Browse by Title
V W X Y Z #  

Chris Robinson of The Black Crowes
When The Black Crowes frontman Chris Robinson launched the Chris Robinson Brotherhood in 2011, he had one thing in mind: getting back to the "grass roots, farm to table, psychedelic band mentality."

This mindset certainly carries over onto the CRB's massive, limited edition, quadruple vinyl box set, Betty's San Francisco Blends Vol. I, which was curated by Grateful Dead producer/engineer Betty Cantor-Jackson, and assembled with what she felt were the best performances of the band's five shows at San Francisco's Great American Music Hall in December 2012.

It was with The Black Crowes that Robinson first made a name for himself - a band that he is still very much a member of to this day. Along with his brother/guitarist/co-writer Rich Robinson, drummer Steve Gorman, and a rotating cast of characters (Jimmy Page even joined forces for a spell), Chris and The Crowes had an instant impact with their groovy retro rock, scoring four hits from their 1990 debut album Shake Your Money Maker: "Twice As Hard," "Jealous Again," "She Talks to Angels" and a cover of Otis Redding's "Hard To Handle." They eventually transformed into a jam-heavy live band, following the Dead in the tradition of letting fans record their shows.

With the launch of the CRB, Robinson was able to somehow get even looser and jammier musically than with the Crowes, as evidenced on the standout track "Rosalee" - a composition Robinson says would never make the cut with the Crowes, since it's a "happy" tune.

Robinson was up for discussing why the once-popular "live album format" met its doom in the '80s, how his songwriting approach has changed over the years, and the stories behind several Black Crowes classics.
Chris Robinson of The Black Crowes
Greg Prato (Songfacts): How would you say that your songwriting has changed over the years, if you look at some of the early Black Crowes albums compared to today?

Chris Robinson: My imagery and what I want to convey is far more subtle and less angry. When you're a kid and you're in a rock band, that's your life, and there are a lot of walls put up for you to bust through. We really weren't an angst-driven band, but on the early Black Crowes records you feel our youthful exuberance and our anger at the system. "The system" could be the music business, the system could be antiquated drug laws, it could be anything.

As you move on in time, you get older, you have relationships. Some of them are good, some fail. Friends. Drugs. Life. Death. People come, people go. It's a completely different emotional response to your life and to what it means to in some poetic nature, put it out there.

But my process is still the same. I never wrote songs in a way that I thought people would listen to them, because I wrote songs almost out of some necessity, like bats sound sonar to get around at night. Just culturally living in the South, writing was the reason to get into music. I wasn't a performer, I wasn't a singer yet, so the writing was the thing that interested me the most.

Great songwriters don't necessarily have hit songs. There are a lot of horrible hit songs. The songwriting was a real intimate relationship with really crawling across that cave floor. Who am I? Where am I going? What does all this mean as I traverse through life and experience? However I found my way to that, that's what it has always represented. The best perspective I have on what's going on in my life - good and bad - is what comes out in the songs. I don't think I had that exact same thing as a kid, because you write your first 10 songs and that's your first record, then you write your next. 25-30 years later, you've written hundreds and hundreds of songs. So it changes.

The essence is, you write songs because that's how you communicate.

Songfacts: Do you think that you would ever write a song like "She Talks to Angels" now compared to when you did back then, or do you think it was more relative to the era that it was written?

Chris: Well, exactly. It has to be. "She Talks to Angels" is a funny song in that so many people resonate with it. The dark details like drugs and things like that would be a part of growing up and being in this world, but when I wrote that song I had no idea - I hadn't done any of those things. I hadn't lived that - everything was in my imagination.

There are things in that song, and even earlier songs when Rich and I were starting out, that are certain tendencies or nuances that I've always liked about writing, and those would be the same. But to go back in time or to a place or a feeling, that just doesn't exist when you're trying to be here now, man. Music is about being in the moment as opposed to, "Hey, we did that, and what are we going to do?" I like to be as present as I can with what's happening.

Songfacts: Who would you say are some of your favorite songwriters?

Chris: Oh, dear. It's like everyone else, it starts with Bob, you know, Dylan, as a kid. But everyone from Alex Chilton to Syd Barrett to Townes Van Zant. There are so many, that's super hard. Robin Williamson and Mike Heron from the Incredible String Band are two of my ultimate favorite songwriters. I could go on and on and on and on.

And then you have composers. You have Thelonious Monk, you have Herbie Hancock, Miles Davis. Those are songs, too.

Songfacts: I remember seeing an interview with you, I think it was on MTV back in the early '90s, and you were saying that you thought Kurt Cobain was a good songwriter. So I'm curious if you still think that his songs resonate today.

Chris Robinson of The Black CrowesChris: I said that because all people talked about was him blowing his brains out and being a junkie. They were comparing him to people that he didn't have a comparison to - he's not John Lennon. He doesn't get to be compared to John Lennon. I feel he was a junkie guy that blew his brains out. He wrote a couple of albums' worth of songs.

I'm 47 years old, so when I was a kid, Jim Morrison was still like this thing or whatever. I don't think Cobain is like that.

There's always disenfranchised youth. The thing about Nirvana is 20 years have gone by, and it wasn't really ever about the music or the songs; it was about the angst and about the drama. I don't really think music was the main focus of that scene or that group, as time's gone on.

He obviously had a gift to write a pop song. You could call it grunge or whatever, but he could write a good pop song. It might have been about depressing, dark things, but a good pop song is a good pop song.

The Chris Robinson Brotherhood is comprised of Robinson (vocals/guitars), Neal Casal (guitars/vocals), Adam MacDougall (keyboards/vocals - also a member of The Black Crowes), Mark Dutton (bass/vocals), and George Sluppick (drums). Harkening back to the days when rock bands seemed to issue as much music as quickly as possible (and did not take multi-year breaks between albums), the CRB issued their first two studio efforts only a few months apart: Big Moon Ritual (in June 2012) and The Magic Door (in September 2012). While Robinson is listed as the CRB's chief songwriter, a handful of tracks on each album were co-composed by the singer and Casal. They've also recorded a cover by Hank Ballard ("Let's Go, Let's Go, Let's Go"), an original credited to Robinson-Casal-MacDougall ("Sorrows of a Blue Eyed Liar"), and the tune "Appaloosa" - credited to the real "brotherhood" of Chris and Rich Robinson.

Songfacts: You covered the Dylan song "Crash on the Levee" on the new album. What sticks out about that song?

Chris: Well, everyone does Bob Dylan songs, so for us it was about finding a different way to sing one of Bob's songs. We found our way into an arrangement that I think is really different than any other "Crash on the Levy" that I've heard, so that instantly would appeal to where our grooves are in the CRB.

That is one of my favorite Dylan tunes. Funny enough, Chris Smither on his first solo record does a great version of "Crash on the Levy."

Songfacts: What about the song "Rosalee" from the first CRB album [Big Moon Ritual]?

Chris: Songwriting in the CRB has also progressed, and to me one of the most progressive parts of the whole thing is my relationship with Neal Casal and our songwriting partnership. The first songs I brought to the group were ones that I'd been working on by myself, and then Neal helped. But now our partnership is more 50/50.

But it's funny, because "Rosalee," it was Neil who said, "We have to make something out of this." Because I was like, "Well, it's happy." And the Black Crowes don't really play happy songs. So the CRB, we can play happy songs.

It just fell together very quickly - it was something that had to be light. Except for the apocalyptic acid cult middle section where everyone goes to the edge of the sea or the end of the world. But other than that part, it's a very joyous little flirtatious love song.

Songfacts: And then going back a bit, what about the song "Remedy"?

Chris: "Remedy" is a song that essentially is about freedom. We were into the whole idea that the "war on drugs" was just silly - it was this asinine concept to me and millions of other people. So that song to me is about freedom, plain and simple, just put in a rock & roll framework.

Songfacts: Let's discuss the new album Betty's San Francisco Blends Vol. I.

Chris: Well, the first year we were doing the Chris Robinson Brotherhood, we did a full year on the road without any recordings - no interviews, no publicity at all for anything. It was kind of important to begin in our grass roots, farm to table, psychedelic band mentality. But during that stretch, when we were doing our residencies in California to start, we played Wavy Gravy's birthday up in Marin County, and Betty [Cantor-Jackson] was in charge of the sound and she was sort of supervising the stage and everything. And I hadn't met Betty prior to that.

So after, it was a big party, it was a great time - the whole prankster, Grateful Dead enclave was there. And Betty introduced herself. She was like, "I'm going to record your band." I knew who she was, of course. I'm a massive Deadhead, you know. So I said, "Okay." We didn't really have to do much negotiation. So that year it actually worked out. We did three shows at the Great American later that fall and she recorded those. We're still sitting on those.
Those crazey crowes you see on the band's album covers are the work of Alan Forbes, who also did the Betty's Blend cover. Based in San Francisco, Forbes has created eye-popping artwork (usually of the psychedelic variety) for Sonic Youth, Pavement, Wilco, and the Melvins. On October 21, 2013, Forbes was attacked in the Lower Haight neighborhood of San Francisco, suffering two skull fractures and damage to his right eye. With no insurance to cover his medical expenses, a pair of local benefit shows were organized, which also included silent auctions to raise funds. You can check out some of his work at Secret Serpents.
Chris Robinson of The Black Crowes

So subsequently our relationship and our friendship grew, and Betty became a real part of our inner family. We had five nights from the last night at the Great American, and we felt that would be the perfect venue to start having Betty record things and kind of make it special for her, as well.

She's been a part of such great music, not just the Grateful Dead but also Jefferson Airplane and all sorts of recordings of artists in the Bay Area. We felt that was a great lifting-off for all of us.

My initial idea was to be able to put out the shows in a download format, which would be interesting for Silver Arrow Records to do our first digital-only release. But then we've been making vinyl, so those of us who are addicted to vinyl and obsessed with vinyl and obsessed with music, that's where the Betty's Blend idea came from. We would take all five nights of her recordings, but have her curate the best stuff and put it in what we felt was a super rad package by Alan Forbes inspired by a Victorian tea tin that I had.

Hopefully it's the kind of thing that we continue the tradition. We have Betty's recordings, and we can put them out as volumes. The vinyl-only part of it is interesting because the business has changed so much, and I really think we have a great opportunity in the CRB to have the freedom to do our own thing.

It's a connoisseur-based idea. The idea of mass anything is not a part of what we're doing. We really do feel this is a real hands-on sort of scenario, and I think having a limited run exclusive special vinyl collection is, to us, what this is all about. It's not about making CDs and thinking about selling millions of things. It's about doing real small run quality that is connoisseur-minded.

Songfacts: That kind of ties in with my next question, which is did you ever feel that doing a quadruple album may have been too much?

Chris: No. We're not asking someone who doesn't know the CRB to buy this. This is for the 2,000 people who get what we're making of this. They're the people who come to the shows - they know we play for three hours, they know that we improvise a lot, they know there are going to be mistakes. It's not about perfection. It's more about community.

With the success of such live rock albums as the Rolling Stones' Get Yer Ya-Ya's Out!, the Allman Brothers' At Fillmore East, and Deep Purple's Made in Japan during the early 1970's, subsequent rock artists jumped on the format. Case in point, Peter Frampton's Frampton Comes Alive, Kiss' Alive!, and Cheap Trick's At Budokan. Additionally, lesser-celebrated live albums have subsequently garnered acclaim from the era, including the Ramones' It's Alive, UFO's Strangers in the Night, and Thin Lizzy's Live and Dangerous. Years later, quite a few of these artists admitted that their classic live albums were heavily overdubbed in the studio - members of both Kiss and Lizzy admitted as much in interviews.

Songfacts: Why do you think that the golden era of live albums died off after the '70s? It seemed like in the '70s almost every single year there was a classic live album that came out and then come the '80s and it kind of just died.

Chris: Well, the music changed into the '80s. Most of the live records that we all love were not live records, anyway. Most artists went in and overdubbed the vocals and put on other guitars. So in one sense it wasn't real, and then you get overblown with stuff.

The idea is that every time you set up your gear and every time you pick a certain collection of songs to play in front of people, it's an event, whether there's a lot of people there or very few people there. That's what the Grateful Dead did, and they're a band like no other.

Some people are interested in the work in terms of a body of work. Some people will be interested in the live recordings because they were there - a hint of nostalgic reference or something. But for the most part, when your band pushes itself to improvise and when you have the type of composition that changes nightly even within the structure, that's demanded of you.

We let people tape Black Crowes shows from Day One, and as times moved on I think people are less interested in recording. But it also gives us a chance to record shows and put them out for people. I don't think the casual music person is interested in that, but the casual music person really isn't interested in music. They'll go see Billy Joel or the Rolling Stones or whatever. Big concerts, more "corporate minded," if you will. But something else is going on to counterbalance that.

Songfacts: You could make the correlation to how today it seems like most pop artists and even some mainstream rock artists don't even play, or if they play it's Auto-Tuned and everything. What do you think of the state of rock music today and also pop?

Chris Robinson of The Black CrowesChris: The idea of a live album of a band that plays the same shit and says the same shit every night is not appealing, except contractually to somebody who's trying to squeeze some money out of it. I think the best thing about the music business right now is the freedom to do what you want. If you have an idea and you have some talent and you have the work ethic to go make it happen, it's there for you. In the same respect, if you just want to be famous and make some money, you can do what other people tell you to do and you can go make music that can get on an iPad commercial or maybe on a TV show.

The reality is, we live in a world that is dominated and motivated by status and greed, so that the average music person goes, "Well, those kids on American Idol are good." Yeah, but you have to understand, some of us got into this life because of these songs, because the songwriter blew our minds and made us realize, "Wow."

For me, growing up in the '80s as a teenager in Georgia, I wasn't going to get my teeth whitened and go to a talent show and say, "Please like me, please vote for me." I didn't give a shit. The idea that music is supposed to be something where you bring over like a tray of sweets and someone picks the one they like the best, that's just not the way the world works. And there are just as many people who aren't into it for that reason, but the media and the way we see things is like talent shows: everything is conveniently fit into place and is all squeaky clean. And that's just not realistic.

To me, that's the great divide in the music business right now. You've got these people and these music companies who just put out whatever they think will sell, and you have plenty of people who'll do whatever it takes just to make some money. Then you have these other people who take their work very serious, and they're great, great, awesome young songwriters, awesome young musicians, awesome bands, awesome artists. People with real sincerity and real depth that are doing things. And you know what? Because they're sincere and because they have depth, they want nothing to do with the music business the way other people would see it.

So to me that's the real interesting part of where we are.

December 10, 2013
Chris Robinson Brotherhood website
Black Crowes website

Comments: 1

I am told that Sebastian Bach*s hidden legal first wife of 1986,Lavina Messalina Violetta kymille Aurore,who is a member of an exiled Les Lilas Royal family noted Chris Robinson seemed like a courageous spiritual razor fanged bluegrass aristocratic cool looking vamp.
-flowers from gypsy faubourg

Where are you from?
Your Comment
 security code

Antigone RisingAntigone Rising
This all-female group of country rockers were on their way to stardom in the '00s, with a Starbucks deal and major label backing.
Gary Louris of The JayhawksGary Louris of The Jayhawks
The Jayhawks' song "Big Star" has special meaning to Gary, who explains how longevity and inspiration have trumped adulation.
Kim Thayil of SoundgardenKim Thayil of Soundgarden
Their frontman (Chris Cornell) started out as their drummer, so Soundgarden takes a linear approach when it comes to songwriting. Kim explains how they do it.
Dean PitchfordDean Pitchford
Dean wrote the screenplay and lyrics to all the songs in Footloose. His other hits include "Fame" and "All The Man That I Need."

Search in Songwriter Interviews
Songwriter Interviews titles
Aaron Beam of Red Fang
Aaron Gillespie
Aaron Lewis
Adam Duritz of Counting Crows
Adam Schlesinger of Fountains of Wayne
Adam Young of Owl City
Al Anderson of NRBQ
Al Jourgensen of Ministry
Al Kooper
Alan Merrill of The Arrows
Alex Call (867-5309)
Allee Willis: Boogie Wonderland, Friends theme
Amanda Palmer
Amy Grant
Andy McClusky of OMD
Andy Powell of Wishbone Ash
Angelo Moore of Fishbone
Ann Hampton Callaway
Anna Canoni about Woody Guthrie
Annie Haslam of Renaissance
Anthony Raneri of Bayside
Antigone Rising
Art Alexakis of Everclear
Asher Roth
Badi Assad
Bart Millard of MercyMe
Becca Stevens
Ben Watt of Everything But The Girl
Benny Mardones
Biff Byford of Saxon
Bill Medley of The Righteous Brothers
Bill Withers
Billy Gould of Faith No More
Billy Joe Shaver
Billy Montana ("More Than A Memory" - Garth Brooks)
Billy Steinberg
Bo Bice
Bob Daisley
Bobby Liebling of Pentagram
Bobby Whitlock
Boz Scaggs
Brad Arnold from 3 Doors Down
Brad Smith of Blind Melon
Brandi Carlile
Brandon Heath
Brenda Russell
Brian "Head" Welch of Korn, Love and Death
Bronze Radio Return
Bruce Robison
Bryan Adams
Butch Vig
Buzz Osborne of the Melvins
Carol Kaye
Chad Channing (Nirvana, Before Cars)
Chad Urmston of Dispatch
Chan Kinchla of Blues Traveler
Charles Fox
Charlie Benante of Anthrax
Charlie Daniels
Charlotte Caffey of The Go-Go's
Chris August
Chris Fehn of Slipknot
Chris Isaak
Chris Knight
Chris Robinson of The Black Crowes
Chris Squire of Yes
Chris Tomlin
Chris Willis
Chris Wilson of The Flamin' Groovies
Christopher Cross
Chuck Billy of Testament
Cody Hanson of Hinder
Colbie Caillat
Corey Hart
Craig Goldy of Dio
Curt Kirkwood of Meat Puppets
Cy Curnin of The Fixx
Dan Haseltine of Jars of Clay
Dan Reed
Daniel Moore ("Shambala," "My Maria")
Danko Jones
Danny Kortchmar
Dar Williams
Darren King of MUTEMATH
Darryl Worley
Dave Clark
Dave Innis of Restless Heart
Dave Mason
Dave Pirner of Soul Asylum
Dave Stewart of Eurythmics
Dave Wakeling of The English Beat
Dean Pitchford
Denny Randell
Desmond Child
Devin Townsend
Dexys (Kevin Rowland and Jim Paterson)
Dez Fafara of DevilDriver and Coal Chamber
Dick Wagner (Alice Cooper/Lou Reed)
Dino Cazares of Fear Factory
Don Brewer of Grand Funk
Don Felder
Donald Fagen
Donnie Iris (Ah! Leah!, The Rapper)
Dr. John
Dropkick Murphys
dUg Pinnick of King's X
Duncan Phillips of Newsboys
Dwight Twilley
Eddie Carswell of NewSong
Eddie Reeves
Edwin McCain
El Sloan of Crossfade
Elvin Bishop
Emilio Castillo from Tower of Power
Emily Saliers of Indigo Girls
Emmylou Harris
Eric Burdon
Eric Kretz of Stone Temple Pilots
Francesca Battistelli
Francis Rossi of Status Quo
Gary Brooker of Procol Harum
Gary Lewis
Gary Louris of The Jayhawks
Gary Numan
Gentle Giant
Georgia Middleman of Blue Sky Riders
Gilby Clarke
Glen Burtnik
Glen Phillips of Toad the Wet Sprocket
Gordon Bahary
Graham Bonnet (Alcatrazz, Rainbow)
Graham Parker
Graham Russell of Air Supply
Greg Lake of Emerson, Lake & Palmer
Greg Puciato of Killer Be Killed and Dillinger Escape Plan
Gretchen Peters (Independence Day)
Guy Clark
Gym Class Heroes
Hal Ketchum
Harold Brown of War
Harry Shearer
Hayes Carll
Henry McCullough
Henry Paul of The Outlaws, Blackhawk
Holly Knight
Holly Williams
Howard Bellamy
Howard Jones
Ian Anderson of Jethro Tull
Ian Anderson: "The delight in making music is that you don't have a formula"
Ian Astbury of The Cult
Ian Thornley of Big Wreck
Ingrid Croce
J.D. Souther
Jack Blades of Night Ranger and Damn Yankees
Jake Owen
James Williamson of Iggy & the Stooges
Jamey Jasta of Hatebreed
Jamie O'Neal
Jane Wiedlin from the Go-Go`s
Janis Ian
Jann Klose
Jaret Reddick of Bowling for Soup
Jason Michael Carroll
Jason Newsted (ex-Metallica)
Jason Reeves
Jason Roy of Building 429
Jay Graydon
Jeff Walker of Carcass
Jello Biafra
Jeph Howard of The Used
Jeremy DePoyster of The Devil Wears Prada
Jess Origliasso of The Veronicas
Jesse Valenzuela of Gin Blossoms
Jim McCarty of The Yardbirds
Jimbeau Hinson
Jimmy Jam
Jimmy Webb
JJ Burnel of The Stranglers
Jo Dee Messina
Joe Elliott of Def Leppard
Joe Ely
Joe Grushecky
Joe Jackson
Joe King Carrasco
Joe Rickard of Red
Joel Crouse
Joey + Rory
Joey Burns of Calexico
John Doe of X
John Gallagher of Raven
John Lee Hooker
John Oates
John Rzeznik of Goo Goo Dolls
John Waite
John Wheeler of Hayseed Dixie
Johnette Napolitano of Concrete Blonde
Johnny Winter
Jon Anderson of Yes
Jon Foreman of Switchfoot
Jon Oliva of Trans-Siberian Orchestra
Jon Tiven
Josh Kelley
Josh Shilling
Josh Thompson
Judas Priest
Julian Lennon
Justin Hayward of The Moody Blues
Kasim Sulton (Utopia, Meat Loaf)
Keith Morris of Black Flag and OFF!
Keith Reid of Procol Harum
Kelvin Swaby of The Heavy
Ken Block of Sister Hazel
Kenneth Nixon of Framing Hanley
Kenny Vance
Kerry Livgren of Kansas
Kim Thayil of Soundgarden
Kip Winger
Kirk Franklin
Kristian Bush of Sugarland
Kristine W
Lajon Witherspoon of Sevendust
Larry Burnett of Firefall
Larry Wiegand of Crow
Laura Bell Bundy
Lee Ranaldo
Les Claypool
Leslie West of Mountain
Lindi Ortega
Lisa Loeb
Lita Ford
Little Big Town
Lori McKenna
Loudon Wainwright III
Louie Perez of Los Lobos
Lukas Nelson
Mac Powell of Third Day
Marc Roberge of O.A.R. (Of A Revolution)
Marcy Playground
Maria Muldaur
Maria Neckam
Mark Arm of Mudhoney
Marshall Crenshaw
Martin Gordon
Martin Page
Martin Smith of Delirous?
Martyn Ware of Heaven 17
Marvin Etzioni of Lone Justice
Mary Gauthier
Mat Kearney
Matt Pike of High On Fire
Matt Pryor of Get Up Kids
Matt Scannell of Vertical Horizon
Matt Sorum
Matt Thiessen of Relient K
Matthew West
Max Cavalera of Soulfly (ex-Sepultura)
Meshell Ndegeocello
Mia Doi Todd
Michael Bolton
Michael Franti
Michael Gilbert of Flotsam and Jetsam
Michael Glabicki of Rusted Root
Michael Schenker
Michael Sweet of Stryper
Michael W. Smith
Mick Jones of Foreigner
Mike Campbell
Mike Donehey of Tenth Avenue North
Mike Love of The Beach Boys
Mike Muir of Suicidal Tendencies
Mike Portnoy of Dream Theater
Miles Doughty of Slightly Stoopid
Millie Jackson
Mitch Myers about Shel Silverstein
Mitts of Madball
Mountain Heart
Neil Fallon of Clutch
Neil Giraldo
Nick Van Eede from Cutting Crew
Nick Waterhouse
Nick Wheeler of The All-American Rejects
Nina Persson of The Cardigans
Nona Hendryx
Oliver Leiber
Our Lady Peace
Pam Tillis
Pat Alger ("The Thunder Rolls", "Unanswered Prayers")
Paul Dean of Loverboy
Paul Evans
Paul Williams
Pegi Young
Penny Ford of Snap!
Pete Anderson
Peter Lord
Petula Clark
Phil Hurtt ("I'll Be Around")
Philip Cody
Queensr├┐che founder Geoff Tate
Radney Foster
Ralph Casale - Session Pro
Randy Goodrum (Oh Sherrie)
Randy Houser
Randy Montana
Randy Newman
Randy Sharp (From Glen Campbell to Edgar Winter)
Randy Stonehill
Rebecca St. James
Reverend Horton Heat
Rhonda Vincent
Richard Hell
Richard Marx
Richard Patrick of Filter
Richie McDonald of Lonestar
Richie Wise (Kiss producer, Dust)
Rick Finch
Rick Springfield
Rick Wartell of Trouble
Rik Emmett of Triumph
Robert Ellis
Roger Clyne
Rosanne Cash
Rupert Hine
Ryan Star
Sam Phillips
Sandy Chapin
Sarah Brightman
Scorpions Rudolf Schenker
Scott Gorham of Thin Lizzy and Black Star Riders
Scott Jason of Thriving Ivory
Scott Stapp
Scotty Emerick (Beer For My Horses)
Sebu Simonian of Capital Cities
Serena Ryder
Seth Swirsky
Shane Volk of One Bad Son
Shaun Morgan of Seether
Shawn Smith of Brad
Shelby Lynne
Skip Ewing ("Love, Me," "The Gospel According To Luke")
Sonny Sandoval of P.O.D.
Speech of Arrested Development
Spooner Oldham
Squeeze: Glenn Tilbrook and Chris Difford
Stan Ridgway
Steel Magnolia
Stephen Christian of Anberlin
Steve "Zetro" Souza of Exodus and Hatriot
Steve Azar
Steve Hindalong of The Choir
Steven Tyler of Aerosmith
Stuart Braithwaite of Mogwai
Sum 41
Sunny Sweeney
Supertramp founder Roger Hodgson
Tanita Tikaram
Taylor Dayne
Terry Cashman
Terry Jacks ("Seasons in the Sun")
Terry Taylor of Daniel Amos and Lost Dogs
The Asteroids Galaxy Tour
The Dandy Warhols
The Fratellis
The Limousines
They Might Be Giants
Thomas Dolby
Tim Butler of The Psychedelic Furs
Timothy B. Schmit of the Eagles
Tina Shafer
Tobin Esperance of Papa Roach
Toby Lightman
Todd Harrell of 3 Doors Down and 7dayBinge
Tom Gabel of Against Me!
Tom Johnston from The Doobie Brothers
Tom Keifer of Cinderella
Tommy James
Tommy Lee James ("She's My Kind Of Rain")
Toni Wine
Tonio K
Tony Hiller and Brotherhood of Man
Tony Joe White
Travis Stever of Coheed and Cambria
Trent Wagler of The Steel Wheels
Udo Dirkschneider (UDO, ex-Accept)
Van Dyke Parks
Vanessa Carlton
Ville Valo of HIM
Vince Clarke
Vince Gill
Vinny May of Kodaline
Vonda Shepard
Wayne Hussey of The Mission
Wayne Swinny of Saliva
Wednesday 13
Wes Borland of Limp Bizkit and Black Light Burns
Will Jennings
Yael Naim
Yoko Ono
Zac Hanson
Zakk Wylde
Other Songfacts Blogs
Songwriter Interviews
Song Writing
Music Quiz
Fact or Fiction
They're Playing My Song