I have written thousands of songs, in every imaginable genre.
I’ve been lucky enough to get some awards here and there, and Grammy nominations, even a “best song in a motion picture” nomination.
But my favorite song to write is always the one I’m working on right now.
Because I do believe The Process is the Purpose.
I write to write, not for the success of it. God knows, I would have quit long ago if I was attached to the outcome of my projects, so many of which have fallen by the wayside and never reached fruition.
But it is the joy of creating something new that fills the heart and soul of a creator, a feeling for which there is no equal.
Whenever I’m offered a new project, I am filled with butterflies of anticipation and hope and a bubbling up of creativity. How I love writing!!
I was thrilled when Whitney Houston and Clive Davis chose my song, “Nobody Loves Me Like You Do” out of thousands of submissions, for her debut album (as a duet with Jermaine Jackson).
The song also earned Anne Murray & Dave Loggins a CMA award for best duet, and was #1 on all the charts.
The song also earned Anne Murray & Dave Loggins a CMA award for best duet, and was #1 on all the charts.
Some of my standout career moments include writing Aretha Franklin & the Four Tops’ “If Ever A Love There Was;” having dinner with Mme. Imelda Marcos at the launching of Claire dela Fuente’s “Something In Your Eyes”—which won Record of the Year in the Philippines.
And the bittersweet of having written Selena’s last career single, “Is It The Beat.”
And the bittersweet of having written Selena’s last career single, “Is It The Beat.”
I can never forget the first time I turned on the radio in my car and heard Frank Sinatra singing my song “Monday Morning Quarterback.” It was toward the end of his career, but was the catalyst for mine.
I grew up in London, where I developed a passion for theatrical musicals. I started writing musicals when I was 18, and throughout my long and joyful career as a pop writer, I somehow found the time to write 13 original musicals! That meant book, music and lyrics on some! (And by the way, I have a few of them I’d be thrilled to see produced!)
Anyway, writing them was a labor of love, and was all part of learning that unique craft, through a great deal of trial and error, plus the very welcome insights of clever composers and insightful directors!
Anyway, writing them was a labor of love, and was all part of learning that unique craft, through a great deal of trial and error, plus the very welcome insights of clever composers and insightful directors!
And the clarity I got is how to write from each character’s very specific point of view, how to move the show’s plot forward with every song, when to replace dialogue with songs, and how to tell stories without compromising good songwriting.
When Tom and I were hired to write Soldier of Orange (Soldaat van Oranje) I was 150% ready!
And while a hit show is the sum of many parts, and the songs are only one aspect of that - I must say, we are both extremely gratified that the show has been so wildly successful.
When Tom and I were hired to write Soldier of Orange (Soldaat van Oranje) I was 150% ready!
And while a hit show is the sum of many parts, and the songs are only one aspect of that - I must say, we are both extremely gratified that the show has been so wildly successful.
I called Michael Fey from my car, as I was leaving the Disney lot.
He had showed me the end title sequence from “102 Dalmatians” and asked me to come up with an end title song.
I had noticed about a thousand “dog” song CDs piled on his desk.
As the gate opened and I pulled out of the lot, I said, “I’ve got it!” And he said, “What took you so long?”
And I laughed and sang him “Digga Digga Dog! Digga Digga Dog!”
And he said, “That’s it!”
He had showed me the end title sequence from “102 Dalmatians” and asked me to come up with an end title song.
I had noticed about a thousand “dog” song CDs piled on his desk.
As the gate opened and I pulled out of the lot, I said, “I’ve got it!” And he said, “What took you so long?”
And I laughed and sang him “Digga Digga Dog! Digga Digga Dog!”
And he said, “That’s it!”
Engelbert Humperdinck walked me into the control room, the producer and engineer went out and watched through the window, but couldn’t hear us.
“I want your song 'Angeles’ to be about loving a girl named Angeles, not about loving 'all the angels in the world,'” he told me.
“Or I won’t cut it!”
My head exploded! I thought, for a nanosecond, of saying “No way!” But— my job was to give him what He wanted to sing, not what I wanted to write!!
“I want your song 'Angeles’ to be about loving a girl named Angeles, not about loving 'all the angels in the world,'” he told me.
“Or I won’t cut it!”
My head exploded! I thought, for a nanosecond, of saying “No way!” But— my job was to give him what He wanted to sing, not what I wanted to write!!