This is a tough one. Such a music talent and legend.

When Arcy shared one of his songs on the weekend music thread and wrote, RIP, I thought- that's not right. I quickly googled and was so upset to that he passed away today. He really was a giant.

He was one of the group of ground-breaking popular music composers who worked in the infamous "Brill Building" in New York in the late 50s and through the 60s. It's hard to overstate the phenomenal variety and influence of his work on the music scene of the era.

So sad. While of course I didn't know him personally, he seemed kind and genuine.

I just read about his passing. Such a great artistic performer. RIP

I am too young to have known of much of his music when he was most famous but his resurgence in the late 70s got my attention. I was a Neil Sedaka concert the day Elvis died.

Famous Brill building, yes. But why infamous, Elmer?

I saw Neil Sedaka in concert in college, during his comeback. I was in the volunteer ushering club. He was, unfortunately, wearing a red satin jump suit.

Aw, very sad. Didnt he write Oh Carol for Carol King?

ded, yes and it sounds like they knew each other in high school. Looks like she later came back with ”Oh Neil.”

But he wrote it it looks like, with Geffen and Greenfield. Funny song!

Collaboration among Brill Building composers was common.

" Famous Brill building, yes. But why infamous, Elmer? "

Sorry laceyvail 6A, WV , I missed the question.

Many of the Brill Building composers were taken advantage of. Many were young, extremely talented, and lured by offers of "real music industry jobs" and the chance to become known in the music business. Being young, they were easily taken advantage of - forced to sign non-negotiable contracts with non-customary terms disproportionately favoring the record publishers at the expense of the composers and lyric writers.

The music business in the 50s and into the 60s was a land of scoundrels and crooks. Remember the payola scandal ? That was just one example of how things were done. Many cubbyholes of the music business had a significant mob presence.

Two quick examples - Tommy James (and the Shondells) was signed to a record label run by a known and dangerous mobster. Though writing many of his own hit songs, and certainly performing on them, he never received any money from record sales. When he inquired, he was sometimes physically threated and told to go out touring if he wanted money.

Frankie Valli and the Four Seasons' connections to organized crime and the control some had on them and their careers is covered (if only superficially) in the show Jersey Boys.

He wrote some great songs that likely will be played for a long time. I didn’t know until I saw a brief bit about him this morning that he attrubuted his comeback to Elton John and a visit he had with him. Sir Elton apparently helped him get back in the groove of writing good music for the current generation. Whatever transpired, it worked.