On Broadway Score

hey -- I just uploaded the score I did for the film On Broadway, by Dave McLaughlin and Lance Greene, and thought I would share it for those of you who want some mellow acoustic instrumental music to listen to. Featured are Joe McMahon (bass), Phil Aiken (piano/organ), and Tom Polce (drums).

This is the piece that scores the climax scene

This one is the opening credits theme.

This is another wistful little number.

As always, you can right/Apple-click to "save file as."

The Ride Home

Scud Mountain Boys on the soundtrack back up I84.

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BT photoshoot at the Crackerfarm

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Buff Tom last session

Finishing up with a couple of more new songs at the old Fort Apache, now known as Camp St Studio, with Paul Kolderie and Adam Taylor.

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New T-Shirt Link

New T-Shirt Link (for now)

Tom Gross is the guy handling these. I don't know details about orders, sizes, etc. so please hold your emails.

Thanks -- Bill

I Loved You, Well Never Mind/I've Been Crying All the Time

Rest in Peace, Alex Chilton, a true artist and hero.

Thirteen, Bill, Kay, Mike.

A note from Kay.

Joanna Newsom

I have been far too dismissive in my life, ruling out artists, writers, whatever, based on preconceptions or early knee-jerk reactions. As one gets older, these sorts of instincts seem to solidify and self-justify. Going into something you might assume is not your thing will, more often than not, leave yet another bad impression and strengthens your resolve to avoid more of "those sorts of things."

The trouble is, however, that one runs the risk of missing out on things of almost incomprehensible beauty, such as this and other songs by Joanna Newsom.

Though I am as guilty as most in the closing of the mind, I can't say that my initial reaction to Joanna's music was to close myself off from it and recoil. See, for me, one of the good things about living in this era is that it is easier to just get exposed to the actual art, music especially, without reading about it first. In pre-Internet days, I tended not to base my decisions on whether or not to go out and explore new artists based on music press; that is not the most effective way to convey what an artist is like. Nevertheless, I would often find myself reading that this to that band was like this other one. Oh? Well I don't like what I have heard of them, so the other ones who this writer says sounds like them must also not be my thing.

If someone had described Joanna to me before hearing it, I can't say I would have heeded the George Michael dictum, "Listen Without Prejudice." The adjectives most used to describe her are, "elfin," "fairy," "child-like," "freak folk," and so on. She pays the harp. Apparently, she grew up in a neo-hippy, new age, rural ex-mining mountain enclave alongside friends and collaborators like Devendra Banhart. Some would say her voice is often like that of Bjork. Sometimes it can seem like Tori Amos. OK? See why one might run away as fast as possible?

You would do so at the risk of missing out on something deeply rewarding. She's not for everyone, but don't automatically assume she's not for you. Lucky for me, I clicked on something and heard her first, before knowing anything about her, a couple of years ago. I was drawn in pretty quickly. I had sort of put her music on the back burner, but it hs moved back to the front recently. There was a nice piece on her in the Times this past week. Then I clicked on this and watched the whole thing repeatedly. The harp playing is jaw-dropping, the voice is magnetic. But most of all, the poetry leaves me breathless. You simply will not find anyone who sounds just like her. Having listened, I can't imagine her music not existing. It seems necessary. It feels at once magically inspired and stolen from the ether, and crafted artfully. It makes me believe in God and it makes me want to work harder. I think she has tapped the same mystic vein as Bob Dylan, Van Morrison, and Ricki Lee Jones.

You can find the lyrics online. I hate all those pop-up-y ad-riddled lyric sites. But I must quote at least one section that hits me on a primal level and makes me wish that I had written it:

And they will recognize
All the lines of your face
In the face of the daughter, of the daughter, of my daughter.

New Shows added

Some shows coming up: Buffalo Tom just added to the 5/20 NY John Wesley Harding Cabinet of Wonders w/eugenemirman, robbie fulks, janeane garofolo, paul muldoon, lenny kaye and Le Poisson Rouge 158 Bleecker Street,NYC. We may also add another show or two in the Tri-State area that same weekend.

BT has a date on hold late spring/early summer in Boston, TBC.

And BillBillyEdandPhilly (Crown Victoria of sorts) will be doing some of those Toad-like sets the first three Thursday nights in April at Precinct, Somerville, alternating sets with the fabulous Jenny Dee & the Delinquents.

More BT in studio

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BT in studio again

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BT in Studio IV

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BT in studio III

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Bt in studio II

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BT in studio

Chris preparing for backing vocals.

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Norwegian Black Metal

The closest I have ever gotten to liking anything that might be construed as heavy metal was the hard rock of the 1970s like Led Zeppelin, AC/DC and maybe the first or second outer rings into the 1980s like Motorhead. These were bands still rooted in the blues somewhat. And even Lemmy provides some semblance of melody and swing.

I started to lose interest in most of the stuff that came after around 1980. There was all the hair metal that meant nothing to me. I even include Halen in this category. Am I supposed to differentiate between Def Leopard, Rush, Iron Maiden, and such? I mean, I know Rush is more prog, DL is more pop, Maiden more hard rock. I don't know. But mostly, I just never cared much either way.

And then there was all the thrash of the late '80s/'90s, which sounded like very suburban kids taking the worst aspects of hardcore and metal and putting them together. But like Dylan sang, "don't criticize what you can't understand..." OK. I am just talking here. No critique. Just not for me. I remember being at one show at the Ritz in NY around 1986, with Celtic Frost and the Cro Mags playing together. I liked the energy of the latter and thought the former were unintentionally (apparently) hilarious. But neither was my cup of tea per se.

Later on, when we started playing festivals, we would witness such bands as Sepultura. That was some scary shit. I found it interesting. This Brazilian... I dunno, death metal band? It was all slow and low and guttural, like monsters in my nightmares. It was just so different and fresh sounding to my ears -- and eyes; what a sight! But after a couple of songs, it was time for the beer tent.

But in the past few months, I have seen a few very interesting documentaries about three very different metal bands. Anvil! The Story of Anvil was just a beautiful film about being in a band, struggling to make it, dedication, and personal relationships. The fact that I cared nothing for their music, and still don't, but still loved the film is testament to what a great piece of storytelling it is.

Then Tom Maginnis recommended seeing Iron Maiden Flight 666 Again, I care nothing about the music, though with this film, I really developed an appreciation for the musicianship and talent of the individuals. But again, the music was the least interesting part of the movie for me. Here is a story 180 degrees different than the Anvil movie. Iron Maiden are huuuuuuuge worldwide. This in and of itself was not a revelation. But it was the scope of worldwide adoration and the cult of their fans that was astounding. And the joy of the band members, their good fortune and modesty, their acceptance of each other, and the family aspect of the band makes for compelling stuff. The spine of the story is that they decide to pack everything -- crew, band, equipment -- into one 757 jet and hit all the more remote places that they rarely, if ever, got to play due to financial reasons. And the lead singer pilots the plane.

I've also been hearing a bit of noise about Norwegian Black Metal and today an article about a new documentary appeared in the Boston Sunday Globe. Trailer, here. So I went to Youtube and found this really interesting documentary about one figure of this genre. It makes for an intriguing and compelling film. I watched all five parts in succession and recommend the same for you and would be interested in reading some comments: