| Dunivan and The Myndliss Crew Sometimes The Underdog Wins 11 tracks Make-A-Move Records |
Download the entire album for FREE or PAY WHAT YOU WANT!
| Tracks 1. By The Numbers 2. A Diamond and Pearl 3. Lately Youve Been Lonely 4. Take it Down 5. Dreamin About the Weekend 6. Friends Through a Screen 7. So I Wrote 8. Sometimes the Underdog Wins 9. Wont Fight Your War 10. Glorified Images 11. Hallmark Day |
MP3 Download (9.0 MB) Download (9.6 MB) Download (6.0 MB) Download (5.3 MB) Download (6.4 MB) Download (8.3 MB) Download (5.9 MB) Download (7.8 MB) Download (6.3 MB) Download (10.0 MB) Download (7.9 MB) Whole Album MP3 (80 MB) |
FLAC Download (20 MB) Download (26 MB) Download (15 MB) Download (14 MB) Download (20 MB) Download (20 MB) Download (18 MB) Download (21 MB) Download (20 MB) Download (28 MB) Download (18 MB) Whole Album Flac (219 MB) |
Order the CD Order the CD for $12. To get a physical copy of the CD with artwork mailed to you, use Kunaki.  |
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| If you dig the songs and would like to help support independent music and Make-A-Move Records, feel free to donate whatever youd like via the donation link. |
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Art, Music, and Judgment. Three things that to me go hand in hand, art by definition incites emotion in an individual, and these individuals make jugements of the art they interact with on a daily basis. While now days everything is considered art, we can universally argue that music is one of arts most renowned and loved forms, as it holds the power to relocate our minds to an exact instant in which we first heard that special song. On February 8th, 2008, I made my first record liveadaptevolverepeat available for download on private torrent trackers, and shortly after I learned of the restrictions on quality placed on Sometimes the Underdog Wins, I made it available on the same sites for free. Now it has come to the time in which the art must be made public in a physical form, and in celebration of this, I am allowing my record to be downloaded in the brand new "pay what you want" model.
I have chosen two formats that many would deem as acceptable for a digital format. The first format is the MP3, and it is of the highest quality one can ask for from an mp3, it is considered lossy, and is encoded at 320 kilobytes per second. The other is a FLAC file, which is a lossless representation of the music and is of much higher audio quality, and can be uncompressed using FLAC Frontend.
So, in an effort to spread my art, and have it judged by the public en masse, I have decided to make it available in as many forms as possible, for as many people as possible. If you want a real copy of the record, you can get one, if you just want it for free to laugh at, you can also do that. If you dig the music, pass it out to your friends. If you hate it, give it to the bum down the street, maybe it will make him or her smile. Hey, bums need love too. The art is now yours to judge, so judge away.
Pay What I Want?
About a year ago, Radiohead released it's 7th album, In Rainbows. To the surprise of most everyone in the music business (and I can say that because I know all of them), Radiohead offered the opportunity to download the entire album entirely for free from the official Radiohead website. You can read up on it more at TIME, but the main point is that this Radiohead album was "the first major album whose price was determined by what individual consumers wanted to pay for it."
For all intents and purposes, that is the end of where I agree with those involved in Radiohead, as I would rather listen to some Marley or some Sublime. But the concept is marvelous. I remember seeing a sticker once saying "RIAA, exploiting artists for decades." And this movement in which the consumer determines the price of the album totally gives them the proverbial middle finger. Im not forcing this music down your ears, neither is my record label, and thats what makes it beautiful. Theres no PR budget to it, your here by either consciously following a link, or by searching for my tunes because you liked them. And that is what music should really do, allow those who like it to find it, and be out of the way for folks who dont like it so they can forever ignore it.
Album Credits
Recorded at Studio Orlando (December 12th - 21st, 2006) and The Chill Spot Studios
Produced, engineered, and mixed by Bill Cagle [http://www.myspace.com/myndliss]
Mastered at The Chill Spot
Cover Art by Christi Horngren
Much kindness and Respect to Kasey and Markus Moes
Bass, Electric and Acoustic Guitars, Drum Programming, Lyrics, and Spiel by Bryant Dunivan [dunivanmusic.com & myspace.com/dunivan]
Keyboards/Organ, Drum Programming, Backing Vocals by Bill Cagle [www.myspace.com/myndliss]
Some Info:
So this is where theres supposed to be some great story about how this record was so much fun to make and all that crap. It honestly was not, and in an attempt to not belittle the expierences I had making the record, and to avoid typing words I have previously typed, I will offer just a summation of events that unfolded that brought this record from my hands and mind to your ears.
This record, honestly was supposed to be what most sophmore records are not. My first record, was anything but a good record. It was a noble effort of both patience by bill, and trying to show I had talent. I learned alot from that record, most notably to write lyrics before recording a song, and to actually play the songs prior to recording them. So i wrote a whole bunch of songs for this record, the first three I remember were "By The Numbers", "So I Wrote", and "What Once Was". Only two of those tracks made the record, but i had noticed a better sound to these new songs, and a overall more mature attitude in the lyrics written for these songs. Well thats a fucking lie, "By The Numbers" was a freestyle, the way you hear the song lyrically is exactly the same as the way it was recorded as a demo. But anyways, I digress, the record started writing it self, out of no where "Dreaming About the Weekend" and "Lately Youve Been Lonely" had started to write themselves.
Then, I joined the Rastones, the highlight of my musical career to that point, and writing had somewhat come to a crawl. I decided to assume the role as a supporting player, help write lyrics, and play bass. During this time, I started recording some of the demos for Lighthouse on the Horizon, and had the intention to turn all these songs into Lighthouse jams. Then the cats at my label at the time (Oneil Records) told me they wanted to put out the next Myndliss Crew record, so i took some time out from the Rastones goings on to head to orlando for pre production. I went up there with the demos to the previously mentioned five songs, and a whole bunch of freestyles. We layed out the dates to record this during December 12th through 21st.
All this while the Rastones were jamming everyday, and fucking smoking up the joint. We had songs on top of songs, and things were looking good on that front. I was jamming with my best friend and another group of good friends and writing songs I never dreamed of writing. Then I commenced writing songs for this record. Honestly they were my best songs to date. I wrote like eight songs in four days, well the lyrics of the songs at least.
I packed up my things on the monday before I had to leave I think. We had jammed the night before for the Rastones. I packed up and left a day later. I was really torn between leaving for these sessions and writing songs for the Rastones record. I figured that after I had made this record id be able to track every Rastones jam in one take. Little did I know that I would never jam as a Rastone again. Things went fine when I was recording until the 18th. Ill never forget that day. I had heard the night before that my best friend Mike was "dead", but knowing how Fort Myers goes (hell ive died three times in that town) I didnt believe it. I called the next day to his fathers office, and was informed that he really had passed the night before. I still cannot put into words the emotions that ran through me. All I could muster was a long drawn out what. After that, making the record kind of took a backseat, and i just wanted to get home. I rushed through the vocal parts, and finished a day early; But I still thought that this was my best record to date. I had planned for some acoustic tracks, but I decided to not do them, so I could get home for the memorial service (I couldnt go, I wasnt ready).
I recorded a guitar part the night I got home. I didnt pick up an instrument again until I recorded Hallmark Day at the Chill Spot. Six months later, I would master the record, and then hook it up for free. Alot of people thus far have dug the music, and if you are reading this far, then I hope you dig it. I didnt write this long diatribe for pity. My friend Mike would have loved the record, and also would love that Im making music.