DIGITAL DOWNLOADS

DEAR DOWNLOADER,

This is my digital music store.

Welcome. Here's the deal:

Tracks go for $1 each. Albums $10. Let me explain:

In order for artists to eat, pay a few bills  and still have time to create new music, it helps a lot if their fans (hate that word but there it is) directly support those of us who spend staggering amounts of time actually making music.

So, if you buy tracks on this site, you're supporting only the guy who created those tracks. Me. There's no "percentage" taken out and given to Warner Bros, Apple, Spotify or Amazon.

When you buy here you are directly backing me and not some faceless corporation.

I seriously believe in music being as free as possible.

But I also believe that we now live in a world in which the major labels are no longer relevant and streaming services pay a fraction of a fraction of a penny in royalties to the artists who make the recordings that sites like Spotify basically give away on their sites.

For folks who are seriously dead broke (and I sympathize because I've been there) I have a page here on the site that has some of my best sellers available for free.

Otherwise please consider actually buying some music and directly supporting me. I sincerely thank you in advance. Enjoy.

Love & Kisses, Arlin G.

GOD DAMN YOU'RE BEAUTIFUL

Arlin Godwin

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  1. 1 God Damn You're Beautiful 03:05 Lyrics
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  2. 2 God Damn You're Beautiful (Cassette Demo) 03:10 Lyrics
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  3. 3 God Damn You're Beautiful (No Drums) 03:05 Lyrics
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  4. 4 God Damn You're Beautiful (Stripped) 03:05 Lyrics
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BANGKOK MATINEE

Arlin Godwin

Ultra Schang Music / ASCAP

This recording came from me watching "SKYFALL" way too many times and thinking I wanted to write me some Bond music. To me this sounds like something James would like. Shaken not stirred.

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  1. 1 Bangkok Matinee 03:42 Info
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BLUE

Arlin Godwin

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Ultra Schang Music / ASCAP

BLUE was originally recorded in 2000 in a home studio on the 14th floor of an apartment building in a suburb of Washington, DC. Two of the versions had been previously released with only one---the Ambient Version---still available on THE SECRET LIFE OF BOYS album. A recent search through many boxes of old DAT tapes and master discs turned up all 3 versions with no EQ or compression. In other words, just "flat" recordings with no enhancements. Which meant that being able to master brand new mixes with greatly improved audio quality was possible.

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  1. 1 Blue (Ambient Version) 03:48
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  2. 2 Blue (Again) 04:46
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  3. 3 Blue (Original Demo) 03:41
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Rush Push

Arlin Godwin

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Ultra Schang Music / ASCAP

I started writing this record immediately after The Secret Life of Boys was complete. Around this time I got a phone call from Robb McDaniels at INgrooves. He had heard the single "Boy Seventeen" from the first album playing on a radio station in San Francisco and he ended up signing me. I stayed until they began to want more and more money. And since they weren't doing a damn thing to promote me I eventually shit canned that contract and took over distributing my tracks on my own. This record has a lot of cool things on it. "Little Sister" was always a song that many people loved. I had a lot of fun making this because after the debut record I stopped worrying and really began to love the process of constantly recording.

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  1. 1 Little Sister 03:40 Lyrics Free
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  2. 2 Joy 04:17 Lyrics
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  3. 3 Joy (Reprise) 03:43 Lyrics Free
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  4. 4 Body Of My Lover 04:12 Lyrics
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  5. 5 Rush Push 05:18 Lyrics
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  6. 6 Madness 03:41 Lyrics
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  7. 7 Dupont Circle 4am 03:56 Lyrics
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  8. 8 Obscene 04:31 Lyrics
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  9. 9 Learning To Fly 02:55 Lyrics
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  10. 10 Heaven 04:03 Lyrics
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  11. 11 Music For Orgasm 03:37 Lyrics
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  12. 12 Let It Rain 02:48 Lyrics
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  13. 13 Sparkles From The Wheel 07:22 Lyrics
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The Secret Life of Boys

Arlin Godwin

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Ultra Schang Music / ASCAP

The debut album recorded in any empty apartment in south west Washington, DC. Full of homoerotic vibes, this was the album that got me signed to INgrooves when CEO Robb McDaniels heard "Boy Seventeen" on a San Francisco radio station.

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  1. 1 Boy Seventeen 04:20 Lyrics
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  2. 2 Blue (ambient version) 03:38 Lyrics
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  3. 3 God Damn You're Beautiful 03:05 Lyrics
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  4. 4 Rosemere 03:11 Lyrics
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  5. 5 Baby You're A Big Star Now 05:35 Lyrics
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  6. 6 Scott In Alaska 03:15 Lyrics
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  7. 7 Glamour & Damage 04:50 Lyrics
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  8. 8 New World Coming 04:26 Lyrics
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  9. 9 Got A Lot O' Static 03:43 Lyrics
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  10. 10 Get Stoned 04:07 Lyrics
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  11. 11 It's About Your Soul 06:17 Lyrics
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  12. 12 The Secret Life of Boys 03:42 Lyrics
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Remixes, Demos & Bootlegs

Arlin Godwin

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Ultra Schang Music / ASCAP

This is a collection of experiments and demo tracks that ended up in the hands of bootleggers and literally spread all over the world. This album contains one of my most successful releases "Groove Thru The Floor".

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  1. 1 Groove Thru The Floor 04:10 Info
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  2. 2 Dim All The Lights 05:04 Info
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  3. 3 Raygun 05:24 Lyrics
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  4. 4 Beautiful 03:29 Lyrics
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  5. 5 Love Is A Violent Crime 04:13 Lyrics
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  6. 6 I'll Come Find You 03:09 Lyrics
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  7. 7 Wound Up Dead 03:21 Lyrics
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  8. 8 God Damn You're Beautiful (no drums ) 03:08 Lyrics
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  9. 9 Vanessa's Room 04:00 Lyrics
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  10. 10 The Secret Life of Boys (no drums) 03:45 Lyrics
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  11. 11 Boner Deluxe 04:50 Info
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  12. 12 Terrible Things Done 03:22 Lyrics
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  13. 13 Boy Seventeen (Stella Parsons' Remix) 08:51 Lyrics
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Sara

Arlin Godwin

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My remake of Stevie Nicks' Fleetwood Mac classic "Sara".

When planning this release the issue of licensing came up again and again. The only reason my version of SARA has once again surfaced on line is because the fine folks at Distrokid (my current distributor) are handling the mechanical licensing end of things and basically making sure that the one and only Ms. Stevie Nicks gets paid. Which, of course, I'm all for. Unfortunately though there is another kind of licensing which involves Interactive Streaming royalties and to avoid getting into all the complications of that (and of dealing with the Harry Fox Agency who are like something out of the dark ages) I am basically linking from this page on my site back to Apple at the iTunes store. In this way you can stream the track at iTunes and buy it if you want. And everything stays in the hands of Apple and Distrokid and nothing is actually streamed from the servers that are used for my site. A little history: In case you' really didn't know--SARA was written by Stevie Nicks and was a part of the album TUSK released by Fleetwood Mac. My version clocks in at 5:45 but the original TUSK version is 6:22 and there was also a Mac edit that came in at 4:41. The record peaked at number 7 on the U.S. charts for 3 weeks in 1979. The Mac version was released by Reprise Records. Legend has it that the song is about an abortion Stevie had after becoming pregnant with then boyfriend Don Henley. There have been many theories about Stevie's dream-like lyrics. Not just on SARA but on pretty much everything she wrote. I suppose trying to figure out any of Nicks' lyrics is a waste of time. But then you don't really need to. Part of her endless appeal is the mystery of it all. No need to question perfection. Her music is what it is, and that's fine by me. When I was doing the vocals on my version there were many times when I would be singing a line and have no clue what it really meant. At those moments you just listen to how Stevie sang it and try to do your best. So why remake SARA? Because I always just loved the song and the shimmering production that Lindsey Buckingham gave it and maybe the most sincere compliment is to try to absorb your heroes' music--the great stuff that came before you--and then make it new in some way. If you possibly can. I was out in the gay clubs of Washington, DC a lot when the idea to recreate SARA first hit me. I was listening to a lot of club music as always and eventually I got curious about what a "club" version of SARA might sound like. So, I sat down and started to dissect the Mac version of SARA note by note and try to fit it into a clubbier style. I finally got up the nerve to play the demo for a friend of mine (Tommy you know who you are) and he listened for a moment and suddenly screamed, "Oh my God! You've turned a Fleetwood Mac masterpiece into a disco record!" Not sure if he meant that in a good way or not. I continued to work on this "demo" which took a great deal of time because I literally sat in front of a computer screen for hours and hours listening to the Mac version in my right ear while I picked out the bass parts and then the guitar stuff note by note, listening to playback of my version in my left ear to check it on a different set of headphones. Tedious. Very tedious. And there are basically two alternating main piano tracks that weave in and out of each other so that required a lot of just listening and trying to untangle that for the sake of making new, clean MIDI tracks. From what I've been told Stevie's original was written on piano. It was Lindsey Buckingham who transferred it so beautifully to guitars. But I was intrigued by the piano idea and thought it would be cool to go back to that and see what might happen. So part of the reason for remaking it was just that I wanted to hear it on pianos. Later I added the requisite 4-on-the-floor club beat but I kept much of John McVie's original bass lines in tact. The bass on my version is not a typical club bass line at all. It's very much what Fleetwood Mac recorded. And in fact I think it's that bass line that so immediately and indelibly marks this song. Without that famous Mac bass line it's just not the same song. So that obviously had to stay. The drum tracks, like the rest of my version, were recorded entirely by me over the course of many weeks and months. Percussion was done on an old Alesis drum machine. In the end the multitracks added up to well over 70 separate channels or tracks mixed down to the final 2 track stereo file. This release was mastered on Apple Soundtrack Pro even though several versions were done on Iztope's Ozone 7--but ultimately I didn't like them as much as the ASP mixes. My version of SARA was recorded in 2004 in a cramped home studio which was at that time in the basement of a home in the Georgetown neighborhood of Washington, DC. It was a huge amount of fun to work on and is a sincere reflection of my great admiration for Stevie Nicks, for Fleetwood Mac and for the amazing music they made together.

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  1. 1 Sara 05:44 Info
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