Unlike most successful bands, Caedmon's Call has seen regular changes to their sound and roster of songwriters in their first ten years together (most recently, the amicable departure of longtime member Derek Webb). Yet the folk-pop band's sound has remained surprisingly consistent despite the changes. Founding member Cliff Young and keyboardist Josh Moore discuss the group's songwriting philosophy.

After 10 years of making music, tell us what's new for the group.

Cliff: Well, we did the new record ourselves. We've always done our own demos, even before Derek Webb joined us, but we really didn't know what we were doing. This time we sat together in the studio and talked about things we'd like to do on this record, and we all contributed. Josh has more experience than anyone else now, production-wise, so he's been the most hands-on with that part of the project.

And on the songwriting end specifically?

Cliff: There were a lot of writers for this record. Caedmon's has always consisted of the band, the vision, the sound, and a certain kind of lyric. We've never gone outside the band to a publishing company for songs.

Aaron Tate, one of our writers, is considered a part of the band even though you don't see him on stage. He played one show with the band and hated performing. But he's written as many or more songs for the band than Derek. We've encouraged him through the years to keep writing for us because he does it so well.

What does the song development process look like?

Cliff: In the case of Aaron, he brings us a song, a melody, or even just a theme and we essentially "Caedmonize" it. That's when it becomes "our song." It's all a process of trying different things and getting input from everyone. Caedmon's Call is a community of people, and it's always been that way. It's much more than just who you see on stage.

As to when we write, we're always working on something. We're not "artsy" enough to schedule times to write. We're not like that at all – we're quite the opposite. You won't find us going back to the bus after an interview to light incense and write songs. Most likely you'll find us playing Tony Hawk videogames or shooting hoops. Then, for me, there's fly-fishing. I love it.

How are your writers different from the majority of professional writers?

Cliff: To start with, these artists truly understand us and see eye-to-eye with what our community is about. Randall Goodgame, for instance, has been opening for us on tour. We told him we'd really like him to write for us. So he has. We make suggestions, changes, and give him different angles until the song becomes one we're comfortable with. You can't do that with most professional songwriters. Seeing a song go through four, five, or six different versions isn't common for a lot of songwriters, but it's a part of our process.

So the egos need to be left at the door?

Cliff: Totally. I even told Randall, "If you want to write for this band, you've got to leave your ego at the door. We'll want to change stuff and make it a Caedmon's Call song – something consistent with our sound." The sound isn't about the arrangement, it's about the community. And if he didn't want to write this way, with this process, then he simply wouldn't be writing for us.

We've talked in the past about how you have certain people in your church who look over your lyrics from a theological point of view. Is that still true?

Cliff: Oh yeah. We have many wonderful people who have served as our mentors through the years. They read through our songs and call us on stuff. It's a good process to go through – a great and important process.

Josh: Often we just brainstorm about what we should be expressing to the church, to college students, and to other particular audiences. Then we give those thoughts to our mentors so they can help guide us in the writing process.

Cliff: They hypnotize us!

Josh: Yeah, yeah. They totally brainwash us to say whatever they want. Okay, no. But if you look at all the writers who've written for the band, you won't find a single person that we don't consider our closest friends. That extends into our church and beyond.

So there's a special understanding among everyone involved in the community. You understand each other and each other's contribution.

Cliff: That's right. If you heard some of the early music Aaron Tate presented to us, you'd think, "Oh man, this is over. He can't write at all." (And he knows this.) But ever since Aaron and I were in college together, I've been able to find something valuable in his lyrics. He might bring nine songs to the table and we only end up using one, but that one song will be amazing! He truly leaves his ego at the door.

With so many people contributing to each song, why don't we see it in the song credits?

Josh: Technically and legally, most of Aaron Senseman's and all of Aaron Tate's songs should be credited to at least five different people. (The exception is Derek's songs.) But we don't choose to do it that way. That process is uniquely Caedmon's Call.

There's definitely been consistency through the past 10 years, but what about the group's sound? Has it changed in your opinion?

Cliff: Sure! Oh yeah.

Josh: If Caedmon's hadn't changed and evolved over the years, we would've been out of it a long time ago.

Cliff: One example of changes in the music is with Sandra [McCracken] writing for Danielle. Sandra is an amazing songwriter. Because she has had conversations with Danielle, she understands her and writes specifically for her voice. She penned three songs on the new album, and I think Danielle is sounding better than ever as a result of that collaboration.

Learn more about Caedmon's Call at the band's artist page and read our review of Back Home. You can listen to song clips from their albums at Musicforce.com.

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