In the 70s, Tom and his partner Rob Witter opened Kropotkin Records in Huntington, New York. Kropotkin stocked everything from acid rock to avant-garde jazz but with a special emphasis on the music Tom loved - traditional American folk music. And it was in November of 1970 at the old Gaslight club on MacDougal Street in the West Village of New York City that Tom first met his idol, Mississippi Fred McDowell.

In an article for Guitar Player Magazine (November 1977) Tom recalled, "After the show, I weaseled my way backstage and approached him. I asked him about his music, and he answered without any reluctance. Then I finally got around to the big question. ‘You know, Mr. McDowell, if I could, I'd really like to have the chance to take a few lessons from you. If you'd like to show me a few things while you're here in New York, I'd be glad to pay you for the opportunity!’ He just smiled and said, ‘Well, I'll tell you. Someday this week, you just come up to where I'm staying at. Give me a call, and I'll show you whatever I can. There's no sense in me taking any money for the few little things I can show you."

A few months later when Fred returned to New York City, Tom worked the gigs with him playing bass and sparking a relationship that lasted until Fred’s death in July of 1973. All the while, Tom was becoming a master of the bottleneck guitar. Tom along with Fred Seibert produced Live at the Gaslight which is the final recording of Delta blues legend Mississippi Fred McDowell. And although in his 70s at the time of the recording, " … his voice and playing show no signs of age and his passion and conviction seem to have strengthened with the years." -- Zac Johnson, All Music Guide

In the 80s, Tom joined with Fred/Allen, Inc. where he crafted the first wacky id's for what we know now as MTV. (You know, the cow in the field with the MTV ‘brand’ on its rump and the white house with the graffiti and a Jimi Hendricks-style rendition of The Star Spangled Banner). He also became the guru behind the classic Nickelodeon Doo-wop sound and network identities of some of the best animation in the history of television. It’s fair to say that even the casual television viewer is familiar with his work.

It was while he was working for Fred/Allen, Inc. that Tom first met Mark. Having left Nashville for the east coast, Mark contacted Tom who was struck by the purity of Mark's throwback country sound. It was not long thereafter that Tom broke out on his own with Heartfelt Productions (later to become Pomposello Productions), continuing to produce music, animation, videos and records.

In 1992, Tom teamed up with Mark to produce a 45 of his Jimmie Rodger’s tribute song, 'New Blue Yodel.' The record was first put out on 'Diesel Only' on 45 and later included on a Rig Rock Juke Box (BMG Music International) compilation and released on CD in 1992 in Tom’s words to "sate the roots-starved music lovers of the '90's." The title cut was nominated for two Grammy’s, Best Country Song and Best Country Male Vocalist and won the attention of Hank Snow ultimately leading to Mark’s debut performance on the Grand Ole Opry. The disk included ten sparkling Brine originals with some traditional tunes thrown in (Stephen Foster, Fred Rose). Along with a wild cast of musicians, Tom crafted a rich mix of early century yodeling, smoky blues and folk raconteuring with an edge heard only below 14th Street.

Not only was Tom a celebrated blues guitarist and music historian, he had a long standing dream to bridge the gap between secular and sacred music. In 1997 working together with Dr. Theodore Marier, internationally recognized as one of the world's Masters of Gregorian Chant, Tom produced a CD of sacred music, 'Women in Chant: The Virgin Martyrs' by the nuns of the Abbey of Regina Laudis in Bethlehem, Connecticut.

Tom was considered by many to be one of the most influential and creative forces to emerge in recent memory in the entertainment world, and had earned the nickname 'Honest Tom Pomposello' and the name under which he always performed. Tom never lost his love of performing and playing his custom-made Dobro guitar. With plans to return to a life of full time dedication to making his own music, he died suddenly in January of 1999.