Playlist
Live At Union Chapel

Bill Laurance
Fjords (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
The Good Things (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
The Real One (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
Denmark Hill (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
Gold Coast (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
Red Sand (Live)
Year: 2016

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Live At Union Chapel

Bill Laurance
The Rush (Live)
Year: 2016

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A Multitude of Angels

Keith Jarrett
Part I (Live At Teatro Carlo Felice, Genova / 1996)
Year: 2016

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Colvin & Earle (Deluxe Edition)

Colvin & Earle
You Were on My Mind
Year: 2016

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Colvin & Earle (Deluxe Edition)

Colvin & Earle
You Were on My Mind
Year: 2016

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The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed
Bitches Brew

Miles Davis
Spanish Key
Year: 1969

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Love & Murder

Leslie Mendelson
Chasing the Thrill
Year: 2017

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Swan Feathers

Leslie Mendelson
Rest of London
Year: 2009

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Far more than a novelty jester, Beck is a musical anarchist and bummed-out street prophet whose audience will squirm and thrill to the slacker delta blues of "Whiskeyclone" and urban nightmares like "Truckdrivin Neighbors Downstairs." --Jeff Bateman
Mellow Gold

Beck
Soul Suckin' Jerk
Year: 2004

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Keynsham

Bonzo Dog Band
Busted
Year: 2007

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A new, indelible cast of characters is inducted into the FOW pantheon of stars on Traffic And Weather: Yolanda Hayes, a sullen object of affection behind the glass at the Department Of Motor Vehicles; Seth Shapiro and Beth Mackenzie, two lonely, hardworking New Yorkers who cross paths - sort of - in "Someone To Love" (which features Hole/Smashing Pumpkins bassist Melissa Auf Der Maur singing backing vocals); the exhausted couple in "Michael and Heather At The Baggage Claim", dragging themselves onto an airport shuttle bus after a long trip; newscasters in heat in the album's title track, and many others. Hapless protagonists like the suspicious boyfriend of "This Better Be Good" and the hit-man target in "Strapped For Cash" are also classic Fountains Of Wayne narrators. Travel and transportation continue to figure heavily in the on-the-go world of FOW. The guy who buys himself a "'92 Subaru" is convinced that the right pimped-out ride is all he needs to get the girl; in the Beatlesque "i-95" a driver explores a rest area gift shop late at night, on the way to visit his loved one; we hear of "an eerie kind of sadness on the highway today" in the Gram Parsons-tinged "Fire In The Canyon" (featuring backing vocals by the Candy Butchers' Mike Viola, who was the voice of "That Thing You Do"). The misery of sitting in coach on a delayed flight is examined in the wistful waltz "Seatbacks And Traytables" (which contains a guest appearance on guitar by James Iha). And in the semi-epic "New Routine", we follow a series of characters who each randomly pick a new place to live, only to discover someone else there who can't wait to move away.
Traffic and Weather

Fountains Of Wayne
I-95
Year: 2007

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Trout Mask Replica

Captain Beefheart and The Magic Band
Fallin' Ditch
Year: 1970

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Cannibals

Richie Kotzen
Come On Free
Year: 2015

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Donald Fagen's fourth solo album for Warner Reprise, Sunken Condos, will be released on October 16. His first three solo albums, The Nightfly, Kamakiriad and Morph the Cat comprised the project known as "The Nightfly Trilogy." Sunken Condos begins a chapter in the creative evolution of this innovative artist, whose career is still going strong after forty years. The nine tracks on Sunken Condos were co-produced by Michael Leonhart and Donald. All but one track, an Ashkenazi recasting of Isaac Hayes' "Out of the Ghetto," are Fagen originals. Some familiar names from the Steely Dan family of players are on hand (Jon Herington, the Steely Dan horns, Freddie Washington) plus some new faces. The word is that, from now on, everything Donald does has got to be funky.
Sunken Condos

Donald Fagen
Memorabilia
Year: 2012

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The Marble Index

Nico
Frozen Warnings
Year: 1969

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Remarkably Human

Nick Johnston
Hypergiant
Year: 2016

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Donald Fagen's 1982 solo debut extends the sleek, smart pop craft of his work with Steely Dan into the realm of the concept album, taking the Dan's penchant for intricate plotting, evocative narrative voices, and allusive imagery to the logical next step. Fagen's connective thread is futurist nostalgia for the "New Frontier" as anticipated from the prosperous vantage point of late-'50s America. He romanticizes a brave new world of technology in the sultry diorama of "I.G.Y.," celebrating the coming glories of the Atomic Age. He then filters that view through his own suburban adolescence--a would-be seduction in a fallout shelter, the siren song of a graveyard-shift jazz DJ, a not-quite-hard-boiled noir adventure ("The Goodbye Look") that borrows its title from an early '60s Ross MacDonald mystery. Song for song, the set's a stunner and stands apart from Steely Dan thanks to a unique, poignant romanticism embodied in Fagen's yearning "Maxine" and a creamy update of Dion & the Belmonts' "Ruby Baby." --Sam Sutherland
The Nightfly

Donald Fagen
The Goodbye Look
Year: 1982

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As you listen to Wildflowers, Tom Petty's first new album in three years and his first ever for Warner Bros., you may be struck by a certain quality, new for Petty but nonetheless familiar. The predominance of the twangy rhythm guitar; the high-pitched, nasal singing; the irresistibly catchy pop hooks; and the melancholy lyrics straining for a spiritual significance just beyond their grasp--all these elements make Petty sound as if he were a Beatle imitating Bob Dylan. Then you may realize that Wildflowers resembles nothing so much as a George Harrison solo album. That's not such a bad thing; Harrison (Petty's old bandmate in the Traveling Wilburys) has a knack for giving moody spiritualism a pop tunefulness. It's just that Harrison on his own is a second-tier rock & roll figure whose best work is long behind him, and that's pretty much the case with Petty as well. Only with appropriately reduced expectations can one enjoy Wildflowers for what it is. --Geoffrey Himes
Wildflowers

Tom Petty & The Heartbreakers
You Wreck Me
Year: 1994

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A Multitude of Angels

Keith Jarrett
Part I (Live At Teatro Comunale, Modena / 1996)
Year: 2016

Amazon MP3

Yesterdays

Keith Jarrett
You Took Advantage Of Me
Year: 2009

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Released in 1981, My Life in the Bush of Ghosts is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On Ghosts, the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates in the background while Byrne and Eno toss all manner of found sounds, field recordings, and radio broadcasts into the mix. What results is a groundbreaking album that introduced a generation to the dazzling possibilities offered by electronic recording techniques. Highlights include "The Jezebel Spirit," an electro-funk workout that uses a recording of an exorcism as its focal point, and "Very, Very Hungry," a mysteriously ethereal display of electronic percussion and large-scale sonic architecture. --S. Duda
My Life In the Bush of Ghosts

Brian Eno/David Byrne
America Is Waiting
Year: 2006

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Swift

Bill Laurance
December in New York
Year: 2015

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The first album of the loose trilogy that also includes Rain Dogs and Franks Wild Years, Swordfishtrombones marked a radical departure for Waits, whose avant-garde ambitions became plain not so much in his lyrics or subject matter--the songs here deal, as do his older albums, with hard life on the wrong side of the tracks and dreams of escape and transcendence--but in the music, a sound somewhere between German cabaret music from between the wars and contemporary Manhattan rush hour. Odd time signatures, unusual instrumentation (glass harmonicas and brake drums, among others), and Waits's barked vocals make this one of his most individualistic and challenging albums. --Daniel Durchholz
Swordfishtrombones

Tom Waits
16 Shells From A Thirty-Ought-Six
Year: 1983

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Black Like Sunday

King's X
Won't Turn Back
Year: 2003

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Healing

Todd Rundgren
Pulse
Year: 1981

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Blue Tav

Steve Tavaglione
Sue-She

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On his first album after returning from his self-imposed hiatus on recording new material, singer/songwriter Jonathan Coulton draws upon the lessons of the Johns and Jonathans who have come before him on Artificial Heart. The first John is They Might Be Giants John Flansburgh, who has the distinction of being the first person, other than Coulton himself, to handle the production on one of his albums. Right out of the blocks, the album opener, Sticking It to Myself, makes the hand of Flansburgh immediately apparent with a song that has that perfect mix of eclecticism and solid pop songcraft upon which the TMBG man has made his name. Despite this, the album doesn t come off like Coulton s audition reel for a spot in They Might Be Giants, as the songwriter deftly injects a lot of his own personality into the songs through his lyrics. This brings us to the influential Jonathan, Jonathan Richman, who Coulton with his ability to see the wonder, humor, and sadness in the mundane world feels like a spiritual successor to. This quality allows Coulton to create songs that are more like little poignant slices of life than pop constructions, breathing that spark of life into songs like Glasses. As an album, Artificial Heart is like a panopticon that gives the listener the opportunity to observe an array of different lives, and offers them the chance to feel a little something different while peering into each window. And even though it s a more emotionally heavy album than a lot of his previous work, Coulton still knows how to leave people with a smile, ending the album with two new versions of his famous Portal and Portal 2 theme songs Still Alive (featuring a guest spot from Tegan and Sara s Sara Quin) and Want You Gone (which features JoCo himself on vocals) as well as The Stache, a touching tribute to mustaches and the men who proudly wear them. With this kind of effortless versatility and easy charm, it s no wonder Jonathan Coulton has managed to find a special place in people's hearts, artificial or otherwise.
Artificial Heart

Jonathan Coulton
Nemeses (feat. John Roderick)
Year: 2011

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On his first album after returning from his self-imposed hiatus on recording new material, singer/songwriter Jonathan Coulton draws upon the lessons of the Johns and Jonathans who have come before him on Artificial Heart. The first John is They Might Be Giants John Flansburgh, who has the distinction of being the first person, other than Coulton himself, to handle the production on one of his albums. Right out of the blocks, the album opener, Sticking It to Myself, makes the hand of Flansburgh immediately apparent with a song that has that perfect mix of eclecticism and solid pop songcraft upon which the TMBG man has made his name. Despite this, the album doesn t come off like Coulton s audition reel for a spot in They Might Be Giants, as the songwriter deftly injects a lot of his own personality into the songs through his lyrics. This brings us to the influential Jonathan, Jonathan Richman, who Coulton with his ability to see the wonder, humor, and sadness in the mundane world feels like a spiritual successor to. This quality allows Coulton to create songs that are more like little poignant slices of life than pop constructions, breathing that spark of life into songs like Glasses. As an album, Artificial Heart is like a panopticon that gives the listener the opportunity to observe an array of different lives, and offers them the chance to feel a little something different while peering into each window. And even though it s a more emotionally heavy album than a lot of his previous work, Coulton still knows how to leave people with a smile, ending the album with two new versions of his famous Portal and Portal 2 theme songs Still Alive (featuring a guest spot from Tegan and Sara s Sara Quin) and Want You Gone (which features JoCo himself on vocals) as well as The Stache, a touching tribute to mustaches and the men who proudly wear them. With this kind of effortless versatility and easy charm, it s no wonder Jonathan Coulton has managed to find a special place in people's hearts, artificial or otherwise.
Artificial Heart

Jonathan Coulton
Nemeses (feat. John Roderick)
Year: 2011

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World's Fair

Julian Lage
Japan
Year: 2015

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Essential Oils

Midnight Oil
No Time for Games (Remastered Version)
Year: 2012

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The grizzled modern persona of Tom Waits finds new life on Alice, a slow, grave record that explores physical and moral decay with the same harrowing insight of 1992's Bone Machine. Originally written as an opera with his longtime songwriting partner, playwright Kathleen Brennan, the songs on Alice were performed live in a Hamburg theater for 18 months in 1992 and 1993, but were never committed to tape (officially, at least). This studio recording retains a sense of narrative cohesion, giving Waits a set of tormented and bizarre characters that go well with the motley crew he's assembled over the years. It is, in fact, the most consistent record of Waits's career, offering not only a stable train of thought, but a musical approach that, while featuring the same vaudevillian touches that have characterized his work since Swordfishtrombones, finds a voice all its own. Without much percussion to back them up, violins, cellos, and horns dominate the record, bathing Waits's familiar growl in a sly, slow cacophony that sounds like an underwater fugue, the notes like rust on the strings. "Watch Her Disappear," with its sparse, sad pump organ, and the twisted torch song "Reeperbahn" have the smoky café mystery of Edith Piaf by way of Leonard Cohen, recovered from the water-logged tapes in Cole Porter's long-lost dingy. It's a burst of dark, world-weary poetry for lonely Saturday nights, cloudy days on the beach, or long strolls through graveyards. --Matthew Cooke
Alice

Tom Waits
We're All Mad Here
Year: 2002

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Lonelyland

Bob Schneider
Madeline
Year: 2001

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Live At the Paramount Theatre, Vol. 2

Bob Schneider
Love Is Everywhere (Live)
Year: 2011

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Live At the Paramount Theatre, Vol. 1

Bob Schneider
Captain Kirk (Live)
Year: 2011

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Lovely Creatures

Bob Schneider
The Bringdown
Year: 2009

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Lonelyland

Bob Schneider
2002
Year: 2001

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A Perfect Day

Bob Schneider
Let the Light In
Year: 2011

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Out-of-State Plates

Fountains Of Wayne
Elevator Up
Year: 2005

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After a four-year hiatus notable for some film and television soundtrack work, a lapsed contract, and a relaxed songwriting schedule Fountains of Wayne return with their third and best CD to date. The New York-based power-pop quartet delivers a diverse feast of infectious melodies and endlessly clever lyrics. Songwriters Adam Schlesinger and Chris Collingwood still slide on a sweet scale between the Beatles and the Monkees, but they've branched out from '60s sounds to include bona fide alt rock ("Little Red Light," "Bought for a Song"), orchestrated pop ("Halley's Waitress"), a country lark worthy of Dwight Yoakam ("Hung Up On You"), and hints of psychedelia ("Supercollider"). The Cars-flavored "Bright Future in Sales" and "Stacy's Mom" warrant heavy-rotation airplay. Following their acclaimed eponymous debut and the vastly underrated Utopia Parkway, Welcome Interstate Managers leaves no doubt that Fountains of Wayne are gaining strength. --Jeff Shannon
Welcome Interstate Managers

Fountains of Wayne
Hackensack
Year: 2003

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Sky Full of Holes

Fountains Of Wayne
Richie and Ruben
Year: 2011

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