MP3 Song
Shake Me
THE SONG
Cool and smooth as it slowly seeps into your brain. An continuous yet impossible to avoid infection. This is but one of many.
THE CD
Here's one of the those times something just sounds right, feels right and you really don't want to try to figure it out. Vehicle is a disc that will permeate your mind and wrap around your insides and you don't want it to let go. Independent disc or not, this is classic music. Period.
BandRadio
Contact Info
Web site:
Sam Bisbee
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Introducing Sam Bisbee, the brand new, grizzled, wide-eyed, ten-years-in-themaking,
overnight, veteran newcomer whose Vehicle has finally arrived.
Sam spent the 1990's moving from development deal to development deal (Geffen,
EMI, BMG all financed demos) and ultimately managed to make one album with his
band Bisbee (Snacks, 1996, Plump Records) before plunging back into the life-force
consuming task of making MORE DEMOS. After a couple of years decompressing,
Sam awoke to the realization that he never wanted to make a DEMO ever again. So
he called up some friends (engineers, producers, musicians...) and made this, his
debut solo album. “It just happened," says Sam. "And it is the album I've always
wanted to make. I made it in a bubble. No A & R personell within a 5 block radius.
No mention of taking things to 'the next level'. Just music. Pure and simple. For
music's sake."
Luckily for Sam, the 'friends' he called (all of whom contributed their talents for next
to nothing) were not your average friends. Pete Keppler was in the middle of
engineering David Bowie's upcoming release when he received a call from Sam.
Leona Naess was working on the follow up to her critically acclaimed freshman
release on MCA when she heard Sam's voice on the answering machine. Charlie
Drayton (Neil Young, B-52's, Keith Richards, Iggy Pop..) was playing an all-star gig
with Mike Campbell (Tom Petty) when Sam's email scrolled across his cellphone
screen. Peter Adams had just come off the road with Tracy Bonham and was on the
way to Boston to back up Juliana Hatfield and Kay Hanley (Letters to Cleo) when he
ran into Sam on the street. John Wolfington was about to go to Europe to promote his
freshman release on Sonic Youth's Smellslike Records but Sam insisted he bring his
guitar and pedal box to the studio. Scott Jacoby, bleary eyed from an all-night
session working on a J-Lo remix, couldn't say no. Philip Glass’s legendary Looking
Glass Studios opened up the doors of Studio B for a price that had Sam wondering
how they paid the utility bills every month. Steve Addabbo let Sam use his Shelter
Island Sound's storied recording room for free during down-time. Dave Wike and Dan
Green, Sam’s core rhythym section, were by his side through it all.
It took 10 months. Sometimes as long as 6 weeks would go by in-between times that
the studios were available. Elation. Despair. Frustration. Catharsis. All the ingredients
were there. Finally, the day came when Sam paid a visit to the final friend on his list,
top mastering engineer Emily Lazar. As he spilled the 30 tapes onto her desk Emily
thought (out loud): "This is gonna be a mess." But then she heard the music. "This
was far and away the best thing Sam's ever done AND the best record we’ve had in
here all year," Emily said. "We were blown away."
Now it's your turn. Here it is. Shrinkwrapped. It comes with a seatbelt. And it comes
with a world that rushes by windows that you can roll down to let the wind blow back
your hair. Take a listen and you'll see what we mean.
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