Eddie Schwartz
- Genres
- songwriter · pop
- Type
- solo · composer
One-sheet
Born and raised in Toronto, Schwartz became a well-regarded recording artist in the early 1980s, then achieved greater success as a producer and songwriter, with "Hit Me With Your Best Shot" remaining his defining global hit. For fans of Paul Carrack, Joe Cocker, and Carly Simon... artists who've recorded his compositions across rock, pop, and country.
Short bio
Hi and welcome! I’m Eddie Schwartz, a Canadian-born songwriter, producer, recording artist, and longtime advocate for music creators. Over the past five decades, I’ve been lucky enough to have more than 200 of my songs recorded by artists around the world, with a few international hits along the way and over 65 million physical records sold before streaming even existed. I’m deeply grateful to be a Member of the Order of Canada and the Canadian Songwriters Hall of Fame, and to have received awards from the JUNOs, BMI, and most recently SOCAN’s Cultural Achievement award. Beyond songwriting, I’ve spent years working to protect and champion the rights of creators, including serving as president of both the International Council of Music Creators and Music Creators North America. Lately, I’ve been diving back into my own catalog and creating new music, including my latest singles “Outbound Train”, “Waters Rise”, and “We Win”. Thanks for stopping by, I hope you’ll take a listen and stay connected.
Full bio
You may not know Eddie Schwartz's name, but you certainly know his work. Born and raised in Toronto, Schwartz became a well-regarded recording artist north of the border in the early 1980s, and has had even greater success as a producer and songwriter, with writing credits that include Paul Carrack's "Don't Shed a Tear" and The Doobie Brothers' "The Doctor," not to mention cuts by America, Joe Cocker, Donna Summer, Rascal Flatts and Rita Coolidge.
Writing "Hit Me With Your Best Shot" was an act of defiance against the music business that seemed to have no place for him... the title emerged after a therapy session in Toronto, and it wasn't until early spring 1981 that he first heard it on the radio. Benatar's recording of the song went to No. 9 on the Billboard Hot 100, and Schwartz dodged an arrest while standing outside a hair salon on Yonge Street, frozen in a trance hearing his creation for the first time on the radio. The song has since been covered by Kelly Clarkson, Glee, John Mellencamp, and countless others, becoming an anthem of resilience ingrained in sports arenas and popular culture.
From that breakthrough, Schwartz shifted into prolific production and songwriting work, crafting hits for an extraordinary roster: Pat Benatra, Carly Simon, Paul Carrack, The Doobie Brothers, America, and more, producing hits such as Hit Me With Your Best Shot, Don't Shed a Tear, and Special Girl. Beyond the studio, Schwartz championed creators' rights, serving as president of the International Council of Music Creators and Music Creators North America, and was appointed a Member of the Order of Canada. His career, recognised by JUNO, BMI, and SOCAN awards, is equal parts artistic achievement and dedication to supporting his fellow songwriters and musicians.
After decades of commercial songwriting and advocacy work that dominated his energy, Schwartz stepped back from writing altogether. The songs were okay, but he didn't love them, so he quit and got very much involved with advocacy. Then, when he went back to write the way he had written previously, it was gone. Years later, he stepped down from his advocacy roles and sat down to try writing songs again. It was difficult, but the first one he was able to complete was "We Win," and that was a real breakthrough. It was like, "Oh my God, I can actually do this again."
Now based in Nashville since 1997, Schwartz has returned to songwriting on his own terms. With his new single "We Win" and the new EP Film School, both out now, the project showcases the full spectrum of his brilliance: lyrical poignancy, musical craftsmanship, and the indomitable spirit that has defined his legacy. The lyrics are very akin to dialogue in most of these songs, and he felt the music served as a kind of score. He also felt he had relearned how to write songs again, but at a different level. That's where the EP title "Film School" came from. These songs represent not a departure but a homecoming... stripped back, uncompromising, written from a place of hard-won wisdom.