Tom Malm and the Little Black Book

Tom Malm and the Little Black Book


#1 in local Funk on Reverbnation. They have very strong stage presence, a "pro show" whether it is 700 people or 7. Repartee with the audience is usually engaging and witty - and always respecting their professional responsibility to the venue. Deep grooves, clever lyrics, strong musicianship.


Once ranked as high as #8 in the World and #1 in the local area on Reverbnation's Funk chart, Tom Malm and the Little Black Book is danceable, jammy and fun. The textures of the music tap into a lot of different influences. Jammy, jazzy soul with some rock, blues and country influences finding their way. The show is a living musical conversation that fits in a neat groove. Tinsley Ellis, the Alligator Recording artist says it's "tight but loose. I like it." Tyler Coe, of The David Allan Coe Band called Tom, "Perfect."

Tom Malm and the Little Black Book was born from the trio originally formed by vocalist and guitar player Tom Malm, drummer Jayme Rivel, and bassist Chris Arter in 2008 to play Tom's CD "Fleetwood in the Moonlight." Jayme and Chris were childhood friends who grew up playing music together. They joined Tom as a singularly intuitive rhythm section with an uncanny level of communication, to deliver a solid musical foundation upon which Tom's songs could grow. Initially Tom described what the band did as a "groove-driven musical conversation," rife with improvisation and exploration. Christopher Thompson joined bringing guitar textures, innovative riffs, and solid leads that expanded the conversation and elevated the music. As a quartet they presented an evolved brand of original funk.

Together for five years, Tom developed a range of new material specifically for the sound they cultivated. In the studio Chris Arter expanded to add organ and vocals, Tony Wyatt contributed percussion and vocals, Julia Rainer, Victoria Watts and Alexandra Clint added female vocals. With Chris on Organ, Tom called a musician he grew up with, Dale Dallabrida, to play bass. Others sat in, and through songs like "You're Lying," "Get Off On My Floor," "You"," and "A 2 Z," the band has constantly gained a global audience and its "top ten" position in the world rankings.

Now ranked #8 on Reverbnation's Funk Charts, the music the band plays has become defined by their live performance schedule. From 2008 to 2011 they gained recognition for having the longest continuous engagement in Philadelphia for any group in the funk genre. They have appeared at premier venues like Musikfest Cafe in Bethlehem and Sellersville Theater. They were featured at key events such as being the "Grand Finale" band for Bethlehem's "Loopapaloosa" and they have shared billing with multiple national touring acts

Playing predominently as a quartet featuring Tom, Jayme, Christopher and Dale, it is never a surprise to see any of the others join for a performance. For the appropriate venue, Tom can go to his Little Black Book and bring you a trio. Whether a band of three or eight, Tom Malm and the Little Black Book has a sound that is distinctly Tom's, a very strong stage presence, and a show that is simply fun. Book 'em! You won't be sorry.


Chains, Locks, and Bars

Written By: Tom Malm

You used to say the things I did were just a passing phase,
But you never saw the light through the smoke and haze.
Now comes criticism, you say I’m in my element.
That’s what you say, anyway. What about the time we sepent?

You can’t hold on to me with chains and locks and bars.
With dinner out, fancy clothes, money or fast cars.
I’m leaving you . . .

I could say you left me with scars like a passing war.
And though there’s some truth there, you’ve given me a whole lot more.
Happier days I’ve never known, I’m older and I’m smarter.
Leaving you girl is so difficult, I’ve never known any thing harder.

I wake in the darkness and I feel where you should be.
I call out your name, but you’re not next to me.
The lady next to me tells me she don’t mind.
I suppose she shouldn’t, she gets paid well to be kind.

Baby Don't Talk

Written By: Tom Malm / Chris Malm

My baby, she don’t talk. She just ramble.

My baby, she don’t talk. She just ramble.
Goes on about money and fancy new clothes
Only thing she knows.

My baby, she don’t talk. She just gossip.

My baby, she don’t talk. She just gossip.

Goes on about people, she never even seen.

Reads people magazine.

My baby, she don’t talk. She just go on and on and on and on.

My baby, she don’t talk. just go on and on and on and on.

Goes on about everything I might have been.

She don’t like my friends.

No she don’t like ‘em.

Hey y’all leave the young thing alone.

Ain’t no sunshine when she’s home.

Angel From Hell

Written By: Tom Malm

Let me tell you a little story. And I swear it’s true.

You gotta be careful with them women or this could happen to you.

I drink my whiskey straight from the bottle, I drink my wine from a jug.

I drink my beer ‘bout a case at a time, chug-a-lug, chug-a-lug, chug-a-lug.

Ain’t got my life licked, I never, never said that I had.

I used to drink it made me fell so dog-gone good, but now I drink to keep from feeling bad. (Stop)


I got a woman. But I don’t know her too well.

I gotta woman. But I don’t know her too well.

Looks like an angel come from heaven

But I swear she must have come from hell.

I said, “hey woman, where you hidin’ your heart?”

I said, “hey woman, where you hidin’ your heart?”

I’d like to love you pretty momma, but I can’t find the place to start.

I said, “hey woman, how can you treat me this way?”

I said, “hey woman, how can you treat me this way”

How can you love me all night long and shake other boy’s spines all day?



You see my baby likes to dance, my baby never sweats.

She goes through so damned easy what I find so hard to get.

My baby like to drink, my baby sometimes smokes.

She tells me that she loves me but I know it’s just a joke.

She never listens to me, whenever I say “no.”

I wish that I could find a way to let my baby go.



Lonely World

Written By: Tom Malm

My old shop teacher, he was so strange.

He used to talk to us like men, I never noticed a change.

He rolled up his sleeve, he sports a tattoo.

Said, “love your mother, your country, and Betty Lou.”

I often wondered, what she might have been like.

He was old, bald, and dumpy. You know the type.

So one day I asked him. I was nervous and shy.

He gave me half-a-grin, he had a tear in his eye.


He said, “it’s a lonely, lonely , lonely, lonely workl.”

said, “it’s a lonely, lonely , lonely, lonely workl.”

(spoken) Then he started talking . . .


My best friend’s girl friend, she was so strange.

She used to make her boyfriend his breakfast, standing buff at the range.

Some times she’d linger, leaving just us alone.

She really didn’t live there, she had a place of her own.

One day I followed, ‘cause she wanted me to.

They weren’t gonna work out anyway, what’s a guy ‘sposed to do.

“It was bound to happen. You gotta understand,”

and I tried to use reason, to get the gun from his hand.

It wasn’t heroic, it just happened to be.

And it might of turned out a whole lot different if the gun had been pointed at me.



Written By: Tom Malm

Are you looking for a caveman to get you out of here?
Club you with his love you’ll let him take you by the hair.
Drag you to a cave where we he will make a happy home.
Rub sticks to light your flame and dress you up in mastodon.
He’ll paint the walls with passion so the diggers all will find;
That love like yours evolved like no other in mankind.
Through some clumsy happenstance, he’ll figure out the wheel
From grunts and groans he’ll know, just how you want to feel.

I’ll be your caveman, knuckle-draggin’ missing link
Brains enough to move my muscles but not enough to think.
I’ll be your caveman, more bone than cerebellum;
Dumb as a stump, a chiseled hunk, who’ll do the things you tell ‘em.

I’m gonna be your cave man, the man you wanta to meet.
Pre-civilized and erect walkin’ who’ll stand up on two feet
I’ll always do the things you say, there’s things I just won’t ask
Won’t cramp my simple cranium to make a love that lasts.
You can call me Barney, Betty. You can call me Fred;
When you’re making me late for Mr. Slate deep in our bedrock bed.
I wanna be your cave man, the man of you desire
Whose only reason for being here is to set your heart on fire.


Fleetwood in the Moonlight (2008)
4.23 - Live at Lickety Split (2010)
Fourteen Stories (Coming soon)

Set List

The sets are generally a mix of originals and covers that last between 30 and 120 minutes.