Eddie Schwartz Triumphantly Returns with New Single “We Win” and Film School EP
For decades, Eddie Schwartz has remained one of the most respected figures in the music world—an iconic Canadian songwriter, producer, performer, and rights advocate whose songs have echoed across generations. With his new single “We Win,” Eddie marks a bold and inspiring return to his roots as a solo artist, leading into the release of his 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.
A Member of the Order of Canada and the Canadian Songwriters Hall of Fame, Eddie Schwartz is the architect behind enduring hits like “Hit Me With Your Best Shot,” popularized by Pat Benatar, and “All Our Tomorrows,” later covered by Joe Cocker. His catalog spans more than 200 recorded songs and over 65 million physical sales worldwide—long before streaming platforms entered the conversation. With Film School, Eddie adds a powerful new chapter to his discography and creative journey.
The lead single “We Win” pulses with optimism and resolve, themes that mirror the artist’s own return to songwriting after a prolonged pause. “We’ll break down the walls, we’ll tear up the rules / Come out swinging, fighting, not afraid to lose,” Eddie sings in the chorus—his words now layered with personal and cultural meaning. “We get up off our knees / We stand up and believe / No matter how the story ends, we win.” Delivered with trademark sincerity, “We Win” feels as timely as it is timeless.
“These songs didn’t come easily,” Eddie writes in his artist notes. “After stepping away from writing, I wasn’t sure I’d ever return. But with encouragement from my wife Joanne and friends in Nashville and beyond, I found my way back.”
His creative rebirth is deeply felt throughout Film School, a collection of mostly new songs that channel reflection, purpose, and an undiminished creative spark.
Born in Toronto in 1949, Eddie Schwartz holds a degree in music and English literature from York University. He first made his mark in the band Icarus alongside industry titans Bob Ezrin and Ben Mink, before launching a solo career that led to multiple hit singles and an enduring role as one of Canada’s great musical exports. “Hit Me With Your Best Shot” may have been dismissed by a publisher early on, but Benatar’s iconic recording turned it into a cultural lightning rod. Eddie, ever gracious, always let the music speak for itself.
His songs have been recorded by an astonishing roster: Paul Carrack, The Doobie Brothers, Carly Simon, America, Donna Summer, Rita Coolidge, Rascal Flatts, and Mountain, among many others. As a producer, his credits include the Doobie Brothers’ Cycles, Carrack’s Groove Approved, and his own albums, all resonating with an unmistakable blend of craftsmanship and soul.
Film School arrives not only as an artistic statement but also as a deeply personal one.
“After a number of years doing the Nashville-style co-writing every day—two songs a day, five days a week—I burned out,” Eddie reflects. “The blank page stayed blank for a long time.”
His ability to re-engage with songwriting—on his own terms—underscores the quiet power behind “We Win” and the entire EP.
From the cinematic textures of the title track to the soul-stirring honesty of “We Win,” every note on Film School reveals a master returning to form.
“I wrote these songs slower than before. But every line, every melody came from a real place,” Eddie notes. “I wanted the music to reflect what I’ve lived through and what I still believe in.”
That belief has extended far beyond music. Eddie’s work as a global music creators’ advocate has earned him deep admiration. As past president of the International Council of Music Creators and the Songwriters Association of Canada, and as president of Music Creators North America, Eddie has shaped policy and fought for the rights of the creative community worldwide.
SOCAN recognized his impact with their Cultural Impact Award, while his induction into the Canadian Songwriters Hall of Fame remains a testament to his artistry and influence. Still, despite the accolades, Film School reminds audiences why Eddie Schwartz is—first and foremost—an artist.
“I wrote ‘We Win’ as a song of hope,” he says. “I hope people hear it and feel the power of standing up again. Because there’s always a reason to try again, to keep moving forward.”
With Film School, Eddie Schwartz continues to do just that—creating music that uplifts, empowers, and endures.
Hi, Eddie! Good to meet you! Care to introduce yourself to the readers for those not familiar with your music?
Sure, my name is Eddie Schwartz, and I’m a songwriter, artist, and record producer. I’ve written songs recorded by Joe Cocker, Rascal Flatts, Donna Summer, Carly Simon, America, Meatloaf, Gowan, Honeymoon Suite, and many others.
My best known songs recorded by other artists are “Hit Me With Your Best Shot” recorded by Pat Benatar, “Don’t Shed a Tear” by Paul Carrack, and “The Doctor” by the Doobie Brothers. I was also a producer on Paul Carrack’s “Groove Approved” album, and the “Doobies” Cycles album, and a number of Lawrence Gowan albums, for example.
As an artist, “Special Girl” and “All Our Tomorrows” are two of my own records that folks may have heard.
Young music creators face a lot of challenges these days, so without getting too far into the weeds, I also spend time advocating for songwriters and artists to try to strengthen their rights and ability to make a living making music.
What inspired the title Film School for the EP, and how does it connect with the themes in the songs?
“Film School” is a collection of six songs that are all kind of like short films, or vignettes with stories and characters and dialogue. The people in the songs face challenges much like characters in a movie would. In a number of the songs, they find ways to face those challenges and move forward with their lives, or in some songs like “Outbound Train,” we go along with the main character on a somewhat otherworldly ride. Yeah, so I think that kind of cinematic approach is the essence of this collection of songs.
And also, a new song is uncharted territory, and the experience of finding my way through the writing and recording process is a learning experience. This was even more true this time around, since I hadn’t written a song in quite a few years, so I had to relearn how to do it. So given all that, “Film School” felt like a way to tie the different elements of the project together.
You’ve written hundreds of songs over your career. What felt different about writing “We Win” and the other tracks on this project?
There are a handful of songs I have written over the years, when after struggling for days or weeks or even months to find a way forward with the song and coming up empty, the fog clears and there is what I can only describe as a moment of revelation. “Hit Me with your Best Shot” was like that, and so was “We Win”. And as mentioned earlier, I had taken years off from writing, so if I was going to do it again, I wanted to dig deeper and find things to say that were more meaningful to me, and hopefully to other people as well.
I did a lot of thinking and listening during that long period I couldn’t write, and it gave me the opportunity to evaluate what songs I had written back in the day that still seemed relevant, that had passed the test of time. And the songs that stood out were the ones that best captured a real moment in my life, and I had found a way to express that reality so that other people could relate to it. So on “Film School,” I had the gift of a better perspective on what I had written before – the time to take a hard look at where I have been as a songwriter and artist, and the time to really consider every song idea and decide if it rang true, if it connected. Was it something that was worthy of other people’s time and attention? It’s not that I had been insensitive to those things before, but “Film School” benefited from that perspective and, I guess, maturity.
You’ve said these songs didn’t come easily. What helped you find your way back to writing after your time away?
The answer to that is people, dear friends, and my family who have supported me and were encouraging me to get back to songwriting. I was very burnt out after a number of years of writing in Nashville, writing two songs a day, day after day, for years. There are songwriters who are amazing at doing that, but I knew in my heart that I wasn’t one of them, as much as I tried. So I stopped writing, and for some years I focused on other things, predominantly advocacy for copyright in the US, Canada, and around the world.
But throughout, my wife Joanne, my kids, and good friends like Roger Moutenot, a wonderful musician and recording engineer in Nashville who mixed the songs on “Film School”, kept encouraging me to get back to songwriting.
Roger and I started writing, and “You Don’t Belong” was the result. “Outbound Train” was an idea I had been kicking around before I stopped writing, so I went back to that song with fresh ears and realized it needed a middle section, which I then wrote. So yeah it’s really about the people, the encouragement, the love and support that I had from my family and friends that got me back into writing again.
What message or feeling do you hope listeners walk away with after hearing Film School and “We Win”?
It seems to me we’re in a very difficult time right now, and I certainly have been struggling with how to cope with the daily insanity. The moment of discovering “We Win” was an instant where I found a way to a more hopeful place. I felt the message of “We Win” brought what is good in our lives into focus, into the forefront, as opposed to dwelling on what we have to deal with in this crazy world everyday. The grind of what is hard and frustrating and painful.
And once I had the song written, I very much wanted to share that with other people, because I thought just maybe the message of the song could help other folks struggling these days as well.
There is a world where people care about each other, where we celebrate our connection to each other, no matter who we are. That’s a world I want to help build, because I believe that’s a world where we win. Not just the few at the top, but all of us.
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