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Comments about the soundtrack for The Mummy Returns (Alan Silvestri)

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Re: Who is this FORD A. THAXTON?
• Posted by: Hi F.A.T. A(ssistant) at S(ilva) S(creen)!!   <Send E-Mail>
• Date: Saturday, September 4, 2004, at 11:44 a.m.
• IP Address:
• In Response to: Re: Who is this FORD A. THAXTON? (Another Guy from L.A.)

> Not only does he harass your employer and family (ask the editor of this
> site about that), but he doesn't even stop when you die. He has no respect
> for the dead.

> There is a reason why he is disallowed from entering certain places of
> business, including the offices of Varese Sarabande and Media Ventures.

This has gone far enough. Here are the FACTS. This file has been posted hundreds of times on multiple newsgroups and lists, almost in a ritual fashion, to prevent future abuses. Since people here feel a little vague on the matter of Ford Thaxton, and as I and, literally, scores of people I known have personally suffered years of misery for his vindictiveness, it is with no effort at all that I offer this latest posting of the BUFORD FAQ FILE (not for the easily disgusted):

=== ===
=== The Official InterNet "FAT BUFORD FAQ FILE, PART 1." ===
=== ===



Posted by Lukas Kendall on January 28, 1998 at 01:05:30:


This post will have little to no meaning to people not
familiar with the newsgroup, but I
simply must vent about the one film music "persona"
whom I truly cannot stand.

DO NOT READ THIS if you don't want to hear about it.
This will be personal. I'M SERIOUS! This is very
specific venting that I will not foist on unsuspecting


I'll start off by saying that most of the people producing
soundtrack albums who you, as fans, read about, are
themselves fans. That's why they got into it. These
are people not much brighter than you or I who happened
to parlay a love of film music with the proper connections
into a good job and/or lifestyle. No harm there - it's
what I'm trying to do!

I'll also say that these people are, by and large,
nerds. This is not a bad thing. Today, being a nerd is
kind of hip, and there simply is no better description for
one who memorizes facts about Jerry Goldsmith music than
a grade-A, class-one nerd. There are a lot nerds
out there who are good people and who do good work.
They have their hang ups, as do we all, but
they get by through possessing a certain amount of human
decency and humility.

Ford Thaxton (real name, Buford) is a nasty, nasty
piece of work. In this little essay I will reveal all I
know about this unpleasant Hutt (as in, Jabba the) who
takes great pleasure in being the town bully on
movies and slamming the work of Jeff Bond, my trusty
FSM cohort, and myself.

It may be hard for people to read this and think, how mean,
Ford has been really helpful to people who have a question
about a soundtrack album, and after all he is "in the
business." Put simply, we are dealing with a deranged
person who comes from a tortured background. His family
is dysfunctional, to put it mildly, and everything bad
that has ever happened to him is reflected in the
cruelty and pounding tone of his "writing."


Some physical characteristics:

Ford is probably over 300 pounds. Now I love all living
things, and have no problem with people who are overweight,
or downright obese. But I do have problems with people who
make my life difficult -- on purpose! -- and in this case
everything is fair game.

So we're envisioning 300 pounds. Now imagine suspenders,
a bald dome, and thick coke-bottle glasses. This is
Ford Thaxton. He wags his finger in your face when he
talks and dominates any discussion with idiotic comments
such as "Have you taken your meds today?"

Some background:

Besides his childhood, the details of which I barely know,
thank god, Ford's schooling is minimal, to say the least,
and he somehow got involved in producing a radio show
about soundtracks in his native Olympia, Washington.
Through this he managed to contact some film composers -
this is probably in the mid-'80s - and he "produced" his
first album with Dennis McCarthy on Star Trek: The
Next Generation's "Encounter at Farpoint" (1987).
The story there is that Ford was visiting Dennis at
the time - a truly nice guy and warm human being who
will not turn away someone, even a total freak like Ford.
They were at the mastering session and Dennis basically
turned over decisions of sequencing to Ford. ooooh,
the seas parted, the sky went pitch black at noon
and a career was born.

From there Ford moved to LA some time in the late-80s
where reportedly he worked for like two weeks at
Varese Sarabande before leaving (or being fired). He
worked on some albums for GNP/Crescendo in the late
1980s before a fall-out with Crescendo's Neil Norman
sent him running back to Olympia, tail between his
legs. Somewhere in here he got hooked up with Silva Screen
where he produced such memorable albums as
"Frankenhooker" and a ton of low-grade horror dreck.
(Ford has a complete lack of taste and a tin ear,
which has contributed not only to his obnoxiously
hosted radio shows, but some truly unmemorable and
flawed, wasted albums, with everything from guillotine
edits to illiterate liner notes to arbitrary se-

Through this time, envision a man, to use the term
loosely, who existed to make telephone calls. This is
someone who found a coterie of composers who didn't have
the heart to tell him to get lost (the way James Horner
personally did). He would then call them EVERY WEEK,
if not every other day, to suck up, chat them up, and
waste their time. Around this time was when he
made the infamous call to the now-late Mort Stevens,
"So Mort, I hear you're dying of cancer...", and in
his most hilarious act ever, ran up $250 in PHONE
SEX charges while staying with a well known composer.
You've gotta be pretty dumb to do that - like they're
not going to find out?


Around this time is also where I come in. People sometimes
ask about my background, and I'll tell it: I was a high
school student on Martha's Vineyard, MA, where I grew up,
and I published FILM SCORE MONTHLY (then going not
even by this title, but as "The Soundtrack Club") as
a small newsletter, for fun. One summer my dad, a doctor,
treated a successful television composer for allergies
or something and I met this gentleman (now a good friend
of the family), I think during the summer of 1991. The
composer offered to put me in contact with some people
who might be interested in the newsletter, as it then
was, and could help with other contacts and information.

One of these referrals was Ford Thaxton - and I was
thoroughly warned that this guy was downright nuts and
a bully and to be very careful. But at the same time
he knew people, had an encyclopedic knowledge of film
music, and, hell, how much damage could he do from
across the continent? (Shortly thereafter Ford
borrowed $1000 from this composer, a debt which went
unpaid for years until Ford made it up to him by producing
an album for free.)

So, from 1991 until probably 1994 I was on Ford's
"call list," and I, Lukas Kendall, your humble editor,
was at the receiving end of a phone call almost every
single day. Such phone calls were of complete unim-
portance: desire to spread "news" first - now fulfilled
by, except we beat him with most news
at anyway - dumb questions, personal insults,
unintentional harassment of my poor mom, but more than
anything persistent bullying.

Keep in mind: I was between 16 and 20 years old,
a rube from an island. People ask why I seem so loathe
of Ford personally, and this is why: he repeatedly
berated and abused me when I was new to the "business."
I would never take advantage of someone this young
but that's exactly what Ford did. And by take advantage,
I mean bully me into accepting his opinions as gospel,
threatening to "cut me off" from his contacts (an
empty threat if there ever was one), and berating me
into apologizing if I dared name one of Ford's

And believe me there are many. This is someone who has
hoarded tapes like no one else. Someone who has tons of
tons of cool things on DAT, many of which he has either
directly bootlegged himself, or copies of which have
found their way to bootleggers. Someone who would SELL
tape copies of unreleased scores to alleged FRIENDS to
pay for his Doritos and Diet Coke habit. Someone who
regularly produces albums under pseudonyms (such as
Arch Stanton on some utter ##### from Edel, and Jason
Alexander Stone on the 2CD Joe Harnell compilation).
Someone who was directly involved in putting together
the Off World Blade Runner bootleg, which really
opened the floodgates for illegal recordings.


This is truly a small, insecure, mean person who would
need to beat up on a naive kid over the phone every
single day. I still remember my freshman year at Amherst
College and my roommates despising this "Ford" who would
telephone all the time.

Moving on, Ford's only real "break" as a record producer
came with the 4CD Arista box set of the Star Wars Trilogy.
Out of respect for Lucasfilm and the producer on this
project, my friend Nick Redman, I will not go into
details. Suffice it to say I was privy to them, being
the liner note writer on the project (which was
a lot of fun!), and they are that Ford became a complete,
irrational prima donna and would never again work for
either Lucasfilm, Redman, or 20th Century Fox.

In fact it brings me great joy that Fox deliberately
excluded Ford, contractually, from his true dream project:
the 6CD Irwin Allen box set put out by Crescendo two
years ago. Fox and the producers simply would not allow
Ford any access to the material for fear of the havoc
that he would create.

Shortly after this I finally put my foot down and broke
what I consider to be the only abusive relationship I
have ever been in, in my entire life. One night I noticed
that there was a person called "Cuecutter" posting repeated
and nasty messages on the Babylon 5 newsgroup in the
most identifiable fractured English ever seen. Yes, it
could only be the work of Ford Thaxton - as anyone who
reads knows, his style of non-writing
is impossible for him either to improve, or hide.
I identified "Cuecutter" as such, to the gratitude of
the B5 denizens, and found myself being screamed at
by Ford on the phone, literally 15 minutes after I posted
this revelation.

This would be the last time I would speak directly to
Ford Thaxton. Since then he has tried to call me and
I always hang up instantly, just as I always delete
his e-mails without opening them. This was 1994.


Whatever whipping-boy function I once served for
Ford is now fulfilled by the innocent questioners
and fans on Although I rarely post
to rmm, I do read it regularly, and I have seen Ford
attack, berate and illogically harass upwards of
dozens of innocent users. At the same time I see
people come to Ford's defense when attacked, because
he is perceived as someone "in the know," which is
ludicrous. This is someone *loathed* by most, and only
barely tolerated by the rest. This is someone with a
tin ear whose albums are sheer idiocy, filled with
incorrect takes and unreleasable edits.

On a Psych 101 level, this is someone whose entire
life has seen him abused, and thus he seeks instead to
be the authority figure, discplining others, to soothe
his own pain. Although this is pitiable, it is not
acceptable. I know I'm one to talk about authority figures,
since I act as the same kind of dispenser of information
via FILM SCORE MONTHLY, but I would never approach the
sheer malice and personal spite of Ford -- a fact
Ford does not understand, for I only focus my evil
on one person: him.

But there are many differences between us. I do not
post several times a day to correct people on matters
of opinion, not fact. I do not
search dejanews to find incriminating information on
people. I do not call up episodes from the past
(except with Ford!). I do not harass Internet providers
of people with whom I disagree, and I certainly do not
find people's HOME PHONE NUMBERS to berate them.

And contrary to what Ford repeatedly alleges, I am not
without humility. A lot of FSM to me is fun, and
entertainment, and I am secure enough in what I do not
to care if I am criticized, just as I am sure many
composers do not care if I criticize them. Why would
James Newton Howard care if I give a CD of his a bad
review? He might be interested, he might disagree, but
he's not going to go, how dare this person disrespect
me. I met James Newton Howard, he's really cool and I
do respect him. One of the most frustrating things
is how Ford has horrible tastes and needs to suck up
to marginal composers, defending them to his last
breath, as a substitute for his lack of any worthwhile
intellectual contribution to film music.

OK, now I'm going in circles. I will end. I realize
the distasteful nature of this diatribe, which is why
I did not post it to But this is
upwards of one-half a decade of venting. If I think of
any other Ford stories - there seem to be more daily -
I will add them. All I'll say is, you've gotta get
me pretty riled up to write anything this long about
one person.

Lukas Kendall

=== ===
=== END of The Official InterNet "FAT BUFORD FAQ FILE, PART 1." ===
=== ===
=== ( Don't ask for Parts 2 and 3; they're REALLY disgusting. ===
=== They contain *pictures*. Ewwwww, ICK. ) ===
=== ===

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