Years of controversy over whether Beyoncé actually writes she songs are earlier given the news the 72 people helped her create ‘Lemonade.’ Welcome come the brand-new reality of music in 2016.

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It bring away a village to raise a music god.

On Beyoncé’s new album Lemonade, currently a religious work because that its legion the worshippers, that town is inhabited by dozens of the industry’s many in-demand producers and also no less than 72 writers, consisting of James Blake, The Weeknd, Jack White, and, um, Led Zeppelin.

In fact, scrolling with the liner note of Lemonade transforms your browser into its own unlimited Star wars crawl, through each track dutifully ticking turn off every producer, writer, and also writer/owner of any sample provided on the tracks. The an outcome is that, in “Hold Up,” for example, there room a chuck 15 authors credited.

But the name that shows up most often, and also for every track: Beyoncé.

Despite what recent memes might suggest, this is actually rather normal, especially amongst today’s greatest music acts. Kanye West’s The Life of Pablo has over 100 writers. Rihanna’s Anti has actually over 30. And Drake’s Views, which come out Friday, has actually over 40 writers. Like he admits in “Big Rings”: “I gained a really big team.”

Even Taylor Swift, the “at the very least she write her own songs” girl, carried in a team of writers and producers to assist complete the revolution from nation tween to popular music queen. Adele enlisted the help of 11 writers for 25. Neither viewpoints the village of authors and composers that populate Lemonade, Life of Pablo, Anti, or Views—all the which are still reflective of one artist’s voice and vision. However it speaks to the reality of the way the industry’s optimal artists develop their music today: by committee.

So why is Beyoncé and also her industry-norm exercise bearing the brunt of the Internet’s outrage end the quantity of authors on her songs?

Part that the umbrage through the idea that Beyoncé is a “singular genius” stems indigenous a long background of being attacked for the lot of writers she uses—especially once you compare the run floor-ready chant lyrics of her society hits contrasted to several of the more literary text from singer-songwriters, or the an ext famous examples of artist who solely write their very own songs. (Bruce Springsteen, Beck, and Prince, for example.)

But one more reason is optics. Drake might laud his “really huge team.” Beyoncé has tendency to laud… Beyoncé.

Daniel D’Addario, then composing for Salon, chronicled this pretty thoroughly in a 2013 item calling the end all the times Beyoncé talked about “writing” songs that she, in ~ best, co-wrote with restricted contribution.

“You recognize when i was writing the Destiny’s boy songs, it to be a huge thing come be the young and taking control,” she stated in a GQ covering story. As D’Addario points out, in spite of her usage of “I,” over there is no a single song end Destiny’s Child’s presence that she composed herself.

A 2005 Fox News item by roger Friedman put on blast one more quote Beyoncé had offered to Vanity Fair, again misusing the word “I.”

“‘Crazy in Love’ to be really difficult to write since there to be so lot going on… ns mean, I had actually written—what?—seven, eight number one songs through Destiny’s Child, in a row?” yet as Friedman wrote, Beyoncé didn’t technically compose the song. She right co-wrote it.

It was heavily sampled from a track written by Eugene Record, that the Chi-Lites, and also recorded in 1969. Hip-hop producer well-off Harrison rotate it right into a sample. Jay Z added the rap. And Bey added… something.

The rumblings turned right into a little of media uproar when legendary songwriter Linda Perry, the former frontwoman of 4 no Blondes and also hitmaker because that the likes that Pink and Christina Aguilera, was asked in a Reddit asking Me anything a really pointed question about Queen B: “Linda, just how do girlfriend feel about Beyoncé transforming one native on a song and also getting writing credit. Go that stroked nerves you together a songwriter?”

Perry’s an answer managed, somehow, to it is in both generous and also biting. Corrected for grammar: “Well haha um that’s not songwriting however some of this artists believe if it wasn’t for them your tune would never gain out over there so they take it a reduced just because they space who castle are. Yet everyone knows the real truth around Beyoncé. She is talented yet in a totally different way.”

In a tweet that’s because been deleted, Frank ocean echoed Perry’s comments. “It’s a bad trend that artists try to muscle because that credits on song they had actually no component in writing,” that said. “Writers simply say no uneven it’s Beyoncé lol.”

Cut to s years later writing the song “I miss You” because that Beyoncé’s 4 album. And, yep, Beyoncé likewise has a credit.

Explanations for Beyoncé’s simultaneously prolific and questionable document as a songwriter—she receive a credit transaction on almost every initial song she’s performed, but never the solo credit—range from the singer negotiating false attributions to, as Friedman suggests, taking credit for license a sample or individualizing a previously written song.

“‘Writing’ a tune has new meaning,” he says. “It method ‘licensing’ the song from an additional writer.”

If that a matter of muscling her way into the liner notes, exactly how much does she—or any kind of artist, for that matter—have to contribute prior to she earns the recognition? What sort of “writing” is she in reality doing, if there’s this so-called open an enig that she’s no doing lot at all?

Some of the is intangible, and also has to perform with the feel of a song.

R&B star Ne-Yo famously created Beyoncé’s number one fight “Irreplaceable,” i beg your pardon Bey eventually received co-writing notices on. She had, true to past behavior, to be on a circuit giving interviews around when “I” created the song, sending vapor out the ear of those in the market who knew that it was composed by Ne-Yo and then provided to her.

But in a 2012 interview through radio present The Breakfast Club, Ne-Yo explained—shaking his head, and plainly in distress end the question—that the song he wrote and the tune Beyoncé recorded were “two damn entirely different songs, with all the harmonies and extra stuff the she put in there.”

“So yes I gave her writer’s credit,” that continued. “Because the counts. That’s writing.” In summary: “She put her turn on it.”

Ryan Tedder, the OneRepublic frontman and red-hot songwriter because that Leona Lewis (“Bleeding Love”), Adele (“Rumour has actually It”), and also Beyoncé (“Halo” and “XO”), said similar things to Ne-Yo.

Talking about whether Beyoncé deserved composing credit on “Halo,” which again pertained to her more or less fully-formed, he said, “She does stuff on any type of given track that, as soon as you go from the demo to the final version, takes the to one more level that you never would have thought of as the writer.”

He walk on: “For instance, on ‘Halo,’ that leg on her version is totally different to my original one. Basically she came in, ditched that, edited it, did her vocal point on it and now it’s came to be one of my favorite components of the song. The totality melody, she created it spontaneously in the studio. So her credit transaction on that tune stems from that.”

But the whole debate reached a fever pitch in 2007 when Beyoncé, that was listed as co-writer of the song “Listen” from she film Dreamgirls, was eliminated from the list of writers when the song ultimately was nominated for best Original Song.

Exhausted by ballooning songwriting credits on nominated songs—the counting Crows’ “Accidentally in Love” indigenous Shrek 2 had seven—the Academy rule that just three writers could be counted together nominees, and others that gave the least contribution come the song would be cut. “Listen” had four writers. It to be Beyoncé that was cut.

Maybe she contributed… something. But whatever it was wasn’t ruled comprehensive enough to do her one Oscar nominee, fanning the flames that the debate.

Those flames burned bright years later on when the Beyoncé solitary “Drunk in Love” surged top top the music charts, heavily referencing the monitor “Good Morning” that Future wrote v producer Detail. Yet as soon as “Drunk in Love” debuted as part of the surprise release of Beyoncé, Future didn’t have actually a songwriting credit. Yet Beyoncé did.

Eventually, information addressed the entirety thing, saying, “Beyoncé is a phenomenal writer. Five yeah, by the way, she pretty much wrote whatever on the song. I came in with the music and I had actually the idea about drunk situations. She helped build it and also turned it into this huge thing.”

So right here we have a job of controversies bordering Beyoncé’s own songwriting credits, and a career of her co-writers (in most case, main writers) defending her contributions.

It makes sense the in this state the culture, this society of Controversy, the these kinds of scandals and also debates are waged much more violently than ever, never bloodier than as soon as Lemonade to be released v its 70-plus writers.

But it no make feeling in terms of the state that music in 2016.

It’s a state that music where, sure, Beyoncé, Kanye West, Drake, Rihanna, Taylor Swift, and also essentially ever significant music star have the right to say “I wrote” in reference to songs whereby their contributions might not merit that turn of phrase. Maybe that’s come ensure royalties. Maybe that’s since they licensed rights. Or maybe that’s because they literally added a worthy amount.

But it’s also a state of music that has, while quiet respecting them, evolved past the anomalies the the Springsteens, Becks, and Princes that write every their own songs by themselves. That a state the music the fosters collaboration, in a manner that art always has.

(There are great pieces in combination and Vanity same on that issue that you need to read.)

Sia, Bruno Mars, Ne-Yo, Kesha—they all began out creating songs for various other artists, and being linked with those artists confirmed integral in launching their own solo careers. Over there are plenty of other artist who have the right to say the same. And also even music superstars in their very own right was standing to gain by partnering v other major musicians, whether it’s Fun.’s Jack Antonoff creating for Taylor Swift, Mars creating for Adele, Kendrick Lamar because that Kanye West, or Jack White and also The Weeknd because that Beyoncé.

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Poet Warshan Shire is currently a family name thanks to her contributions come the Lemonade visual album. The game-changing TED talk from Nigerian writer Chimamanda Ngozi Adichie became the viral sensation the deserved come be since Beyoncé sampled it on “Flawless.”

A 2014 connected Press short article attempted to describe the phenomenon that a multitude the songwriters because that hit pop songs: “Some of today’s hits through a perform of songwriters the scroll on and also on encompass others who don’t physically compose lyrics: writing credit can also be earned by producer who style the beats, artists that sing the track and add their very own flavor, engineers who mix the track and others who job-related specifically on the melody.”

Sampling matters, too. Usage a item of one old track in your brand-new one, and those writers likewise get credits. (This is specifically prevalent in Lemonade.)

This isn’t an discussion for songwriters not to fight because that the legal rights to their materials and for same ownership and also credit of their songs. Yet it is a pointer that, in ours shock end the songwriterpalooza it required to make some Lemonade, we’re ignoring the truth about how music today is created.

Does Beyoncé forfeit her insurance claim to being a singular artist, a performer, and creator in control over she discography, her message, and also her output because she enlisted various other creatives to placed her album together? does Lemonade end up being less personal, less specifically Beyoncé, understanding that some songs had an ext than 10 writers contributing come them?

Lemonade is a deeply profound and unilateral work in line with an artist’s vision, even if others assisted her establish it. This is what authorship way in 2016. You’re no the lone writer holed up in a cabin in the woods, honing your work. You’re creating in—and with—the village.