Introducing Sam Bisbee, the brand new, grizzled, wide-eyed, overnight, veteran newcomer whose Vehicle has finally arrived with windows rolled down and a stereo pumping Bisbee's familiar yet completely original sound (echoes of David Gray meets Pete Yorn meets U2 meets REM meets Talking Heads meets Elvis Costello) out into the Manhattan air. Sam awoke one morning to the realiz...(展开全部) Introducing Sam Bisbee, the brand new, grizzled, wide-eyed, overnight, veteran newcomer whose Vehicle has finally arrived with windows rolled down and a stereo pumping Bisbee's familiar yet completely original sound (echoes of David Gray meets Pete Yorn meets U2 meets REM meets Talking Heads meets Elvis Costello) out into the Manhattan air. Sam awoke one morning 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 personnel 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 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 rhythm 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.