$ 2.00 USD
Mp3 download of the single "Dreams" will be delivered on Friday March 26th.
If purchases after that date, digital delivery is immediate.
$ 2.00 USD
Aubrey Logan - Louboutins 2.0 Single Download in mp3 format
$ 8.00 USD
Maria Raquel y sus Maravillas - Self Titled 7"
Vinyl will be a random mystery color!
Sold Out
Steve Gadd - At Blue Note Tokyo CD
Regular or autographed versions available.
$ 15.00 USD $ 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 :
$ 5.00 USD $ 15.00 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 :
$ 20.00 USD
More stock currently in production and expected to ship at the end of May, 2021.
Sold Out
Signed copy of Wax Wings newly pressed on 140g black vinyl.
$ 30.00 USD
One copy of Wax Wings newly pressed on 140g black vinyl.
$ 30.00 USD
One copy of Simple Times newly pressed on 140g black vinyl.
$ 30.00 USD
One copy of We Were Here newly pressed on 140g black vinyl.
$ 20.00 USD
Yam Haus - Stargazer Sessions + Bonus Tracks CD
$ 10.00 USD
The official hard copy of The Band Is Gonna Make It EP
Tracklisting:
wOw!
The Thrill
Cute
Simplicity
Adriana
Wake Up
$ 15.00 USD
Receive an immediate download of the track "Vacation" ft. Train when you pre-order.
Tracklisting:
Sold Out
Dirty Heads - Any Port In A Storm Special Edition CD
$ 10.00 USD
Receive an immediate download of the track "Vacation" ft. Train when you pre-order.
Tracklisting:
$ 30.00 USD
Nothing More - The Stories We Tell Ourselves Splatter Vinyl
$ 30.00 USD
Nothing More - Self Titled Vinyl
$ 15.00 USD
Joshua Radin - The Ghost And The Wall CD
$ 10.00 USD
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.”
Sold Out
A Mild Case Of Everything on compact disc: The masterpiece concept album from Killers guitarist Dave Keuning.
Sold Out
A Mild Case Of Everything on vinyl: The masterpiece concept album from Killers guitarist Dave Keuning.
Premium colored Double Vinyl featuring 17 songs. Includes an extra song that is ONLY exclusively available on Vinyl.
Note: Image shown is a production mockup and each vinyl will be a unique splatter including similar colors.
$ 5.00 USD
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.”
$ 20.00 USD
Ships with free 12x12" album art poster
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.”
$ 12.99 USD
2021 new album from Low Roar: maybe tomorrow on CD
$ 30.00 USD
Joshua Radin - The Ghost And The Wall Viny
Sold Out
Tyler Smith - Feel You Walking CD
$ 5.99 USD
$ 15.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Includes immediate digital download at the time of purchase.
$ 30.00 USD
2 LP product: 3 sides music, 1 side etched artwork
Receive an instant download of the full album when you pre-order!
$ 30.00 USD
Limited to 100 copies
$ 10.00 USD
Receive an instant download of the full album.
$ 1.29 USD
America is mostly a place where folks move around. “Ebony Revisited” tells a story about being a stranger in your “hometown.” I didn’t know my birthplace, Washington, DC as I wrote the song and I don’t know it now. Earlier versions had more verses and I first wrote it without a band in mind. Put away for years — unfinished — the pandemic inspired me to look at “Ebony Revisited” with fresh eyes, changing it to better tell today’s story. As a songwriter, I’m not immune to what goes on around me and so today’s “Ebony Revisited” is influenced by America’s ongoing conversations around race, identity and belonging. A studio version of the song, with full band, appears on upcoming album, “Janus,” releasing January 2022. “Ebony Revisited Unplugged” is stripped down and recorded to evoke being on a front porch unfussy — just two musician friends with a dobro and ukulele. On this recording I’m joined by band multi-instrumentalist Darren Loucas. Our hope is many listeners see themselves in “Ebony Revisited.”
—Paula Boggs, songwriter
$ 25.00 USD
Modern English - After The Snow Live at Indigo CD/DVD
$ 12.00 USD
Modern English - After The Snow Live at Indigo CD
$ 10.00 USD
Modern English - After The Snow Live at Indigo WAV format Digital Download
Sold Out
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.
$ 20.00 USD
“Pufnstuf” 45 rpm single written by Charles Fox and Norman Gimbel for Pufnstuf (1970), the Universal feature film based on the hit TV show H.R. Pufnstuf.
“Nonsense” is the tune on the flip side (that’s record talk for what is on the other side of the record.) Record features original “sample copy” sticker affixed to the label, pulled case fresh from the original Decca Records shipping box from the Kroftt Archives.
$ 10.00 USD
Asking Alexandria - See What's On The Inside Digital Download
$ 15.00 USD
Asking Alexandria - See What's On The Inside CD
Sold Out
Asking Alexandria - See What's On The Inside Signed CD
$ 4.00 USD $ 10.00 USD
$ 10.00 USD $ 15.00 USD
Sold Out $ 15.00 USD
Sixx AM - Heroin Diaries 10th Anniversary Edition CD
$ 10.00 USD $ 20.00 USD
2 Disc CD with four previously unreleased tracks.
Also includes an immediate mp3 format download at the time of purchase.
Subscribe to our newsletter and always be the first to hear about what is happening.
© 2025 Bandwear. com 2025 Midway Rd. Suite C Carrollton, TX 75006
