Adorable song & an awesome voice. Playing in Endless Loop. 🥰

Great song with outstanding performances!

Beautiful vocals & guitar! 😍🔥🔥🔥🙌🏻🎯 A song that lingers on!>>

Follow me on Instagram - instagram.com/harrisonstormmusic


iTunes: http://apple.co/1KRMxRM
spotify: http://spoti.fi/1NAQ2LX

Produced and Mixed by Hayden Calnin
Mastered by Andrew Edgson at Studio301

Justin Lewis playing some g tar 
Ruby Whiting on backing vocals.

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facebook.com/harrisonstormmusic

Buy on iTunes

Sense of Home

"Portland, Maine" as written by Abe Stoklasa and Donovan Woods. 

Produced by Todd Lombardo in Nashville, Tennessee.

Portland, Maine

XIII

Everybody's Son

CHECK OUT THE OFFICIAL MUSIC VIDEO HERE:
https://www.youtube.com/watch?v=9PjNUO3YDfQ

Title: Already Gone
Artist: Wild Rivers
Music & Lyrics: Khalid Yassein
Vocals: Devan Glover & Khalid Yassein
Drums: Ben Labenski
Guitars, Bass, Piano, Mandolin: Khalid Yassein

Produced, recorded and mixed by Dan Hosh at Catherine North Studios (Hamilton, ON). 
Mastered by Stephen Pitkin. 

Released February 3rd, 2016.

Video by Kevin A Courtney at KC Productions

Already Gone

Watch the official video: 
https://www.youtube.com/watch?v=ywblHCUm1YM

Lyrics:
I don't want to go to sleep, I don't want to be awake.
Don't want to go someplace that I cannot escape.
I don't want to be sideways, I don't want to be straight.
I don't want to go right now, I do not want to wait.

So give me tomorrow and I'll miss yesterday, 
But I won’t pretend like I know it all today.
Well I know what’s right, and I know what ain’t.
It’s hard to feel united in this here state.

Go on /Go on, my babe.
Go on, honey.
Go on /Go on, my babe. 
Go on all the way.

I don’t want to fight. I don’t want to run away. 
I don’t want to turn my back or laugh in your face. 
I don’t want to preach for preaching’s sake, 
but it seems we’re sleeping in this bed we made.

So give me tomorrow and we can laugh at yesterday
but I won’t pretend there ain’t nothing wrong today.
And I don’t want to close my eyes on the progress that we’ve made
but for every inch there’s a mile of mistakes.

Go on /Go on, my babe.
Go on, honey.
Go on /Go on, my babe. 
Go on all the way.

I don’t want to be a painter anymore, not this way. 
They like what I’m saying just “change the color of the paint.” 
Would you buy my work on the worth of the frame?
It used to be I’d make everything I made.

So give me tomorrow and we can get past yesterday.
Is this one of them things, some passing phase, 
where we all get up in arms but our arms are slow to raise. 
People die, and buildings go up in flames.

Go on /Go on, my babe.
Go on, honey.
Go on /Go on, my babe. 
Go on all the way.

I don’t want to be a writer anymore, not this way.
I may as well have been an actor so you could tell me what to say.
Or maybe a marionette so you could move my arms and legs, 
I may as well drive out to Montauk on Memorial Day.

So give me tomorrow and we can get forget yesterday.
It’s this modern focus that’s so hard to maintain. 
A flash in the pan, short-term gain.
No I don’t want to be a writer anymore, not that way.

Go on /Go on, my babe.
Go on, honey.
Go on /Go on, my babe. 
Go on all the way.


---------------
Produced & Engineered by Paul Loren at Sterling Society Social Club in Brooklyn, NY
Mixed by Will Hensley // Mastered by Chris Gehringer
Written by Matt Sucich / Novelty Organ Publishing (ASCAP)
All Rights Reserved 2016
www.mattsucich.com

Players:
Sarah Goldstone - Piano / Synth / Vibraphone / Vocals / Wurlitzer
Brian Kesley - Bass
Paul Loren - Vocals
Kiyoshi Matsuyama - Electric Guitars
Robby Sinclair - Drums / Percussion
Matt Sucich - Acoustic Guitar / Vocals



Spotify

Montauk

"Paper Airplanes" by Canyon City, releasing worldwide January 27th.

Paper Airplanes - Single

Paper Airplanes

ALLMAN BROWN - ON TOUR IN NORTH AMERICA MAY 2018: http://bit.ly/2s3Uu2M

Released on 18 January 2017.

Taken from the album '1000 Years', released on 10 February 2017. 

http://www.allmanbrown.com

Sweetest Thing

My new single "Enough" is out now!

Free Download: https://www.toneden.io/lostharbormusic/post/rand-enough

👇 Lets be friends
Facebook: bit.ly/Rand-Facebook
Instagram: bit.ly/Rand-Insta
Twitter: bit.ly/Rand-Twitter
iTunes: bit.ly/Rand-iTunes
Spotify: bit.ly/Rand-Spotify
Website: http://www.randwalter.com/

Enough

Rand - Enough

New track "Change It All" available now http://smarturl.it/HS_ChangeItAll

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Change It All - Single

Change It All

Buzzed to be releasing my third single 'Human Way'.
Out now via 0E0E: https://DeclanJDonovan.lnk.to/HumanWay
DJD

Human Way

Harrison Storm - Feeling You

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

Portland, Maine

DonovanWoods

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