Buxter Hoot'n

"Mishawaka natives look for another raucous night." - South Bend Tribune

"Buxter Hoot'n came in at No. 2 with "Blue Night"
July 17-23 - Indie Rock Cafe

“What really jumps to mind most is the apparent influence of Bob Dylan, with strong roots in folk music. Don’t think that the male ( there are female vocals on here as well ) vocals are just a Dylan copy. No, you can tell these guys are heavy into him, but he has his own voice and can stand on his own” - St. Louis Music Press

“This is a great tune, enveloped in a snappy Americana arrangement that's appealing to the ears.” (on Chief Justice) - Wildy's World

"Buxter Hoot'n is leading the way for 21st century folk rock music, yet the band's sound is eclectic. The musicians' abilities are astounding, their sound incredibly diverse. Most of all I love the poetic quality of the band's songwriting, for it stirs something deep within... Buxter Hoot'n is single-handedly redefining contemporary Americana music and is the voice of their generation.

read whole review at:
http://ammuse.wordpress.com/2010/03/19/buxter-hootn-in-another-life/ - Rachel Timan Ammuse, NY

"Buxter Hoot'n's, self produced first album, Here In America, has the independent rawness and creative brilliance that leads to a cult classic. Their authentic lyrics and extended jams make them one of the great new bands of today."

- Relix Magazine April/May 2008

"Buxter Hoot’n just might offer a glimpse into the future of San Francisco’s psychedelic songwriting scene. This is a band to drink and reminisce to, swaying in your seat as you catch poignant snippets of Vince Dewald's amiable vocals -... Prospecting a territory situated west of the Kings of Leon and north of Calexico, [they] manage to walk a rough trail between earnest country ballads and eager tango and blues borrowings without wandering into self indulgence" -- San Francisco Bay Guardian March 5-11 2008

for whole article go to http://www.sfbg.com
go to past issues, March 5-11
click "Top Picks" - San Francisco Guardian

"By the 4th or 5th listen, I was singing along and banging on the steering wheel. Buxter Hoot’n had entered my feeble brain by osmosis." - Hear Ya

"This San Francisco quintet creates Americana rock with spirited violin and banjo and touches of psychedelia and roots rock."

- The San Francisco Chronicle

Recently called one of Performer Magazines "faves"
“More than just unabashed Americana rock”
"Poignant"
"This new collection shows the prolific San Francisco quintet can manifest their plentiful song ideas without having to repeat themselves."
"The standout tracks on Buxter Hoot'n mark new territory in the band's ever-expanding repertoire." - Performer Magazine

"All it takes is thirty seconds or so with their third album, a self-titled affair due for release this coming month, to situate them where they belong, on a classier plain of Americana among the likes of Bob Dylan and The National." - SF Weekly

“Buxter Hoot’n continues to show a mastery of what is probably best classified as Americana.”
“At the end, you have just listened to a superbly crafted and thoroughly moving work of art. A fine addition to any music collection.” - Shakefire

“It’s the type of music that can move people, stay emotional but never venture into indulgent territories.” - Can You Hear This

"Buxter Hoot'n makes music that is real. Their sound is precise and unpretentious.
We're proud to bring you our second installment of Hometowns, a new feature here at Speakers in Code. In many ways, Hometowns was created especially for bands like Buxter Hoot'n" - Speakers in Code

"one sometimes stumbles across a young band that’s absorbed the lessons of Big Pink, electric Dylan and the rest. The truth of it hums in the bones of their songs and the artfully relaxed execution of their music. San Francisco’s Buxter Hoot'n is one such happy exception, purveyors of real roots rock, Americana to the core, down to the bullets and outlaw elements that marked the best work Robertson and Zimmerman knocked out back in the day. Buxter Hoot’n’s self-titled album (released May 31) has the feel of the Rolling Thunder Revue updated for today, inviting but full of carnival shadows. There’s much to slap your thighs about and skip to on Buxter Hoot’n but the real rewards come when one lingers within their tales, the unexpected changes in the melodies, cooling harmonies or curious turn-of-phrase raising a smile or an eyebrow with each pass." - Jambase

"In this mass-produced time, handiwork of this sort should be treasured more than ever."
- Dirty Impound

"I am blown away by this prodigious effort by the band. Even the fictional characters in the songs bear vitality, the capacity to live and grow; they become alive through the spark the band and its songwriting inflates them with." - Ammuse

"the S.F. five-piece’s latest effort is a stellar, refreshing album to go along with summer adventures from the Bay to the backwoods." - The Daily Californian

"Digging in Deep with a disarming intensity that almost overwhelms the stages they play on. Catch them in a small venue while you still can!"
http://www.sffolkfest.org - Richard Rice, San Francisco Folk Festival

"Their unique song writing and tight knit band sound makes the bluesy americana of Buxter Hoot'n an experience not to be missed." - East Bay Express

Buxter Hoot'n represents all that I love in music. As a fan and a friend, I approached them about performing my song, "Mary Jane's Blues." What they came up with left me speechless. Their artistry has allowed the song a second life, and the message of decriminalizing marijuana is carried on to the next generation.
Jerry Beisler


PDF version of full SKUNK article can be found in basic requirements

It’s An Outlaw Life:
Musicians and the Medical Marijuana Movement By Jackie Sutton

Music Producer and Song Writer Jerry B. worked in many major San Francisco area recording studios during the 1980’s. I was an engineer on many of these sessions which featured bands, individual vocalists and commercial spots. Jerry had enough success to open a bar and restaurant in Hawaii and leave the grueling late night grind of such artistry and effort.
A serious accident forced his return to the Bay Area nine years later. While in three different Bay Area hospitals, Jerry B. became aware of caregivers braving delivery of herb to both cancer and AIDS patients. Nothing else made these desperately sick people desire to eat. From that experience Jerry B. wrote:
“Its been in Chinese Medicine for centuries. Some people say it helps them to see. For others that are ill, and just can’t eat. A taste of Mary Jane is oh so sweet.”
People were boldly bringing cannabis into all three hospitals. Knowledgeable nurses turned a blind eye. Compassionate doctors in the Last Days, AIDS wards were operating with a wink and a nod. When doctors were arrested for cannabis involvement, Jerry added to the poem with
“I’m not into politics But now there’s doctors doing time For helping out the sick”!
When Jerry recovered, he began reviving his musical career by booking artists. He also secured a poetry book deal for “Hawaiian Life” with Raindance
Publishing. In the poetry compilation, the reader went for a hike to some blessed, rare earth and a hidden cannabis garden in the jungles of Kauai. This poem brought Jerry to the attention of the COMPASSIONATE USE activist community. The Compassionate Use activists were looking for an anthem to spark the electorate. The State of California allows citizens to have ballot initiatives placed for vote during every election. Proposition 215 asked the voters to let marijuana be used for medical purposes. Jerry B completed the poem which highlighted the medical value of the herb as well as advocating jury nullification of anyone arrested for possession.
“But if I get busted I hope you’re on my jury Its an Outlaw Life”.
From this genesis came the poem, a song, and the anthem “Its An Outlaw’s Life”. The Cole Tate Band worked up a melody to the piece and began playing it live to appreciative audiences. The band had a recording contract with the small Bay Area label, Globe Records. The song was cut and re-titled, “The Mary Jane Blues”. Instantly, it received airplay across California on Independent radio stations that supported the cause. Proposition 215 passed! The song boosted The Cole Tate Band’s profile and lead to a European Tour where, “The Mary Jane Blues” was performed before 200,000 people at the Great Berlin Smokeout, as the European pro-cannabis event was named.
The Cole Tate Band obtained a European record deal and the song was added to their previously released Globe Records album. The European label repackaged the album under the name, “Outlaw Life”. The band made a second European tour in support of the album but broke up upon returning to the U.S.A.
Working in the prominent San Francisco Bay Area recording studios as a Second Engineer during the 1980’s allowed me to historically chart the rise and fall of places that created hundreds of platinum and gold albums. The Record Plant was the most famous of many now gone to Pro-Tools and current hi-tech digital recording techniques.
As Bob Marley and the Wailers’ great song writer, vocalist and keyboard play Peter Tosh is often quoted, “we smoked about 30 Kilos a Jamaican cutting those albums”. Tosh is equally famous for writing his hit solo song, “Legalize It”.
Like hit songs, cannabis charts through those 80’s memories as well. It was used by most bands and engineers to cook up some innovation, inspiration, and magical collaborations. Some Hawaiian, a little Thai Stick and mostly Mexican began the 80’s. Home- grown from the various Emerald Triangle counties like Humboldt, Mendocino and the Santa Cruz mountains took over in the mid 80’s. The players were gifted of- ten and musical scenes such as “Reggae on the River” emerged.
More and more musicians, engineers, and promoters began donating assistance and appearances at “De-Crim- inalization” benefits. Musicians deserve a tremendous thanks for efforts to change the law by signing away all future royalties or agreeing to work-for-hire contracts, they donated songs and performances to albums that went for legal defense funds among various spinoffs of the Cause.
By the end of the decade bands were playing arenas and record companies were budgeting $10,000 per song, scores of players were making a living as “studio musicians”, or “vocalists”, and engineers. Cannabis simultaneously had evolved into the green house and clone era. The first of the Victoria Island came on the scene along with Oregon areas that were also greenhouse necessary to produce desirable herb.


- SKUNK Magazine