I created this page for those who for whatever reason are averse to Bandcamp. One advantage of having this page on my website is that everything that gets paid to me stays with me, save for a small fee PayPal takes. I have no issues with either Bandcamp or PayPal for that matter. Both are equitable in my opinion. And you can choose what one you prefer.
Did I tell you how much I appreciate Jonathan Braden’s artwork?? It’s amazing!
[CD cover-Jonathan Braden design]
Spent the month of February recording a record/CD. I still say “record” because I grew up with records. When I mention that I have a “new record” what I mean is that it’s a grouping of songs with some thematic consistency—just like rockers used to make. Actually, musicians still do it apparently, as there is this thing called the RPM challenge. This year’s February call motivated me to get off my duff and cobble together some new material, and gather an assorted unreleased track or two that’s been sitting there for a year or more. I also re-recorded a new version of an older song.
Full discloser…I didn’t complete my project in February so technically I couldn’t pimp my new release along with all the others on RPM’s platform. That’s okay. I would rather make sure that I had a group of songs I really liked rather than feeling I was a song short.
In fact, that’s what I had at the end of February. Eight songs, seven I really dug, but track #8 just didn’t seem right. On a darker collection of songs, you gotta’ give a listener a little hope, right?
As a songwriter that’s been mining life lived after tragedy, it’s been hard not to write songs that tend towards the downer side. The clusterfuck called COVID didn’t help, at least it didn’t help me. What felt like governmental dictats—two weeks to flatten the curve, then weeks turning into months, etc. Gigs cancelled, me back in my bunker in the dark. Shit! Worse, people began pulling away from family and friends. To me, it felt similar to what I felt following Mark’s death in 2017.
But not to despair. So yeah—the record isn’t a reworking of “Don’t Worry, Be Happy.” But I’m not apologizing. If you know who T. Rex were, get what Arlo Guthrie was doing with his talking blues and “Alice’s Restaurant” and have a clue about newer bands like Car Seat Headrest, then you’ll at least understand (if not love) the new release.
Friday, March 4, I sat down with my Epiphone acoustic and came up with a chord progression. I then started jotting down words in my lyric notebook. Then, scratching out and rewriting. In about an hour’s time, I had “Kick the Darkness,” what is now my single and a somewhat hopeful capstone to the new record, “Living in Some Strange Days.” The cover, done by old friend and Canadian expat Jonathan Braden (living in Europe these days) is ambiguous in an amazing way!
[CD cover-Jonathan Braden design]
The new songs will be showing up on various streaming platforms thanks to Distrokid: Spotify, YouTube Music, Apple Music, Deezer, Amazon, etc. One of my favorite streaming services modeled after an actual radio station with real DJs picking and playing the songs is Amazing Radio. They have a US station, as well as one in the UK. There is cross-pollination, especially with the artists and releases.
I got an email yesterday (April 7) that my song was going to be played on Cubs the Poet’s show that night. I was playing a gig down the coast in Rockland, so I figured I’d come home from gigging and sit with a beer and unwind and catch the show. “Kick the Darkness” got played at around 11:50. While it as amazing to hear my own song coming out of the speaker, it hit me that it was going out all over the world. So cool! The new release is in production, and I should have actual physical copies available soon. Keep your eyes on my Bandcamp page for availability.
I think 2022 will really be the Summer of Baumer, aka, JimBaumerMe.
Oh, and I have a video (by Vizy) for the single.
JimBaumerMe, above the fold (Bangor Daily News, 12/28)
BIDDEFORD, Maine — All things considered, it’s been a decent year for Jim Baumer. The artist wrote a few dozen songs, put out his first EP and networked his way to 45 gigs at pubs and other stages across New England.
But it wasn’t that long ago that Baumer, a writer, didn’t play music at all. Although he’d always wanted to, it wasn’t until his son’s death that he began to devote time to it.
Mark Baumer was a writer and climate activist who died in January 2017 at age 33. He was struck by a car and killed in Florida while walking across the U.S. to raise awareness about climate change, and to raise funds for a friend’s environmental organization. He was reportedly wearing a high-visibility vest at the time he was struck and walking against traffic in accordance with safety guidelines. His death was a national story.
A Full Season of Music
Vol. 1/Issue 3
Sitting at my dining room table in June, I wrote a song that in many ways is my “Alice’s Restaurant.” By that I mean that it’s a song written in a vein similar to Arlo Guthrie’s late-60s classic—a sort of talking blues that spans nearly five decades of my musical journey from the age of 8 until now.
At the start of summer, I was just coming out of the chute relative to booking gigs. A mere few weeks into a calendar of bookings and venues that ran well into the fall and the eventual closing-down of many outdoor places catering to warmer days and music.
The cold and darkness of November now morphs into full-blown winter. My crowded calendar of the summer now has a smattering of dates marked in January, with other possibilities confirmed out into 2022.
Since I write my own songs, like “Finding a New Path,” the song I reference above, and my penchant and preference for the indie side of the rock landscape, I began seeking opportunities to play original songs, versus the summer-long slog of three-hour sets spiked full of cover material, even if what I cover tends towards my own preference for the more obscure side of music. There’s nothing wrong with playing covers if that’s your thing. It’s not really mine. So, where to look for opportunities and perhaps, a scene that still understands what indie once meant when it was still vibrant. And yes, Virginia, there are still places where indie still has street cred.
Apple orchard rocking
In April of 2020, I attempted to reason thoughtfully with some leftist haters on Facebook. Rather than engage with what I posted, they simply attempted to shut me down with some lame “fact-checking.” It pissed me off. I wrote a song. That song was “Living in This World.”
In January, I released an EP digitally on Bandcamp, a great streaming platform for artists. The EP, “All You Stupid Sheep” takes a populist tack, calling out hypocritical leftists, Jeff Bezos, TPTB with their malicious divide and conquer methods set under the guise of “safety” and a so-called pandemic.
Recently, I’ve been considering other means of getting my music out to a wider audience. Spotify rips-off artists, so that’s out for me. Then I heard about Amazing Radio. The U.S.-based arm of the streaming service is 100% focused on helping new and emerging musicians. It operates Amazing Radio and CMJ, which together have more than fifty years’ experience of helping the world’s best new musicians get the break they deserve. CMJ was a big part of my DJ experience at WBOR during the mid-1990s, focusing on so many undiscovered bands and bringing them to the attention of DJs like me who was committed to playing new and virtually unheard music.
Play my tracks on Amazing Radio.
Last night I played a gig in Rochester, New Hampshire. It was a Wednesday night show at Mitchell Hill BBQ. On the way over from Biddeford, about 35 miles with a border crossing in Somersworth, I got turned around. I should have just shot down Route 111, but instead, took Route 9 instead. My mistake.
Showed up a bit harried. Had to drag my gear down the sidewalk nearly a ¼ mile because there was no parking due to outdoor dining barriers set-up along North Main Street.
I played the gig. Nothing from the audience. That’s fine. I gave them what I had for two hours including my epic mash-up of “Icarus” and “Michael Row Your Boat Ashore” and the first live performance of “Finding a New Path.” Made $17 in tips. It was a Wednesday night. Someone had to take this filler slot and I gave it the old college try. I’m appreciative for the booking, so “thanks Bob.” Continue reading
I write my own songs. Not everyone does. I’d wager that it’s fair to say that many solo performers and bands that you’ll see at Maine’s various live entertainment venues this summer play mainly covers.
Don’t get me wrong, covers are fine. In order to fill a three-hour setlist, I play covers. Lots of people like to hear songs they’re familiar with. In fact, there’s a reason grounded in psychology for this and why covers are popular and often, necessary for gigging musicians to perform.
Petr Janata who is an associate professor of psychology at UC Davis’ Center for Mind and Brain indicates that the popularity of cover tunes is that when humans hear a familiar piece of music, it serves as “a soundtrack for a mental movie that starts playing in our head.” Janata states that songs can summon up “memories of a particular person or place, and you might all of a sudden see that person’s face in your mind’s eye.”
Is there a place for original music—certainly. Should I be playing all my own songs all night long? Probably not, at least not this year.
But, I do like coming up with my own songs.
Two weeks ago, I played the Kennebunk Farmers’ Market. My understanding was that it might lead to something semi-regular. Now, I’m not so sure.
I do know this. I got lots of $1 and $5 dollar tips. That tells me that people who heard me appreciated my music and they made a tangible show of their appreciation. I also wrote a new song just for that morning, about farmers’ markets in general.
I played it last week during a short video segment I call “Breakfast with Baumer.”
Here is “The Farmers’ Market Song.”
I’m pretty sure I was blissfully unaware of the danger lurking just below the surface of rock and roll. Perhaps the strains of a 4/4 backbeat, amplified guitar and bass, and the raw energy in those first songs blasted from the 2’’ speaker of my first transistor radio at eight-years-old was enough to complete that defining experience. I’ve never lost the magic and transformative elements of rock and roll on my life.
I had a transistor radio like this one.
If you don’t think rock and roll was once a seditious form of “entertainment” or something else, Google “GG Allin,” or do some reading about Iggy Pop. There are certainly others that could be called “dangerous.” The former is someone who, even if you think his anti-authoritarian stage antics including defecation and throwing shit is a tad over-the-top, Allin believed that his total embodiment of rock and roll was “an escape from consumerism and commercialism” and “a desire to return rock and roll to it’s rebellious roots.” What were those roots? And how the hell did it go from being anti-establishment to every single fucking pansy-ass rock and roll millennial buckling under and quivering in total fear to a virus that may or may not pose any real threat to them and their picking up a goddamned guitar. If GG Allin is a turn-off, look up Iggy Pop then. Is he now pimping for the man? I’m not saying rock and roll has to be scatological to be good. Not at all. But, damn!! What the hell has happened to the genre when everything is so passive and complicit with following a narrative that enshrines our corporate overlords? Seeking an alternative to Allin? I’m fine with Johnny Rotten. I’m a fan of Neil Young and play some of his songs. Continue reading
I find that most people seem fixated on performers they’ll never meet or know. But they are “famous” and I am not.
Not going to make any comparisons between JimBaumerMe–who has only been working with any diligence at his lo-fi rock and roll craft for slightly less than three years–and let’s say Bruce Springsteen (faux populist), Bob Dylan (always been a fraud) and John Prine (who seems to be everyone’s favorite these days). But sometimes, to read all the hagiographic bullshit posted about artists that you probably don’t even own a fucking record by is really maddening (and hypocritical, too). Playing live music, live or even streaming, is much harder than most of you who can’t even form one cowboy chord, realize. But I’m sounding angry and bitter (my perpetual state).
Anyways, I’ve got another Sunday Morning Rock and Roll Church episode (the Easter 2021 edition) up on the platforms. I have an MP4 also, if anyone tries to de-platform me for my “mealy-mouthed millennial blasts” and railing against TPTB (like Bill Gates, Mark Zuckerberg, and the other tech elites that are trying to shut down any reasoned dialogue).
And, oh, btw: this isn’t scripted. The emotions you see—the anger, and then, the very real tears from a father with a broken heart who lost his only son—those are real. And for those who walked away when things got too hard, there’s a song for you, too.
Lastly—where are all of Mark Baumer’s friends/fans these days? Just curious. His commitment is still worth considering in an age where everyone’s a bumper-sticker/front-lawn sign activist. Jesus certainly wasn’t.
For those who prefer to stream music on your phone or other device (in your car??) rather than watch video, I uploaded the audio track to SoundCloud. “Bumped” the mix a bit, too and took out the gaps and pauses.
Last week, streaming was a little too weird, with six screens staring back at me. So this week, I’m just going to pre-record and post.
This Maundy Thursday Unplugged Prayer Meeting was done in one take (no edits) down at the First Congregational Bunker Rock Church of Lo-Fi Salvation. Had fun making it and I tried not to go off the rails. Oh well….
It’s Thursday Night Unplugged Prayer Meeting/Maundy Thursday version
Thought the sound mix with guitar (acoustic) and vocals was a solid one. Played my Epiphone through the Vox and mic’d it directly into the DAW along with the vocals.
Setlist:
Broken Little Bird (JimBMe)
Main Man (T Rex/Marc Bolan)
Tulsa Time (Don Williams/Eric Clapton)
Wonderwall (Oasis)
Self-help bromide
Living in This World (JimBMe)
Rockin’ in the Free World (Neil Young)
Icarus (Gold Connections)