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RAND „OPENING
‘%,
flapiting
Neil Sedaka: With "Breaking Up is Hard To Do"
recently making the list of the top 50
most-played radio songs of the
20th century, the singer/songwriter is
enjoying the rewards of his contributions
to modern music more than ever.
That was followed a week later by
Connie Francis scoring instant airplay
with "Stupid Cupid."
It was then that Sedaka and
Greenfield began to realize their
musical destiny. And there were rea-
sons why the same fate attracted sev-
eral other young, Jewish, Brooklyn-
raised songwriters to the cubicles of
the Brill Building.
"I think, like me, they wanted to
be recognized," Sedaka explained,
"because our parents always pushed
us and wanted us to make something
of ourselves.
There was Barry Mann (born
Barry Iberman), Morrie Shuman,
Doc Pomus and Carole King (real
name Carol Klein, for whom Sedaka
wrote "Oh, Carol"), plus myself. We
all v anted to be successful.
"And then there was our very rich
musical heritage — the songs we lis-
tened to in synagogue, and the canto-
rials. I always was inspired by them.
All of my minor key things, certainly."
Of those, "You Mean Everything
ro Me" — a Top-20 American hit for
Sedaka in 1960 and one of the few
pop hits that he re-recorded in
Hebrew for distribution in Israel —
was specifically written with "a very
Nr
Yiddish sound," for his mother. "It's
her favorite song and it makes me
cry," he added.
Recounting a 1961 appearance on
The Ed Sullivan Show brings back a
triumphant feeling about his Jewish
roots to the composer of more than
1,000 melodies.
As Sedaka remembers ir, he was to
sing a medley of "Calendar Girl,"
"Happy Birthday, Sweet 16" and "My
Yiddishe Mama" live on the Sunday
night broadcast. But during
rehearsals, Sullivan wanted to nix
"My Yiddishe Mama," saying that it
was too ethnic for the show. Sedaka
was shocked.
"That was my showstopper,"
Sedaka noted. "I felt I represented the
Jewish people, and because I was a
Jewish kid from Brooklyn, it was very
meaningful to me to sing it. It was a
gorgeous song, and my manager
fought Sullivan's producer and won.
"I was very nervous. I remember
drinking hot Campbell's soup out of
the backstage soup machine. I emp-
tied it because I was so afraid my
voice would go. I really wasn't . a
trained singer and never took lessons.
Getting through that song is some-
NEIL on page 93
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85