
The Song Machine: How to Make a Hit

Rythm [sic] Syndicate.
John Seabrook • The Song Machine: How to Make a Hit
Al Jolson’s ivories
John Seabrook • The Song Machine: How to Make a Hit
“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)
John Seabrook • The Song Machine: How to Make a Hit
Elvis Presley wanted to record “Hound Dog,”
John Seabrook • The Song Machine: How to Make a Hit
According to a 2011 research project based on a fMRI study of people listening to music, familiarity with a song reflexively causes emotional engagement; it doesn’t
John Seabrook • The Song Machine: How to Make a Hit
“There’s an old adage that you can only do research on people who are already familiar with the song,” he says. Zapoleon refers to this as the “rule of three”—you have to hear a new song at least three times before you know if you like it or not.
John Seabrook • The Song Machine: How to Make a Hit
song P.A.S.S.I.O.N; it reached number two in 1991.
John Seabrook • The Song Machine: How to Make a Hit
1959 Drifters hit “There Goes My Baby,” thus inventing a
John Seabrook • The Song Machine: How to Make a Hit
her cohort included Timberlake, Ryan Gosling, and Christina Aguilera.