Songwriting and Producing
A critically acclaimed songwriter, Citizen Cope’s work has been recorded by a number of vastly different musical artists, a testament to the indefinable genre he has created. In 2002, Carlos Santana requested Cope’s song, “Sideways,” for his Shaman album. Cope sang on the track and produced it as well. Shaman has sold over 5 million copies worldwide. Sheryl Crow asked to record the song with Citizen Cope in 2010 for her 100 Miles From Memphis album, and invited him to join her in concert on several occasions to perform it, including in front of 27,000 fans at the Crossroads Guitar Festival in Chicago (June 26, 2010). At the same festival, Eric Clapton brought Cope onstage to perform “Hands of the Saints” together. Corey Taylor, frontman for alt-metal band Slipknot, has also recorded a version of the song. In 2008 he wrote and recorded “Burnin’ Love” with Dido for her Safe Trip Home album. That same year, folk legend Richie Havens released his version of Cope’s “Hurricane Waters” and Chicago-based hip-hop artist Rhymefest recorded “Bullet,” featuring Cope. Citizen Cope’s songs have been licensed to appear in numerous films, soundtracks and commercials. His work appears in a number of soundtracks to films including 2006’s Trust the Man (Julianne Moore, Maggie Gyllenhaal, Billy Crudup) and 2008’s Ghost Town (Ricky Gervais), 2006’s Accepted (Jonah Hill, Blake Lively), The Lincoln Lawyer (Matthew McConaughey), and Fracture (Anthony Hopkins). His “Bullet and a Target” appears in 2006’s The Sentinel (Michael Douglas, Kiefer Sutherland), Alpha Dog (Emile Hirsch) as well as in the show Cold Case. Cope’s songs have also been included in television shows Scrubs, multiple episodes of One Tree Hill, multiple episodes of Entourage, So You Think You Can Dance and on the soundtrack to the critically acclaimed television show Smallville. A new song, “One Lovely Day,” appeared in the film Battleship (Liam Neeson, Alexander Skarsgard), released in May 2012.
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Famous quotes containing the word producing:
“What ails it, intrinsically, is a dearth of intellectual audacity and of aesthetic passion. Running through it, and characterizing the work of almost every man and woman producing it, there is an unescapable suggestion of the old Puritan suspicion of the fine arts as such—of the doctrine that they offer fit asylum for good citizens only when some ulterior and superior purpose is carried into them.”
—H.L. (Henry Lewis)