The Window (Remastered)
by David Elias (DSD Studio Source at davideliasmusic.com)
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1. |
Her Name Is A.
04:37
|
|||
|
Her Name Is A.
David Elias © 2002
4/4
Chord Tab:
“Fs” is 1X0011
Cs” is X20010
Intro
| C Cs | Fs Fs |
| C Cs | Fs Fs |
C Cs
Her name is A.
Fs
I don’t expect to know the
C Cs Fs
End
C Cs
But that’s OK
Fs
I’ll take a chance on her
C Cs Fs
again
G
Through the dust and fog
F
She’s dancing in a crowd
G
She’s looking over
F
And the music’s not too loud
G
I should know better
F G
But I think that I know everything
C Cs | Fs G |
Her name is A.
I don’t expect her to remember
The other day
It’s just a memory anyway
I watch the crowd
That I am not part of anyhow
I reach my mind back
To the last full moon the starry plough
She is a vision
Of the place I have to get back to
Somehow
- Solo -
|C Cs | Fs G |
|C Cs | Fs G |
Her name is A.
A picture will just have to do
Two shades of grey
For the left and the right part of
The heart I never knew
I’m standing here
Between the painting and the prose
With one arm raised up
And the sand between my toes
An old romantic
Well they say that’s how it goes…
Her name is A.
She came back as a silhouette
And made her way
In that way I can’t forget
Somewhere between the expectation and regret
All of this beauty may replace them if I let it
I should know better
But I think that I know everything
- Solo -
|C Cs | Fs G |
|C Cs | Fs G |
|C Cs | Fs G |
|C Cs | Fs G |
C Cs
Her name is A.
Fs G C
I don’t expect to know the end
|
||||
2. |
Freedom On The Freeway
03:22
|
|||
|
Freedom on the freeway run me down
Seein' little bits of every little town
And I’m not the kind of guy to hang you down
I’m only here to disappear
I guess I run around
I’m only here to disappear
I guess I run around
Highballs on the highway what’d you say
Thinking about you every other day
And I’m just the kind of guy that drives away
I’m only here to disappear
I guess I’m made that way
I’m only here to disappear
I guess I’m made that way
Hey who’s that there on my tail
Another fugitive for freedom or from jail
I’m like a postcard in the mail
Self addressed to who knows best
Go on read me what the hell
Running down the road I’ll take my time
Loosen up the gridlock in my mind
And I love my Chevron coffee – suits me fine
We’re only here to disappear
Best enjoy that ride
You’re only here to disappear
You best enjoy that ride
|
||||
3. |
Summer Wind
06:49
|
|||
|
4/4 – Capo 4th Fret
Gsus is 3X2013
Gsus2 is 3X0023
Intro
G |
G
Summer wind don’t wait for no one
It sure enough will blow right by
Nothin like those evening breeze covers at night
And when you’re followin your own road
Headin out to bigger sky
Think of me and how that summer wind was right
And winter wheat don’t wait for no one
It stares alone at empty skies
Nothin like the way those highways run at night
And while you’re walkin down your own row
Settled on your own horizon
Think of me and how that winter wheat was right
You run another year you turn around
You run another year you turn around
Tides of spring they wait for no one
They run along, won’t wave goodbye
Nothin like those hearts and souls they keep locked tight
And while you’re runnin down your own road
Carrying tears you couldn’t cry
Think of me and how those tides of spring were right
Autumn winds they wait for summer
Beckoning through winter’s gate
Hoping spring won’t follow more than its own fate
So while you’re followin your own road
Wonderin what it was for
Think of me and how the autumn winds knew more
|
||||
4. |
Go Down Easy
04:55
|
|||
|
Jimmy was the man with the grandstand plan
And a couple more up his sleeve
He stole a 4x4 robbed a liquor store
On the night before New Year’s Eve
And he was runnin down the road
Drinkin Wild Irish Rose
With a smile and a sneer
But the plans that he laid
Didn’t allow for barricades
Or the 8 to 15 years
Go down easy
No strugglin on the way
Stickin to the things that you do best
Give a little lovin every day
Take it easy
But take it just the same
Happiness it ain’t no crime
Everybody gets to play that game
Sally was the girl with the ivory curls
And the movie poster smile
She whizzed her way through school
She followed all the rules
With her slow and steady style
She graduated fast at the head of her class
Went to a party in a summer dress
Ridin shotgun in a car
That was leavin from the bar
Into an 18-wheel caress
Go down easy…
Rita and Romaine were a burnin flame
In the class of ‘61
People sure admired the intensity of fire
They displayed for everyone
Both were mesmerized
Lookin in the other’s eyes
They saw the spark and the saddness there
So they had a couple kids
They were kind of glad they did
But it cost their whole affair
Go down easy…
And I was lookin at my life
At the pictures without lights
There were images of you
And I was never really sure
If there ever was a war
Or we just did what we needed to
It reminds me of a time in 1969
I was walkin through the woods
Trees and flowers there unfolded like a prayer
Hell I never felt so good
Go down easy…
|
||||
5. |
The Old King
05:04
|
|||
|
Hear them cheering for your dying day
See them wipe your feet with dust and clay
Never mind the near ones where they lay
Memories of clear ones there they stay
There they stay
Hear them clear away your open grave
Watch them lower you down into place
Night will pass eternal into space
While the sun burns coins laid on your face
On your face
Consciousness returns to summer’s eyes
Windmills spin their patterns through the skies
Heavy air returns to times gone by
No one meets your gaze or even tries
Even tries
Crows in pairs are sentries to your doom
Watchers of the seeds you plant to soon
Blackening the sky they leave no room
For the sun to shine down on your tomb
On your tomb
|
||||
6. |
Something About You
02:49
|
|||
|
There’s something about you
I don’t know
Something about those places we go
The window is open to the valley below
Something about you I really don’t know
Something about you
I just don’t know
I look in my head for a part of last summer
Search in my heart for a piece of the pie
You and I play the part of one different drummer
The music is clear as the sun in the sky
The music is clear as the sun in the sky
When grandma appears as clear as a crow
I feel like I’m with somebody I really know
The garden is green wherever you go
There’s something about you I really don’t know
Something about you
I just don’t know
Time takes a detour and restlessness waits
We’re walkin outside of the city’s main gates
We’re seein the world in an alternate state
It’s you and me baby the rest can just wait
It’s you and me baby the rest can just wait
There’s something about you
I don’t know
Something about those places we go
The window is open to the valley below
Something about you I really don’t know
Something about you
I just don’t know
|
||||
7. |
||||
8. |
Half An Hour Away
03:35
|
|||
|
I wish I had a field of corn
Or half a rag to keep me warm
A bag of bones to blow my horn
Time to fade away
I wish I had a bowl of wheat
Or half an ear to keep the beat
See me on a one way street
Half an hour away
Old time
Old time old time
Half an hour away
I wish I had a room of gin
And all the keys to lock me in
Never see my face again
Time to fade away
I wish there was a world of green
And half the time to be unseen
Never what you really mean
Half an hour away
Old time
Old time old time
Half an hour away
I’ll look for you in dreams come true
When all you see is what you do
Never mind the world you knew
Half an hour away
Old time
Old time old time
Half an hour away
|
||||
9. |
||||
10. |
Season Of The Fall
05:00
|
|||
|
4/4 “D/B” is X20021
“A7sus” is X02030
Intro
D D/C# | D/B | A7sus | A |
D D/C# | D/B | A7sus | A |
D D/C#
I am an old man
D/B A7sus A
I am the writing on the wall
D D/C#
I’ve seen a few but they will
D/B A7sus A
Say that I have seen it all
G D
Not a lot of confidence
G A
Even less of self-esteem
D D/C# D/B
That is my means of transportation
A D
Hey, or I can’t move at all
D D/C# | D/B | A7sus | A |
I am a witness of the future
I’m a remnant of the past
I roll in oceans
I will always sing
The song that fails to last
Bones and bakeries
And all that lies in between
These things will shape the weight
of presence
With the first stone that is cast
I am a mirror
I am the side of some old barn
I cannot hear you
I am far farther than long gone
Patience and practicals
May never have been
That is the means of emulation
In the season of the fall
- Solo -
D D/C# | D/B | A7sus | A |
D D/C# | D/B | A7sus | A |
Bridge
G D
It’s not time for that reality
G D
It’s not time for some old charm
G D
In the end a near fatality
Em A A7
Broken minds and broken hearts
D D/C# D/B
I am a picture of the answer
A7sus A
I’m a means unto the end
D D/C# D/B
I am the slowest of all dancers
A7sus A
And I dance without a friend
G
So don’t pause for those
D
Concessions
G A A7
If you know what I mean
D D/C# D/B
As I make my way this warm day
A D
On my stroll across the green
D/C# D/B
I will be making my own way
A A7 D
On my stroll across the green
- Solo -
D D/C# | D/B | A7sus | A |
Repeat…
|
||||
11. |
The Window
05:53
|
|||
|
Tune low E to D
4/4 “Dm” is 0X0231
“F” is 3X0210
“G” is 5X0430
Intro
| Dm C | Dm |
| Dm C | Dm |
| Dm C | F G |
| Dm C | Dm |
Dm C Dm
I don’t have any answers
Dm C Dm
And I don’t have any guns
Dm C Dm
I keep my eye on the window
Dm C Dm
I keep my eye on the sun
(Solo – repeat intro)
Dm C Dm
And I own nothing that’s holy
Dm C Dm
Except ideas yet to come
Dm C Dm
I keep my eye on the window
Dm C Dm
And pray for daylight to come
Bridge
F Dm
There’s water under the ocean
F Dm
It feels the weight of the world
F Dm
And me I have no emotion
| F | G | Dm | Dm |
(Solo – repeat intro)
Dm C Dm
The window is my new religion
Dm C Dm
It shows me part of what is there
Dm C Dm
The light and darkness share the vision
Dm C Dm
And neither cares how long I stare
Dm C Dm
And neither cares how long I stare
Dm C Dm
And neither cares how long
| F | G | Dm | Dm
|
||||
12. |
Picture Of Nothing
03:34
|
|||
|
Intro
| C | C |
C
A picture of nothing does nothing
F
to free up my mind
Am
Those roses have dried up the
G
water's a waste of their time
F
I'd like nothing better than to
C
return to days of our song
G F
But a picture of nothing is all
G C
that will last for that long
I try to remember the hopes in my heart way back when
When only love mattered and running around with my friends
I'd go back tomorrow if I could only remember the way
But a picture of nothing is the only map I see these days
- Solo -
| C | C | F | F |
| Am | Am | G | G |
| F | F | C | C |
| G | F G | C | C |
- Bridge -
E Am F C
Try, I try, I try to unwind
E F G G
All those years I left behind
C
So I sit with my back to the
F
desert of all that I've done
Am
And try not to hold on to things
G
that have set with the sun
F
And I won't hold to tears that go
C
running off into the night
G
I'll take my last picture of
F G
nothing and wait for the next
C
morning light
G
I'll take my last picture of
F G
nothing and wait for the next
C F C G C
morning light
|
||||
13. |
Vision Of Her
05:07
|
|||
|
Sitting at the edge of your world
Holding on your legs where they curl
Looking for the vision of her
The vision of her
Staring down the year inside out
Making do within and without
Never finding reasons to doubt
The vision of her
|
||||
about
DSD64 Studio Source Download at davideliasusic.com
~~~~~ About "The Window" ~~~~~~
.
One of the DSD recordings that made David Elias "Best Male Vocalist" on pure DSD download site www.NativeDSD.com
.
Recorded, mixed and mastered in the ultra high HD audio resolution of Direct Stream Digital (DSD), 64 times higher resolution of CD quality 16/44.1k PCM. Available as a DSD 1-bit/2.8mHz or FLAC 24/88.2kHz master at www.davidelias.com
.
A must-have for acoustic/folk/country collectors with its award winning songwriting and stellar Boulder, Colorado session band. "The Window" broke all the barriers to independent musicians being part of the very high fidelity, hi-res revolution that was exclusive to the record industry prior. These session tracks captured the attention of audiophiles, DJ's, musicians, coffeehouses, and music lovers worldwide for the songwriting, performance and pristine audio qualities.
.
The original "The Window" hybrid 5.1 SACD was released in 2003 and was the first of its kind to be released anywhere in the world by an unsigned artist. It received a Brutus "Excellence" award from Positive Feedback Online as well as final nominiations in the 2003 Surround Music Awards in Beverly Hills, California. Tracks were played on lots of popular folk radio shows including the syndicated "Midnight Special" from Chicago.
.
Since going out of print years ago, "The Window" SACD continued to be a favorite of audiophiles and folk/acoustic music lovers. It has often been cited as a "referernce recording" due to the sonic quality of the album.
.
A top notch studio band was assembled for these live sessions at Immersive Studios in Boulder Colorado. The lineup includes Sally Van Meter (Grammy winning dobro player and member of original Bay Area "Good Old Persons" with Laurie Lewis), Matt Flinner (a favorite on Dish network for his compositions, Compass Records artist compared in greatness to Grisman on mando and Bela Fleck on banjo), John Magnie (original member of legendary and recording/touring Subdudes playing keyboards and accordion), Eric Thorin (recorded upright bass on Rounder with Open Road Bluegrass and recently Matt Flinner Trio), Marc Dalio (omnicient, impeccable drummer touring with the lkes of Erin McKeown), and Ross Martin (among many many other accolades one of my all time favorite guitar players, tours with Matt Flinner Trio, Drew Emmitt).
.
Mostly you just need to sit back and relax while listening to "The Window". Your ears will be in the good hands of some exceptional musicians backing David in the studio working magic into the lyric and poetic songs presented ranging from ballads to country to bluegrass to straight folk style as well as some intricate fingerstyle work.
.
==========================
From SSLABS Epinion Review of "The Window"
www0.epinions.com/review/The_Window_SACD_-_David_Elias/content_114246323844
.
The music pouring through The Window...
.
"After taking in about 20 seconds of The Window I realized just how mainstream my tastes have become in the past few years. Like someone walking into a theater after the flick has already started, I allowed my ears time to adjust. Now that I’ve had all this time to get acquainted, there are tracks that speak to me more than others. The Window is difficult to categorize, slapping it in the folk category is easy only because that is the nearest description, but it isn’t always completely fitting.
.
The first half of The Window is definitely a mix of the upbeat, quiet, and sometimes somber side of little guitar strumming stories. Freedom on the Freeway a straight up and down guitar pluckin’, harmonica playin’ tune kicks things off. Freedom, a little ditty about traveling, and life on the road has Elias showing his rascal side with bits like ‘I’m just the kind of guy that that drives away, I’m only here to disappear. Yet Elias shares his low maintenance side with lines like “I love my Chevron coffee..... suits me fine. The following tracks, like Summer Wind and Go Down Easy are easy to overlook. A little conventional in sound, and in presentation, these folk-y numbers tend to reward anyone with the liner notes in hand. There are great little observations about life in America to be appreciated here, nothing heavy, more reminiscing and bits of Americana than anything else.
.
The Old King sounding somber and reflective, leans more toward the songs (lyrically) on Jewel’s Spirit that never gained any airplay, but grabbed ahold of some fans really tight (like me) and never let go. The intro to Half An Hour Away has what I personally wanted to hear more of on The Window. With just a hint of something sinister (in sound) around the edges that say, Natalie Merchant would churn out; like St. Judas, Half an Hour Away is where my ears really started to dig in. Following the intro, Half an Hour Away is where Elias plays a bit, a little Alice in Wonderland with musings like ‘I wish I had a field of corn... Or half a rag to keep me warm...... A bag of bones to blow my horn.......... Time to fade away.”
.
Her name is A. is the only true love song here. And after getting rather close to this tune, Elias has me wondering just who this mystery woman is. Would a full name cause controversy? Or is it more like controversy in his own mind that is being avoided? A defense mechanism perhaps? Maybe I have to stop thinking about every little thing so much and simply accept this sad song that I’ve befriended.
.
The Window (intro) is a free style of sorts. Various stringed instruments sigh and wince in pain. And later, post intro, a guitar drips with the sounds of a showdown between two men in the old west. It's like a warm up session on drugs that finds the mind clearing up once the intro track fades away. The Window finds Elias showing a little bit of doom and gloom. There seems to be a “what has the world come to” vibe here when Elias sings “I own nothing that’s holy........ Except ideas yet to come.” At times even though the feeling is extremely vague, Loreena McKennitt's The Book of Secrets seems to haunt this brace of tracks, and maybe even the intro to Half an Hour Away to some degree was well.
.
It's possible that I'm audibly witnessing the next step in mixing music in surround. I've had this idea in my mind concerning “phantoms" and I was wondering just how long it would take for my theory to actually materialize. Like engineers mixing music in stereo, creating “phantom" vocals in the center for example, so that a singer seems to come from the middle rather than from two separate speakers is old news.
.
People hear this all the time in stereo music, and are totally oblivious to it. Now it seems that this technique has finally jumped into multi-channel music. It sounds like (to these ears anyway) Skinas used a front, center and rear channel to create a “phantom" source for instruments on The Window/intro. But rather than create a center phantom, it seems to be pulled back, more between the listener and the front sound stage. It's a bit strange, but wonderfully spacious. Either Skinas figured out how to mix music in 3-D taking into account the vast number of “phantoms" that could be created (like between the center, and left rear for example) or these guys set up a bunch of microphones and let everyone jam and I'm burning brain cells contemplating something that never even happened.
.
It could be a little bit of both, but regardless, the result is one of the most musical, detailed, and spacious recordings I've ever come across. I'm sure David Elias had a personal reason for using The Window as a title. For me however, the title is very fitting when referring to square hole in a wall with a band jamming on the other side. It sounds that good, and if you're a SACD fanatic, The Window deserves a slot in your collection."
~~~~~ About "The Window" ~~~~~~
.
One of the DSD recordings that made David Elias "Best Male Vocalist" on pure DSD download site www.NativeDSD.com
.
Recorded, mixed and mastered in the ultra high HD audio resolution of Direct Stream Digital (DSD), 64 times higher resolution of CD quality 16/44.1k PCM. Available as a DSD 1-bit/2.8mHz or FLAC 24/88.2kHz master at www.davidelias.com
.
A must-have for acoustic/folk/country collectors with its award winning songwriting and stellar Boulder, Colorado session band. "The Window" broke all the barriers to independent musicians being part of the very high fidelity, hi-res revolution that was exclusive to the record industry prior. These session tracks captured the attention of audiophiles, DJ's, musicians, coffeehouses, and music lovers worldwide for the songwriting, performance and pristine audio qualities.
.
The original "The Window" hybrid 5.1 SACD was released in 2003 and was the first of its kind to be released anywhere in the world by an unsigned artist. It received a Brutus "Excellence" award from Positive Feedback Online as well as final nominiations in the 2003 Surround Music Awards in Beverly Hills, California. Tracks were played on lots of popular folk radio shows including the syndicated "Midnight Special" from Chicago.
.
Since going out of print years ago, "The Window" SACD continued to be a favorite of audiophiles and folk/acoustic music lovers. It has often been cited as a "referernce recording" due to the sonic quality of the album.
.
A top notch studio band was assembled for these live sessions at Immersive Studios in Boulder Colorado. The lineup includes Sally Van Meter (Grammy winning dobro player and member of original Bay Area "Good Old Persons" with Laurie Lewis), Matt Flinner (a favorite on Dish network for his compositions, Compass Records artist compared in greatness to Grisman on mando and Bela Fleck on banjo), John Magnie (original member of legendary and recording/touring Subdudes playing keyboards and accordion), Eric Thorin (recorded upright bass on Rounder with Open Road Bluegrass and recently Matt Flinner Trio), Marc Dalio (omnicient, impeccable drummer touring with the lkes of Erin McKeown), and Ross Martin (among many many other accolades one of my all time favorite guitar players, tours with Matt Flinner Trio, Drew Emmitt).
.
Mostly you just need to sit back and relax while listening to "The Window". Your ears will be in the good hands of some exceptional musicians backing David in the studio working magic into the lyric and poetic songs presented ranging from ballads to country to bluegrass to straight folk style as well as some intricate fingerstyle work.
.
==========================
From SSLABS Epinion Review of "The Window"
www0.epinions.com/review/The_Window_SACD_-_David_Elias/content_114246323844
.
The music pouring through The Window...
.
"After taking in about 20 seconds of The Window I realized just how mainstream my tastes have become in the past few years. Like someone walking into a theater after the flick has already started, I allowed my ears time to adjust. Now that I’ve had all this time to get acquainted, there are tracks that speak to me more than others. The Window is difficult to categorize, slapping it in the folk category is easy only because that is the nearest description, but it isn’t always completely fitting.
.
The first half of The Window is definitely a mix of the upbeat, quiet, and sometimes somber side of little guitar strumming stories. Freedom on the Freeway a straight up and down guitar pluckin’, harmonica playin’ tune kicks things off. Freedom, a little ditty about traveling, and life on the road has Elias showing his rascal side with bits like ‘I’m just the kind of guy that that drives away, I’m only here to disappear. Yet Elias shares his low maintenance side with lines like “I love my Chevron coffee..... suits me fine. The following tracks, like Summer Wind and Go Down Easy are easy to overlook. A little conventional in sound, and in presentation, these folk-y numbers tend to reward anyone with the liner notes in hand. There are great little observations about life in America to be appreciated here, nothing heavy, more reminiscing and bits of Americana than anything else.
.
The Old King sounding somber and reflective, leans more toward the songs (lyrically) on Jewel’s Spirit that never gained any airplay, but grabbed ahold of some fans really tight (like me) and never let go. The intro to Half An Hour Away has what I personally wanted to hear more of on The Window. With just a hint of something sinister (in sound) around the edges that say, Natalie Merchant would churn out; like St. Judas, Half an Hour Away is where my ears really started to dig in. Following the intro, Half an Hour Away is where Elias plays a bit, a little Alice in Wonderland with musings like ‘I wish I had a field of corn... Or half a rag to keep me warm...... A bag of bones to blow my horn.......... Time to fade away.”
.
Her name is A. is the only true love song here. And after getting rather close to this tune, Elias has me wondering just who this mystery woman is. Would a full name cause controversy? Or is it more like controversy in his own mind that is being avoided? A defense mechanism perhaps? Maybe I have to stop thinking about every little thing so much and simply accept this sad song that I’ve befriended.
.
The Window (intro) is a free style of sorts. Various stringed instruments sigh and wince in pain. And later, post intro, a guitar drips with the sounds of a showdown between two men in the old west. It's like a warm up session on drugs that finds the mind clearing up once the intro track fades away. The Window finds Elias showing a little bit of doom and gloom. There seems to be a “what has the world come to” vibe here when Elias sings “I own nothing that’s holy........ Except ideas yet to come.” At times even though the feeling is extremely vague, Loreena McKennitt's The Book of Secrets seems to haunt this brace of tracks, and maybe even the intro to Half an Hour Away to some degree was well.
.
It's possible that I'm audibly witnessing the next step in mixing music in surround. I've had this idea in my mind concerning “phantoms" and I was wondering just how long it would take for my theory to actually materialize. Like engineers mixing music in stereo, creating “phantom" vocals in the center for example, so that a singer seems to come from the middle rather than from two separate speakers is old news.
.
People hear this all the time in stereo music, and are totally oblivious to it. Now it seems that this technique has finally jumped into multi-channel music. It sounds like (to these ears anyway) Skinas used a front, center and rear channel to create a “phantom" source for instruments on The Window/intro. But rather than create a center phantom, it seems to be pulled back, more between the listener and the front sound stage. It's a bit strange, but wonderfully spacious. Either Skinas figured out how to mix music in 3-D taking into account the vast number of “phantoms" that could be created (like between the center, and left rear for example) or these guys set up a bunch of microphones and let everyone jam and I'm burning brain cells contemplating something that never even happened.
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It could be a little bit of both, but regardless, the result is one of the most musical, detailed, and spacious recordings I've ever come across. I'm sure David Elias had a personal reason for using The Window as a title. For me however, the title is very fitting when referring to square hole in a wall with a band jamming on the other side. It sounds that good, and if you're a SACD fanatic, The Window deserves a slot in your collection."
credits
released June 1, 2016
All Words and Music by David Elias, ©2003, All Rights Reserved
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Produced by David Elias and KC Groves
Arranged by David Elias
(Remastered 24/44.1 FLAC w/ MQA 24/352.8)
Original DSD Recording on Sonoma by Gus Skinas
Original DSD Mixes and Mastering on Sonoma by Gus Skinas
Studio Engineer and Live Mix: Jeff Shuey
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David Elias: acoustic, vocal, harmonica
Sally Van Meter: dobro, weissenborn, lap steel
Matt Flinner: mandolin, bouzouki
Ross Martin: ambient electric, baritone guitars
Eric Thorin: upright bass
Marc Dalio: drums
John Magnie: accordion, keyboards
.
Featured on "Vision of Her" Bonus Track:
Charlie Natzke: acoustic guitar
Chris Kee: upright bass
All Words and Music by David Elias, ©2003, All Rights Reserved
.
Produced by David Elias and KC Groves
Arranged by David Elias
(Remastered 24/44.1 FLAC w/ MQA 24/352.8)
Original DSD Recording on Sonoma by Gus Skinas
Original DSD Mixes and Mastering on Sonoma by Gus Skinas
Studio Engineer and Live Mix: Jeff Shuey
.
David Elias: acoustic, vocal, harmonica
Sally Van Meter: dobro, weissenborn, lap steel
Matt Flinner: mandolin, bouzouki
Ross Martin: ambient electric, baritone guitars
Eric Thorin: upright bass
Marc Dalio: drums
John Magnie: accordion, keyboards
.
Featured on "Vision of Her" Bonus Track:
Charlie Natzke: acoustic guitar
Chris Kee: upright bass
license
all rights reserved
tags
about
David Elias Hawaii
Acoustically rooted and distracted.
DSD Studio Masters are at:
davideliasmusic.com
David Elias Video Channel:
youtube.com/davideliasvideo
@davideliasvideo
... more
discography
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Jun 2016 -
Jun 2016 -
Jun 2016 -
Jun 2016
contact / help
David Elias recommends:
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Intricate, exacting, sonically meticulous, extemporary in all its planning, takes you into a room then into a field then into the void.
go to album -
Because of a Flower
by Ana RoxanneBought the vinyl. Spectacular use of sound with some insane vocal tracks overhead.
go to album -
Start at the end and play it backwards. Or forwards. Sideways either way. Squarely unsquare and rapidly descending. Captured.
go to album
If you like The Window (Remastered), you may also like:
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Dakota Blue Moon
by Jackson HardenGorgeous acoustic Americana from North Carolina, stripped-back and sublime.
go to album -
Breathtakingly beautiful Americana bolstered by an assured sense of melody and razor-sharp lyrics.
go to album -
Not A Party At All
by Lambs & WolvesCharming German indie pop with the keen melodic sensibilities and melancholic undercurrent of some of the style's best practitioners.
go to album
