Paul Williams, the mastermind behind timeless hits like “We’ve Only Just Begun” and “Rainbow Connection,” admits that despite his storied career, he isn’t immune to the occasional pang of envy when encountering a masterful piece of music.
“When I hear a truly great song, I experience a two-part reaction,” Williams shared during a recent panel at the Grammy Museum in Los Angeles. “First, there is a very human flicker of jealousy—a feeling of, ‘Oh, damn.’ That lasts about seven minutes. But that quickly gives way to inspiration, and that inspiration stays with me for a lifetime.”
Williams joined fellow songwriting titans Diane Warren and Jimmy Jam for “Tower of Song: Iconic Songwriters & Recordings,” an event co-presented by the Grammy Museum and the Songwriters Hall of Fame. The palpable mutual admiration between the trio highlighted the profound sense of pride they share in their craft. As Williams aptly put it, “It is such a profound privilege to be a songwriter.”
During the session, each writer was challenged to select a song that fundamentally inspired them, as well as one of their own compositions they hold in high regard. Remarkably, they avoided the usual grumbles about the difficulty of such a choice and instead offered brilliant, discerning selections—none of which, interestingly, hit No. 1 on the Billboard Hot 100 or secured a Grammy upon their initial release.
Jimmy Jam highlighted Marvin Gaye’s “What’s Going On,” while Williams celebrated the poetic brilliance of Jimmy Webb’s “Wichita Lineman.” Warren chose the classic Gerry Goffin and Carole King composition, “Up on the Roof.”
Moderated by Jasen Emmons of the Grammy Museum, the session served as an impromptu masterclass. Below are the insights from these legendary composers on their influences, their own creative processes, and the age-old debate of writing solo versus collaborating.
The Songwriters on Their Inspirations and Hits
Diane Warren
The Inspiration: “Up on the Roof” (Carole King/Gerry Goffin, 1963). Warren noted that as a child, she didn’t aspire to be the singer, but rather the name in parentheses on the record label. “I wanted to be there. Seeing those names on the single—it was a profound realization. That’s when I knew I wanted to be a songwriter.”
Her Selection: “Only Love Can Hurt Like This” (2014). Warren detailed her pursuit of British singer Paloma Faith, convinced that only Faith’s voice could capture the “wall of sound” aesthetic she had penned. The song became a transformative moment for Faith’s career.
Jimmy Jam
The Inspiration: “What’s Going On” (Marvin Gaye/Renaldo Benson/Alfred Cleveland, 1971). For Jam, the song is a masterpiece of social commentary that remains hauntingly relevant. “It’s so good that I can’t even feel jealous of it,” he noted. “It changed the trajectory of Motown and the very idea of what an artist could say.”
His Selection: “Rhythm Nation” (1989). Jam credited Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” for sparking the groove. He reflected on the unique creative environment of recording in Minneapolis with Janet Jackson, where the isolation allowed them to realize their singular vision for the album.
Paul Williams
The Inspiration: “Wichita Lineman” (Jimmy Webb, 1968). Williams cited the line, “And I need you more than want you,” as a lyrical pinnacle. “I went looking for a ledge when I heard that,” he joked. “It doesn’t get better than that.”
His Selection: “I’m Going to Go Back There Someday” (1979). Written with Kenny Ascher for The Muppet Movie, the song holds a special place in his heart due to its connection to Jim Henson. “It’s about the power of kindness,” Williams said, noting the resonance of the line, “There’s not a word yet for old friends who’ve just met.”
On Collaboration vs. Solitude
When asked about his creative preference, Jimmy Jam emphasized the camaraderie of working with Terry Lewis, comparing their dynamic to an unbreakable brotherhood. “We are together individually,” he explained, noting that their partnership transcends who writes which specific part.
Diane Warren, conversely, finds her creative clarity in isolation. “I love being in a room and wrestling a song to the ground,” she confessed. “I’ll spend an entire day on three lines of a bridge, but the satisfaction of carving something out of nothing is worth every second.”
