Category Archives: The Inspiration Behind

THE INSPIRATION BEHIND… Buffalo Tom’s “Taillights Fade” (1992)

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Ed note: With BLURT’s newest series, we want to spotlight tunes that hold special places in our hearts and in our collective experience as devotees to and lovers of timeless indie rock. No, you probably won’t get the scoop behind “Night Moves” or “Bohemian Rhapsody,” but don’t be surprised if “Shake Some Action” or “Death Valley ‘69” turn up on our playlist. To kick the series off, we asked Eric Matthews, of both solo and Cardinal fame, to talk about his classic number “Fanfare,” from his 1995 Sub Pop hit It’s Heavy in Here. Response from readers was immediate, and enthusiastic; Matthews himself was appreciative, and fans are encouraged to check out his new single (details HERE). For our latest spotlight, Bill Janovitz of Buffalo Tom pulls back the curtain on one of his early gems: “Taillights Fade,” from 1992’s Let Me Come Over, cut with fellow bandmembers Chris Colbourn (bass) and Tom Maginnis (drums). Scroll to the end for details about the band’s upcoming 25th anniversary shows for the album.

BY TIM HINELY

In the late ‘80s, Massachusetts trio Buffalo Tom burst onto the scene with a very good self-titled, J. Mascis-produced debut that was initially released in Europe on the Megadisc label in 1988, subsequently getting picked up in the States by SST the following year. They followed it up with Birdbrain in 1990, by now signed to Beggars Banquet, another very good effort, but the band really hit it out of the park on record number three, 1992’s Let Me Come Over, also on Beggars, and one of the best records of that year. It’s still a favorite among Buffalo Tom fans. The band—the same three guys: Bill Janovitz, Chris Colbourn and Tom Maginnis—still get together for occasional tours and recording (their latest, 2011’s Skins, is among their best). I tossed a few questions at vocalist/guitarist Janovitz to get the skinny on one of the band’s most popular songs and he was kind enough to give it up for the BLURT readers.

 BLURT: What was the initial inspiration for the song?

BILL JANOVITZ: This one, as with most of my songs, started with the music. I think I just started humming out a melody and the first verse came. The second verse was taken from a newspaper story about a girl who goes to hide as a hermit after her family would not allow him to marry the man she loved. I believe this was in Romania. The third verse is a summary, tying the three together. Cappy Dick is a reference to a Sunday comics character from when I was growing up.

Did it take long to finish writing it?

The song, with melody and chords came quickly, all at once. The first verse was likely culled from the initial mumbling I was doing. The second verse was just sitting around in a notebook, though in different meter. I think I pulled the whole writing part together in a day or so. I started on the bathroom floor after a night of drinking. I could go in there and play a little because it was the furthest away from my girlfriend while she slept in our bedroom in our tiny apartment. I would record into a boom box.

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Any idea how your longtime fans feel about it—i.e., would it be considered a “fan favorite” or anything?

Certainly yes. It is kind of our signature number.

Was it a staple of your live sets ever years later?

We have played no shows without it, I think.

Is there anything about the song you’d change?

The actual writing? No.

Tell me a little about the recording of it—where and when, how long did it take, any watershed moments or glaring problems, etc.?

Recorded at Dreamland, a converted church in Bearsville, NY, near Woodstock. Amazing spot. Then we overdubbed guitars, vocals, etc., at Fort Apache in Cambridge, all with Sean Slade and Paul Kolderie co-producing. It was mixed by Ron St. Germain. I think every performer listens to recordings of themselves and hears things they would change or improve, if not just cringing outright. So, yeah, I would change a few things. But nothing glaring.

How do you feel about it now?

I still feel deeply about the song, especially when singing it. But I would never have predicted it would be a song so many people latched onto, never mind be a single or a song that still resonates for so many fans. I’m grateful to have one song like that, if nothing else.

Buffalo Tom recently announced they will be doing some shows next year to mark the 25th anniversary of Le Me Come Over, including Brussels, Amsterdam, and London.

Janovitz on the web: http://billjanovitz.com/blog/  / https://www.facebook.com/Bill-Janovitz-37654950807/

 Buffalo Tom on the web: http://www.buffalotom.com/  / https://www.facebook.com/buffalotomband/

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 Suggestions for a potential “Inspiration Behind…” profile? Let us know in the comments section, below. If we take your suggestion and the artist, in turn, takes us up on it, we’ll acknowledge your editorial input in the feature (and maybe even give the artist your contact info so he can thank you – or sue you – for making the suggestion).

 

THE INSPIRATION BEHIND… Eric Matthews’ “Fanfare” (1995)

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With BLURT’s new feature, we want to spotlight tunes that hold special places in our hearts and in our collective experience as devotees to and lovers of timeless indie rock. No, you probably won’t get the scoop behind “Night Moves” or “Bohemian Rhapsody,” but don’t be surprised if “Shake Some Action” or “Death Valley ‘69” turn up on our playlist. To kick the series off, we asked Eric Matthews, of both solo and Cardinal fame, to talk about his classic number “Fanfare,” from his 1995 Sub Pop hit It’s Heavy in Here. Coming soon: Bill Janovitz of Buffalo Tom pulls back the curtain on one of his early gems.

BY TIM HINELY

 BLURT: What was the initial inspiration for the song?
ERIC MATTHEWS: Here’s what happened. Cardinal was debuting and the first single off the album was in the UK, “Dream Figure” (Flydaddy/Dedicated). And because the A-side was a song I wrote, we thought it would be cool if I wrote the B-side for the next single that would come out here domestically and in the UK, a Richard Davies composition. “If You Believe In Christmas Trees” was the single, and I was sent off to write a B-side, and came up with “Fanfare.” It was a slow acoustic dirge more like the “Reprise” version at the end of It’s Heavy.

Well, after I wrote it, I pretty much pulled a move where I said, “No, I am keeping this one for my first album.” It caused some friction between Richard and I, but I was a selfish prick about it. And frankly, I think it turned out all for the best because of course, it worked well for me—but way more to the point, we got “Say The Words Impossible” from Richard for the B-side, and that is one of the best songs he ever wrote.

Cardinal recording “Fanfare” would not have worked, really, too small a room. I needed Jason Falkner for it to have worked. “Dream Figure,” my only song on the Cardinal debut, I was all alone on it, just me and the drummer. That song took 3 hours to complete recording from start to finish, and that is the rush job that “Fanfare” would have gotten, and my career might not look nearly as good, such as it’s been.

Did it take long to finish writing it?
Not at all. I actually used the same tuning on guitar that I used on “Dream Figure,” and it just shot out of me. The lyrics may have taken an hour, but yeah, it was a quick put-together. The trumpet was automatic, and helped me name the song, whose title has nothing to do with the lyric.

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Any idea how your long-time fans feel about it—would it be considered a “fan favorite” or anything?
I am starting to get the message at this point that people really regard it [highly]; that it was a major sound for them when it came out. Remember, at the time [in the mid ‘90s] the stuff on the radio and MTV was all hard, jagged, and loud. I used elements of that in my production of it, wanted to make it a “rocker.” But something about perhaps the softness of my voice and the blasting trumpets, the vocal harmonies… it’s like Chet Baker made a pop record, and yeah, it seems to have really sunken in for people as a benchmark song. It helped sell the record, where really there are far more meaty songs.

Is there anything about the song you’d change?
Well, not really. That said, when it was all finished and I handed over lots of space for Jason Falkner to play all those awesome moving guitar lines. And just sitting back to how hard we as a trio (Jason, Steven Hanford, and I) rocked, the insane groove of the thing, I did feel as if the song itself sort of got lost in the big mix. So, very late in the game, I got the idea to do that condensed acoustic version of the song “Fanfare (Reprise)” and tack it at the end of the album. I love that I did that—show people the warmth, quiet, and breath of the thing.

Tell me a little about the recording of it—where and when, how long did it take, any watershed moments or glaring problems, etc.?
We recorded “Fanfare” downtown Portland, Oregon, at White Horse Studios (gone now) in early 1995. It was recorded quickly; we only did three takes as a trio and pretty much just nailed it. Me on guitar, Jason on bass, and Steven on drums. Vocals took me an hour, trumpets an hour, and Jason an hour of guitar overdubs. I mean, three punk rock guys just laying it down.

Mixing was probably an eight hour affair. It’s all in “post.” No big moments to speak of. My studio environment is pretty no-nonsense. We have fun, but only with the music. It’s all business, everything mapped out and planned to the dime. I am as much executive as I am musical producer. And lucky for me, Tony Lash, my then-production partner was very much like me, a creature of focus and discipline. He made “the band” sound good and we just rocked out. Jason was given the assignment of “lead guitar” and I only told him about essentially filling spaces with movement. I had come to know very well his creative melodic approach to guitar work, especially on [The Grays’ 1994] Ro Sham Bo album. He stepped up and had those melodies at the ready and kicked as—took the song to the next level in my opinion.

At the end of the day, we all looked around and it sounded like it belonged on radio. And the album title came from Jason. We were in the control room listening to a take of the live trio. Jason turned to me and said, “I think we achieved total heaviosity.”

How do you feel about it now?
I feel that the song got people to check out the whole album. That album is what it’s all about. The single is always the bait. And clearly, it worked, people got it, got me. Last year was the 20th anniversary of the song and album, and it came back out, a reissue where Sub Pop and Lo-Fidelity jointly released the album. The reissue gave people an opportunity to get deluxe vinyl and bonus tracks, that whole kind of thing. And best of all, that reissue got me back on track, as I did a deal with Lo-Fidelity, my new champion Jeffrey Kotthoff, signed me to a multi-year deal. I have a single coming out just after thanksgiving and a new album, Too Much World, coming out in February, 2017.

So, you can look back, and Jon Poneman from Sub Pop would say he gave me that deal because of my work on the Cardinal album. But yeah, it’s “Fanfare” that people heard in their cars, at the record shops, on college campuses, etc. Everything starts at that point for me, my childhood smile…

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