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→Career: breaking things up
== Career ==
Sill shepherded first entered show business as a nightclub owner, but in 1945, he joined the fledgling career sales and promotion staff of the songwriting team of [[Jerry Leiber and Mike StollerBihari brothers]] before signing producer Phil Spector to co-found Philles ' [[Modern Records]], a U.S. pop label of the early '60s. In 1950, Sill met Leiber in the L.A. record shop,<ref name="Palmer 1978">{{cite book |last= Palmer |first= Robert |date= 1978 |title= Baby, That Was Rock' N Roll |location= United States |publisher= A Harvest / HBJ book |page= <!-- or pages= --> |isbn= 0156101556 |author-link=}}</ref> where the aspiring lyricist worked as a retail clerk regonal sale manager and suggested he find a partner who could read then producing sessions for R&B acts including [[Charles Brown (musician)|Charles Brown]] and write music, spurring the beginning of Leiber's collaboration with Mike Stoller[[Hadda Brooks]].<ref name="Simpson 2003 Talevski 2010 p. 135592">{{cite book | last=Simpson Talevski | first=PN. | title=The Rough Guide to Cult Pop Rock Obituaries: Knocking On Heaven's Door | publisher=Rough Guides | series=Music rough guide Sales | year=2003 2010 | isbn=978-10-8435385712-229117-3 2 | url=https://books.google.com/books?id=F7hpXcrqA-8CDykffzkFALoC&pg=PA135 PA592 | access-date=2019-11-07 | page=135592}}</ref>
Sill first entered show business as a nightclub owner, but in 1945 joined shepherded the sales and promotion staff fledgling career of the songwriting team of [[Bihari brothersJerry Leiber and Mike Stoller]]' [[. In 1950, Sill met Leiber at Modern Records]], later producing sessions for R&B acts including [[Charles Brown (musician)|Charles Brown]] and [[Hadda Brooks]].<ref name="Talevski 2010 p. 592Palmer 1978">{{cite book | last=Talevski Palmer | first=N. Robert |date= 1978 | title=Baby, That Was Rock Obituaries: Knocking On Heaven's Door N Roll | publisherlocation=Music Sales United States | yearpublisher=2010 A Harvest / HBJ book | isbnpage=978<!-0-85712or pages= -117-2 > | urlisbn=https://books.google.com/books?id=DykffzkFALoC&pg=PA592 0156101556 | access-date=2019-11author-07 | pagelink=592}}</ref> Sill produced where the 1951 [[Jimmy Witherspoon]] effort "Real Ugly Womanaspiring lyricist worked as a retail clerk and suggested he find a partner who could read and write music," spurring the first recorded beginning of Leiber and 's collaboration with Mike Stoller collaboration.<ref name="Simpson 2003 p. 135"/> Sill and Federal Records producer/talent scout [[Ralph Bass]] formed a PR agency, Brisk Enterprises,<ref name="Brisk Enterprises">{{cite magazine book | last= SippelSimpson | first= Johnny| date= 23 August 1952P. | title= Block Booking Promoters Hype Coast 1-Nitht Outlook| url= https://books.google.com/books?id=PB8EAAAAMBAJ| page= 19| magazine= BillBoard| location= United StatesThe Rough Guide to Cult Pop | publisher= Nielsen Business Media, Inc.Rough Guides | access-date series= 4 November 2019}}</ref> and following the success of the duo's [[Big Mama Thornton]] hit "[[Hound Dog (song)|Hound Dog]]", he teamed with Leiber and Stoller in late 1953 to create [[Spark Records]] as well as their own publishing firm, Quintet Music, Inc. Spark enjoyed immediate success with [[The Robins]]' R&B smash "[[Riot in Cell Block Number 9rough guide |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 (doowop musician)|Bobby Nunn]] continued on as [[The Coasters]], with Sill serving as their manager.<ref nameyear="history-of-rock.com 2019">{{cite web 2003 | titleisbn=Jerry Leiber and Michael Stoller | website=history978-of1-rock.com | date=201984353-11229-07 3 | url=https://wwwbooks.history-of-rockgoogle.com/leiber.htm | archivebooks?id=F7hpXcrqA-url8C&pg=https://web.archive.org/web/20191107184205/https://www.history-of-rock.com/leiber.htm PA135 | archiveaccess-date=2019-11-07 | url-statuspage=dead | access-date=2019-11-07135}}</ref>
Sill also enjoyed chart success teaming with produced the 1951 [[Jimmy Witherspoon]] effort "Real Ugly Woman," the first recorded Leiber and Stoller collaboration.<ref name="Simpson 2003 p. 135"/> *'''Spark Records'''Sill and Federal Records producer-songwriter /talent scout [[Lee HazlewoodRalph Bass]] on 1958formed a PR agency, Brisk Enterprises,<ref name="Brisk Enterprises">{{cite magazine | last= Sippel| first= Johnny| date= 23 August 1952| title= Block Booking Promoters Hype Coast 1-Nitht Outlook| url= https://books.google.com/books?id=PB8EAAAAMBAJ| page= 19| magazine= BillBoard| location= United States| publisher= Nielsen Business Media, Inc.| access-date = 4 November 2019}}</ref> and following the success of the duo's [[Big Mama Thornton]] hit "[[Rebel-'RouserHound Dog (song)|Rebel RouserHound Dog]]", the most notable of the Top 40 instrumentals headlined by the renowned guitarist Sill partnered with Leiber and Stoller to create [[Duane EddySpark Records]] , and issued on the publishing firm, Quintet Music, Inc. in 1953. Spark enjoyed immediate success with [[Dick ClarkThe Robins]]-owned ' R&B smash "[[Jamie RecordsRiot in Cell Block Number 9|JamieRiot in Cell Block #9]] label. In late 1959, Sill and Hazlewood formed Trey Records, a Hollywood-based imprint distributed by Atlantic". The labelgroup's signings included 18follow-year-old wunderkind Phil Spectorup, "Smokey Joe's Café," proved an even bigger hit, fresh off in fact too big for the success of his group small label to handle. So in 1955 Spark sold its catalog to [[The Teddy BearsAtlantic Records]]', chart-topping pop classicwhich 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 (doowop musician)|Bobby Nunn]] continued on as [[To Know Him Is to Love HimThe Coasters]]". Sill allowed Spector to live in his Sherman Oaks home, sharing a room with Joel Sillserving as their manager.<ref name="Ribowsky 2000 phistory-of-rock. 54com 2019">{{cite book | last=Ribowsky | first=M. web | title=He's a Rebel: Phil Spector, Rock Jerry Leiber and Roll's Legendary Producer Michael Stoller | publisherwebsite=Cooper Square Press history-of-rock.com | seriesdate=G 2019-11- Reference, Information and Interdisciplinary Subjects Series 07 | yearurl=2000 | isbn=978https://www.history-0of-8154-1044rock.com/leiber.htm | archive-7 | url=https://booksweb.archive.org/web/20191107184205/https://www.googlehistory-of-rock.com/books?idleiber.htm | archive-date=jsQRwiwtlN0C&pg2019-11-07 | url-status=PA54 dead | access-date=2019-11-07 | page=53-62}}</ref>
* '''Jamie Trey Records / Dick Clark'''<ref name=Sill also enjoyed chart success with producer-songwriter [[Lee Hazlewood]] on 1958's "Jackson 1999 p. 128[[Rebel-'Rouser|Rebel Rouser]]">{{cite book , the most notable of the Top 40 instrumentals headlined by the renowned guitarist [[Duane Eddy]] and issued on the [[Dick Clark]]-owned [[Jamie Records| last=Jackson | first=JJamie]] label. | title=American Bandstand: Dick Clark In late 1959, Sill and the Making of Hazlewood formed Trey Records, a Rock 'n' Roll Empire | publisher=Oxford University Press | year=1999 | isbn=978Hollywood-0-19-028490-9 | url=https://books.googlebased imprint distributed by Atlantic.com/books?id=29jhBwAAQBAJ&pg=PT128 | access-date=2019-12-12 | page=128}}</ref>
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<ref name="Ribowsky 2000 p. 54">{{cite book | last=Ribowsky | first=M. | title=He's a Rebel: Phil Spector, Rock and Roll's Legendary Producer | publisher=Cooper Square Press | series=G - Reference, Information and Interdisciplinary Subjects Series | year=2000 | isbn=978-0-8154-1044-7 | url=https://books.google.com/books?id=jsQRwiwtlN0C&pg=PA54 | access-date=2019-11-07 | page=53-62}}</ref> Spector worked as an apprentice to Leiber and Stoller, a studio musician and studio technician.
* '''Gregmark'''At the same time end of 1961, Silland Hazlewood shut down Trey but quickly formed a new label, [[Gregmark Records|Gregmark]], as a vehicle for [[The Paris Sisters]], the Paris Sisters's partnership with Gregmark debut "Be My Boy" earned little notice, the follow-up, "[[I Love How You Love Me]]," cracked the tempestuous Hazlewood collapsedU.S. Top Five, <ref name="Warner 2006 p. 428">{{cite book | last=Warner | first=J. | title=American Singing Groups: A History from 1940s to Today | publisher=Hal Leonard Corporation | year=2006 | isbn=978-0-634-09978-6 | url=https://books.google.com/books?id=mTM_9JTeoMIC&pg=PA428 | access-date=2019-11-07 | page=428}}</ref> 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, and despite their differencesaccording to Sill, one of his assistants accidentally discarded the master tapes.<ref name="Brown 2012 p. 94-100">{{cite book | last=Brown | first=M. | title=Tearing Down The Wall of Sound: The Rise And Fall of Phil Spector | publisher=Bloomsbury Publishing | year=2012 | isbn=978-1-4088-1950-0 | url=https://books.google.com/books?id=AtGGsfW10d0C&pg=PA94 | access-date=2019-11-07 | page=94}}</ref> * '''Philles'''Also in late 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 (The Crystals song)|Uptown]]," was Spector's first true tour de force, capturing the Wall of Sound in full gallop.<ref name="AllMusic Lester"/>
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]]".<ref name="The Screw">{{cite web|url=http://www.snopes.com/music/artists/spector.asp |title=Phil Spector and The Screw |publisher=snopes.com |date= |accessdate=2019-11-07}}</ref>
* '''Screen Gems-Columbia Music'''
==References==