### **JTSunrise: A Musical Odyssey**

In the autumn glow of Chicago’s embrace, where the city’s heartbeats echo with the blues, emerged a soul attuned to the melodies of life. This soul, known to the world as **JTSunrise**, began a journey destined to intertwine the roots of American folk with the whispers of modernity, crafting a tapestry of sound both timeless and true.

---

#### **Early Life and Musical Awakening**

From the bustling streets where jazz and blues coalesce, JTSunrise found his muse in the Windy City’s rich musical heritage. Born in the late 1960s, his formative years were marked by the strumming of guitar strings and the plucking of banjo chords, each note a step towards a greater understanding of his craft. The early lessons learned amidst Chicago's musical renaissance set the stage for a lifetime of artistic exploration.

#### **The Seattle Chapter**

It was in 1992, beneath the ever-gray skies of Seattle, that JTSunrise planted his roots anew. Here, in a city known for its eclectic soundscape, he wove himself into the fabric of the local music scene. His performances, were in the corners of legendary 1990s Seattle coffee shops and bars like Sit & Spin, Art Bar, OK Hotel, and the grunge punk dive bar that adopted him: the Lake Union Pub. On tourist weekends he would busk the piers, or the open spaces of Pike Place Market. JT remains a licensed Pike Place busker.

JT resonates with a profound authenticity. Each strum of, carries the weight of his journey from the heartland to the left coast.

#### **Musical Style and Influences**

Drawing from the wellsprings of American folk and country blues, JTSunrise’s music is a bridge between eras. His sound, influenced by luminaries like Bob Dylan, Neil Young, and Johnny Cash, is a harmonious blend of past and present. With a touch as gentle as Frost’s evening whispers and a voice that echoes the steadfast strength of mountain ridges, he crafts songs that linger in the memory like a half-remembered dream.

#### **Signature Songs**

Some of his most cherished compositions include:
- **"Mama Tried"**: A poignant tribute, echoing with the strains of Merle Haggard’s legacy.
- **"O Danny Boy"**: A tender rendition of a timeless ballad.
- **"Blue Eyes Cryin' in the Rain"**: Where the roots of folk meet the raw power of rock.
- **"Pancho and Lefty"**: A journey through the dusty trails of Townes Van Zandt’s world.

#### **SoundCloud Presence and Beyond**

In the digital age, JTSunrise has found a home on SoundCloud, sharing his musical tales with a global audience. His tracks, imbued with the spirit of Gen X Americana, speak to listeners far and wide. Each upload is a new chapter, inviting fans to join him on his odyssey through sound.

#### **Personal Essence**

Off the stage, JTSunrise is a figure of quiet strength and integrity. Clean, sober, and deeply respectful, he embodies the virtues he sings of. His presence in the Seattle community is a testament to the power of music to forge bonds and create lasting connections.

#### **Future Horizons**

As the years unfurl like a winding path through the woods, JTSunrise’s journey continues. His dedication to exploring new musical landscapes, coupled with his unwavering commitment to his art, ensures that the trail he blazes will remain bright and true.

---

In the twilight of each performance, as the final notes linger in the air, one can almost hear the whispered approval of the muses that guide him. JTSunrise, much like the paths of Frost’s wanderings, travels roads both taken and untrodden, forever in search of the next melody that will capture the essence of the human soul.

---

If you wish to delve deeper into the artistry of JTSunrise or explore his musical endeavors further, the journey awaits. Find art and video on IG, YouTube, X, TickTock and the Interweb.

Poncho and Lefty

Remix of a forgotten file from someone, Japanese SoundCloud friend from a long time back. I remixed to mess with Ur head

Ten Blues (JTSunrise Re - Mix)

Make Me Down A Palette On Your Floor (Goodtime Parlour Band)

The style originated in the Piedmont region of the United States, the hilly area which lies between the Atlantic Coastal Plain and the Appalachian Mountains from central Georgia to central Virginia. Played by both white and black musicians, it has always been the regional folk music that remains to this day. Old as the hills. JTSunrise

Piedmont Blues (Duck ‘n Cover)

I love a good man outside the law, just as much as I hate a bad man inside the law,” Woody Guthrie once wrote on a lyric sheet for his song “Pretty Boy Floyd.”

The tale of Charles Arthur “Pretty Boy” Floyd must have appealed to Guthrie. Floyd was an Oklahoma native who turned to bank robbing and violence in the 1920s as the country faced economic difficulty.

Floyd’s exploits were well known during the era, and Guthrie, eight years younger than Floyd, would have likely followed the outlaw’s story in newspapers and local gossip.

By the time Guthrie wrote his outlaw ballad in 1939, Pretty Boy Floyd had been dead some five years, though his story must have seemed as relevant to Guthrie as other topical subjects like the Grand Coulee Dam or the USS Reuben James.

Guthrie turns Floyd’s story into a Robin Hood tale of good versus evil. A thief steals from the rich banker to give to the poor farmer, though one finds little evidence to support this benevolent version of the real Pretty Boy Floyd.

Floyd was best known for his part in the June 1933 Kansas City Massacre, a scheme to free the prisoner Frank Nash, who was arriving in Kansas City in FBI custody by train from Hot Springs, Arkansas. Floyd and his cohorts opened fire as FBI agents and police officers escorted Nash from Union Station to a car parked out front, in the end killing several agents as well as Nash.

By 1933, the 29-year-old Floyd was already a fugitive from the law, wanted for a St. Louis highway robbery and an Ohio bank robbery, among other crimes. He had arrived in Kansas City by way of escaping transport to the Ohio State Penitentiary.

Guthrie completely washes over Floyd’s criminology report. In Guthrie’s telling, Floyd simply beats-down a rude deputy then is wrongfully accused of “every crime in Oklahoma”.

The song contains one of Guthrie’s most famous lines on the subject of crime and money: “Yes, as through this world I’ve wandered/I’ve seen lots of funny men/Some will rob you with a six-gun/And some with a fountain pen.”

Another notable version of “Pretty Boy Floyd” was cut by The Byrds for their 1968 album, Sweetheart of the Rodeo. The song was recorded in Nashville in March of that year with John Hartford on banjo.

Pretty Boy Floyd has continued to be a subject of fascination in popular culture, with portrayals in numerous gangster films, most recently in the Johnny Depp-helmed Public Enemies.

“Pretty Boy Floyd”

If you’ll gather ’round me, children,
A story I will tell
‘Bout Pretty Boy Floyd, an outlaw,
Oklahoma knew him well.

It was in the town of Shawnee,
A Saturday afternoon,
His wife beside him in his wagon
As into town they rode.

There a deputy sheriff approached him
In a manner rather rude,
Vulgar words of anger,
An’ his wife she overheard.

Pretty Boy grabbed a log chain,
And the deputy grabbed his gun;
In the fight that followed
He laid that deputy down.

Then he took to the trees and timber
To live a life of shame;
Every crime in Oklahoma
Was added to his name.

But a many a starving farmer
The same old story told
How the outlaw paid their mortgage
And saved their little homes.

Others tell you ’bout a stranger
That come to beg a meal,
Underneath his napkin
Left a thousand dollar bill.

It was in Oklahoma City,
It was on a Christmas Day,
There was a whole car load of groceries
Come with a note to say:

Well, you say that I’m an outlaw,
You say that I’m a thief.
Here’s a Christmas dinner
For the families on relief.

Yes, as through this world I’ve wandered
I’ve seen lots of funny men;
Some will rob you with a six-gun,
And some with a fountain pen.

And as through your life you travel,
Yes, as through your life you roam,
You won’t never see an outlaw
Drive a family from their home.

Cover Photo: FBI wanted poster
Lyrics: Written by Woody Guthrie
Text: Internet fodder cut ‘n paste
Music: Rendition in open D on slide tri-cone brass bell resonator by JTS

Pretty Boy Floyd (Duck 'n Cover)

May the road rise up to meet you
May the winds be always at your back
May the sun shine warm upon your face
May the rains fall soft upon your fields
Until we meet again may he hold you in his hand
May God hold you in the palm of his hand
Until we meet again may he hold you in his hand
May God hold you in the palm of his hand
In the palm of his hand
In the palm of his hand
In the palm of his hand

Originally written in the Irish language, the prayer – the author is unknown – has three main images, namely wind, sun, and rain.

The reference to the wind is thought to be a reference to the Holy Spirit, who came as a “mighty wind” at Pentecost.

This is my end of set song JTS

MTRRUTMU (Duck ‘n Cover)

The Story of the Biscuit Roller

The Blues are loaded with culinary references to sex - this is a form of signifying, which is the use of innuendo and doubletalk that is understood by members of one’s community. Countless blues lyrics use metaphor and innuendo to allow the singer to brag about physical attributes and sexual prowess, and state all kinds of desires, without uttering a single profane or off-color word. That’s good signifying. 

it takes bit of imagination for a delicate flaky biscuit dripping with butter and honey to become a metaphor for a delectable woman, and her skillful lover who is called a biscuit roller.

A biscuit roller can be male or female, though, as evidenced by Robert Johnson’s lyric from “If I Had Possession Over Judgment Day”:

“I rolled and I tumbled and I cried the whole night long
Boy I woke up this morning, my biscuit roller gone”

Biscuit Blues Songs:
“Biscuit Roller Blues”- Kokomo Arnold (James Arnold)
“If I Had Possession Over Judgment Day”- Robert Johnson
“Big Mama’s Door”- Alvin Youngblood Hart

Cover Art: U.S. #729 1933 3¢ Century of Progress Issue Date: May 25, 1933 First City: Chicago, IL Quantity Issued: 480239300
Text: “The Language of the Blues” Debra Devi 
Song: JTS, Open D - Capo 5 (High Open G) Pinky Slide on Brass Bell Tricone Resonator Guitar, Three Fingers and the Truth
Full Band Song, “Son of a Biscuit Roller”: https://soundcloud.app.goo.gl/H19otF7gwytzyLEG9

Biscuit Roller Blues - JTSunrise Solo Bluesman (Century of Progress)

This is the offspring of prior “Biscuit Roller” with string band added - a slow build to the big hillbilly porch stomp.  

See “Biscuit Roller” for description: https://on.soundcloud.com/7YRFY 

JTSUNRISE

SON OF A BISCUIT ROLLER BLUES - JTSUNRISE MOSTLY GOOD STRING BAND

Son of a Biscuit Roller Blues - JTSunrise Mostly Good String Band (Century of Progress)

Hesitation Blues may have been the first twelve-bar blues to be known across the US South, circulating in oral tradition for years – perhaps decades – before it was written down, mostly in versions that were far too dirty to be printed or recorded. Robert Winslow Gordon and Hubert Canfield both collected multiple versions in the 1920s, and Jelly Roll Morton recalled one for Alan Lomax that he’d apparently heard in New Orleans around the turn of the century. 

The Hesitation Blues has since been cleaned up and done by various artists in every genera. However it originated in burlesque and other more phonographic musical forms of the underworld preformed for patrons in juke joints, brothels and speak-easy clubs by early bluesmen. Most versions seem to have included verses in the same basic pattern:

(((((((WARNING: PROFANE LANGUAGE BELOW AS PRESENTED FROM AN ACADEMIC EXPERT PLEASE DO NOT FLAG THIS TRACK. AGAIN. HEED WARNINGS AND BE RESPONSIBLE FOR YOUR OWN ACTIONS

GET OUT NOW WHILE YOU CAN

ABANDON ALL HOPE YE WHO ENTER HERE

THE MANAGEMENT)))))))
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I ain’t no butcher, no butcher’s son,
But I can cut your meat until the butcher comes.

I ain’t no milkman, no milkman’s son,
But I can pull your titties till the milkman comes.

I ain’t no sergeant, no sergeant’s son,
But I can handle your privates till the sergeant comes…

…and so on, as well as such straightforwardly descriptive verses as, from Canfield’s collection:

A fist full of teats, and a mouth full of tongue,
Takes a long peckered daddy to make his baby come.

Only the BEST for you all! 
Saturday Satan Sunday Saint JT

Hesitation Standard Blues

Hesitation Standard Blues - Solo Guitar Instrumental Bluesman (Century of Progress)

Hesitation Blues Original Adulteration of Song and Lyrics by JTSUNRISE

OG Son of VL sings Hesitation Blues solo bluesman

Hesitation Blues - OG Son of VL Sings Solo Bluesman Guitar (In Bob We Trust)

Chain of Command Blues

Chain Of Command Blues (Century of Progress)

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)

JTSunrise cover of “The Tigers Have Spoken”, the title track of a 2004 live album by Neko Case. The album was recorded at several live shows in Chicago and Toronto in the spring of 2004. Neko's backing band featured The Sadies and Jon Rauhouse. Neko was a Seattle area musician from back in the day, she made it big an moved on 🌞

Neko Case's Introduction:
“Let's champion the tiger 'cause. You know, I think that maybe I wrote this song for many reasons But I was telling them earlier, I was in a cab in Toronto the other day And the CBC was on and they were talking to a lady Who specializes in animal husbandry And she takes care of the tigers at The Toronto Zoo. And they said "Well do you ever reintroduce the tigers?" And she goes "Well, no, because their habitat can't sustain them." And immediately I thought to myself 'There's so many extra children, we could just feed the children, to these tigers.' (Laughter) We don't need them. We're not doing anything with them. Tigers are, tigers are...
Noble!
Hungry!
Noble, and sleek Children are loud and messy I was one of those children If I were to become tiger food It would've been more noble than
Heavy!
Anyway Probably ruined the song for you now But we'll still play it for you anyway” 

They shot the tiger on his chain
In a field behind the cages
He walked in circles 'til he was crazy
And he lived that way forever
And he lived that way beside them
Separate from the other tigers
He did not know another tiger

They shot the tiger on his chain
In a field behind the cages
He walked in circles 'til he was crazy
And he lived that way forever
And he lived that way forever
Just as long as he could remember
If he'd wanted to remember 

It was the last time he had felt alive
When he saw that brown-haired lady
She fed him with a bottle as a baby
And he recalled her face and smile
They shot that tiger on his chain

They shot the tiger on his chain
They shot the tiger on his chain
They shot the tiger on his chain
They shot the tiger on his chain

Neko is also the Japanese word for cat. It can refer to actual cats or to characters in anime or manga that have catlike features. Specifically, the catgirl (a woman with cat ears, whiskers, and sometimes paws or a tail) is referred to as a neko. JTSUNRISE https://www.instagram.com/reel/C1OY8f-Ofd2/?igsh=ejZ2OTgweGg5Z3pk

They Shot The Tiger On His Chain

They Shot The Tiger On His Chain (Mr. Saturday Night)

Gin Blossoms Cover.  Story about a time ago:

I lived in Tempe, AZ from 1987-92 where the Gin Blossoms originated. When I was 21 in 1989 I was able to see them play at Long Wongs. Before I turned 21 I listened to them in the street in front of the bar along Mill Ave with the other underage kids. Long Wongs (now gone) was a chicken wing and beer joint with live music on Mill Ave. A fixture in Old Town Tempe. The Gin Blossoms sometimes also played at Long Wongs incognito as the “Del Montes” and played for about five hours straight and played old TV theme songs along with all their original material and the hits before they were hits like "Mrs. Rita" and "Allison Road". Hearing Allison Road ring-out over Mill Avenue late at night was a common sound and anyone could hear that song a hundred times and still love it, a great tune.  Once I saw the Del Montes with Elvis The Cat, a neighborhood street artist and overall character. Robin Wilson is also a truly kind man. He once set me up at an open mic at the Sun Club in Tempe around 1990 so I could sing a few songs for my new girlfriend. He also worked at Tower Records where I was a regular.  Anyway, I just met this amazing girl and wanted to impress her and sing her some songs and he also hosted an open mic at the Sun Club, another local dive bar and Tempe music institution at the other end of town. That ended up being the girl I took to Seattle and married. And I never got to thank that Gin Blossoms singer for setting me up, introducing me, and doing my sound to make a good impression - he became a rock star and I moved to Seattle with the girl. But all remains well to this day with thanks to him. Robin Wilson is a Class Act  JT
🐣
https://wc.arizona.edu/papers/92/catalyst/edition8/05_1_m.html

Follow You Down - Ode To Long Wongs

Follow You Down - Ode to Long Wongs (Kitchen Pop)

O come, O come, Emmanuel
And ransom captive Israel
That mourns in lonely exile here
Until the Son of God appear
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel

This hymn, originally in Latin, takes us back over 1,200 years to monastic life in the 8th- or 9th-century. Seven days before Christmas Eve monasteries would sing the “O antiphons” in anticipation of Christmas Eve when the eighth antiphon, “O Virgo virginum” (“O Virgin of virgins”) would be sung before and after Mary’s canticle, the Magnificat (Luke 1:46b-55)

The Latin metrical form of the hymn was composed as early as the 12th century. John Mason Neale (1818-1866), the famous architect of the Oxford movement, discovered the Latin hymn in the appendix of an early 18th-century manuscript, “Psalterium Cationum Catholicorum,” with a refrain. Neale, a translator of early Greek and Latin hymns, included it in his influential collection, Mediaeval Hymns and Sequences (1851)

British hymnologist J.R. Watson provides a context for the antiphons included on the second page after the hymn in the UM Hymnal: “The antiphons, sometimes called the ‘O antiphons’ or ‘The Great O’s’, were designated to concentrate the mind on the coming Christmas, enriching the meaning of the Incarnation with a complex series of references from the Old and New Testaments.”

Each antiphon begins as follows:

O Sapentia (Wisdom)
O Adonai (Hebrew word for God)
O Radix Jesse (stem or root of Jesse)
O Clavis David (key of David)
O Oriens (dayspring)
O Rex genitium (King of the Gentiles)
O Emmanuel

Put together, the first letter of the second word of each antiphon spells SARCORE. If read backwards, the letters form a two-word acrostic, “Ero cras,” meaning “I will be present tomorrow.”

All of the Latin attributions to the coming Messiah are from the Old Testament except “Emmanuel,” which is found both in Isaiah 7:14 and Matthew 1:23. Matthew quotes Isaiah virtually verbatim—“Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel”—with the exception that Matthew adds the phrase: “which being interpreted is, God with us.”

The “O Emmanuel” antiphon was traditionally sung on the night before Christmas Eve, revealing the meaning of the liturgical riddle through the completion of the acrostic

John Mason Neale
Neale translated the opening line as “Draw nigh, draw nigh, Emmanuel” for his volume of translations, Mediaeval Hymns and Sequences. It appeared in The Hymnal Noted, Part 2 in 1854 with a tune supplied by Thomas Helmore entitled VENI EMMANUEL

The heading in this hymnal stated: “From a French Missal in the National Library, Lisbon.” Scholars have not been able to locate the French missal, but Sister Thomas More (Dr. Mary Berry) located the tune in the Bibliotheque Nationale in Paris, identifying it as a 15th-century “Processional” for French Franciscan nuns

The famous Hymns Ancient and Modern (1861) used Neale’s revised translation, which continues to be employed in many hymnals. The block chords of the original musical were eventually replaced with more freely flowing plainsong settings

There are numerous textual variations in many hymnals, including even the order of the stanzas. Laurence Hall Stookey, recently retired worship professor at Wesley Seminary, retranslated portions of the hymn to reflect more accurately the original Latin

Regular readers of this column will note that many hymns found in our hymnals transcend centuries, cultures, translations and many variations until we find them in the form that we sing. With this hymn, the essence of the original Latin text remains. By singing “O come, O come, Emmanuel” with the antiphons interspersed, Christians today may participate in a sacred Advent ritual at least 11 centuries old

Author - C. Michael Hawn, D.M.A., F.H.S., a University Professor Emeritus of Church Music and Adjunct Professor and Director, Doctor of Pastoral Music Program at Perkins School of Theology at Southern Methodist University

O Come Emanuel

O Come Emmanuel - Instrumental - Gothic Americana

JTSunrise Deluxe Version of Dollar Bill by Screaming Trees / Mark Lanegan. Remembering Him 

Some time in late spring 1994, Mark Lanegan got a call from Lori Barbero of Babes in Toyland. She wanted to connect him with Kristen Pfaff, the bassist in Hole. Pfaff confirmed what Lanegan guessed: she'd been making eyes at him during Kurt Cobain's memorial. She wanted to go out with him. They'd talk as soon as she got back to Seattle from Minneapolis. In his memoir, Lanegan tells the story of what happened next

A couple of weeks later, a tearful, completely downtrodden, and embattled-sounding Courtney [Love] called and left a bullet-to-the heart message: Kristen had OD'd and died in a bathtub the first night she was back in Seattle

“I dizzily sat down on the floor, put my head in my hands, and stared numbly through my fingers at the wall in disbelief. Not only was my pipe dream of some sort of relationship with this exotic girl crushed, but horrifically, she was stone gone forever. Life was an utterly cruel, savage beast. Everything and everyone around me was f---ing cursed”

There's a reason Lanegan's book is called Sing Backwards and Weep. It begins with his '70s youth in the working-class enclave of Ellensburg, Washington. Addiction was a fact of life, you couldn't waste any time before you punched a bully out. When Lanegan finally made a musical connection, it was with a giant, surly guitarist. "I tried my damnedest to be friendly with him," writes Lanegan about Lee Conner, "but it was like talking to a stone. His only two speeds were mute or enraged. I would often hear him scream- ing 'F--k you, Gary!' at his dad on the phone”

Lee Conner wrote rock songs with a hook. Conner's brother and bandmate, Van, was trying to recruit Lanegan to form a new covers band that didn't include Lee, but Lanegan convinced them to keep Lee in the band. Mark and Lee would collaborate on songwriting, Mark — who couldn't play any instrument — would sing, and their band named after an effect pedal might just be the thing to get him out of Ellensburg. Van Conner (March 17, 1967 – January 17, 2023) was an American rock musician, best known as the bassist for Screaming Trees

A few years later Screaming Trees would perform on the The Tonight Show, where the strung-out singer ended up on the couch next to actor James Garner, whose appraisal of Screaming Trees' performance was, "That wasn't bad, young fella. It coulda been a lot worse!”

Screaming Trees came out of the Seattle scene so early that their record label didn't know what to do with them. Epic seemed to think they were the latest hair-metal band, a new Twisted Sister or Quiet Riot. Fortunately, some of the company's younger executives got it

Nirvana, of course, would change everything, turning Seattle and grunge into veritable brand names — almost against their own will. Screaming Trees got caught up in that wave, canonized when "Nearly Lost You" landed on the iconic Singles soundtrack. Lanegan's bitter about that, though: not only did Screaming Trees (unlike some other artists on the soundtrack) not get paid, they had to waive their fee for the song being featured in the movie. Plus, the movie was bad. "In other words," writes Lanegan, "we'd given them a hit single for absolutely nothing”

Knowledgeable musicheads don't need a soundtrack to tell them who's part of a scene, and Lanegan was integral to Seattle rock in the '90s. He first saw Nirvana perform at the Ellensburg Public Library. He thought Krist Novoselic would be a great fit for Screaming Trees, whose bassist Van was temporarily out of the group after marrying his pregnant teenage girlfriend, but when Novoselic expressed interest, Lanegan said he'd be crazy not to stick with Nirvana

Lanegan and Cobain became friends; poignantly, Lanegan remembers how closely Cobain would walk to him on the sidewalk, hugging near to him like a little brother

Info from Lanegan book, interweb, and 90s memories, JTS

DOLLAR BILL

Dollar Bill

Peggy Lee - "Why Don't You Do Right?"

[Verse 1]

     Dm               Bb  A
You had plenty money, 1922 
     Dm                  Bb        A
You let other women make a fool of you 
              Gm                            Dm
Why don't you do right, like some other men do? 
Gm         A    Bb              A7     Dm   Bb A
Get out of here and get me some money too 


[Verse 2]

       Dm                          Bb           A
You're sittin' there and wonderin' what it's all about 
     Dm                           Bb      A
You ain't got no money, they will put you out 
              Gm                            Dm
Why don't you do right, like some other men do? 
Gm         A    Bb              A7     Dm   Bb A
Get out of here and get me some money too 


[Verse 3]

   Dm                     Bb      A
If you had prepared twenty years ago 
   Dm                            Bb      A
You wouldn't be a-wanderin' from door to door 
              Gm                            Dm
Why don't you do right, like some other men do? 
Gm         A    Bb              A7     Dm   Bb A
Get out of here and get me some money too 


[Instrumental]

Dm Dm Bb A
Dm Dm Bb A
Gm Dm
Gm A Bb A7
Dm Dm Bb A


[Verse 4]

  Dm                         Bb       A
I fell for your jivin' and I took you in 
    Dm                          Bb       A
Now all you got to offer me's a drink of gin 
              Gm                            Dm
Why don't you do right, like some other men do? 
Gm         A    Bb              A7     Dm   Bb A
Get out of here and get me some money too 


[Outro]

              Dm        Bb        A         Dm
Why don't you do right, like some other men do?
Bb        A         Dm
Like some other men do

DO RIGHT

Do Right (1964 B-25N-12)

Old Crow Medicine Show - James River Blues
On the album Big Iron World this is played with a capo on the third fret
My rendition is in open tuning if you want to play along

C               F
James River blues
C                        F
I just heard the awful news
C                          F
I could steer around the rocks
C                              F 
But they're bustin' down the docks

C F C F

C              F
James River blues
C                     F
That train came on through
C                       F
And the works getting slow
C                       F 
Now where's a boat man to go?


Am                     F
I think I'll float on down
Am            F
To Richmond town
Am                     F
They don't need us anymore
                               Am
Haulin' freight from shore to shore
                           F
That big iron hauls much more
                Am
Than we ever could before

C F C F

C                          F
I've seen good men going wrong
C                           F
I've seen bad ones get it right
C                      F
As that river rolls along
C                       F 
I'll be stepping out tonight


Am            F
On the cool flow
Am                    F
Floatin' down, down below
Am                         F
The bridge to the waters edge
Am                   F
From the ridge to ledge
Am                     F
From the hills to the sea
Am              F   G
I'll become a memory

C              F
James River Blues
C              F
James River Blues
C              F
James River Blues…

Most banjo gurus agree that the earliest American banjos used gourd bodies. A pre-1800 painting of a banjo in the New World shows a gourd banjo with a flat, fretless fingerboard, a "slab" peghead with three tuners and one drone string

A similar banjo discovered in Haiti apparently shows many of the same features, enough so that banjo luthier Pete Ross was able to build a replica that most people feel is faithful to the "banjars" and "banzas" of that era

White musicians were enthralled by the sound of those "slave" instruments, enough so that they took the time to befriend black musicians and learn how to play the "banjars" of the day. Some were respectful of the traditions and cultures that led to the invention of the gourd banjo. Sadly, many were not

By the early 1920s, Tenor banjo was as popular in the U.S. as electric guitar was in the 1970s. Many thousands of "student" Tenor banjos were made at the lower end of the price spectrum, usually lacking tone rings and resonators (which, to be fair, made it possible for kids to learn banjo without driving the rest of the family out of the house). Even after early forms of Jazz had been supplanted by Swing and Modern Jazz, Tenor banjos continued to be made, although mostly at the low end of the scale

A style of playing was developed at this time that is still used by Dixieland and New Orleans Traditional Music players. The banjo was/is strummed with a flat pick, but the chords were/are structured so that the top note of the chord plays the melody

The Tenor Banjo redefined Jazz, and it's big brother, the 6-string banjo got in on the fun, too. After all, they had been around since the 1880s, and it wasn't that hard for folks who already played guitar or 6-string banjo to adjust to playing Jazz. One of the most notable Jazz 6-string players was Johnny St. Cyr, who used his 6-string to play bass lines with King Oliver's Creole Jazz Band. No, a 6-string banjo doesn't usually play bass, but it does go almost half an octave lower than a regular banjo, so it is closer at least

On this tune is my 1928 6-string Gibson GB (guitar banjo), my 1962 5-string Vega Folklore (both open back) - also mando, micro bass, C harp, and riverboat steam horn sounds sampled from the real deal legendary Nactchez steamboat

JTS

JAMES RIVER BLUES

James River Blues

Pancho And Lefty  Townes Van Zandt Cover frank watkinson

"Death Defying" is a song by the Australian rock band Hoodoo Gurus. It was released in 1987 on their album "Blow Your Cool!" and was also released as a single that same year. The song was written by the band's lead vocalist, Dave Faulkner

The lyrics to "Death Defying" were inspired by Faulkner's experiences living in Sydney and spending time near the ocean. The song explores themes of mortality, risk-taking, and the transformative power of experiences that push us to our limits. Faulkner has said that the song was also influenced by his interest in philosophy and existentialism, particularly the ideas of Jean-Paul Sartre

"Death Defying" was a moderate commercial success for Hoodoo Gurus, reaching number 30 on the Australian singles chart. The song has since become a fan favorite and is often included in the band's live performances. It has also been covered by several other artists, including the Swedish band The Wannadies and the US band Gin Blossoms

The lyrics of "Death Defying" explore similar themes of human freedom, risk-taking, and the search for meaning in a world that can seem chaotic and unpredictable. The line "If there's one thing that I've learned / It's the point of no return" can be interpreted as reflecting Sartre's idea of the existential choice, the moment when an individual is faced with a decision that will determine the course of their life

Similarly, the lyrics "All my friends are dead or they're dying / And our laughter turns into crying" can be seen as reflecting the fundamental existential condition of mortality and the idea that life is ultimately fleeting and impermanent. Sartre believed that the awareness of our own mortality is one of the key factors that drives us to create meaning in our lives

Finally, the idea of the ocean in the song can be a symbol for the absurdity and unpredictability of the world, which is a central theme in Sartre's philosophy. Sartre believed that the universe is indifferent to human existence and that we must create our own meaning in the face of this absurdity 

Existential metaphors in "Death Defying" by Hoodoo Gurus:

"Ever since the world began" - the idea of the world beginning is a fundamental existential concept that speaks to our search for meaning and purpose

"Men have sailed to foreign lands" - the journey to unknown territories can be seen as a metaphor for the human experience and our quest for knowledge

"And the fortune that they've found / Are now buried in the ground" - the idea that material wealth is ultimately fleeting and impermanent is a common existential theme

"Some would say the ocean roars / As it stumbles to the shore" - the ocean can be seen as a metaphor for the human condition, with its turbulent and unpredictable nature

"But to me, it only sings / Of the sorrow that it brings" - the ocean's song can be interpreted as a metaphor for the melancholy and sadness that is a part of life

"All my friends are dead or they're dying" - the impermanence of life and the inevitability of death are central existential concepts

"And our laughter turns into crying" - the idea that joy and sorrow are intertwined and that one can quickly turn into the other is a common existential theme

"Well, I barely learned to swim / Just enough to save my skin" - the idea of learning to swim can be seen as a metaphor for the process of adapting to new challenges and situations

"And my harbor is my home" - the idea of the harbor as a safe haven or refuge can be interpreted as a metaphor for the need for security and stability in life

"If there's one thing that I've learned / It's the point of no return" - the concept of the point of no return speaks to the idea that our choices can have irreversible consequences

"And if that's to be our fate / Now's no time to hesitate" - the idea that we must take action and seize the moment is a common existential theme - carpe some diem

JTS

DEATH DEFYING

Death Defying

Flint Banjo Club

What started as a handful of selfdescribed “banjo nuts” getting together to play after a rough winter in 1967 became a band with more than 50 members

The Flint Banjo Club, is considered one of the best banjo and old time music clubs in the United States. They established a tradition in holding their annual Banjorama, the FBCs primary fundraiser

The club was founded in April 1967 by six banjo enthusiasts from Flint Michigan back when American manufacturing was prosperous and thriving union jobs allowed for workers to retire with pensions, healthcare, and social stability 

“…no doubt as a result of cabin fever resulting from the preceding relentless winter,” wrote C.O. Johnson, one of the original six founders, who was is still strumming away with the ensemble in 2014

The FBC collected a number of awards. Members had diverse professional backgrounds and most were retired. The club performed across the country, in concert at prestigious halls including the Whiting, as well as hospitals, schools and senior homes. The club has raised more than $50,000 for community projects and in particular, scholarships administered by Mott Community College

Since 1974, the annual “Banjorama” featured a variety of banjo and non-banjo old time entertainment

Flint Banjo Club - The Happy Sounds Of The Flint Banjo Club album cover
Genre:	Folk, World, & Country	
Year:	1978
Track list:
-Alabama Jubilee And Waiting For The Robert E. Lee Medley
-Five Foot Two	
-Sweet Georgia Brown	
-Carolina In The Morning	
-Nobody's Sweetheart, Now	
-Bye Bye Blues	
-Bill Bailey, Won't You Please Come Home	
-The World Is Waiting For The Sunrise	
-Whispering	
-The Pennsylvania Polka	
-A Shanty In Old Shanty Town	
-Battle Hymn Of The Republic	
-Coney Island Washboard	

In Davison town, gold was found,
A banjo club with a joyful sound,
With strings that twang and fingers that fly,
The Flint Banjo Club's tunes filled the sky

For over 50 years, they strummed and played,
Their passion for banjos never did fade,
From six enthusiasts, the club has grown,
To more than 50, a band of their own

Their Banjorama, a yearly delight,
A fundraiser held through the night,
With Picks and Sticks and Mel Collie too,
An evening of music, for me and you

With diverse members and awards galore,
The Flint Banjo Club has a history to adore,
They've raised funds and brought joy,
To many communities, girl and boy

So come one, come all, to Davison town,
And hear the music that won't let you down,
For in the Flint Banjo Club, there's gold to be found,
A treasure of sound, that will astound

https://youtu.be/lGN86Z6QEeU

https://youtu.be/MZ9xl4mdabQ

JTS

GOLD IN THEM HILLS

Gold In Them Hills

Ramblin' Man
Written and recorded by Hank Williams Sr. in 1951. This song was released as a single and also included on the album "Moanin' the Blues." The song showcased Williams' distinctive vocal style along with his ability to convey emotion and storytelling in his music. The song tells the story of being constantly on the road and searching for something elusive. "Ramblin' Man" became one of Hank Williams Sr.'s popular hits, and it further solidified his status as a country music icon. Its timeless appeal and relatable themes have made it a favorite among fans of traditional country and folk. Over the years, "Ramblin' Man" has been covered by various artists and remains a popular traditional song in the Americana music genre. Its enduring popularity speaks to Hank Williams Sr.'s enduring influence and his ability to capture the essence of the human experience 

Am
I can settle down and be doin' just fine
           E7                               Am
Til' I hear an old train rollin' down the line
              Am
Then I hurry straight home and pack
    E7                                                   Am
And if I didn't go, I believe I'd blow my stack

Am
I love you baby, but you gotta understand
         E7                               Am
When the Lord made me, He made a Ramblin' Man


Am
Some folks might sa-ay that I'm no good
     E7                           Am
That I wouldn't settle down if I could
Am
But when that open ro-oad starts to callin' me
                  E7                         Am
There's somethin' o'er the hill that I gotta see

Am(
Sometimes it's har-rd but you gotta understand
         E7                               Am
When the Lord made me, He made a Ramblin' Man


Am
I love to see the towns a-passin' by
       E7                                  Am
And to ride these rails, 'neath God's blue sky
Am
Let me travel this land from the mountains to the sea
                   E7                          Am
'Cause that's the life I believe, He meant for me

Am
And when I'm go-one and at my grave you stand
          E7                             Am
Just say God called home your Ra-amblin' Man

RAMBLIN' MAN

Ramblin' Man

"Killing Moon" JTSunrise cover of Echo and the Bunnymen 

Check out the Video on Instagram: https://www.instagram.com/reel/C1VINoByVXj/?igsh=dmhtMmpvaG91ZWNp

Released in 1984 as the lead single from their album "Ocean Rain," the song has since become one of the band's most beloved and iconic tracks. With its ethereal atmosphere and poetic lyrics, "Killing Moon" captures Echo and the Bunnymen's sound and left an indelible mark on the music landscape

Formed in Liverpool, England, in 1978, Echo and the Bunnymen quickly rose to prominence in the post-punk era with their unique blend of dark, introspective lyrics and melodic rock. The band was founded by Ian McCulloch (vocals), Will Sergeant (guitar), and Les Pattinson (bass), and were later joined by Pete de Freitas (drums). Their music drew inspiration from a variety of sources, including The Velvet Underground, David Bowie, and The Doors. Their sound is simultaneously moody and anthemic

Legend has it that their drummer, Pete de Freitas, named their drum machine "Echo" because he believed it would confuse their rivals. The idea was that whenever other bands would talk about Echo and the Bunnymen, they wouldn't know whether it referred to the band as a whole or just their drum machine. The song should be played to a drum machine for 1980s authenticity, 124 bpm

"Killing Moon" gained renewed attention in popular culture when it was prominently featured in the 2001 cult film "Donnie Darko." The song plays during a crucial sequence in the movie, adding a sense of mystery and intensity to the scene. Its inclusion in the film introduced a new generation to Echo and the Bunnymen and solidified "Killing Moon" as a timeless classic

[Verse 1]
   Em
Under blue moon I saw you
    C
So soon you'll take me
Em
Up in your arms too late to beg you
    C
Or cancel it though I know it must be
     Em
The killing time
    C
Unwillingly mine


[Chorus]
G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm  Em C
You give yourself to him


[Verse 2]
    Em
In starlit nights I saw you
    C
So cruelly you kissed me
      Em
Your lips a magic world
      C
Your sky all hung with jewels
     Em
The killing moon
      C
Will come too soon


[Chorus]
G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm
You give yourself to him


[Solo]
Bm A G Em
Bm A G Em
Bm A G Em
Bm A G D  Em C


[Verse 1]
   Em
Under blue moon I saw you
    C
So soon you'll take me
Em
Up in your arms too late to beg you
    C
Or cancel it though I know it must be
     Em
The killing time
    C
Unwillingly mine


[Chorus]
G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm
You give yourself to him

G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm
You give yourself to him

G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm
You give yourself to him
                      G   Cm
You give yourself to him

G    Cm
Fate
                 G   Cm
Up against your will
                        G   Cm
Through the thick and thin
                G   Cm
He will wait until
                      G   Cm
You give yourself to him
                      G   Cm
You give yourself to him

Original: https://youtu.be/LWz0JC7afNQ

Mac when he is older, still got the Mojo: https://youtu.be/8guh5hCamWA

Frank the Bunny: https://youtu.be/nw9YfZF48_U

KIling Moon

Killing Moon

Bob Dylan and Willie Nelson performing Pancho and Lefty by Townes Van Zandt in Austin, Texas (4/28/93).

Austin, Texas (4/28/93)

Pancho and Lefty

All Good, thanks

Common music industry questions asked to JTSunrise with responses:

Question: How do you feel about authenticity in music?
Response (JTSunrise): “It’s the core of music. i believe in connecting with listeners through genuine experiences and emotions. Whether it’s a folk ballad or an acoustic punk tune, it has to come from the heart”

Question: What’s your stance on tradition versus innovation?
Response (JTSunrise): “i respect and study musical heritage, i’m also open to experimentation. My Gen X Folkspunk and Seattle Americana pays homage to the past while adding my twisted twist”

Question: How do you handle community engagement?
Response (JTSunrise): “Community matters. As a licensed busker, i connect with people on the streets. Music isn’t about stages; it’s about moments”

Question: What’s your approach to affordability for fans?
Response (JTSunrise): “i keep my rates reasonable. Music should be accessible. A live show of real deal acoustic tunes shouldn’t break anyone’s bank” I mostly give it away 

Question: How do you adapt to different events and audiences?
Response (JTSunrise): “Adaptability is key. Whether it’s a venue, culture event, or campfire gathering, or wedding or life celebration, i adjust the mojo to the vibe”

Question: What inspires your songwriting?
Response (JTSunrise): “Life—highs, lows, mostly inbetween. My songs reflect personal journeys and shared experiences”

Question: How do you balance craftsmanship and spontaneity?
Response (JTSunrise): “Craftsmanship matters. i handpick my instruments with bare fingers and pour my soul into each note. Magic happens in mistakes so i plan to have them and work them in”

Question How do you deal with annoying music interviews if the interviewer is a jackass?
Response (JTSunrise): “Simple, tell the truth:
1. What is your creative process like when writing and recording music?
    * JTSunrise’s Response: “A cosmic dance of creation! When i write, i sit under moonlit trees, strum my guitar to owls, let stardust melodies flow. Recording? Well, i channel wave energy into my microphone. It’s all about capturing radiation.”
2. How do you stay inspired and motivated to create music?
    * JTSunrise’s Response: “Meteor showers, the way leaves rustle, owls. Motivation comes from the background hum of the universe. i listen to it with a cup of chai”
3. Describe a time when you had to collaborate with other musicians on a project.
    * JTSunrise’s Response: “Had a jam session on Saturn’s rings. We traded riffs like shooting stars. Collaboration? It’s like harmonizing with comets—unexpected mysteries and white celestial light majik magic”
4. Do you have experience performing live? If so, what techniques do you use to engage the audience?
    * JTSunrise’s Response: “Whisper banjo secrets to the crowd. Make eye contact with Orion and recite genuinely thoughtful and meaningful empathetic banter. Works every time”
Cosmic Challenges (Hard Questions):
1. How do you handle criticism from fans or critics?
    * JTSunrise’s Response: “Listen, nod. Critics are constellations of opinions”
2. What strategies do you use to promote yourself as an artist?
    * JTSunrise’s Response: “i make friends with black holes—they’re influencers”
3. How do you balance artistic expression with commercial appeal when creating music?
    * JTSunrise’s Response: “i look to the North Star. But supernovae need to pay rent. So, i sprinkle stardust in my lyrics”
Cosmic Wisdom (Best Responses):
1. What sets you apart from other musicians?
    * JTSunrise’s Response: “i’m a comet that makes songs in Morse code. Also, my banjo has a PhD in intergalactic harmonics”
2. How do you ensure that your performances sound consistent across different venues?
    * JTSunrise’s Response: “i don’t”
3. What would you do if asked to perform an unfamiliar song?
    * JTSunrise’s Response: “close my eyes, let the Milky Way guide my fingers, deliver a cosmic ballad”

Feel'n Good

Feelin' Good

“Peaceful Easy Feeling” is a song by the American rock band Eagles, written by Jack Tempchin. It was released in 1972 as part of their debut album. The song has a laid-back, country-rock feel and is known for its soothing melody and harmonious vocals

Jack Tempchin wrote “Peaceful Easy Feeling” while he was living in a small apartment in California. He drew inspiration from the serene atmosphere of the state, which is reflected in the song’s lyrics. The Eagles liked the song and recorded it for their first album

In the early 1970s, “Peaceful Easy Feeling” became one of the Eagles’ signature songs. It resonated with the counterculture movement of the era, which sought peace and simplicity. The song’s mellow sound and easygoing lyrics struck a chord with listeners, making it a hit on the Billboard charts

“Peaceful Easy Feeling” continues to be a beloved classic rock song. It has maintained its popularity over the years and is often played on classic rock radio stations. The song’s enduring appeal lies in its timeless message of finding solace and contentment in life’s simple pleasures

Instagram video: https://www.instagram.com/reel/C1L0HotOklc/?igsh=Y3llYzc4bjV4Y2xo

[Intro]
D    Dsus4    D    Dsus4
D    Dsus4    D    Dsus4

[Verse 1]
D              G                  D        G
    I like the way your sparkling earrings lay
D            G         A7
Against your skin so brown
D             G                 D            G
And I want to sleep with you in the desert tonight
D              G         A7
With a billion stars all around

[Chorus]
A7            G             D
Cause I got a peaceful easy feeling
G                           Em     A7
And I know you won't let me down
          D     Em    G        A7       D      
Cause I'm allll-ready standing   on the ground
Dsus4    D    Dsus4

[Verse 2]
D           G          D     G
And I found out a long time ago
D                G          A7
What a woman can do to your soul
D       G                  D   G
Ah, but she can't take you any way
D                 G           A7
You don't already know how to go

[Chorus]
A7          G             D
And I got a peaceful easy feeling
G                           Em     A7
And I know you won't let me down
          D     Em    G        A7       D
Cause I'm allll-ready standing   on the ground
Dsus4    D    Dsus4

[Solo]
D   G   D  G
D   G   A7
D   G   D  G
D   G   A7

G       D
G       Em  A7
D   Em  G   A7  (D)

[Verse 3] 
D         G             D    G
I get the feeling I may know you
D    G            A7
As a lover and a friend
D                G          D           G
This voice keeps whispering in my other ear
         D           G       A7
Tells me I may never see you again

[Chorus]
A7            G             D
Cause I got a peaceful easy feeling
G                           Em     A7
And I know you won't let me down
          D     Em    G        A7
Cause I'm allll-ready standing
     D     Em    G        A7
I'm allll-ready standing
        D     Em    G        A7       D        Em  G  A7
Yes I'm allll-ready standing   on the ground
D     Em   G   A7
oooh
D     Em   G   A7  D
oooh

JT🌞

Peaceful Easy Feeling (Super Sounds of the 70s)

Peaceful Easy Feeling (Super Songs of the 70s)

A post-apocalypse artsy AI informercial Starring JTSUNRISE and Introducing the soulful rendition of “Tennessee Waltz” by the Seattle blues Pike Place busking $ensation. Prepare to be captivated by a unique blend of history and melody as JTSUNRISE takes you on a musical journey through the heart of Tennessee. Let the enchanting notes echo the rich heritage of this timeless classic, reimagined with the distinct bluesy charm that only JTSUNRISE can deliver. Experience the tragic magic of the Tennessee Waltz like never before, with a touch of Seattle’s vibrant street corner blues scene


Dive into the melancholic depths of "Tennessee Waltz," a song steeped in the bittersweet echoes of lost love and wistful memories. Originally penned in 1946, the track narrates a seemingly innocent tale of a dance that becomes a poignant reminder of a love that slipped away. JTSUNRISE, the virtuoso of Pike Place blues, infuses this historic melody with raw emotion, his soulful rendition unraveling the most pure and profound layers of heartache embedded in each lyric

Picture the cobblestone streets of Pike Place, where JTSUNRISE, with a weathered guitar and a voice that carries the weight of a thousand stories, shares the haunting beauty of "Tennessee Waltz." His musical prowess transforms the performance into a cathartic experience, connecting the listener to the sound of human longing for existence 

JTSUNRISE, a maestro of the streets, doesn't just perform; he channels the collective sorrows etched into the notes of this timeless piece. Through his fingers, thumb and breath, his touch on the strings, and the haunting resonance of his vocals, he becomes a vessel for the shared heartbreak of generations. In the hands of this Seattle blues luminary, "Tennessee Waltz" transcends its origins, evolving into a modern lament that resonates with anyone who has loved and lost

This is not just a song; it’s an experience, a journey through time and emotion that only JTSUNRISE can deliver. Now, imagine owning a piece of this soul-stirring magic. For a limited time, you can bring the Seattle blues experience to your personal collection. Purchase the exclusive rendition of “Tennessee Waltz” by JTSUNRISE, and let the echoes of this historical masterpiece linger in your space. Don’t miss your chance to own a musical masterpiece — act now and make the haunting beauty of “Tennessee Waltz” a permanent part of your collection

But wait, there’s more! Act now, and with your purchase of JTSUNRISE’s rendition of “Tennessee Waltz,” you’ll receive an exclusive behind-the-scenes look into the making of this musical masterpiece. Dive into the artist’s creative process, unravel the stories behind the strings, and discover the secrets of how JTSUNRISE brings history to life through blues

As a bonus, you’ll also receive a personalized digital thank-you note from JTSUNRISE himself, expressing his gratitude for your support. But that’s not all – be among the first to access future releases and exclusive content from this rising star in the Seattle blues scene

Seize this opportunity to not only own a piece of musical history but to become a part of the story. Purchase now and let the enchantment of “Tennessee Waltz” by JTSUNRISE be an unforgettable chapter in your own musical journey

Don't let this opportunity pass you by! Own a piece of musical history and infuse your space with the haunting beauty of "Tennessee Waltz" as reimagined by the Seattle blues sensation, JTSUNRISE. Purchase now, and not only will you receive the exclusive behind-the-scenes content and a heartfelt thank-you note, but you'll also secure a ticket to an upcoming intimate online concert by JTSUNRISE

Act fast – this offer won't last! Click to make JTSUNRISE's “Tennessee Waltz" yours and let the magic begin, 🤩

TEssesseeeWaltzz

TEnEsseeWaltzJTSUNRISE

JTSunrise Rendition of St. James Infirmary

Slow Blues, 60bpm 4/4

[Refrain]

Dm                    A7              Dm
I went down to St. James Infirmary 
Bb7 A7 Bb7 A7 Dm
To see my Baby there
                        Dm                     A7                 Dm
They had Her stretched-out on a marble table 
Bb7    A7 Bb7 A7 Dm
Asleep, so cold, so fair

[Verse]

             Dm                      A7                Dm
Let her go, You let Her go, God you let Her
Bb7    A7 Bb7 A7 Dm 
Wherever You may be
                Dm                                  A7                 Dm
Couldn’t never look this whole-world wide-over
Bb7    A7 Bb7 A7 Dm
Find a girl half as sweet

[Verse]

            Dm                 A7                     Dm
Gonna bury Her in Her strait-laced boots 
             Dm             A7                 Dm
In Her  walk’n coat and Cloche’ hat
          Dm                    A7            Dm
Put a twenty-dollar bill in Her coin-purse 
        Bb7                    A7   Bb7 A7 Dm
So She’ll know She died standin' pat

An American folk song about going to St. James Infirmary to retrieve a deceased lover. The song evolved over time and potentially from British origins in the 1800s, roots can be traced to the early jazz and blues era in New Orleans. Lyrics and melody were adapted and rearranged by numerous artists over centuries and emerged from a blend of folk, blues, and jazz. It’s popularity grew through oral traditions, diverse interpretations, and legendary performances 

Marble tables were practical for hygiene in morgues due to their white, durable, and non-porous characteristics. The thermal mass of a thick marble stone slab table allowed for temperature retention—ideal for icing in warm climates or maintaining an ambient cool surface in morgues which were typically located in medical facility basements

During the late 1800s and early 1900s, fashionable women dressed in tailored jackets, walking coats, and tailored suits. Garments were designed to be fashionable and practical. Popular was the tailor-made suit, which consisted of a matching jacket and skirt. Suits could have varied styles, including fitted jackets with defined waists and skirts. A walking coat was characterized by its length and suitability for outdoor activities. Women's fashion during this period saw a shift towards more tailored and practical clothing

Unlike higher heels of previous decades, shoes in the 1920s often had lower, practical heels to reflect the era’s active style. Boots had lace-up designs, providing a snug fit around the ankle and calf. This style allowed women to participate in energetic social activities. A stif pointed-toe contributed to a sleek and modern look and had defensive advantages. Boots were made of leather or fabric. Suede and patent leather being also popular

A Cloche (“bell” in French) is a bell-shaped fitted hat that became fashionable in the 1920s, complementing shorter hairstyles of the time

"Standing pat", a poker term meaning to keep one's hand as dealt without drawing additional cards, suggests the idea of a person being content and staying true until the end

In 1927 Fess Williams and his Royal Flush Orchestra were first to record the song under: "Gambler's Blues", crediting Carl Moore and Phil Baxter’s “St. James' Infirmary”. The song became more popular after Armstrong's comedic 1928 recording which mocked more emotionally serious versions. By 1930 at least twenty different recordings had been released. The Duke Ellington Orchestra recorded the song multiple times under names like "The Ten Black Berries", "The Harlem Hot Chocolates", and "The Jungle Band”. In 1933, Cab Calloway's version was released in a classic Betty Boop cartoon and his instrumental version featured Calloway's related hit song - Minnie the Moocher. Irving Mills managed both Calloway and Ellington. Mills Music published both artists 

My version of lyrics. Info from the internet

JTS

St. James Infirmary

Rendition of “Green Eyed Gal” by Ben Tod and LDSB

The Battle of Gettysburg, fought from July 1 to July 3, 1863, stands as the most pivotal engagement of the American Civil War. Here are the key details:
* Context: After a resounding victory over Union forces at Chancellorsville, General Robert E. Lee led his Army of Northern Virginia into Pennsylvania in late June 1863
* Location: The battle unfolded in the crossroads town of Gettysburg
* Opposing Forces: The advancing Confederates clashed with the Union’s Army of the Potomac, commanded by General George G. Meade
* Intense Fighting: The battle spanned three days, with heavy fighting on both sides
* Pivotal Moment: On July 3, Lee ordered an attack known as “Pickett’s Charge”, where fewer than 15,000 Confederate troops attempted to pierce the Union lines at Cemetery Ridge. Despite briefly breaking through, the assault ultimately failed, resulting in thousands of rebel casualties
* Outcome: Lee was forced to withdraw his battered army toward Virginia on July 4, leaving the dead, dying and wounded to perish in the killing fields and forests. The Union emerged victorious, marking a major turning point by halting Lee’s invasion of the North
* Significance: President Abraham Lincoln’s “Gettysburg Address” immortalized this battle as one of the most famous speeches of all time
Casualties:
* Union: 23,049 (3,155 dead, 14,529 wounded, 5,365 missing).
* Confederacy: 28,063 (3,903 dead, 18,735 injured, 5,425 missing) 
The Battle of Gettysburg remains etched in history as a critical moment that shaped the course of the Civil War

JTSunrise likes playing and altering the songs of Benjamin Tod:
Musical Roots:
JTSunrise: An American folk performer with roots in the 90s Seattle and Tempe music scenes. Weaves classic tunes and heartfelt tales with a mix of acoustic instruments like guitar, banjo, mandolin, uke, autoharp, and harmonica
Benjamin Tod: An American singer-songwriter, lead singer, and guitarist for the Lost Dog Street Band. His music is honest, gritty, and rooted in country blues and folk traditions
Subject Matter:
JTSunrise: Explores modern themes and images through folkspunk and Americana
Benjamin Tod: Dives into heavy topics like addiction, relationships, and life’s struggles
Band vs. Solo:
JTSunrise: Often performs solo, creating an intimate connection with the audience
Benjamin Tod: Part of the Lost Dog Street Band, collaborating with his wife Ashley Mae and bassist Jeff Loops
Recording Style:
JTSunrise: Records live, capturing raw energy and authenticity.
Benjamin Tod: Recorded his solo album “I Will Rise” with “two mics and no overdubbing”
Geographical Influence:
JTSunrise: Seattle-based, drawing from the city’s grunge rock and folk punk music heritage 
Benjamin Tod: Hails from Tennessee, with influences from Nashville’s punk scene
Emotional Tone:
JTSunrise: Balances modern sensibilities with heartfelt storytelling
Benjamin Tod: Conveys raw emotion, often dealing with pain and longing
Legacy and Resurgence:
JTSunrise: Carries the torch of folk traditions into the present day
Benjamin Tod: After retiring Lost Dog Street Band, he resurrected the project with renewed energy, creating their 2022 album “Glory”
Both artists offer unique and different perspectives, showcasing the diverse tapestry of American Music

Played and sang into the tin can on JT’s 1969 Les Paul Professional (low impedance fun)

Brown Eyed Girl

Brown Eyed Gal (Gettysburg Address / Electric Warrior)

“Blue Eyes Crying in the Rain” by JTSunrise: 
🌧️ Step right up, ladies and gentlemen! 🌧️
🌟 The Backstory 🌟 In the twilight glow, our troubadour gazes upon those blue eyes, shimmering like raindrops. But wait, is this a love lost or a farewell to a departed soul? Buckle up, because we’re diving into the lyrical abyss!
🎶 Verse 1: The Echo of Love 🎶 "In the twilight glow I see her,
Blue eyes crying in the rain."
Ah, the bittersweet ache of memories—the moments shared, the kisses stolen, and the parting whispers. Our protagonist reflects on love’s fragility, like dew-kissed petals awaiting dawn.
🌙 Chorus: The Cosmic Reunion 🌙 "Some day when we meet up yonder,
We’ll stroll hand-in-hand again."
Hold your breath! In the afterlife’s celestial ballroom, our star-crossed lovers reunite. But beware—the dance may be colder than anticipated. 🌠
🌿 Verse 2: Regrets and Silver Strands 🌿 "Now my hair has turned to silver,
All my life I’ve loved in vain."
The sands of time slip through gnarled fingers. Regrets nestle like fallen leaves, and love’s embers flicker. Our troubadour, an old man, ponders choices made—each note a tear in the fabric of existence.
🎵 Bridge: Raindrops as Tears 🎵 "I can see her star in heaven,
Blue eyes crying in the rain."
Rain, the cosmic weeper, mirrors our sorrows. Each droplet whispers secrets, painting constellations in the sky. Those blue eyes—now celestial orbs—shed tears, etching their story across the firmament.
🎩 The Grand Finale 🎩 And there you have it, dear listeners! “Blue Eyes Crying in the Rain”—a symphony of longing, regret, and cosmic reunion. Whether you’re sipping moonlit tea or pondering life’s mysteries, let JTSunrise serenade your soul.
🎶 Available now on SoundCloud! 🎶
Remember, folks, life’s melodies are fleeting, but the echoes linger. So grab your umbrella of emotions and step into the rain-soaked balladry of JTSunrise. 🌧️🎵✨
Listen here and let your heart weep harmoniously! 🎶

Songwriter and Early Recordings:
The song was written by songwriter Fred Rose in 1945
It was first recorded by Elton Britt in 1946
Roy Acuff recorded a version of the song in 1947, which helped popularize it further
Hank Williams Sr. also recorded his rendition of the song in 1951
Willie Nelson’s Iconic Version:
However, it was Willie Nelson’s recording that truly made the song a classic
Nelson included it as part of his 1975 album “Red Headed Stranger” 
The album itself was a concept album about a fugitive preacher on the run from the law after killing his wife
Nelson’s version of “Blue Eyes Crying in the Rain” was praised for its clean, uncluttered country music style and a sparse arrangement reminiscent of the 1940s
Rolling Stone described it as the “beating heart” of the entire album
Chart Success and Revival:
Before this song, Willie Nelson had primarily found success as a songwriter (with hits like “Crazy” for Patsy Cline)
As a performer, he had only reached the top 10 of the Billboard Hot Country Singles chart twice before
In October 1975, “Blue Eyes Crying in the Rain” became Nelson’s first No. 1 hit as a singer
By the end of the year, it was the third-biggest song of 1975 on the Billboard Hot Country Singles chart

[Intro]
| A7 | A7 | D | D |
 
[Verse 1]
D
In the twilight glow I see her
A7                      D
Blue eyes cryin' in the rain
D
As we kissed goodbye and parted
  A7                    D      D7
I knew we'd never meet again
 
[Verse 2]
G
Love is like a dyin' ember
      D               A7
Where only memories remain
D
Through the ages I'll remember
A7                      D
Blue eyes cryin' in the rain 
 
[Verse 3]
D
Now my hair has turned to silver
A7                        D
All my life I've loved in vain
D
I can see her star in heaven
A7                      D      D7
Blue eyes crying in the rain
 
[Verse 4]
G
Some day when we meet up yonder
D                          A7
We'll stroll hand in hand again
D
In a land that knows no partin'
A7                      D
Blue eyes cryin' in the rain

Blue Eyes Crying in the Rain

Blue Eyes Cryin' in the Rain (Trigger meets Electric Warrior)

Let’s distill the essence of “Danny Boy”:
Origin: Composed by Frederic Weatherly in 1910, with lyrics by his sister set to the haunting classic melody of “Londonderry Air”
Emotion: A universal lament—yearning for love, home, and eternity
Legacy: Sung at funerals, echoing across generations
In the cosmic ledger, it remains a timeless equation:

[Verse 1]

                      G                G7					           C           Cm7
Oh Danny boy,  the pipes, the pipes are calling
             G                              Em                                         Am   D7
From glen to glen and down the mountain side
                               G                                 G7        C         Cm7
The summer's gone and all the roses falling
                         G          Em      Am            D7         G         G7
It’s you, 'its you  who must go and I must bide

[Chorus]
                           G                     C                               G
But come ye back when summer's in the meadow
                          Em            C                       G                  Am       D7
Or when the valley's hushed and white with snow
             G           C                 Am   Bm   EmI'll be here in sunshine or in sha-dow
            G              Em         Am       C          D    G           
Oh I’ll be here, Danny boy, I’ll miss you so

[Verse 2]
                  G                                G7       C     Cm
But if he come and all the roses dying
                    G               Em                 Am    D7
And I am dead, as dead I well may be
                                  G                    G7                              C      Cm7
You will come and find the place where I am lying
          G                  Em          C    D                G         
And kneel and say an Ave there for me

[Chorus]
                       G                      C                                          G
And I shall feel, though soft you tread above me
                            Em              C           Am           D7
And then my grave will richer, sweeter be
                         G                  C           Am    Bm     Em
For you will bend and tell me that you lo- ve me
                       G          Em             C           D              G
And I shall rest in peace until you come to me
           G           Em        Am          Cm7        GbarI shall rest in peace until you come to me

**JTSunrise**, the wandering minstrel of $eattle, strums their guitar under moonlit space needle skies, singing songs that echo through the ancient cathedral of cedars that stood here before into time immemorial. Melodies carry stories of love, loss, and the quiet magic that dances between the notes

While the term "spiritualist" can encompass various beliefs and practices, JTSunrise's artistry invites listeners to connect with their own emotions and stories woven into your music and life. Whether you commune with owl spirits like JT who channel the essence of certain morality, Anyone can make music that resonates with a deeper longing—a yearning for connection beyond the mundane

In the hidden and imagined glades where JTSunrise plays, they find whispers from ancestors and echoes of forgotten melodies. Intuitive music touches realms beyond the visible—a spiritual journey can happen when set to strings and soulful tunes. And someday we will all be on the other side, and days go by in the blink of an eye: https://www.instagram.com/reel/C7ufsy9SmFH/?igsh=ZXE4bXlhbnBjNXN2

O Danny Boy

No One Could Steer Me Right 🌞 JTSunrise Rendition 

Merle Haggard’s iconic song “Mama Tried” delves into the pain and suffering he caused his mother due to his incarceration in San Quentin in 1957. While the song isn’t strictly autobiographical, it reflects his experiences growing up

The story behind this timeless tune:
Merle’s father passed away when he was nine years old. His mother worked tirelessly to provide for the family. Merle was a wild child. At the age of 20, he was convicted of burglary and attempted escape from county jail. His 2 1/2-year term led him to San Quentin prison, where he played in the prison’s country band and pursued high school equivalency courses and where Merle had a cosmic encounter with the Man in Black himself! 

As a 21-year-old inmate at San Quentin in 1959, Haggard witnessed Johnny Cash’s legendary prison performance as an inmate. Cash’s prison show left an indelible mark on Haggard, inspiring him not only musically but also as a beacon of redemption

Merle began his musical journey earlier in life. He was performing music before he went to prison, and after his release, he resumed working in bars and clubs. His first recording was Wynn Stewart’s “Sing a Sad Song,” which became a national hit in 1964

I saw Merle preform live when my dad VL took me to a concert at our local county fair in rural Illinois in the 1970s

Merle passed away on April 6, 2016—his 79th birthday—in the San Joaquin Valley, California. He lost a brief battle with pneumonia. Haggard’s musical legacy, spanned the 1960s to the 2010s with nearly 40 number one hits. Interestingly, he had predicted his own passing, sharing this poignant insight with his son shortly before the fateful day

The iconic song “Mama Tried” was released in July 1968. It became one of the cornerstone songs of country music, spending four weeks at No. 1 on the Billboard Hot Country Singles chart. It won the Grammy Hall of Fame Award in 1999 and was selected for preservation in the National Recording Registry due to its cultural significance. In 2021, it was ranked at #376 on Rolling Stone’s “500 Greatest Songs of All Time”! 🎵🌟

[Verse 1]
                D          G             D                G
The first thing I remember knowing was a lonesome whistle blowin'
      D                                 A7
A young un's dream of growin' up to ride
     D                     G         D                 G
On a freight train leavin' town, not knowin' where I'm bound
       D                   A7             D
No one could change my mind, but Mama tried

[Verse 2]
        D          G             D               G
One and only rebel child, from a family meek and mild
    D                               A7
Mama seemed to know what lay in store
          D             G                    D             G
'Despite my Sunday learnin', toward the bad I kept on turnin'
     D             A7         D
Mama couldn't hold me anymore

[Chorus]
              D                         G               D
And I turned twenty-one in prison doin' life without parole
   Bm                                 A7
No one could steer me right, but Mama tried, Mama tried
     D                                 G             D
Mama tried to raise me better, but her pleadin’ I denied,
                       A7                 D
That leaves me the one to blame ‘cause Mama tried

[Guitar Solo]

[Verse 3]
          D               G               D            G
Dear old Dad, rest his soul, he left my mom a heavy load
      D                            A7
She tried so very hard to fill his shoes
          D           G           D               G
Workin' hours without rest, wanted me to have the best
    D                 A7             D
She tried to raise me right, but I refused

[Chorus Refrain]
            
[Outro]
   D

#MamaTried

Mama Tried - JTSunrise Meets Merle (San Quentin Prison-Acoustic Blues)

Poncho and Lefty Jody Solo

### **Poncho & Lefty** - The Existential Outlaw Tango

Dive into the $eattle underworld with "Poncho & Lefty," a sidewalk busker’s narrative dripping with raw, unfiltered Americana. JTSunrise channels the spectral essence of Townes Van Zandt, a man ensnared in the mortality of his own existence. This track is a descent into the realm of psychic novelty where destiny and despair coalesce.

### Townes Van Zandt: The Shadow Poet

In the fragmented dreamscape of America, Townes Van Zandt emerges as a spectral figure, a troubadour wandering the wastelands of his own mind. Born into privilege, but shackled by the spectral weight of his demons, Van Zandt’s life is a mosaic of brilliance and catastrophe. His music, a cathartic exorcism of his soul, is a testament to the eternal struggle between light and shadow.

"Poncho & Lefty" is the epitome of this dichotomy. First recorded in 1972, the song weaves a tale of two outlaws, bound by fate and shattered by betrayal. The narrative, steeped in myth and reality, is a melancholic reflection of Van Zandt’s own journey through the desolate corridors of existence. Willie Nelson and Merle Haggard later immortalized the track, but its dark heart remains rooted in Van Zandt’s tortured genius.

### The Subterranean Odyssey

With JTSunrise at the helm, "Poncho & Lefty" becomes an auditory hallucination, a journey through the liminal spaces where morality dissolves into the guitar ether. Picture Poncho, the charismatic ghost, and Lefty, the betrayer, navigating a labyrinth of dust and shadows. Their story, a kaleidoscope of existential angst, mirrors the fractured reality of our own lives.

Let the spectral echoes of "Poncho & Lefty" transport you to a dimension where the lines between hero and villain blur into oblivion. 🌅🎸

[Verse 1]

C
Living on the road my friend
G
Was gonna keep you free and clean
F
Now you wear your skin like iron
     C                   G
Your breath's as hard as kerosene
F
You weren't your mama's only boy
        C               F
But her favorite one it seems
Am                        F        G
She began to cry when you said goodbye
    F              Am
And sank into your dreams


[Verse 2]
C
Pancho was a bandit boys
G
His horse was fast as polished steel
F
Wore his gun outside his pants
   C                      G
For all the honest world to feel
F
Pancho met his match you know
       C               F
On the deserts down in Mexico
Am                        F        G
Nobody heard his dying words
    F              Am
That's the way it goes


[Chorus]

F
All the federales say
C                       F
They could have had him any day
Am                F     G
They only let him hang around
       F             Am
Out of kindness I suppose


[Verse 3]
C
Lefty he can't sing the blues
G
All night long like he used to
F
The dust that Pancho bit down south
 C            G
Ended up in Lefty's mouth
F
The day they laid poor Pancho low
C                F
Lefty split for Ohio
Am                F        G
Where he got the bread to go
      F               Am
There ain't nobody knows


[Chorus]

F
All the federales say
C                       F
They could have had him any day
Am                F     G
They only let him slip away
       F             Am
Out of kindness I suppose


[Verse 4]
C
The poets tell how Pancho fell
G
Lefty's livin' in a cheap hotel
  F
The desert's quiet and Cleveland's cold
   C           G
So the story ends we're told
F
Pancho needs your prayers it's true,
        C                F
But save a few for Lefty too
Am                   F      G
He just did what he had to do
   F              Am
Now he's growing old


[Chorus]

F
A few old gray federales say
C                       F
They could have had him any day
Am                F     G
They only let him go so long
       F             Am
Out of kindness I suppose

Poncho & Lefty

### Discover the Magic of Timewave Zero with JTSunrise's "The Highwayman"

🎶 **Introducing an Unforgettable Musical Experience!** 🎶

Are you ready to embark on a journey through time, space, and beyond? Do you crave the thrill of discovering the hidden patterns of history and the fabric of the universe? Brace yourself, because we've got something mind-blowing for you!

**Presenting: Timewave Zero!** 🌟✨

From the visionary mind of Terence McKenna, Timewave Zero is not just a theory—it's a revolutionary concept that reveals the cyclical nature of time and the ebb and flow of novelty throughout history. But that's not all! We've got a treat for your ears as well as your mind.

**Featuring: JTSunrise's Rendition of "The Highwayman"** 🎸🌅

**Step into the world of "The Highwayman,"** a classic ballad originally penned by Jimmy Webb and immortalized by The Highwaymen—Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. Now, experience it like never before with JTSunrise's soulful interpretation!

🌍 **Travel through Centuries** with the timeless tales of a highwayman, a sailor, a dam builder, and a starship pilot, all connected by the unbreakable thread of existence.

🎵 **Immerse Yourself in the Melodies** of JTSunrise's acoustic guitar and powerful vocals, bringing a fresh, contemporary touch to this legendary song.

**Why Timewave Zero?**
- **Understand Historical Patterns**: Discover how events resonate across time, revealing the hidden symmetries of history.
- **Embrace Novelty**: Learn how the peaks and troughs of the timewave can guide you to moments of profound change and innovation.
- **Enrich Your Mind and Spirit**: Dive deep into the philosophy of cyclical time and unlock the mysteries of the universe.

But wait, there's more! With JTSunrise's rendition of "The Highwayman," you're not just listening to music—you're experiencing a story that transcends time and space.

📜 **The Story Behind the Song**
- **Jimmy Webb's Vision**: Crafted in 1977, this ballad tells the intertwined stories of four lives across different eras.
- **The Highwaymen's Legacy**: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson brought these tales to life, creating a musical masterpiece that stands the test of time.
- **JTSunrise's Interpretation**: A modern twist on a classic, JTSunrise's version captures the essence of the original while adding his unique style.

But hold on, there's even more! Imagine the rich tapestry of "The Highwayman" through the lens of **String Theory** and its ten dimensions:

### The Ten Dimensions of String Theory in "The Highwayman"

1. **First Dimension (Length)**: The journey of the highwayman along the coach roads.
2. **Second Dimension (Height)**: The towering waves faced by the sailor.
3. **Third Dimension (Depth)**: The construction and eventual collapse of the dam by the builder.
4. **Fourth Dimension (Time)**: The continuity and reincarnation of the souls across eras.
5. **Fifth Dimension (Possible Worlds)**: Different historical paths where these lives might have taken different turns.
6. **Sixth Dimension (Folding of Possible Worlds)**: The intersection of their lives in an alternate reality where they coexist.
7. **Seventh Dimension (Infinite Possibilities)**: The myriad ways their stories could unfold across infinite timelines.
8. **Eighth Dimension (Alternate Laws of Physics)**: The starship pilot navigating through the vast cosmos, transcending the known laws of physics.
9. **Ninth Dimension (All Possible Universes)**: The countless universes where these characters live different lives, connected by the same essence.
10. **Tenth Dimension (Ultimate Universe)**: The final dimension where all possible universes and histories converge, the ultimate realization of Timewave Zero.

🎧 **Listen Now on SoundCloud!** 🎧

Don't miss out on this unique blend of history, philosophy, music, and the very fabric of the universe.

Highwayman

The Highwayman

JTSunrise: A Seattle Music Odyssey

**JTSunrise** was born in Chicago, IL (the City of Blues) in 1968. JT grew up on a rural horse farm at Cuba Township near Fox River Grove, along the C&NW tracks, about an hour by train outside the city. Summer nights before the internet were for sleeping outside and watching stars, singing and playing guitar to his girlfriends, and hitching trains from his backyard. Anywhere JT went, he had his acoustic guitar slung around his back. JT also learned bass and banjo, and started a folk band in high school, playing house parties and school concerts and busking the commuter train station in Barrington, IL.

His teenage years took him around the world and to Tempe, AZ in 1987, (age 19) where he lived in the same building (and jammed often) with Spiral Stairs, a seminal guitarist who would later form the band Pavement. JT played acoustic sets at the legendary Sun Club. During this time, Robin Wilson of the Gin Blossoms (JT’s Zia/Tower record store clerk friend) did his sound.

Seattle Music Era

Arriving in Seattle in 1992 with his Tempe barista girlfriend PJ (now wife), JT immersed himself in a city alive with music innovation. This was to become known as a time when Seattle bands reshaped the musical landscape. Amidst the scene, JTSunrise carved a niche and performed shows, blending busking music with the amplified Seattle sound, his Tempe-styled lyrical command, and the soul of Chicago street blues.

His performances became the background of Seattle’s music venues, from the intimate setting of **Art Bar** to the historic **OK Hotel**, where grunge legends made history. He captivated audiences at **Sit & Spin**, a venue combining a laundromat with a bar and live music, and found a true home at the **Lake Union Pub**, a legendary punk dive bar that embraced him as their own. Each chord, each lyric, carried the weight of personal experience.

Musical Influences and Style

JTSunrise draws from icons like Bob Dylan, Johnny Cash, and Billy Bragg, alongside bands he admired in Tempe such as Gin Blossoms and Dead Hot Workshop. The bands at the Sun Club and Long Wongs in Tempe, AZ shaped his sound and approach. These influences, coupled with the music scene in 1990s Seattle (including Elise Sauer, Obe-Wan Kenobe, and everyone to ever perform at the Lake Union Pub), molded his blend of folk, punk, country blues, and acoustic pop.

Signature Songs and Contributions

Among his many contributions to the musical landscape, a few songs stand out:
- **"Saint James Infirmary"**: A haunting rendition of the classic blues ballad.
- **"Biscuit Roller Blues"**: A soulful, gritty track that showcases his blues roots.
- **"Kevin Song"**: A heartfelt, melodic piece that resonates deeply with listeners.
- **"Cure For Pain"**: A Morphine song that explores themes of struggle and redemption.
- **"Mama Tried"**: A tribute to Merle Haggard, blending acoustic blues with heartfelt emotion.
- **"O Danny Boy"**: A timeless ballad, rendered with sincerity and grace.
- **"Blue Eyes Cryin' in the Rain"**: A fusion of folk and rock, capturing the essence of his musical influences.

Prolific Output

JTSunrise has a substantial discography on SoundCloud, with over 60 tracks available. This includes a mix of original songs, raw covers, and collaborations with other artists. His music spans genres like folk, bluegrass and country blues, cowboy country, and 90s acoustic rock, reflecting his diverse influences.

Commitment to Seattle’s Artistic Community

JTSunrise’s influence extends beyond music. His commitment to authentic Seattle art is evident in his participation and support of local artists and musicians. As of 2024 he remains a licensed Pike Place Market busker, a role that allows him to share handmade music directly with the community any time, creating intimate, memorable experiences for locals and visitors.

Thanks everyone for support! Search for Art and Videos by #JTSUNRISE on all interweb media @JTSunriseMusic

JTSunrise

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