$ 15.00 USD $ 35.00 USD
Includes September 7th through October 10th dates
$ 45.00 USD
Ben Barnes - 'Songs For You' Cover Art Hoodie
$ 18.98 USD
Available Exclusively from Bandwear & Better Noise Music!
Digipak CD
Embossed Bad Wolves Logo
Orange and Black
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While supplies last- limited to 150 units!
Hardcover version.
AUTHOR: NIKKI SIXX
TITLE: THE FIRST 21
LABEL: Hachette via Better Noise Music
ISBN number: 9780306923708
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Low Roar - Self Titled Re-issued LP celebrating 10 years of Low Roar.
$ 23.00 USD
A high-quality, limited run pressing of Public Life. 12" vinyl record with lyrics insert.
In his sophomore album, Public Life, Joshua Lee Turner weighs his life as a touring musician against a newfound appreciation for time spent at home. Turner embraces imperfection and limitation, choosing to record the album almost entirely to 4-track cassette and producing, mixing, and filming it in his apartment. With stripped-down arrangements, intimate lyrics, and virtuosic guitar playing, Public Life blends 1970s sounds with 2020 contemplations of home, friendship, work, and social media.
Track List
1. Introduction
2. Nebraska Dreams
3. Like Lightning
4. Belle
5. 319
6. Public Life
7. Smoky Sunrise
8. Nostalgia / So Far So Long
9. Denouement
10. At Home
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The second album by Low Roar on 12" double vinyl with matte finish.
$ 39.98 USD
Limited edition white vinyl.
Receive an immediate download of the full album with your purchase of vinyl from the official store.
This is a double gatefold package featuring 180 gram vinyl.
Features acoustic versions of 19 songs from one of Justin Furstenfeld's (Blue October) legendary one man shows “An Open Book". Beautifully crafted and thoughtfully performed fan favorites reflecting on important moments on his journey. A listening experience that relates to a feeling of reading someone you care for's personal diary.
From a beautifully fragile love song Justin wrote in high school (Morning Everything) to songs like Graceful Dancing that remind us while we may not always have the answers we can overcome what challenges us by bravely moving forward. Breakfast After 10 a story of a love that's lost and still longing "you've got to make her know how it feels to miss you” and the emotional freedom one feels when you finally find the courage to move on. An acoustic version of the timeless platinum selling classic Into the Ocean. History For Sale's gem Ugly Side and a precious reminder to cherish what’s most important to us in Home.
The Open Book winter Album is must have record for those who enjoy the lost art of story telling in song.
$ 30.00 USD
Trip The Witch’s self-titled debut album is now back by popular demand as a black 180 gram single-LP vinyl. Limited to 500 pressings.
This item is a pre-order expected to ship on 12/01/2022.
Tracklist:
1. Saturn We Miss You (feat. Jon Anderson)
2. Dressed To Kill Myself
3. Wall Of Sound
4. Fell From The Floor
5. Planet TD1
6. Surfside Lounge
7. We Lived Here
8. Space Wagon
9. The Bird Returns
10. Black Light / Reclaim My Time
$ 29.99 USD
Low Roar - maybe tomorrow Vinyl
$ 10.00 USD $ 20.00 USD
Also includes an immediate download of the digital album at the time of purchase.
The Lyle Mays Estate is elated to announce the release of a thirteen-minute “mini symphony” entitled Eberhard—a composition completed by Mays in 2009 for the Zeltsman Marimba Festival, and recorded in the months before his passing on February 10, 2020, with a slate of notable names in jazz including Bill Frisell, Alex Acuña, and Bob Sheppard.
Due out on August 27, 2021, Eberhard is a long-form, multi-section work that is Lyle’s self-professed dedication to the great German bass player Eberhard Weber, a composer whose influence loomed large on Mays and his long-time collaborator Pat Metheny in the forming of the 11-time Grammy-Award winning Pat Metheny Group during the mid 70’s and throughout their careers. According to Steve Rodby (bass player of the Pat Metheny Group and Lyle’s best friend) who did double duty on this recording as co-associate producer and acoustic bassist, “…though he called it his ‘humble tribute’ to Eberhard, it is still 100 percent Lyle in every way.”
A steady, lilting marimba (Wade Culbreath) ostinato offers an ample bed for Eberhard’s ethereal opening piano melody, performed, of course, by Mays. Lyle’s unmistakeable orchestrational style is immediately on display as various shakers, rainsticks, and atmospheric synthesizer pads quietly make their way into the texture, rising and falling organically as an electric bass theme (played by longtime James Taylor cohort, Jimmy Johnson) emerges. Wordless vocals, a hallmark of the music of the Pat Metheny Group, supplied here by jazz singers Aubrey Johnson (Lyle’s niece and co-executive producer), Rosana Eckert, and Gary Eckert, are introduced—first as accompaniment to the bass melody and later as melodic “instruments.”
Vocal features give way to Bob Sheppard’s woodwind section, which gives way to cello section underscores (led by principal Timothy Loo), and soon the whole ensemble, including star drummer/percussionists Jimmy Branly and Alex Acuña, Steve Rodby (acoustic bass), Mitchel Forman (Hammond B3 Organ/Wurlitzer piano), and Bill Frisell (guitar) have made appearances. All sixteen instrumentalists/vocalists rarely play at the same time, instead playfully weaving in and out for various features (notably by Mays, Jimmy Johnson, Aubrey Johnson, and Culbreath) and accompanying textures. In a piece already abundant with aural decadence, Bob Sheppard’s extended tenor saxophone solo, which brings Eberhard to its climax, is perhaps the most thrilling. The piece ends as it began, with a sparse recapitulation of the introduction, rewarding the listener with the feeling of having experienced an incredible musical odyssey.
In typical Lyle fashion, this music reflects and honors his far-reaching influences, most obviously the bass playing and compositional style of Eberhard Weber (with whom Lyle recorded on two occasions), but continuing on through Philip Glass’ minimalism, Indonesian Gamelan ensemble, Brazilian music (notably the percussive and speech-like vocal techniques of Lyle’s friend and collaborator Naná Vasconcelos), to the blues, and to classical forms and structures. As in all of his compositions, Mays’ propensity for exploiting compositional material (or, its “DNA”) to the fullest extent is ever constant throughout Eberhard. Like a scientist, he would take a simple melodic, harmonic, rhythmic, or other kind of idea and experiment with it until he had discovered all of the different forms it could take—melody, counterline, background pad, bassline, rhythmic motif, and more—often using the same ideas in a wide variety of ways. Eberhard is utterly intentional, containing layer upon layer of depth, complexity, love, and care for the listener to discover.
While technically a posthumous release, Mays was engaged in the making of Eberhard from beginning to end—serving as composer, arranger, performer (piano, keyboards, and synthesizers), producer, and executive producer, and was actively involved in all of the recording and mixing sessions, which took place in Los Angeles during the latter half of 2019.
Fans will know that Lyle had been on hiatus from his enormously successful touring and recording career with the Pat Metheny Group and as a solo artist (Eberhard will be his seventh release as a leader) since 2011, choosing instead to pursue his myriad non-musical passions. Then, “Lyle’s health took a bad turn in 2019, and at about the same time, he decided to try to get Eberhard recorded.The relationship between those two events is complex. What’s clear is that he would continue writing and extending this music, as was always his process: to try to find every bit of what the material suggested, every note and harmony, and sound it evoked for him. He added parts, expanded orchestration, imagining it all on an even grander scale,” Steve Rodby explains. “The result is this recording, and what he was able to hear in his final days. This wasn’t meant to be Lyle’s last piece of music, and if he had lived longer, he had plans for more.”
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