Songwriters On Songwriting

by Paul Zollo

In these fifty-two interviews, the greatest songwriters of our time go straight to the source of the magic of songwriting by offering their thoughts, feelings, and opinions on their art. Representing almost every genre of popular music, from folk to Tin Pan Alley to jazz, from blues to pop rock, these are the figures who have shaped American music as we know it. Here they share their secrets and personal methods for converting inspiration into song: Robbie Robertson of the Band an Tom Petty talk about working with Bob Dylan; Dylan himself, in his only in-depth interview in more than ten years, says that the world doesn't need any new songs; R.E.M. name their favorite R.E.M. songs; Madonna describes collaborating with Prince; Sammy Cahn talks about writing standards for Sinatra; Pete Seeger recounts hitting the road with Woody Guthrie; Frank Zappa admits to loving "Louie Louie"; Todd Rundgren explains how he dreams his songs; and, in the book's most extensive interview, Paul Simon delves into his opus from "The Sound of Silence" to "Graceland." And almost all of them express delight at being able to talk about the mechanics of music itself, something that they have rarely been asked to discuss. Here expanded with new interviews with Burt Bacharach, Laura Nyro, Yoko Ono, Leonard Cohen, Graham Nash, Jackson Browne, Richard Thompson, and many others, Songwriters on Songwriting is a rare volume: one of the best books on the craft of musicmaking, an informative source for musicians and songwriters, and an invaluable historical record of the popular music of this century.

Genres: Music, Nonfiction, Writing, Poetry, Reference, Art, Biography

752 pages, Paperback

First published January 1, 1991

About the author

Paul Zollo is a singer-songwriter, author, and music journalist. Since 1987, he's dedicated himself to interviewing the world's greatest songwriters. From 1987 to 1997, he was the editor of SongTalk, the journal of the National Academy of Songwriters. He's currently the senior editor for American Songwriter. Born in Chicago, he studied English and Music at Boston University and is the author of The Beginning Songwriter's Answer Book, Songwriters on Songwriting, and Hollywood Remembered.

Reviews

[Karlyn · Rating 5 out of 5]

Originally my review just said, "indispensable".
Elaboration:
Zollo gets songwriters of various formats to talk about the *craft* of songwriting. The process. He asks good questions. He is obviously talented at interviews, because he gets these writers to talk about the secret nuts and bolts of their craft: rhyming, lying, key signatures, crawling on the floor in tears looking for missing lyrics, etc. He brings out what appears to be a longing in these writers to talk about the nuts and bolts to someone who gets it. If you get it--if this at all interests you--they are speaking with you in mind. Genuinely a collection that I think will push songwriting further than it's so far gone.

[Greg · Rating 5 out of 5]

Sixty-two songwriters/duo's/bands.

[David · Rating 4 out of 5]

Unless you're a songwriter, I'm not sure reading 730 pages straight through makes sense, but as something to dip in and out of periodically it was fun. Probably read it over the course of more than a year. Very wide range of genres covered, and from the questions he asks the songwriters you can tell author knows an awful lot about music.

Some of the insights gleaned from interviewees are tedious ("that modern music isn't as great as in my day" riffs -- a little goes a long way), and many are contradictory -- your best songs involve writing the melody first and then the words, or the other way around, or both together or......the songs come from beyond you or from your unconscious mind or from other influences in the culture or......you have to have a set routine of working at it every day, preferably in an office, or you just jot down what hits you whenever because you can't force creativity or.....

so if i were trying to use this as a guidebook, probably a bit frustrating, but as a window into some creative people's experiences, fairly entertaining.

I also discovered I'd been committing a mondegreen (of the "excuse me while I kiss this guy" or "there is a bathroom on the right" variety) for several decades when crooning Jackson Browne's "My Opening Farewell" in the shower (shoutout to Bonnie Raitt -- in the unlikely event you follow me on goodreads, your version is the best). for the record, it's not "there's a train every day, leading me away" which come to think of it makes no sense (who follows a train? it would be out of sight almost instantly) but rather "there's a train every day, leaving either way" as in you could go one way or the other. Glad I got this figured out by reading the Jackson Browne chapter in this book.

[Jim Leckband · Rating 5 out of 5]

While it helps to know the basics of music and songwriting, and definitely it helps to know the artists and their work, if you are interested in the mechanics of creativity - I have never found a better book.

[Christopher Dalla Riva · Rating 5 out of 5]

This book is a must read if you are a songwriter or lover of music. Zollo and his interlocutors go deeper into the creative process than most other interviews. I wish Zollo spoke to more non-white songwriters and some early hip-hop artists. Many of the writers work within a similar style.

[Michael Emmerich · Rating 5 out of 5]

I am sure many of you out there seek for ways to tap into your creativity and seek inspiration from various sources. Music and reading are two of my main sources, I have previously written extensively on the music and poetry, that I use to tap into my well of creativity. Thus far, I have not delved into the books that I read on writing styles, creative input and how to manage the day to day challenge of sitting at ones desk, and hopefully write. This book is a well thumbed and oft read/dived into book. I keep going back, again and again; it is well thumbed and travelled (with my journal and colour coded notebooks) and remains close to my desk, littered with tabs and post it notes.

A most intriguing read is Paul Zollo’s book of interviews with songwriters (62 to be exact) on how they create their magic, how they have succeed in creating timeless memoires for the listener: Songwriters On Songwriting – Many of my favourite musicians that I listen to (or whose lyrics I read – have most of Dylan and Springsteen’s lyrics in book form), are thumb indexed so I easily can dive back to reread their creative processes. I wrote a more in-depth article, on the section in the book, about Bob Dylan https://mikesnexus.com/2014/08/13/lea... – who Van Morrison has called the worlds greatest Poet – cue Nobel literature signature tune here 🙂

So I highly recommend this, just to read for fun or to see how some writers create their magic.

[Valentyn Danylchuk · Rating 5 out of 5]

Informative and inspiring. Immersive interviews with dozens of high profile songwriters, in which they reveal a lot about their way of feeling, thinking, and making songs. The recurring line is, "just do it, badly at first, then better every time." Analyzing and learning from the songs you like helps a lot. Beyond any technicalities, the interviews show that songwriters are just people with a passion, and that with enough willpower, most people can write songs.

[Michele Harvey · Rating 5 out of 5]

Fantastic!

[Tracy Reilly]

Perfect book for me. Ended on Lou Reed. Interesting mind on that one. May become something of an encyclopedia for me in future years.

[Brad · Rating 5 out of 5]

After reading the 1991 version I checked out from the library, I had to read the 2003 expanded version. Very glad I did.

I gobbled this down, even the interviews with songwriters I didn't know (or, in the case of Steely Dan, loathe).


Notes:
Pete Seeger: "Don't be so all-fired concerned about being original." (4)

Pete Seeger: "Songwriters usually think their most recent song is the best one they ever wrote." (4)

"It was the last days of Tin Pan Alley, when writers would go to their offices in the Brill Building (and nearby) in New York every day and churn out new songs like factories turning out cars." (34)

Gerry Goffin: "As for advice for young songwriters: Don't be afraid to write a bad song because the next one may be great." (35)

Gerry Goffin: "I was watching some daytime show that John Lennon was on. He said, 'When we were growing up we wanted to be Goffin and [Carole] King.'" (38)

Paul Simon: "I don't consciously think about what a song should say. In fact, I consciously try not to think about what a song should say...Because I'm interested in what...I find, as opposed to...what I'm planting. I like to be the audience, too. I like to discover what it is that's interesting to me. I like to discover it rather than plot it out. So I let the songs go this way and that way and this way and whatever way it is and basically what I do is be the editor" (40-41)

Paul Simon: "I think direction is sufficient. When you have a strong sense of direction, then meaning clings to it in some way. People bring meaning to it, which is more interesting to me than for me to tell meaning to somebody. I'd rather offer options to people. Options that have very pleasing sounds." (47)

Paul "McCartney said recently that when he first heard 'Bridge Over Troubled Water' he attempted to write a sing like it. The song he wrote was 'Let It Be.'" (52)

Paul Simon: "I have somehow come to believe that the only lyrics that I'm really interested in are the lyrics that I find, not the lyrics I invent. If it doesn't come to me in a surprising way, I don't tend to believe it or get excited by it." (54)

John Lennon produced Harry Nilsson's Pussycats album of 1974 during his "lost weekend."

Harry Nilsson: "During the Apple press conference they were asked who their favorite writer was and John [Lennon] said 'Nilsson.' A few minutes later they were asked who their favorite group was and Paul [McCartney] said 'Nilsson.'" (89)

Paul Simon was The White Rabbit and Garfunkel the Cheshire Cat when they met in an Alice in Wonderland school production at 12 or 13.

Mother and Child Reunion came to Paul Simon when eating a chicken and egg dish!

"Dan Fogelberg's "Same Auld Lang Syne" was inspired by adding a VI-minor chord to Tchaikovsky's "1812 Overture."

David Byrne prefers writing/drafting lyrics on graph paper.

Tom Petty wrote all of "Freefalling" except the title lyric, which was Jeff Lynne...who sang it an octave down but implored Petty to take it high.

"You Wreck Me" was a fully formed instrumental bit complete with vocal melody by Mike Campbell (who shared it with Mick Jagger who shared it with Rick Rubin who shared it with Petty) that Petty wrote lyrics to. He initially wrote "You rock me," knowing that wasn't good enough. The simple change to "wreck" was what it took to call the song complete.

Sting's publishing company gets some of the royalties for "Money for Nothing" because of his line's similarities to "Don't Stand So Close to Me."

[Reid Belew · Rating 5 out of 5]

This dude Paul Zollo compiled all these interviews he did about songwriting into one book. This book’s greatest strength is it’s greatest weakness.

Zollo has deep, meaningful, insightful conversation with famously elusive songwriters (Dylan, Van Zandt, Becker) and those who don’t get their due. He treats each with respect and let’s them carry the conversation where they want it to go—not about the hits or the money and fame—the songs.

Zollo asks the same questions to almost every artist (“Do songs come from outside of us?” And “Do you have a writing routine?”) provided the artist doesn’t offer a new conversation branch. Read back to back hundreds of times, this did get laborious. I take fault for reading a compilation of interviews like a novel.

The same basic line of questioning, though at times monotonous, offered this book’s greatest insight into songwriting: there is no right way to do it. Merle Haggard doesn’t write the same way Randy Newman or Bruce Cockburn do.

My favorite parts were the Dylan interview, the Paul Simon interview, and the Townes Van Zandt interview.

Both as a look into the craft and as a reference book for songwriting, I would consider it essential.

[Gustav Dinsdag · Rating 5 out of 5]

Paul Zollo's Songwriters On Songwriting is a book that any aspiring songwriter is always 'currently reading'. Zollo's interviews focus on the creative proces of the greatest songwriters. It's a true joy to see that none of them really believe that writing a great song is a matter of craftsmanship alone. Neither is it all inspiration. 'Inspiration is for people who never really do anything', to quote Nick Cave (who is not in Zollo's book, but he might have been, as far as I'm concerned). Every writer in Songwriters On Songwriting has his or her own thoughts on writing and there's a wealth of great tips in the book. But in the end you're on your own. As you should be. Happy hunting!

[Aristidis Marousas · Rating 5 out of 5]

I’ve been reading this book on and off for the last four years so finishing it has really felt like an accomplishment.

I learned so much through reading the different interviews, especially discovering for myself singers and song writers I previously hadn’t been aware of.

The big takeaway and learning for me is that there is no truly one right way to write music. Everyone has their own method and it comes down to just doing it and being ok with some of the writing not being great.

I’m tinkering with lyric writing as I’m not able to play guitar or piano (yet, hopefully). So this book has been very helpful in introducing me to well reputed and respected artists, their work, and their process.

[Nick · Rating 4 out of 5]

Certainly an impressive collection of interviews, mostly with songwriters of the ‘60s, ‘70s, and ‘80s. Stellar outliers like Alanis Morisette (‘90s) and Sammy Cahn (‘40s-‘60s) round out the lineup.

Are there some duds? Most definitely, and their saving grace is their brevity. Some of the lengthier interviews (Paul Simon, Bob Dylan, Jimmy Webb) provide great anecdotes and insight into the minds of their subjects.

If you like music, there’s a lion’s share of great material in this book. There are so many incredible memories presented here, and songs (as well as songwriters) to check out. And quotable quotes galore!

One of my favorites comes from Graham Nash: “Time is our only currency.”

[Vincent Eaton · Rating 4 out of 5]

A 700-plus page book of interviews of musicians - a dip-in book, which I have been doing for months. Excellent thoughts from Paul Simon, Randy Newman, Tom Petty, Leonard Cohen, Merle Haggard, Zappa, others, many others. As the interviews went on, only the repetitive question sometimes got minor variations in responses - such as, "Where to songs come from" and getting variations from "pluck it out of the atmosphere" to "work and study" to "I don't know" to "a spiritual moment" - the usual suspects for such a question. But useful, pleasant, stimulating.

[Nathalia]

An in depth book that gives you insight into how to write a song. Long story short, there are many ways that inspiration comes, songwriting can be hard work but sometimes it can seem to flow well, and it helps to have some understanding of music harmony, melody, and other basic music theory. It seems very much like writing. It’s a craft you develop. But also don’t be intimated, it’s a way to express and communicate and you don’t have to have knowledge of all the instruments to do it well.

[Jeff Thomas · Rating 4 out of 5]

Loved this book. I enjoy reading about artistic process, finding the ideas, shaping them, finishing them. I loved that there were little things that ALL these artists did differently, felt differently, thought about differently. And that there were little things they ALL did the same. A very fascinating and inspiring read.

[Mike · Rating 4 out of 5]

This will be the thickest book on your shelf, but it goes quick. Most of the songwriters are now in their late 60s and 70s. It’s very interesting, particularly for anyone into music from the 60s and 70s. If you’re a songwriter you’ll see that there’s no right way, but you’re bound to learn a few things that will help you be a better songwriter.

[Ben · Rating 3 out of 5]

Worth it for the Zappa interview, in which he breaks out of Zollo's questioning framework and gets to the heart of things. I enjoyed the Susan Vega and Randy Newman one as well. The other interviews are just OK, talking about the craft but never going anywhere truly interesting.

[Brian · Rating 5 out of 5]

Great book. Fun to read and great getting insight into how the artists approached their work. Some wrote the lyrics first and others had a melody or tune in their head and found words to go with it. A recommended read for anyone who enjoys music with lyrics.

[R.G. Evans · Rating 5 out of 5]

Over 700 pages of interviews with songwriters from Pete Seeger to MeShell NdegeOcello. Some better than others. Many very quotable. Doing my homework for my own songwriting and leading songwriting workshops.

[Preston Bernstein · Rating 5 out of 5]

A true classic

[Glenn Evans · Rating 4 out of 5]

A little repetitive in parts and could have culled a few interviewees but, for a frustrated non-muso such as myself, a compelling and essential read.

[Philip White · Rating 5 out of 5]

Lots of good information. Worth reading.

https://youtu.be/jCqYtr3GmJ4

[L · Rating 4 out of 5]

Considerably limited perspective since most of the artists interviewed are white men.

[Greg · Rating 4 out of 5]

A wide array of interviews of songwriters across the musical spectrum. Quite insightful.

[Jonny Brick · Rating 5 out of 5]

You want to be a songwriter? Start here and copy the best. There's a sequel too.

[Stephen Bassett · Rating 5 out of 5]

This is a greatbook I like how the tips are straight from the writers we love here. Paul himself did a great job interviewing and organizing the responses. It would have been nice to see more diverse selection of writers though

[Brad · Rating 5 out of 5]

After reading the 1991 version I checked out from the library, I had to read the 2003 expanded version. Very glad I did.

I gobbled this down, even the interviews with songwriters I didn't know (or, in the case of Steely Dan, loathe).


Notes:
Pete Seeger: "Don't be so all-fired concerned about being original." (4)

Pete Seeger: "Songwriters usually think their most recent song is the best one they ever wrote." (4)

"It was the last days of Tin Pan Alley, when writers would go to their offices in the Brill Building (and nearby) in New York every day and churn out new songs like factories turning out cars." (34)

Gerry Goffin: "As for advice for young songwriters: Don't be afraid to write a bad song because the next one may be great." (35)

Gerry Goffin: "I was watching some daytime show that John Lennon was on. He said, 'When we were growing up we wanted to be Goffin and [Carole] King.'" (38)

Paul Simon: "I don't consciously think about what a song should say. In fact, I consciously try not to think about what a song should say...Because I'm interested in what...I find, as opposed to...what I'm planting. I like to be the audience, too. I like to discover what it is that's interesting to me. I like to discover it rather than plot it out. So I let the songs go this way and that way and this way and whatever way it is and basically what I do is be the editor" (40-41)

Paul Simon: "I think direction is sufficient. When you have a strong sense of direction, then meaning clings to it in some way. People bring meaning to it, which is more interesting to me than for me to tell meaning to somebody. I'd rather offer options to people. Options that have very pleasing sounds." (47)

Paul "McCartney said recently that when he first heard 'Bridge Over Troubled Water' he attempted to write a sing like it. The song he wrote was 'Let It Be.'" (52)

Paul Simon: "I have somehow come to believe that the only lyrics that I'm really interested in are the lyrics that I find, not the lyrics I invent. If it doesn't come to me in a surprising way, I don't tend to believe it or get excited by it." (54)

John Lennon produced Harry Nilsson's Pussycats album of 1974 during his "lost weekend."

Harry Nilsson: "During the Apple press conference they were asked who their favorite writer was and John [Lennon] said 'Nilsson.' A few minutes later they were asked who their favorite group was and Paul [McCartney] said 'Nilsson.'" (89)

Paul Simon was The White Rabbit and Garfunkel the Cheshire Cat when they met in an Alice in Wonderland school production at 12 or 13.

Mother and Child Reunion came to Paul Simon when eating a chicken and egg dish!

"Dan Fogelberg's "Same Auld Lang Syne" was inspired by adding a VI-minor chord to Tchaikovsky's "1812 Overture."

David Byrne prefers writing/drafting lyrics on graph paper.

Tom Petty wrote all of "Freefalling" except the title lyric, which was Jeff Lynne...who sang it an octave down but implored Petty to take it high.

"You Wreck Me" was a fully formed instrumental bit complete with vocal melody by Mike Campbell (who shared it with Mick Jagger who shared it with Rick Rubin who shared it with Petty) that Petty wrote lyrics to. He initially wrote "You rock me," knowing that wasn't good enough. The simple change to "wreck" was what it took to call the song complete.

Sting's publishing company gets some of the royalties for "Money for Nothing" because of his line's similarities to "Don't Stand So Close to Me."

[Rona Roberts · Rating 5 out of 5]

I deliberately stretched this big, rich book out across a couple of years, because it is powerful and because it is so pleasing. To read verbatim text of songwriters trying with a good will to describe the literal act of creation is to witness something precious, glorious. I am grateful to all of them for their effort to put something beyond words into some approximate words, and grateful to Paul Zollo for all his work. I would like a lot more interviews with women and Black songwriters, though. Otherwise - perfect.