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2014 wildflow unltd all songs by Anthony W Rogers Recorded at home 2011-2014. Prepared for release with Chris Biondo at his place in Kensington, Maryland. This version is different than the vinyl where there are just 2 sides, not individual tracks. The artwork is also different on the vinyl version and includes an insert and lyrics on the inside sleeve. All noises/mistakes/omissions/regrets by Anthony W Rogers with.. Audrey Grace Rogers-percussion on wait too long, lead vocals on Johnny Janie and background vocals on Johnny Janie and.. wash. Joe William Rogers-percussion on wait too long, lead vocals and background on Johnny Janie and background vocals on.. wash.. Please visit the website for more information. 'A journey into the mind and atmosphere of a true outsider. At times obtuse, weird, caustic, joyous and mystic, the albums weaves it's own singular path defiantly through misunderstanding, frustration to cathartic release. There are mistakes that meld into a greater or larger vibe. The voices of the children lift the mood from somber reflection to hope for the future. Truly an unexpected turn and emotional experience. This album requires focus to truly 'get it'. In that way, it is as loud of a rejection of all that's wrong with todays scene, put in stark blunt soft reality. In many ways, it's amazing that it exists at all in 2014. Much of it sounds like it could be and should have been recorded in the 70s or 80s' Scott Pace, Bannett News Agency a collection of random quotes from local acquaintances (un-cited for my and their protection) about me/the project: 'Now here he comes all these years later and has to come at us like this-with this kind of aggression.. it's not good etiquette, but I'm glad to see him back. Actually, to call him aggressive is funny. He likes music and what he does. He just doesn't really care at all about much else about it or especially to ever put himself out there. ' JR 'He told me many times that his goal was not to sell music but rather to get it to the few people to whom it will mean something. I think he's really one of a kind. I like what I've heard of it.' BC 'I'm happy that finally people can see what a good writer and one man band so to speak that he is. There's better ones than these that he hasn't done yet but who knows what they will end up as. He will often play me new but changed versions of things.' TF 'I can tell you this about him. He's absolutely not interested in playing anyone's game. And he's very blunt about it sometimes. He doesn't mean any harm. I think he just feels like he wants people to know where to back off I guess. I think this is telling- guess what he told me once?.That he only wears one brand of black socks everyday. He has dozens of pairs of the same socks and no others. Typical. He has his own ideas about pretty much everything and that's good around here' JS ' If he didn't have some money to do this, he couldn't you know. He's really not a part of the music scene around here anymore at all. Some of the guys know who he is but not much else. The guy doesn't mix much with anyone that I know of. Don't get me wrong.. I like him a lot but he just doesn't seem to be with anyone but his family. Totally a nice and gentle guy, but just kind of removed. He used to play in bands all the time years and years ago. He still lives around here. I just never see him out. I mean, like never.' TB 'I remember he and Mitch used to play all the time. It's nice he did that song for him on here. It's pretty intense if you knew him. I like that track a lot.. The best of all of them probably.' WD 'His old black CD in the 90s (Identifiction) was really good, I liked it very much. I haven't heard the new one yet. I specifically remember the last time he played out around here he was subbing in this band of an old friend at this dive in Romney in the 90s. My friend and I went over there and saw I think him there with Mark Bob and Tim - Things were pretty normal for a while, but by the end of the night things got completely out of hand into crazy land. The place was closing up shop and so, the band just decided to aggravate the crowd by playing these really tired old country ballads Sleepwalk, and then Eddie Arnold (Make The World Go Away). over and over again at least 4 or so times each until the patrons got so agitated and mad they came onstage and took over the PA. The band then kinda backed off but they put extreme effects on the vocals and we spent the next 15 minutes or so enraptured in near madness-like the Butthole Surfers or something. We were just stunned and couldn't even think to move our feet out of there. There's a tape of it somewhere. Yeah, he was one of the craziest dudes then. He woulda been the main one egging it on. Those other dudes wouldn't have done something like that without him pushing the idea. Yeah. It was like psychedelic punk at this backwoods tavern for these rowdy country types. Those guys always had a lot of balls. It was a dangerous redneck type in there but they kept agitating the crowd-kept on pushing it. I didn't know what was going to happen. It's funny to look back on now, but to tell you the truth they took it so far and the music got so freaky that I got scared in there. The vibe was almost vertigo producing. Then, bizarrely, they closed the night with everyone (patrons and band) singing Country Roads together into the mics. I remember the crowd then clapping and leaving the bar afterwards as if the whole 20+ minute freakout/takeover out of control thing never happened. It was like the WV song just snapped them back into reality. One of the strangest but there's been a bunch of em out here what you would call unforgettable.. Tony's ok, he's a good dude.' MS A few questions with Anthony W Rogers, formerly of the 80s-90s DC bands The Now and Ten Below answers questions about his latest out of nowhere unique LP puzzler- Wrong. Say what you will about it but it's clear the album is unique today both in sound and it's scope of musicianship and writing. Truth is, I knew Tony from years before when he was the drummer, then front man for Ten Below-the musically adventuresome transplanted Western Maryland power prog band- and from his stint as drummer in the 80s-90s DC ska champs, The Now. His 1994 release, Identifiction, is said to have been recorded just as he left DC for parts unknown. After knowing the first CD which was a closet favorite of mine, the sound of who this new release was by was instantly clear. But, on first listen, I admit that I was somewhat taken aback when it became abundantly clear that this one was on a whole other level. Sounds like the same old friend, much grown both older and much wiser and game way stepped up across the board. By jake storm. According to the new release, this appears exclusively a one man effort as was the first. The man has his own sound but it has clearly evolved in all directions. At the same time, Rogers projected artistic curve (or non artistic if you like) remains unique all the way now into 2014. The lyrics have a more picturesque effect this time out presenting a shaking and vibrant snapshot against an almost hesitant and backward rural America from the perspective of a bitter frustrated but unbowed soldier. It's hard to write about this album because Rogers casts his net so wide. Although I can trace influences, it is a singular vision that emerges, forms and then settles out of these grooves. At it's best, most transcendent moments, the album seems to float outside the bounds of modern times but underneath it, you get the sense of an eerie wisdom. His voice and sound weaves a common yet quaint thread which is rare in music, but is utterly convincing. The production lends itself to this. But, according to Tony, it may not be 'right' for you after all. As he says 'you may not need this album'.. let him explain.. Rogers called in from his hideout somewhere in the westerly hills.. The legend has it that you finished your first solo release and then left D.C. The same day for another career somewhere out west of town. Were you still in The Now (DC band) at that time? Pretty accurate - I guess. We finished mixing my first album Identifiction the night before I left to enroll in school in Louisville. That's when I personally left the band-and in this case, I was told they did not choose to carry on afterwards. It's funny you should mention it.. because.. as of late The Now are planning something new and there may be vinyl releases of some old recordings around the corner here somewhere. I've actually seen Darby and Rich lately a few times, Darby came out to WV to visit, so it's been great. So, that's coming. As for the present with me, I am well settled out here in my life career and relatively happy. That won't sell, I know, but it's ok. So I guess I'm not doing this for the right reasons, or at least that's what they say. So, why then are you doing this now after 20 years out? What are your goals with this? To get it out there mostly for myself and a few others. I never stopped really. I did some other things at Chris place near east DC in the off times when I was in school out there. I think if you are a creative person it never really stops. That's what I noticed is that so many of the older fragments that I had for the record were already subconsciously worked out- in place when I got down to it -so to speak. You know., my father died in 2010 and it kind of woke me up that I had been just letting years go by that I should have had much more output. And my kids were getting older and I think both of those just got me back to recording again. That and my pal John's encouragement. I have no real goals other than to see this to completion and start again- I've was strongly urged by Chris to get an IMAC set up that may make it easier for me to work. We will see-I'm pretty traditional method-wise-I did this one like I used to do em in the 80s-90s. Didn't know any better. One by one-playing sometimes to dead air-no click tracks. Unheard of today, really. How did you do that at home-did you use anyone else to engineer? Just me. Zoom R24-a few mics, gtrs keyboard. Incredibly tight windows sometimes.. Chris found it funny I could have done the album like that. It is funny by todays standards, I guess.. Guess I've somewhat been in a cave recording technique wise. Not all the way around though. Kinda like the guy in big thing.. My kids sang lead on the last track and backup on wash and percussion on wait too long. Nobody else involved. Johnny Janie is a nice way to end the album but it has a weird angle in that you selected your children to sing it- very well I might say.. Thanks. Notice they say 'home' at the end. Look I don't want my kids to ever leave but the reality around here is that the chances are good they may have to leave. Like 75% of my friends did and have done for years. We educate here in WV and ship em out.. it sucks. But at the same time it is a love song after all. To risk saying the most unhip thing I can think of, my wife and kids are what it's all about for me. Means everything well settled. That's weird to hear that last track and Keep Holdin' On.coming from a guy who wrote some other fairly caustic, almost bitter words in places on the album.. You can have both sides. It's simple-the words are like they are because I'm not happy about some stuff- I'm not supposed to be but I am still pissed off. People tell me I shouldn't be.I've had many people say I should let things go, I should mellow, I should get more comfortable and conservative- I'm sorry but that's not going to happen to me. I hear that Roches song -That Won't Happen Here- would answer that one. I am bitter, yes, I am.what did you call it? Caustic? That may well be accurate sometimes. I like the album design. What do the two girls symbolize, if anything, for you? My wife did those-she thanks you.They were completed after the music was done. There is no connection other than I liked what she did and what I saw in them was artificially superimposed on them afterwards-much like I've done my whole life. I do thank her for letting me use them. They fit just right in my mind. Obviously, side one gal has gone to the city and side 2 girl has clearly found what she was looking for. Your release calls this old people music. Yeah I'm not into competing for anything when it comes to music-especially attention. I don't want any young pop persons approval for sure. I hear what they like today on the radio and there are some good tidbits but they can largely have it. It's their time. I think my music is more suited for old people who move slower. Like that Frankie Valli movie out earlier this year-they could have saved costs by showing it in the nursing homes. But I am a big fan of some younger artists, I'm especially liking a lot of the DIY stuff, like the first half of Ariel Pink's new album. But.like that one. All kidding aside, this was meant from the start to be a vinyl record and vinyl record only.. Very limited vinyl album (run of 250) and I guess if you don't listen to vinyl then maybe you don't need this.. I just think that those of us who are into records just don't have the time anymore to justify what we are doing. You like digital- have at it- I am not into cds now at all. This will be LP and digital only,.there is, to me, a qualitative difference and this is in no way snobbery- between those who buy vinyl and those who don't in the listening experience. I think people that buy records generally listen to music more closely, take it more seriously and make an effort to set aside time to appreciate/digest the music/art. I fully understand that life is too busy anymore for the average person common man/woman to take time to give the music the respect it deserves. No wonder people swap digital files for free-they have no respect at all for it- a click away. So maybe that's a big failure of man-there's a lot he is or could be missing these days. Or maybe man is moving on and I am behind. If so, then I prefer to stay behind, on this issue, I guess.. and so, I don't really care or concern myself with this other than answering this question. In other words, I don't really need or want anybody clapping for me anymore. Those days are over. I know what I'm doing and where I want to go with things and if you want to ride along fine-great even, but if not, that also is perfectly fine and is expected without a doubt. I am making a small but enough effort with pressing this up in the first place. Why is this called wrong? The many mistakes on the record. Bad lines, bad notes, bad words, all sacrificed for the greater good of the feel. There is actually a song called wrong that got cut from the album order. It's about the concept of time. That kind of wrongness-not morality-having been imprinted with time-this beast no one can find outside of our perceptions. There was also maybe the thought years ago from some people around me that it was somehow the wrong thing for me to put music out or publish my own thoughts or ideas. That it could be viewed as an embarrassment or negative thing. It was a shock that some people felt like this-I had literally never thought of that concept before. It was all the more disturbing that they thought that about me and what I was doing. So you can call it a tribute to all the people who say we should not. So we debated and then we did. I'm not even going to try to ask about my favorite track, .. wash.. it has a lot of different sections and seems almost too personal and deep to put out there-why don't you tell me what you want about it? Combination of a couple tunes that fit together well. Nothing much else to say other than read the lyrics.I consider it my first (although acoustic based) prog rock track. To me, it's kind of like the whole album wrapped up in one track and is the end of my program. The last track was to bring some levity back with the kids. Woulda been too intense to leave it with the end of wash. People would have been even more scared of me probably then. That track and white beach are probably more locally based than the other tracks. There is a flavor of Appalachian locality throughout, I hope. I hope it comes out that I love where I live. Are any of these old tracks? Yeah it's really hard to see now from all the changes but there are some that are all new and a few that were partially old. Some ideas float around and come back out differently. Here Comes the Fire is probably the oldest. I would say that most of this album is new to old.. 70/30, 65/35 maybe. I see you worked with Chris Biondo again-he did your first CD as well? Well I assume you know Chris from his involvement with Eva Cassidy for over a decade. I knew them as a couple at the time. I worked with him during that tine with Eva. In fact, I met Chris years before when both of our bands won this DC-101 contest and we got to play at the Washington Monument, I remember Julio Iglesias was there along with the other 50k. It ended in a riot with cops on horseback and clubs-it was nutso. But, both his and my band both fizzled out-our singer had a bad day and they had mechanical failure-synth driven, they were. But we stayed in touch for years-I actually played drums a few gigs here and there with him on bass in Eva's band. Glad my wife got to meet her- they got on well. I still trust Chris totally with everything and really respect his opinion. Since those multi-platinum cds of Evas, - he's gone on to winning multiple Emmy awards for his television music. His knowledge of sounds from all over the world is remarkable. I'm lucky, he is just a great friend who I like being around. When I contacted hin to help me ready this one for release I thought he may not really want to do it but it was nice that he did have time for me after all these years. I think he may also-god bless him- help The Now with those upcoming vinyl things I alluded to above. Did you do any record any more tracks with Chris at his studio on this one or just mix it after you did it at home? On this new one, we only re-mixed one track and he essentially helped me master the recordings. My first release, Identifiction, was actually fully recorded at his old Black Pond studios in Rockville. We also did some work down years ago at his place off Eastern Avenue-east of DC in Maryland. He had a place down there-I remember that Eva had made this incredible Stevie Wonder thing out of metal on the wall-it was huge-she also made the furniture there -Eva worked in whatever media she could get her hands on. I'm not saying this because she was a great singer who died far too young.It is the truth- I never met anyone as versatile art-wise as Eva. She could make you cry with her voice and then sit down and sculpt any figure you'd like. Very lucky to meet her, know her and play music with her. Not just a rare talent, a different kind, a rare person. Where are you headed from here? Who knows? Well there won't be any live performing for now. As I know from years of experience, if you play live music around here, you will have to endure repeated requests for Lynyrd Skynyrd, Bob Segar, CCR, etc. I doubt that it's changed much. In my time here around the local bars and dives, I've run the gamut since age 15 from playing em to hating em to sadistically torturing my audience with decrepit versions ala the Replacements, et al.. of those tunes. No more for me-did it for years when I was younger. In my days I was young wacked and wild.. that was me for sure. You can ask anyone who was there. In that stead, I hope to get the IMAC system up and running this year and have another slab to sling before too much longer. And to add, I know Bart (Lay) wants to lay down some tracks for a project as well as the new Now stuff. If we do ok here, there will be more stuff out on the Wildflow label in the future. Thanks for your time. You got it. (From Potomac Arts Magazine Winter 2014/2015)


Title: Wrong
Genre: Rock
Artist(s): Anthony W. Rogers
Label: CD Baby
Release Date: 2/2/2015
Product Type: LP
UPC: 889211288021
Item #: 1475656X
This product is a special order

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