Erick Rudiak: admirer of other songwriters. Ralph Covert: I probably would not have the love for songwriting, nor the ability to do it even slightly well, if it was not for Ralph Covert. Both as a Bad Example and as a solo artist, Ralph has managed to write and perform songs that are so close to life that I wonder how he managed to write about me before we even met. However, what really sets Ralph apart is that he not only writes such amazing music, but that he also shares his gift with others, teaching songwriting at the Old Town School of Folk Music in Chicago. I often suspect that every city has its great songwriter laureate. Ralph is certainly ours and we're lucky to have him.
Steve Poltz: John Leppert turned me on to the Rugburns back in 1996 and I haven't been the same since. Steve Poltz has written so many different great songs in G, it makes my head spin. I used to say I had two "types" of songs: the touching ones are my "Ralph" songs, the humorous ones are my "Steve" songs. But if you listen carefully to Holliston Street or Medical Career, you'll see that Poltz has a serious (albeit still go-for-the-cheap-rhyme-and-pull-it-off) side. Bonus points for dating Jewel.
Moxy Fruvous: I was driving home from an open mic at 1am one night, listening to pirate radio from Wheaton, broadcasting via what must have been a 10-watt transmitter, when the geeks running the show started raving about some band they had just missed at Schubas. It was quite an effort to remember the name "Moxy Fruvous" at that time in the morning, but I did. Eventually, I found their web site online and went through the lyrics to some of their songs. People don't believe me when I call Bargainville the second best (Abbey Road) studio record ever, but that usually lasts only until they've heard it. From the first chords of River Valley to the last acapella ounce of Gulf War Song, this album deperesses me in the best possible way; I will never, ever be this good. An added bonus: you have to be fairly cranial to get into this band, so if you meet someone particularly attractive at their live show, they're either a lost Barenaked Ladies fan, or someone that is both smart and cute. In my case, I happened to find the latter. Yay, me!
Jeff Vezain: Jeff and I met in Ralph Covert's songwriting class in 1997. He was very shy, never played in class, kept mostly to himself. So one night, I was heading to open mic and asked him along. He was nervous about playing so I tried to give him a little boost. I remember distinctly telling him how many bands made it big on three-chord songs and how it's not as tough as it all seems. Then, he got on stage and played "Jessica." I've let Jeff do the encouraging from then on.
Neil Finn: It's a real shame that Crowded House will probably be remembered -- by the general public anyway -- mostly for "Don't Dream It's Over"; that is merely the tip of the iceberg that is Neil Finn's body of work. His songs are like impressionist paintings: broad strokes, short phrases, but as you walk away slowly and let your eyes and ears de-focus, you suddenly see brilliance that wasn't clear from a mere foot away. You never know where a Neil Finn song will go next, just that you'll be blown away.
David Mead: I've been enjoying David Mead's The Luxury of Time CD more and more after each listen. The writing is bold, the falsetto bolder. I highly recommend two listens - I wasn't paying close attention the first time I spun through the CD and lost a good two months' worth of enjoyment. Mea culpa.
Adam Schlesinger: Like Neil Finn for the '80s, Adam may wind up being known best known for writing the penultimate pop single of the '90s : That Thing You Do (from the movie of the same name). Adam Schlesinger has consistently put out some of the cleverest pop around with his band, Fountains Of Wayne. He has also produced records for many of the best songwriters working today, including David Mead and Brian Vander Ark (of The Verve Pipe).
Suzanne Vega: Another case of an artist who is known better for her pop hit(s) than, necessarily, her best material. I'd always known Suzanne Vega had a great reputation as a songwriter, but it wasn't until I saw her performing solo in-person at Chicago's Park West that I realized just how deep her repertoire was. More than just Luka and Tom's Diner, the sheer quantity of brilliant songs was astounding.
Cory Hance: Expanding on my theory that every city has a great undiscovered songwriter -- and that Chicago has at least 10 -- Cory Hance just keeps kicking out brilliant pop songs that defy classification. Check out The Cells' record, We Can Replace You (on Orange Records) to see what the hype is all about. There are few writers around who combine the energy of The Cells with the attention to detail in Cory's work. Cory has also been kind enough to perform with me a couple times around Chicago, adding harmonies, tambourine, and most of all class to just abuot every song.
Rhett Miller: Author of the ultimate "donut" song (OTS songwriting alums will know what I'm talking about), Question, Rhett has gone solo after leading the Old '97s and landed my dream gig: opening for Neil Finn. (Ed note: as of 24 October 2004, I will have had the pleasure of accomplishing something quite comparable: opening for Rhett's band, Old 97's -- OK, it was a pay-to-play gig, but in the big scheme of things, aren't they all?).
Jonathan Richman: Jonathan Richman, like Steve Poltz, was introduced to me by John Leppert. Also like Steve Poltz, he writes hilarious, off-the-wall lyrics with more hooks than a coat room. Average 0-to-hook time: 13.4 seconds.
Ben Folds: Ben Folds is cooler than you. And me. Because he plays piano like John Bonham played the drums. And writes brutally honest lyrics that we are all thinking but are afraid to sing. And channels both Bon Jovi and Rage Against The Machine in the same song. Yeah, cooler than both you and me.
Cake: It all started with the striking of the match in How Do You Afford Your Rock'n'Roll Lifestyle. Cake has mastered the art of combining attention to detail with a minimal reliance on walls of sound and a self-effacing sense of humor. I really love it when people compare my music to Neil Finn but comparisons to Cake, which come up quite often, are always welcome.
Glen Phillips: If you're going to name your band after a Monty Python skit and your tour Frasier Fair (as in Lilith Fair for boys), you should probably be a great songwriter. It's a good thing Glen Phillips is just that.
Rilo Kiley: Good news: Rilo Kiley's More Adventurous record is what Jewel's second (or third or fourth) records should have been: smart, poignant, mas adventuroso. Alas, we had to wait 10 years for the real deal, but the good news is that it's finally here and it's superb (though, if I ever had a chance to interview Jenny Lewis, I'd ask what happened to the Nebraska accent between albums).
Neil Young: Even though he doesn't consider it one of his greatest, I Am A Child is brilliant for its simultaneous depth, insight, and simplicity.
Tim Bluhm: Tim is, along with Steve Poltz, an instructor for the High Sierra Songwriter Workshop, and was quite a revelation - calm, colorful visions just seemed to emanate from his songs. Check out "The Way The Story Goes" for a particularly memorable example.
Queen: So many wild stories and killer characters, and such musical range. What I love most is how Mercury and May found ways to say a lot while speaking so little. We Will Rock You covers an entire lifetime in under two minutes.

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