My dad was a publisher and managed a jazz-funk band called Shakatak. Er zählte in den 1960er und 1970er Jahren zu den renommiertesten Filmschauspielern der USA und war in Western wie Die glorreichen Sieben, aber auch in Abenteuer- (Papillon) und Actionfilmen (Bullitt, Getaway) zu sehen. He’s shielded me from so much, and I’ve been very lucky in my career to have always chosen who I want to work with.I don’t get to hear about any of the cr*p. He doesn’t get involved with the creative – he lets me get on with my job.That’s impossible! You’re the most competitive person I’ve ever met.’That was the best advice. It’s a big thing for me to leave this.But the main thing is, it works. Simon and Sonny [Takhar at Syco] taught me so much.I always wanted to be credible as a young musician.
We should pitch it!’Talk about timing: that night he went to see [Atlantic UK’s] Ben Cook and Ed Howard and played them what he thought was the finished album.Then he played them Shape – which was called at the time ‘In Love With Your Body’ – and as I understand it, [Atlantic UK boss] Ben Cook got very excited and said: ‘This should be the single!’Ed, myself and Johnny never even thought it was an Ed Sheeran record – we just thought it was a good little pop song.Ben and Ed Howard heard something different; that’s why they’re good at their jobs.I’m getting a lot of phone calls, which is great. I did it, now you can do it.’I can’t give them that talk. We have a great connection.I try to surround myself with nice people who are much more talented than me. In the music business of yesteryear, Steve Mac never really knew just how good he was.For the best part of two decades, the UK’s leading pop tunesmith specialized in crafting domestic-sounding hits for domestic-sounding radio.From JLS to Westlife, The Saturdays, Boyzone and Damage – often in tandem with Wayne Hector – Mac built a reputation as the go-to writer/producer for polished pop tailor-made to storm the British charts.No wonder he became the first name on Simon Cowell’s teamsheet to launch an array of X Factor graduates.Along the way, Mac flirted with Stateside blockbuster successes: The Wanted’s Glad You Came (2011), for instance – a US sales and airplay smash – as well as Susan Boyle’s multi-platinum-selling debut LP.Other Top Ten US hits included O-Town’s All Or Nothing At All (2001), Cobra Starship’s You Make Me Feel (2011) and Ruben Studdard’s Flying Without Wings (2003) – but it’s fair to say Mac’s talents have typically been better reflected in Blighty, as opposed to Beverly Hills.However, as it has for so much in this business, streaming’s changed all of that.For the first time, the wider world is being properly exposed to Steve Mac’s master-crafted pop songs. No-one on the street has a clue who I am.”Seeing Ed Sheeran performing Shape Of You at The Grammys… that’s just amazing.I know we talk about songwriters not getting the credit they deserve sometimes. I just kept calling him to say thank you for working it so hard.I’m the lucky one. '”In our minds we weren’t writing for Ed at this stage, which is probably why it sounds like it does. I was in this band Undercover. You make your first record like that and you think: ‘I’ve cracked it. I’ve got two guys – Chris and Dan – I work with every day. Daneben fuhr er leidenschaftlich Motorrad- und Autorennen. That was a pivotal moment, and I owe him a big thank you.I followed it up with Glad You Came by The Wanted – which was a big hit in the US.I will say that I don’t like indecision – that’s one side of A&R that troubles me. All you had to do was deliver the songs.I think where Wayne and myself ‘won’ over a lot of other writers in that period is that we didn’t just rely on that fact.“We would work as though we were writing for Whitney, or Celine Dion, or Boyz II Men, or Bryan Adams.”We would work as though we were writing for Whitney, or Celine Dion, or Boyz II Men, or Bryan Adams.These were the people in our minds when we were writing Swear It Again or Flying Without Wings. But I’ve been doing it long enough now not to get carried away. We parked it and wrote two more songs that day.At the end of the session, Ed said: ‘Can I hear that first one again?’ And then: ‘Do you think the Rihanna record’s closed? You have to explain that it takes ages to get that first cut – and then that even earning enough to live from that cut is so tough.It’s sad to say, but I don’t envy any writers coming into this business at the moment.You just answered your own question: Mike McCormack.I love that man. Whatever you put your mind to, you’ll make it work. No-one on the street has a clue who I am.My day starts at 9.30am. And he thought: ‘I want to do this.’He came to find me and Wayne, and asked us to do this band with him. but, really, it was just about Mike.”I hadn’t talked to him for a little while – I know he left the business for a bit – and it’s such a pleasure having him back.I’d love to tell you I analyzed Universal and every aspect of their business – and I’m still to meet Jody [Gerson] – but, really, it was just about Mike.It was a very simple deal. We knew we’d never get those cuts, but it drove us to write better songs.One of the very clever things about Simon was, when the original songs weren’t good enough he’d go with a classic [cover].I spent about three or four years just producing cover versions.
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