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Supertramp founder Roger Hodgson
The Supertramp Songfacts pages have always been some of our most popular. These are songs of significant depth that make us look inside ourselves and discover who we are; songs that help us along our journey.

The Supertramp version of Lennon/McCartney is Rick Davies and Roger Hodgson, who formed the band in Engand in 1969. They wrote separately, but always credited the songs to both of them, and the writer sang lead. Rick's compositions include "Bloody Well Right," "Goodbye Stranger" and "Crime of the Century." Some of Roger's are "Give a Little Bit," "Take the Long Way Home," "The Logical Song" and "Breakfast in America" (the one that Gym Class Heroes reworked on "Cupid's Chokehold").

Roger left the band in 1983 and released two solo albums before becoming a full time parent in 1987. He put out his third solo album in 2000 and began touring again, playing those hits that are better described as "timeless" than "old" - listen to them again and you'll hear that they are more meaningful than ever today.

Some of Roger's best performances are compiled on his Classics Live collection, recorded on tour stops around the world. Not only does Roger continue to play his hits, but he relishes them - it was very refreshing to hear an artist say this: "My job is to give people the most in the two hours that I'm with them. And if that means playing songs that mean a lot to them, then that's what I will do."
Supertramp founder Roger Hodgson
Dan MacIntosh (Songfacts): I didn't realize that you're a California guy like me.

Roger Hodgson: Yeah. I'm an English transplant to California.

Songfacts: Breakfast in America was such a great album, had such an impact on me when I bought it back when I was in high school. It almost seemed like you had a beef with America and American culture. But since you chose to put down roots in America, you must like us after all.

Roger: [Laughs] Well, I'm still here. For a 24-year-old Englishman, coming to California for the first time was like dying and going to heaven. I just loved the openness of the people, there were no class systems, it was sunny, it was warm, there was space. There was natural beauty within an hour's drive. It was pretty unbelievable. And I just loved the openness of the people, really. Especially back in, what was it, '73, '74? I started out in Venice, California. That was a great place to land.

Songfacts: How long did you live in Venice?

Roger: I think maybe a year, year and a half, then I moved to Topanga Canyon and I bought a little house there. That was my first house that I bought. And a couple years later when I got a family, I moved to northern California.

Songfacts: Let's talk about the title cut of Breakfast in America. When you were talking about a girlfriend, were you putting yourself in character, or were you referring to somebody in particular?

Roger: I think I was putting myself in character. I'm trying to remember what kind of mood I was in that day, definitely a very whimsical one. I don't believe I had a girlfriend at that time, and if I did it wouldn't have lasted much longer after that. [laughs] The line "playing my jokes upon you," I think that kind of sums up the song. It was just mind chatter. Just writing down ideas as they came.

Songfacts: Stream of consciousness, then?

Roger: That's it, stream of consciousness. That's the word. Yes. Just had a lot of fun thoughts all strung together. And I do remember the Beatles had just gone to America, and I was pretty impressed with that. That definitely stimulated my dream of wanting to go to America. And obviously seeing all those gorgeous California girls on the TV and thinking, Wow. That's the place I want to go.

Songfacts: Did it live up to your expectations?

Roger: It did. Yes.

Songfacts: You mentioned the Beatles. Many have compared your partnership with Rick as being kind of like a Lennon/McCartney relationship. Can you elaborate on how your writing styles differ and how you worked together?

Roger: With Lennon and McCartney, except for the early days, I believe they wrote separately. As they became stronger songwriters, they started writing separately. And that was the case, really, with Rick and I. In the early days we collaborated, but then when the songwriting became more personal, it was something we did alone. And really, from Crime of the Century onwards, we were writing separately. And yet we kept the writers credit the same, probably because there was never a discussion and it would be just too uncomfortable to approach it and bother. We just kept it Davies/Hodgson, probably the same way Lennon and McCartney did. I know McCartney had some regrets later after their relationship wasn't doing too well. But for me, music has always been a very personal experience. Music was where I went to be alone to express my deepest heart and whatever I was experiencing in my life that was having an impact on me. And that was not something I could do with someone else. It was a very personal process where I could basically play an instrument and just get lost in my music. That's when magic happened, and that's when ideas popped up and often grew into a composition or a song.

In terms of Rick and I, we were very, very different as writers. I think it's good having another writer in the band, because then you have the friendly competition which helps bring out the best in each other, and I think that was the case with the two of us.

When it came down to arranging, I was really the main arranger in the band. I heard Rick's songs and heard what they wanted to be, so I added a lot of the colors and harmonies and textures to Rick's songs. And in the opposite way, Rick came up with some quirks on mine, so it was a relationship that worked on that level, too.

Songfacts: Do you think that "The Logical Song" is oftentimes misunderstood? And if so, in what way has it been misunderstood over the years?

Roger: I've never heard it actually being misunderstood. I think it's very easy to understand, actually.

Songfacts: Maybe another way to say it, is it over politicized, because you talk about being a liberal and some of the political elements. It seems like maybe people take that and run with it a little farther than you ever intended.

Roger: No. I think it was very relevant when I wrote it, and actually I think it's even more relevant today. It's very basically saying that what they teach us in schools is all very fine, but what about what they don't teach us in schools that creates so much confusion in our being. I mean, they don't really prepare us for life in terms of teaching us who we are on the inside. They teach us how to function on the outside and to be very intellectual, but they don't tell us how to act with our intuition or our heart or really give us a real plausible explanation of what life's about. There's a huge hole in the education. I remember leaving school at 19, I was totally confused. That song really came out of my confusion, which came down to a basic question: please tell me who I am. I felt very lost. I had to educate myself in that way, and that's why California was very good for me to kind of re-educate myself, if you like.

But it's interesting that that song, I hear it all the time, it's quoted in schools so much. I've been told it's the most-quoted song in school. That may be because it has so many words in it that people like to spell. But I think it also poses that question, and maybe stimulates something with students. I hope so.

Before speaking with Roger, we sent him this quote he made in at 1979 interview with the British music publication Melody Maker:
"Rock 'n' roll is just touching upon what's possible with music. I think of what we're doing as being very primitive. We haven't even begun to explore. The power of music has been forgotten. The ancients knew it, and we're rediscovering it very slowly. Music has the power to heal, to hypnotise, to make people totally sad, happy, joyous. I'd like to find out how to do all those things."

Songfacts: Do you think that music and pop songs help fill in the gaps of explaining who we are and why we're here, where maybe formal education falls short?

Roger: I'm not sure about that. I think pop songs actually add to the confusion. [Laughs] You had that question I was reading, it was kind of interesting, about a quote I said in '79 or something, about the potential of music. I think that unfortunately we've really trivialized music in general. I really think that the intention of music is there's no end to it, and we're using it in a very, very trivial way. And lyrically as well. I think artists should be represented in the better part of human nature, if you like, the part that wants to explore deeper issues and deeper things within themselves. That's the job of the artist, in a way. But there aren't too many artists, to tell you the truth, who inspire me. I think we've lost that. Whereas, when I was growing up, with The Beatles and all the bands and the artists that were around then, I had so much that was inspiring me, and it's sad to see so little inspiration coming from modern day artists.

Songfacts: That leads me to my next question. The Gym Class Heroes sample your song for a big hit of theirs ("Cupid's Chokehold"). What do you think about that?

Roger: Well, initially I had words with them, because they didn't ask me. But that was a technical thing. Funny enough, normally I don't like my compositions being tampered with, but there was something just very infectious about what they did, and I actually enjoyed what they wrote juxtaposed against what I wrote.

It's interesting, though, "Breakfast in America" kind of made their career. It's amazing.

Songfacts: Yes, it did. And it's interesting, because I had a chance to talk to the drummer in the band. He said that he really liked that album and was playing it around the time they were working on their album, and they ended up incorporating it into their music. Do you feel like re-contextualizing music can be as creative as starting from scratch with a new melody and new lyrics?

Roger: Whoa. You're talking to the wrong guy. I don't know. That's a difficult question to answer. I mean, any songwriter's been influenced by everything they've ever heard. I wouldn't dream of taking someone else's song and chopping it up and using it for my own ends. That wouldn't feel right to me.

Songfacts: Okay. So you've never sampled other songs to create your own songs?

Roger: No.

Songfacts: The song "Dreamer," makes me wonder are you a dreamer?

Roger: Well, I am, and I definitely was even more back then. I was a teenager, I had many dreams. And I feel very blessed that a lot of them came true. But that song flew out of me one day. We had just bought our first Wurlitzer piano, and it was the first time I'd been alone with a Wurlitzer piano back down in my mother's house. I set it up and I was so excited that that song just flew out of me.

Songfacts: Is it rare that a song comes that easily?

Roger: Yeah, but they came pretty common back then. They still come, but I think with the excitement of youth and the passion of youth, they came thick and fast back then. My late teens, early 20s were very, very prime to me as a songwriter.

Songfacts: You started very young writing songs. It's really rare that I talk to people that start as young as you did. Did you feel a little unusual that here you were, 16 years old, and you're writing complete songs?

Roger: It was just very natural. I was actually 12 when I started. The moment I laid hands on my first guitar, which was my dad's guitar, my parents actually got divorced and he left his guitar behind. I'd like to think it was on purpose for me. But anyway, it took it to boarding school and that became my lifeline, my best friend, and that's where I went. Every break I had I went to a quiet place where I could just play and play and play. And I started writing songs almost straightaway, so I was quite the introvert boy. That was where I was able to express what was going on inside.

Songfacts: I was looking at a set list from your show the other night in Temecula. And you encored with "Give a Little Bit" and "It's Raining Again." So let's start with "Give a Little Bit." What makes that song special for you?

Roger: I think it's a great song. I didn't realize it was when I first wrote it. It actually took me six years before I even brought it to the band. But I wrote it I think around 1970. That time, the late '60s, early '70s, was a very idealistic time, one of hope, a lot of peace and love and the dream of the '60s was still very alive and maturing, if you like. The Beatles had put out "All You Need is Love" a year prior to that. I believed in love - it was always for love - and just felt that was the most important thing in life.

That song has really taken on a life of its own, and I think it's even more relevant today than when I wrote it. Because we really are needing to value love in a much deeper way, and also we're needing to care. The song is basically saying: just show you care. You know, reach out and show you care. So in concert it's the perfect show closer, because what I try to do in my show over two hours is unify the audience and unify all of us. So that at the end, when everyone stands up for "Give A Little Bit," they're open and ready to open their hearts and sing at the top of their lungs and go away with a smile on their face. And that song really does, it has a very pure energy. The moment I start, people just start smiling. It's amazing.

Songfacts: That's got to make you feel good that your music can have that kind of effect on people.

Roger: It does. That's really why I'm doing it. It's not because I'm needing a huge career anymore. It's really because that's the way I can give a little bit, literally, in my life - just by giving people a little hope and joy for two hours, and hopefully helping them with their life. Because life is not easy for a lot of people right now.

Songfacts: Does it frustrate you at all that you're remembered for songs that are quite a bit older, and that maybe some of your fans just want to relive some of those older songs?

Roger: No, it doesn't. It really doesn't. I just feel very fortunate and blessed to have songs that mean so much to so many people. There are the fans who would say, "We need new material," and I try to play them a new song or two in the shows. In America now, because this is my first US tour, I need to connect the dots on this one. That's why the set list is very much my best-known songs.

Songfacts: So you make that connection so people can know where you came from and ease into where you are now?

Roger: Yes. Connecting the dots has been my manager's and my most difficult task. Because everyone knows my voice and everyone knows my songs, but they associate them with the band I was in, Supertramp, and not my own name. So even finding a way to tour in America has been very, very difficult. And one of the reasons I'm calling this the Breakfast in America Tour is because it helps to connect the dots. I play some of the hits from Breakfast in America and it was a great album, a great time, and it takes people back to that time in their lives, when maybe life was more simple.

But I'm not one of the artists who has to say, Okay, you have to listen to my new stuff now. I'm in the service industry, and my job is to give people the most in the two hours that I'm with them. And if that means playing songs that mean a lot to them, then that's what I will do. And luckily the songs that I've written, they're not for me, they're not old, and this is pure joy for me singing them, because they have not aged. They sound incredibly fresh and very relevant and current today. It's interesting that I've written songs that have just simply not aged. Well, there are a few that have.

Songfacts: You were blessed with great songs. When I was in high school I listened to Breakfast in America almost every day for probably a month. So it's been a real treat to hear you talk about your songs. And I hope that you do connect those dots.

Roger: Well, thank you, Dan. Keep going with the website, by the way. It's a wonderful Web site.

We spoke with Roger Hodgson on March 1, 2012. Get tour dates and more info on his Classics Live album at

Comments: 23

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Amazing interview, very cool to read an interview from someone in the 70s that wasn't in Zeppelin, the Stones or the Who. Love them too but this was just way cool.
-Tony from San Diego, CA

Gary from USA is way off base. Roger Hodgson was Supertramp. I have been to both Roger and Supertramp w/o Roger concerts and there is no comparison. When Supertramp broke up there was a gentlemans agrrement that Rick could use the Supertramp name if they did not perform Rogers songs. Davies showed he had no integrity and broke that and had hoffific results when he hired a terrible singer to do Rogers songs. Simply put...ROGER WAS SUPERTRAMP.
-Ron from Muncy, Pennsylvania

Thank you. I really enjoyed the interview.
-Roberta from São Paulo, Brazil

Supertramp has always been my favorite band and I never thought they attained the popularity they deserved in the U.S. You can make a case that the band was unheralded overall as well, for example they should be in the rock n roll hall of fame. But, the band still enjoys success in Europe and Canada. I had the opportunity to see Supertramp in 1997 and again the venue should have been larger and sold out. The following year I saw Roger play in a small venue and after the show he allowed fans to come up and speak with him, he seemed very nice and I was surprised how down to earth and unpretentious he was. There was no entourage or bodyguards just him. I appreciate Gary's well written and thought out comments in this website. Like many fans, I to have always wondered what exactly happened to cause Roger to leave the band. From what I gathered over the years, Supertramp's break up was a culmination of a number of things. First, it seems Roger is upset because he feels the band is performing his copy written material without permission. Also, I have heard Roger say the band plays his songs also without permission. When I saw the band in 1997, they didn't play any of Roger's songs but that only one show, I can't attest to others. Another source of contention seemed to be Rick's and Roger's wives didn't get along and Rick's wife Sue, took over the management duties. By the way, the former bass guitarist Dougie Thomson also quit the band and said he wouldn't return as long as Sue Davies continued to manage the band. The other reason which Roger sights is to raise his children which is very commendable. You don't often hear that from musicians. There are probably other things that the public doesn't know about. I am going to reserve judgement because of that fact. A while ago, I heard a story that Rick went to Roger to discuss the possibility of returning to the band, those negotiations went on for well over a year and Roger still didn't return so there must be some deep seeded issues that went unresolved. Like Gary, I recently saw a video clip in which drummer Bob Seibenburg, I don't think I spelled that correctly, said Rick "bent over backwards" to accommodate Roger and Roger was being unreasonable. During the interview, a fan asked he saw Rick leave right after the show without greeting any of the fans. Bob's response was Rick is very shy and does better with one on one conversations. I am not sure if I believe that but again I will reserve judgement because I don't know for sure. I think after thirty years, the chances of a reunion is slim, but you never know. Supertramp's break up is not unusual, this happens to a lot of bands. It's interesting, you never hear of these things happening when they first start out. In fact, in the case of Supertramp, Rick and Roger got along quite well and after the two other members of the band quit after their first two albums, "Supertramp" and "Indelibly Stamped," both Rick and Roger remained close and eventually came up with a version of the band that was responsible for their success. Perhaps ego has something to do with it and I will not assign who's ego, probably a little of both.

On another topic, there was so much more to Supertramp than just "Breakfast in America." Lets remember, from Crime of the Century to Famous Last Words, those albums went platinum and I believe merit the same attention as Breakfast in America. Unfortunately, this material gets overlooked frequently. Also, Supertramp has recieved some unwarranted and scathing reviews. Once I was in a music store and came across a copy of Rolling Stones review of bands. When I looked up Supertramp, I couldn't believe my eyes because of the appalling comments made. I never picked up a copy of Rolling Stone again. The bottom line is, this is a supremely talented group, who rightfully deserves to be characterized as legendary.
-Lawrence from U.S. Pennsylvania

With every new interview, Roger Hodgson moves farther away from the facts about his time with Supertramp. The truth is that, although he was part of the band and wrote half the songs, he didn’t write their only hits, and the band moved on without him after 1983, as much as he hated it. Also, Roger did not found the band like he often implies and it wasn’t just his baby. It was originally Rick Davies’ band, and Roger joined it by audition. When Roger talks about the original Supertramp recordings of his songs, he makes it seem as if the fans only care about his voice, and that any contributions by the other band members are incidental and could have been played by anyone. Roger, it wasn’t just your songs or your voice – it was the magical synthesis of the entire group’s efforts. You may have had a vision of how you wanted the songs to sound, but your later live versions don’t sound as good as the original Supertramp versions, no matter how much you kid yourself and run down your former band mates.
When Roger quit Supertramp in 1983, he was quoted in Rolling Stone (April 27, 1983) as stating that one of the main reasons was due to his enthusiastic use of LSD. (He tries to gloss over this fact now.) Also, he gave numerous interviews at the time about how he had literally hundreds of songs waiting to be recorded, and working within Supertramp was stifling him. If he had that many new songs, why has he only put out 31 new songs over five CD’s (two of them live collections) since 1984 – count them up. Roger’s story is that he quit recording in the mid-80’s to raise a family, but maybe there just aren’t that many new songs in him after all. If he does have some new songs, I wish he’d record them. I’d happily buy them, and put them in my collection with all the other Supertamp music, and not in a separate Roger Hodgson location. Because Roger, you’ll always be lumped in with Supertramp on my ipod.
Roger constantly complains that when Supertramp tours, they play a few of his songs. Well, they may have been his babies, but to true fans, they are Supertramp songs. Granted, they don’t sound as good when the new singers perform them, but it’s still Rick and Bob and John playing their original parts, and that’s nearly as good.

Hodgson tries to take credit for everything that Supertramp did when he was a member, as if he were the sole creator of the band, the driving force behind all the songs, the band’s success, and even their sound and instrumentation choices. Once he brought the songs to the band, they ceased to be just Roger Hodgson material anymore.

For example: Roger Hodgson may have written “Child of Vision”, but what makes it truly great is Rick’s extended piano jam and eventual participation by John’s sax in the second half of the song. Even the first part, with Roger singing, wouldn’t be the same without Rick’s answer to Roger’s questions. What about “Take the Long Way Home”? The best part is the back-and-forth between the harmonica and sax in the instrumental middle of the song. Thanks, Roger, for writing the song, but it’s just a framework to hang what everyone in the band brought to it, and not just your unique voice.

The band usually only plays three of Roger’s songs live in concert, “Breakfast in America”, “Take the Long Way Home”, and “The Logical Song.” Granted, Roger can sing them better than the new guys, but it’s still great to hear John’s solos and the rest of the band rocking. Roger ought to do Rick’s “Another Man’s Woman” or “Rudy”. No, wait – he doesn’t have the skill to do that.

I’d always given credit to each player in Supertramp for coming up with his own solo work. For instance, I thought that John decided how to play his sax solos, and then the band would take the best version for the final recording. To hear Roger tell it, he personally heard every note from every instrument in his head first, and then he showed up and told the rest of the band how to play it, note for note. It was as if any session sax player could be hired off the street, instead of John giving his own interpretation to the songs. If I were a member of Supertramp, I would be irate at the way my contributions are being diminished and demeaned.

Roger’s argument is that the songs are deeply personal, and that every part of them, even the arrangements played by the rest of the band, were created by him. If that’s that case, then what’s to stop Roger from claiming that Supertramp can’t use other portions of songs in concert – Not just Roger Hodgson compositions, but instrumental solos that Roger created as well? For example, the incredible guitar solo at the end of “Goodbye Stranger” seems to be pure Roger. If he did improvise that on his own, by his way of thinking it is a part of him, and every time someone else plays that solo with those particular notes in concert, they’re stealing that from him too. At what point will he realize that he was in a BAND, and his contributions – from the greatest song to the smallest instrumental segment – became part of the band’s body of work and legacy, and wasn’t his anymore.

One only has to track down a few informal interviews with people such as Bob Siebenburg to realize that Rick Davies has bent over backwards to try and work with Roger over the years, especially relating to Roger joining the Supertramp tour a few years ago. Roger’s irrational demands were what prevented anything from eventually happening, no matter how much he tries to say something different anytime he can corner a reporter. I think that Rick Davies deserves a medal: He quietly takes the high road while Roger mouths off constantly and keeps playing the same old songs instead of recording and performing some of the hundreds of new songs that he’s claimed to have written over the last thirty-plus years.

Oh, and one other thing: Roger, you’re in your sixties. Get rid of the Jesus haircut.
-Gary from USA

Roger Is a legend!!!!! We are blessed to have him in our lifes! What a great great great gerat man!!
-Andress from Ecuador

No, WE were blessed with his great songs.

All you have to do is see Roger once & you will be forever changed... you'll find yourself dreaming of his next show & even the one after that! Very few artists have an unchanged voice after all these years, and I promise you Roger *never* disappoints. He is the genius behind the many hits of Supertramp and this is the Breakfast In America World Tour with a full band! The audience will soon become your friends, sharing in all of the joy and the beautiful, ethereal music. Just imagine him, with his twelve-string guitar... "Even in the quietest moments, I wish I knew..." From one heart to another, go see him. You will leave glowing from the inside, your soul uplifted & a guaranteed smile on your face. :) "You find your way," & "I'll meet you when you're there!" :)

Roger’s official sites:


Visit the Tour Page at
for the latest up to the minute news about added tour dates or changes. There you will find Roger’s complete schedule of shows, including ticket links, fan presale & on-sale information, maps, reviews, and more...

Message from Roger to All Who Came to His Recent Shows
“Thank you for welcoming me back to America so enthusiastically. I’m really happy to be back touring and singing my songs that have meant so much to you for many years. I often tell people that I have the greatest fans in the world - and I look forward to playing for many more of you this year.”
-Rissa Ciociola from Wayne, PA

i must say that i am fifth of six children, born and raised in the moutains of pennsylvaina, came from a verbal,phyiscal and emotional abusive childhood..the very first time i heard roger sing the logical song i sat in the corner of my bedroom and cried..he has touched me with his music in ways i can not explain..i could always play supertramp and escape the life i had to was like he could see deep in my soul..i hope some day i have the chance of a lifetime to meet roger, just to thank him for the words and music that brought me such comfert when i could find none anywhere this day at 43, when i have a bad day or just feel lonely, i put on my supertramp, listen as roger takes me away to my specail place and comferts me, gives me hope, and i can tell that little boy in the corner he can stop crying now..thank you roger, you touch people in ways you will never know..
-larry from ohio

I just want to explode for not picking Supertramp as a favorite band when I registered with Sogfacts.. I will fix that! Great interview! Was it done by phone or in person?
-Tom from Orlando, FL

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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
Queensrÿche 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
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