SONGWRITING TIPS AND ADVICE ON THE ESSENTIAL INGREDIENTS FOUND IN ALL HIT SONGS

Tag Archives: Elton John

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“I just go to the studio and there are 24 lyrics [from Bernie Taupin] waiting for me and I look through them and see which one I want to start with, and then I try and write a song. I never, ever know what the lyrics are gonna be upfront.

“When I first started writing with Bernie [49 years ago this year] it was exactly the same as it is now: I would get a lyric, I would go away, and write the melody and play it to him … then the band come in and learn it and we put it down.

“I don’t try to analyze it. It’s a strange approach, but it works.”

— Elton John (during an interview on ABC TV’s Jimmy Kimmel Live! show)

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“HOW [NOT] TO WRITE A HIT SONG! - 101 COMMON MISTAKES TO AVOID IF YOU WANT SONGWRITING SUCCESS” is available from Amazon as a paperback and also as an eBook from Amazon’s Kindle Store, Apple's iTunes Store, Barnes and Noble's Nook store, and from KoboBooks.com.
How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a US paperback, UK paperback and as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music), Barnes & Noble’s Nook store, and from KoboBooks.

Read a FREE sample of the book HERE (USA) and HERE (UK), HERE (Australia) and HERE (Canada).

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HOW MANY SONGWRITERS

“I write the songs that make the whole world sing” wrote Beach Boy Bruce Johnston in his award-winning 1975 song which became a global hit for Barry Manilow. Today, the lyric would probably have to be reworked as: “WE write the songs …”.

That’s because the number of chart songs written by solo songwriters has fallen dramatically since Johnston created ‘I Write the Songs’. Back in 1975, 51 hits on the Billboard Hot 100 were credited to a single writer. The figure had fallen to 32 by 1995, just 14 in 2005, and only a handful in 2015 — most notably Fetty Wap’s ‘Trap Queen’ (written solely by Fetty Wap, aka Willie Maxwell) and ‘Take Me To Church’ by Hozier.

There has been an increasing shift to ‘music-by-committee’ in recent years. Today, many producers of artists who don’t write their own songs are finding that the best way to consistently generate hits is to use the American TV ‘writers room’ model — with large numbers of pop writers working in teams.

Of course, songs created by more than one writer have been around since the dawn of Tin Pan Alley. Historically (with the exception of Holland-Dozier-Holland), hit songwriting teams have mostly been duos — with one partner responsible for composing the melody and the other charged with writing the lyrics.

Words-and-music duos have been responsible for some of the greatest songs of the past 100 years: Richard Rodgers and lyricists Lorenz Hart and Oscar Hammerstein II, George and Ira Gershwin, John Lennon and Paul McCartney, Gerry Goffin and Carole King, Jerry Leiber and Mike Stoller, Barry Mann and Cynthia Weil. Ellie Greenwich and Jeff Barry, Elton John and Bernie Taupin, and many more.

The  increase in the number of writers attached to a hit song  — especially in the pop genre — is particularly evident with the so-called track-and-hook approach to song creation. This basically involves a split between the writing of the beat (track) and the hooks (melodies) instead of the traditional ‘words and music’ delineation.

Today, songwriting partnerships can be almost as large as a soccer team. In fact, ‘Uptown Funk’ — the Mark Ronson hit assembled from a variety of sources — has eleven different writers attached to its credits.

Britney_Spears_2013English boy band One Direction had an average of five songwriters per track on their hit album Take Me Home. Britney Spears went two better with her track ‘Ooh La La’ which was featured in the Smurfs movie, The Smurfs 2. According to The Hollywood Reporter, ‘Ooh La La’ was the result of a seven-way collaboration between Lukasz Gottwald, Joshua Coleman, Henry Walter, Bonnie McKee, Jacob Kasher Hindlin, Lola Blanc and Fransisca Hall.

As a result of this trend, there have been calls for limits to be imposed on the number of writers who can legitimately claim to be responsible for a hit — especially when it comes to submitting songs for awards. The British Academy of Songwriters Composers & Authors (Basca), for example, wants to restrict the number of writers allowed on works submitted for its annual Ivor Novello Awards to six.

Leading British songwriter Graham Gouldman — whose many hits include ‘I’m Not in Love’ (10cc), ‘Bus Stop’ (The Hollies) and ‘For Your Love’ and ‘Heart Full of Soul’ (The Yardbirds) — believes the current situation has become “ridiculous”.

“Historically, songwriting partnerships have been between two people,” Gouldman recently told The Independent newspaper. “Now the drum programmer wants to get a credit for creating the drum part. There are bands I know who divide each song into bars and someone says, ‘I created five bars and they are repeated three times so that’s 15 bars’. Someone might say that their 10 per cent is the most hooky part of the song. It’s impossible to quantify these contributions.”

John Seabrook, author of the excellent book The Song Machine: Inside the Hit Factory, believes the TV ‘writers room’ approach can be traced back to Sweden in 1994 … to the hit-factory model created by Cheiron Studios co-founder Denniz Pop (Ace of Base, Backstreet Boys) and his protégé Max Martin (pictured below).

According to Seabrook, an important part of Denniz PoP’s vision for Cheiron was that songwriting should be a collaborative effort – with songwriters assigned different parts of a song, such as the central chord progression or riff, the chorus, the bridge and the hook. The teams of writers were then expected to willingly share credit.

MEP 14“The track-and-hook method of songwriting is at the basis of a lot of these changes,” says Seabrook. “A track is almost a canvas with some background painted into it, and different people add hooks and a bridge and a chorus and slowly it becomes a song, rather than springing fully formed from the imagination of a Burt Bacharach, sitting at the piano.”

This development is also changing the traditional method of trying to get an artist to cover songs. Instead of pitching songs on spec to a producer or an A&R exec, major labels now often convene so-called ‘writing camps’ for their biggest artists. These communal songwriting sessions typically involve an array of musicians from different genres — all with the same aim of trying to get a piece of a song on the limited track listing for a top-tier album.

So what is the optimum number of writers required to create a hit song in 2016?

At least four … and possibly half a dozen. That’s according to research conducted by Hit Songs Deconstructed, which specialises in analysing the craft and trends that shape today’s chart-topping hits.

Hit Songs Deconstructed found that about half of the Top 10 hits in Billboard’s Hot 100 in 2015 were written by teams consisting of five or more songwriters, compared with teams of at least four writers in 2014. Its research showed that 199 credited songwriters were responsible for crafting the 59 songs that charted within the Hot 100 Top 10 in 2014.

“If you plan on writing a hit song, you’d better find a writing partner,” suggests Hit Songs Deconstructed’s founder David Penn.

(Main photo: KidBilly Music)

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“HOW [NOT] TO WRITE A HIT SONG! - 101 COMMON MISTAKES TO AVOID IF YOU WANT SONGWRITING SUCCESS” is available from Amazon as a paperback and also as an eBook from Amazon’s Kindle Store, Apple's iTunes Store, Barnes and Noble's Nook store, and from KoboBooks.com.How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a US paperback, UK paperback and as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music), Barnes & Noble’s Nook store, and from KoboBooks.

Read a FREE sample of the book HERE (USA) and HERE (UK), HERE (Australia) and HERE (Canada)


The legendary songwriting team of Kenneth Gamble and Leon Huff are set to receive the Songwriters Hall of Fame’s prestigious Johnny Mercer Award at the 45th Annual Induction and Awards ceremony in New York City on June 12.

The Mercer Award is the highest honour bestowed by the Songwriters Hall of Fame. It is reserved for a songwriter or songwriting team whose body of work is of such high quality and impact that it upholds the standard set by Johnny Mercer himself.

Philadelphia-based Gamble and Huff will join past Mercer Award recipients Elton John and Bernie Taupin, Barry Mann and Cynthia Weil, Holland-Dozier-Holland, Paul Anka, Kris Kristofferson, Smokey Robinson, Hal David and Burt Bacharach, and Cy Coleman.

“It will be our pleasure to welcome Gamble and Huff into the circle of superwriters who have received the Johnny Mercer Award,” said Jimmy Webb, the Songwriters Hall of Fame chairman and a fellow recipient of the Mercer award. “They have met the standard with a series of indelible melodies and lyrics, and an enviable string of number one records and gold and platinum discs.”

Over the past 50 years, Gamble and Huff have written over 3,500 songs together, including 50 pop and R&B chart hit singles. They have won five Grammy Awards and 86 BMI Pop and R&B Awards.

In 1971, the duo set up their own record label, Philadelphia International Records, and went on to create ‘The Sound of Philadelphia’ with classic hits such as The Supremes’ ‘I’m Gonna Make You Love Me’, ‘Only The Strong Survive’ by Jerry Butler, Harold Melvin & the Blue Notes’ ‘If You Don’t Know Me By Now’, Billy Paul’s ‘Me and Mrs. Jones’, and ‘Love Train’ by The O’Jays.

Gamble and Huff were inducted into the Songwriters Hall of Fame in 1995.

This video charts the history of Gamble & Huff and The Sound of Philadelphia:

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How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a paperback, or as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.

Read a FREE sample of the book HERE (USA),  HERE (UK), HERE (Australia) and HERE (Canada).


Take That’s Gary Barlow has announced that the second single from his new solo album Since I Saw You Last will be ‘Face to Face’ on which he duets with his long-time friend and songwriting hero Elton John.

Gary has also revealed that ‘Face to Face’ was written as a thank-you note to Elton John for sticking by him during his wilderness years after Take That split up in 1996 and his solo career flopped first time around in the late 1990s. The song is also a pointed riposte to Gary’s friends and colleagues who deserted him and treated him like a pariah during that period.

“It’s a respect song,” he recently told the Daily Telegraph. “I can count on the fingers of one hand the people who kept in touch with me when nobody else wanted to know me and Elton was one of them. I’ll never forget that.”

The song and video for ‘Face To Face’ were recorded and filmed in only four hours at London’s Abbey Road Studios earlier this year, with Gary and Elton completing their vocals in only a handful of takes.

Here’s the official video for ‘Face to Face’ which will be released on January 20, 2014:

How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a paperback, or as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.

Read a FREE sample of the book:  HERE (USA),  HERE (UK),  HERE (Australia)  and HERE (Canada).

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Bernie_Elton_By_Bill_Claxtonsm-294x250Songwriters Hall of Fame chairman Jimmy Webb has announced that Elton John and Bernie Taupin will be the 2013 recipients of the prestigious Johnny Mercer Award at this year’s awards ceremony in New York on June 13.

John and Taupin have been one of the most prolific and successful songwriting partnerships of all time. Their award-winning relationship has spanned more than four decades and they have collaborated on more than 30 albums since they first met in 1967.

“Some catalogues are more significant than others not only because of their pertinence to the times in which they were written, but because their sheer mass is overpowering,” said Jimmy Webb. “It’s just not that easy to write 40 top 10 records. It’s kind of like swimming the English Channel with your hands tied behind your back.”

He added: “Elton’s readily identifiable melodic piano style has proven to be a perfect accompaniment to Bernie’s razor sharp lyrics about relationships and living on the edge of life both in good and bad times.”

The Johnny Mercer Award is the highest honour bestowed by the Songwriters Hall of Fame. It is exclusively reserved for songwriters or songwriting teams who have already been inducted in a prior year, and whose body of work is of such high quality and impact that it upholds the gold standard set by the legendary Johnny Mercer.

Past Johnny Mercer Award recipients have included songwriting giants: Barry Mann and Cynthia Weil, Phil Collins, Holland-Dozier-Holland, Paul Anka, Dolly Parton, Kris Kristofferson, Smokey Robinson, Stevie Wonder, Carole King, Billy Joel, Jimmy Webb, Hal David, Burt Bacharach, Jerry Leiber, Mike Stoller, Paul Simon, Alan and Marilyn Bergman, Stephen Sondheim, Cy Coleman, Sammy Cahn and Jule Styne.

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How (Not) To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success’ is now available from Amazon’s Kindle Store for only US$7.22 or GB£4.78.

Read a FREE sample of the book HERE (USA) and HERE (UK).

Also available from Apple’s iTunes Store (Books/Arts & Entertainment/Music).


When you start working on a new song don’t think about what you’re doing intellectually, just go with the creative flow and have fun, urges Grammy-nominated singer-songwriter Beth Nielsen Chapman. She calls it “creative flow songwriting”.

Beth recently told PRS for Music’s ‘M’ magazine: “The creative flow is just like oxygen flowing everywhere and people absorb different amounts of it depending on their capacity.  I believe it’s where the best stuff comes through.

“One of the things I do when I teach a songwriting workshop is to encourage everybody to become more of a sponge for that creative flow.”

It’s an approach that has certainly worked well for Beth. She has written hits for artists such as Elton John, Neil Diamond, Emmylou Harris, Bette Midler, Bonnie Raitt, Trisha Yearwood, Roberta Flack, Willie Nelson and Waylon Jennings. Her songs have also been featured in countless movies and TV shows.

“Of course it’s important to learn all of the technical skills of how to tighten up a song and how to recognize when a song could be better,” she told ‘M’, “but when I’m writing – especially when I’m starting the process of writing – I’m not looking at it intellectually. On the front end, I don’t want my brain driving the car.”

She added: ”I follow that creative flow blindly until something pops through, and it’s so much fun. I’ve learnt to trust it and I think that’s how the greatest songs are written.”

Here’s Beth Nielsen Chapman’s full interview with ‘M’ magazine…

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How [Not] To Write A Hit Song! – 101 Common Mistakes To Avoid If You Want Songwriting Success” is available from Amazon as a US paperback, UK paperback and as an eBook from Amazon’s Kindle Store, Apple’s iTunes Store (Books/Arts & Entertainment/Music) and Barnes & Noble’s Nook store.

Read a FREE sample of the book HERE (USA),  HERE (UK), HERE (Australia) and HERE (Canada).