Bill Boll grew up in suburban St. Louis and began playing guitar at the age of eleven.  At his Jesuit-run high school, he fell in with a group of musicians and filmmakers including future director George Hickenlooper, fetish photographer Steve Diet Goedde, screenwriter/director James Gunn and musicians Chris Curtis and Tim Gallaher.

He began performing a solo acoustic guitar act during a college year abroad in Orleans, France, and briefly fronted a local punk band.  Later, he became a fixture of the late 80's St. Louis music scene as an acoustic opening act, drunkenly delivering half-written originals, impromptu covers and TV theme songs. He opened for bands like Naked Raygun and The Urge. During this time he released two independent cassettes, VOLUMES EIGHT & NINE (1987) and KLAUS BARBIE DOLL (1989).  One local reviewer described him  as "like Lou Reed playing Alex Chilton songs at Paul Westerberg's house."   Though each release sold fewer than three hundred copies, several of the songs found their way into the repertoires of other St. Louis bands.  

In 1991, Bill moved to Los Angeles to pursue film composing. He scored Hickenlooper's films GREY NIGHT (1993) aka THE KILLING BOX, SOME FOLKS CALL IT A SLING BLADE (1994), and THE LOW LIFE (1995).  In all the films he scored, Bill gave a cameo appearance--typically playing a musical instrument. Hickenlooper also cast him as a guitarist in his 1996 feature DOGTOWN (1996), singing a duet with Karen Black; and a drag queen in THE BIG BRASS RING (1998) with William Hurt. During his years in Los Angeles, Bill gave infrequent performances in local nightclubs while devoting most of his time to recording new material. 

In the late 90's, he moved back to St. Louis and eventually produced and directed two feature films, APRIL IS MY RELIGION (2001) and the documentary BUILT FOR SPEED: THE CORAL COURT MOTEL (1993). He also produced "THE AMAZING MANDELBROT SET," a DVD of fractal geometry.

"Neverland" is the culmination of several years of recordings in different genres, all loosely based on the theme of late-onset adulthood.