-time.^[67] On May 14, 2002, Chuck Berry was honored as one of the first BMI Icons at the 50th annual BMI Pop Awards. He was presented the award along with BMI affiliates Bo Diddley and Little Richard.^[68]

Berry is included in several Rolling Stone "Greatest of All Time" lists. In September 2003, the magazine named him number 6 in their list of the "100 Greatest Guitarists of All Time".^[69] This was followed in November of the same year by his compilation album The Great Twenty-Eight being ranked 21st in the Rolling Stone's 500 Greatest Albums of All Time.^[70] The following year, in March 2004, Berry was ranked fifth out of "The Immortals – The 100 Greatest Artists of All Time".^[6] In December 2004, six of his songs were included in the "Rolling Stone's 500 Greatest Songs of All Time", namely "Johnny B. Goode" (# 7), "Maybellene" (# 18), "Roll Over Beethoven" (# 97), "Rock and Roll Music" (#128), "Sweet Little Sixteen" (# 272) and "Brown Eyed Handsome Man" (# 374).^[71] In June 2008, his song "Johnny B. Goode" ranked first place in the "100 Greatest Guitar Songs of All Time".^[72]

A statue 8 feet (2.4 m) tall of Berry, funded by donations, has been erected along the St. Louis Walk of Fame. The dedication ceremony attended by Berry was held on July 29, 2011.^[73]

Discography[link]

References[link]

External links[link]

	Book: Chuck Berry
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Chuck Berry

• Official website

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (April 2012)

Neil Sedaka
Neil Sedaka in 2005
Background information
Born	(1939-03-13) March 13, 1939 (age 73)
Origin	Brooklyn, New York, United States
Genres	Pop
Occupations	Singer-songwriter, musician, multi-instrumentalist, record producer
Instruments	Vocals, Multiple instruments
Years active	1957–present
Labels	RCA Victor Records, MGM Records, Polydor Records, Rocket Records, Elektra Records, Neil Sedaka Music, Razor & Tie Records
Website	www.neilsedaka.com

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[link]

Sedaka was born in Brooklyn, New York. His father, Mac Sedaka (aka Sedacca), a taxi driver, was of Sephardic Turkish-Jewish descent. ("Sedaka" and "Sedacca" are variants of tzedaka, which translates in both Hebrew and Arabic as the word charity). Sedaka's mother, Eleanor (née Appel), was of Polish-Russian Jewish descent (or generally referred to as Ashkenazi-Jewish descent). He grew up in the then-heavily Jewish Brooklyn neighborhood of Brighton Beach, which lies on the shore of the Atlantic Ocean.^[1] Sedaka is a cousin of 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 such as 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 that their partnership reached an end with "Our Last Song Together". Sedaka began a new composing partnership with British lyricist Phil Cody. After Sedaka returned to the US, however, the Sedaka-Greenfield team eventually reunited and continued until Greenfield's death in 1986.^{[citation needed]}

Early career[link]

Rise to fame with RCA Victor: the late 1950s[link]

After graduating from 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. However, after a few personnel changes, in 1961, The Tokens would hit #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 no. After the song was passed on by Little Anthony and the Imperials, Sedaka recorded it himself, and his debut single hit the Top 15 on the Billboard Hot 100, peaking at #14 for Sedaka in 1958. His followup, a novelty tune titled "I Go Ape", just missed the Top 40, peaking at #42. The third single, "Crying My Heart Out for You", did even worse, missing the Hot 100 entirely, peaking at #111 (although it went to #6 on the pop charts in Italy). Desperate for another hit, he bought several hit singles 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 #9 on the Hot 100 in 1959 and going to #1 on the Italian pop charts in 1960, giving Sedaka his first #1 ranking. The song was dedicated to his girlfriend at the time, Carole King, a fellow Brill Building composer and future pop star. In terms of the title, however, Sedaka and Greenfield used the more traditional spelling of the word "Carol" without the "e"; King would respond with her own novelty song, "Oh! Neil", later that year.

Big hits in the early 1960s[link]

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" (#9, 1960); "You Mean Everything to Me" (#17, 1960); "Run, Samson, Run" (#27, 1960); "Calendar Girl" (#4, 1961; also reached #1 on the Japanese pop charts); "Little Devil" (#11, 1961); "Happy Birthday Sweet Sixteen" (#6, 1961); his signature song, "Breaking Up Is Hard To Do" (#1, 1962); and "Next Door to an Angel" (#5, 1962). Singles not making the Top 30 during this time period included "Sweet Little You" (#59, 1961) and "King of Clowns" (#45, 1962). RCA issued four LPs in the U.S. and 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. He made regular appearances on such TV programs as American Bandstand and Shindig! during this period.

Writing for other performers[link]

Connie Francis[link]

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 #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, 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. Although the latter hit the Top 5 on the Billboard pop singles chart and Francis had several #1 singles, "Where the Boys Are" eventually became her signature song.

Jimmy Clanton[link]

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.

Foreign-language recordings[link]

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 #6, 1959) and "Oh! Carol" (Italian #1, 1960).

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 #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 office 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; "Calendar Girl" scored a #1 on the Japanese pop charts in the autumn of 1961. He enjoyed popularity in Latin America for his Spanish-language recordings. Many of these were pressed onto 78 rpm discs.

Mid-1960s decline[link]

The year 1962 provided Sedaka with one of his career's most important years, as Sedaka scored a #1 with "Breaking Up Is Hard To Do" and a #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" (#17), "Let's Go Steady Again" (#26), "The Dreamer" (#47), and "Bad Girl" (#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-'60s, he puts it brusquely: "The Beatles — not good!" ^[2] From 1964 to 1966, only three of his singles cracked the Hot 100: "Sunny" (#86, 1964), "The World through a Tear" (#76, 1965), and "The Answer to My Prayer" (#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" - were all 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 to Gene Pitney instead, and he took the existing musical track, replacing Sedaka's lead vocal track with Pitney's 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 #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 chose 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 despises — and, in fact, outlaws — 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 USA at the Tchaikovsky classical piano competition, which Van Cliburn had won in 1958. Unfortunately, Morgan's warning turned out to be true. Despite Sedaka's classical roots, because of Sedaka's "other" life as a pop star, he was disqualified by the USSR as the US 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".

The late 1960s to early 1970s[link]

Time in Australia[link]

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." ^[3] 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 #5 nationally in April 1969 ^[4] — giving Sedaka his first charting single anywhere in four years. It also came in at #5 in Go-Set magazine's list of the Top 40 Australian singles of 1969.^[5]

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.^[6]

The title track from the album, "Wheeling, West Virginia," reached #20 in Australia in early 1970.^[7] 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.

[edit] 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. After the failure of Emergence in the U.S., Sedaka left his hometown of New York and moved his family to the UK.

In 1972, Sedaka embarked on a successful English tour and in June recorded the Solitaire album at Strawberry Studios in Stockport, working with the four future members of 10cc (best known to American audiophiles for "I'm Not in Love" and "The Things We Do for Love"). 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, including "Beautiful You," which 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 mid- to late 1970s: Sedaka's Back I[link]

Neil Sedaka (1974)

Newfound success[link]

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 #1 hit two years later for The 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 Rocket Records[link]

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 Rocket, and Sedaka accepted the proposition. When John visited Sedaka's London apartment, they discussed the plans for relaunching his career in the US.^[8]

John said he had "always been a Sedaka fan anyway".^[8] 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.^[8]

[edit] Sedaka's Back

Sedaka returned to the U.S. album charts with the release of Sedaka's Back, a compilation of songs from three British albums he had already recorded in Britain, 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 to that point, his only other American charting album being Neil Sedaka Sings His Greatest Hits, a compilation of his early singles.

Although the single was released in the autumn of 1974 and was slow in building, eventually Sedaka found himself once again topping the Billboard Hot 100 singles charts with "Laughter in the Rain" in early 1975. This song re-established the popularity of Sedaka in America.

One of Sedaka's most well-received compositions during this period was the second single, "The Immigrant" (US pop #22, US AC #1). Critics hailed its beautiful orchestration and evocative lyrics: wistful, nostalgic, and no doubt enhanced and embellished by both pride and disillusion with the state of affairs in the contemporary life in the nation in which Sedaka was raised. It was at one time welcoming of strangers from afar, willing to allow emigrants from faraway lands to enter our shores as immigrants, being allowed to try to find a place in that new home of their dreams – possibly not necessarily as perfect as initially hoped – but still the great land called America.^[9] But it was also was a protest ode dedicated to his friend (ironically, a former Beatle who had shooed him across the Atlantic in the opposite direction), John Lennon.

The third consecutive Billboard Top 25 hit from Sedaka's Back was the uptempo rocker "That's When the Music Takes Me" (US pop #25, US AC #7), originally from the 1972 "Solitaire" album. This song was a rarity at the time as it was one of the few songs Sedaka wrote 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 from 1974–77 and on the Elektra label from 1977-81.

Writing for artists of the 1970s[link]

Sedaka and Greenfield co-wrote "Love Will Keep Us Together," a No. 1 hit for The 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.^[10] "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 #49). If you listen carefully, you will notice that the backing track is exactly the same as the English-language version, in English—including "Sedaka is Back".

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 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.^{[citation needed]} 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", stating they were proud of Sedaka's success. However, Bash was fired as The Carpenters' manager a short time after.

[edit] The Hungry Years

In late 1975, Sedaka earned more chart success with the release of his second Rocket album, The Hungry Years. This album was an American edition of Sedaka's British Polydor album "Overnight Success". Near the close of 1975 and lasting into early 1976, Sedaka would have another big single with "Bad Blood". The song stayed at #1 for three weeks and was certified Gold^® by the Recording Industry Association of America (RIAA), the most individual commercially successful single of his career. Elton John provided uncredited backing vocals for "Bad Blood" and has been credited by Sedaka as being responsible for his breakthrough back into the US pop music scene.^[11] Elton has been quoted as saying: "I only appear on the records of people I really know or like."^[8]

Another highlight from "The Hungry Years" was Sedaka's new version of "Breaking Up Is Hard to Do." His 1962 original, a #1 hit single, was an upbeat pop song, while the remake was a ballad, based on a similar arrangement used by Lenny Welch when he recorded a version of it in 1970. Sedaka's ballad version hit #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 reach the Top 10 by the same artist. Sedaka's second version of "Breaking Up Is Hard to Do" topped Billboard's Adult Contemporary chart in 1976. The same year, Elvis Presley recorded the Sedaka song "Solitaire". This was followed by Sedaka's Top 20 hit "Love in the Shadows", also from 1976.

Transition from Rocket to Elektra[link]

Later in 1976, Sedaka released a second (and final) collaboration with Elton John, with Elton once again on uncredited backing vocals on the title song to Sedaka's third and final Rocket album "Steppin' Out". While it would crack the Hot 100's Top 40, 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. In this version of another fading of his music sales, it was the arrival of the disco era. In 1977, Sedaka, now with Elektra Records, released his next album "A Song" which had moderate success. While 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. In 1980, Sedaka had his final Top 20 hit with "Should've Never Let You Go", which he recorded as a duet with his then 17-year-old daughter, Dara.

Re-issue of RCA-era recordings[link]

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 twenty-five 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, forcing Sedaka to re-record his old hits and make them sound as close and authentic to the originals as possible.

The 1980s and 1990s: The struggles return[link]

A change in record companies in the early 1980s also required him to, for the first time in his career, record cover versions of other artists' "oldies". Only two singles on two albums, spaced three years apart, managed to land on Billboard's Adult Contemporary chart; none charted on the Hot 100 at all. Another duet with Dara, a remake of the Marvin Gaye-Tammi Terrell 1967 Top 5 smash "Your Precious Love", placed high enough on the AC chart (making the Top 15) for one final album to be released. But the second album's only release did not fare well on the AC chart, barely cracking its Top 40, and by 1985, Sedaka was once again without a recording contract. Concertgoers filled theatre seats while Sedaka created his own music label. That would assure that his catalog of hits would find the marketplace, and he released occasional CDs of self-produced new, original material.

Other successes[link]

Ben Folds, an American singer-musician-songwriter and judge on NBC's hit 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.^[12]

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 around the songs of Sedaka, titled Breaking Up Is Hard to Do,^[13] 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.

The 21st century: Sedaka's Back II[link]

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,^[14] has a star on the Hollywood Walk of Fame, and was an October 2006 inductee of the Long Island Music Hall of Fame. His ardent fans have appealed for his induction into the Rock and Roll Hall of Fame in Cleveland, due to his longevity, contributions to contemporary music, and hit songwriting for himself and dozens of other artists.

[edit] American Idol

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 the "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 #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 on at least an annual basis — 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.

Guinness World Record[link]

When Sedaka moved his family to the UK, British singer Tony Christie recorded and released the Sedaka/Greenfield composition "(Is This the Way to) Amarillo?" in 1971. The song did relatively well on the UK singles chart, peaking in the Top 20. The song would lie dormant for more than three decades, when UK comic Peter Kay lip-synched the song 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 #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." ^[15] 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 it received a dance beat and revised lyrics to become a novelty hit for the UK team's FIFA World Cup finals with "Is This the Way to the (England) World Cup?" 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.^{[citation needed]}

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).^[16][17] 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.^{[citation needed]}

New recording contract, new chart success[link]

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 Victor 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 had taken meticulous care of his voice over the years and still sang in the original keys recorded in his youth (and still does today). This allowed him to repackage his catalog to include both his early recordings along with his mid- to late '70s hits and later recordings.

In early 2007, Sedaka signed his first recording contract in more than 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. 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 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 ^[18] 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 often 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.

During his 2008 Australian tour, Sedaka premiered a new classical orchestral composition entitled "Joie de Vivre (Joy of Life)."^[19] Sedaka also toured The Philippines for his May 17, 2008 concert at the Araneta Coliseum.^[20]

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 #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 his Neil Sedaka tribute album, The Sedaka Sessions. LML Records released this album in August 2011.^[21]

Personal life[link]

Sedaka attended Abraham Lincoln High School in Brooklyn, graduating in 1956.^[22] He has been married to his wife, Leba (Strassberg), 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.

Discography[link]

All-time No. 1 Hits[link]

• "Oh! Carol - #1 (Italy), 1960
• "Calendar Girl" - #1 (Japan), 1961
• "Breaking Up Is Hard to Do" (1962 version) - #1 on US Billboard Hot 100, 1962
• "La Terza Luna" - #1 (Italy), 1963
• "Laughter in the Rain" - #1 on US Adult Contemporary, 1974; #1 on US Billboard Hot 100, 1975
• "The Immigrant" - #1 on US Adult Contemporary, 1975
• "Bad Blood" - #1 on US Billboard Hot 100, 1975-76
• "Breaking Up Is Hard to Do" (1975 version) - #1 on US Adult Contemporary, 1976

Filmography[link]

• 1968 - Playgirl Killer

Autobiography[link]

• Laughter in the Rain: My Own Story. New York: Putnam, 1982. ISBN 0-399-12744-5

References[link]

Sources[link]

• Bloom, Ken. American song. The Complete Musical Theater Companion. 1877–1995, vol. 2, 2nd edition, Schirmer Books, 1996.
• Clarke, Donald. The Penguin Encyclopedia of Popular Music, Viking, 1989.
• Ewen, David. American Songwriters. An H. W. Wilson Biographical Dictionary, H. W. Wilson Company, 1987.
• diMartino, Dave. Singer-Songwriters, Pop Music's Performer-Composers, from A to Zevon, Billboard Books, 1984.
• Friedrich, Gary; Brown, Len. Encyclopedia of Rock & Roll, Tower Publications, 1970.
• Lablanc, Michael. Contemporary Musicians, vol. 4, Gale Research, 1991.
• Larkin, Colin. The Encyclopedia of Popular Music, Macmillan, 1992.
• Lyman, Darryl. Great Jews in Music, J. D. Publishers, 1986.
• Sadie, Stanley; Hitchcock, H. Wiley (Ed.). The New Grove Dictionary of American Music. Grove's Dictionaries of Music, 1986.
• Stambler, Irwin. Encyclopedia of Pop, Rock and Soul, St. Martin's Press, 1974.
• Sumrall, Harry. Pioneers of Rock and Roll. 100 Artists Who Changed the Face of Rock, Billboard Books, 1994.
• White, Mark. You Must Remember This... Popular Songwriters 1900-1980, Frederick Warner, 1983.

External links[link]

• Neil Sedaka's official site
• Neil Sedaka at the Internet Movie Database
• Neil Sedaka For Fans
• Petition: Send Neil Sedaka to the Rock & Roll Hall Of Fame
• The Neil Sedaka videos
• Neil Sedaka's Biography by Michael Turner
• The Neil Sedaka Appreciation Society