This song is written by Jim Barrett from Cork, Ireland, who sings and plays guitar, his brother Noel plays the bass. Roger Whittelsey from Boston produced it and added keyboards, drums and some vocals, and after that, I was lucky to have the opportunity the add some saxophone.
And there's a nice video: https://www.youtube.com/watch?v=D6u7AOf6vFM

Solving the riddle

The paradox is that the “meaning of life” isn’t something you find once and keep forever — it’s something that renews itself each time you’re fully present in what you do, love, or create.

Many people chase a permanent answer, a single truth that explains everything.
But meaning doesn’t work that way — it’s more like breath or heartbeat: it’s alive only when it’s happening.

Every time you’re truly here — playing music, sharing kindness, breathing deeply, or just sitting in silence feeling your own existence — life has meaning in that exact moment.
Not because you found it, but because you’re living it.

The more we chase a fixed sense of purpose, the more it slips away.
But when we simply are — in love, in creation, in presence — the meaning naturally appears, quietly, like light through an open window.

In Search of Purpose – Vocals by Blackbird


I was struck by an article in the Guardian 10 years ago about a woman who used to hang out and work with the Rolling Stones in the 60s and the article was about adapting to old age while having nostalgia for such a potent time in her life. For this recording I had to change one word - 70 to 80. Musically it needed to be rhythmic but melancholic: something you got from major and minor seventh songs in the mid 70s as disco kicked in



YESTERDAY’S PEOPLE

Yesterday’s people used to party, party, party
Yesterday’s people were so cool so cool so cool

There was a girl her skin so fresh and fine
There was a guy as smooth as a dark red wine
They were out there in a happening era
Face to face so close and nearer
Photogenic and oh so bold
But that generation has all grown old

In 69 it was crazy zany time
In London town all that music going down
Young people travelling - free love happening
Beautiful people philosophizing
Mary Jane twilight in the Mediterranean
That generation they’ve all grown old

If you’re talking to an 80 year old guy
Remember he - was Mr cool way back in time
Try to imagine the face much younger
The yearning soul hormonal hunger
Suite Judy blue eyes young people dancing
That generation they’ve all grown old


Yesterdays People

A little bit of tropicana to warm up a cold damp UK afternoon!
Thank you always for your kind reposts plays and playlists!!!

Primavera

I had posted a year ago the row version of this track recorded back in 2015 (https://soundcloud.com/michele-ansani/bosque-redondo)
I thought that, after all these years, it was time to remake it, without altering the melody or the atmosphere.
Regarding the context evoked, see for example here: https://americanindian.si.edu/nk360/navajo/long-walk/long-walk.cshtml

Composed by Michele Ansani (2015-2025).
Bansuri is courtesy by Aahro.
Cover photo: Navajo girls at Fort Sumner, Bosque Redondo era, New Mexico, 1864-1868(?). Palace of the Governors Photo Archives, negative number 038208.

RePosted on SoundCloud: 2025, June 16

Bosque Redondo (final version)*

Poem, guitar, melody: Poet Peter, aka @user-264930040
Voice and photo: Oddrun
Studiowork: Arne Hiorth

Peter`s own words :
"I am blessed with a treasured friend whose name is Sue.

Sue is the very embodiment of humanity. Kind, selfless, giving, loving, unassuming, warm, smiling, understanding. Were you lucky enough ever to meet Sue, you’d never know that she carries a heavy burden carefully, and gently tucked away in a very private place within her heart.

This song is for Sue, and all mothers who, like her, have lost a son in the most tragic of circumstances, with no opportunity to help, hold, comfort or say goodbye."

Solace


When first you nestled in my arms and my eyes met with yours

A bonding fused in love, that could never be undone.

Sheltered you from harm as childhood lightly ran its course

Giving thanks to God above for the blessing you’d become.



Of your blossoming maturity I watched with glowing pride

Reaching for your touch to find that now we’re worlds apart,

Stolen by fate’s cruelty, that wrenches yet inside

Ever present in my mind, forever in my heart



As angels wrapped in heaven, soon our eyes shall meet and then

In the sanctity of peace we’ll find solace once again.



And now I live by memory tides that flood tomorrow’s shore

Your image resting in my palm, lifts my spirit gently, where,

The strongest, warmest love abides and shall do evermore

A love bestowing soothing calm upon my silent prayer.



Though the space between is wide as the celestial abyss

I keep a special place aside, from which I promise only this

As angels wrapped in heaven, soon our eyes shall meet and then

In the sanctity of peace we’ll find solace once again.

Solace. 1234567890. Oddrun Eikli.

One acoustic guitar track expanded with some effects

Expansion

"Suo Gân" (or Huna Blentyn) is a traditional Welsh lullaby by an anonymous composer.
It was first recorded in print around 1800 and the lyrics were captured by the Welsh folklorist Robert Bryan (1858–1920).

The Song was featured in Steven Spielberg's 1987 film "Empire of the Sun", and I used to sing it to my kids :).

Piano by my daughter Awen.

We hope you'll enjoy.


Lyrics:

Huna blentyn ar fy mynwes,
Clyd a chynnes ydyw hon;
Breichiau mam sy'n dynn amdanat,
Cariad mam sy dan fy mron;
Ni chaiff dim amharu'th gyntun,
Ni wna undyn â thi gam;
Huna'n dawel, annwyl blentyn,
Huna'n fwyn ar fron dy fam.

Huna'n dawel, heno, huna,
Huna'n fwyn, y tlws ei lun;
Pam yr wyt yn awr yn gwenu,
Gwenu'n dirion yn dy hun?
Ai angylion fry sy'n gwenu,
Arnat ti yn gwenu'n llon,
Tithau'n gwenu'n ôl dan huno,
Huno'n dawel ar fy mron?

Paid ag ofni, dim ond deilen
Gura, gura ar y ddôr;
Paid ag ofni, ton fach unig
Sua, sua ar lan y môr;
Huna blentyn, nid oes yma
Ddim i roddi iti fraw;
Gwena'n dawel yn fy mynwes.
Ar yr engyl gwynion draw.

English

Sleep my darling, on my bosom,
Harm will never come to you;
Mother's arms enfold you safely,
Mother's heart is ever true.
As you sleep there's naught to scare you,
Naught to wake you from your rest;
Close those eyelids, little angel,
Sleep upon your mother's breast.

Sleep, my darling, night is falling
Rest in slumber sound and deep;
I would know why you are smiling,
Smiling sweetly as you sleep?
Do you see the angels smiling
As they see your rosy rest,
So that you must smile an answer
As you slumber on my breast?

Don't be frightened, it's a leaflet
Tapping, tapping on the door;
Don't be frightened, 'twas a wavelet
Sighing, sighing on the shore.
Slumber, slumber, naught can hurt you,
Nothing bring you harm or fright;
Slumber, darling, smiling sweetly
At those angels robed in white.



Suo Gân (Sleep My Child - Welsh Lullaby - Awen and Rob)

With things so bleak and frightening at the moment, I thought a wee fun country number might bring a smile or two, for a moment anyway.
For the lovely Finse, Happy Birthday my dear! <3
Music, Lyrics, Vocals, Guitar, and Harmonica - Lizzie Taypen
Cover painting - Lizzie Pentland

Them Hitchin Angels

Please excuse me for coming up with something new so quickly.

Tomorrow marks the 22nd anniversary of the death of French actress Marie Trintignant, who was beaten to death by her boyfriend, Bertrand Cantat, on 26 July 2003.

Some people will have seen the Netflix documentary about the case and will therefore also be familiar with the media and public debate at the time. This was a broad and heated discussion, as if the categorisation of such a brutal killing was a matter of opinion.

After that, one might have gained the impression that those who prioritise conservative values and traditional social and family roles tend to view domestic violence as an interpersonal tragedy rather than an unequivocal act of violence. ‘Arguments happen in even the best families.’ – ‘Doesn't an argument that gets out of hand often come from both sides?’ – ‘Did the victim overstep the mark and provoke an overreaction instead of making a diplomatic concession?’…

22 years have passed since then. In that time, #MeToo has emerged, alongside all kinds of discussions.

A lot of noise. A lot of media. A lot of talking-is-the-new-doing. But nothing has changed, apart from the number of reported cases of domestic violence, which continues to rise to this day. Whether this is because more and more offences are being reported instead of concealed is massively irrelevant:

In Germany, one woman or girl is beaten, abused or victimised by her partner or a male family member every single minute of every 24-hour day. According to official reporting statistics, this only happens every three minutes. What is clear, however, is that someone dies from their injuries almost every day.

The murder of Marie Trintignant is repeated every day.

There are many explanations for this. Psychological, social, political, and personal, to name a few. After all, we are living in an age of digital polyglotism where everyone has an answer to everything. Somehow, what you can explain is easier to accept. So, let’s talk about acceptance.

The number of car thefts registered in Germany each year amounts to around one sixth of the reported cases of domestic violence. The number of domestic burglaries is less than half.

What would happen if the number of domestic burglaries doubled, or if the number of car thefts increased sixfold? There might also be discussions about the thieves' psychological state of emergency or their possible negligence, provocation or shared guilt. But first and foremost, everyone would agree:

'This has to stop! We must stop it by any means necessary! … Zero acceptance!"

Is a stolen car, despite insurance reimbursement, really more painful, shocking and unacceptable than a woman being dragged through her flat by her hair?

---

Lyrics, music and production by ©Hans-Michael Albers. Vocal performance by suno4.5

video: https://www.youtube.com/watch?v=Kn16cxiq-64

Google translation:

I won't let you rest
It's the only reason you're hitting me
To get revenge for all your frustration
You just have to do so

It's not even good for you
But what are you going to do with your anger?
It's all my fault
I'm pushing your patience to the limit

Your pain should be mine
I deserve to feel it
You give it my face
So it can break me instead of you

What nobody sees or hears
It destroys the perfect world
Whenever it bangs
I wanted it that way

Only because of me do you see red
And because of me, you beat me to death
Only because of me do you see red
And because of me, you beat me to death

I would have liked to live
How I felt, how I moved freely.
One last pain, one moment
Then it's over, happy end

Ich hätte gern gelebt

Torbjørn: vocal, instrumental and vocal composition https://soundcloud.com/tobbenv
Oddrun: vocal and vocal composition
Mastering: Njål Frode Lie
Poem: William Blake
"Ah! Sun-flower" is a poem by William Blake, published in his collection Songs of Experience in 1794. The poem explores themes of longing, weariness, and the human desire for something beyond earthly existence, using the sunflower as a symbol. 

A big thank you to you Torbjørn, what a great joy to sing this beautiful poem.

Poem: William Blake

Ah! sunflower, weary of time,
Who countest the steps of the sun,
Seeking after that sweet golden clime
Where the traveller’s journey is done;

Where the youth pined away with desire,
And the pale virgin shrouded in snow,
Arise from their graves and aspire;
Where my sunflower wishes to go.

Ah! Sun-flower. Torbjørn Vagle. Oddrun Eikli

I'm a baritone sax player & composer in a contemporary jazz genre from Cologne, Germany (and play clarinet and flute, and the other saxes as well). All woodwind parts on these tracks are played by me (multitrack rec.), all other instruments by virtousi virtuali (with three or four exceptions). All arrangements and by far most compositions are by me.
I very much appreciate every kind of collaboration.

Solving the riddle

Georg Boehme