$ 35.00 USD
All Good Things - A Hope In Hell Album Tee (PRESALE 08/20/21)
$ 15.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 45.00 USD
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 10.00 USD
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 30.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 60.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 30.00 USD
Limited to 100 copies
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 60.00 USD
Limited to 100 copies
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 50.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Limited to 100 copies
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 80.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Receive an instant download of 4 instant grat tracks when you pre-order!
Full album delivered on release day, August 20th, 2021.
Kingdom
For the Glory
The Comeback
Machines
$ 25.00 USD
Aubrey Logan - Impossible Signed CD
More stock currently in production and expected to ship at the end of May, 2021.
$ 35.00 USD $ 40.00 USD
Bundle both the CD and LP to save!
Brent’s pop melodies summon the restrained beauty of his native Midwest. A fixture in Kansas City music, Windler’s pacific harmonies and intricate vocal and instrumental structures capture the polite malaise of Americana as it is lived everyday in mid-sized cities of the heartland. For more than a decade, Windler has explored this terrain that has grown into a more expansive identity that perfectly captures both the sticky sameness of a Midwestern evening, and Windler’s own embrace of a sound that is uniquely his own.
Brent’s first solo album “New Morning Howl” is an old friend joining you cross-country. As Windler narrates the tender sameness of the landscape, his arrangements and harmonies reveal hidden depths, casting the familiar in a sound that is lush, layered, and new.
Tracks :
$ 25.00 USD
Brent’s pop melodies summon the restrained beauty of his native Midwest. A fixture in Kansas City music, Windler’s pacific harmonies and intricate vocal and instrumental structures capture the polite malaise of Americana as it is lived everyday in mid-sized cities of the heartland. For more than a decade, Windler has explored this terrain that has grown into a more expansive identity that perfectly captures both the sticky sameness of a Midwestern evening, and Windler’s own embrace of a sound that is uniquely his own.
Brent’s first solo album “New Morning Howl” is an old friend joining you cross-country. As Windler narrates the tender sameness of the landscape, his arrangements and harmonies reveal hidden depths, casting the familiar in a sound that is lush, layered, and new.
Tracks :
$ 35.00 USD
Double LP in premium limited edition packaging.
Expected to ship in November of 2021.
Receive an immediate download of the track "Vacation" ft. Train when you pre-order.
Tracklisting:
$ 650.00 USD
Unframed HIGH-Quality PRINT plus postage. Size is 100x90
*Available only in the US*
$ 75.00 USD
Jackie Bristow - Signed Poster
$ 50.00 USD
Jackie Bristow - Signed Setlist From a Show (PRESALE FALL 2020)
$ 1,000.00 USD
Jackie Bristow - Solo House Concert (PRESALE FALL 2020)
***This is special prerelease private performance pricing only offered for a limited time through this album funding campaign.Because of regular tour routing, travel expenses may be required along with date coordination depending on requested locations***
$ 35.00 USD
Kimberly Dawn - Canyon Road Signed Vinyl (PRESALE 08/20/21)
All vinyl purchases include album download on release date.
$ 50.00 USD
Kimberly Dawn - Canyon Road Signed Vinyl Bundle
All vinyl purchases include album download on release date.
$ 25.00 USD
Kimberly Dawn - Canyon Road Vinyl (PRESALE 08/20/21)
All vinyl purchases include album download on release date.
$ 50.00 USD
Kimberly Dawn - Let The Girls Play Signed Vinyl Bundle
All vinyl purchases include album download on release date.
$ 50.00 USD
Kimberly Dawn - Nashville Signed Vinyl Bundle
All vinyl purchases include album download on release date.
$ 35.00 USD
Expected to ship in Late-September.
LANGAN, FROST & WANE is the collaboration of three songwriters, writing in the folk tradition and drawing candidly from the folk revival of the mid-twentieth century.
It began as a vessel for Brian Langan (Langan) and RJ Gilligan (Frost) to explore a territory they otherwise had no outlet for in their music. While Langan's past work with The Swims and Needlepoints was geared more towards well-crafted pop and boogie, Frost's output from Meddlesome Bells and Dark Web was heavier, more riffs - more punk.
It was in Langan, Frost, & Wane that they found a common ground.
As work on the album began, themes emerged.
What is it that allows a song to be playful, yet somber? How can the music tell a story on its own, apart from words? It was the same territory that the wild raucous flutes found on early Incredible String Band occupied, or better still, the second half of Donovan's A Gift From A Flower To A Garden.
They set about to capture it.
Frost ran a small studio and field recording label in Philadelphia, Bells Records, allowing the duo to dive into different tracking arrangements and experimentations, building out each song organically over a period of time. After wrapping up a season of sessions, Frost suggested Nam Wayne (Wane) to Langan as a possible third collaborator. Wane and Frost had been trading folk songs for some time and it became clear he was on a similar quest. After an evening of impromptu song writing among the three it was settled, and the project solidified.
The group is driven by Langan and Frost's finger-plucked melodies on guitar, complimented with found sound, instrumentation of the Middle and Far East, India, the Mediterranean, and Appalachia.
It is the belief of these songwriters that they succeeded in what they set out to do. This body of work is the culmination of those long hours spent searching for what is not lost, but perhaps sometimes forgotten
TRACKLISTINGS:
$ 25.00 USD
Expected to ship in late-September.
LANGAN, FROST & WANE is the collaboration of three songwriters, writing in the folk tradition and drawing candidly from the folk revival of the mid-twentieth century.
It began as a vessel for Brian Langan (Langan) and RJ Gilligan (Frost) to explore a territory they otherwise had no outlet for in their music. While Langan's past work with The Swims and Needlepoints was geared more towards well-crafted pop and boogie, Frost's output from Meddlesome Bells and Dark Web was heavier, more riffs - more punk.
It was in Langan, Frost, & Wane that they found a common ground.
As work on the album began, themes emerged.
What is it that allows a song to be playful, yet somber? How can the music tell a story on its own, apart from words? It was the same territory that the wild raucous flutes found on early Incredible String Band occupied, or better still, the second half of Donovan's A Gift From A Flower To A Garden.
They set about to capture it.
Frost ran a small studio and field recording label in Philadelphia, Bells Records, allowing the duo to dive into different tracking arrangements and experimentations, building out each song organically over a period of time. After wrapping up a season of sessions, Frost suggested Nam Wayne (Wane) to Langan as a possible third collaborator. Wane and Frost had been trading folk songs for some time and it became clear he was on a similar quest. After an evening of impromptu song writing among the three it was settled, and the project solidified.
The group is driven by Langan and Frost's finger-plucked melodies on guitar, complimented with found sound, instrumentation of the Middle and Far East, India, the Mediterranean, and Appalachia.
It is the belief of these songwriters that they succeeded in what they set out to do. This body of work is the culmination of those long hours spent searching for what is not lost, but perhaps sometimes forgotten
TRACKLISTINGS:
$ 25.00 USD
Lindsey Ray - Won’t Let Go Tee - Black (PRESALE Early June)
$ 25.00 USD
Lindsey Ray - Won’t Let Go Tee - White (PRESALE Early June)
$ 12.99 USD
Low Roar - Maybe Tomorrow CD (PRESALE 07/30/21)
$ 25.00 USD
Lyle Mays - Eberhard Album Tee
$ 10.00 USD
Shipment will occur on or after 8/27/21
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.”
$ 3.00 USD
Download will be issued on 8/27/21
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.”
$ 10.00 USD
Lyle Mays - Eberhard Mug
$ 20.00 USD
Shipment will occur on or after 8/27/21
First 500 Vinyl orders ship with a free 12"x12" Album Art Poster
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.”
$ 30.00 USD
Mandy Rowden's 2021 Release from Howlin' Dog Records
$ 15.00 USD
Modern English - After The Snow Live at Indigo CD (PRESALE 08/27/2021)
$ 30.00 USD
Modern English - After The Snow Live at Indigo CD/DVD (PRESALE 08/27/2021)
$ 13.00 USD
Modern English - After The Snow Live at Indigo Digital Download (PRESALE 08/27/2021)
$ 30.00 USD
Modern English - After The Snow Tour Tee (PRESALE 08/27/2021)
$ 40.00 USD
Modern English - After The Snow Tour Tee + CD (PRESALE 08/27/2021)
$ 50.00 USD
Modern English - After The Snow Tour Tee + CD/DVD (PRESALE 08/27/2021)
$ 20.00 USD
Modern English - I Melt With You Black Canvas Tote
$ 20.00 USD
Physical products expected in late July.
$ 12.00 USD
Physical products expected in late July.
$ 25.00 USD
Physical products expected in late July.
$ 90.00 USD
Includes a digital download of the new album, Legacy, on release date of 05/28/2021.
Physical products expected in late July.
$ 90.00 USD
Includes a digital download of the new album, Legacy, on release date of 05/28/2021.
Physical products expected in late July.
$ 25.00 USD
Physical products expected in late July.
$ 45.00 USD
Physical products expected in late July.
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