Perhaps a bite of this delicious sampler... or just scroll down for more
thanks for listening
My ongoing attempts (40 years now) at the "three-dimensional chess game" that is: writing, arranging, singing, playing all the parts, mixing and mastering almost everything myself... Admittedly, a true fool's errand... But, 1) It's just too much fun - I never want to give over the control - as if I'm a painter and I'm being asked to bring in a professional to finish the background for me or something...; 2) I seem to need these "big" challenges, these "big" bites, because my brain just goes there - goes to the structure, the tone, the blending of sounds, the history of rock and blues... I cannot help it. Rock and roll was the best thing to ever happen to me; and 3) I just cannot afford to pay even the (bargain-basement) studio mixing price - which is too bad, cuz these "demo" mixes (and, from any pro POV, they are just demos) would be bigger and better and clearer. But I'll get there.
NEW: "A Murder of Billionaire Crows" (2020)
I remember you (2017)
A collection of short stories in a variety of genres - from a kind of wistful, "Chris Isaac" mood piece (I Remember You); to an Eno / Gabriel / Al Jarreau love song (Frankie Full of Grace); to a mandolin-drenched celebration (Better Than it's Ever Been); to a dark story of abuse, in a King Crimson trance-thing with a beautiful string arrangement.
white & Blue (2019)
It's always been strange to me, my deep resonance with the blues... I think of my "silver-spoon existence" and then I think of Robert Johnson... like I'm a stranger in a strange land. And basically, that's true. But then, we all do have pain and anguish and struggle, and I do, too. You can't fake the blues, that's the scary thing. Everybody knows it. And it's insulting in a way. Here are humble offerings.
What I'm going for here, and what is the Holy Guitar Grail to me, is to combine the physicality of Jimi and Jimmy; the the razor-sharp imagination and plasticity of Jeff Beck; and the trust that when I leap, the net appears. Electric guitar is the hands-down sexiest instrument ever devised by man. You know it's true.
Sloppy but true tracks from the vault. Most are new songs from 2018-2019. The title is from a break in the final song, Dark World. Paper World was written for an Instagram animation about an unfortunate "paper" man unable to navigate in 3D, and was then expanded to a full song. Maybe Go Walkin' is about being desperate in the city, and dialing a number you said you wouldn't dial.. Thanks Anyway is a trancy, fever dream about, yes - some days there is no hope. Gaslighter - Well, I'll bet you think this song is about you...Thanks for Nuthin is just a good old poppy rocky guitar-slinging shtuff. Finally, Dark World is just plain scary, watching "...all these monkey- men and women throw it all away..."
outskirts of you (2013)
From "Ice Station Nine," (a metaphor for the US and it's "out-caste:" the homeless); to the title track, a kind of old-school epic ballad, not too far from Layla's house, these tracks were mixed in Portland, ME by the awesome Steve Drown at "The Studio." I worked with a fierce studio drummer on both "Wild One" and "Ice," and it really shows. "Bleed 4 You" closes the show, a desperate, Cat Stevens plea to my future and only true love.
NEW: "NOTHING" (2020)
Some of the old, some of the brand new. Now or Nevermore indulges my more lush, string laden side with my love for Radiohead, kinda. Wake Up Daddy is as basic a 3-chord rock song as ever, and an earnest cry about the epidemic of absent fathers. I've included my (so far) favorite "studio" recording of Chameleon Man, and Hit Parade is just another routine horror story of domestic servitude. Nothing completes the set, leaving the listener with a little hope, a little love story about my one main squeeze. Enjoy!
Chameleon Man" (LIVE 2018)
Live show filmed in September 2018, featuring 8 original songs and an extended version of ZZ Top's "Blue Jean Blues." The concert took place at SPACE 320in Newton, MA with a studio audience - and features musicians Marciani from Argentina (guitar and vocals); Pietro Gennenzi from Italy (bass); Juan Mejia from Colombia (drums): and Santiago Galeano from Argentina (Keyboards and vocals). Each of these monster players (and wonderful guys) are Berklee School of Music grads and accomplished composers, arrangers and bandleaders in their own right. Tom's animations, as well his films with Francine Zaslow were projected during the live show as well as integrated into the finished film.
tell me (2015)
I tried for some BIG sounds here, and I am in love with some moments here. "Taller Grass" uses only three chords (I'm very proud of that...) - if only to see if I could create drama using such a spare frame. I wrote "The Good Life" thirty years ago about our fair city Boston. I tried to create a huge intro like Gabriel's "Red Rain." "Guantanamo" is a terror dream about the end, and that silly old "no due process" thing we got going here. Using "Tell Me," my partner, Francine Zaslow, and I created a reasonably elaborate music video that won some awards (Best Music Video / Los Angeles Film Awards). Finally, "Am I Real" is another written in my twenties and reworked minorly... It's all about singing like percussion.