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From there, of course, there was their work with The Coasters, theatrical little teenage vignettes like Charlie BrownYoung BloodAlong Came JonesPoison Ivy (though an ocean of calamine lotion won't be much help in dealing with a social disease), Little EgyptSearchin' and Yakety Yak.

In that fifties environment where black music was crossing over into the pop charts those songs, essentially rhythm and blues tunes with radio-friendly pop lyrics, were major landmarks, and from there they moved into the girl group era, working out of the Brill Building, producing their own material as well as songs churned out by a stable of writers including Doc Pomus and Mort Shuman, Carole King and Gerry Goffin,  Barry Mann and Cynthia Weil and influencing Phil Spector along the way.

A collaboration with Lester Sill (later the les in the Philles label partnership with Phil Spector) in Spark Records produced Smokey Joe's Cafe and Riot in Cell Block #9 by The Robins before Atlantic bought the label in a deal that brought Leiber and Stoller into the Atlantic stable while still allowing them to work for other labels as, effectively, the first independent record producers.

For Atlantic, they morphed The Robins into The Coasters, co-wrote and produced hits for Ben E. King (Stand By Me and Spanish Harlem) and came up with On Broadway (another co-write with Barry Mann and Cynthia Weil), There Goes My Baby and Dance With Me for The Drifters.

After Atlantic they produced and wrote records for United Artists including Tell Him by The Exciters and Love Potion #9 for The Clovers before setting up Red Bird Records, which released the Shangri-Las' Leader of the Pack and Chapel of Love by the Dixie Cups.

Things went relatively quiet after they sold Red Bird, but the pair continued working in an independent operation, working with artists as diverse as Peggy Lee (Is That All There Is?), Stealers Wheel (Stuck in the Middle With You), and Elkie Brooks before being inducted into the Songwriters Hall of Fame in 1985 and Rock and Roll Hall of Fame in 1987.

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B© Ian Hughes 2012