Bill Bachmann

“Bill Bachmann needs no comparison…razor-sharp lyrics and a satirical edge that takes no prisoners…another guitar and lyrics masterclass...songs that touch raw emotions…outstanding guitar work with super-slick changes of gears and styles… - Folkwords (March 8, 2011) by Tim Carroll U.K.

“…Simplicity - unpretentiousness, to be truly precise - has been folk music's most dependable characteristic. Bill Bachmann embodies this ethos admirably and with supreme craftsmanship…
...As the songs on his new album, "Big World Out There," make clear, he's just a regular guy, albeit one with a sharp wit and keen sense of observation. His songwriting approach generally falls into two broad categories: clever, humorous use of the craft for purposes of wordplay and whimsy, and personal, poetic takes on the moments and corners of life and reality that are the stuff that always intrigues artists. He’s good at both…
…Of the whimsical type, the best offerings here are "Reds That Cincinnati Came to See," which delves into that baseball franchise's history with some really astute rhyming, and "Giant Can of Paint," which goes all-out in its embrace of playfulness, depicting grass turned blue by a can of paint dropping from the sky.
…The hands-down winner on this album is the ghostly "Upstate Towns." It's a painting in music, with a melody the listener would never be able to predict, ethereal synth strings, and vocal harmonies that reinforce the feel of the refrain masterfully. That poignant humanity is Bachmann's undeniable strength.” - IndieMusic.com (September 20, 2009) by Barney Quick

Bill Bachmann - Big World Out There
2009, Flight Of The BumBillB Records

Then along came Bill, just an ordinary guy... might be the perfect epitaph for Bill Bachmann when the time comes. The quiet, unassuming singer/songwriter originally from Buffalo, NY is an affable everyman until he straps on a six-string, when he becomes a magician. The ironic part is that guitar might be Bachmann's second talent, as there are few in the Folk world or out of it who can tell a story with quite the same zest, wit and intelligence without compromising the inherent musicality of a song. Bachmann's recordings have been preserved by the Smithsonian, and he has been covered by folks such as Christine Lavin, Shawn Colvin and Lucy Kaplansky. Bachmann graduated from opening for acts such as Dave Van Ronk and Steve Goodman to being an active member of New York City's Greenwich Village folk scene, playing with artists such as Paul Siebel, David Massengill and George Gerdes and His All-Male Vegetarian Orchestra. Bachmann's latest effort, Big World Out There, is a master class in marrying storytelling to song craft.

Bachmann opens Big World Out There with the title track, a devotional to his calling that could easily be heard as a simile metaphor for humanity. Bachman discusses music with grace, injecting a touch of humor "Some (notes) have volume as their forte" here and there. Bachmann shows off some serious slide-guitar work on Just Shoot Me I Hate My Life I Wish I'd Never Been Born Blues. Dark humor and serious Blues chops mix here to create a virtuosic performance. If puns make you laugh (or at least groan in mild discomfort), Closet Closet will be a fun adventure. On Upstate Towns, Bachmann offers up a view of small town/suburban life that isn't really complimentary on its surface, but serves more a descriptive than defamatory purpose. The arrangement is dark and vaguely disturbing, like a painting that's slightly out-of-focus. This Band Was Your Band takes Woody Guthrie's This Land Is Your Land and turns it into a Beatles tribute. There's a certain corniness here that will cause listeners to either immediately love or hate the song without a lot of middle ground. Bachmann fills the song with historical facts and viewpoints about the Beatles, sewn together with his trademark turns of phrase and puns.

Bachmann pays tribute to Major League Baseball's Cincinnati Reds on Reds That Cincinnati Came To see. The song is based on the melody from Blues My Naughty Sweetie Gave To Me and is quite entertaining, although it may fall a bit flat with folks who aren't baseball fans. Bachmann continues to impress with his guitar work. Vacation is something of an instant classic; a trip through the alphabet in song that has been preserved for the Smithsonian's Folk Archives. Vacation is inventive and fun, done in a talk-sing style complete with kazoo solo. A More Perfect Union was written on the night President Barack Obama was elected and is a tribute to that fact. The song is a paean to hopes and dreams realized and has a sweet melody

Fans of venues Towne Crier (Pawling, Massachusetts) or Caffe Lena (Saratoga Springs, New York) will have both a historical and musical interest in The Ballad Of Townes Van Crier and Pasqualina. Van Crier started was a patron of the arts, and Pasqualina Nagri, better known as Lena Spencer, ran Caffe Lena until her death in 1989. The song includes not-so-obscure references to the Kingston Trio and Don McLean, but is really something of an off-the-cuff tragedy told in humorous terms (ala Shakespeare).

Bachmann ratchets up the humor on Giant Can Of Paint, an entertaining Bluegrass romp that might be irresistible even if you're not much of a Bluegrass fan. It Won't Be Long takes on end of the world prophecies such as Armageddon and the Aztec end-of-world predictions for 2012. The song is written from the brink of the end of the world, referencing the Biblical prophecy of the drying up of the Euphrates river as a precursor to the final battle between God and Satan (Geopolitical concerns combined with drought have had the net effect of essentially drying up much of the Euphrates). The song is serious and slightly uncomfortable, abandoning Bachmann's sense of humor for a sobering moment. Bachmann is back to his usual high-jinx on This Song Is Called This Song Is Called, a Bluegrass barnburner that's a vicious tongue twister to boot. Bachmann winds down with One Great Date, a quirky love song that looks back over years together through the use of clever word play and probably an inside joke or two. It's a sweet love song that might be a bit too obscure (or specific if you're in the know) to be a Mix Tape pick, but certainly qualifies as one of the more romantic silly love songs I've heard in a while.

Bill Bachmann is a throwback, of sorts, mixing the storytelling and musicality of Woody and the mischievous nature of Arlo. There's a reason the Boston Phoenix once opined that Bachmann was "grossly under-recorded". Listen to Big World Out There and you'll understand the sentiment. Bachmann isn't a flashy performer, but he can hold a crowd in thrall with his down-home folksy wit and intelligence; not to mention a musical touch that's almost magical. Big World Out There got to us a bit late to be considered amongst our top albums of 2009, but don't be surprised if it inhabits a number of critic’s lists for last year.

Rating: 4.5 Stars (Out of 5) - Wildy's World (January 22, 2010) by Wildy Haskell

“This guy has an extremely clever way with lyrics, first of all, and, in a world of facile versifying, that's a huge relief…Satire, turns of phrase, parody, and outright guffaws are packed into this CD…Bachmann plays and sings everything, wrote it all, and recorded every moment…I dare ya to find a release quite the equal of this. And you'll have to do so on your own, 'cause I ain't lettin' loose of my copy.”
- Folk and Acoustic Music Exchange (October 24, 2009) by Mark S. Tucker

'09 saw Bill Bachmann's Big World Out There and made me an instant fan; 2011's Folk 'n' Roller only reinforces that affinity. Once again this one-man band has composed, played, recorded, and released a disc all by his lonesome, using only Rolling Stones / Shawn Colvin / Brian Wilson engineer Don Grossinger to master everything, a choice that has resulted in an atmosphere calling back to the old Vanguard and other recordings of solo troubs and ensembles like Richard Fariña and Country Joe and the Fish, where an intimate, open, breathing environment sheds the plasticene Big Radio Sound for woodsheddingly fresh air.

Don't think that virtue is lost on anyone, either, as Bachmann's played guitar for Paul Siebel, The Song Project, and others while Smithsonian Folkways Recordings placed one of his cuts in with Suzanne Vega, John Gorka, and various heavy-hitters. Then his Vacation proved to be so popular that Shawn Colvin, Lucy Kaplansky, Christine Lavin and others featured it on the Live at the Bottom Line CD. Thus, Bachmann's kind of a…Tom Snow? Randy Edelman? Henry Gross? Yeah, okay kinda, but I'll take his releases over those saccharine songcrafters' LPs every day of the week, thrice on Sunday, and cuts like Happily Sad-isfied show why. Bachmann's nothing if not clever as hell, and here, instead of playing a middle eight solo, scientifico-psychologically explains why he really shouldn't. Too damn hilarious: a spoken-word apology for refusing to titillate which nonetheless stands as just that…with a sardonic smirk.

You can just imagine what Kill that Beer, Your Old Man, Stuck Here Instead with You are about, and his rip on Old Man MacDonald will have you combing your memory, trying to recall whether the old goat was really that much a prick…and that hip. Bachmann's a master of the pun as well as a deft surgeon with words qua words, supplying piano, electric and acoustic guitar, bass, drums, synth, and backing vocals (with a bit of assistance from Alyssa Bachmann) as a backdrop to his wit, pathos, remembrances, and meanderings. However, he does indeed pen a serious track or three, so you'll also have a sober moment here and there. I suspect, though, that all his listeners, much as they may dig his more gravid moments, treasure the guy for that unstoppable amusement with life, words, and exposition. - Folk and Acoustic Music Exchange (March 24, 2011) by Mark S. Tucker

Bill Bachmann
Folk 'n' Roller

Bill Bachmann would be hard-pressed to find a more fitting title for his sophomore release. Folk 'n' Roller perfectly describes the extraordinarily clever way Bachmann tells stories while playing complicated and interesting music at the same time.

I'm torn between making a list of all the witty, smart lyrics on Folk 'n' Roller and letting you find out for yourself. There's simply no end to Bachmann's unique way of talking, singing, and writing, which leaves each song with something worth listening to, a goal I feel certain all artists strive for but that most, unfortunately, don't reach.

On the short “Stuck Here Instead With You”, Bachmann sings, “Well it's great to be lazy/slip into crazy/then go for broke/with an overdose of coke/yeah I could be dead now too/but I'm stuck here instead with you”. His lines rhyme without subtracting from the song, and he sings them with a spunk and delight that shines through. At other times, he's so clever it'll make you laugh out loud. “Doctor heard my bloody scream/said something utterly obscene/a lot of dumb words on his smart phone,” he sings on “This New Hip Song”.

While Bachmann isn't the best singer you've ever heard, he's not trying to be. He talk-sings most of the time like Bob Dylan or Conor Oberst, but he sounds like he's enjoying it and doing it on purpose and not as an excuse. There was never a moment where I found his singing distracting from the song; on the contrary, I found it fit the story-telling style of songwriting perfectly.

The music behind the lyrics doesn't fall short. Bachmann's band plays along in a jazzy-y, rock-y kind of style that is smooth but still seems improvised, like they could fall into a jam session at any point in time. Bachmann's guitar is better than Dylan's ever was and moans along with Bachmann himself as though it has emotions all its own. It's a second helping of clever when the guitar sings along and makes itself known without taking over.

Bill Bachmann has delivered a near-perfect album that never disappoints or steers into anything less than what you'd hope for. You'll do more than enjoy Folk 'n' Roller – you'll absolutely love it.

Key Tracks: Folk-n-Roll, Your Old Man, This New Hip Song, Kill That Other Beer


Abbey K. Davis – Sr. MuzikReviews.com Staff
February 22, 2011
©MuzikReviews.com
- MuzikReviews.com (February 22, 2011) by Abbey K. Davis

Artist: Bill Bachmann
Album: Folk-n-Roller
Review by Matthew Warnock

There is a fine line a songwriter walks when they take their lyrics and music into the satirical side of the craft, and more often than not these types of songs and albums come across as sophomoric, crudely written and non-musical. But then there are the writers who know just how much humor and how much serious music to mix together, and the results can be highly engaging and entertaining at the same time. Bill Bachmann is a songwriter who fits firmly into the latter category as his music is carefully written, creatively arranged and performed at a highly professional level. At the same time, his lyrics possess a level of humor, mostly done with word play and manipulation, which brings a smile to one’s face, while never going overboard or delving into gutter level humor. This carefully crafted approach to satirical songwriting can be heard on Bachmann’s latest album, Folk-n-Roller, a collection of 14 well-written songs that will raise a chuckle from the audience, while providing solid musical entertainment at the same time.

Kicking off with a rock-n-roll tribute, with some of the most humorous and well-penned lyrics on the record, “Folk-n-Roller” features great rock guitar playing, on an acoustic guitar, bluesy harmonica work and strong vocals from the multi-talented, multi-instrumentalist. There are touches of Bob Dylan in the interludes, giving the song a “folksy” quality, as well as a few short, but highly effective, slide guitar leads thrown in for good measure. Not only is this song a good introduction to Bachmann’s writing style, it also showcases the many instruments that he can play, leaving the listener asking, “Is there anything Bachmann can’t do as a singer-songwriter?”

Moving over to the softer side of the folk genre Bachmann shows off his fingerpicking chops, and quieter vocal range on the song “Your Old Man.” With a tip of the hat to the Beatles’ classic acoustic track “Blackbird” during the song’s intro, as well as a bit of a nod to John Denver’s live record with the background strings and vocal line, the song is one of the highest points of the record. It is a nice interlude between the busier, more rock-inspired tracks, as well as a little detour into more serious lyric writing. Besides paying homage to the Beatles and John Denver on this track, consciously or not, Bachmann also brings a new interpretation to the classic blues track “Fever,” as he uses the song’s melody as the main vocal line for his track “The New Hip Song.” Changing the harmony and melody just enough as to not be a direct imitation of “Fever,” Bachmann’s song possesses a sense of the familiar, while leading the listener down a new musical path. Songs such as this have a tendency to go awry for artists, but Bachmann delivers a clever reworking of a classic tune, one that will bring a smile to one’s face, and have them tapping their feet at the same time.

Bachmann proves that he is a true artist with this record, one that can balance satire with legit songwriting in a highly personal and unique fashion. Too often humorist songwriters will use blue jokes or dirty humor to get their point across, but Bachmann is a true wordsmith and his songs are built around his clever manipulation of words and observations on today’s world. The result is a well-written album from a musical perspective, which is key to succeeding in this genre, which is also funny and witty in a very smart way. It is a record that can be enjoyed by fans of music and musical satire, not an easy feat for any artist to pull off.


Review by Matthew Warnock
Rating: 5 stars (out of 5)
- Ariel’s Reviewyou.com (April 19, 2011) by Matt Warnock

New York’s Bill Bachmann has a storied musical career, playing guitar for various artists, writing and composing his own music, and recording and mixing his own work. On his latest effort, Folk-n-Roller, Bachmann also plays all the instruments. Driven by a combination of folk and country, with a splash of rock, this album is chock full of intelligent, humorous lyrics, exceptional instrumentation, and a clear sound that highlights Bachmann’s talent at the controls. The album kicks off with “Folk-n-Roll,” a toe tapping piece with nice harmonica playing and excellent guitar work. Bachmann’s vocals are confident and it becomes evident he has a wonderful sense of rhythm and lyrics.

Bachmann might be a talented musician, but his strongest skill is his songwriting, especially his lyrics. Every song on the album is lyrically sound, whether the lyrics are whimsical and humorous or deep and thoughtful. The tracks “Candy Man” and “These Are the Days” are good examples of Bachmann’s playful essence and upbeat outlook on life, while “Your Old Man” and “Too Late” show the more emotional side of his work. He is also not afraid to get into political territory with the track “D.C. Blues,” a wonderfully written piece of musical satire that combines valid and intelligent points with a sharp humor that keeps it from getting too heavy.

In addition to his extremely versatile and skilled songwriting, Bachmann is also a master of the guitar. His acoustic playing is graceful, light and melodic. His electric work, such as in the song “Kill That Other Beer,” adds a dash of rock-n-roll. Overall, Bachmann’s music is country rock, with a strong folk base, but he adds a few jazzy numbers for variation. “These Are The Days” and “Stuck Here Instead With You” both have heavy jazz elements that keep the album from being exclusively country folk rock. Bachmann has a knack for song placement, and the album unfolds in such a way that the listener is always engaged and attentive.

Listeners would be remiss to not take heed of the exquisite keyboard playing on the album as well. Tracks like “Too Late,” and “The Avedon Ball” contain some excellent keyboard playing, which compliments Bachmann’s soulful, intricate lyrics and elegant guitar work. “The Avedon Ball,” in particular, has perhaps the most melancholy melody on the album and exquisitely vivid lyrics about a variety of famous people. Many of Bachmann’s songs tell a story, and “The Avedon Ball” is the perfect example of his unique, original and brilliant songwriting skills. The track “B-A-C-H-M-A-N-N” also tells a story, with his signature satirical humor, about the extra “N” at the end of his last name. With an extremely country rhythm, this piece is perhaps the epitome of Bachmann’s lighter side.

Folk-n-Roller is truly an album of fantastic songwriting and Bill Bachmann is a wordsmith of the highest order. This alone will attract a variety of listeners, but when you combine his original lyrics with his instrumental talent, you have a very well-rounded offering of 14 songs that range from extreme country, to folk, to jazz and blues. Bachmann is as diverse as he is talented and Folk-n-Roller is a delight to listen to. The feet will be tapping and the mind will quickly absorb the intellect of the lyrics. The humor found within the album is refreshing, but there are many pieces that are deep and thoughtful, with lyrics that will hit home in the hearts of many. Bachmann has successfully created a brilliant album that is perfectly well-balanced and wonderfully written.

Review by Rhonda Readence
Rating: 4 stars (out of 5) - Ariel’s Reviewyou.com (April 26, 2011) by Rhonda Readence

Tuesday, April 12, 2011
Bill Bachmann - Folk-N-Roller
2011, Flight of the BumBillB Records

Buffalo native Bill Bachmann got started in the music business opening for the likes of Dave Van Ronk and Steve Goodman. It wasn't long before he was part of the burgeoning Greenwich Village folk scene, and playing supporting roles on albums from Stacy Phillips, Matt Glaser, Kenny Kosek and Paula Lockheart. Long considered a top-notch guitarist, Bachmann became a standout songwriter as well, with Shawn Colvin, Lucy Kaplansky and Christine Lavin covering his song "Vacation" for Live At The Bottom Line. In 2009, Bachmann released his solo debut, Big World Out There, gaining critical acclaim for both his songwriting and his devilish sense of humor. Bachmann returns in 2011 with Folk-N-Roller, exploring life through the depths of humor, pathos and beauty that define our collective existence.

Bachmann opens with "Folk-N-Roll", a tongue in cheek number about the freedom of strapping on an acoustic guitar without a band behind you. Bachmann makes the exposition catchy, upbeat and fun. "The New Hip Song" is a spoof of "Fever", with the rallying cry of 'Don't cut my femur' as the tag line/punch line. Bachmann's voice works perfectly in this setting, making a fun diversion from a decidedly touchy subject. "B-A-C-H-M-A-N-N" is a folk/bluegrass number that serves as a plea to not misspell Bachmann's name. Bachmann's picking style is meticulous in spite of the light nature of the tune, showing a bit more of his depth as a guitarist with a wink and knowing smile.

"Your Old Man" is a heartfelt and touching folk number that blends self-awareness with memories of his father and hopes for his children. The lyrics speak of love, thankfulness and even the fine edge of the insecurity of impending mortality, as demonstrated in lines such as, "Will you like what you see of your old man in you?" As songwriting goes, this is a 'WOW' moment.

"D.C. Blues" takes on Washington and its apparent inability to take care of the real people it serves. Bachmann skewers every president of last two generations as a representative of a dysfunctional bureaucracy that's more about itself than the good of the people. The catchy folk-arrangement here is perfect. Innuendo and wordplay run wild, particularly on the lap of President 43. "Stuck Here Instead With You" blends jazz, folk and old-time radio ensemble styles portrayed through syncopated barre chords on Bachmann's guitar. It's a catchy, classic sound that will quietly up your admiration of Bachmann as an axe-man.

Bachmann gets into a fun blend of garage rock and folk on "Kill That Other Beer", mixing with a lyrical barrage of rhyme and reason. It's a highly danceable number full of distorted guitar and a puritan musical attitude. "Happily Sad-isfied" is an amusing self-inventory of strengths, weakness and random, oddball characteristics. Bachmann has created a catchy number that's danceable and fun; filled with impressive guitar-fills and enough Woody Allen style pathos to fill a motion picture. Bachmann even explores his own motivations for a guitar solo on the breakdown, pushing off the solo to the next verse where it never quite materializes. This is Bachmann's funniest work to date, but musically it's right up there with his best work as well. Warning: Here the puns run amok.

Bachmann gets serious on "Too Late", a beautiful piece with a stellar melody. This one hits a couple of awkward moments lyrically, but is winsome enough to make up for it. "Candy Man" is a quiet, bluesy rant against the negative qualities of candy. The narrator on this number has an almost murderous hatred of sweet snacks, and vows their utter destruction while Bachmann's guitar work shines in support. "Old MacDonald" explores ways in which modern farms might thrive financially. The country-style arrangement works well here, but the humor factor just isn't in it this time around. Bachmann closes with "Savin' The Things I Love", a paean to the little mementos that serve to remind us of times gone by. Bachmann returns to his roots with classic folk singer/songwriter motif, vowing his continued undying love for her in spite of his pre-occupation with monuments of their past. Bachmann's heart is in this one, and yours will be too.

Bill Bachmann continues to make magic in music on Folk-N-Roller. Whether relating humor-laced stories or heart-felt tales, Bachmann sings with heart and soul in the moment. As a guitar player there are few more accomplished than Bill Bachmann. And although there are a couple of slow moments on Folk-N-Roller, the album generally flows like water – highs, lows and everything in between. Just like life. Get into the pathos of Bill Bachmann. You’ll be glad you did.

Rating: 4 Stars (Out of 5)

Learn more about Bill Bachmann at http://www.billbachmannmusic.com/. Folk-N-Roller is available from Amazon.com as a CD or Download. The album is also available digitally via iTunes.

Posted by Wildy at 6:54 AM 0 comments Links to this post
- Wildy's World (April 12, 2011) by Wildy Haskell

"Bill Bachmann can handle the guitar well and the songs on this album would fit neatly into the portfolio of any self respecting Greenwich Village folk song salesman...this is a likeable and well performed album that never seems to be trying too hard...maybe timeless would be a better word - feel to these songs." - Bluesbunny

“It is Bachmann's wit with a lyric that has caused more of a stir than his undeniable skills at guitar … great vocals by Bachmann and Alyssa Bachmann … terrific slide guitar … slick guitar fingerwork… The album is a mix of some very clever and extremely funny tunes…” - Reviewyou.com

“The blues and bluegrass cuts are especially well-played. I don’t know if that’s him on the guitar but there’s some pretty nice picking going on, the kind that sounds good on a recording but really burns it up at a live show.”

“One of the stand-out cuts is “This Song is Called This Song is Called”… I’ll bet this one is often requested at his shows.”

“Closet Closet”....Freakin’ brilliant. It motors along in a finger-picked blues style.”

“Of his serious tunes “Bad Blood” is my favorite. With lyrics like “Opposites tend to attack” and “Bad blood never runs down the drain” you can’t go wrong.” - IndieMusic.com