It is one of the greatest ironies in pop music history. Barry Manilow standing at a piano, belting out the words, "I write the songs that make the whole world sing," while he actually didn't write that specific song. It’s a bit of a running gag now, but back in the late '70s, it was just the reality of the industry.
Honestly, people tend to lump Barry into this category of "just a performer," but the truth is way more layered than that. If you look closely at Barry Manilow songs lyrics, you’ll find a mix of masterclass storytelling, stolen classical melodies, and some of the most misunderstood meanings in the Great American Songbook.
He didn't just sing. He curated an entire emotional landscape.
The Irony of "I Write the Songs"
Let's address the elephant in the room. "I Write the Songs" was not written by Manilow. It was penned by Bruce Johnston of The Beach Boys.
Manilow was actually terrified of recording it. He thought it would make him look like a total egomaniac. He famously said that if people didn't listen to the lyrics carefully, they’d think he was bragging about his own talent.
But the "I" in the song isn't Barry. It’s not even a person.
Bruce Johnston has stated clearly that the narrator of the song is Music itself—or, from his perspective, a divine spirit. When the lyrics say "I've been alive forever and I wrote the very first song," it’s not Barry claiming to be immortal. It’s a personification of the concept of melody.
Funny enough, before Barry got his hands on it, both The Captain & Tennille and David Cassidy had already recorded versions. Barry’s version just happened to be the one that stuck, probably because he leaned into the drama of it so hard.
Why "Mandy" Almost Wasn't "Mandy"
If you’ve ever cried in your car to "Mandy," you’re not alone. But did you know the song was originally called "Brandy"?
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It was written by Scott English and Richard Kerr. English originally recorded it in 1971, and it was a minor hit in the UK. When Clive Davis (the legendary head of Arista Records) brought the song to Barry, they realized they had a problem. There was already a hit song called "Brandy (You're a Fine Girl)" by Looking Glass.
To avoid confusion, they swapped one name for the other.
The Dog Legend
There is a persistent urban legend that "Mandy" is actually about a dog.
Scott English actually fueled this rumor because he was annoyed by a reporter calling him early in the morning. He told the guy he wrote it about a favorite dog he’d sent away just to get him off the phone.
He later admitted it was about a person—or rather, a feeling of regret over a lost relationship. But the dog story is way more fun, so it persists.
"Looks Like We Made It" Is Actually Depressing
This is the one that gets played at weddings and graduations. People think it’s a victory lap. It’s not.
If you actually read the Barry Manilow songs lyrics for this track, written by Will Jennings and Richard Kerr, it’s a song about two people who have moved on to other relationships.
"Left each other on the way to another love."
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The "making it" part isn't about the couple staying together. It’s about them finally finding happiness... with other people. It’s a song of bitter irony. The narrator is realizing that while they’ve both found success in life and new partners, they still feel that "old feeling" when they see each other.
It’s essentially a song about the person who got away, yet we’ve turned it into a "we survived the storm" anthem. Music is weird like that.
The Storytelling Genius of "Copacabana"
"Copacabana (At the Copa)" is where Barry’s songwriting chops actually shine. He co-wrote this one with Jack Feldman and Bruce Sussman.
It’s a three-act play condensed into five minutes.
- Act 1: Lola and Tony are young, in love, and working the hottest club in Manhattan.
- Act 2: Rico, the diamond-wearing mobster, shows up and starts trouble. A brawl ensues, a gun goes off, and Tony is killed.
- Act 3: Thirty years later, the club is a disco. Lola is still there, but she’s lost her mind and her youth, "drinking herself half-blind."
It’s incredibly dark for a song that people dance the conga to at weddings.
The inspiration came from a trip Barry and Sussman took to the Copacabana Hotel in Rio de Janeiro. They started wondering if there had ever been a song called "Copacabana." When they realized there wasn't, they decided to write one.
Classical Roots: "Could It Be Magic"
Barry wasn't just a pop guy; he was a trained musician with a deep love for the classics.
"Could It Be Magic" is basically a pop reimagining of Frédéric Chopin's Prelude in C Minor, Opus 28, Number 20. Barry took the haunting piano chords and turned them into a symphonic pop masterpiece.
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The lyrics, co-written with Adrienne Anderson, mention "Sweet Melissa." This was a shout-out to fellow singer Melissa Manchester, who was also signed to Arista at the time.
It’s a song about sexual awakening and transcendental love, but it’s anchored by a melody written in the 1830s. That’s the secret sauce of Barry’s best work—he knew how to bridge the gap between high art and radio-friendly hooks.
The Manilow Lyric Legacy
People joke about "Fanilows," but Barry's impact on the way we digest pop lyrics is massive. He understood that a song needs a "button"—a big, crashing finish that leaves the listener breathless.
While he didn't write every word of his biggest hits, he was the architect of their sound. He took songs like Randy Edelman’s "Weekend in New England" and stripped back the overly complex verses to make the emotional core hit harder.
He knew that "When will our eyes meet?" was the line people would be screaming in their living rooms.
Actionable Takeaways for the Casual Listener
If you want to truly appreciate Barry Manilow's catalog beyond the surface level, try these steps:
- Listen for the irony: Re-read the lyrics to "Looks Like We Made It" while listening. It changes the entire vibe from celebratory to mournful.
- Track the classical influences: Find a recording of Chopin's Prelude in C Minor and then play "Could It Be Magic." You'll see exactly where Barry's genius for arrangement comes from.
- Study the "Story Song" format: Analyze "Copacabana" as a narrative. It’s one of the few pop songs that successfully uses a 30-year time jump in the final verse.
- Acknowledge the writers: Recognize that Barry was part of a team. Songwriters like Bruce Sussman, Jack Feldman, and Will Jennings provided the words, but Barry provided the soul.
Barry Manilow didn't just sing songs; he sold emotions. Whether he wrote the words himself or interpreted them from others, he made us believe every single syllable.