Love the mellow, dream pop vibe!! Great guitars/ bouzouki!!

Great song, melody and guitars combine so well

I really enjoyed listening to this; great quality in the song, performance and production.

Wonderful vibes coming from this smooth warm sweetly ambient track with such lovely warm dynamic tones in a fantastic balanced mix-beautiful work!

man. this is one year old and it wouldnt make a difference if it was only a few days old.

what a nice tune re reposting to keep that Atlas Cedar vibe going

Words and Music by Roger Whittlesey. All sounds made by Roger Whittlesey except:
Guitar by John Mason.
Some background vocals by Christy Bluhm.
Click here to watch the music video: https://www.youtube.com/watch?v=w_8XsJy9lJg

Sunshine

My father passed away today 18th Feb 2022. The last few months were particularly hard for him and he just wanted to die.  This song is one of a few I wrote as catharsis. Sometimes we can live too long when quality of life has gone. 

Sometimes there's no justice
There's no need to try
You just need to trust us
'Til it's your time to die

It's painful to watch you
It's not living at all
Just waiting the days through
For that hammer to fall

I know you really want to go
There's nothing I can do
I want you to know

I feel so helpless
Impotent and scared
It's all so hopeless
But cannot be repaired

I know you really want to go
There's nothing I can do
I want you to know
I know you really want to go
There's nothing I can do
I want you to know

A Thousand Cuts

Introduction in English:

A good thirty years ago I had a partner who had strict Catholic parents. She had four brothers who married in the strict Catholic spirit during the time we were together. 
I loved the free, unbridled, wild dancing at that time. But at those weddings, any passion was contained in a rigid religious call-and-dance ceremonial.   
My "salvation" was Bosza, a Croatian woman overflowing with warmth, cordiality and impetuous liveliness. She was the wife of my then partner's uncle, who himself had fled to Berlin decades ago from the all-suppressing Catholic morality.
And with Bosza I danced half the night away at the weddings. Most people hated us for it. But we were passionate soul mates.
After I separated from my former partner, I lost sight of Bosza for the last ten years. 
Until I received a year ago over a brother of my ex-partner by WhatsApp the message that Bosza had died with not even seventy years. 
When I received this news, I had to cry spontaneously. And out of this sadness, but also out of gratitude for the great living time together at the otherwise dead weddings, this tribute to this wonderful woman was created. A woman who burned from both ends of the candle, and like most who do, do not grow very old.

Lyrics (for those, who don`t speak German)

Bosza

Shaved grass
Orgies of order in excess

Everything symmetrical
The cleanliness fetish

The compulsive cult replaces pleasure and fun

I come there to such a festival
Where they leave farts in gold seals

On the dance floors brooms
Heart-decored straw creatures

The atmosphere is arctic chilled

There you just jumped in brazenly
Loud, exuberant and soft

Created a little warmth niche
In this enchanted ice princess realm

Oh Bosza, Oh Bosza, Oh Bosza
You Know!

Fish grette leftovers at the cat table
On my lap a spoiled quiche

The life in bottles
With permanent stop tabs

The children are domesticated

The meeting train on a railway track
On which is written "Untraceable travelled"

No door handles
The eye salute empty

A glass bell lies on the sea of people

Through you came healing cracks
The gowns mutated into a dress
Stock fishes began to wag
The mood of forbiddance deflated

Ooh Bosza, Ooh Bosza, Ooh Bosza
You know!

Deutscher Originaltext:

Bosza

Kahlgeschorenes Gras
Ordnungsorgien im Übermaß

Alles symmetrisch
Der Sauberkeitsfetisch

Der Zwangskult ersetzt Lust und Spaß

Komme dort auf so ein Fest
Auf dem man Fürze in Goldplomben lässt

Auf den Tanzflächen Besen
Herzentkernte Stroh-Wesen

Die Atmosphäre ist arktisch gekühlt

Da bist Du einfach dreist reingesprungen
laut, überbordend und weich

Schufst eine kleine Wärmenische
In diesem verwunschenen Eisprinzessinnen-Reich

Oh Bosza, Oh Bosza, Oh Bosza
You Know!

Fischgreten-Reste am Katzentisch
Auf meinem Schoß ne' verdorbene Quiche

Das Leben in Flaschen
Mit Dauerstop-Laschen

Die Kinder sind domestiziert

Der Begegnungszug auf einem Gleis
Auf dem steht „Unauffindbar verreist“

Keine Türklinken
Der Augengruß leer

Eine Glasglocke liegt auf dem Menschenmeer

Durch Dich kamen heilsame Risse
Die Talare mutierten zum Kleid
Stockfische begannen zu wedeln
Die Stimmung von Verboten entbleit

Ooh Bosza, Ooh Bosza, Ooh Bosza
You know!

Bosza

Boza

Music & Lyrics: Jan Schonander

This is unapologetically inspired by the A-side to one of my favorite albums of all time. I'll let you guess which album that is - if you are older than 50 it will most likely be easier.

A lot of us spend our lives chasing a dream, and despite reaching milestone after milestone the dream is always just beyond our reach. If you're lucky all you need to do is stop and think - maybe you're already there. I was reminded about this when told a story about a popular beach boatman asked by a hedge fund manager why he doesn't invest in an additional boat. After many questions the investor tells him that after years he could become so financially successful that he could spend his afternoons with his family and friends. The boatman tells him that after his morning fishing run that is already what he does. 

The guitar is a Logic Pro X Heavy Metal Guitar. For the drums I "mixed it up" a bit by using more reverb on the snare than on the rest of the drums. Also had a hi-hat in there initially but I took it out as I thought it muddied up the sound too much. In general I debated how much reverb to use and progressively used less and less to try and warm it up. For the bass I combined an electric bass with a traditional standing base. I departed from my usual approach of trying to reproduce as natural a piano sound as possible by using equalization to mainly remove some of the high and low end - the purpose being to create a "lo-fi" sound. Finally, the synth is Nord Native and treated with some ringshift to get the moving in and out your ears effect.  

LATELY MAYBE

Too much
Not enough
Will I ever
Is it never
I can’t see
Will it ever be

Lately, I’ve been thinking too much
Lately, I’ve been dreaming too much
Maybe, I’m in heaven
Maybe, I made it yesterday

Is this the end
Or could it be the beginning
I can’t tell
It seems a bit like hell
So many moving parts
So many false starts

Lately, I’ve been thinking too much
Lately, I’ve been dreaming too much
Maybe, I’m in heaven
Maybe, I made it yesterday

Too much
Not enough
Lately
Maybe
Lately it’s been too much
Maybe it’s been too much

Lately Maybe

Spotify

Paco https://soundcloud.com/sonido-reflexivo shared these beautiful and evocative melodies with me and I couldn't help but want to collaborate with him again. He is most generous and encouraging, and his music is full of structure, energy and emotion. Thanks for this great opportunity Paco and thank you for listening. I'd like to dedicate this to David, Emily and Steven.

Whatever it is you want from life,
You better be ready to go and get it.
For time always flies,
No matter how much you think is left.

Make sure that you don’t take a moment for granted,
Coz you only get this chance to shine.
When you’ve got something more to give than you take,
Only then have you truly found the reason to live. 
  
Time flies, oh how time flies 
How time always flies,

Whatever it is you want from life,
You better be ready to go and get it.
For time always flies,
No matter how much you think is left.

Time flies, oh how time flies 
Time flies, oh how time flies 
Time flies, oh how time flies 
 
Whatever it is you want from life,
You better be ready to go and get it.
For time always flies,
No matter how much you think is left.

Time Flies (Midisound & Mark J Bennett)

Stessy Mendes:  Vocals
Sean Nerney:  Piano, Strings, Synths
Ben Juul:  Drums, Mix & Master
Dirk Taubenheim:  Guitars, Bass

Written by Stessy Mendes / Dirk Taubenheim, taken from our album "New Beginning" and probably our most beautiful song. Dedicated to V., I love you. Thanks for the attention!

Let The Girls Sing

J' écris

On Lindisfarne, there is a ridge of land called 'The Heugh' made out of unyielding igneous rock. It is not particularly high but from this viewpoint you can see the Castle, the Abbey, St Cuthbert's Island, in fact most of the sights of the otherwise flat Lindisfarne. The old coastguard station is now an observation platform. I wanted to use this piece to describe the view as experienced by a modern tourist but also give a reflective nod to the old herring and general fishing industry of the past. 

This is an interesting link all about it 

https://www.islandshirearchives.org.uk/content/areas/holy-island/fishing/holy-islands-fishing-heritage

This track is now part of "The Pilgrims Way Project" exploring the history and natural world of Lindisfarne.

Thanks to Fiona from Lionheart Radio for playing this track on her show

https://www.lionheartradio.com/

Project Playlist

soundcloud.com/mrbouzouki/sets/the-pilgrims-way-project

Project Website

www.pilgrims-way.co.uk

----------------------------------------------------------------------------------------------
Instrumentation

The High on the Heugh instrumental feature strings, cello, alto flute, high whistle, harp, bouzouki, concertina, choir, bodhrán and water pumpkins. 

----------------------------------------------------------------------------------------------
Background

I wanted to start this piece with an ascent section so it includes a climbing motif that leads the listener up to the top of the Heugh. There they can reflect on the view of St Cuthbert's Island etc. 

The next section introduces the idea of starting to think about the vanished fishing industry so I used the concertina, an instrument often used by sailors,  to start painting this picture. It also adds in the bouzouki supporting the harp and supported by various strings. 

Then it's into a hornpipe section and and it's a much more lively section as the listeners imagination takes free reign and features a bouzouki solo. It builds to a climax before the final melancholic reprise. This final reprise reflects on a lost time as it guides the listener back to the present day.

High On The Heugh

This final track of the album acts as a bookend to the project, departing via the causeway after arriving over the sands in the first track, 'The Pilgrim's Way'.

The idea behind this piece is exploring the duality of the causeway and of Lindisfarne itself. Sometimes the causeway is below the water and sometimes above. Lindisfarne is in turn an island cut off from the modern world, then reconnected for a while before the cycle repeats itself.

Connection versus isolation, spiritual versus material, water and dry land in balance, governed by the ever changing tides. Even the concept of the water itself somehow holding echoes of past times and the call of of the natural world. This last idea is also a convenient way to reprise some of the 'Foley' sounds from the rest of the album, a worthy goal for the last track of this project. This piece is truly eclectic in nature so please enjoy the journey.

This track is now part of "The Pilgrims Way Project" exploring the history and natural world of Lindisfarne.

Project Playlist

soundcloud.com/mrbouzouki/sets/the-pilgrims-way-project

Project Website

www.pilgrims-way.co.uk

Photo by Paul Everitt ... "an early morning golden hour" of the Causeway. (used with permission). As I said to Paul "This picture of yours just seems to capture the spirit of the piece I'm creating".

----------------------------------------------------------------------------------------------
Instrumentation

Causeway Dreams features strings, cello, alto flute, C flute, French horn, English horn, alto F whistle, harp, DADGAD acoustic guitar, piano, St Peter's choir, Shevvanai, timpani, Northumbrian smallpipes, bodhrán and water pumpkins. Also including vocal phrases from Shevannai and Voices of Gaia (Linda Strawberry).

Additionally, various 'Foley' sounds including featuring ones from other tracks of the project.
----------------------------------------------------------------------------------------------
Background

When composing instrumental music you can often find yourself separating a piece into various thematic sections to create a journey for the listener. 'Causeway Dreams' breaks down into six sections. One of them is very short, (A Meeting of Worlds) but this crucially acts as a musical nexus or balance point in the music,

1) Into the Depths
The journey begins by plunging the listener below the water of the covered causeway, an alien world where the natural world, history and spiritual feelings all fuse together in the restless sea. The power of the sea is very much a feature in this first section. There is peril for the unwary, man cannot control this element of nature, only react to it's moods.

2) In a Place of Wonder
This lighter section featuring harp and flute introduces a feeling of wonder as you remain below the water with the creatures that call the sea their home.

3) Island Echoes
Still below the water you begin to hear echoes of 'Foley' sounds from previous tracks in the project brought together in this underwater realm, suggesting a merging of history and nature, an 'island memory', captured in the surrounding water of the island. At the end of this section you begin to ascend back towards the emerging causeway.

4) A Meeting of Worlds
As you emerge from the water you are in that moment of balance between the two worlds. The voice you first heard in 'The Pilgrims Way' is ready to lead you home.

5) Travelling Home
As the sea finally recedes, the rolling feel of acoustic DADGAD guitar and low whistle feature to lead the listener as you travel across the now fully uncovered causeway back towards the Northumbrian mainland.

6) The Call of the Coast
As you travel further along the causeway, you hear the sound of Northumbrian pipes over a boisterous bodhrán backing. The mainland is calling to you but the voice you first heard in the Pilgrims Way soars as a final reminder of this special place.

Causeway Dreams

Hangers
on
They're all
gone

Is it too late?
I'm indifferent til
I break
The screaming doubt

So hold
Your tongue
Don't save
the world

Like you said you would
Like you said you would

Do you think
You're the king without the crown?
It wears me down

If we stop
staring at the new gold
maybe we just let go
Only if we could

Someone's saving face
in this awful race
and we never got past the starting line

Someone's gone to waste
in this endless race
are we part of the problem just passing by

Someone's saving face
in this awful race
And we never got past the starting line

Someone's empty space
in this awful race
Am I part of the problem
just passing by

Don't hold your tongue
Don't save the world

Paul McKeever's Album

Part of the Problem

This started as just some fooling around and just sort of flowed. I am just gonna keep on posting things that pop out, no reason to hold back. Permit me the emotional and morbid themes.

what will remain

Written and recorded 3rd January 2021

My first jam and recording session of the year... another song based on an improv with my bouzouki, which is the main rhythm instrument in this track.

After a difficult year, and a socially distanced Christmas and New Year, the only solace is knowing that we are doing what we can to keep each other safe.

Artwork based on a photo by Tim Mossholder
Used under Creative Commons license
https://unsplash.com/@timmossholder

Lyrics:

These darkened days
We've stayed away...

A small price to pay
To keep each other safe

No face to face
No meeting place

A small price to pay
To keep each other safe

We'll join again
Some glorious day

A small price to pay
To keep each other safe

Safe

Hi, I'm Chris and I am a research scientist by day and a songwriter in my spare time. I joined SC in 2013 and I mainly record acoustic guitar and vocal harmonies, but also like playing electric guitar, bass, keyboards and using drum loops.

My musical influences include Syd Barrett, Neil Young, Peter Gabriel and Paul Simon, and increasingly fellow SoundClouders; My favourite bands include Yes, Supertramp, Pink Floyd, Rush and Steely Dan, and I also listen a lot to The Beatles, Elton John, The Who, Van Morrison, Genesis, King Crimson,  Jethro Tull, Sparks, Stevie Wonder, The Grateful Dead to name but a few...

Anyway, please feel free to get in touch - I can make any tracks (in whole or in part) available if you want them for collaborative reasons, or if you just want them for your mp3 collection :)


Safe

Atlas Cedar

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