Bill Mumy
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"DREAM"

Bill Mumy Circular (Global Recording Artists/BCD) - Though Bill Mumy (pronounced Moo-Me) is best remembered by many baby boomers such as myself for some of his extremely impressive appearances as a child actor in the early to mid-1960s, on TV shows like Twilight Zone, and as Will Robinson of Lost In Space, along with nearly countless others, he has continued to act and record music as well; this superb album is only the latest example of Bill’s ongoing career as a singer/songwriter. Unlike some celebrity releases, Mumy’s work could easily stand on it’s own as worthwhile and interesting even if he pumped gas, or painted houses for a living. Amongst the fourteen songs here, one can clearly detect the stylistic influence of folks like Tom Petty, John Fogarty, John Prine, Chuck Berry, Richard Thompson, and Neil Young, but it’s ultimately Mumy’s artistic voice that emerges. He’s a politically aware and slightly angry guy on at least one song (eight years of one’s country being run by an incompetent nitwit will do that to you) but mostly this is simply a fine showcase for Bill’s considerable skills as a song writer, singer and storyteller. "Man of Pride" wouldn’t have sounded too out of place on a CSN&Y album with a dash of latter day Badfinger tossed into the mix. "The Heart’s Fantasy" is the best song Neil Young and Tom Petty never made together, while "Don’t Have Anything" is simply one of the best love songs I’ve heard in a long time. The structure of "History" recalls Brian Wilson’s "Rio Grande" and sections of Smile as well. And "Hereby Invited" could have been recorded by the Traveling Wilburys. But it’s all very good stuff, uplifting, intelligent and highly accessible mid-tempo mellow melodic rock pop at it’s finest.

George Parsons
Dream Magazine #9
- George Parsons


"FAME"

Circular


Bill Mumy

Global Recording Artists - GRA-2662
Available from Global Recording Artists.
A review written for the Folk and Acoustic Music Exchange
by Frank Gutch Jr.
(frank.gutch.jr@gmail.com)





It's a long step from TV's Lost In Space to the recording studio and it took Billy Mumy a few decades, but he made it and Circular proves it wasn't a fluke. The days of robot warnings ("Danger, Will Robinson! Danger, Will Robinson!") are now days of very impressive pop-, rock-, folk-, jazz-, and blues-oriented music, courtesy of Bill, not Billy. The songs on this album, in fact, have me thinking maybe it should be Mr. Mumy. It's that good.
Circular is another one of those do-it-yourself jobs, a sign of the times. Mumy plays and sings it all except for some voice courtesy of Sarah Taylor and drums and percussion by Chris Ross. Acoustic and electric guitars, bass, keyboards, banjo, mandolin, melodica, and harmonica round out Mumy's repertoire of instruments (on this album, at least) and he handles them very well, indeed. The Chuck Berry-influenced Never Gonna Stop leads off, but if you think it's rock & roll, think again. Johnny's Gone To Heaven has an eerie riff which could have been borrowed from Sopwith Camel's excellent The Miraculous Hump Returns From the Moon album, walking bass beneath jazzy electric piano and stellar and spacey guitar, quite a surprise. Gerry Beckley co-authored Man of Pride with Mumy, a fine song reminiscent of the softer and lighter side of 10CC. If you like folk rock, Care overlays mandolin over shuffling rhythm and a great melody and The Heart's Fantasy does the same with pop and a banjo. Mumy takes the walking folk blues on a ride with Turn Yourself Around, practically goes on Broadway with History (as good a song as I've heard recently and perfect for the musical stage), plays the lounge with Circular Blues and even touches on some major label psych on "Hereby Invited".
As a musician, Mumy acquits himself nicely. As producer and songwriter, he does even better. These are not just songs, they are compositions--- little touches weaving in and out of the songs at unexpected moments, sounds wrapping around sounds, instruments plugged in and taken out at just the right moments. I never would have thought that the goofy kid could do it. Come to think of it, the goofy kid didn't. No robot rock here. Just damn impressive music. And one damn impressive album.
- Frank Gutch


"THE BEAT"

INTERVIEW - Bill Mumy
DANGER, WILL ROBINSON!!! Those words must haunt, and amuse actor Bill Mumy in equal measure. Mumy played young Will Robinson in the classic TV series 'Lost In Space', kick-starting a career as child actor. Somehow, instead of crashing out early like so many child actors, he has managed to create even more iconic characters in classic Sci-Fi shows, from Babylon 5 to The Twilight Zone. Will tells Beatmag’s Khalid Mallassi, his first love has always been making music.

I grewup watching you on TV, either on 'Lost In Space', 'Twilight Zone', or 'Babylon 5'. It must be an interesting experience having millions of people feeling like they know you a little bit. What are the best aspects of this, and what are the least enjoyable parts?
I've never really felt like it was a negative thing, being somewhat of a "celebrity", but there were times when I was a kid going to places like Disneyland, or the beach, where somebody would shout, "Hey, that's Will Robinson!" and then it got a little spooky with a big crowd... but that didn't happen too often. I've never been "George Clooney Level" famous. Honestly, the perks of it are getting into concerts, or free Nike's. I never really thought to "exploit" the fact that I was recognized when I was a kid. My parents certainly didn't think that way. When I was in my mid twenties and playing guitar in Shaun Cassidy's band touring the country, that's when it kinda dawned on me, "I can USE this old "Lost in Space" thing!"
Can you tell me a bit about your parents and your upbringing?
I'm an only child. My father was a cattle rancher and had some investments here in LA. My mother was a housewife who used to work at 20th Century Fox, as a writer's secretary for 10 years, before she married my dad. They both had been married before and had me kinda late in life. My dad was 49 when I was born, and my mom was 41. I grew up on a cul-de-sac in Beverlywood with tons of kids my age all around me. My parents weren't crazy strict, but they didn't let me get away with too much. My dad was somewhat wealthy when I was little, so we had nice things. I honestly can say I had a great childhood. Both my parents encouraged me to follow my own creative path. My mom is now 96 and doing pretty good.

Why do you think you survived and blossomed, while other child-actors had a much rougher time of it?
Well, I can name you lots of child actors who turned out swell... But I won't. I don't know. I could've gotten in trouble or busted for stupid little things lots of times in my young life, but I didn't. Just lucky I guess. I was no angel. I suppose I should credit my parents for not letting me go too crazy, but... I went pretty crazy. I just kept working in creative arenas. It kept me from robbing 7-11's!
What, if anything, do you remember about playing Anthony in the classic 'Twilight Zone' episode 'Its a Good Life', and how did it feel to revisit the story in 2003 with 'It’s Still a Good Life'? At the time you were playing the part, did you realize what a heavy character Anthony was?
Well, I think the Twilight Zone is the best TV series ever. So, the fact that I was in three, "Long Distance Call", "It's A Good Life", and "In Praise of Pip". I did a cameo in the feature, then I wrote one of the newer ones and starred in "It's Still A Good LIfe" with Cloris Leachman and my daughter, Liliana... anyway, being a part of that series and the subsequent projects that sprang from it is a real honor. Rod Serling was a true visionary. What a fantastic writer he was. In terms of memories from shooting the original episode, I have plenty, but you know, they're a little kids memories... not very astute in terms of sharing. Making the sequel forty years later was fantastic. That's a very rare treat. To return to a project, that has been classified as "classic", with the original cast, and do a sequel, not a remake, a true sequel... that's really cool. Working with Cloris is amazing. She's is turbo talented and I like her a lot. I was in a band with her son, George, in the 80's. Anyway, to be able to include my daughter, who gave such a great performance... that's probably the highlight of my entire career in a way.
Why do you think Anthony made a deeper impression on viewers than some of your more benevolent Twilight Zone roles?
I don't know. It's just really creepy to think this little kid can read your thoughts and if he's not pleased with them... you're toast. It's a great little film. Brilliantly written and very well shot and acted by everyone. I love it.
Would you be interested in returning to the character of Anthony again in a future Twilight Zone?
Anytime!
When you were playing Will Robinson did you have any inkling of how lasting that portrayal would be?
No. There were no big organized fan conventions or anything like that back in the 60's when we were making the series. And hell, I was 11-14 while playing "Will"... I didn't think about life beyond the next school grade in those days! But I can tell you, I never had a bad day on that show. I loved playing Will Robinson and I loved all those people dearly. Still do.
What do you remember most about Brigitte Bardot from working with her on 'Dear Brigitte' in 1965 when you were only 11 years old?
Her boobs. I got to check them out from a great angle! Seriously, She was very nice. We flew to France to shoot her scenes... She had a major "entourage" taking care of her. She was a major pop star. She and I exchanged letters for the first time in many decades in 2005. I signed some pictures from the film, and so did she. All the money went to her animal foundation and we had a brief exchange of letters. I sent her one of my albums. She's worked hard for animals and I respect her for that. She was amazingly gorgeous in 1964... I was the first American actor to receive an onscreen kiss from her.

What began your interest in science fiction?
Comic books. Super heroes. Guy Williams, as Zorro and George Reeves, as Superman. Nothing's changed.
You’ve been involved with many of the greatest Sci-Fi TV series of all time, including arguably the biggest: Star Trek. How does it feel to be part of the Star Trek universe?
Great! Growing up working on 'Lost in Space', people always assumed there was some wacky "competition" between 'Star Trek' and 'Lost in Space'... which of course is ridiculous. The shows were very different and we never felt competitive at all. To me, 'Lost in Space' is a "pioneer family against the alien environment" or just a campy space comedy and Trek was a military show or just a fairly campy space romp... In the late 80's, I wrote three issues of DC's "Star Trek" comic book with Peter David, that was fun... Then while filming "Babylon 5" (something I did for 5 years), Ira Behr, the executive producer of 'Star Trek': 'Deep Space 9', he's a neighbor and friend of mine, Ira invited me to do a guest shot on the series, but because of my shooting schedule on B5, I had to turn it down, then when we wrapped after 5 seasons, he invited me again, but it was the part of an alien, and I'd been playing an alien of B5, and I didn't want to deal with alien makeup anymore or be thought of as the guy "who plays aliens", so I passed on it... and I thought that was the end of it, but then he called again and offered me the part that I did do, which was a Starfleet officer who's in the middle of this big firefight in a war episode, and it was a nice part, and I'm really glad I did it. And my character, "Kellin" dies at the end of the episode. And I remember Ira was super happy, almost giddy about the fact that 'Star Trek' killed "Will Robinson"! Anyway, I'm glad I did it.
I was a big fan of your Star Trek comics with Peter David. Would you be interested in doing any more comics work in the future?
I've written scores of comic books for DC, Marvel, Dark Horse and other publishers. I love writing in that arena and would very much enjoy doing more of that in the future. Peter and I created and wrote a television series together, "Space Cases" that ran for two seasons all over the world ten years ago. I always enjoy writing with Peter. He's a really nice and very talented guy. Lately, I've been concentrating pretty exclusively on music, though.

Lennier was my favourite character from 'Babylon 5'. At the end of the series his fate is never fully revealed. Is this something you'd be interested in telling in a future 'Babylon 5' movie?
No. I'll leave 'Babylon 5' storytelling to Joe Stracynski. It's his baby. But I'd be interested in returning to that character for a film.

You’ve done a lot of work doing voices for animated features and series, what’s the most fun about this sort of work?
I love animation. It's just a great arena to be a bit "larger than life" in and play around in. I loved working on "Buzz Lightyear of Star Command" because for the two episodes of that series that I did, I got to work with Jonathan Harris again. We recorded all our stuff together. It was really fun doing that with him. I also really liked the Batman episode I did. And the Ren and Stimpy was outrageous.
Have you always had an interest in making music?
Music has been number one in my life since I was ten.
Who are some of your musical inspirations?
Yikes... I could give you an almost endless list... but the Kingston Trio inspired me to play and write in the first place. Their albums made me love harmony and simple songs that had something to say. Beyond that, major influences were and continue to be The Beatles, Dylan, Brian Wilson, CSNY,(collectively and individually) Muddy Waters, the Stones, Chrissie Hynde... basically the GOOD stuff!
What instruments do you play?
Guitar, bass, keyboards, banjo, harmonica, mandolin, drums and percussion.
Tell me a bit about your musical history?
Check out the discography and "Mumy Music" pages at www.billmumy.com. I've been making music nonstop since I was a teenager... I've been lucky to work with a lot of great people and the muse continues to visit me on a regular basis.
Tell me how Barnes and Barnes (the comedy band with lifelong friend Robert Halmer) came together, and are you surprised by the success of the song Fish Heads?
Barnes and Barnes JUST finished recording our first album together in 17 years! It's great! Check it our when it's released in the next several months. It was really cool to go back and work from that place. Total freedom. I play and sing and write much differently when it's a B&B project. Beyond Fish Heads, we made 7 albums in our original run and they're full of quirky, cool, unique songs. It's like doing a Twilight Zone or something. It's just a different headspace that's hard to explain. Fish Heads has been very, very good to us. I've made a decent amount of money off that song and I still think it's a cool little tune. Hell, Homer Simpson did it! "I took a fish head out to see a movie, didn't have to pay to get it in..." I wrote that and I dig it! Nuff said. yeah.
You’ve put out a number of very good albums, and your latest Circular is one of your best, can you tell me a bit about how it came together and what inspired it?
Circular is my 7th solo album in 11 years. I'm proud of it. I'm lucky to have a nice studio in my home and for better or worse, I do play a lot of instruments, so when the muse strikes... I go into the studio and record. I'm always making music. The songs on Circular all came within a short period of time, a few months, a couple of them had been around for maybe a year... It's not a hardcore thematic album, but lyrically the songs do share a look at the past and how it effects the present and the future. Musically, Circular explores the fact that certain styles of music continue to come around, be that classic rock ala Chuck Berry or the blues or even folk. If music comes from an honest and truly inspired place, then I believe it's going to work and stand the test of time. All the songs on Circular were genuinely inspired, not crafted for the sake of wanting to write, but created because they were a gift from the muse in a way. I know that sounds kind of hippyish, but I also know it's true. I can be hired to write you a song and it'll be a good song, but it's not the same as having to get out of bed or pull your car over to the side of the road because a song is being given to you... it is a different experience. And the songs on my solo albums, for the most part, are those kind of genuinely inspired songs that come when you least expect them. I played most everything on the album, but Chris Ross played the majority of the drums and percussion and several great harmony parts were supplied by Sarah Taylor. I'm just now getting to the place where I can hear it all objectively. It's hard when you're the guy writing it, playing it, singing it, recording it and mixing it. But... it's sounding pretty good to me these days.

Your song History is a remarkable piece of work. It reminds me a bit of some of Brian Wilson’s work, can you tell me a bit about it’s creation?
I take that as a great compliment, and obviously you can hear Brian's influence in the music on that song. I was watching the Ken Burns documentary, "The War", and it inspired me to get off the couch and go into the studio and write that song. At least to write the first part of that song. Up through the first, "...makes you wanna cry" bit. Then I thought I was done with it. I thought it was a cool, very short little piece. I sent an MP3 of it to my friend, Harrigan Logan. She's a terrific songwriter and I wanted her to hear it. She wrote me back, something like, "I love it. Can't wait to hear where you take it." And as I said, I kinda thought it was done, but her email inspired me to see where it might go beyond that initial part, so I sat at my piano downstairs in my living room and within a half hour all the other music, which is pretty complicated, came out. It's probably the single most ambitious song I've ever written musically. I went upstairs to my studio and recorded it right there and then. No click track, just went with the feel. The time swims a tiny bit, but that's okay with me. The rest of the lyrics came within the hour. I played the drums and percussion on that one, I played everything on that track, and it's definitely got an homage to Brian's "Cabinessence" SMILE period... That music is the greatest ever in my opinion. I didn't want to rip him off at all, but the arrangement of the track is certainly inspired by Brian's mid sixties work. Sarah Taylor sang many tracks of harmony on it and she made it sound right. I wouldn't have released it without her vocals, cuz I couldn't have pulled it off on my own. The single note banjo part is also a nod and a wink to Cabinessence, but... hey, why not? I'm so lucky to know Brian a bit. I went to one of his rehearsals last week, where he and his amazing band were working on songs from his brand new "That Lucky Old Sun" album. Man, it's so great that he's inspired to write, record and gig. We're a better world because of his music. His new stuff is great.
What’s the most rewarding aspect of making your own music?
Well, I can't say it's the great financial rewards or chart success... I don't know if the word "rewarding" really applies. I'm compelled to make music. If I were stranded on an island somewhere all alone, I'd figure out a way to do it. I've had tape recorders and a home studio since I was a teenager. Making music keeps me from going totally insane. I'm constantly playing and writing. It's just what I do. It's who I am. I very much appreciate it when other people listen to it and enjoy it. I love playing live within a good band and a great groove in front of an audience of fifty or fifteen thousand, but I'll continue to write and record music whether anyone else listens and cares or not. I have no choice.
What inspires you?
The muse, reality and fantasy.

Have dreams or dreaming ever inspired your music?
Many times. I don't want to ramble on here for pages and pages, but one song in particular, "Nero's Fiddle", the first song on my first solo album, 1997's "Dying To Be Heard"... I was asleep and was dreaming that I was at a Rolling Stones recording session with Miguel Ferrer. In this dream, the Stones took a break and Miguel said, "Play 'em your new song, Mumy!" And I picked up a Gibson Hummingbird acoustic and played, "Nero's Fiddle"... Well, I woke up and knew not to dismiss the muse, so I went into my studio and recorded it into a cassette... it wasn't the entire song, but it was most of it... Over the next few days I finished writing it... Well, I don't know if you're familiar with that song, but when I listen to it, I realize that it's about two things... My friend Brandon Lee's death, and the LA riots... However, Brandon didn't die until several weeks after I'd written that song. And when I go back and listen to the lyrics.. "Twist one up for old time's sake, life's a show shot in one take... Raise your glass to those who fell... I hear the Crow calling, I hear the sky falling..." it's definitely about Brandon. He and I shared a birthday and were fairly close... so, there's a ghost story and a dream song in one.

Tell me a bit about The Heart’s Fantasy?
Interesting that several people like that one a lot from Circular. That song gave me more trouble than any other song on the album by far! I almost didn't include it because it was a struggle to get it right, and usually the songs just come our fast and I feel those are the best ones. But, The Heart's Fantasy was difficult to pronounce done. I recorded several versions of it. I kept tweaking the lyric, I changed the keyboard part several times, etc... It's a song about two things; acknowledging the fact that we long for things that aren't real or necessarily achievable and the fact that we need to let go of those longings to appreciate what we have. Just goes to show you never know what people will like. I guess it came out okay. I like the keyboard sound on the chorus.
Since you play all the instruments, produce all your music and are constantly writing, how do you decide which tracks make it to the album?
Well, when it comes to making my solo albums, I usually end up writing and recording at least twenty tracks in a fairly short amount of time... I tend to write and record a lot for a month or two, then the muse moves on for awhile. It's hard to be objective when you're doing pretty much everything yourself. I live with the mixes and sequencing for quite awhile before pronouncing albums finished. I hope I make the best choices. The songs that get left off usually don't fit with the general theme or feel of the rest of the album as well as the others. My son Seth is helpful with me making those decisions. I trust his ears. On Circular, I had some very strong vocal help from Sarah Taylor, whose solo album I've just finished producing and largely writing, and of course Chris Ross played drums on several tracks. I also co-wrote "Man of Pride" with Gerry Beckley. So, I had some other folks helping me on Circular.

What's next musically and film wise for you?
My next solo album, "Carnival Sky" is just being completed and is set for a summer release on GRA. It's quite different from "Circular". It's edgier and much less polished. There are no harmony vocals on it at all, either. First time I've ever approached a project like that. I'm feeling really good about it.
Also, as I mentioned, Sarah Taylor's album will be coming out this summer. We had some fantastic players work on that album and it sounds great. Sarah's a wonderful singer and I've known her a really long time. The title of her album is "The Cure To Everything". I hope people will check that one out. It's a very strong project.
And, after a hiatus of 18 years, Barnes and Barnes have recorded a brand new album of all new material and that will be coming out this year as well on our own Lumania Records label. It's called, "Opbopachop". It was really fun returning to that after so long. I don't think there's anything that compares to Barnes and Barnes. Love it or hate it, but when Robert Haimer and I put on the "Barnes and Barnes" identity, it's a unique sound. I write and play much differently when coming from that perspective. Although almost 20 years have passed since our last album, it really has a strong feel of continuity in that quirky rock arena. It has also matured of course, but it hasn't been tamed.
Gerry Beckley and I are writing some new songs together right now and we'll see where those end up going. Some of them could find a home on an America project or a solo project of mine, or his, or maybe we'll record something together. Gerry sang all the harmonies and played keyboards on my "With Big Ideas" album a few years ago and I think our voices blend really well together. Who knows? Current information and updates on all my projects are posted at www.billmumy.com.
I'm writing some sci fi projects and doing voice over work. You never know when you'll get a call to act in a feature film, or tv project that may last 5 years! But mostly, it's the music I'm focused on now.
by Khalid Malassi


- Khalid Malassi


"LMNOP"

Bill Mumy - Circular (CD, GRA Group, Pop)
Although Bill Mumy has been an overachiever his entire life, he remains somewhat of an underground obscurity...probably still due to the fact that so many folks only think of him as the child actor who played Will Robinson in the 1960s science fiction television program Lost in Space. Since that time Mumy has been involved with a wide array of different projects...far too many to name and/or mention within the confined space of this review. Bill impressed us a great deal when he got involved with Wild Man Fischer a few years back...mainly because he was one of the few people who seemed genuinely interested in helping Fischer rather than simply treating him like a freak and laughing at him. Also in the musical realm, Mumy impressed lots of people with his oddball band Barnes & Barnes (who most folks will remember for the hilarious underground hit "Fish Heads"). Snap forward to 2009...and Bill is still writing and recording like there's no tomorrow. Circular is an impressively normal and accessible album full of smooth, hummable tracks. The album is appropriately dedicated to John Stewart who died in 2008. After spinning this album a few times, we can't help but feel that the time has come for the world at large to forget everything previously known about Mumy in the past...and simply recognize him for what he is today: a genuinely gifted and talented singer/songwriter. This fourteen track album is, for the most part, a solo project...although Bill does get some assistance from Chris Ross on drums and Sarah Taylor provides some backing vocals. Pensive, thoughtful tracks include "Never Gonna Stop," "Man of Pride," "History," and "I'll Seeya Around." Very nice smooth stuff. Recommended. (Rating: 5++)
- Baby Sue


Discography

Carnival Sky(2009)
Speechless (2009)
Circular (2008), The Landlord or the Guest (2007), With Big Ideas (2006), Ghosts (2003), After Dreams Come True (2001), Pandora's Box (2000), In The Current (1999) and and '97's Dying To Be Heard

Photos

Bio

Bill Mumy is a multi-talented, prolific artist who entered the arena of professional entertainment at the age of five. He has worked on over four hundred television shows and is best known by fans around the world for the creation of his memorable role as the heroic boy astronaut "Will Robinson" on the long running classic series "Lost in Space." From 1993 through 1998 he played the noble, mystical "Lennier" in the popular science fiction series "Babylon 5."

His most recent acting performances can be seen in a 2006 episode of "Crossing Jordan" and the SciFi original film A.I. Assault. He appeared as himself in the 2004 Miramax film; "Comic Book: The Movie" and in 2003, Bill starred in "It's Still A Good Life," the sequel to one of the three classic Twilight Zone episode he starred in as a child, "It's A Good Life."

Bill is a member of the Academy of Motion Picture Arts and Sciences and has been in eighteen feature films, including "Dear Brigitte," "Rascal," "Bless the Beasts and Children," and "Papillion."

Mumy is a prolific voice over artist. Bill has narrated over 50 episodes of A & E ‘s “Biography" series as well as hosting and narrating several other documentaries and specials for A & E, Animal Planet, The Sci Fi Channel and E Entertainment. His voice over acting talents can be heard on animated shows like "Ren and Stimpy," "Scooby Doo," "Batman: the Animated Series," "Steven Spielberg's Animaniacs," "Little Wizard Adventures," "The Oz Kids" and Disney’s "Buzz Lightyear: Star Command." He also voices dozens of national commercials such as "Farmer's Insurance," "Ford," "Bud Ice," "Blockbuster," "Twix," and "MacDonald's."

With acclaimed writer Peter David, Bill co-created, produced and wrote "Space Cases," a live action sci-fi adventure comedy series on Nickelodeon and syndicated in over sixty all around the world. The series ran for two seasons, 1996 -97, and was nominated for a Cable Ace Award for best children's series. He also co-wrote the theme song for that show as well as the themes for the 2003 Animal Planet specials: "50 Greatest Animals of TV" and "50 Greatest Animals of Films" and "TV Guide Looks At...," "Hollywood Backstory," and "Studio Portraits." Bill has written dozens of songs featured in the long running NBC soap opera "Santa Barbara." He also composed the scores to three episodes of the award winning PBS series, "The Universe and I" as well as contributing dozens of songs and themes to many different film and television projects. Bill was nominated for an Emmy for Outstanding Achievement in Music Direction and Composition for the live-action Disney series "Adventures In Wonderland." Bill wrote and recorded one hundred and five songs for the one hundred episodes of that series.

He was a producer and writer on the one hour syndicated special, "Lost In Space: Forever." Bill also returned to the role of "Will Robinson" on camera for that special as well as arranging and performing the end credit music for the show.

Bill is half of the infamous novelty rock recording and short film making duo "Barnes and Barnes." Best known for the classic demented song and film "Fish Heads", Barnes and Barnes have released nine albums and a feature length videotape. Rolling Stone magazine named Fish Heads # 57 of the all time greatest rock videos ever created. Their latest CD release is "Yeah: The Essential Barnes & Barnes" (2000) on Oglio Records. |

Bill has released eightsolo CDs: Circular (2008), The Landlord or the Guest (2007), With Big Ideas (2006), Ghosts (2003), After Dreams Come True (2001), Pandora's Box (2000), In The Current (1999) and and '97's Dying To Be Heard.

Bill's rock band The Jenerators have released three albums, "The Jenerators," "Hitting the Silk," and "Pony Up." 1999 saw the release of "The Be Five: Trying To Forget," another Renaissance CD written and produced by Bill featuring vocals by actors from Babylon 5. Bill's has also produced three albums for children, "Kiss My Boo Boo" (Infinite Visons), “The Dinosaur Album” and “Yogi Bear and Friends: This Land is Your Land”. (kid Rhino)

He has worked with the pop group "America" off and on for over twenty years, composing, producing and performing with the band. As a songwriter Bill has supplied songs to such varied artists as pop stars America, David and Shaun Cassidy, to jazz artists like Sea Wind and the legendary Rosemary Clooney.

Bill has collaborated with hit songwriter and Broadway composer Paul Gordon for over 30 years on many projects for television, stage and screen.

Comic books have been a passion of Bills since childhood, and he has written scores of them. He co-created "The Comet Man" and "The Dreamwalker" for Marvel as well as scripting "The Hulk,","Spider-Man," "Iron Man," "She Hulk," "Wonder Man" and other Marvel characters. He also wrote the "Lost in Space" comic book for Innovation in the early 90's. His co-creation "Trypto, The Acid