Name: Who We Used To Be by Andy McBride in ramybė
Duration: 3 min 43 s
Description: Currently working on a batch of ideas just now so i'll just keep throwing these up here. Thanks for all listens.

Sound as if it comes from wood - so it must be good.

@evergreen_music-1: Thanks a lot for listening! :0)

ramybė

Album: Inner world

Mantras, or transcendental sounds, have great power. They descend to us from the spiritual realm throught a line of perfect masters. Mantras free a person from anxiety and cultivate love in one’s heart. Just by associating with these spiritual sounds we receive wonderful benefit.

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2 - Govinda Jaya Jaya .... (free download)

This fifth musical poem, 1936, was again written from the photograph that accompanies it. This photograph captured a moment in 1936. During the depression, many farms failed and sharecroppers like these were rendered homeless and forced out onto the open highways, much like their “dustbowl” brethren, John Steinbeck’s The Grapes of Wrath comes to mind. They congregated at roadside camps, sharing meals and commiserating with each other.

It just so happens that my mother’s father died the same year, her family being thrown into the maelstrom of losing its patriarch and chief bread-winner. My mother was about four months old. So I thought about the parallels and came up with this little story about the boy in the photograph and the day my grandfather died.

This is a series of several musical poems chronicling the sharecropper era.  Fernando approached me with the idea of a series of little stories that tell a larger one, all put to music. I loved the idea. I had these little poems about the sharecropper era and he thought he could make them work. I think you will agree he did a brilliant job.

I spent all my summers in a little country town in very rural Mississippi called Fort Adams. When I say small, I am talking two streets – Front Street and Back Street.  Wembley Stadium is larger. There were no more than 50 people in town, others lived out in the country – farmers and fisherman. A little one-room school house still exists where the sharecropper children went to school, when they were not working in the field.

My Uncle Cy ran a dry goods store and fishhouse there. He had everything from canned goods, to Nehi soft drinks, feed and seed, to work clothes and boots, and to sewing implements. The fish house processed the fish and chickens that were traded to him. He was a furrier, bought baby turtles to sell to pet shops, anything to turn a buck.

So, as child growing up in the 60s (born in 1956) I got to witness the last vestiges of this sharecropper era. While there are still farmers who work on a share, I am not sure any suffer as these people did. They lived in little one-room shantys that lacked electricity and water. The only heat came from a woodstove that filled the shanty with a woodsmoke odor.The children seldom owned shoes and a second set of clothes was rare.

We would enter town down what was called The Mile Hill Road…a winding road with deep ravines on either side. At one point it travels straight down for a mile in a steep grade. At the bottom of the hill was a row ofshantys pressed hard into the hillside. None had glass in the windows, or doors. The people who lived there sharecropped and lived hard-scrabble lives.

Hopefully these songs tell their story.

John Eagle (@marshmaster-1johneagle)

1936
Lyrics - John Eagle
Music - Fernando Gonzalo

1936 was the year my mother was born
As she lay in her bassinette, swaddled
A little black boy, with his little red wagon,
Along a rutted dirt road
Tilted his head to look back
With his tilted newsboy hat
Something was back there
He looked back at what was home

By the time this happened
My mother’s father was dead
Something about work
It was cold storage, I think
He just had a cold
But the job was scarce
And the family waited
In granny’s boarding house

The man next to the little boy looked back
And so did all the others…at what?
And for all the cotton picked that year
The little red wagon was empty
Empty as the road beyond
Perhaps a tent colony lay ahead
With a fire and an iron pot
For biscuits and Hoppin’ John

They waited for the milk and bread
That came from Papa of an evening
Gathered ‘round the table
Were Gramps and his Vaudeville jokes
Uncle Durphy with is Irish nose
And Ma with her doily hair
Then came the man in the suit
It was a real fine suit, for 1936

© 2013 John Eagle, Fernando Gonzalo

5. 1936 (lyrics Jon Eagle)

Currently working on a batch of ideas just now so i'll just keep throwing these up here. Thanks for all listens.

Who We Used To Be

Thanks to fingerstyle_guitar for this nice track!

Memphis Minnie, Blues-collab with fingerstyle-guitar

I'M DIGGING MY GRAVE
ON A COLD WINTER'S NIGHT
ALL MY SECRETS ARE SAFE
BENEATH MY FIRE PLACE
I'M DIGGING MY GRAVE
NO REASON TO BREATH 
ANYMORE


my grave

The Last Waltz, The Tower

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Not A Drawing
by Daniel Carlson

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about
"Music that sounds like The Beatles and Air tumbling through space - melodic, psychedelic and intensely atmospheric. This album could well prove to be a future classic."
- Q Magazine

Not A Drawing is the 3rd album from New York City resident, musician, photographer and videographer Daniel Carlson. It follows on from the excellent Me You, You Me (2014) and his critically acclaimed debut Aviary Jackson (2010) - "...the great-grandchild of Sergeant Pepper's..." **** - R2/Rock'n'Reel

Not A Drawing is the result of a deeply considered and meticulously executed vision by the artist and his most accomplished work to date.

In the words of the artist himself:

“Initially, I was going to work with the same crew as Me You You Me (all L.A. session dudes - all amazing musicians) but, once I got done with what I thought were the demos, it was clear to me that they had a feel that was worth keeping. So then I thought that maybe I'd go out to LA and do some overdub sessions with those guys, but by the time I had time to do it, the songs had evolved even further. At that point, I decided that I'd finish it up in NYC and reached out to famed producer Michael Leonhart to see about him helping me finish, but it didn't look like he'd have time in the near future. However, we did spend an afternoon listening to what I had and he had a key piece of advice: ‘less Paul McCartney, more Pink Floyd,’ which was where I'd wanted to go anyway (more synths, more dreaminess).”

WEB
folkwit.com/artists/daniel-carlson
www.danielcarlson.com

Not A Drawing

Cloudy People

Rebecca Clamp’s latest album sees her join forces with Hans Wessels to create a delightfully emotive and beautifully arranged collection of original songs…

Lit Up With Sorrow is Rebecca Clamp's third album to date and the second to be recorded in and inspired by her adopted home of Finland.  This time she is joined by the considerable talents of her partner and collaborator, Hans Wessels.  The album builds on Clamp's already established reputation as a fine original songwriter.  Her debut, Nocturnal Leap getting some rave reviews (5 stars R2).  Her last album Key to The City earned a 4 star review in R2/Rock'n'Reel and prompted Rychard Carrington (R2/Moving Tone) to comment, "Rebecca Clamp’s music is like the very finest of wines.” Neil King of FATEA noted, "Rich in description and tone, the simple combination of Ms Clamp’s voice and piano are at times deeper than a school of philosophers and far easier to listen to."

This album is distinctly, and rather wonderfully different.  Clamp has retained her trademark quirkiness and optimism throughout the lyrics (despite some of the songs exploring darker themes) but it is the depth and breadth of the arrangements that really strike the listener - electronic percussion and instrumentation, plucked strings of ukulele and guitar, Clamp's distinctive piano and the sweet vocals harmonies from both Clamp and Wessels.  It's a gentle, emotionally provocative album with songs that are illuminated with a deep sense of hope and resilience.

Lit Up With Sorrow

Liminal

A truly original debut album from London-based singer-songwriter Jeremy Tuplin…from the intimate to the cosmic, introducing space-folk…

I Dreamt I Was An Astronaut is the debut album of London-based singer-songwriter Jeremy Tuplin and follows 2 independently released EPs: Open Letters (2016) and Carry The Fire (2014).  His voice has a uniqueness expressing itself through the less commonly used, lower register and his song-writing extends beyond the conventions of the genre.  In the words of BBC 6Music’s Tom Robinson, his music is: “Unconventional, conversational and intimate.”  The Telegraph Culture Section described his music as, “Stunningly candid…A distinctive deep vocal that has hints of Leonard Cohen and Bill Callahan.”  Clash Music observed, “A cosmic gem…” with Tuplin “Cooking up something special.,”

Recorded with long-time collaborator Mark Estall at Marketstall Studio, South Bermondsey with some recordings taking place in both Tuplin’s and Estall’s living rooms, the album combines electronic and synthesised sounds with acoustic and organic instruments for a ‘retro-futuristic feel’ branching into a genre which could be described as ‘space-folk’.

The theme that underpins this album is escapism, and with that, visions of the cosmos – a debut worthy of attention.

WEB
http://www.jeremytuplin.com/ 
http://www.facebook.com/jeremytuplin 
http://twitter.com/jeremytuplin 
http://youtube.com/channel/UCriGbrACRtKmNt6_GO4a3Fw

I Dreamt I Was An Astronaut

Albert Einstein Song

Autumn Fall

Free Download To My Remake Of "Voodoo People" Warning: 149BPM! 
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Happy New Year! :)

Blastoyz.

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The Prodigy - Voodoo People (Blastoyz 2018 Remake) [Free NYE Download] - WAV!

Full on studio funk. Improvised mainly, based on Know Your Enemy Bassline

Deleter - Rage Studio Jam

Katee Kross & The Amberjax  Count To 10

Westbound Train

Panic Anchor EP available now at https://itunes.apple.com/gb/album/going-blind-ep/id1045066292

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Who We Used To Be

Andy McBride

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