“Songwriters write songs, but they really belong to the listener.”

—  Jimmy Buffett, book A Pirate Looks at Fifty

Source: A Pirate Looks at Fifty

Last update June 3, 2021. History

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Jimmy Buffett58
American singer–songwriter and businessman 1946

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“I really find listening to and reading the work of lyricists and songwriters as essential to my work as reading poetry itself. It is all poetry.”

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“I decided a handful of years ago that I just want to write songs that you can understand as soon as you put the record on. There’s no need to veil what’s happening in the song the way I used to.
My goal as a songwriter now is to simply write some memorable turns of phrase.”

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“I became aware that in Hank's recorded songs were the archetype rules of poetic songwriting. The architectural forms are like marble pillars and they had to be there. Even his words - all of the syllables are divided up so they make perfect mathematical sense. You can learn a lot about the structure of songwriting by listening to his records.”

Hank Williams (1923–1953) American country music singer

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“I love the fact that some of the songs continue to survive, but I think that there's a window of opportunity for a time when you really, really relate to your generation. And I think a lot of us pass through that as songwriters.”

Paul Williams (songwriter) (1940) American composer, singer, songwriter and actor

Songfacts interview (2007)
Context: Relating to the specifics of relationships, and writing love songs, I tapped into something that seemed to work for my generation. I love the fact that some of the songs continue to survive, but I think that there's a window of opportunity for a time when you really, really relate to your generation. And I think a lot of us pass through that as songwriters.

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“The songwriting style, to me, is superior… there was a certain amount of joy in it, no matter how sad the song is.”

M. Ward (1973) singer-songwriter and guitarist

On songwriting styles of the post-World War II era, in an interview with Bob Boilen on All Songs Considered (17 November 2006) http://www.npr.org/templates/story/story.php?storyId=15961159 (NPR) <br class="br">Context: The songwriting style, to me, is superior... there was a certain amount of joy in it, no matter how sad the song is. You get joy in listening to these Buddy Holly or Roy Orbison sad lyrics. I&#x27;m attracted to songs that have balance between the darks and the lights and giving them all equal opportunity.

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“I used to see songwriting like editing a film or something. You can edit music like you can edit a film. Or if I was painting or making a picture or something, that night I could sit down and write a song. I think it really helps to break things up. Sometimes when you sit down to write songs, you write three or four songs in a row feeling the same sort of vibe. But if you stop in-between that time and change something, you break the pattern – you prevent yourself from unconsciously falling into a format.”

M.I.A. (1975) British recording artist, songwriter, painter and director

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“Strangely, some songs you really don't want to write.”

David Bowie (1947–2016) British musician, actor, record producer and arranger

Livewire interview (2002)
Context: Strangely, some songs you really don't want to write. I didn't like writing "Heathen". There was something so ominous and final about it. It was early in the morning, the sun was rising and through the windows I could see two deer grazing down below in the field. In the distance a car was driving slowly past the reservoir and these words were just streaming out and there were tears running down my face. But I couldn't stop, they just flew out. It's an odd feeling, like something else is guiding you, although forcing your hand is more like it.

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“I can tell you I wrote every single word in this [her first children's] book -- in English and Spanish. I've been writing poetry and stories since I was a kid. And I am a songwriter. But you have limitations when you are a songwriter.... It was really a luxury to have 31 pages to expound upon.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

The Chicago Tribune (October 16, 2005)
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“The best part of being a songwriter — beyond being able to make a living at it — is what I call the "heart payment" of a song.”

Paul Williams (songwriter) (1940) American composer, singer, songwriter and actor

Songfacts interview (2007)
Context: The best part of being a songwriter — beyond being able to make a living at it — is what I call the "heart payment" of a song. That's when somebody comes up after a concert and says, "My mom was a single mom, and 'You And Me Against The World' was a really important song to us." Or "We got married to 'We've Only Just Begun'" or 'Evergreen.' Or "'I Won't Last A Day Without You' got me through some hard times.'" That's heart payment for a songwriter.

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“I think the trick for any songwriter is authenticity. For the young songwriter coming up who is connected to his generation, as I was connected to mine, write honestly about what's going on in the center of your life.”

Paul Williams (songwriter) (1940) American composer, singer, songwriter and actor

Songfacts interview (2007)
Context: I think the trick for any songwriter is authenticity. For the young songwriter coming up who is connected to his generation, as I was connected to mine, write honestly about what's going on in the center of your life. You know, when "We've Only Just Begun" was a Number 1 record, I think the Number 1 album in the country was "In-A-Gadda-Da-Vida." So it was as far away from what was happening in the music scene as you can get. And yet it was a hit. I think it was a hit because of, obviously, Karen's amazing vocal, but I think that any time we write authentically and honestly about what's going on in the center of our chest, because people are so much alike, there's a big a chance that it's going on in the center of your chest, too.

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