A Legend of The White Buffalo
This is A Legend of The White Buffalo. Dubbing history ‘The Legend’ goes against the entire concept of legends. Legendary status requires tales, stories told outside of the person holding the title and their extended friends, family, and team. That is where The White Buffalo stands tall, in both lore and stature. Jake Smith is The White Buffalo. A songwriter. A Storyteller. A singer. A musician. Add to those talents an intuition that makes Jake a teacher, a comforter, a healer with words. Verified on his website, a short statement from the artist by way of a bio reads “at a show in Sacramento, in the space of five minutes, three people came up to me with life-changing stories. They told me how my music had helped them to deal with the loss of people close to them…’
Jake Smith has built a career as he has established The White Buffalo as a musical entity. Step by step, his path has been consistent, his base extending organically, keeping the fan as the core of his career. The White Buffalo has used three attributes to achieve his goals, making an image that is magical, mystical, and methodical in its consistency.
The White Buffalo is set to release On the Widow’s Walk through Snake Farm Records on April 17, 2020. The cinematic offering was produced by Shooter Jennings the album exhibits the finely-crafted songwriting of The White Buffalo, music that allows him to range free of any specific genre while showing influences of Folk, Blues, Rock’n’Roll. Americana, and other homegrown roots.
Born in Oregon and raised in California on a musical diet of Country and Punk Rock, Jake Smith manages the career of The White Buffalo with careful steps, cultivating both persona and catalog. Supplementing, and allowing Jake Smith to expand on The White Buffalo as an independent musician, the songwriter has an impressive number of film and television placements. Numerous credits include a number of tracks in Sons of Anarchy, including the final episode song recorded by The White Buffalo.
Here is a sampling of music from The White Buffalo, with a full review of On the Widow’s Walk coming soon.
This is A Legend of The White Buffalo. Dubbing history ‘The Legend’ goes against the entire concept of legends. Legendary status requires tales, stories told outside of the person holding the title and their extended friends, family, and team. That is where The White Buffalo stands tall, in both lore and stature. Jake Smith is The White Buffalo. A songwriter. A Storyteller. A singer. A musician. Add to those talents an intuition that makes Jake a teacher, a comforter, a healer with words. Verified on his website, a short statement from the artist by way of a bio reads “at a show in Sacramento, in the space of five minutes, three people came up to me with life-changing stories. They told me how my music had helped them to deal with the loss of people close to them…’
Jake Smith has built a career as he has established The White Buffalo as a musical entity. Step by step, his path has been consistent, his base extending organically, keeping the fan as the core of his career. The White Buffalo has used three attributes to achieve his goals, making an image that is magical, mystical, and methodical in its consistency.
The White Buffalo is set to release On the Widow’s Walk through Snake Farm Records on April 17, 2020. The cinematic offering was produced by Shooter Jennings the album exhibits the finely-crafted songwriting of The White Buffalo, music that allows him to range free of any specific genre while showing influences of Folk, Blues, Rock’n’Roll. Americana, and other homegrown roots.
Born in Oregon and raised in California on a musical diet of Country and Punk Rock, Jake Smith manages the career of The White Buffalo with careful steps, cultivating both persona and catalog. Supplementing, and allowing Jake Smith to expand on The White Buffalo as an independent musician, the songwriter has an impressive number of film and television placements. Numerous credits include a number of tracks in Sons of Anarchy, including the final episode song recorded by The White Buffalo.
Here is a sampling of music from The White Buffalo, with a full review of On the Widow’s Walk coming soon.
The White Buffalo E.P. (2005)
A Folk singer’s calling card, The White Buffalo E.P. introduced Jake Smith to the world as the man, his guitar, and his moniker offered a half-dozen tracks. Deep resonating tones hit the gut as the voice of The White Buffalo sings of love and the summer wind to open the E.P. with “Where Dirt and Water Collide”, bordering the lead cut with tender fingerpicking cradled by a melodic hum a The White Buffalo E.P. exits on “The Moon”. The touches of instrumentation outside of man and guitar are added like accessories, the rhythms a deep thump you feel more than hear in “The Matador”, street corner busking with a backing upright bass and snare drum claiming “Devil is a Woman”, and plucking out chords over the sonic rumble in “Love Song #1”.
Hogtied Revisited (2009) (a re-working of the 2002 release Hogtied Like a Rodeo)
As the curtains open on Hogtied Revisited, The White Buffalo waits in the wings. As an orchestral pomp rises out of the sonic mist, “The Woods” begins its life on as an overture, the string section quieting as the guitar enters, returning to song to lend support to the strums that complete the tale. For his first full album release The White Buffalo strides assuredly into Hogtied Revisited, his guitar strums demanding, guiding the rhythms of each cut with a confident hand. The notes surrounding “Today’s Tomorrow” are delicate, hearty over dreamy sonics while the chords in “I Believe” are fearless to match the claims of its lead character and a whistling banjo rhythm provides a sway as “Carnage” comes to town in its storyline. The power in the vocal delivery of The White Buffalo blurs the lines between unknown characters and Jake Smith as the lead actor. The leading man skips to a rhyme, running from the police in “Wrong” as a drunken sway dances with retuning customer in “Bar and The Bear”, inserting stream of conscious dialogue to make a request for silence in “Hideous Heart”, holding on tight and offering his best with “Damned”, and pummeling the tale of a hellish demon in a barrage of words that swirl in the dust devil beat of “The Madman”
As the curtains open on Hogtied Revisited, The White Buffalo waits in the wings. As an orchestral pomp rises out of the sonic mist, “The Woods” begins its life on as an overture, the string section quieting as the guitar enters, returning to song to lend support to the strums that complete the tale. For his first full album release The White Buffalo strides assuredly into Hogtied Revisited, his guitar strums demanding, guiding the rhythms of each cut with a confident hand. The notes surrounding “Today’s Tomorrow” are delicate, hearty over dreamy sonics while the chords in “I Believe” are fearless to match the claims of its lead character and a whistling banjo rhythm provides a sway as “Carnage” comes to town in its storyline. The power in the vocal delivery of The White Buffalo blurs the lines between unknown characters and Jake Smith as the lead actor. The leading man skips to a rhyme, running from the police in “Wrong” as a drunken sway dances with retuning customer in “Bar and The Bear”, inserting stream of conscious dialogue to make a request for silence in “Hideous Heart”, holding on tight and offering his best with “Damned”, and pummeling the tale of a hellish demon in a barrage of words that swirl in the dust devil beat of “The Madman”
One Upon a Time in the West (2012)
The guitar chord keeps rhythm, quieting the battlefield tale “Ballad of a Dead Man”, as the cut the begins the saga of Once Upon a Time in the West. Guitar notes flicker like star-light over “Sleepy Little Town”, the rattle of percussion tapping out a foundation for the lost soul wandering “The Bowery” as the whispers of a lover become the lullaby in the middle of “One Lone Night” and its multiple decisions. Once Upon a Time in the West selects its characters from the legends and myths of the western states, adding its own stories and versions of twice-told tales. Gypsy jazz picks at the rapid rhythms and childhood chants percolating underneath “The Witch” while “The Pilot” steers with a firm hand on the beat and The White Buffalo thumps out a memory of childhood with “BB Guns and Dirt Bikes”, uttering a confession on the slow trudge salvation of “I Am the Light”. The rattle of a frontier dance band is the soundtrack as “How the West Was Won” prepares for a modern-era heartbreak and a snaking guitar line turns the pages of time to the 1800’s, “Good Ol’ Day to Die” making a pact for life on a take-no-prisoners beat.
The guitar chord keeps rhythm, quieting the battlefield tale “Ballad of a Dead Man”, as the cut the begins the saga of Once Upon a Time in the West. Guitar notes flicker like star-light over “Sleepy Little Town”, the rattle of percussion tapping out a foundation for the lost soul wandering “The Bowery” as the whispers of a lover become the lullaby in the middle of “One Lone Night” and its multiple decisions. Once Upon a Time in the West selects its characters from the legends and myths of the western states, adding its own stories and versions of twice-told tales. Gypsy jazz picks at the rapid rhythms and childhood chants percolating underneath “The Witch” while “The Pilot” steers with a firm hand on the beat and The White Buffalo thumps out a memory of childhood with “BB Guns and Dirt Bikes”, uttering a confession on the slow trudge salvation of “I Am the Light”. The rattle of a frontier dance band is the soundtrack as “How the West Was Won” prepares for a modern-era heartbreak and a snaking guitar line turns the pages of time to the 1800’s, “Good Ol’ Day to Die” making a pact for life on a take-no-prisoners beat.
Shadows, Greys, and Evil Ways (2013)
A slow Country dance finds a love story waltzing into “Shall We Go On”, the opening track of Shadows, Greys, and Evil Ways. The story introduces Jolene and Joe, two young lovers exiting the advice of others, entering the stage set of Shadows, Greys, and Evil Ways in lead roles. The life of a soldier (“Joey White”) walks out of the desperate decisions from the young couple facing tough times (“When I’m Gone”), watching twelve months circle the drain (“This Year”), looking for salvation (“Set My Body Free”), and seeking answers (“Don’t You Want It”). Shadows, Greys, and Evil Ways shines a light on the lives of “Joe and Jolene”, The White Buffalo telling the tale with tough love, hoping for a happy ending to the story.
A slow Country dance finds a love story waltzing into “Shall We Go On”, the opening track of Shadows, Greys, and Evil Ways. The story introduces Jolene and Joe, two young lovers exiting the advice of others, entering the stage set of Shadows, Greys, and Evil Ways in lead roles. The life of a soldier (“Joey White”) walks out of the desperate decisions from the young couple facing tough times (“When I’m Gone”), watching twelve months circle the drain (“This Year”), looking for salvation (“Set My Body Free”), and seeking answers (“Don’t You Want It”). Shadows, Greys, and Evil Ways shines a light on the lives of “Joe and Jolene”, The White Buffalo telling the tale with tough love, hoping for a happy ending to the story.
Love and the Death of Damnation (2015)
A happy bounce takes The White Buffalo into Love and the Death of Damnation, the first cut “Dark Days” glowing with the light of inspiration and rocking with honky tonk Country. A rough rhythm moves with an assured stride through “Home in Your Arms” while a soft waltz twirls like a wind-up ballerina in “Radio with No Sound”. Love still hurts as one more last chance wish ping-pongs in the duet of “I Got You” and atmospherics swirl like smoke between the left/right angel/devil facing off as a lonely trumpet referees in “Last Call to Heaven”. California Country, Roots Rock, and Americana can claim representation on Love and the Death of Damnation, the sound of the album shaking off Tex-Mex grit in “Chico”, seeking solace and a show of faith for “Where is Your Savior”, and raising an Alt Country toast for “Modern Times”.
A happy bounce takes The White Buffalo into Love and the Death of Damnation, the first cut “Dark Days” glowing with the light of inspiration and rocking with honky tonk Country. A rough rhythm moves with an assured stride through “Home in Your Arms” while a soft waltz twirls like a wind-up ballerina in “Radio with No Sound”. Love still hurts as one more last chance wish ping-pongs in the duet of “I Got You” and atmospherics swirl like smoke between the left/right angel/devil facing off as a lonely trumpet referees in “Last Call to Heaven”. California Country, Roots Rock, and Americana can claim representation on Love and the Death of Damnation, the sound of the album shaking off Tex-Mex grit in “Chico”, seeking solace and a show of faith for “Where is Your Savior”, and raising an Alt Country toast for “Modern Times”.
On the Widow’s Walk (2020) – review coming soon
A live stream concert event happens Sunday, April 5 at 12pm PST/3pm EST. Coming on the heels of worldwide postponements and cancellations of nearly all large gatherings due to concerns over the spread of coronavirus, including three of Smith’s own concerts in California, this live stream will be the first opportunity for fans of The White Buffalo to hear material from his forthcoming Shooter Jennings-produced album, On The Widow’s Walk, out April 17 on Snakefarm Records.
“Like most of you, me, Matt and Christopher’s worlds have been completely thrown off course,” says Smith. “Our goal with this live stream is to spread a little joy and bring together the global White Buffalo community by giving you the chance to hear parts of the new record first. This will only happen once while it’s live so make sure to grab a digital pass and save to your calendar!”
Information about fees and access to The White Buffalo: On The Widow’s Walk Exclusive Live Stream can be found at http://cadenza.tv/set/the-white-buffalo.
A live stream concert event happens Sunday, April 5 at 12pm PST/3pm EST. Coming on the heels of worldwide postponements and cancellations of nearly all large gatherings due to concerns over the spread of coronavirus, including three of Smith’s own concerts in California, this live stream will be the first opportunity for fans of The White Buffalo to hear material from his forthcoming Shooter Jennings-produced album, On The Widow’s Walk, out April 17 on Snakefarm Records.
“Like most of you, me, Matt and Christopher’s worlds have been completely thrown off course,” says Smith. “Our goal with this live stream is to spread a little joy and bring together the global White Buffalo community by giving you the chance to hear parts of the new record first. This will only happen once while it’s live so make sure to grab a digital pass and save to your calendar!”
Information about fees and access to The White Buffalo: On The Widow’s Walk Exclusive Live Stream can be found at http://cadenza.tv/set/the-white-buffalo.
