Part 2: The Fuzzy Era
Recorded at Brilliant Studios in San Francisco, Fuzzy's eleven song yield would mark the group's debut and provide a blueprint for all that we might become. The studio itself was housed in a century-old steel foundry. The wide open acoustics of the brick room attracted Paul's production tastes and perhaps the spookiness of the place attracted me just as much. Here we were able to capture the most dynamic aspects of our sound in ways that would have been impossible in the garage-turned-studio where the early demos were cut. Nevertheless, it was the same acoustic based song that blazed it's way to Beantown that hurled us around the globe and back again with it's international release. As I look back,"Fuzzy" was in undeniable contrast with the climate of the day. Still, it seemed to occupy a unique place in the musical terrain of the early nineties. In fact, we often found ourselves elected to the role of supporting more established artists of the day. Our friends Mary's Danish were among the first, followed by Ultra Vivid Scene, Paul Westerberg, Sugar, World Party, and Com in the first year of touring. Later, we would prove ourselves as an efficient strike force, supporting Pearl Jam, REM, The Cranberries, and The Smashing Pumpkins. Being a three-piece, we were driven to forge a style that was stark as well as explosive. The album Fuzzy holds evidence of all of this. It runs the gamut from majestic to cacophonous. "The Shining Hour," "Jupiter & Teardrop," "The Hook," "Stars N' Stripes," "Dixie Drug Store," and of course the title track would forever remain part of the group's living repertoire. Even today, I still derive joy in plaing these songs on my own. Unfortunately, from time to time, the album has been difficult to locate. Most recently, Fuzzy was re-released in America by Rhino Records and in Brazil it was released for the first time in 2000. Upon it's original release, Fuzzy was featured in the soundtrack for the film "With Honors" starring Joe Pesci. In '93 Michael Stipe championed Fuzzy, calling it "The best album of the year hands down," which sparked an onslaught in decal production on the part of the record label, but more meaningfully, a lasting camaraderie with Stipe and REM.
      Stylistically, Fuzzy would galvanize the sound of Grant Lee Buffalo, i.e., the acoustic feedback howl of overdriven 12-string guitars, melodic distorto-bass, tribal drum bombast, the old world churn of pump organs and parlor pianos. All of this, serving to define what my own voice and words yearned to convey in song. Our combined identity was a source of strength and yet we sought to outwit ourselves at times. As diverse as Fuzzy may stand to be, it was always our aim to explore even further, to break new musical ground. Grant Lee Buffalo was captivated with ideas of discovery, and attaining something unique from the ruble of what was. This subtle principle was sometimes lost on some detesters, and supporters alike, who at times perceived the group as keepers of tradition. In truth it was decay itself that so inspired the songs of Grant Lee Buffalo. Decay and the notion that with every ending comes a beginning. Politically, socially, and personally these themes would haunt the group throughout its existence.

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