Let Me Come Over. Buffalo Tom.
1992, RCA Records/Beggars Banquet. Producer: Paul Q. Kolderie, Sean Slade and Buffalo Tom.
Purchased CD, 1992.
IN A NUTSHELL: Let Me Come Over, by Buffalo Tom, is an album split evenly between spirited rockers and subtly seething quiet numbers, each one performed with emotion and power. Singer/Songwriter Bill Janovitz uses his voice to great effect, making the listener believe in everything he says – even when it’s obscure. Bassist Chris Colbourne and drummer Tom Maginnis provide steady backing for Janovitz’s rage and pathos and joy. Every number requires repeated listens, and brings the power each time.
NOTE: The setup – below the line ↓ – might be the best part … Or skip right to the album discussion.
One summer, either 1971 or ’72 or ’73, when I was 4, 5, or 6, my dad became assistant coach of the Ebenezer team in the local “Teener Baseball” league. It’s a league for kids 13 – 15, and it’s traditionally been the first experience for baseball players on “the big diamond,” the baseball field the same size they use in the Major Leagues.
Because I was the young, baseball-loving son of the baseball-loving assistant coach, I was immediately made the team bat boy. If you’re unfamiliar with baseball, let me explain: when a player hits a ball, he drops his bat and runs to first base. The bat boy comes onto the field before the next batter and brings the bat back to the bench where the players sit. Very often there is no bat boy, and the next batter simply tosses the castoff bat towards the bench. But if you have an enthusiastic, 5-year-old coach’s son on the bench, it’s kind of cool to let him race out among all those big kids and grab the bat. (It can be scary, too.)
It was an honor to me, and I still remember how proud I felt to be entrusted with this task. I felt a bit older than my years, and not just because I got to pick up bats in games. At practice, sometimes the older kids let me bat, and they’d cheer for how hard I hit the ball and how fast I ran. Sometimes they’d play catch with me. Sometimes they’d forget I was nearby and I’d hear them swear or talk about girls.
The entire experience was thrilling, as if I was given access to a world that kids my age never got to enter. Those Teeners seemed so big and mature, and I revered them. I still recall many of their names: Kevin Garmin, Dennis Natale, Jett Conrad, Chuck Fasnacht, and my favorite: star pitcher Scott “Honey Bear” Miller. Over the next few years more names cycled through as I continued my bat boy duties. Falk, Rittle, Groff, Witters, and so many younger brothers of players from previous seasons. All these big kids were doing stuff I couldn’t wait to do myself.
Eventually I joined a Teener team of my own. Not Ebenezer, however. A series of … let’s say “issues” occurred, which led me to join an upstart crew in the summer of 1980, called The Orioles. I had finally arrived at “The Show.” Okay, I know that “The Show” means the MLB, but even though I played baseball another few years, even into college, I was never as successful again as I was as a Teener. Plus, it’s the league I always strived for, so for me, it was “The Show.”
My time had come. There I was, out on those same baseball fields I’d traveled to with my dad, sitting on the same benches in the same dugouts, this time with a uniform of my own. Why, my dad even helped coach the team one year, when our elderly Coach Bosh, who had coached my dad in the 50s, asked him if he would. I felt really happy to be living the Teener Ball Life.
When you’re a kid, the big kids are doing all the fun stuff. Driving cars, going to late-night movies, hanging out at The Mall … all you can do is wait. And eventually it’s you, and the people your age, who get to do these things, and it feels great. Your time has come.
Making music is another one of those things that older kids and adults did. In the 70s, the hairy grown men and sultry adult women making music felt as distant to me as the Ebenezer Teener team had. But by the early 90s I was in a band, writing songs, and realized that – holy shit! – my time had come! The people making music were now my contemporaries!
Many of these new acts connected with me because they took the music I grew up around – The Beatles, 70s AM radio, funk, Johnny Cash, disco, classic rock, metal, new wave, punk, even Saturday morning cartoons – and threw it all into a virtual blender of guitar, bass, drums and synths to create something new, but familiar. It was a sound for me, by my cohort, tuned to my tastes. I’d resisted new music for a while, but once I dove in, I stayed under for a long time.
Around this time I’d gotten my first place on my own, in a little cabin in a lakeside getaway village called Mt. Gretna. I was earning some decent money as a chemist, and I felt – suddenly – grown up. And for music, I turned to other new grown-ups, like me. Of course, Nirvana was in the mix, and my buddy’s band, Gumball. Dinosaur Jr., with J. Mascis’s furious guitar, was a favorite. Relative old-timers Sonic Youth were in heavy rotation by the lake, as were Scotsmen Teenage Fanclub. Brit shoe gazers Ride and twin Boston acts The Lemonheads and (#19) Juliana Hatfield were favorites. This is also the height of my hip-hop knowledge, as new grown-ups like De La Soul, and A Tribe Called Quest, and slightly older kids Beastie Boys and Public Enemy spent significant time in my CD player. Then there was the “Greatest Hits,” of sorts, the soundtrack to the 1992 movie Singles.
But my favorite album among these new contemporaries, the one that connected with me immediately upon first listen, was Let Me Come Over, by Buffalo Tom. I bought it at a little record store where my band sold copies of its first cassette. At the same time, I picked up Green Mind, which came with a bright purple t-shirt that my daughter now likes to wear.
Let Me Come Over stuck with me from the very first notes of my very first listen. I still remember sitting in my cottage hearing the rumbling, introductory three-note bass line of the opening song “Staples.”
That’s bassist Chris Colbourn opening things up, with guitarist/singer Bill Janovitz building a structure of guitars around him. It’s all very simple, rather repetitive, but the band really makes it work. Janovitz is a cagey vocalist who sings with emotion to get the most out of his voice. He does cool things like subtly hesitating as he sings his first “Staple …” Drummer Tom Maginnis has a very Ringo-esque habit of slightly speeding the tempo when needed, as he does here about 0:40, as the second verse begins. Colbourne provides terrific vocal harmonies in verse two, and I love when the chorus first hits, about 1:20. Janovitz provides a noisy guitar solo. The band’s lyrics are usually a bit obscure, displaying Janovitz’s poet tendencies, but this song seems to be about someone who’s love has left and he has no idea why. I tend to shout along to all the songs on this album, even though I don’t know any of the words. It’s a record that demands to be played LOUD!
This one really shows off all the features that I love about the band. The loud guitars, the emotional vocals, great drum fills. Janovitz really gives his all to the vocals – for example, at 0:46, and each time it repeats. I saw the band live in 1994, and it remains one of the most powerful rock shows I’ve seen. I love the descending bass after each line, and the dense guitar throughout. (By the way, “Cappy Dick,” who can’t help our protagonist even with assistance from Jesus Christ, was a comic sea captain who provided kids activities in the Sunday Comics for years.)
I love the sequence of the album – how it alternates between rockers and slow songs. After a sad song like the last one, the raucous entrance of “Mountains of Your Head” sounds particularly excellent.
The ringing guitars, the driving drums, the descending riff … I love this song. The voices of Janovitz and Colbourne blend so nicely on lyrics that seem to be about a lovers’ quarrel perhaps? (“What’s on your mind? / If it’s on your tongue you should speak.”) By the third verse it sounds like 13 guitars are strumming along, a dense sound that Maginnis’s drums keep grounded. There’s a nice little piano added at the end, too. The song leads into another beautiful, softer number, “Mineral.” Janovitz belts and emotes on lyrics that, to me, sound like a reflection on an unhappy childhood? Once again, numerous guitars chime and grind throughout creating a powerful soundscape. This song reminds me of being blown away at the 1994 SF concert …
Since I like the sequence of Let Me Come Over so much, I’m going to go straight through, which means that my probably-favorite song on the album is up next, the Faulkner retelling, “Darl.”
Perhaps another reason I love this album is that I was reading William Faulkner’s As I Lay Dying around the time I got it, and this song is a frenetic first-person account (just as in the book) of the character named Darl. It’s sung by bassist Colbourne, with great harmonies from Janovitz. I love the syncopated melody, and – once again – how Maginnis quickens the pace when needed. There’s a cool guitar solo about 1:25, too. It’s a fast, fun, head-banging song that always sounds great.
The band changes gears once again with the swaying, sea-shanty-esque “Larry.” Like Led Zeppelin, Buffalo Tom has a fondness for song titles that are not part of the lyrics.
I don’t know what Larry is about, but Janovitz’s voice is as affective as ever, particularly around the 4:00 mark. It’s a sad, evocative song, and I don’t know why, but it really moves me. By the end it fades to squealing feedback that seems to sum up everything that’s come before. How can feedback summarize a song, you ask? I don’t understand it, either, but I sure do feel it. And I don’t feel it for long before the band bashes me with the riff-heavy “Velvet Roof,” a song that again, for some reason, again reminds me of a sad childhood. Maybe it’s the “scraggly hair and messed up shoes,” but I wonder if it’s about a kid’s memories of a crazy mom? Anyway, it’s a great guitar rocker with excellent work by the rhythm section.
“I’m Not There” is not a song I enjoy, and I’ll leave it at that. But it does serve as the entry to “Stymied,” a mid-tempo, densely-packed, melodic song with a cool rhythm and bass guitar, that may be about a big lovers’ fight. Many of the songs on Let Me Come Over seem to be about violence and anger, and one of the best and most oblique, lyrically, is the terrific “Porchlight.”
It’s a story song with an upbeat, bouncing rhythm that seems to tell of, maybe, a guy who saw two friends (including an ex, perhaps?) die in a house fire (while making eggs?), one of whom left a voicemail for him earlier in the day? The lyrics have that Steely Dan – Belly thing I love so much of telling a story that kind of makes sense but maybe not? The music and melody are catchy, and once again – Janovitz’s vocal performance makes the song. Around 1:00 he punches the words “chill” and “king” in a significant way, then his voice cracks a bit on “I ain’t here on business.” (Was it a drug deal, [“It’s all work, anyway”] and that’s why he ran away?) Janovitz’s voice is always perfectly imperfect, and that’s why I love it. He sounds like a guy who has to get these thoughts and feelings out RIGHT NOW. Plus he writes awesome songs.
Like the lovely “Frozen Lake.”
If you’ve ever loved and lost, and found yourself pining away for that other person, well, “Frozen Lake” just might be the song you play fifteen thousand times in a row. I may or may not have done this in the fall of 1992. For me, “Porchlight” and “Frozen Lake” are the climax of the album. One fast, one slow, both examples of what I love about the album. That’s not to say “Saving Grace,” with its driving punk angst, or “Crutch,” with its layered, rippling beauty, and poetic lyrics, are lesser songs. They are both outstanding, a fitting closure to an amazing album.
Let Me Come Over is the sound of me realizing my time is now. It’s hard to believe that “now” is so many years ago, but the feeling of arriving stays with you forever. It combines the excitement of running onto diamonds and grabbing heavy, wooden bats for big kids, the anticipation and longing for a time when you’ll get to play, too, and, finally, the pride in handing your own bat to another coach’s son a few years later. You’ll feel it forever, even when it’s gone. You’ll never forget the feeling that your time is now. It feels, to me, a lot like Let Me Come Over.
“Mountains of Your Head”
“I’m Not There”