Biography
Few musicians have carved out distinctive roles across multiple disciplines and on opposite sides of the Atlantic quite like Sid Griffin. Although most listeners know him first as frontman of the Long Ryders, his parallel work as performer, composer, record producer, writer, and collector has made him a central figure in the roots-rock community throughout both the United States and the United Kingdom.
Raised in Louisville’s suburbs, Griffin first developed his musical appetite in his teens, performing with the Frosties, a cover band devoted to hits from the 1950s and 1960s. In 1977, at age twenty-one, he relocated to California, intent on diving into the Los Angeles rock world while simultaneously enrolling in law school to satisfy his parents. He soon joined the short-lived punk band Death Wish, yet by 1979 his tastes had shifted backward in time; he left to play guitar with the Unclaimed, a group specializing in 1960s-style garage rock. Even as his listening remained anchored in that decade, Griffin began cultivating a deep fascination with folk-rock and country-rock, especially the Byrds and the Flying Burrito Brothers.
In 1981 he concluded it was time to move forward and, together with Unclaimed bassist Barry Shank and drummer Matt Roberts, departed to form the Long Ryders. Friend Steve Wynn briefly handled guitar before exiting to launch his own, noisier project, Dream Syndicate; nevertheless, Wynn and Griffin remained close, and the Long Ryders, Dream Syndicate, Green on Red, and Rain Parade became the core acts of the scene later labeled the Paisley Underground, united by their allegiance to the sounds and integrity of mid-to-late-1960s music even though each band channeled those influences differently. Wynn later recruited Griffin and two other Long Ryders to back himself and Dan Stuart on the Danny & Dusty album The Lost Weekend. By 1983 the Long Ryders had stabilized with Griffin on guitar and lead vocals, Stephen McCarthy on guitar and vocals, Des Brewer on bass, and Greg Sowders on drums; they issued their debut EP, 10-5-60, which fused 1960s folk-rock jangle, early country-rock twang, and garage-punk energy. The record drew strong notices in both America and Europe, and the band built a devoted following on the Los Angeles club circuit. The next year Tom Stevens replaced Brewer on bass, and the group delivered its first full-length album, Native Sons, which explored its roots-music passions even more deeply—highlighted by a guest vocal from former Byrds singer Gene Clark—and reflected a sharpening political awareness. Fresh acclaim followed, prompting a first trip to England in 1985, where the British music press hailed them as conquering heroes. Later that same year the band secured a major-label contract with Island Records, partly on the strength of its U.K. success.
State of Our Union, the first Island release, sold briskly in Britain, where the anthemic “Looking for Lewis and Clark” became a hit single; the group also emerged as a strong live draw in Spain. Although the album proved the Long Ryders’ biggest commercial success, it never escaped the college-radio ghetto in the United States, leaving the band more popular abroad than at home. Tensions with Island mounted after the harder-edged Two Fisted Tales, and Griffin felt the label had failed to promote the group adequately. While contract negotiations were underway, Tom Stevens departed; after a handful of shows with a replacement bassist, Stephen McCarthy also resigned, prompting Griffin and the remaining members to disband the Long Ryders in 1988. The group issued a final, raucous live cassette, Metallic B.O., through its fan club later that year.
Following the breakup, Griffin stepped away from music briefly, but by the close of 1988 he had assembled the first lineup of Coal Porters, featuring fellow ex–Long Ryder Greg Sowders on drums along with Chris Buessem on guitar and Ian Thomson on bass. The new band carried forward the Long Ryders’ direction, albeit with a lighter, less aggressive touch. Unable to secure an American deal, the group accepted an offer from an independent Australian label; its debut EP, Rebels Without Applause, appeared Down Under in 1991. By then Sowders had retired from the road (though he continued occasional studio work with Griffin) and was succeeded by Billy Block, while Andy Kaulkin joined on keyboards. Predictably, Coal Porters soon found a larger audience in Britain than in the States. After marrying British musician Kate St. John—formerly of the Dream Academy and Van Morrison—Griffin moved to London and reconstituted the band there. Ian Thomson stayed, Pat McGarvey took over bass, and Bob Stone handled keyboards. Lineup stability remained elusive, yet the group toured steadily and released two studio albums, Land of Hope and Crosby and Los London, plus two live sets, Whoa, Big Fella! and The Gram Parsons Tribute Concert, between 1993 and 1998, during which nearly a dozen musicians passed through its ranks. The 1998 EP Roulette also introduced Griffin’s next venture, Western Electric, whose debut album merged his countrified roots-rock melodies with a more contemporary palette, adding subtle electronics and drum loops to contemplative songwriting. Simultaneously Griffin rediscovered acoustic music, issuing the understated solo album Little Victories in 1997, reshaping Coal Porters into a modern bluegrass outfit that toured the U.K., and producing a 1998 album for British folk veterans Lindisfarne.
In 1985 Griffin began a parallel career as an author with the publication of Gram Parsons: A Musical Biography, the first full-length study of his musical hero. Since then he has remained active as a journalist and writer, contributing books, features, and reviews to Mojo, Q, Country Music International, and numerous other outlets while also supplying liner notes for archival reissues by the Flying Burrito Brothers, Gene Clark, the Byrds, Phil Ochs, and the Everly Brothers. Later volumes include Bluegrass Guitar: Know the Players, Play the Music (2006); Million Dollar Bash: Bob Dylan, the Band, and the Basement Tapes (2007); and Shelter from the Storm: Bob Dylan’s Rolling Thunder Years (2010).
Raised in Louisville’s suburbs, Griffin first developed his musical appetite in his teens, performing with the Frosties, a cover band devoted to hits from the 1950s and 1960s. In 1977, at age twenty-one, he relocated to California, intent on diving into the Los Angeles rock world while simultaneously enrolling in law school to satisfy his parents. He soon joined the short-lived punk band Death Wish, yet by 1979 his tastes had shifted backward in time; he left to play guitar with the Unclaimed, a group specializing in 1960s-style garage rock. Even as his listening remained anchored in that decade, Griffin began cultivating a deep fascination with folk-rock and country-rock, especially the Byrds and the Flying Burrito Brothers.
In 1981 he concluded it was time to move forward and, together with Unclaimed bassist Barry Shank and drummer Matt Roberts, departed to form the Long Ryders. Friend Steve Wynn briefly handled guitar before exiting to launch his own, noisier project, Dream Syndicate; nevertheless, Wynn and Griffin remained close, and the Long Ryders, Dream Syndicate, Green on Red, and Rain Parade became the core acts of the scene later labeled the Paisley Underground, united by their allegiance to the sounds and integrity of mid-to-late-1960s music even though each band channeled those influences differently. Wynn later recruited Griffin and two other Long Ryders to back himself and Dan Stuart on the Danny & Dusty album The Lost Weekend. By 1983 the Long Ryders had stabilized with Griffin on guitar and lead vocals, Stephen McCarthy on guitar and vocals, Des Brewer on bass, and Greg Sowders on drums; they issued their debut EP, 10-5-60, which fused 1960s folk-rock jangle, early country-rock twang, and garage-punk energy. The record drew strong notices in both America and Europe, and the band built a devoted following on the Los Angeles club circuit. The next year Tom Stevens replaced Brewer on bass, and the group delivered its first full-length album, Native Sons, which explored its roots-music passions even more deeply—highlighted by a guest vocal from former Byrds singer Gene Clark—and reflected a sharpening political awareness. Fresh acclaim followed, prompting a first trip to England in 1985, where the British music press hailed them as conquering heroes. Later that same year the band secured a major-label contract with Island Records, partly on the strength of its U.K. success.
State of Our Union, the first Island release, sold briskly in Britain, where the anthemic “Looking for Lewis and Clark” became a hit single; the group also emerged as a strong live draw in Spain. Although the album proved the Long Ryders’ biggest commercial success, it never escaped the college-radio ghetto in the United States, leaving the band more popular abroad than at home. Tensions with Island mounted after the harder-edged Two Fisted Tales, and Griffin felt the label had failed to promote the group adequately. While contract negotiations were underway, Tom Stevens departed; after a handful of shows with a replacement bassist, Stephen McCarthy also resigned, prompting Griffin and the remaining members to disband the Long Ryders in 1988. The group issued a final, raucous live cassette, Metallic B.O., through its fan club later that year.
Following the breakup, Griffin stepped away from music briefly, but by the close of 1988 he had assembled the first lineup of Coal Porters, featuring fellow ex–Long Ryder Greg Sowders on drums along with Chris Buessem on guitar and Ian Thomson on bass. The new band carried forward the Long Ryders’ direction, albeit with a lighter, less aggressive touch. Unable to secure an American deal, the group accepted an offer from an independent Australian label; its debut EP, Rebels Without Applause, appeared Down Under in 1991. By then Sowders had retired from the road (though he continued occasional studio work with Griffin) and was succeeded by Billy Block, while Andy Kaulkin joined on keyboards. Predictably, Coal Porters soon found a larger audience in Britain than in the States. After marrying British musician Kate St. John—formerly of the Dream Academy and Van Morrison—Griffin moved to London and reconstituted the band there. Ian Thomson stayed, Pat McGarvey took over bass, and Bob Stone handled keyboards. Lineup stability remained elusive, yet the group toured steadily and released two studio albums, Land of Hope and Crosby and Los London, plus two live sets, Whoa, Big Fella! and The Gram Parsons Tribute Concert, between 1993 and 1998, during which nearly a dozen musicians passed through its ranks. The 1998 EP Roulette also introduced Griffin’s next venture, Western Electric, whose debut album merged his countrified roots-rock melodies with a more contemporary palette, adding subtle electronics and drum loops to contemplative songwriting. Simultaneously Griffin rediscovered acoustic music, issuing the understated solo album Little Victories in 1997, reshaping Coal Porters into a modern bluegrass outfit that toured the U.K., and producing a 1998 album for British folk veterans Lindisfarne.
In 1985 Griffin began a parallel career as an author with the publication of Gram Parsons: A Musical Biography, the first full-length study of his musical hero. Since then he has remained active as a journalist and writer, contributing books, features, and reviews to Mojo, Q, Country Music International, and numerous other outlets while also supplying liner notes for archival reissues by the Flying Burrito Brothers, Gene Clark, the Byrds, Phil Ochs, and the Everly Brothers. Later volumes include Bluegrass Guitar: Know the Players, Play the Music (2006); Million Dollar Bash: Bob Dylan, the Band, and the Basement Tapes (2007); and Shelter from the Storm: Bob Dylan’s Rolling Thunder Years (2010).
Albums
The Great Grape/Raisin Demos
2025
The Journey From Grape to Raisin
2024
The Last Ten Seconds of Life
2024
Older Guys / Country Boy
2018
The Trick Is To Breathe
2014
As Certain As Sunrise
2005
Worldwide Live 1997-2002
2002
Little Victories
1997
Singles
Live
