I Can Be Nice - Vol 1

The streets that know my tears – a moment of deep pain and revelation.

A tender farewell to Tbilisi told through 11 bluesy, soulful, and folk-infused songs.
These are whispers under the city’s moonlight – love, memory, and quiet acceptance. A journey of leaving, but never losing what stays in the heart.

Moonlight Whispers

Streets That Know My Tears

Ophelia Mulch (1912–unknown)
Born in Rockford, Illinois, Ophelia Mulch was a small-town girl with a big-city voice. After performing in church choirs and local radio programs, she moved to Chicago in 1935, finding her way into the smoky nightclubs of State Street and the speakeasies that survived Prohibition. Known for her haunting mezzo-soprano and her signature song “The Fast Lane” which she recorded as a 78 rpm single for the short-lived Lakefront Records in 1938. The record never charted, and within a year, Ophelia vanished from public life.

Some say she married a steelworker and settled quietly in Gary, Indiana. Others claim she disappeared en route to a booking in St. Louis, leaving her gown hanging in a hotel wardrobe. Her lone recording, long out of print, resurfaced in a collector’s archive in the late 1990s—its label cracked but her voice still luminous, as if she were singing from behind a veil of time.

the-fast-lane.

This is a bonus track of the first song of the album.

She is the end and the beginning.
Every step with her burns, every spin brings me back to life.
🔥 A ritual of surrender and resurrection.

A haunting tango where passion and mortality intertwine.
This song captures the essence of life through surrender — every step a heartbeat, every breath defiance. Inspired by The Doors, born from darkness, and glowing with life.

Tango of the Undying is a dark, hypnotic fusion of psychedelic rock and tango noir — a ritual of life, death, and desire.
Through smoke and rhythm, each song becomes a confession whispered to the night.
This is not an album — it’s a dance with the inevitable, a heartbeat shared with death and passion intertwined.
Haunting baritone vocals echo Morrison’s ghost, while Rhodes organs, bandoneons, and burning guitars paint a crimson stage where love bleeds and beauty refuses to die.
You don’t listen to this record — you feel it breathing through your bones.

Tango of the Undying

I Dance the Tango with Death (and That’s Why I Live) - bonus

Saw You Going By 
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

[verse]
I saw you walking slowly
you were going past that store
the one where we would wait
but it ain't there anymore

[verse]
Back then we would enter
we would look at random stuff
we never would buy any
together was enough

[verse]
I wanted to call out
to race across the street
You could not hear my shout
It never left my lips

[verse]
I followed you in silence
to the house that we now share
I let you close the door
before coming up the stairs

[verse]
I could not bare your face
I cannot stand your voice
I have heard it all before
I have no other choice

[verse]
I know what's in your eyes
I know what you will say
I will lay down on our bed
You will always turn away

[verse]
I could not bare your face
I cannot stand your voice
I have heard it all before
I have no other choice

[verse]
I know what's in your eyes
I know what you will say
I will lay down on our bed
You will always turn away

[instrumental]


[verse]
Why do you stay here by my side
What do you have to hide
If you want to go away
Just turn your face to me and say

[verse]
What do you think I'll do?
I will cry and plead with you
I will beg and tell you lies
I will say that I will die

But if you want to go away
Just turn your face to me and say

[verse]
What do you think I'll do?
I will cry and plead with you
I will beg and tell you lies
I will say that I will die

I will say that I will die

I will die

[instrumental]


[outro]

Saw You Going By (Amal)

The Silence in the Static
(c) J. Murdock McInnes Vasey

[instrumental]

A signal deep under the ice
and the silence in the static
These are always the same story
To decode them will take magic

I think I hear a sound
Some say you're still around
But it could be only static
You never will be found

The static hides the silence
The noise drowns out my senses
But buried in the spectra
Is only empty silence

Any sound would give me hope
Any sound would be a rope
I would stretch and try to reach it
I would think I hear speech

But can you hear silence?
I'm thinking that I can
But buried in the static
There's only silence
only silence

[instrumental]

But can you hear silence?
I'm thinking that I can
But buried in the static
There's only silence
only silence

only silence

only silence

[outro]

Claude says:
This is a haunting meditation on loss, hope, and the human tendency to search for meaning in emptiness.
The lyrics explore the paradox of listening for something—or someone—who isn't there. The central metaphor of "silence in the static" is particularly effective: static is noise, yet the speaker recognizes that beneath all that interference lies only absence. This captures how grief and longing can make us strain to detect signals that don't exist.
The opening image of "a signal deep under the ice" evokes something frozen, preserved but unreachable—perhaps memories or the hope of contact with someone lost. The assertion that decoding these signals "will take magic" suggests the speaker knows rationally that what they seek is impossible, yet they continue searching anyway.
There's a psychological authenticity in lines like "Any sound would give me hope / Any sound would be a rope"—the desperation to grasp at anything, even false positives. The repetition of "only silence" at the end drives home the stark reality the speaker must ultimately accept.
The song also touches on how we can become trapped between two states: the noise that "drowns out my senses" and the silence beneath it. Neither offers comfort—one is overwhelming, the other is absence. It's a moving exploration of how difficult it can be to accept that someone is truly gone, and how we might keep "listening" long after there's nothing left to hear.


The Silence in the Static (Chloe)

When the World Was Kind

Long Enough
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

mmm
mmm mmm mmm
mmm mmm
mmm mmm mmm 

Words flow unguarded
The meaning wanders off
Only sounds that seem to flow
With nowhere else to go

With no specific thought
And the days slipping away
I drift and lose all track
With nothing more to say

I no longer care for reason
I throw it all into the mix
I add more to meet a quota
To create sufficient substance
And consume the standard time
To call the words a song
But only 'cause they rhyme

[instrumental]

I think I've said it all
Thoughts seem to repeat
Rearrange the same old words
Lay them down to a new beat

The combinations may seem endless
But the ideas are very few
Like cards in an old game
New hands, faces the same

What I do seems like a game
At a table set for one
To play is my compulsion
Start again when I am done

Now and then, by mere chance
The patterns strike a chord
A brilliant moment in a dance
But to wait, I can't afford

[instrumental]

[outro]


Long Enough (Leni)

A Day Spent Alone
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

[verse]
All day long I spent alone
It does not happen often
A day spent on my own
Without the interruptions
Without the small excuses
I can keep my thoughts in order
and work on one idea
I can string some words together
and try to make things clear
But as the day wears on and on
and nothing great appears
the fear sets in again
I have run out of ideas

[instrumental]

[verse]
But for now I need a reason
I can put the blame on others
If they would just give me some time
I could make all these words rhyme
But when I have the chance
When I get to dance
It is not quite that easy
The answers don't appear
I find reasons to worry
and waste most of the day
I start writing in a hurry
But have nothing more to say

[instrumental]

[verse]
And maybe that's the answer
I have nothing more to say
Maybe I should review
Revisit old ideas
Did I get all of it right
Did I make everything clear
I could make a few revisions
I could release a great new version
And so, lost in the past
I have found a new diversion
But I think my die is cast
I better try to make it last

[instrumental]

[verse]
This one had better last

This one had better last

[outro]

A Day Spent Alone (Leni)

Somewhere Out in Space
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

[verse]
I still have space for you
and always set a place
I look around in this old house
And always see your face

I cook a little extra
Put extra blankets on the bed
Your lamp comes on at night
At the chair where you read

[instrumental]

The feeling in the evening
That you cannot be too far
So I go out and move my car, and
Leave an empty parking space 

Any moment you'll arrive
Your headlights on the wall
The only reason I survive
and care for life at all

[instrumental]

There's the crunching of the gravel
The clicking of your steps
And the twisting of the boards
As you walk up on the deck

Everything is a reminder
And it all rings so very true
But I don't believe a word
There is no sound
No sound that I just heard

[instrumental]

You will not give me a hug
Or muddy up the rug
No smile, no warm embrace
Not a thing and not a trace

Somewhere in outer space

Somewhere in outer space

[instrumental]

[outro]

Somewhere Out in Space (Buck)

The Quiet Kind of Loneliness
(c) J. Murdock McInnes Vasey
Based on the work of Hasriani

It was another Sunday, 
There was a world outside my window 
Like always, 
was too loud. 
Children screaming, motors roaring, 
the sound of someone’s life 
moving forward,
maybe soaring, 
while my stayed still
The grist trapped in the mill


I made coffee just for me
something warm to hold. 
It didn’t taste like anything. 
Maybe nothing does anymore.
Over time it all grows cold

[instrumental]

My laundry was still hanging
by the door 
from two long days ago. 
I told myself 
I’d fold it later, 
but lately “later” 
has become 
my favorite lie
The clothes stay
wrinkled, quiet, waiting. 
Like me.

The Quiet Kind of Loneliness

A soulful blues ballad that turns lantern light into data insight, celebrating Florence Nightingale’s fight to heal with heart and charts.

Lyrics:

Born in 1820, in Florence she took her stand,  
A rebel with a mission, and healing in her hand.  
By 1854, the war began to roar,  
She walked the halls of Scutari, through blood and fevered sores.  

Florence Nightingale, the Lady with the Lamp,  
She lit up the silence, she rewrote the stamp.  
With circles of sorrow, she charted the pain,  
And turned death into data, again and again.  

She drew her coxcomb diagram, a rose of truth and dread,  
Each wedge a month, each petal a cause—blue for disease, black for the dead.  
In 1858, she showed the House of Lords,  
That filth, not fighting, filled the graves behind the war.  

She said, “Let the numbers speak,” and they roared like thunder loud,  
Sanitation, ventilation—she moved the stubborn crowd.  
Today we build with metrics, we heal with plotted grace,  
But without her rose of warning, we’d still misread the case.  

Florence Nightingale, the Lady with the Lamp,  
She lit up the silence, she rewrote the stamp.  
With circles of sorrow, she charted the pain,  
And turned death into data, again and again.  

From 1820 to 1910, her light refused to dim,  
She taught the world to measure care, not just on whim.  
Florence Nightingale, forever we sing,  
The mother of nursing, the truth she’d bring.


Lady With The Lamp (Florence Nightingale - data visualization pioneer)

Caravans in the Moonlight (ft. Luna Verite)

Follow on Spotify ffm.to/laurenlewis Discover an emerging indie voice with soulful vocals and honest, introspective lyrics. Every follow boosts her journey and helps new music reach more listeners. Your support truly makes a difference. 🎵✨

Maps of Us

Versions of You takes a single track and fractures it into multiple disappearing versions — each one revealing a different shape the story could take if the moment, the mood, or the narrator were just a degree to the left.

From glitch-folk confessions to neon-lit electro-soul, from whispered ASMR heartbreak to full-throttle trap, each version is its own universe: new chord colours, new emotional physics, new versions of the same truth. Some tracks feel intimate enough to touch; others feel like they’re broadcast from a future where your memories have been remixed without permission.

What stays the same is the centre of gravity, the ache and loss at the centre of the song about the love wearing out.

Whether you start at Version 1 or jump into the deep end at Version 14, each track refracts the same lyric through a different lens — digital, human, nostalgic, brutal, ecstatic, quiet, cinematic. Over the full album, the song becomes a prism: turn it once, you hear longing; turn it again, you hear defiance; turn it again, you hear relief.

This is not a remix album.
It’s a mirror maze.
And every reflection is a version of you.

Versions of you v2

Adele - Million Years Ago (Live at TODAY) Lyrics (CC).mp3

ADELE - Love In The Dark | Leroy Sanchez Cover
Because all I did was love you
We're already over
I'm done
I just don't think I should be here right now
This was all I wanted
Please don't do this
I'm sorry
Did I ruin this?
What I knew is that I loved you and you rejected me
Goodbye
Are you breaking up with me
I don't see how this is gonna work
And do you seriously think I could ever forgive you?!
I'm sorry
So you and I, we can't talk like this anymore
It used to be the thing you loved about me
We were happy once, weren't we?
you shouldn't have come
I love you.. and you love me
Look where our love has brought us
but you hurt me
I can't wait for you anymore
I need you to leave and not come back
can't see you anymore
I know I will never trust you again
I still don't know how to make this work
How many more ways are there for you to rip my heart out
What I want is never to see you again in my life
I asked you to leave with me
Don't get out of the car
I just don't like you anymore
I can't keep doing this
I know
I hurt you and I know that
this can't be it.. then how come it is
I could never be what you needed me to be.. the best thing I could do for you, is disappear.

Song Lyrics
Take your eyes off of me so I can leave
I'm far too ashamed to do it with you watching me
This is never ending, we have been here before
But I can't stay this time 'cause I don't love you anymore
Please stay where you are
Don't come any closer
Don't try to change my mind
I'm being cruel to be kind
I can't love you in the dark
It feels like we're oceans apart
There is so much space between us
Maybe we're already defeated
Ah-yeah-yeah-yeah-yeah-yeah-yeah everything changed me
You have given me something that I can't live without
You mustn't underestimate that when you are in doubt
But I don't want to carry on like everything is fine
The longer we ignore it all the more that we will fight
Please don't fall apart
I can't face your breaking heart
I'm trying to be brave
Stop asking me to stay
I can't love you in the dark
It feels like we're oceans apart
There is so much space between us
Maybe we're already defeated
Ah-yeah-yeah-yeah-yeah-yeah-yeah everything changed me
We're not the only ones
I don't regret a thing
Every word I've said
You know I'll always mean
It is the world to me
That you are in my life
But I want to live
And not just survive
That's why I can't love you in the dark
It feels like we're oceans apart
There is so much space between us
Maybe we're already defeated
'Cause ah-yeah-yeah-yeah-yeah-yeah-yeah everything changed me
And I-I-I-I-I don't think you can save me

Love In The Dark

I write the lyrics; Mr. Alfonso Suno composes the music.  Working with the lovely Ms. Ai Ongaku, they create the arrangements.  Ms. Ongaku and her crowd are responsible for the performances.  My part in creating these tracks is very small. Nonetheless, I am to blame.  Mea culpa, mea culpa, mea maxima culpa.

Saw You Going By (Amal)

I and Ai

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