Seventeen Miles Past Indio
\'4.5 out of 5 stars. 17 Miles Past Indio should serve as an excellent primer to one of the great obscure singer/songwriters of the late 20th century.\'-All Music Guide \'Seventeen Miles Past Indio is entirely bereft of trendy gimmickry. It\'s pure singer/songwriter gold.\'-Splendid E-Zine \'It\'s nearly impossible to summarize six albums in just 12 tracks, but Foreman has done an admirable job of bringing together his diverse influences and styles on one very tight, very finely recorded album, and he has created the perfect first impression for new listeners.\'-Delusions of Adequacy Part Dylan, part Tom Waits, part Richard Thompson, and totally original, Seventeen Miles Past Indio takes a decade\'s worth of Bill Foreman\'s stories and melodies and crams then into 40 minutes\' time. Foreman routinely achieves what few songwriters attempt: each piece presents a world seen through someone else\'s eyes. Through Seventeen Miles Past Indio, the listener experiences Queens, NY as a homeless man, spends a lost weekend in Canada as a heavy-drinking college freshman, and drives from LA to the desert as a man at the end of a romance-to take a few examples. Round out the set with three instrumentals to break things up and keep you humming, and you have one of those rare albums that starts strong and improves with each listen. Foreman has worked for years making beautiful, unique music for a growing and dedicated audience. He grew up in Del Mar, California, listening to his father play Johnny Cash songs on his guitar and hearing his mother\'s Beatles records. Hoping to channel his adolescent rebellion in a positive direction, his parents rented 12-year old Bill a drum kit and sent him for lessons. Their plan worked: the boy was hooked. By 18, he was fluent on drums, bass, piano, and guitar. Though he played in rock bands and jazz combos in high school, it was as a student at Pitzer College in Claremont, California that Bill began his work in earnest. Whether playing in his own blues or rock groups, backing jazz singers, or collaborating with like-minded musicians such as Jonah Matranga (Far, Onelinedrawing) and Matt Nathanson, Bill expanded his musical vocabulary with each partnership. All the while, Bill was writing and recording music, sharpening his skills and creating demos for bands. Bill met fellow multi-instrumentalist Peter Giuliano in 1989, and the two formed a musical partnership that would last 8 years. After two small-scale, cassette-only releases, the duo formed The House Carpenters. The band reflected the tastes of it's creators, including everything from Chuck Berry-inspired rockers to Irish waltzes to Mexican polkas in their shows. The band would release In the Choir of Primates in 1995, tearing up Southern California in live shows. The House Carpenters self-destructed while making their second album. Bill took the band\'s end as an opportunity, and recorded his first solo release, The Bathroom Mirror, in 1997 a week after the House Carpenters\' demise. He would cull together a series of demo recordings under the title Tangerine that same year. 1998\'s The Duck Hunter and 1999\'s Building St. Petersburg brought Bill\'s craft to new heights, the singer playing all instruments on each release and drawing from an ever-broadening base of thematic source material. The results began, more so than ever before in his career, to attract the attention of musicians, growing audiences, and a small coterie of journalists. The year 2002 marked a burst of activity, with Bill releasing Seventeen Miles Past Indio, a collection of recordings from throughout his career, and performing both solo and with his back-up band, the Taxi Drivers. In 2003 he released his collection of new songs, Chevy w/Balding Tires, in preliminary, CD-R form to friends, with plans for a full release late in the year.