Film School by Eddie Schwartz

Eddie Schwartz
Film School
Melody Hill Records

We run into a philosophical paradox time and time again where the ethereal question is asked, “Why doesn’t music sound that way today? Where did those kinds of musicians go?” We can argue that they do. . . to an extent. . . still exist. But often, I ask, “Where are the Steve Winwoods and the Bruce Horsnby’s of today? Where is that intricate and creative songwriting that does not have to be about the Ed Sheerans grasping on to whatever pop elements that elevate their music or the Teddy Swims out there soul searching through intimate pop.

In terms of Eddie Schwartz’s latest album, Film School, it’s the first in a while that I can feel it—that classical singer-songwriter gaze that infatuated us in the 1980s and into the 1990s with artists like Mark Eitzel and Mark Kozelek.

What a career for Schwartz, making a massive impact in the shadows. He’s the one responsible for penning Pat Benetar’s “Hit Me With Your Best Shot,” Donna Summer’s “Fascination,” and Paul Carrack’s “Don’t Shed A Tear,” among others. He produced major heavy hitters, and with three albums, scored hits with “Does A Fool Ever Learn” and “All Our Tomorrows.” This is scratching the surface as the list goes on and on.

Many moons later, we get Film School, a deeply enriched experience that builds connection in ways Schwartz never thought possible. These songs are stories that wrap the listener in and bring his personal character to life. A song like “Outbound Train” brings to life something that could be plucked from Alejandro Escovedo’s world. “Waters Rise” is just fantastic songwriting that hypnotizes you like a song out of Arc of a Diver.

The variation from song to song makes you feel like a passenger on a road trip drifting through Schwartz’s memories. It also shows that a brilliant songwriter can still craft essential songs that pour forth from the heart.