Browse by Title
A B C D E F G
H I J K L M N
O P Q R S T U
V W X Y Z #  




Paul Williams
Paul Williams wrote the soundtrack for a generation. His songs were ubiquitous in the 1970s -- you could hear them on the radio, television, movies, and The Muppets. The simple honesty of his lyrics captures attention and spurs the imagination. In the first part of our interview, Paul talks about writing songs for a frog, a cruise ship, and Kris Kristofferson; and why heart payment is the best gift you can give to a songwriter.

Paul Williams PhotoCarl Wiser (SF): It’s going to be very difficult for me not to talk about the Muppets this whole interview. But I am hoping that you can tell me a bit about “Rainbow Connection.”

Paul Williams : Well, “Rainbow Connection” was the first number in The Muppet Movie. It's the one that establishes the lead character. We find Kermit sitting in the middle of the swamp. Kenny Ascher and I sat down to write these songs, and we thought... Kermit is like "every frog." He’s the Jimmy Stewart of frogs. So how do we show that he’s a thinking frog, and that he has an introspective soul, and all that good stuff? We looked at his environment, and his environment is water and air… and light. And it just seemed like it would be a place where he would see a rainbow. But we also wanted to show that he would be on this spiritual path, examining life, and the meaning of life.

The thing I love best about the lyric, I think, is that in the first two lines, you know that he’s been to the movies. “Why are there so many songs about rainbows? And what’s on the other side?” It tells you that he’s been exposed to culture. I think the song works because it’s more about questions than answers.

I just loved Jim Henson. It’s just been a great relationship through the years, and continues to be. It’s interesting, because that song written for that little frog just keeps getting cut. The Dixie Chicks just did it. People keep recording it. Sarah McLachlan did a beautiful recording of it. Willie [Nelson] and I do it as a duet.

SF: Why do you think that song has endured so well?

Paul: I think it’s in large part because of the love for the Muppets. Moms and Dads showed that movie to their kids. If I really understood why a song holds on like that one did, I’d be stacking them up right now.

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.

SF: With the Muppets, you appeared on the show on the first season, I believe.

Paul: I did, actually. I think it was ’77. I did a guest shot, and that’s where I met Jim and the whole Muppet gang. After that, Jim said, “We’re gonna do an HBO special called Emmet Otter’s Jugband Christmas.” Do you know that show?

SF: I don't know that show specifically.

Paul: You should check it out. It’s very low-tech. If you’re a Muppets fan, you need to get a copy of Emmet Otter’s Jugband Christmas, the new DVD of it. It had puppets as well as Muppets in it. You could see the strings, you know. It’s a little country show. Jim said, “We’re gonna do it up in Canada, in Toronto.” They had a Muppet workshop up there. “Would you be willing to write the songs for us?” So I wrote a group of songs and scored it. We tried a bunch of things that wound up in The Muppet Movie. You know, Kermit riding a bicycle.

When they made The Muppet Movie in 1979, the Muppets were at the absolute peak of popularity. It was a really big deal. [Jim] asked me again if I would write the songs for it. I said yes, but I wanted to bring in Kenny Ascher, who I’d been working with, because his melodies are so classically beautiful. I brought Kenny in and we wrote the songs, and just had a ball. Jim Henson gave you more [creative] freedom than anybody I’ve ever worked with in my life. I said, “You want to hear the songs as we’re writing them?” He said, “No. I’ll hear them in the studio. I know I’m gonna love them.” You just don’t get that kind of freedom on a project these days.

SF: Yeah, that is kind of rare.

Paul: It’s wonderful, isn’t it?

SF: Let the talented people use their talent. The line in that song, “The sweet sound that calls the young sailors.” Did that come from a nursery rhyme of some kind?

Paul: No. I think that I’ve always had a fascination with the sea. It’s a metaphor for the call to adventure, you know? That voice is something inside us that says you can do anything. There’s a great mysterious world out there, let’s go see it.
SF: And the idea of the first line is that Kermit was a movie fan… did you have that in mind when you wrote the first line?

Paul: No, but it tells you that he’s been exposed to culture. “Why are there so many songs about rainbows?” Which means, obviously, he’s heard a lot of songs. This is a frog that’s been exposed to culture, whether it’s movies, or records, or whatever. And I also like the fact that it starts out with the negative. "Rainbows are only illusions, rainbows have nothing to hide." So the song actually starts out as if he’s going to pooh-pooh the whole idea, and then it turns. “So we’ve been told, and some choose to believe it. I know they’re wrong, wait and see.” And again, he doesn’t have the answer. “Someday we’ll find it.”

SF: Which is your favorite cover of that song?

Paul: I won’t answer that. I love Sarah McLachlan’s recording of it, Johnny Mathis just recorded it, Willie [Nelson] and I did it as a duet on my DVD, and then it was recently rearranged and augmented by Phil Ramone for his New Music For An Old Friend album.

Willie and I doing the duet of “Rainbow Connection” is one of my favorite recordings ever in life. The two of us, like two old guys, just talking. It’s very conversational. And to hear those lines come out of Willie… One of my favorite voices ever was the guy that did the voice of Jiminy Cricket, Ukelele Ike. “A dream is a wish your heart makes.” Just this wonderful, sweet, sweet, sweet voice. It felt like mail from home. And Willie’s voice is like that to me. There’s such a warmth there, an authenticity, an intimacy. So to hear Willie Nelson singing those words was a real high for me.

SF: Talking about how the first line of that song kind of sets the stage... your song “Evergreen” from the movie A Star Is Born. Can you tell me a bit about that, and how that first line came about?

Paul: I actually wrote those first two lines in the opposite order. I wrote “Love, fresh as the morning air, love soft as an easy chair.” I called Barbra [Streisand] as I was getting on a plane to go on tour with Olivia Newton-John. We were doing a 6-week tour, and Barbra was in Arizona getting ready to start filming A Star Is Born. I called her and said, “You know what, flip those two first lines, because it sings better.” “Love, soft as an easy chair, love, fresh as the morning air.” “Morning” sang better at that point in the song. And I remember saying to Barbra, “They’ll probably laugh us out of the theatres for starting a love song with a line about a chair, but I think it works better that way." And I think it was the biggest-selling soundtrack album ever at that time, and of course the song won the triple crown: the Oscar, the Grammy, and the Golden Globe.

SF: Did you have a rough cut of the film to view, or how did you know what to write about?

Paul: No, all the songs had to be written before filming began, because they’re performed on camera. If it’s gonna be performed in the film, or if it’s in the film as source music, then it’s gotta be done in advance. When I was signed on to write the songs for A Star Is Born, Barbra had the music and one verse for the song “Everything.” You know, “The black, black widow is sitting…” She had that song, and that was it. Everything else had to fit. So in 7 weeks we wrote all the songs and then they went to work. But yeah, I actually flipped those first two lines at the very last minute.

SF: So what was the collaboration with Barbra on those?

Paul: She sat down and played on a guitar, the melody for “Evergreen” that she’d written. It was just such a beautiful melody. I said, “There’s your love song. There’s the big love song.” I asked her for the melody. She put it on tape for me, and I took it home. I actually wrote that as the last thing, which I think bothered her. But all the Kris Kristofferson stuff was the first thing up on the shoot schedule. So I wrote the songs for Kris first.

You know, Barbra recorded two or three of my songs before we did A Star Is Born. People would always ask, “Were you nervous about writing the Streisand music?” Of course, she’s an amazing talent. But to sit down and write songs and to play songs for Kris, who is like… I mean, this is the man who wrote “Sunday Morning Coming Down,” “Me And Bobby McGee.” It was wonderful. Kris was great about the songs. But the very last thing that I wrote was “Evergreen.” I gave that to Barbra, and then hit the road and didn’t look back.

SF: When you did The Love Boat theme, you start off with the line, “Love, exciting and new.” It’s almost like you tapped into something here. Can you tell me about this?

Paul: You know, it’s funny, because on stage I sometimes talk about that. I say, “I’m going to do a medley of two songs that you’ll never hear together again, but they’re the only two songs I’ve ever written that begin with the word ‘love.’”

Charlie Fox gave me this melody, said that it was a new series called The Love Boat, it was about a cruise ship. We honestly didn’t think it was going to last 6 weeks. We thought, who’s going to watch a series about a cruise ship? And so he sent me the melody, and I thought, what’s this all about? It’s all about love, you know. Every episode was going to be about these three little stories… you know, meeting and falling in love, going through life stuff. And “BOM ba da.” It’s an important note, it’s gotta be an important word. “Bom, ba dee da da da,” so it’s… “boats,” “ships,” ba dee da da, you know, “tits,” "ba dee da da”.. There’s a lot of stuff you could stick in there, but the thing that seemed to work best is, “love, exciting and new, come aboard, we’re expecting you.” The first line of the song, and you’ve got people on board the ship.

SF: It occurred to me that there was a time period here that you could not go through a day without hearing something that you had written in some format or another, whether you’re watching TV, going to a play, watching a movie, or listening on the radio. Was there anything that you can look back on and say, “I was able to tap into this,” or “this is why I was able to relate to people in such a way”?

Paul: No. You know, 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 [Carpenter]’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.

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. You know, I’ve written three or four things lately with Scissor Sisters. I’ve got one song on their deluxe album called “Almost Sorry.” It’s not a love song, it’s a song about a bully. I think that that frame of reference to your generation, it kind of changes through the years.

All the work that I’m doing right now, almost all of it, is for the stage. Garry Marshall and I have Happy Days opening, going into rehearsal in July in Connecticut through Good Speed Opera House. We’ve worked five years on a musical based on the Happy Days television show. I'm talking about doing the same thing with Phantom Of The Paradise, Emmet Otter’s Jugband Christmas, and Chicken Soup For The Soul.

But as far as writing love songs for my generation, I think there’s almost kind of a window of opportunity for that. I think that at a certain point we move on to write about other things, or we’re at a different place in our lives. If you get a chance, pick up an album called New Music From An Old Friend. I wrote the title song on there, “Words And Music.” It’s a song about hearing new music from an old friend. It’s kind of about this subject. There’s also a song on there that I wrote with Carole King called “Say Goodbye Today.” It’s about a later place in a love affair, you know, “I can’t believe we’re going to say goodbye, say goodbye today.”
As the interview continued, we talked more about Paul's inspiration to become a songwriter. He spoke fondly of his writing partners over the years, and his ability to translate their melodies into lyrics. As it turns out, the easiest songs to write often become the biggest hits.

SF: You mentioned “We’ve Only Just Begun.” Now, I’ve heard the story that it was written when you were commissioned for an ad agency.

Paul: "It had all the romantic beginnings of a bank commercial" is the way I describe it. There was actually a wonderful writer named Tony Asher who wrote for this ad agency, and he’d had a skiing accident and he broke his arm, so he couldn’t write or play the piano or whatever. So he suggested Roger Nichols and I as replacements to write this ad. The ad agency called us and said, “Look, we’re going to show a young couple getting married, driving off into the sunset, and it’s going to say, ‘You’ve got a long way to go, we’d like to help you get there to the Crocker Bank.’” And I went, Okay, what rhymes with Crocker? Crocker what? It was like… to write a jingle. And they said very specifically, “No we don’t want a jingle.” What they asked for is what we would today call a music video. It was going to show a young couple getting married, driving off into the sunset. After the ceremony, the first kiss and all. So Roger and I wrote the song that would play over that.

We wrote the first two verses of “We’ve Only Just Begun.” We wrote a second version of the commercial that was a verse, and what became the bridge. We added a third verse just in case anybody would ever want to record it. And then I assumed that it would never, ever get cut again. Richard, I guess, heard me singing it on the TV commercial, and called and asked if there was a complete song. And we went, "Well, funny you should ask." And if there hadn’t been a complete song, we would have lied and said, “Well, of course there is,” and then sat down and written it. You know, songwriting in those days was like that, too. I remember finishing songs in the back seat of a publisher’s car on the way to play it for a producer. Just, “Come on, Fifth Dimension’s recording, that song’s perfect for them, let’s go… you can show it to them.” “It’s not done yet.” “Finish it in the car.”

SF: So you retained the rights to that song.

Paul: I retained my rights as a writer, and the publisher retained his rights as well. You know, as I moved along through my career I became my own publisher, and co-publisher, but I started out very specifically. It was my first 4-year period at A&M Records. I was published by A&M.

SF: You mentioned you have some feedback on “You And Me Against The World.” Can you tell me about that song?

Paul: The first thing Kenny Ascher and I ever wrote. We went to England to do a television show, Kenny was a member of my band. And when we got there there was a problem with the work permits, so the guys in my band couldn’t play. I had to use local musicians. So Kenny’s sitting around with nothing to do in a hotel in London. So we’re sitting there, and we’re having a few drinks, because that’s what I did in those days. I’m 17 years sober, in those days I drank. We’re sitting around and we’re talking about writers, and we all love Cole Porter and a certain kind of writer and all. And we started talking about Harry Nilsson and Randy Newman. I loved Harry, but every time I tried to tell Harry how much I loved his songs, he would always tell me, “No, here’s the great writer,” and he’d play me Randy Newman, who I also loved.

So Kenny and I wrote this little song, “Do you love me, babe, do you love me not? Let’s decide in the morning, not now. Boy, you don’t like Shuman, or Randy Newman, Nilsson ain’t your cup of tea. You think Van Heusen is a shirt worth choosin’, but you’re still undecided ‘bout me. Bo-wo do you love me, babe, do you love me not, let’s decide in the morning, not now.” It was really kind of a cute little song.

And Kenny’s sitting at the piano, turned to me, and he said, “If that was on an album...” and he played, “bomp bomp bomp bomp bomp.” He played the intro to what became “You And Me Against The World.” And I just looked at him when he finished the intro and sang, “You and me against the world,” and he hit another chord, and I went, “Sometimes it feels like you and me against the world.” And we went on from there. It’s the first song we ever recorded, and God bless Helen Reddy, she had a big hit with it.

SF: And you’ve had people mention that song as a song that really affected them, huh?

Paul: Yeah, for some reason it seems to really touch the single mother, you know?

SF: You also did the “Old Fashioned Love Song,” which is, I believe, the song you performed on the Muppets.

Paul: I did, yeah, yeah, I did. I had three hits with Three Dog Night. The first song they recorded was a song called “Out In The Country,” which was Top Ten. And then they did “Old Fashioned Love Song,” which was the first big hit that I wrote words and music to. Everything else had been collaborations. And they recorded a song called “Family Of Man.” It’s funny, I’m friends with Chuck Negron today, who was the lead singer. Each of those three songs was a last-minute song that wound up on the album. And when they recorded them, I don’t think they loved them. “Nah, I don’t know. Well, okay, we’ll do them.” And they put them on. And they all three became hits.

I had a date one night, a young lady named Patti Dahlstrom, she was a songwriter. We were going to go out and have dinner. And right before I left for the date I had gotten a phone call that I had a gold record. And I walked into her house, and I said, “Well, got a gold record for such-and-such, it just went gold. Kid did it again with another old fashioned love song.” It just came out of me. And I went, wait a minute. I went over to her piano and I sat down, and it’s the quickest I ever had a song come out of me. And it sounds like it. It’s a really simple song, I wrote it in like 20 minutes. And it was a big hit.

SF: Wow. And what about those other songs that you did with Three Dog Night? Was there a story about how they came together?

Paul: No, they were just songs. Just sitting down and cranking them out. Songwriting was my life, my whole life, at that point. I’d write during the day with Roger Nichols, and then everybody’d go home and I’d be sitting in my office at A&M, I was 29-30 years old... I’m like, well, screw it, let’s keep going. And so anybody that fell by, we’d write. So I wrote with a lot of different people, and stayed up way too late, and kept writing.

I was 27 years old when I found songwriting. It was, you know, the first real pain, that for a songwriter gets that feeling of "My God." All of a sudden I found what I could do. I found my place in this world. It just started pouring out of me. There’s like an emotional health that comes from it. All of a sudden instead of sitting with all the feelings, the stuff going on in my chest – I could write about it, you know. And I love the craft of songwriting. Roger Nichols, who was my first writing partner, was essentially my music school. I mean, we wrote and wrote together. He was a trained musician and a trained composer, and the more I learned, the more I wanted to write.

SF: You mentioned the heart payment of a song, and how some songs give back. Is there one specific song that you can think of that gave you a lot of heart payment?

Paul: Well, again, it’s what I’m talking about, the people that come up and say “This song was especially important to me…” You know, there’s other kinds of payment, too. The current Coke commercial, the take-off of Grand Theft Auto where you see the guy drive into town, and he goes in and buys a Coke…

SF: Yes, I like that.

Paul: That’s my song from Bugsy Malone. “You give a little love and it all comes back at you. You know you’re gonna be remembered for the things that you say and do.” Coke kind of went to what is the essence of my message. Like I say, I’m 17-years sober, and have essentially been given my life back. I’ve never been happier, never been more productive. And I’ve really gotten to a place where I really see my life as a gift. I feel like Lazarus, I feel like it’s a second life. And those two lines of that song, “You give a little love and it all comes back to you, you’re gonna be remembered for the things that you say and do,” is probably something you could put on my headstone. That’s my philosophy right there. You know, treat the world lovingly and with respect, and the world will take care of you.

SF: Were any of your Carpenters’ songs based on specific experience? For example, “Let Me Be The One.”

Paul: No, I don’t think so. I won’t say No specifically, because I don’t remember. But the guys who work for the United Nations as translators, they sit there and they’re hearing somebody speak Swahili and they translate it to French, or they hear somebody speaking Portuguese and they translate it to English, whatever. The way I wrote with Roger Nichols, he would give me the finished melody. And I’m a translator. I heard the emotion of the song and I translated it in English. You know… “Do dee da doo, some sleepless night,” I just hear it there. “Dee da do dee da do da da, if you should find yourself alone.” Roger was a stickler. He wanted it note for note. He wouldn’t want, “Do dee da da,” if I wanted to go, “some early morning,” he’d go, “No, no, no, it’s da dee da da, some sleepless night.” So I’m a translator. I hear words in music and it’s the way that I wrote for a lot of years.

The way that I started collaborating with Kenny Ascher was different. We would sit in the same room and write words to music at the same time. When I started going to Nashville and writing, Jon Vezner and I wrote a song called “You’re Gone” that Diamond Rio had a hit with. And it poured out of us at the same time. There’s a subject matter in that song that is specific to my life. There was a young lady that said, “I’m not going to be with you, because you’re an alcoholic and addict. I don’t want to watch you die.” And she wound up leaving, but I wound up getting sober. And that’s really the content of that song, “You’re Gone,” is related specifically to one of my own life events. “The good news is I’m better for the time we spent together. The bad news is you’re gone.” Garth Brooks recorded that. He hasn’t released it yet. It’s tucked away in a vault, but I hope he'll release it some day. Come on, Garth.

SF: When you did “Rainy Days and Mondays,” can you tell me where that even came from? How you even come up with that?

Paul: As I examine my psyche, when I was an out-of-work actor, I had a movie called The Chase. I wasn’t even writing songs yet. I was an actor before I was a songwriter. I did a movie called The Loved One with Jonathan Winters, then two years later I got another movie just like that, called The Chase. I worked three months on it, I think. My mom was a little widow lady living in Denver. And I brought her out to live with me. I said, “Mom, you’re never going to have to work again. This movie’s going to really make me, it’s going to be the big break I’ve been waiting for. My career as an actor is gonna just fly.” The movie came out and I’m not in it. I’ve got two lines, I think, the way it turned out. Big movie starring Marlon Brando, Robert Redford, Jane Fonda, Robert Duvall, huge film. So I worked on it, but I’ve got a little, really small part. So the career didn’t take off, eventually the phone stopped ringing, eventually they took the phone out, eventually Mom got a job.

So I’d stay up all night, I’d started to plunk out writing songs. My mother would get up in the morning, and she’s like, “Don’t worry, my son, God has a plan.” And she’d talk to herself, she’d mumble. And she’d walk away, “oh jesus, I hope so...” I’d go, “Mom, what’s the matter?” She’d say, “You wouldn’t understand. I’m just feeling old. Just feeling old.” So she’d talk to herself. So I think that’s probably where, “Talking to myself and feeling old” came from, because she would jabber to herself, and whenever you’d ask her she’d say, “I’m just feeling old today. I’m not sad, I’m just feeling old.”

There’s one line in that song that was a fill line. Remember I talked about writing songs in the back of a car on the way to a publisher? On “Rainy Days And Mondays” Chuck Kay, who was head of publishing at A&M, said, “That’s a perfect song for the Fifth Dimension, let’s play it for them.” I said, “Well, there are a couple of lines that aren’t done yet.” He said, “You’ll finish it in the car.” So in the car going over there, I came up with a fill line, which was “What I’ve got they used to call the blues.” I didn’t have that line done yet, so I wrote it as just a quick fill line, because I wanted to mention the blues, but it was such a hackneyed expression, “I’ve got the blues.” So I just wrote, “What I’ve got they used to call the blues.” And it actually became my favorite line in the song. I think it’s the best line in the song. I met Johnny Mercer once at A&M Records, and he sat down and I introduced myself, “Paul Williams,” and he shook my hand. And he walked back into the studio where he was mixing, then he stuck his head back out into the hall and he went, “Paul Williams, ‘what I’ve got they used to call the blues,’ that Paul Williams?” I said, “Yes, sir.” It was funny. It was one of the great moments of my life, to meet Johnny Mercer, who I think was the lyricist’s lyricist…

SF: Who loves a piece of your dialogue. I really do appreciate your talking about this. Now, are you going to be in Connecticut for some of these rehearsals?

Paul: Oh yeah, yeah, we’re at the Good Speed, and then we go on to the Papermill after that up in Jersey. So I’ll be around a bit.

SF: Well I’m definitely going to go see this show.

Paul: Oh, fabulous.

SF: For one thing, I love Happy Days.

Paul: Well, you know what, I think you’re going to like the show. I’m really proud of it. It’s being produced by Bob Boyett, who produced Spamalot, and History Boys that won the Tony last year. We’ve got a great producer, and Garry’s just a dream to work with. I’m always jumping in a little movie for him and all. I mean, I’m in Georgia Rule and Princess Diaries II. He always calls me at the last minute and says, “Come over and do this little part for me.” But it’s been a five-year collaboration on this project, and it’s really exciting.

SF: Has this show been released in Europe already or anything?

Paul: No, no, no. There was a different Happy Days musical that somebody put together I think, using old songs. It was done a few years ago. But this is an original musical, and this is the first time it’s been done as an original musical.

SF: Oh, so we’re going to be the first ones to see it.

Paul: You’re seeing it first.

SF: Oh, that is going to be so cool. Have you spent much time in Connecticut?

Paul: You know what, I come back for the Michael Bolton golf tournament, and I’ve been back a couple of times to speak. There’s a guy named Gary Stromberg, he wrote a book called “The Harder They Fall,” which is a book about celebrities in recovery, and those of us who’ve gotten our lives back. And I go back and speak for him once in a while. I’ve done a couple of fundraisers there. I am, in September, too. So I’ll be around Connecticut a bunch.

SF: Yeah, it’s not a bad area.

Paul: If you want to shoot me this before you publish it, just so I can make sure the facts are right and all, would you do that?

SF: Absolutely. I certainly appreciate it.

Paul: It’s my pleasure, Carl.

Thanks to Paul for speaking with us. Learn more at The Paul Williams Connection.

Comments: 18

pages [ 01 ] 02 >

I can't think of a Paul Williams song that I haven't at a least liked - A Whole Lot - if not loved. Out in the Country is more than just a song to me, more like a central theme song to my life it's been. Great music, Mr. Williams. You're one of the all time best songwriters ever in my estimation. Certainly many others share that opinion as well. Awesome stuff, always, and some awesome associated memories: Thank You for That!!
-Stymied Observer from USA

I've never really gave Paul Williams much thought as I never really was a fan, but The most remarkable and notable thing about his work is that virtually everything he's produced has had legs and stood the test of time and fashion. Over 5 decades that is an amazing achievement.
-Jim from North Billerica, MA

So enlightening to know what is in the minds of the writers and how express that with music as their mouthpiece.
-Josie from Mount Gilead, Ohio

Paul didn't write Daydream Believer. I liked his acting cameo in Rules Of Attraction.
-Steve from Birmingham

hey, ditto to Kim from brisbane... it's been an amazing ride. thank you
-johnny from nz an' oz

Paul also wrote songs that the Monkees eventually recorded: "Daydream Believer" and "Someday Man."
-Chris F. from Albuquerque

I love Paul Williams. He is a wonderful songwriter, and a great actor/comedienne!
-Elaine

GREAT Interview!!! Brought back Soooo many memories of when songs were REAL, with words that meant something, and with Melodies you could hum... Thanks...
-Lonnie from Chicago, IL

I enjoyed reading this so much. It is SO interesting to hear a songwriter talk about how songs came about. I feel like I have just ONE is me that has always wanted to get out, and I can't even get the one out.....can't imagine having so many great songs flow out of you like he has. Hope he will keep them coming for the rest of his days....amazing!! Thanks for the memories, Paul!
-carly jones from athens, georgia

He is the best songwriter ever! I have been a fan for so many years! His songs transport me to places I have never been. His singing, that voice is so refreshing.
-Claire from Elgin, IL

Name
Where are you from?
Your Comment
 security code

Richie Wise (Kiss producer, Dust)Richie Wise (Kiss producer, Dust)
Richie talks about producing the first two Kiss albums, recording "Brother Louie," and the newfound appreciation of his rock band, Dust.
Lou Gramm - "Waiting For A Girl Like You"Lou Gramm - "Waiting For A Girl Like You"
Gramm co-wrote this gorgeous ballad and delivered an inspired vocal, but the song was the beginning of the end of his time with Foreigner.
Reverend Horton HeatReverend Horton Heat
The Reverend rants on psychobilly and the egghead academics he bashes in one of his more popular songs.
Richard MarxRichard Marx
Richard explains how Joe Walsh kickstarted his career, and why he chose Hazard, Nebraska for a hit.

Search in Songwriter Interviews
search
Songwriter Interviews titles
Aaron Beam of Red Fang
Aaron Gillespie
Aaron Lewis
Adam Duritz of Counting Crows
Adam Schlesinger of Fountains of Wayne
Adam Young of Owl City
Al Anderson of NRBQ
Al Jourgensen of Ministry
Al Kooper
Alan Merrill of The Arrows
Alex Call (867-5309)
Allee Willis: Boogie Wonderland, Friends theme
Amanda Palmer
Amy Grant
Andy McClusky of OMD
Andy Powell of Wishbone Ash
Angelo Moore of Fishbone
Ann Hampton Callaway
Anna Canoni about Woody Guthrie
Annie Haslam of Renaissance
Antigone Rising
Art Alexakis of Everclear
Asher Roth
Badi Assad
Bart Millard of MercyMe
Becca Stevens
Benny Mardones
Bill Withers
Billy Gould of Faith No More
Billy Joe Shaver
Billy Montana ("More Than A Memory" - Garth Brooks)
Billy Steinberg
Bo Bice
Bobby Liebling of Pentagram
Bobby Whitlock
Boz Scaggs
Brad Arnold from 3 Doors Down
Brad Smith of Blind Melon
Brandi Carlile
Brandon Heath
Brenda Russell
Brian "Head" Welch of Korn, Love and Death
Bronze Radio Return
Bruce Robison
Bryan Adams
Butch Vig
Buzz Osborne of the Melvins
Carol Kaye
Chad Channing (Nirvana, Before Cars)
Chad Urmston of Dispatch
Chan Kinchla of Blues Traveler
Charles Fox
Charlie Benante of Anthrax
Charlie Daniels
Charlotte Caffey of The Go-Go's
Chris August
Chris Fehn of Slipknot
Chris Isaak
Chris Knight
Chris Robinson of The Black Crowes
Chris Squire of Yes
Chris Tomlin
Chris Willis
Chris Wilson of The Flamin' Groovies
Christopher Cross
Chuck Billy of Testament
Cody Hanson of Hinder
Colbie Caillat
Corey Hart
Craig Goldy of Dio
Curt Kirkwood of Meat Puppets
Cy Curnin of The Fixx
Dan Haseltine of Jars of Clay
Dan Reed
Daniel Moore ("Shambala," "My Maria")
Danko Jones
Danny Kortchmar
Dar Williams
Darren King of MUTEMATH
Darryl Worley
Dave Clark
Dave Innis of Restless Heart
Dave Pirner of Soul Asylum
Dave Stewart of Eurythmics
Dave Wakeling of The English Beat
Dean Pitchford
Denny Randell
Desmond Child
Devin Townsend
Devo
Dexys (Kevin Rowland and Jim Paterson)
Dez Fafara of DevilDriver and Coal Chamber
Dick Wagner (Alice Cooper/Lou Reed)
Dino Cazares of Fear Factory
Don Brewer of Grand Funk
Don Felder
Donald Fagen
Donnie Iris (Ah! Leah!, The Rapper)
Dr. John
Dropkick Murphys
dUg Pinnick of King's X
Duncan Phillips of Newsboys
Dwight Twilley
Eddie Carswell of NewSong
Eddie Reeves
Edwin McCain
El Sloan of Crossfade
Elvin Bishop
Emilio Castillo from Tower of Power
Emily Saliers of Indigo Girls
Eric Burdon
Eric Kretz of Stone Temple Pilots
Francesca Battistelli
Francis Rossi of Status Quo
Gary Brooker of Procol Harum
Gary Lewis
Gary Louris of The Jayhawks
Gary Numan
Gentle Giant
Georgia Middleman of Blue Sky Riders
Gilby Clarke
Glen Burtnik
Glen Phillips of Toad the Wet Sprocket
Gordon Bahary
Graham Bonnet (Alcatrazz, Rainbow)
Graham Parker
Graham Russell of Air Supply
Greg Lake of Emerson, Lake & Palmer
Gretchen Peters (Independence Day)
Guy Clark
Gym Class Heroes
Hal Ketchum
Harold Brown of War
Harry Shearer
Hayes Carll
Henry McCullough
Henry Paul of The Outlaws, Blackhawk
Holly Knight
Holly Williams
Howard Bellamy
Howard Jones
Ian Anderson of Jethro Tull
Ian Anderson: "The delight in making music is that you don't have a formula"
Ian Astbury of The Cult
Ian Thornley of Big Wreck
Ingrid Croce
J.D. Souther
Jack Blades of Night Ranger and Damn Yankees
Jake Owen
James Williamson of Iggy & the Stooges
Jamey Jasta of Hatebreed
Jane Wiedlin from the Go-Go`s
Janis Ian
Jann Klose
Jaret Reddick of Bowling for Soup
Jason Michael Carroll
Jason Newsted (ex-Metallica)
Jason Reeves
Jason Roy of Building 429
Jay Graydon
Jeff Walker of Carcass
Jello Biafra
Jeph Howard of The Used
Jeremy DePoyster of The Devil Wears Prada
Jess Origliasso of The Veronicas
Jesse Valenzuela of Gin Blossoms
Jim McCarty of The Yardbirds
Jimbeau Hinson
Jimmy Jam
Jimmy Webb
JJ Burnel of The Stranglers
Jo Dee Messina
Joe Elliott of Def Leppard
Joe Ely
Joe Grushecky
Joe Jackson
Joe King Carrasco
Joe Rickard of Red
Joel Crouse
Joey + Rory
Joey Burns of Calexico
John Doe of X
John Gallagher of Raven
John Lee Hooker
John Oates
John Rzeznik of Goo Goo Dolls
John Waite
John Wheeler of Hayseed Dixie
Johnette Napolitano of Concrete Blonde
Jon Anderson of Yes
Jon Foreman of Switchfoot
Jon Oliva of Trans-Siberian Orchestra
Jon Tiven
Josh Kelley
Josh Shilling
Josh Thompson
Julian Lennon
Justin Hayward of The Moody Blues
Kasim Sulton (Utopia, Meat Loaf)
Keith Morris of Black Flag and OFF!
Keith Reid of Procul Harum
Kelvin Swaby of The Heavy
Ken Block of Sister Hazel
Kenny Vance
Kerry Livgren of Kansas
Kim Thayil of Soundgarden
Kirk Franklin
Kristian Bush of Sugarland
Kristine W
Lajon Witherspoon of Sevendust
Larry Burnett of Firefall
Larry Wiegand of Crow
Laura Bell Bundy
Lecrae
Lee Ranaldo
Leslie West of Mountain
Lindi Ortega
Lisa Loeb
Lita Ford
Little Big Town
Lori McKenna
Louie Perez of Los Lobos
Lukas Nelson
Mac Powell of Third Day
Marc Roberge of O.A.R. (Of A Revolution)
Marcy Playground
Maria Muldaur
Maria Neckam
Mark Arm of Mudhoney
Marshall Crenshaw
Martin Page
Martin Smith of Delirous?
Martyn Ware of Heaven 17
Marvin Etzioni of Lone Justice
Mary Gauthier
Mat Kearney
Matisyahu
Matt Pike of High On Fire
Matt Pryor of Get Up Kids
Matt Scannell of Vertical Horizon
Matt Sorum
Matt Thiessen of Relient K
Matthew West
Max Cavalera of Soulfly (ex-Sepultura)
Mia Doi Todd
Michael Bolton
Michael Gilbert of Flotsam and Jetsam
Michael Glabicki of Rusted Root
Michael Schenker
Michael Sweet of Stryper
Mick Jones of Foreigner
Mike Campbell
Mike Donehey of Tenth Avenue North
Mike Love of The Beach Boys
Mike Muir of Suicidal Tendencies
Mike Portnoy of Dream Theater
Miles Doughty of Slightly Stoopid
Millie Jackson
Mitch Myers about Shel Silverstein
Mitts of Madball
Mountain Heart
Neil Fallon of Clutch
Neil Giraldo
Nick Van Eede from Cutting Crew
Nick Waterhouse
Nick Wheeler of The All-American Rejects
Nina Persson of The Cardigans
Nona Hendryx
Oliver Leiber
Our Lady Peace
Ozomatli
Pam Tillis
Pat Alger ("The Thunder Rolls", "Unanswered Prayers")
Paul Dean of Loverboy
Paul Evans
Paul Williams
Pegi Young
Penny Ford of Snap!
Pete Anderson
Peter Lord
Petula Clark
Phil Hurtt ("I'll Be Around")
Philip Cody
Queensrÿche founder Geoff Tate
Radney Foster
Raghav
Ralph Casale - Session Pro
Randy Goodrum (Oh Sherrie)
Randy Houser
Randy Montana
Randy Newman
Randy Sharp (From Glen Campbell to Edgar Winter)
Randy Stonehill
Rebecca St. James
Reverend Horton Heat
Rhonda Vincent
Richard Hell
Richard Marx
Richard Patrick of Filter
Richie McDonald of Lonestar
Richie Wise (Kiss producer, Dust)
Rick Finch
Rick Springfield
Rick Wartell of Trouble
Rik Emmett of Triumph
Robert Ellis
Roger Clyne
Rosanne Cash
Rupert Hine
Ryan Star
Sam Phillips
Sandy Chapin
Sarah Brightman
Scorpions Rudolf Schenker
Scott Gorham of Thin Lizzy and Black Star Riders
Scott Jason of Thriving Ivory
Scott Stapp
Scotty Emerick (Beer For My Horses)
Serena Ryder
Seth Swirsky
Shane Volk of One Bad Son
Shaun Morgan of Seether
Shawn Smith of Brad
Shelby Lynne
Skip Ewing ("Love, Me," "The Gospel According To Luke")
Sonny Sandoval of P.O.D.
Speech of Arrested Development
Spooner Oldham
Squeeze: Glenn Tilbrook and Chris Difford
Stan Ridgway
Steel Magnolia
Stephen Christian of Anberlin
Steve Azar
Steve Hindalong of The Choir
Steven Tyler of Aerosmith
Stuart Braithwaite of Mogwai
Sugarland
Sum 41
Sunny Sweeney
Supertramp founder Roger Hodgson
Tanita Tikaram
Taylor Dayne
Terry Cashman
Terry Jacks ("Seasons in the Sun")
Terry Taylor of Daniel Amos and Lost Dogs
The Asteroids Galaxy Tour
The Dandy Warhols
The Fratellis
The Limousines
They Might Be Giants
Thomas Dolby
Tim Butler of The Psychedelic Furs
Timothy B. Schmit of the Eagles
Tina Shafer
Tobin Esperance of Papa Roach
Toby Lightman
Todd Harrell of 3 Doors Down and 7dayBinge
Tom Gabel of Against Me!
Tom Johnston from The Doobie Brothers
Tom Keifer of Cinderella
Tommy James
Tommy Lee James ("She's My Kind Of Rain")
Toni Wine
Tonio K
Tony Hiller and Brotherhood of Man
Tony Joe White
Travis Stever of Coheed and Cambria
Trent Wagler of The Steel Wheels
Udo Dirkschneider (UDO, ex-Accept)
Van Dyke Parks
Vanessa Carlton
Ville Valo of HIM
Vince Clarke
Vinny May of Kodaline
Vonda Shepard
Wayne Hussey of The Mission
Wednesday 13
Wes Borland of Limp Bizkit and Black Light Burns
Will Jennings
Yael Naim
Yoko Ono
Zac Hanson
Zakk Wylde
ARCHIVES (Show)
Other Songfacts Blogs
Songwriter Interviews
Song Writing
Music Quiz
Fact or Fiction
They're Playing My Song