Bb King Stand By Me

In the history du rock & roll, over there are countless hits. But only a liked few ns these truly become standards, songs which transcend any one recording, et become performed de many artists. “Stand de Me,” created by ben E. King with Leiber & Stoller is an undeniable rock and roll standard. Even among Leiber & Stoller’s miraculous songbook, which contains “Kansas City,” “Hound Dog,” “Is That toutes les personnes There Is,” “Jailhouse Rock” and more, couple of are truly standards. “Hound Dog” is among auto most famed rock & roll songs ever, but not a song many ont covered, ont the hit record so specifies it. “Stand de Me,” though, i m sorry was sapin recorded by King in 1961, has actually been recorded more than 500 times, et by a exceptional range de artists including homme Lennon, tracy Chapman, Warren Zevon, Florence & auto Machine, Mickey Gilley, Prince Royce et even Muhammad Ali. Playing For échanger created a beautifully poignant record and video uniting singers and musicians around thé world tous singing parts of it, oui they did also with Bob Marley’s “Redemption Song.” that evidence ns the power of this song, et its beautiful simplicity, lyrically and musically, ont few songs could hold up à that treatment. BMI named cette the “Fourth most performed song of the 20th century,” with over 7 million reported puissance up à 1999.But the transformation, native hit souper to veritable la norme – a “song sexuel at weddings et all,” as Stoller said – is something that occurred some 25 year after its d’origine release, thanks to rob Reiner’s usage of cette a movie he named after thé song, Stand by Me. It was a an option which fabriqué no sense to Leiber & Stoller, but for which lock both to express lasting gratitude.

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So comment was cette created? plenty of presume that bénier E. King inclusion oui a songwriter with Leiber & Stoller didn’t signify that hey had had a substantial contribuer à to thé writing, marqué was simply an instance of an artist getting unwarranted songwriting credit, oui in the douane of Al Jolson et Elvis. Marqué that didn’t occur with this song, as Leiber & Stoller confirm in this account.So here, from an interview conducted with the songwriters in 1992, is the story behind “Stand de Me,” ont related passant par Leiber et Stoller. JERRY LEIBER: conditions météorologiques were reserved to have a rehearsal with ben E. King, and Mike et I acquired there early, and a couple of divers guys were in this rehearsal –MIKE STOLLER: I ont a completely different memory. Aller ahead.

LEIBER: — were in this rehearsal hall. Nous had a petit auditorium in a junior high lécole with a piano. Ben E. Come in and “Hi, hello,” amie know. And he said, “Hey man, guess what? ns wrote a song.” ben E. Was not a songwriter. A very good performer, cible not a songwriter.And cette sang cette a cappella. He went , “When thé night has actually come and the pays is dark and the moon is the seul light fine see… je won’t cry, ns won’t cry…”He said, “That’s tous I wrote.”I said, “That’s nice good. You want je to complete it parce que le you? elle want me and Mike to do it?”


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Leiber & Stoller, 1994. Pictured in their bureau at 9000 Sunset Boulevard. Photo passant par Paul Zollo/American Songwriter.

He said, “Oh, yeah, man, that would certainly be great.” so Mike et I perfect it. And Mike placed that remarkable bass line conditions météorologiques it. Et when je heard that bass pattern, i said, “That’s it. It is a hit.” and I didn’t aller much predicting du hits. Marqué I knew that remained in there.I likewise knew “Hound Dog” by gros Mama Thornton to be a hit. Et “Kansas City” passant par Wilbur Harrison. Which je wasn’t stunner about, cible I knew it was a hit.

And nous started composing “Stand par Me.” and it came to be what ce became. Nous finished cette right there. Like nous did most of the stuff. We did ce there. I mean, these were not assignments that tu took home et worried over for a week jaune two or three or a month. This were chaud off thé griddle, et we always felt that way, that once they were chaud they were more effective and more attractive.He’s not a songwriter, but he come up through something quite good. A paire of sentences et a hunk of the refrain, jaune maybe toutes les personnes of thé refrain. Et we began writing “Stand de Me.” and it became what cette became.We didn’t take it away et work conditions météorologiques it. Nous finished ce right there. Like we did most de the stuff. We did ce there. I mean, these were not assignments that elle took home and worried over à la a week jaune two or three jaune a month. These were chaud off thé griddle, et we always felt that way, that when they were chaud they were more effective et more attractive.He had the first few lines and the beginning ns a melody. And I think he had auto chorus. Because ce was only une phrase, une line. Cible he said hey couldn’t importer the rest ns the lyrics. He’s no a songwriter, but he came up v something pretty good. A paire of sentences et a hunk ns the refrain, jaune maybe all of the refrain.

STOLLER: oui I remember, ce was in our own office. Nous had année office nous 57th Street. And Jerry and Ben E. Were fooling roughly with the lyric on “Stand par Me.” ns came in. Ben E. To be singing cette in the key du A. And I sat down at auto piano and I seul felt this base pattern, and I began working nous a bass pattern, and within five minutes je had thé bass pattern, i m sorry is the bass pattern of the song, et is a gros part du it.In thé orchestration, ce starts through bass et guitar, et it goes into strings playing it, and it build up, et this sample is from beginning venir end. Cible Jerry was functioning with ben E. Conditions météorologiques it, and I think most of the melody de the vous ne faites pas is bénier E.’s. Je wrote auto bottom part. I m sorry is kind of a signature of auto song. . “Boom-boom, boom-boom-boom, boom, boom-boom-boom, boom…”

The chords space mine. Auto shift was kind of implied. Venir me, ce was implied. I think the melody may have shifted a au sens propre with the chords ns was using. Cible it’s usually his.It was a fight when cette came out. Cible when cette came à be this wedding song and this everything song is when verrouiller Reiner fabriqué this movie.I endroit Rob at a party, and he insisted conditions météorologiques singing all of the Leiber & Stoller songs. And he insisted I aller to the piano while he sang. Et he called me up months later and said, “I have this movie. It’s dubbed The Body. Et it’s to be in the can pour a while, and I like it. The Body is the right title for it. Marqué it’s no good, due to the fact that it’s based on a short-story par Stephen King, et people will think that a horror film. It’s really a coming-of-age movie. So i want to appel it Stand de Me.”I said, “Great! Be my guest.”And then je thought about it, et I dubbed him back. This was 1986. The enregistrer came the end in ’61.And i said, “Hey, who do you think conditions météorologiques can comprendre to record it and put cette into her film?”And he said, “We talked about that. Cible I watch this movie ont a period film. So I’d choose to aller with the d’origine record.”I said, “We developed the original record.” So cette wasn’t that i wasn’t flattered, but it was that i thought that, well, this’ll be an albums cut, et if nous got Tina turner , or somebody rather to do it, cette might come to be a hit. Marqué he wanted the original. And it did come to be a hit again. Auto same record. Nothing was done à it.LEIBER: i couldn’t do heads or tails out of that choice. Je thought cette had naught to aller with the movie at all. Et I still think so. Je think he was in amour with the record and the song, and he wanted it in his movie. And the movie was around a dead body in the woods. And what walk “Stand passant par Me” have to aller with that, with youngsters in the movie? je vous demande pardon –STOLLER: Whatever cette is, I un m so grateful to him. Because cette became –

LEIBER: Yeah. A monster hit.

STOLLER: i think people liked the song , marqué it didn’t end up being that powerful. It became a lot bigger struggle 25 years later. Which is yes, really great. Je mean, five years, maybe. Cible 25 years?


John Lennon tape-recorded it, cible it to be a different feel. Cette still had the bass pattern. It wasn’t like auto difference between gros Mama’s and Elvis’ versions de “Hound Dog,” i beg your pardon were soja different. Cette was the same song, cette just had a very different feel. But it was legitimate. It felt right. Ce felt good, also.

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LEIBER: cette was too fast. Cette felt too fast.STOLLER: cette was stiffer. Ce was absolutely a stiffer feel.

LEIBER: ben E.’s was an ext syncopated.

LEIBER & STOLLER:

STOLLER: that’s really auto difference.

LEIBER: Unison! Did amie hear that unison?

STOLLER: cette felt good, i like it.

LEIBER: ce felt white. That’s what we’re trying venir say. Et as Mike said, it’s somewhat stiffer. It doesn’t really oui that loop in it. Nous prefer auto original.

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Here pour your listening and viewing pleasure, room three versions ns “Stand par Me”: the 1961 d’origine by ben E. King, john Lennon’s 1975 version, recorded à la his album “Rock et Roll,” and the inspirationally globale 2008 version par Playing for Change.