One Summer Morning

Picture is from the book by Dr Rupert Sheldrake

The Sense Of Being Stared At

Excited to go see Dead and Co. play this weekend. This song has some of the most beautiful lyrics. It's about the American Beatnik (Merry Prankster) Neil Cassidy. He served as the model for the character Dean Moriarty in Jack Kerouac's  1957 version of "On the Road" 
.
Lyrics:
I have seen where the wolf has slept by the silver stream
I can tell by the mark he left, you were in his dream
Ah child of countless trees
Ah child of boundless seas
What you are, and what you're meant to be
Speaks his name, though you were born to me
Born to me
Cassidy
Lost now on the country miles in his Cadillac
I can tell by the way you smile, he is rolling back
Come wash the nighttime clean
Come grow the scorched ground green
Blow the horn, and tap the tambourine
Close the gap of the dark years in between
You and me
Cassidy
Quick beats in an icy heart
Catch colt draws a coffin cart
There he goes and now here she starts
Hear her cry
Flight of the seabirds
Scattered like lost words
Wield to the storm and fly
Fare thee well now
Let your life proceed by it's own design
Nothing to tell now
Let the words be yours, I'm done with mine
Fare thee well now
Let your life proceed by it's own design
Nothing to tell now
Let the words be yours, I'm done with mine
Fare thee well now
Let your life proceed by it's own design
Nothing to tell now
Let the words be yours, I'm done with mine
I'm done with mine
Flight of the seabirds
Scattered like lost words
Wield to the storm and fly
Source: Musixmatch
Songwriters: Robert Weir / John Barlow

1981

Cassidy (Barlow and Weir)

The traditional “Wayfaring Stranger” has been at the foundation of North American music for at least two centuries, its origin is unknown.

Some historians have traced its genesis to the 1780s, others, the early 1800s. Depending on who you’re talking to the song may be a reworked Black spiritual, a lifted native hymn, or even a creation of nomadic Portuguese settlers from the southern Appalachian region.

According to the book The Makers of the Sacred Harp, by David Warren Steel and Richard H. Hulan, the lyrics were published in 1858 in Joseph Bever's Christian Songster, which was a collection of popular hymns and spiritual songs of the time. This may or may not have been the first time the song appeared in English print, and the songwriter is unknown. Steel and Hulan suggest the song was derived from an 1816 German-language hymn, "Ich bin ja nur ein Gast auf Erden" by Isaac Niswander.

During and for several years after the American Civil War, the lyrics were known as the Libby Prison Hymn. This was because the words had been inscribed by a dying Union soldier incarcerated in Libby Prison, a warehouse converted to a notorious Confederate prison in Richmond, Virginia known for its adverse conditions and high death rate. It had been believed that the dying soldier had authored the song to comfort a disabled soldier, but this was not the case since it had been published several years before the Civil War in 1858, before Libby Prison was put into service (1862).

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.

[Intro]
Am  Dm  E  Am

[Verse]
Am
I'm just a poor

Wayfaring stranger
             Dm
Travelling through
             Am
This world below

There is no sickness

No toil, nor danger
                Dm
In that bright land
E           Am
 To which I go


[Chorus]
            F
I'm going there
           C
To see my father
            F
And all my loved ones
            E  E7 E
Who've gone on
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home


[Instrumental]
Am  Dm  E  Am      Am  Dm  E  Am


[Verse]
Am
I know dark clouds

Will gather round me
          Dm
I know my way
             Am
Is hard and steep

But beauteous fields

Arise before me
              Dm
Where God's redeemed
E             Am
Their vigils keep


[Chorus]
            F
I'm going there
           C
To see my mother
                F
She said she'd meet me
        E  E7 E
When I come
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home...

Low-fi overdub with my Martin 00-21 guitar, gold tone micro bass, banjo, uke, mandolin, jaw harp and harmonica. JTSUNRISE

Wayfaring Stranger (Mr. Saturday Night)

G-Spiked-Symphony

G - Spiked - Symphony

Shamans Boogie

My wife was listening all day to me working on this song. When I added a banjo, her interest piqued, and she wrote lyrics for a country feel.

The Prescription Blues
Lyrics Veronica Krath
Music Mike Krath
Performed and Produced Mike Krath

In the morning when I rise
Gotta take these pills to feel alive
They help me get through another day

Through all my aches and all my ills
My salvation lies in a tiny pill
And my life lies on a prescription pad

Why did the Lord put me on this earth
Just to take all these pills to feel my worth
Wish I could take my body back

Oh Lord, I wish there was another way,
To make it through another day,
Then taking all these pills.

Chorus:
And in the end when I die
My hope is that I’ll find myself in paradise
With no pills and no more pain
Cause to live is Christ and to die is gain.

The Prescription Blues

This music relates the battle of the god Susanoo against the eight-headed dragon Yamata-No-Orochi. He must had the dragon drink a lot of sake to win the fight (I guess you can hear this near the end ^^).
This track is part of the project of my friend Hideo @soundsofthekosmos. It is an open invitation to collab by exploring japanese myths. More tracks - including some from other soundclouders - can be listen here: https://soundcloud.com/soundsofthekosmos/sets/kojiki-project. 
***
Drums by @soundsofthekosmos
Keyboard, Clarinet, Glockenspiel by me

Battle against Yamata-No-Orochi (Ariad + Zanshin)

Preorder Decaying Lull EP on Bandcamp: https://telquelsounds.bandcamp.com/album/decaying-lull

Decaying Lull

tribe into the night (tribetekno)

Este álbum se despliega como un tejido sonoro que entrelaza lo espiritual con lo terrenal, invitando al oyente a un recorrido donde cada tema es una estación en un viaje contemplativo. La selección de piezas revela un equilibrio entre introspección, movimiento y pausa, articulando un relato que fluye con naturalidad pero que no teme a la fragmentación, como si el tiempo mismo se doblara en pequeñas escenas musicales.

El comienzo con **“oto no inori”** abre un espacio casi ritual. Su título, que evoca la idea de una “oración del sonido”, se traduce en una atmósfera meditativa y envolvente. Los timbres parecen flotar como mantras electrónicos, creando un paisaje en el que el oyente se sumerge lentamente. Es una introducción que prepara los sentidos, estableciendo un tono espiritual y etéreo.

En **“Residual Steps”** el foco se desplaza hacia el movimiento. Se perciben patrones rítmicos que sugieren pasos que quedan grabados en la memoria, huellas que no se desvanecen del todo. El tema combina repetición y variación, logrando un balance entre lo mecánico y lo humano, como si el avance se diera en círculos que dejan rastros.

La transición a **“Residual Transit”** intensifica esta idea de trayecto. Aquí los sonidos evocan desplazamientos continuos, un viaje en tránsito que nunca termina de llegar a destino. Las capas melódicas se cruzan como caminos superpuestos, reforzando la noción de desplazamiento físico y mental. Es una pieza que transmite movimiento, pero también cierta suspensión, como si viajáramos en un tren interminable.

**“Solitary Sequence”**, en este contexto, adquiere un carácter diferente al de su aparición en el otro álbum. Aquí se percibe como un punto de concentración: un patrón aislado que recuerda al pulso interior de la soledad. Su minimalismo aporta un contraste, un momento de recogimiento frente al dinamismo de los temas anteriores.

Con **“Static Harmony”** se abre un espacio más abstracto. La armonía parece suspendida en el aire, como si estuviera quieta y en movimiento al mismo tiempo. Es una exploración de la tensión entre estabilidad y transformación, un estado de contemplación donde la escucha se convierte en observación del detalle.

Finalmente, **“Velvet Interlude”** cierra el recorrido con suavidad y calidez. Como su nombre indica, funciona como un interludio aterciopelado que deja una sensación de caricia sonora, un epílogo que no busca un final rotundo, sino una disolución suave y elegante.

En conjunto, el álbum es una meditación sobre el viaje y la huella, sobre el tránsito y la pausa. Cada pieza ofrece un matiz distinto, pero juntas construyen un universo donde lo residual se convierte en memoria sonora, y lo estático en movimiento interior. Es una obra que invita a escuchar no solo con el oído, sino con la sensibilidad completa.




The Sense Of Being Stared At

arse-myth