Bascom Hill
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Bascom Hill

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This band has not uploaded any videos


The best kept secret in music


This band has no press


Still working on that hot first release.



There's a hill on the University of Wisconsin campus at Madison. The administration building sits on top of it, and in the dead of winter you can get there only by climbing over slippery patches of snow and ice, sliding a bit but then moving ahead.

No matter how cold it gets, the determined ones make it –they have to, in order to reach their goal, whatever it may be.

That building is Bascom Hall. The hill beneath it is, of course, called Bascom Hill.

And so is the band whose history in this community makes its story as inspiring as its music.

Bascom Hill -- the band -- is itself a landmark now. Throughout the Midwest, from intimate coffeehouses to sprawling outdoor festivals, they've chiseled a unique niche for themselves, with a sound that nods toward Jack Johnson but with more aggressive vocals and Dave Mathews but with a tighter pop focus, plus a shot of Radiohead's willingness to take chances. Fans that range literally from six into their sixties connect with their songs, each of which bristles with catchy hooks and rides on a rush of melody.

All this is clear throughout Maybe, the band's debut release on Arrival Records. "Day After Day," with its soaring invitation to "open my eyes"; "Stained," a swirl of exotic riffs and unanswered questions about love's illusions; "Angels Weep," whose searching lyric and ringing harmonies won it a perfect 5.0 rating among listeners on -- these and all the other tracks on Maybe capture the sound and spirit that Bascom Hill have built through years of work, going back to their blue-collar roots as kids in Kenosha.

But this album is also about a band at the crossroads, sequestered in a Texas studio, with just four days to strip everything they've done down to its essence and build it up again. Most artists would have dodged that challenge, but these guys met it head-on, ate it up, and emerged as a band reborn and ready for everything the future has to offer.

That moment of truth in Austin actually began years ago in Kenosha, days before a battle of regional bands. Charlie Victor was eager to join the competition; he already knew his way around a tune, having sung with one of the barbershop quartets for which this GermanAmerican town was widely known. But while he could assemble a group in time for the event, he knew he needed someone whose drive and chops could match his own.

And so he asked Jason Sheridan to join up with him. They already knew each as members of the same high school choir, so when it turned out that Jason, the son of a music storeowner, also played guitar -- a lot of guitar -- the deal was sealed. At their first practice they wrote a song together; with some friends of Jason's recruited to fill out the lineup, they worked it up …

… and at their showdown against more experience acts, they killed. The first original tune, "Five Voices," won top honors in the song competition. And Jason won first prize in the guitarist competition: a Fender Strat. More important, they walked away with a commitment to stick together and take their partnership as far as they could.

"That first song we wrote took us two hours, but with every new song we kept getting better" Jason recalls. "Charlie always sounded so good that I knew I could write terrible lyrics and he'd still make them sound fabulous."

Quin Stickler, who worked with Jason at a local music store, was the next piece of the puzzle. Once Jason and Charlie began building their song list, they invited him onboard to lay down the bass lines. They began working around the area as a trio, but even at this early stage they were experimenting with their sound. Which is why Jason decided to put down his electric and switch to acoustic guitar -- a change that allowed him to apply more of his classical training to each tune.

To fill the gap left when Jason unplugged, the band asked Joe Sheehan, a friend of Quin's, to take over on electric. A strong rhythm player with a knack for creating atmospheric parts, he was the final ingredient in their core sound: discreet but compelling textures and grooves, acoustic lines that both whispered and burned, rock-solid solo and harmony vocals, and songs that audiences couldn't help but hum.

They built a following through shows at all the major stops in their area: Shank Hall in Milwaukee, the Great Dane in Madison, the Sturgis Harley Fest, where they opened for Survivor, and back in their hometown, Kenosha's Legendary Brat Stop. In 2001 they went to Nashville to cut a five-track EP, produced by Monty Powell (Keith Urban, Diamond Rio) and mixed by David Fortman (Evanescence, Mudvayne), which spread from one radio playlist to another and opened the door toward showcases in New York and Nashville.

Eventually, as momentum built, as demand for product started to swell, the time came to cut their first full-length album. Ready to take this next step, Jason and Charlie cooked up some new material, scouted for the right pr