Buffalo Tom

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Buffalo Tom

Rock band

Stampeded onto the Scene

Albums Attracted Herd of Fans

Roamed toward Crossover Success

Selected discography


The Massachusetts-based trio Buffalo Tom crafts rootsy garage-rock pop songs that tap the essence of real life with infectious melodies and knife-edged lyricism, Scott Carlson wrote in A&E. Jon Steltenpohl added in Consumable: Their sound mixes the power three-piece sound of Sugar or Hüsker Dü with the pure pop of a band like the Smithereens. The result is a pure, no-frills style of bare bones music which you can still sing along with. In their nine years of existence, Buffalo Tom has gone from Boston cult favorite to alternative-radio mainstay, but they have yet to live up to Rolling Stones prediction that they would become the next R.E.M.

Buffalo Tom formed in 1988, when three college friends from Amherst, MassachusettsBill Janovitz, Chris Colboum, and Tom Maginnisbegan playing parties and local clubs together. All three were originally guitar players, but Colbourn switched to bass and Maginnis learned to play drums to accompany Janovitzs guitar and vocals. Maginnis explained the origin of the bands name to Steltenpohl in an interview for Consumable: A friend of ours was just kind of playing around with the name Buffalo Bill, perhaps since there was Buffalo Springfield. Bills the lead singer, and Im just more of the shy guy in the back playing drums, and they thought it was pretty funny to have Buffalo Tom. We didnt think too seriously about it at the time because we were just playing parties and shows at school, and it just kind of stuck.

The members of Buffalo Tom began to have bigger ambitions when they saw the success of bands like the Replacements and Hüsker Dübands that to us were normal people, as Colbourn told Rob Galgano of You Could Do Worse. We thought we could do that, too. The band attracted a cult following on the Boston music scene with their live shows and made a demo tape of three songs that they sent to a number of record companies. The only real response was from a guy in Holland who had a label, Maginnis explained to Steltenpohl. He just slowly sent us some more money and wanted to hear some more demos, and those eventually became our first album.

Stampeded onto the Scene

When recording the songs for their self-titled debut album, the group looked to a friend from western Massachusetts, J Mascisfounder of the band Dinosaur Jr. He had put out a couple of records, so we asked him to come in and help out because we didnt know what the heck we were doing, Maginnis admitted to Steltenpohl. Mascis was eventually credited as producer on both Buffalo Tom and its follow-up, Birdbrain, and his early influence was so apparent that some critics called Buffalo Tom Dinosaur Jr., junior. Mascis also brought Buffalo Tom to the attention of the independent record label SST, which released Buffalo Tom in the United States. At that time, you know, they were a pretty hip indie label and all our favorite bands were on SST, so we were amazed that we actually had a record on SST, Maginnis recalled to Steltenpohl. Buffalo Toms early releases garnered significant airplay on college radio stations, while their frequent concerts at small venues earned them strong grass-roots support.

Albums Attracted Herd of Fans

The band signed with Beggars Banquet in 1990. The label released their next four albums and helped them break into commercial alternative radio. Their 1992 release, Let Me Come Over, shows Buffalo Tom finding a magical middle point between furious distortion and calm grandeur, reported a reviewer for The War against Silence. While several songs received airplay, including the moody Taillights Fade, the album did not find a wide audience. By contrast, 1993s Big Red Letter Day which was recorded in Los Angeles and produced by the legendary Robb Brotherstripled the bands sales to over 85,000 units. It also marked a bit of a departure for Buffalo Tom, as the group left their punk-rock and grunge reputation behind and went for a cleaner sound. The album features the song Tree-house, which Steve Gullick of Melody Maker called a

For the Record

Members include Chris Colbourn, bass, vocals; Bill Janovitz, guitar, vocals; Tom Maginnis, drums.

Group formed in Amherst, MA, in 1988; released self-titled debut album on independent label SST, 1989; signed with Beggars Banquet and released Birdbrain, 1990; contributed to Velvet Underground tribute album Heaven and Hell, 1990, and to benefit album Sweet Relief, 1993; appeared in television series My So-Called Life, ABC, 1994; performed Lolly Lolly Lolly Get Your Adverbs Here for the Schoolhouse Rock tribute album, 1996.

Addresses: Office Buffalo Tom, P.O. Box 88 Back Bay Annex, Boston, MA 02117. E-mail [email protected]. Record company Beggars Banquet Records, Ltd., 274 Madison Avenue, Suite 804, New York, NY 10016.

rumbustious, rock n soul shouterunlike anything Buffalo Tom have done before. This work also includes the singles Im Allowed and Sodajerk. The success of Big Red Letter Day earned the band a spot on one of the hottest concert tours of that summer, along with Live, PJ Harvey, and Veruca Salt.

Buffalo Toms eagerly awaited 1995 album, Sleepy Eyed, was recorded at Dreamland Studios in Woodstock, New York, inside a converted nineteenth-century church. Its got nice, big stained glass windows, Colbourn told Carlson in A&E. The sun comes in during the day and we would record rock songs, and at night wed light the candles along the wall and record songs like Twpnty-Points at two oclock in the morning. Its nice. It really is haunting. Many of the songs on the album deal with relationships and the pain of everyday life. For Example, Souvenir describes a dysfunctional family, and Twenty-Points explores how couples tend to keep, score. Janovitz wrote 11 of the songs on the album, while Colbourn contributed three.

Carlson described the music on Sleepy Eyed as a return to a gritty sound and a straightforward approach that sharply contrasts the pristine production of Big Red Letter Day, adding that the guitar is a blunt instrument and Janovitzs honest, raspy and sometimes straining voice is reminiscent of Rod Stewart imitating Paul Westerberg. Steltenpohl commented that Sleepy Eyed works because the guitars are raw, the lyrics are real, and whether its a loud, raucous song or a melancholy ballad, the songs latch onto you. Some other reviewers were less complimentary, including Audids Mike Bieber, who characterized the songs on Sleepy Eyed as uneven in quality and remarked that such peaks and valleys give the album an untethered feel, hastening its arrival on my shelf, where itll gather dust for a few years.

Roamed toward Crossover Success

Prior to the release of Sleepy Eyed, Billboard noted that Buffalo Tom had long been poised at the brink of crossover status and was in some ways approaching a make-or-break stage in its career. Though the band had attracted numerous fans and by many accounts was continuing to grow musically, they still had not emerged as a major mainstream success. Id be lying if I said we were totally satisfied, Janovitz admitted to David Sprague of Billboard. But weve long ago exceeded our day-one expectations. Weve never gone backwards, always moved forward in small increments. My heroes have all done thatpeople like Tom Waits, Van Morrisonall have a small, dedicated audience, which Id rather have.

The band planned to continue refining their sound and using their experience to bring greater depth to their music. A lot of my big heroes wrote beautiful albums in their forties, Colbourn told Carlson. There is something to be said for the confidence and the things you learn in life as you get older. If you can keep it together enough to integrate that into your music, then there is no limit. Unlike many other groups, the members of Buffalo Tom remained close friends despite the pressures of recording and touring. I couldnt go through this kind of a journey with anyone that isnt a friend, Colbourn admitted to Gullick. Weve got to know each other so well. Way beyond brothers. I always say, if youre gonna start a band, start with a bunch of friends and teach them how to play. Thats how we did it.

Selected discography


Sunflower Suit, Megadisc, 1989.

Enemy, Caff, 1990.

Crawl, Megadisc, 1990.

Birdbrain, Situation Two, 1990.

Fortune Teller, RCA/Situation Two, 1991.

Velvet Roof, RCA/Situation Two, 1992.

Taillights Fade, RCA/Situation Two, 1992.

Mineral, Beggars Banquet, 1993.

Sodajerk, EastWest/Beggars Banquet, 1993.

Summer, EastWest/Beggars Banquet, 1995.


Buffalo Tom, SST, 1989.

Birdbrain, Beggars Banquet, 1990.

Let Me Come Over, Beggars Banquet, 1992.

Big Red Letter Day, Beggars Banquet, 1993.

Im Allowed (EP), Beggars Banquet, 1993.

Sleepy Eyed, Beggars Banquet, 1995.


A&E, October 12, 1995.

Audio, November 1995.

Billboard, June 3, 1995.

Euphony, October 20, 1995.

Melody Maker, October 2, 1993; July 1, 1995; July 8, 1995.

Rolling Stone, February 21, 1991.

The War against Silence, August 24, 1995.

Additional information for this profile was obtained from the on-line versions of Consumable and You Could Do Worse zines.

Laurie Collier Hillstrom