The Cowsills | Interview | From the Vault: Revisiting ‘Global’
The Cowsills, the iconic family band at the heart of sunshine pop since the early ’60s, have always delivered more than just infectious melodies.
Their journey through music has been far from conventional, marked by moments of triumph, loss, and unexpected twists. Whether revisiting the hits that defined the ’60s or unveiling hidden gems like ‘Global,’ their sound continues to resonate deeply with fans across generations. What sets them apart is not just their timeless music, but the unique dynamic that has evolved through decades of shared experiences, struggles, and victories.
The album’s journey—from its initial challenges to its remastering and re-release—mirrors the band’s own commitment to their craft. As ‘Global’ gets set for a wider audience, it promises to reflect the enduring energy and spirit that The Cowsills have always brought to their work.
In this interview, Paul, Bob, and Susan Cowsill reflect on their long musical legacy, share memories from the making of ‘Global’ and much more.
“The goal of ‘Global’ and all of our doings in music is to bring joy and peace to the listener”
Growing up in the Cowsill household, surrounded by music—what were some of the earliest records that made a mark on you? Where did you buy your first albums, and what was that experience like?
Bill and Bob Cowsill discovered the guitar at ages 7 and 8. From that time forward to this day, music has been the focus of their childhood and beyond, and eventually, the rest of the family would follow suit. The earliest songs were introduced by their mother, Barbara, when the kids were very young. Songs like ‘The Wayward Wind’ by Patsy Cline, ‘Rockin’ Rollin’ Ocean’ by Hank Snow, and ‘Marianne’ by the Brothers Four, which Bob performed for his 3rd-grade class.
The first record ever purchased happened in 1961 when the boys biked down to the local music store to buy the single ‘The Lion Sleeps Tonight’ by the Tokens.
Do you remember the first concerts you attended, and how they influenced you?
Yes, the first concert we ever attended was at the Providence Auditorium in Rhode Island to see Paul Revere and the Raiders in 1966. We were blown away by their outfits and the big sound—we had never heard anything like it. We were in the middle of a time when we were trying to get signed by a record label, and that concert solidified the fact that this is what we wanted to do too. The excitement of a live concert was new to us, and it was jaw-dropping.
When the band first formed, what were your favorite hangout spots or venues? What made those places special to you as a band in the early days?
We were too young to “hang out” anywhere, but we enjoyed performing at the teenage nightclubs that were popular in New England in the mid-sixties. We sang in pubs and bars where the patrons were way older than us. It was in those pubs and bars where we honed our live show and learned how to play as a band. We were in grade school and high school at the time.
How did The Cowsills originally come together as a band? Was there a particular moment when you all realized, “We’ve got something special here”?
We evolved as a band as the siblings in the family got old enough to participate. The magic age seemed to be 7. Susan joined at the age of 7. Bill and Bob became involved with folk music in the early ’60s as teenagers, but when the Beatles arrived, they immediately changed direction and became a young local pop band playing Beatles songs wherever they performed—and they played them well.
You’ve had some wild experiences on the road—can you share one of the craziest or most memorable shows you played in the ’60s?
In 1966, The Cowsills, along with Stevie Wonder, The Beach Boys, The Byrds, and other acts at the time, performed at Yankee Stadium for “Soundblast ’66.” We were not famous at the time, but there we were, taking the stage at Yankee Stadium to play some cover tunes—which, to this day, we are very good at.
Looking back on your classic recordings like ‘The Rain, The Park & Other Things’ and ‘Hair,’ what stands out most about those sessions? Any unforgettable moments in the studio?
When we walked into A&R Studios in New York in 1966 to record ‘The Rain, The Park & Other Things,’ we realized times had changed. There was the arranger Jimmy Wisner conducting an orchestra with strings, horns, a harp, and whatnot. Our very first reaction as a teenage band was, “How in the world will we be able to duplicate the sound we’re hearing live on stage in a concert?”
‘Hair’ was unique in that it was more or less an “assignment.” We had been contacted by Carl Reiner, who invited us to be on an NBC TV special, The Wonderful World of Pizzazz. He asked us to record a version of ‘Hair’ that we could lip-sync on the TV special. We were leaving for our 1968 summer tour and had two days to get it done—and that’s what we did. We thought it was so good we sent it to our record company, MGM, but they didn’t like it because it didn’t sound like the band that had done ‘Indian Lake.’
When it comes to writing new music, how do ideas typically flow within the band?
Our songs usually arrive as a melody first, then lyrics. Lyric duty was and is shared by everyone, and all contribute.
You’ve worked with some notable names like Vicki Peterson and Peter Holsapple on ‘Global.’ How did those collaborations come about, and what did they bring to the project?
Anytime you have the luxury of outside talent bringing their gift to your project, you feel very fortunate. Vicki Peterson, our “Bangle,” was a friend of Susan’s, as was Peter Holsapple, who had also worked with brother Barry.
The original ‘Global’ sessions were almost lost to time—how did it feel to revisit and remaster these tracks for a new release? Did it bring back any unexpected memories?
We recorded ‘Global’ in the summer of 1992. The fact that, in 2024, this album is “discovered” and then able to be remastered and released by Omnivore Recordings is a wonderfully unexpected event. All kinds of memories were rekindled, of course—good and bad. The original ending to the story of ‘Global’ has Bob, Paul, Susan, and John in a hotel room in Marina Del Rey, California, sitting across from three FBI agents. To be able to rewrite that ending is quite the amazing experience. Thank you, Omnivore Recordings!
What currently occupies your time outside of music? Any hobbies, projects, or passions that fans might be surprised to learn about?
Paul has a farm in central Oregon that he enjoys when off the road, growing hay and taking care of the animals (horses, chickens, etc.). John has his post-Beach Boys projects, including working with his family again on the ‘Global’ reissue and starting to launch his own project with his wife, Vicki Peterson. They have recorded and will release songs written by brothers Bill and Barry Cowsill.
‘Global’ has a fascinating backstory, from missed contracts to FBI entanglements. When you listen to the album now, what themes or messages do you hope resonate most with listeners today?
The goal of ‘Global’ and all of our doings in music is to bring joy and peace to the listener — to serve as an escape from some of the harsh realities of life we all experience. It’s always been that way. The song ‘Some Good Years’ ended up being a gift to ourselves and, ultimately, to others with a message that believes all of our memories and experiences, good and bad, blend in the end so that the good begins to outweigh the bad, and the bad doesn’t seem so bad over time.
The lead single ‘What I Believe’ feels like it captures both reflection and hope — how did this song come together, and what does it mean to you personally?
We believe that love is the answer. We also believe we are all challenged in life, and it’s important to remember and not lose track of the love you have made in your life — through the good times and bad times, maybe especially during the bad times. Always remember, go back to how it was when it was fresh, when it was born. Believe in each other.
‘Global’ is finally being released on vinyl for the first time. As a band with deep ties to the vinyl era, what does it mean to see this album reach a new audience in this format?
Being able to introduce the vinyl edition of ‘Global’ to everyone was especially rewarding because it allowed us to design a cover that a vinyl-sized record can accommodate, rather than being limited to the 2-point-font CD cover or digital. People still like to hold things and read and look. A throwback, to be sure, but not so much anymore as more music lovers are re-appreciating packaging, cover design, and how the packaging of the music can be as fun as the music itself.
If you could bottle up one memory from the 60s — whether it’s a sound, a moment, or a vibe — what would you choose to uncork again today, and why?
We would uncork the cohesiveness we all experienced in the 60s when we all bonded, as a generation, over the music we were listening to. We watched the same TV channels, read the same teen mags, and waited for any news about our favorite musical groups — at a time when most news was unavailable in general. We had no internet, no social media, and most of us lived a safe, rather quiet life without daily fear.
Thank you for your time. The last word is yours.
Please find us out there so we can find you. We tour, we do cruises, and we have our 11th summer Happy Together Tour this summer with other groups from the 60s — hit songs all night, 60 cities from late May to early September. We invite you to listen to The Cowsills Podcast with 158 episodes on demand featuring fantastic guests and a new episode every week. We have a weekly radio show, The Cowsill Chronicles, every Sunday on 97.9 The River, which is based on our podcast. You might enjoy our documentary, available on Amazon Prime, Family Band: The Story of The Cowsills. Please visit us on our Facebook page and cowsill.com, where you can track our “appearances.” Thank you so much for the visit.
Klemen Breznikar
Headline photo: Courtesy of The Cowsills
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