Browse the Jedediah Parish Catalog on bandcamp.
Torch and Swan
- Alone Solo [MP3]
- Song For Maura Morrow
- Screech Owl
- The Blood In My Brain Has Been Cursed
- Pandora Blues
- Atlantic Blue-Face Blues
- Twilight's Turquoise Delight
- Swan Island Lullabye
- World War Three
- The Butcher Bird Stomp
- Alone With Band
- The Feathered Way
Jedediah Parish and The Mother Tongues consisted of Jed on electric guitar, Lori Perkins on organ and Pete Caldes on drums. This album was recorded after The Mother Tongues had been playing consistently for about a year and a half. The band played a month-long residency at TOAD in Porter Square, Cambridge and then went immediately into the studio. That studio, Galaxy Park, in Boston's scenic Allston section, was based in a home for little wanderers called The Greenhouse wherin lived Jedediah Parish and sound engineer Richard Marr. The basement where the performances were recorded was a perfect place to capture a limber, swinging drummer and a real organ player playing a real Hammond organ.
21st Century American
- A Train Named Hiawatha [MP3]
- Last Night's Dream
- Underground Juke Joint
- Rotary Phone
- Clawfoot Tub
- A Train Named Ninety-Three
- Remote Control Giant
- Eventide Clockworks
- A Ship Named Eclipse
- Bad Dream Blues
- Memories Are Just A Day Away
21st Century American features Jed playing and singing everything. The album was recorded on glorious two-inch tape by Scott Reibling at a little woodland studio stuffed full of great keyboards, drum machines and other things with which one can make music. The lyrics echoed the end of the American Century in the sort of vague, confusing way echoes tend to sound.
Bloodsucker Blues
- A Toast
- Let Go! [MP3]
- Mosquito Blues
- Monkey Blues
- Bystander Blues
- Swollen Dam Breakdown Blues
- Weird Sister Blues
- Belshazzar Blues
- Poison Snake Blues
- Failure
- She-Bat
- The Sheep Are Wet With Dew
- A Tale of Horror
- Fleur de Lys Blues
Out of print but available through iTunes.
The cover art (the back cover is graciously pictured here) provided a clue to the nature of the Bloodsucker Blues album in the form of an oil painting of two genetically damaged naked men and a crocodile being strangled. This was recorded as a hodge-podge; some self produced 4 track recordings, a good dose of songs recorded to tape in Providence by Pete Donnelly (of The Figgs) and a couple tunes captured in Cambridge by Paul Bryan. Stylistically all over the place, it was lyrically focused on blood-sucking beasts and Orson Welles, who was himself a bit of an expert in that field.
