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Draft:Lester Sill

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Lester Sill (January 13, 1918 – October 31, 1994) was an United States|American record label executive who rose to become the president of Screen Gems-Columbia Music, a director at ASCAP and consulting president for Jobete Music (Motown Records publishing division).[7] He is best known as the producer and music supervisor for The Monkees,[8] selling more records than the Beatles and Rolling Stones combined in 1967.[9] and the cofounder of Philles records with Phil Spector in 1961?.[10]

Lester Sill
Born(1918-01-13)January 13, 1918
Died
Los Angeles
NationalityUnited States
Other namesThe Chief
OccupationMusic executive
Years active50
Board member of
  • American Society of Composers, Authors and Publishers
  • National Music Publishers' Association
[1]
Spouse(s)Harriet
Children
AwardsPrime Minister's Medal
Websitewww.gregmarkmusicinc.com
Notes
Jazz guitarist Alex Sill (grandson)[6]
Lester Sill
Born(1918-01-13)January 13, 1918
Los Angeles, CA
DiedOctober 31, 1994(1994-10-31) (aged 76)
Los Angeles, CA
Occupation(s)Music publisher, Record executive
Years active1946-1994
LabelsGregmark, Philles Records
Associated acts{{plainlist *Leiber & Stoller * T-Bone Walker *Paris Sisters *The Coasters *The Monkees}}
Websitewww.gregmarkmusicinc.com

As an independent producer in the 1950s and 1960s, he was a moving force behind Hadda Brooks and B. B. King.[11] He formed independent labels around composers like Jerry Leiber and Mike Stoller, Lee Hazlewood and Phil Spector. Rostered artists included Duane Eddy, The Coasters, The Paris Sisters, and The Crystals.[10] Sill produced the talent that went on to become The Wall of Sound, [10] and The Wrecking Crew.[12][13]

Sill's partnership with Lee Hazlewood launched the career of Duane Eddy and many of the studio musicians supporting the act went on to be core members of The Wrecking Crew.[12][13] Sill hired Phil Spector as an apprentice to Leiber and Stoller and later partnered with Spector in the Philles label, the name being a combination of both men's informal first names. In return for his support and generosity (Spector lived in Sill's home for several years),[14] Sill was never repaid for his investment in Philles Records and The Wall of Sound.[10] Following this, as a record executive, Sill worked under Don Kirshner where his responsibilities included acts like The Monkees, The Partridge Family and Carol King.[15][4]

Contents

Early life and family

Sill was dental technician who became a combat engineer in the Army because his papers said he knew about, “dentures and bridges.” After serving in Casablanca during World War II, he was discharged from the Army and left Philadelphia, moving to California to stay with his mother at the beach. Upon arrival, he met four year old Chuck (muddy and scared that he was in trouble), and Chuck's mother Harriet, his future wife. He opened Cotton’s Club on Western Avenue and 35th, with Harriet’s brother, Cotton's Club ran afoul of the authorities and was closed for after hours drinking. Sill took some door to door sales positions which he did not enjoy, until he met Lester Bahari of Modern Records in 1946. He soon found himself working in the record store and was offered a distribution route covering the Fresno to San Diego territory, selling R&B and rock and roll genre records to stores and refreshing jukebox inventory. On his route, he noticed that he was driving by several radio stations and began befriending disc-jockeys, Sunday radio spins helped with his Monday sales.[16]

We pulled up to the Sill's house and got out of the car, and were greeted by the entire family; Lester, his wife, Harriet, their four sons (their youngest, Lonnie, was close to the age of my daughters), their female collie, and six adorable, purebred tricolor collies. The puppies were so adorable that by the end of the evening we agreed to adopt one of them. To keep our new puppy's name consistent with the names of his litter-mates (all began with "Mac") we decided to call him Macduff.

All of the Sills except Harriet would attain success in Hollywood as part of the Sill/Kaye music publishing and music supervision dynasty, now in its third generation. Harriet achieved her own success as the matriarch and fighting tigress of the Sill family. You did not want to mess with a Sill or with Chuck Kay, Harriet's son from a previous marriage.

— Carole King, " A Natural Woman, A Memoir", Grand Central Publishing, (2012)[15]

Career

Sill first entered show business as a nightclub owner, but in 1945, he joined the sales and promotion staff of the Bihari brothers' Modern Records, first as a regonal sale manager and then producing sessions for R&B acts including Charles Brown and Hadda Brooks.[17] Sill shepherded the fledgling career of the songwriting team of Jerry Leiber and Mike Stoller. In 1950, Sill met Leiber at Modern Records,[18] where the aspiring lyricist worked as a retail clerk and suggested he find a partner who could read and write music, spurring the beginning of Leiber's collaboration with Mike Stoller.[19] Sill produced the 1951 Jimmy Witherspoon effort "Real Ugly Woman," the first recorded Leiber and Stoller collaboration.[19]

  • Spark Records

Sill and Federal Records producer/talent scout Ralph Bass formed a PR agency, Brisk Enterprises,[20] and following the success of the duo's Big Mama Thornton hit "Hound Dog", Sill partnered with Leiber and Stoller to create Spark Records, and the publishing firm, Quintet Music, Inc. in 1953. Spark enjoyed immediate success with The Robins' R&B smash "Riot in Cell Block #9". The group's follow-up, "Smokey Joe's Café," proved an even bigger hit, in fact too big for the small label to handle. So in 1955 Spark sold its catalog to Atlantic Records, which in turn named Sill its national sales manager while giving Leiber and Stoller an independent production deal. While the deal prompted the breakup of The Robins, members Carl Gardner and Bobby Nunn continued on as The Coasters, with Sill serving as their manager.[21]

  • Jamie Records / Dick Clark

Sill's partner, Lee Hazlewood brought on a young Duane Eddy and began writing songs with him. Sill had also recently partnered with Dick Clark in Jamie Records. Eddy's first song, Movin' and Groovin' was a moderate success.[22] With the help pf Clarke's, American Bandstand television show, his next release, "RebelRouser" earned a #6 on the Billboard 100.[23]

Duane Eddy, Lee Hazlewood, Dick Clark, and Jamie Records together comprised one of the greatest hit-producing machines in rock'n'roll history. Eddy performed fifteen of his first sixteen Jamie releases on Clark's national TV show, and the guitarist's first eighteen releases for the label appeared on the Billboard's Hot 100. Beginning with "Rebel-'Rouser" in 1958, Eddy remained on Billboard's Hot 100 for an almost uninterrupted three-year period.

— John Jackson, American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire, Oxford University Press (1999)[24]
  • Trey Records

In late 1959, Sill and Hazlewood formed Trey Records, a Hollywood-based imprint distributed by Atlantic. Trey Records signings included Phil Spector, fresh off the success of his group The Teddy Bears', chart-topping pop classic, "To Know Him Is to Love Him". Sill allowed Spector to live in his Sherman Oaks home, sharing a room with Joel Sill[25] Spector worked as an apprentice to Leiber and Stoller, a studio musician and studio technician.[26]

  • Gregmark

At the end of 1961, Sill and Hazlewood shut down Trey but quickly formed a new label, Gregmark, as a vehicle for The Paris Sisters, the Paris Sisters' Gregmark debut "Be My Boy" earned little notice, the follow-up, "I Love How You Love Me," cracked the U.S. Top Five, [27] Spector then began work on a Paris Sisters LP, but as production costs began to skyrocket, Sill attempted to exert control of the project. Their skirmish ended disastrously when, according to Sill, one of his assistants accidentally discarded the master tapes.[28]

  • Philles

Also in 1961, Sill and Spector inaugurated their own label, Philles, immediately reaching the Top 20 with the company's debut release, The Crystals' "There's No Other (Like My Baby)." Its 1962 follow-up, "Uptown," was Spector's first true tour de force, capturing the Wall of Sound in full gallop.[10]

By mid-1962 Philles was the most successful independent label in the U.S., scoring a series of Spector-produced classics including the Crystals' "He's a Rebel" and "Then He Kissed Me," Bob B. Soxx & the Blue Jeans' "Zip-a-Dee-Doo-Dah" and The Ronettes' "Be My Baby." But as Spector's fame and renown grew, so did his notorious ego, and as he exerted more and more of his mercurial will over Philles' business dealings, his relationship with Sill disintegrated. Spector eventually forced his mentor out of the company altogether, buying out Sill for a paltry $60,000 and decisively terminating their partnership with the never-released Crystals recording "(Let's Dance) The Screw".[29]

  • Screen Gems-Columbia Music

In 1964, Sill resurfaced as a consultant to Screen Gems-Columbia Music president Don Kirshner. Although the position was temporary, he ended up staying with the company for over two decades, eventually taking over Kirshner's position.

  • Jobete Music Inc.

In 1985, Sill was named president and CEO of Jobete Music, the publishing arm of Berry Gordy, Jr.'s Motown empire. He remained with Jobete until his death in Los Angeles on October 31, 1994.[10]

Family

His three sons are music supervisors in film and television:

Joel Sill,[3]

Greg Sill,[2] and Lonnie Sill.

[5] His stepson Chuck Kaye is a longtime music publishing executive.[2]

References

  1. ↑ Hardy, P. (2014). Nickels & Dimes: Music Publishing & It's Administration in the Modern Age. Really easy piano. Omnibus Press. p. 118. ISBN 978-0-85712-877-5. Retrieved 2022-02-11.
  2. ↑ 2.0 2.1 2.2 2.3 "Greg Sill, 'Justified' Music Supervisor, Dies at 63 – Variety". Variety. Archived from the original on 2019-11-04. Retrieved 2019-11-04.
  3. ↑ 3.0 3.1 Yang, Rachel; Yang, Rachel (2018-12-13). "Guild of Music Supervisors Awards to Honor Joel Sill; King Princess to Perform (EXCLUSIVE)". Variety. Archived from the original on 2019-11-07. Retrieved 2019-11-07.
  4. ↑ 4.0 4.1 Billboard (in Deutsch). Nielsen Business Media, Inc. pp. 10–28. ISSN 0006-2510. Retrieved 2021-07-16.
  5. ↑ 5.0 5.1 "Lonnie Sill's credits". AllMusic. Retrieved November 7, 2019.
  6. ↑ Pacent, Nina (2019-05-22). "From Carl Jung to Lady Gaga, Jazz Guitarist Alex Sill's Music Speaks His Mind". BMI.com. Archived from the original on 2019-06-19. Retrieved 2019-11-07.
  7. ↑ A Day In The Live of Lester Sill (in Deutsch). Nielsen Business Media, Inc. p. 27. ISSN 0006-2510. Retrieved 2021-06-09.
  8. ↑ "Lester Sill - Credits". AllMusic. Retrieved 2021-12-05.
  9. ↑ Greene, Andy; Greene, Andy (2012-05-11). "The Top 25 Teen Idol Breakout Moments". Rolling Stone. Archived from the original on 2021-10-29. Retrieved 2021-12-05.
  10. ↑ 10.0 10.1 10.2 10.3 10.4 10.5 Jason Ankeny. "Lester Sill's biography". AllMusic. Retrieved February 16, 2016.
  11. ↑ "Lester Sill; ASCAP Director and Promoter for Blues Performers". Los Angeles Times. 1994-11-07. Retrieved 2021-07-16.
  12. ↑ 12.0 12.1 Paulson, Linda Dailey (2012-04-02). "Lee Hazlewood Biography". Musician Biographies. Archived from the original on 2012-04-02. Retrieved 2021-07-17.
  13. ↑ 13.0 13.1 Feldman, Kate (2021-01-17). "Phil Spector, music producer and convicted killer, dead at 81". nydailynews.com. Retrieved 2021-07-17.
  14. ↑ Ribowsky, M. (2000). He's a Rebel: Phil Spector, Rock and Roll's Legendary Producer. G - Reference, Information and Interdisciplinary Subjects Series. Cooper Square Press. p. 57. ISBN 978-0-8154-1044-7. Retrieved 2021-07-18.
  15. ↑ 15.0 15.1 King, C. (2012). A Natural Woman: A Memoir (in français). Grand Central Publishing. ISBN 978-1-4555-1259-1. Retrieved 2019-11-07.
  16. ↑ Smith, J (1986). "Off the record interview with Lester Sill, 1986-03-13: A Finding Aid to the Collection in the Library of Congress". Washington, DC: Library of Congress Manuscript Division. Retrieved 04 November 2019.   This article incorporates text from this source, which is in the public domain.
  17. ↑ Talevski, N. (2010). Rock Obituaries: Knocking On Heaven's Door. Music Sales. p. 592. ISBN 978-0-85712-117-2. Retrieved 2019-11-07.
  18. ↑ Palmer, Robert (1978). Baby, That Was Rock' N Roll. United States: A Harvest / HBJ book. ISBN 0156101556.
  19. ↑ 19.0 19.1 Simpson, P. (2003). The Rough Guide to Cult Pop. Music rough guide. Rough Guides. p. 135. ISBN 978-1-84353-229-3. Retrieved 2019-11-07.
  20. ↑ Sippel, Johnny (23 August 1952). "Block Booking Promoters Hype Coast 1-Nitht Outlook". BillBoard. United States: Nielsen Business Media, Inc. p. 19. Retrieved 4 November 2019.
  21. ↑ "Jerry Leiber and Michael Stoller". history-of-rock.com. 2019-11-07. Archived from the original on 2019-11-07. Retrieved 2019-11-07.
  22. ↑ Wood, G. An A-Z of Rock and Roll - new and updated edition. An A-Z of Rock and Roll. p. 165. ISBN 978-1-105-32503-8. Retrieved 2021-12-10.
  23. ↑ "Rebel Rouser - Duane Eddy - Song Info". AllMusic (in Kinyarwanda). Retrieved 2021-12-10.
  24. ↑ Jackson, J. (1999). American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire. Oxford University Press. p. 128. ISBN 978-0-19-028490-9. Retrieved 2019-12-12.
  25. ↑ Ribowsky, M. (2000). He's a Rebel: Phil Spector, Rock and Roll's Legendary Producer. G - Reference, Information and Interdisciplinary Subjects Series. Cooper Square Press. p. 53-62. ISBN 978-0-8154-1044-7. Retrieved 2019-11-07.
  26. ↑ "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81". The New York Times. 2021-01-17. Archived from the original on 2021-12-03. Retrieved 2021-12-08.
  27. ↑ Warner, J. (2006). American Singing Groups: A History from 1940s to Today. Hal Leonard Corporation. p. 428. ISBN 978-0-634-09978-6. Retrieved 2019-11-07.
  28. ↑ Brown, M. (2012). Tearing Down The Wall of Sound: The Rise And Fall of Phil Spector. Bloomsbury Publishing. p. 94. ISBN 978-1-4088-1950-0. Retrieved 2019-11-07.
  29. ↑ "Phil Spector and The Screw". snopes.com. Retrieved 2019-11-07.

External links

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