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You've Lost That Lovin' Feelin'

by

The Righteous Brothers



Songfacts®:  You can leave comments about the song at the bottom of the page.

According to BMI music publishing, "You've Lost That Lovin' Feelin'" was played on American radio and television more times than any other song in the 20th century. It got over 8 million plays from the time it was released until 2000. Note that this includes all versions of the song, not just The Righteous Brothers'.
The husband and wife songwriting team of Barry Mann and Cynthia Weil wrote this song at the request of Phil Spector, who was looking for a hit for The Righteous Brothers. It was inspired by "Baby I Need Your Loving" by The Four Tops.
Phil Spector produced this song using his famous "Wall of Sound" recording technique. Spector got a songwriting credit for this, as he usually demanded one around this time and had the clout to get it. Cynthia Weil has said that Spector never really wrote but instead "inspired."
This was the Righteous Brothers' first single for Philles Records, Phil Spector's label. Spector bought out the remaining two and a half years of the Righteous Brothers' contract with Moonglow Records (with whom they had regional hits "Little Latin Lupe Lu" - later covered by Mitch Ryder and the Detroit Wheels - "Koko Joe," and "My Babe") so he could sign them. When this song became a hit, Moonglow released a lot of their old Righteous Brothers material to capitalize on the demand.
Phil Spector was determined to make this his finest production to date, and wanted it to be better than anything released by current top producers like Berry Gordy, George Martin, Andrew Loog Oldham and Brian Wilson. He chose the Righteous Brothers for their tremendous vocal talents, and enlisted his old Jazz guitar idol Barney Kessel to play on the song. Other musicians to play on the track included Los Angeles session pros Carol Kaye (acoustic guitar), Earl Palmer (drums) and Ray Pohlman (bass). Cher, who did a lot of work with Spector early in her career, can also be heard on background vocals near the end of the song. Spector was the first major West Coast producer to make the musicians wear headphones, so when they heard the song, they heard it with all the processing he added, which in this case meant a lot of echo. This got the musicians out of their comfort zones and made them work together to get a sound that gelled. It took more time to record this way, but Spector didn't mind: while a typical 3-hour session would produce about 4 songs, Spector would spend an entire session working on one track, leaving a few minutes at the end to record a throwaway B-side jam.
The line "You've lost that lovin' feelin'" was used as a placeholder until the writers could come up with something better. Spector thought it was great and insisted they use it.
The opening line, "You never close your eyes any more when I kiss your lips," was inspired by the Paris Sisters song "I Love How You Love Me," which begins, "I love how your eyes close whenever you kiss me."
Spector put the time on the single as 3:05 so that radio stations would play it. The actual length is 3:50, but stations at the time rarely played songs much longer than 3 minutes. It took radio station program directors a while to figure out why their playlists were running long, but by then the song was a hit.
Phil Spector put a tremendous amount of effort (and about $35,000) into this production, but the final product was so unusual that he began to wonder if he had a hit. Seeking a second, third and fourth opinion, he played the song for the following people:

1) The song's co-writer Barry Mann, who was convinced the song was recorded at the wrong speed. Spector called his engineer Larry Levine to confirm that it was supposed to sound that way.

2) His publisher Don Kirshner, who Spector respected for his musical opinion. Kirshner thought it was great, but suggested changing the title to "Bring Back That Lovin' Feelin'."

3) The popular New York disc jockey Murray the K. Spector confided in Murray that the song was almost four minutes long (despite the label saying it was 3:05), and wanted to make sure he would play it. Murray thought the song was fantastic, but suggested moving the bass line in the middle to the beginning.

Spector heard all three opinions as criticism, and got very nervous. "The co-writer, the co-publisher and the number-one disc jockey in America all killed me," Spector said in a 2003 interview with Telegraph Magazine. "I didn't sleep for a week when that record came out. I was so sick, I got a spastic colon; I had an ulcer."
This was used in the 1986 movie Top Gun in a scene where Tom Cruise sings it to woo Kelly McGillis. Cruise is still occasionally asked to sing it by fans.
Some of the artists who covered this include Elvis, Dionne Warwick, Hall and Oates, and Neil Diamond, among others. Warwick's version hit #16 in 1969, Hall and Oates' hot streak began when their remake hit #12 in 1980 (they followed with the #1 "Kiss on My List" and #5 "You Make My Dreams." That LP, Voices, also had the original version of "Everytime You Go Away," later made into a #1 hit by Paul Young). Hall And Oates eventually replaced The Righteous Brothers as the #1 selling duo of all time.
When the song's writers Barry Mann and Cynthia Weil sang this for The Righteous Brothers, low-voiced Bill Medley loved it, but Bobby Hatfield was puzzled, as the duo typically shared lead vocals and he was relegated to a minor part in this song. Hatfield asked, "What do I do while he's singing the entire first verse?" Phil Spector replied, "You can go directly to the bank."

According to Spector, The Righteous Brothers didn't even want to record the song, as they fancied themselves more in the realm of Rock and Doo-Wop.
This is the only song to enter the UK Top 10 Three different times. It did it in 1965, and again when it was re-released in 1969 and 1990. The 1990 re-release was prompted by the rekindled success of "Unchained Melody," which itself hit #1 after being used in the movie Ghost. The re-release of "You've Lost That Lovin' Feelin'" peaked at #3.
In the UK, a version by Cilla Black was released just ahead of The Righteous Brothers' version. Both songs charted the same week, with Black's at #2 and The Righteous Brothers' at #3. The next week, The Righteous Brothers' version went to #1, giving Phil Spector his first #1 UK hit.
In Rolling Stone magazine, Bill Medley recalled, "We had no idea if it would be a hit. It was too slow, too long, and right in the middle of The Beatles and the British Invasion." The following is from the Rolling Stone's Top 500 songs: "Spector was conducting the musicians for a Ronettes show in San Francisco when he decided to sign the Righteous Brothers, who were on the bill. He then asked Mann and Weil to come up with a hit for them. Bill Medley's impossibly deep intro was the first thing that grabbed listeners. 'When Phil played it for me over the phone,' Mann recalled, 'I said, "Phil, you have it on the wrong speed!"'
The Rolling Stones' manager, Andrew Loog Oldham, took out ads in the British trade papers saying that the Righteous Brothers' version was the greatest record ever made.
In 2003, The Righteous Brothers played this to open the ceremonies when they were inducted into the Rock And Roll Hall Of Fame. It was odd timing, as Phil Spector was arrested on murder charges just a month before the ceremony.
Before he became a successful Country/Pop recording artist, Glen Campbell was one of about 50 Los Angeles session musicians who played on many hits of the '60s. Phil Spector used him as a guitarist on several of his productions, most famously on this song. In a 2011 interview with UK newspaper The Daily Telegraph, Campbell was asked how he found working with the contentious producer. "He was a strange guy. You've probably heard that. This guy came up, one of them hillbilly singers, and asked [Spector], 'what are you on, man?' And he said, 'Decca.' Hah hah! I think he probably was doing some kind of drug. I don't know. But he knew the musicians that he wanted to play on the records. And everything that he did was really, really good."
Supergroup The Firm did a version for their 1985 self titled album. It was vocalist Paul Rodgers who chose to cover it after guitarist Jimmy Page asked him what one song in the world would he like to record. Rodgers recalled to Uncut magazine: "I'd always wondered if I could sing it, because it took two singers, to manage the octaves on it. It was a completely off the wall cover for us."
The Righteous Brothers
The Righteous Brothers Artistfacts
More The Righteous Brothers songs
More songs covered by Elvis Presley
More songs written by Barry Mann and/or Cynthia Weil
More songs thought to be too long to get radio play
More songs that were hits for more than one artist
More songs about heartache
More songs used in Top Gun
More songs produced by Phil Spector
More songs used in movies
More songs covered by the Glee cast

Comments (11):

Loved this song when i was in the Army (1965-1968) and still do today. This woud hve been great if it was a fw yeas earlyer.
- charls, simi valley,ca., CA
Bill Medley has often shared that when Mann, Weil,and Spector first demo'd the song for them, it had been written in a higher key, with Spector and Mann singing it with high twin harmonies. Medley said, "that's a great song for the Everly Brothers, but why are you giving it to us?" Spector insisted they keep trying new vocal arrangements until the song became something completely different than what had been originally imagined--it became darker, more adult, and utilized the full range of Medley and Hatfield's vocal power more provocatively. Vanity Fair Magazine called it "the most erotic duet between men on record." And they're right--the Hall&Oates version sounds like a nursery rhyme compared to this.
- Jean, Owensboro, KY
Saw them several months before Bobby died and they sounded as good as the original albums and 45's. Yes, Phil Spector threw everything, including the kitchen sink into his "wall of sound' on this one.
- roman, barrie, ON
The vast majority of Spector's wall of sound productions were created in such a way that they sounded better in mono. They were mixed for play on 1960s AM radio. Although most of Spector's hits were released in stereo versions for lp lovers stereo wasn't a factor for radio play until the early 70s and the increasing popularity of FM radio.
- Bill, Dallas, TX
When you listen to this song, you feel a lot of love and you like to have a hug...... yeah I understand, I feel it too. I have the same feeling when I listen to another song written by Barry Mann "Sometimes when we touch". All these beautiful lovesongs make me so weak, so soft.
- Teresa, Mechelen, Belgium
like Long John Baldry and Kathie McDonalds version better.......they really belt it out, and whenever i hear it .i dunno , i feel a lotta love in the room..can i have a hug ?? please ....someone???
- pete, nowra, Australia
The lyrics to this song are incredible....they say so much with so few words. A great record.
- Steve, Fenton, MO
This song is written by Phil Spector, Cynthia Weil
and Barry Mann; a beautiful song with a great
"Wall of Sound". Phil Spector, you are just perfect.
- Teresa, Mechelen, Belgium
I grew up knowing the Hall and Oats version and loving it. I still think it's a great version to this day. I'm thankful the Righteous Brothers wrote it, but I'm not a fan of their version.
- Dee, Indianapolis, IN
The Zeinth of Phil Spector's studio majestry. There is a reason this song has gotten more airtime than any other. A percussive masterpiece. This is the biggest the wall of sound ever became. Sonny & Cher are background singers for this and Glen Campbell was the rythym guitarist. It still gives me goosebumps everytime I hearit. If there is a heaven, this is what God has on the radio.
- Vince, Phoenix, AZ
A very beautiful song of Phil Spector, Cynthia Weil and Barry Mann with a great "Wall of Sound", a song that last forever.
- Teresa, Mechelen, Belgium
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