$ 14.99 USD $ 29.99 USD
$ 19.98 USD
Fire From the Gods - American Sun Vinyl
$ 12.00 USD
Fire From the Gods - American Sun CD
$ 5.00 USD $ 10.00 USD
Continuing the concept, success and story behind the new album “Angel Miners & The Lightning Riders” which centers on the struggle between Good (‘Lightning Riders’) and Evil (Angel Miners’), Aaron Bruno the song writer behind AWOLNATION presents “ANGEL MINERS & THE LIGHTNING RIDERS LIVE FROM 2020”.
Recorded live in the studio that Aaron recently rebuilt after wildfires burned down his previous studio and inspired much of the new album’s music. It features all instrumentation, no tracks and arrangements that have creative flourishes and the fervent energy that AWOLNATION is known for in a live setting.
Mp3 file format.
Track listing:
$ 30.00 USD
The Heavy Eyes - Love Like Machines Transparent Blue LP
$ 29.00 USD
The Heavy Eyes - Love Like Machines LP
Swamp Green multi-colored & marbled vinyl
$ 45.00 USD
*Receive the full album via digital download instantly upon ordering!
As you may or may not know, philanthropy has been a big part of my life for a long time. I've found that artists like myself are uniquely positioned to raise awareness and make a difference in our own communities and beyond. As such, about a year ago, I decided to make philanthropy a more permanent part of my life by establishing the SOS Foundation. The goal here is to use music, both recorded and live, to raise money for causes I'm passionate about. With the help of some amazing people, I'm happy to announce the upcoming release of the first SOS Foundation record. This is a follow up of a record we put out years ago called SOS:Save Our Soul, which was a covers record. This new record will be similar except that we dug a little deeper into history and pulled together a fantastic playlist of cover songs ranging from Wilson Pickett, Solomon Burke, Aretha Franklin and many more. Most importantly, 50% of all profits will go to our charitable partner, City Of Refuge. City Of Refuge is an Atlanta, GA based organization that does some of the most comprehensive work, dealing with homelessness and poverty, in the country! My first encounter with COR was 2 years ago when I performed for one of their fundraisers in Atlanta. I was able to meet with the folks that work there and the folks that are served by the work that COR does. I was so impressed with what I saw that day that I began to research more about the group and, needless to say, became convinced that I wanted to get involved in any way I could. Through vocational training, youth education, and lifetime job placement assistance, COR is more successful at getting people permanently out of poverty than any other program I've ever seen. You can see for yourself the amazing work they're doing at City of Refuge .
Track Listing:
Cry To Me - Solomon Burke
Do Right Woman-Aretha Franklin
Baby Workout - Jackie Wilson
Twistin’ The Night Away - Sam Cooke
These Arms Of Mine (Feat. Huey Lewis) - Otis Redding
What Becomes Of The Broken Hearted - Jimmy Ruffin
I Was Made To Love Her - Stevie Wonder
In The Midnight Hour (Feat. J.J. Grey) - Wilson Pickett
Hold On, I'm Comin’ - Sam & Dave
It's Your Thing - Isley Brothers
Fool For Your Love - Original
Cry to Me (acoustic feat. Ted Broussard) - Solomon Burke
Sunday Kind of Love - Etta James
Every Tear - David Egan
Sold Out
Tal’s debut vocal album 'Love Remains’ on 180 gram Vinyl, signed by Tal Wilkenfeld. Released March 15th, 2019
$ 10.00 USD
One magnified + one regular mirror in a snazzy black travel case.
A must for any image-conscious Kazoo Crue member.
$ 20.00 USD
Aubrey Logan - Where The Sunshine Is Expensive DVD
$ 15.00 USD
Aubrey Logan - Blue Christmas CD
$ 40.00 USD
180g double-sided vinyl signed by Aubrey herself!
$ 30.00 USD
Aubrey Logan - Signed Standard CD
Sold Out
180 double-sided vinyl, expected to ship in mid-June.
$ 10.00 USD
Aubrey Logan - Standard Digital Download
$ 2.00 USD
Single will be delivered via email immediately upon purchase.
Wav format audio.
Sold Out
Released March 26th, 2021.
Alone Together is a unique project that presented itself in many shapes and forms. When the pandemic started and all my touring was postponed indefinitely, I knew I needed to continue creating music for my own well-being. That’s when I started doing my virtual shows from my home studio on StageIt. A few shows in I started inviting special guests to perform with me, but as technology wasn’t allowing for ‘live’ duets we did it literally ‘alone together’ from separate locations as a pre-record. The most exhilarating part was that my fellow artists that I invited all said yes immediately – and the same goes for the selections I made for this album.
When it came time to stream the duets, technical challenges made it impossible to do them live. So for each duet, me and each artist created a pre-recorded video, doing one take from top to bottom. He mixed the music and then sent it all to a video editor to synch it up – and the result is pure sonic and split screen visual magic.
What ended up happening was incredible. We put together performances that were so real, heartfelt and authentic that it became apparent we were creating something special. We captured a spirit and vibe beyond anything I could have imagined. It’s not about being perfect but all about the heart and soul. It’s exciting to now share that magic with you on Alone Together.
1. Bakerstreet feat. Javier Colon
Track originally Produced by Keith Olsen
Produced by Michael Lington
Mixed by Michael Lington and Ray Bardani.
Mastered by Steve Hall
Art Direction by Paul Grosso
Musicians on Album:
Barry Eastmond, Ray Parker Jr, Paul Jackson Jr, Teddy Campbell, Nathan East, Freddie Washington, Tim Pierce, Randy Waldman, Dean Parks, Brian Bromberg, Vinnie Colaiuta, Luis Conte, Brian Culbertson, Oscar Seaton, Smitty Smith, Lenny Castro, Greg Karukas, Land Richard, Jeff Koz, Phillip Ingram, Shedrick Mitchell, Alex Al, Jairus Mozee, Tim Carmon, Omari Williams, Bill Reichenbach, Dan Higgins, Gary Grant, Dave Guy, Neal Sugerman, Cochemea Gastelum, Ricky Peterson
$ 0.99 USD
$ 25.00 USD
PLANET 9, the debut album of activist, author and filmmaker Rose McGowan was released digitally on April 24, 2020 and is finally available on a beautiful blue/purple glitter vinyl!
Five years in the making, PLANET 9 is a truly international work of art. Recorded in Paris, Biarritz, El Paso, and Los Angeles, The Planet 9 experience was created by Rose McGowan with collaborators such as DJ Falcon (who produced her favorite Daft Punk song), Punishment, an underground duo in Paris, and David Sitek (who’s worked on Massive Attack, TV on the Radio, and many others). Mixed by Trent Reznor and Atticus Ross’ sound engineer Michael Patterson (Social Network, Girl with the Dragon Tattoo) and Stuart White (Beyoncé’s 'Lemonade'), and mastered by Paul Logus (Coheed & Cambria, Public Enemy). Rose wanted a lush, cinematic sound - as she puts it "music to go to space to."
$ 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.
$ 20.00 USD
More stock currently in production and expected to ship at the end of May, 2021.
$ 35.00 USD
One copy of Wax Wings newly pressed on 140g black vinyl.
$ 35.00 USD
One copy of Simple Times newly pressed on 140g black vinyl.
$ 35.00 USD
One copy of We Were Here newly pressed on 140g black vinyl.
$ 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:
$ 10.00 USD
Receive an immediate download of the track "Vacation" ft. Train when you pre-order.
Tracklisting:
$ 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.”
$ 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
$ 35.00 USD
Joshua Radin - The Ghost And The Wall Viny
$ 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
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