I grew up in the projects just north of Boston. My Mom, although not a musician, was always listening to the latest music. My Dad was pretty much a virtuoso on a chromatic harmonica. If he could hear it in his head he could play it.
My Dad somehow scored an old upright piano when I was six, and started sending me to piano lessons every week. So for years, every Saturday morning, I would walk to the brick houses side of town, crossing railroad tracks, to take piano lessons from "Mrs.Weeks". Piano seemed to come natural to me. I was always really good at math, and there seems to be a direct correlation between the two. So as you know, if you're taking piano lessons, you have to play in piano recitals. Even though I was super shy, playing at recitals was not a problem. I was so immersed in the music, I barely even noticed the people watching me. After playing in these for a few years, I started getting to be known as the kid at the recitals with no sheet music. This became such a big deal to everybody but me, that my last recital I completely botched. In my head, everyone was watching me, simply because I used no sheet music. Oh well...
When I was around twelve years old, my Dad brought home an old Harmony guitar he had bought. I then started learning to play it, and became fascinated with folk music, especially protest songs.
And thus, my journey began.....
Through the years, I played in many bands. One of my favorites was "All You Can Eat", cause any place we played that also had food, had to have a disclaimer saying "Name Of Band". Our motto...get ready for this..."Food for your Ears". I know pretty sad...
To get anywhere in music, you always have lots of people behind the scenes that make a difference. Musically, financially, believers, etc. Two people that had a big impact on my musical journey are Rick Smith and Chip Wills.
My first album "Where the Buffalo Roams" was engineered by Rick Smith at Paradise Studios in Hawaii. I met Rick after he had left L.A. and moved to the islands, to escape the city. I had friends from Charleston, S.C., who had grown up with him there and knew him well. In L.A., Rick had worked as an engineer at the Record Plant, working with some of the biggest names in music. I learned a lot from him, and acquired the nickname "Buffalo" from him. It must fit, because to this day most of my friends call me that, even though I've never requested it. Met a lot of my musical heroes hanging with Rick. Two of the most unforgettable were Jim Krueger and Gregg Allman.
I met Jim Krueger backstage at a Dave Mason concert in Hawaii. When I was chatting with him, I asked what it was like to be on tour. He said one hotel looked like the next. I asked if he had ever been around the island, and he said no. I asked him if I could show him around the next day, and he said sure. Going to pick him up the next day at his hotel, I'm thinking to myself he probably won't even be there. Not only was he there, the door on his room was open. As I walked in, he looked up from his chair and said "you're late". I was about fifteen late, as I was coming from the other side of the island. Off we went in a VW bus touring the island for the day. If you don't know who Jim Krueger is, he wrote one of my all-time favorite songs "We Just Disagree". which became a massive hit for Dave Mason. Hanging with Jim that day was unbelievable. He explained how he wrote the song after splitting up with his wife. We talked about our love for Ovation guitars and the thrashing they could take. Confided in me his nickname in high school was "Bruiser". A day I'll never forget. Back in Virginia from Hawaii, shortly after I had finished recording with Rick, I went to a Gregg Allman show. He was playing at a small club in Colonial Beach, VA "the Reno". This club was very eclectic. The club itself was considered in Maryland, because it was on pilings on the Potomac river which is owned by Maryland. I have seen water coming through the floorboards on stormy nights, it was definitely one of a kind. Gregg was playing there on his way back to Florida, where he lived. Gregg was a hero of mine from my roommate and I wearing out his "Live at Fillmore East" album. To this day I still think it's one of the best live albums ever made. During the show, a friend of mine Robin, a statuesque blonde who was from Colonial Beach, and seemed to know everybody, said she could get me backstage. Sure enough after the show, Robin got me backstage. When we got back there, Gregg was sitting off by himself. People were saying you can't bother him, he's in a bad mood. I didn't care, I was determined to touch base with him. I walked over and said " Gregg I just did an album in Hawaii with someone you might know Rick Smith". He looked up at me and said "Yeah my Laid Back album at the Plant". I asked him if he was going to this local party everyone said he'd be at and he said "Of course not". He then invited me to come by the motel he was staying at, which was only a few miles from my house. At the motel He listened to a tape of my album I did with Rick. and commented on stuff. It was like a dream. Gregg asked me for the tape, but it was the only copy I had from Hawaii, and I wouldn't give it up. Can you imagine I wouldn't give up my tape to frigging Gregg Allman. What is wrong with me......Hung out for several hours, and I never felt uncomfortable. Here I am with one of my musical heroes, and he was one of the nicest guys I've ever met. He said something that night, no one has ever said to me, and I'll never forget it. I asked a question about Dickie Betts, nothing crazy mind you, and Gregg said to me " I never talk about other people ". Wow, a very admirable and rare trait. What a night, thanks Rick.
After Hawaii, and back in Virginia, I wanted do more recording. So I started recording at a local studio, Wally Cleavers Recording, owned by Peter Bonta. Peter was a well known musician in the DC area, and was an immense help in recording new material.
Then Wally Cleavers Recording moved to an industrial building and was rebuilt. Now it was 24 track with all the trappings. Peter hired me as the studio manager, which opened up a myriad of doors. Not only was I allowed to record for free in off hours, I met every noted musician on the DC scene. Because of Peter, Wally's had a good reputation and stayed very busy. Sitting at my desk in the lounge, was like heaven. I got to chat everyday, with some of the best players around. One of my favorite people was Billy Hancock. Billy was a character and a great musician. His knowledge of music trivia was second to none. He would stop by my house sometimes, because my house was on his route home. He turned me on to records by Benny Goodman and others, it was amazing. He taught me to play "Jersey Girl" which was on the Bside of a 45 by Bruce, although written by Tom Waits. Still do it today, and my wife's a Jersey Girl. Working at the new Wallys I became friends with a young newly hired engineer, Chip Wills, whom I had met a few times in the past in local clubs. We really hit it off and became partners in crime working on my music. I was writing the stuff and he was engineering it and coproducing it with me. It went well, really well, winning many Songwriting Awards.
During my stint at Wally's….. I was able to sing ad work for Davy Jennings at Bonaventure Video… be chosen to appear on two WAMA CD's of the best artists in the Mid-Atlantic… sing on three holiday compilations by Mike Lynam of Run Wild Records… win the Mid-Atlantic Songwriting Awards, and asked to play at their Awards show at the Hardrock in DC… win the Austin Texas Songwriting Awards… made Musician Magazine’s list of the 100 best unsigned bands internationally… was selected to appear on an Oasis Disc Manufacturing “Rock and Roots” sampler CD…..And I finished my “American Crime” album project.
Thanks Chip, for making a difference in me and my music ..…
