Neil Percival Young, is a Canadian singer-songwriter. After embarking on a music career in the 1960s, he moved to Los Angeles, where he formed Buffalo Springfield with Stephen Stills, Richie Furay and others. Young had released two solo albums and three as a member of Buffalo Springfield by the time he joined Crosby, Stills & Nash in 1969. From his early solo albums and those with his backing band Crazy Horse, Young has recorded a steady stream of studio and live albums, sometimes warring with his recording company along the way. Young's guitar work personal lyrics and signature tenor singing voice transcend his long career. Young plays piano and harmonica on many albums, which combine folk, rock and other musical styles, his distorted electric guitar playing with Crazy Horse, earned him the nickname "Godfather of Grunge" and led to his 1995 album Mirror Ball with Pearl Jam. More Young has been backed by Promise of the Real. Young directed films using the pseudonym Bernard Shakey, including Journey Through the Past, Rust Never Sleeps, Human Highway, CSNY/Déjà Vu.
He contributed to the soundtracks of the films Philadelphia and Dead Man. Young has received several Grammy and Juno awards; the Rock and Roll Hall of Fame inducted him twice: as a solo artist in 1995 and in 1997 as a member of Buffalo Springfield. In 2000, Rolling Stone named Young the 34th greatest rock'n roll artist, he retains Canadian citizenship. He was awarded the Order of Manitoba on July 14, 2006, was made an Officer of the Order of Canada on December 30, 2009. Neil Young was born on November 1945, in Toronto, Ontario, his father, Scott Alexander Young, was a journalist and sportswriter who wrote fiction. His mother, Edna Blow Ragland "Rassy" Young was a member of the Daughters of the American Revolution. Although Canadian, his mother had French ancestry. Young's parents married in 1940 in Winnipeg and their first son, Robert "Bob" Young, was born in 1942. Shortly after Young's birth in 1945, his family moved to rural Omemee, which Young described fondly as a "sleepy little place". Young suffered from polio in 1951 during the last major outbreak of the disease in Ontario.
After his recovery, the Young family vacationed in Florida. During that period, Young attended Chisolm Elementary School in New Smyrna Beach, Florida. In 1952, upon returning to Canada, Young moved from Omemee to Winnipeg for a year, before relocating to Toronto and Pickering. Young became interested in popular music; when Young was twelve, his father, who had had several extramarital affairs, left his mother. His mother asked for a divorce, granted in 1960. Young went to live with his mother, who moved back to Winnipeg, while his brother Bob stayed with his father in Toronto. During the mid-1950s, Young listened to rock'n roll, doo-wop, R&B, western pop, he idolized Elvis Presley and referred to him in a number of his songs. Other early musical influences included Link Wray, Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows, Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant.
Young first began to play music himself on a plastic ukulele, before, as he would relate, going on to "a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar."Young and his mother settled into the working-class area of Fort Rouge, where the shy, dry-humoured youth enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands dropping out of school in favour of a musical career. Young's first stable band was the Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called "The Sultan"; the band played in Fort William, where they recorded a series of demos produced by a local producer, Ray Dee, who Young called "the original Briggs". While playing at The Flamingo, Young met Stephen Stills, whose band the Company were playing the same venue, they became friends; the Squires played in several dance clubs in Winnipeg and Ontario.
After leaving the Squires, Young worked folk clubs in Winnipeg. Mitchell recalls Young as having been influenced by Bob Dylan at the time. Here he wrote some of his earliest and most enduring folk songs such as "Sugar Mountain", about lost youth. Mitchell wrote "The Circle Game" in response; the Winnipeg band The Guess Who had a Canadian Top 40 hit with Young's "Flying on the Ground is Wrong", Young's first major success as a songwriter. In 1965 Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds; the band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve. After the Mynah Birds disbanded and the bass player Bruce Palmer decided to pawn the group's musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles. Young admitted in a 2009 interview that he was in the United States illegally until he received a "green card" in 1970.
Once they reached Lo
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Tortoise is an American experimental rock band formed in Chicago, Illinois in 1990. The band incorporates krautrock, minimal music and jazz into their music, a combination sometimes termed "post-rock". Since the release of their 1994 eponymous album, Tortoise has been credited for the rise of the post-rock movement in the 1990s; the group's origins lie in the late 1980s pairing of Doug McCombs and drummer John Herndon, who wanted to establish themselves as a freelance rhythm section. The idea did not come to fruition, but their interest in grooving rhythms, as well as their recording studio knowledge led to partnerships with drummer John McEntire and bassist Bundy K. Brown joining, followed by percussionist Dan Bitney. Though songs are credited to all the musicians, McEntire became perceived as the group's guiding force, as his contributions took the form of being the recording engineer and mixer, their first single was issued in 1993, their self-titled debut album followed a year later. Instrumental and mid-tempo, Tortoise garnered praise and attention, notably for its unusual instrumentation.
A remix album followed, Rhythms and Clusters. Brown left and was replaced by David Pajo for 1996's Millions Now Living Will Never Die, which showed up on many year-end best of lists, the 20 minute Djed was described by critic John Bush as proof that "Tortoise made experimental rock do double duty as evocative, beautiful music." In 1996, the band contributed to the AIDS benefit album Offbeat: A Red Hot Soundtrip produced by the Red Hot Organization. They released a Japanese-only compilation featuring tracks from the eponymous debut, Rhythms and compilation appearances. Named A Digest Compendium of the Tortoise's World on November 21, 1996 In 1998, Tortoise released TNT, arguably their most jazz-inflected album. Jeff Parker had joined as a guitarist alongside Pajo, who left the band following the album's completion. 2001 led to Standards, where Tortoise incorporated more electronic sounds and post-production into its music than in previous works. In 2001, the band curated an edition of the British All Tomorrow's Parties festival.
They returned in 2004 to curate another day of the same event. It's All Around You was released in 2004. In 2006, Tortoise collaborated with Bonnie'Prince' Billy on an album of covers entitled The Brave and the Bold, released A Lazarus Taxon, a box set containing two CDs of single tracks and remixes, a third CD with an expanded Rhythms and Clusters and a DVD of videos and film of live performances. In 2001, the band recorded "Dideridoo" for the Red Hot Organization's compilation album Red Hot + Indigo, a tribute to Duke Ellington, which raised money for various charities devoted to AIDS related causes. Bitney and McEntire contributed to the Bright Eyes album Cassadaga; the group has worked with multi-instrumentalist Paul Duncan of the band Warm Ghost. Tortoise released their previous to last album Beacons of Ancestorship on June 23, 2009; the band toured the Midwestern US in September and October 2009, in Europe in November and December. The band performed at the ATP New York 2010 music festival, held in Monticello, New York.
In 2012, Tortoise wrote and recorded the soundtrack to Eduardo Sánchez's Lovely Molly, a psychological horror film inspired by traditional folk-songs. In July 2013, photos and short videos of the band recording new music were posted to Tortoise's official Instagram and Facebook pages. On April 20, 2014, the band wrote on their Facebook page: "Hello, Facebook. We are heading back into the studio next week – LP VII in progress. Tokyo, Singapore, Kuala Lumpur, Hong Kong, Beijing and Taiwan – see you soon."On October 6, 2015, it was announced that a new album, called The Catastrophist, would be released in early 2016 by Thrill Jockey. Additionally, a single from the new album, entitled Gesceap, was released and it is available on YouTube. Mail order pressings of the album are available through Thrill Jockey as of October 10, 2015; as Tortoise rose to prominence in their early career, their instrumental music has been noted for its ambiguous categorization. The members have roots in Chicago's fertile music scene, playing in various indie rock and punk rock groups.
Tortoise was among the first American indie rock bands to incorporate styles closer to krautrock, minimal music and various jazz styles, rather than the strong rock and roll roots that had dominated the genre. Tortoise has been cited as being one of the prime forces behind the development and popularity of the post-rock movement. CMJ writer Jim Allen highlighted the influence of progressive rock on Tortoise's post-rock style. Other groups related to Tortoise include The Sea and Cake, Slint, Isotope 217, Chicago Odense Ensemble, Tar Babies, the Chicago Underground Duo. Tortoise records on the Thrill Jockey label. Tortoise Millions Now Living Will Never Die TNT Standards It's All Around You Beacons of Ancestorship The Catastrophist In the Fishtank – EP, collaboration with The Ex "Gently cupping the chin of the ape" – two track tour CD with enhanced content The Brave and the Bold – covers album, collaboration with Bonnie'Prince' Billy A Lazarus Taxon – compilation box-set of rare material, 3 CDs and 1 DVD Why Waste Time?
– Japan-only tour EP, Enhanced CD Rhythms, Resolutions & Clusters – remix album A Digest Compendium of the Tortoise's World – Japan-only compilation featuring
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
Prairie School Freakout
Prairie School Freakout is the second album by Chicago-based band Eleventh Dream Day released on Amoeba Records in 1988. According to the original liner notes, the album "was recorded on a hot pollution alert day during July in Louisville and was made at a place called Artist Recording Service. We recorded 15 songs between 11:00 pm and 5:00 am, half of the time spent trying to fix the wild buzz coming out of Rick's amp. We gave up and decided to make amp buzz the theme of the record." Neil Young & Crazy Horse, Dream Syndicate, X, Television and "the iconoclastic energy of the American hardcore-punk scene" were recognized by many as being an influence on the album's sound. Comes with a Smile consider the album to be "the missing link between sprawling seventies rock and trim eighties post-punk". Pitchfork noted "an overabundance of post-adolescent fervor" in the music. Popmatters considers the album to be "perfect road fodder in its own inimitable way", noting driving-related themes in its lyrics and a suggestive sound in the music.
Dusted writes that the "band's approach" is summed up in its opening track "Watching the Candles Burn": "dueling guitars that wildly alternate between a countryish strum and noisy, half-improvised solos. The album was released through Amoeba Records in 1988; the New Rose Records CD release included "Tenth Leaving Train" as the last track. The album was re-released and expanded with the addition of the entire 3-song Wayne EP and videos for the tracks "Arsonist", "Watching the Candles Burn" and "Among the Pines" in 2003 by Thrill Jockey; the album received critical praise upon its release bringing the band to the attention of Atlantic Records. Critic Greg Kot wrote of the album in 2003: "As a document of that era, "Prairie School Freakout" is both steeped in tradition and ahead of its time." Sean Westergaard of Allmusic wrote that while the band "went on to construct better overall albums they never rocked harder than on Prairie School Freakout. This album smokes." Decrying their lack of success in comparison to their peers, Noel Gardner of Drowned in Sound wrote that the album "is a better record than anything The Flaming Lips, Yo La Tengo, Mercury Rev or Pavement – all venerable, all vastly more bankable – have released."
The Times called the album "one of those unknown records that deserves a second chance to find its place at the top of your list of all-time favourite albums."Spin named it one of the'80 Excellent Records of the 80s'. The music blog Fast n Bulbous ranked it the 10th greatest indie album of all time. "Watching the Candles Burn" – 4:01 "Sweet Smell" – 4:37 "Coercion" – 3:47 "Driving Song" – 4:09 "Tarantula" – 5:36 "Among the Pines" – 6:24 "Through My Mouth" – 4:57 "Beach Miner" – 3:42 "Death of Albert C. Sampson" – 4:44 "Life on A String" – 5:04 Bonus tracks, from Wayne EP "Tenth Leaving Train" – 11:19 "Southern Pacific" – 5:04 "Go" – 4:50 Adapted from Allmusic: Janet Beveridge Bean - Composer, Group Member, Vocals Byron Coley - Liner Notes Eleventh Dream Day - Design, Primary Artist Baird Figi - Composer, Group Member, Slide Guitar Michael Franklin - Engineer Douglas McCombs - Bass, Group Member Wink O'Bannon - Engineer Rick Rizzo - Composer, Group Member, Vocals Sheila Sachs - Design Thrill Jockey listing
Douglas McCombs plays bass and guitar with the instrumental rock band Tortoise and leads the instrumental band Brokeback. He is the longtime bassist for the rock band Eleventh Dream Day. In 1997, he formed Pullman with Bundy K. Brown, Chris Brokaw, Curtis Harvey, with whom he released two albums. In May 2018, McCombs replaced Eric Claridge as the touring bassist with Chicago jazz-pop outfit The Sea and Cake. Brokeback is a project of McCombs, it has featured the following artists: Rob Mazurek Noel Kupersmith Mary Hansen James McNew Chad Taylor Tim Foljahn James Elkington R. Christopher Hansen Areif Sless-Kitain Pete Croke Another Routine Day Breaks, 7-inch EP, Hi-Ball Records - 1997 Returns to the Orange Grove, Thrill Jockey - 1997 Field Recordings from Cook County Water Table, Thrill Jockey - 1999 Morse Code In The Modern Age: Across The Americas, Thrill Jockey - 2001 Looks at the Bird, Thrill Jockey - 2003 Brokeback and the Black Rock, Thrill Jockey - 2013 Illinois River Valley Blues, Thrill Jockey - 2017