Chapter 15: Teen-Targeted Pop Music in the Early '60s
In the late 1950s, music publisher Don Kirshner set out to create a collaborative environment for rock and pop songwriters. His model was based on the earlier traditions of Tin Pan Alley, where professional teams wrote music for mass audiences. At 24 years old, Kirshner partnered with pop guitarist Al Nevins of The Three Suns to form Aldon Music in 1958. They opened their office near the Brill Building at 1619 Broadway in New York City, a well-known center for music publishing. Although Aldon was not located in the Brill Building itself, the music produced there became associated with the term "Brill Building pop," referring to a specific style of early 1960s pop music aimed at teenage listeners.
The Brill Building approach to songwriting combined commercial goals with professional discipline. Songs were written without a specific performer in mind and later matched to artists by record labels. At its busiest point, Aldon employed around 35 songwriters who worked regular office hours. These writers developed new songs each day, with a focus on clear structure, simple harmonies, and relatable lyrics. The model was often compared to a factory, and some critics referred to it as "Teen Pan Alley."
A few songwriters from this scene became recording artists in their own right, including Neil Sedaka, Paul Anka, and Carole King. However, most remained behind the scenes and worked in teams. Several composer-lyricist partnerships became especially productive. Neil Sedaka and Howard Greenfield created catchy pop tunes like “Calendar Girl” and “Breaking Up is Hard to Do.” Barry Mann and Cynthia Weil, a married couple, wrote songs such as “Walking in the Rain” for The Ronettes and “On Broadway” for The Drifters.
Brill Building songwriting teams often included women, which marked a change from earlier eras of music publishing. Carole King and Cynthia Weil both became respected contributors in a field that had previously been dominated by men. These partnerships gave voice to themes that connected with the experiences of young listeners, especially teenage girls.
Although Brill Building songs were initially written for white teen idols, they were later performed by African American girl groups as well. Groups like The Crystals, The Ronettes, and The Shirelles brought emotion and depth to the songs and helped bring this style of pop music to a broader audience.