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Overstep (On Sale)Ask, and Mike Gordon will tell you all about the songs he has written and recorded for his fourth solo album Overstep, and how the finished product
compares to his previous releases (2003's Inside In, 2008's The Green Sparrow, and 2010's Moss). But as a devotee and student of the creative process,
he'd much rather talk about how the songs came to be, and about the long road traveled between idea and finished work.
Most artists have a ritual or routine that they rely on to inspire and guide their efforts from concept to fruition. Gordon has developed hundreds of them
over the years, and perhaps thousands. He speaks often about the importance of listening, and of his commitment to following ethereal voices and
visions. One such persistent vision he describes was of a spare cabin in the woods with a single window and a desk, and Gordon making music with
guitarist and longtime collaborator Scott Murawski. So he called Murawski and proposed a songwriting retreat at idyllic Lake Sunapee in New Hampshire.
Murawski accepted, and the old friends escaped together to summon the muse, unburdened as yet by the expectation that they would eventually record
After multiple writing retreats and an album's worth of core tracks in hand, Gordon took a leap of faith, and hired Paul Q. Kolderie (Radiohead, Hole,
Pixies, Dinosaur Jr.) as producer to bring the project home. Gordon had self-produced all of his previous albums, but felt he was ready to surrender
control to someone who understood his vision and loved the material. "Hiring Paul was definitely the right thing," says Murawski. "The payoffs are all over
Gordon cites three goals that he kept in mind throughout the process from start to finish: Find ways to be raw and sophisticated at the same time; Be
groove oriented; Write songs that will be fun to play live. Whether an explicit goal or not, the songs on Overstep evidence Gordon's evolving ability to
develop three-dimensional characters within his songs, and to speak more directly to the truth of their condition.1. Ether
2. Tiny Little World
4. Yarmouth Road
5. Say Something
8. Different World
10. Long Black Line
11. Surface$22.99 $18.16 Save $4.83 (21%)Vinyl LP - Sealed Buy Now
OGOGO (Pre-Order)Bassist Mike Gordon will release his new album, OGOGO, via Megaplum/ATO Records. This is the long-awaited follow-up to 2014's Overstep.
Mike Gordon recorded OGOGO with his touring band of guitarist Scott Murawski, drummer John Kimock, keyboardist Robert Walter and percussionist Craig Myers. The LP was produced by Grammy Award-winning engineer Shawn Everett.1.Equilibrium
7.Up And Down
11.So Far Gone
13.Victim 3D$21.99Vinyl LP - Sealed PRE-ORDER Buy Now
Big BoatPressed On Clear/Cloudy Vinyl
PHISH has announced the release of its new studio album, Big Boat, via the band's own JEMP Records. Recorded in Nashville, New York and the band's home state of Vermont, Big Boat features 13 new songs contributed by all four members of the band - Trey Anastasio, Jon Fishman, Mike Gordon and Page McConnell.1. Friends
2. Breath and Burning
4. Blaze On
5. Tide Turns
6. Things People Do
7. Waking Up Dead
8. Running Out of Time
9. No Men in No Man's Land
10. Miss You
11. I Always Wanted it This Way
13. Petrichor$25.99Colored Vinyl LP - 2 LPs Sealed Buy Now
The Siket DiscThe Siket Disc is a 1999 release from the American band Phish. It emerged from material developed during the Bearsville Studio sessions for Phish's 1998 album The Story of the Ghost. Not exactly outtakes or unfinished songs, The Siket Disc's compositions are actually select excerpts from the long-form improvisation of the Ghost Sessions. Phish keyboard player Page McConnell edited and mastered the selections into this compilation, named for engineer John Siket.
The material on The Siket Disc is defined by an almost ambient, post-rock sound that is a distinct departure from the band's major studio albums. The album is almost completely instrumental, but contains a few instances of vocalization. Quadrophonic Toppling, for instance, includes a triggered sample of bass guitarist Mike Gordon repeating the song's title.
Only the compositions My Left Toe and What's the Use? have been notably incorporated into the band's live shows on a somewhat regular basis. (However, Quadrophonic Toppling and The Happy Whip and Dung Song have each made at least one live appearance).
Gordon has indicated that The Siket Disc became a fixture in the band's late night tour bus music rotation in the early 2000s (decade), saying that It fit the vibe perfectly ... It's one of the only instances I can remember when we regularly played our own music.1. My Left Toe
2. The Name is Slick
3. What's the Use?
4. Fish Bass
5. Quadrophonic Toppling
6. The Happy Whip and Dung Song
8. Title Track
9. Albert$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
TigerFace (Awaiting Repress)Over three previous studio albums, pianist/sound-sculptor/songwriter Marco Benevento has set forth a vision for instrumental music that connects the dots between Explosions In The Sky and Tortoise on one side, Brian Eno and Brad Mehldau on the other. On his fourth studio recording, 'Tigerface', the 34-year old artist takes the next step forward in this evolution. Benevento paints his songs in a myriad of sonic colors, shimmering in acoustic piano, synths and analog keyboards. The tunes themselves conceptualized from seemingly every wisp of melody, hook and cadence that s ever tickled his ear. The album was recorded and mixed by Tom Biller (Silversun Pickups, Fiona Apple) and Bryce Goggin (Pavement, Akron/Family), while Benevento invited a stellar cast of musicians to help capture his ideas, including drummers Matt Chamberlain (Bill Frisell, Pearl Jam), John McEntire (Tortoise, The Sea & The Cake) and Andrew Barr (The Barr Brothers), bassists Dave Dreiwitz (Ween), Reed Mathis (Tea Leaf Green) and Mike Gordon (Phish), violinist Ali Helnwein (Traction Avenue Chamber Orchestra) and saxophonist Stuart Bogie (Antibalas, Superhuman Happiness). For the first time on record he uses vocals, inviting Kalmia Traver (Rubblebucket) to sing on the infectious dance rock rave-up 'Limbs Of A Pine' and the pastoral psych rock meditation 'This Is How It Goes'. Other standouts include the angelic Arcade Fire meets The Flaming Lips anthem 'Eagle Rock', the soaring garage psychadelia of 'Going West', the piano riff rock jaunt 'Escape Horse', and the happily lilting 'Fireworks', which bounces along like a long lost Italian folk song beamed down to him by ancestors from his father s homeland. As anybody who's seen Benevento perform live can attest, the pianist eyes closed, smile wide across his face, fingers free-flowing across the keys is a satellite to the muse. 'Tigerface', indeed, is the commitment to this idea; a record that rides the yes wave and in the process becomes a soundtrack for fellow travelers chasing the horizon ahead.1. Limbs Of A Pine
2. This Is How It Goes
4. Going West
5. Eagle Rock
7. Do What She Told You
8. Escape Horse
10. This Is How It Goes (instrumental)$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
American V: A Hundred HighwaysThe ethical questions surrounding this final album in the American Recordings series are as unavoidable as they are, ultimately, peripheral. While the
vocal tracks were recorded in the months just prior to Johnny Cash's passing in September 2003, the arrangements weren't undertaken until two years
later. And though producer Rick Rubin had become a trusted friend, the Man in Black wasn't around to approve or disapprove, let alone guide, the final
sessions. However, if the pure power of these recordings doesn't quiet the skeptics, nothing will. With Heartbreakers Mike Campbell and Benmont Tench
and slide guitar session pro Smokey Hormel on board (all three of whom appear on earlier Cash albums), along with guitarists Matt Sweeney and Johnny
Polansky, the sound is stately and acoustic, but rarely staid, even as the dynamics of earlier recordings in the series are absent. Instead, the songs have
a measured, elegiac intensity, the sound of musicians choosing their notes carefully and making just the right choices.
The songs Cash sings are, unsurprisingly, confessional and reflective: his mortality and his mistakes, his maker and his salvation, and the loss of his wife
June and the end of his career may have weighed on his mind, but in these songs he both embodies and transcends his personal history. On God's
Gonna Cut You Down, as the musicians clap and stomp behind him, his voice cuts through the air like that same avenging hand. On the new original
Like the 309--the last song Cash ever wrote--he cops to being short of breath, and that voice becomes a metaphor for what each of us will one day face.
On Gordon Lightfoot's If You Read My Mind, Rubin flirts with overwhelming the damp bittersweetness of Cash's phrasing in tasteful atmospherics, but
the voice is implacable, hitting and finding notes one never expected he'd have the will to find. Likewise, it's hard to believe this is his first recording of Ian
Tyson's Four Strong Winds; the elemental narrative seems to have been written for him. Two songs, however, Cash has recorded before: the bornagain
hymn I Came to Believe and the final spiritual, I'm Free from the Chain Gang Now. The latter especially is a definitive testament, as is his version
of Bruce Springsteen's Further On (Up the Road). One sunny morning we'll rise, I know / And I'll meet you further on up the road, he sings. If only,
John, if only. --Roy Kasten1. Help Me (Album Version)
2. God's Gonna Cut You Down (Album Version)
3. Like The 309 (Album Version)
4. If You Could Read My Mind (Album Version)
5. Further On Up The Road (Album Version)
6. On The Evening Train (Album Version)
7. I Came To Believe (Album Version)
8. Love's Been Good To Me (Album Version)
9. A Legend In My Time (Album Version)
10. Rose Of My Heart (Album Version)
11. Four Strong Winds (Album Version)
12. I'm Free From The Chain Gang Now (Album Version)$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Instant ReplayThe Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories in the music business. In 1969, Davy Jones, Michael Nesmith and Micky Dolenz went back to the studio as a trio this time and recorded the classic Instant Replay album. Noted for their hit single Tear Drop City, this masterwork also found The Monkees reuniting with the production team of Tommy Boyce and Bobby Hart for several of the tracks as well as previous team Monkees writers like Carole King and Neil Sedaka, and highly touted producers like Bones Howe (The Association/Tom Waits) and Shorty Rogers and resulted in some of the finest collaborations ever with this superstar act. Instant Replay also offered the first look at Michael Nesmith's experimental and groundbreaking recording sessions in Nashville as well as solid compositions from all three Monkees.
Opening up with the pop rocker Through The Looking Glass, Micky Dolenz is on top of his game vocally with a brilliant background of horns, Bobby Hart on piano and guitar work by legends Keith Allison (Paul Revere & The Raiders) and Gerry McGee (The Ventures/John Mayall). A major fan favorite, this classic was performed at many of the reunion concerts over the years. The late great Davy Jones belts out another Boyce and Hart classic with the haunting ballad Don't Listen To Linda. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites. Carole King and Gerry Goffin's I Won't Be The Same Without Her features a strong vocal performance by Michael Nesmith and the stunning guitar work of both Monkees' Peter Tork and Glen Campbell. A real summer time feeling song, this track would be a nice bridge to Micky Dolenz's orchestral masterpiece Just A Game.
It is no secret that Nesmith was a fan of country music, but also lauded as one of the first pioneers of the country rock genre, not only with his contributions to the earlier Monkees' recordings as far back as Papa Gene's Blues, even for other noted artists like Linda Ronstadt for whom he penned her first smash single Different Drum. For the Instant Replay album, Nesmith ventured to Nashville's RCA Studios and cut Don't Wait For Me, the first released tune from his now famous Nashville sessions. With the fusion of country studio players and the voice and guitar of Michael Nesmith, The Monkees again were on the forefront of this new genre and would continue with this groundbreaking sound ever more so into future classics like The Monkees Present.
As the '60s would come to a close, Davy Jones would also contribute his major impact on the generation with his truly hip and psychedelic masterpiece You And I. Noted for its hard rock opening to side two, the track also features the stunning lead guitar textures of Neil Young who recently departed with The Buffalo Springfield. More favorites like Nesmith's While I Cry is one of the artist's finest compositions of the era. With Mike's beautiful acoustic guitar work and help from friends like Harry Nilsson, this ballad would truly become one of the more enduring songs from this 1969 classic Monkees album.
Neil Sedaka and Carol Bayer Sager contribute one of the classiest Monkees ballads ever with The Girl I Left Behind Me. Once again, the late great Davy Jones provides a superstar vocal second to none, with a soulful orchestra fill and band setting featuring the production and skillful piano work of Neil Sedaka, while Micky Dolenz would close out the album with his classic Shorty Blackwell. The whimsical tale of Micky's cat and a nod to his friends The Beatles' A Day In The Life, Shorty Blackwell would take almost a year to record and feature a bevy of the original wrecking crew of Hollywood musicians like drummer Jim Gordon (Eric Clapton/Traffic), Tommy Tedesco on guitar and even his sister Coco Dolenz on vocals. This track along with the other eleven tunes make this one of the more enduring and loved albums in the superior catalog of Monkees classics.
Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the re-release of their 1969 masterwork Instant Replay. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Colgems Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition red vinyl as well as a first time gatefold cover presentation.1. Through The Looking Glass
2. Don't Listen To Linda
3. I Won't Be The Same Without Her
4. Just A Game
5. Me Without You
6. Don't Wait For Me
7. You And I
8. While I Cry
9. Tear Drop City
10. The Girl I Left Behind Me
11. A Man Without A Dream
12. Shorty Blackwell$29.99180 Gram Audiophile Virgin Vinyl LP Buy Now
Arms & HandsCornetist and composer Kirk Knuffke is one of modern jazz's most skilled navigators of the divide between inside and outside, freedom and swing. On his latest album, Arms & Hands, he assembles the ideal trio to bridge that divide. Joined by bassist Mark Helias and drummer Bill Goodwin, along with special guests Brian Drye (trombone), Daniel Carter (alto saxophone), and Jeff Lederer (soprano/tenor saxophone), Knuffke creates a set of music that is both engaging and inventive.
Helias is best known for his work with jazz experimentalists like Anthony Braxton, Cecil Taylor, Marilyn Crispell, and Gerry Hemingway, his band BassDrumBone with Hemingway and Ray Anderson, and his trio Open Loose with Tony Malaby and Tom Rainey. Goodwin, on the other hand, is recognized as a premiere straight-ahead drummer, through his decades-long relationship with saxophonist Phil Woods and credits that include such giants as Bill Evans, Tony Bennett, Dexter Gordon, Jim Hall, Gary Burton, and Art Pepper.
The chemistry between the trio is irrefutable on Arms & Hands, which is a showcase for the immense creativity of all three musicians. Knuffke intentionally wrote compositions that took advantage of Goodwin's gift for groove and swing while remaining open enough to allow the improvisations to wander however far afield the moment might call for.
Kirk Knuffke is a prolific composer and improviser who has worked with a host of incredible musicians including Roswell Rudd, William Parker, Uri Caine, Myra Melford, Allison Miller, Steve Swell, John Zorn, Dave Douglas, Billy Hart, Steven Bernstein, and Mary Halvorson. Internationally, he has played with ensembles at jazz festivals in Saalfeldan Austria, Willisau Switzerland, The North Sea Jazz festival in Holland, The Moers festival as well as festival dates in Canada, Mexico, Italy and France. He is currently a member of the Matt Wilson Quartet. Knuffke is also a member of the Mark Helias Quartet, the Andrew D'angelo Big Band, Josh Roseman's Extended Constellations, Kenny Wollesen's Wollesonic and Allison Miller's Boom tic Boom. Knuffke's leader debut, Big Wig, was released by Clean Feed in 2008, followed by the trio recordings Chew Your Food and Amnesia Brown and the quartet album Chorale. He has also recorded several duo CDs with pianist Jesse Stacken and one with percussionist Mike Pride, and co-led the collaborative trio Sifter with Mary Halvorson and Matt Wilson and a quartet with saxophonist Ted Brown.1. Safety Shoes
2. Bright Light
7. Arms & Hands
10. Thanks A Lot$16.99Vinyl LP - Sealed Buy Now