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“Woodstock was interesting. I actually wound up playing one song on the big stage and one song on the little stage and then actually going around and checking it all out. In the end the public took over the festival and turned it from a commercial event into a non commercial and fun thing. I think it was pretty much fun.”

“Richard Clapton’s Goodbye Tiger album was one I worked on where we just knew that those songs were such strong songs even though some of the tracks recording them was like pulling teeth. I can remember recording some so many times just to get them right and then there was this fight with the producer. But we still kind of knew that what we were doing was worth pursuing and worth doing right.”

“I gave George (Harrison) a “for instance”, I started playing to him the chord changes to He’s So Fine. I thought surely he must have known that song I didn’t mean for him to use it he just wanted me to give him a “for instance” on how to put together a gospel song so I got Bonnie (Bramlett) and Rita (Coolidge) to sing the hallelujahs behind me to show him. The next thing I know I hear it on the radio and I said “He’s cut my song!” but he should never have used that melody.”

“After The Cowsills I was always making music as I was going along. At times my brothers got it in their heads that this was a strike against being the “cute little Cowsill” but I think it’s all what you make of it. If you are going to remain in that mind set then sure people are going to look at you that way but I’ve always just moved on and I humbly say that I think I have gained a certain amount of respect as a musician and an artist from my peers.”

“The anatomy that I had was a very high soprano sound and trying to actually marry that vocal sound to my little songs just didn’t happen and I don’t think it happened for me properly until I was about twenty eight. I feel quite strange about that, I’m a bit of a slow learner I think.”

          (The Cowsills)

Robyne Dunn