### **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

JTSunrise Compilation Album of the St. James Infirmary Blues 

Song Title: St. James Infirmary
Artist: JTSunrise
Musical Style: Slow Blues
Song Structure: Traditional Blues Format (Verse-Refrain)
Compilation Release Year: 2025

About the JTSunrise rendition of St. James Infirmary:
The music artist JTSunrise maintains the traditional blues form while introducing modern interpretations that connect the song to both historical context and contemporary sociocultural issues. The song follows the classic 1920s melody and lyrics, while JTSunrise enhances the composition with themes of systemic oppression, social justice, and collective trauma. The 60 bpm rhythm and 4/4 time signature reinforce the reflective tone typical of slow blues.

St. James Infirmary originates from early jazz and blues, with the first recorded version by Fess Williams and His Royal Flush Orchestra in 1927, titled Gambler’s Blues. Over the years, the song has evolved from personal reflections on loss to a collective memory of cultural suffering. JTSunrise reframes the song, using death as a metaphor for the broader societal traumas caused by racial, economic, and political oppression, particularly affecting marginalized communities, including African Americans.

In JTSunrise’s version, the song draws on blues symbolism, where emotional expression critiques societal failings. The “marble table,” where the deceased is laid, evokes the coldness of societal systems that marginalize and oppress. Historically, white marble was used in morgues for its hygienic properties, but here it symbolizes the indifference of structures that perpetuate injustice.

The reference to a “twenty-dollar bill in Her coin-purse” suggests an attempt to maintain dignity in the face of societal death. The phrase “standing pat,” derived from poker terminology, speaks to both the inevitability of the status quo and the resistance to it, urging listeners to challenge oppressive systems and pursue justice.

JTSunrise places the song within the broader African American experience, emphasizing the intersectionality of race, class, and history. Blues has long served as a form of social critique, cultural preservation, and psychological coping for marginalized groups. It has provided a medium for artistic expression, helping to affirm cultural identity and collective memory in the face of discrimination.

Additionally, JTSunrise’s version introduces a polemic for social justice. The “death” in the song becomes symbolic of the stifling of hope under systems of racial and class-based oppression. The deceased’s attire—the “strait-laced boots” and “walk’n coat”—represents early twentieth-century aspirations for respectability while also exposing the limitations placed on marginalized individuals. These symbols reveal the impact of race and class on identity and the constraints imposed by social and economic systems.

JTSunrise’s reinterpretation of St. James Infirmary is part of a larger compilation that celebrates the historical legacy of the song through the last century of progress. This compilation features various versions of the song from across the blues, jazz, and gospel traditions, tracking its evolution over time. From its first recorded appearance in 1927 to the emotionally charged renditions by artists like Louis Armstrong, Duke Ellington, and Cab Calloway, the song has been adapted, re-imagined, and passed down through generations. JTSunrise’s 2025 version honors this evolution while positioning the song within the ongoing struggle for justice.

This compilation reflects the resilience of blues as a tool for social critique, cultural preservation, and psychological healing, offering a rich history of how marginalized communities have used music to assert dignity and demand justice. The album serves as a vital document for future generations, illustrating the intersection of art, history, and social justice.

St. James Infirmary

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)

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)

Crow Jane has roots in the Piedmont (North and South Carolina, Virginia)and the song is known to have been a favorite among American bluesmen. Early versions can be traced to the Greenville, SC area and was in the repertoire of Greenville bluemen Blind Willie Walker and Rev. Gary Davis both born in 1896.

Other Piedmont bluesmen such as Josh White did the song as "Blood Red River" in 1933 and Blind Boy Fuller as "Bye Bye Baby Blues" in 1937. It's also been done by John Cephas (Cephas and Wiggins) and Skip James. Sonny Terry and Brownie McGhee later did versions.

Crow Jane Blues was first recorded in 1927 for Victor by Julius Daniels (b. November 20, 1901 in Denmark, South Carolina; d. October 18, 1947), a Piedmont bluesman originally from Greenville, SC. His song "99 Year Blues" appeared on the box set Anthology of American Folk Music and his "Can't Put the Bridal on this Mule," an early version of "This Morning, This evening Right Now" are important contributions to old-time country blues genre.

JTSunrise Version:

Crow Jane, Crow Janie, Crow Jane
You didn’t need to hold your head so high
But its ok baby you knew you were gonna die
They shot her down with a .44 ball
They shot Crow Jane just to watch her fall
That's the reason I begged Crow Jane
Not to hold her head so high
But it’s okay babe, you know sometimes you just gotta die 

They dug her grave eight feet in the ground
They didn’t feel sorry ‘til they laid their Crow Jane down
It’s the reason they begged Crow Jane to hold her head so high
But somedays baby they just need to see somebody die 
who will hold their head up high

They led her ‘round on a golden chain
And with every link they cried-out Crow Jane's name
She never missed her water ‘till her well ran dry
They never missed Crow Jane ‘till the day she died
That's the reason they begged Crow Jane to hold her head so high
But it’s okay babe you know sometimes you just gotta die

They dug her grave eight feet in the ground
They didn’t feel sorry ‘til they laid their Crow Jane down
It’s the reason they begged Crow Jane to hold her head so high
But somedays baby they just need to see somebody die 
who will hold their head up high

Cover Art: Cropped area of promotion poster for 1933 Chicago World’s Fair. Note the headdress of the siren.
In Greek mythology, sirens were dangerous creatures who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. It is said that they can charm the winds

Song recording has 1950 Hopf gut string parlor guitar, tricone resonator guitar, and uke

JTSunrise

Crow Jane Blues

Crow Jane Blues (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)

Fire On The Mountain - JTSMG Stringband Version

[C/G] Took my fam'ly from our [G] Carolina home 
Had [Am] dreams about the West and [F] started to roam 
[C/G] Six long months on a [G] dust covered trail 
They say [Am] heaven's at the end but so [F] far it's just been hell 
And there's [C] fire on the mountain, [G] lightnin' in the air 
O’ there’ [Dm] gold in those hills and it's [F] waitin' for us [Am] there 

F, Am, F, C

[C/G] Now were diggin' and siftin' from [G] morinin’ to night
Sellin' [Am] everything we own just to [F] stay alive
Blood [C/G] flows free as [G] whiskey in the bars
[Am] Sinnin' is the winnin babe and [F] the devils are the stars
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

[C/G] Those dance hall girls they are the evenin's [G] treat
And Empty [Am] cartridges and blood line the [F] gutters of the streets
[C/G] where Men are shot down down for the [G] sake of fun [Am] just to hear the sound of their [F] six-shoot’n guns
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

C, G, Am, F
C, G, Am, F
C, G, Dm, Am, F, C

[C/G] Now my widow she [G] weeps at my grave
And Her [Am] tears flow like blood from the [F] man she couldn't save
[C/G] Shot down dead by a [G] gun that carried fame
All for a [Am] useless and no [F] good worthless claim
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

[C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there
[C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] still waitin' for us [Fm] there 

George McCorkle was a founding member and guitarist for the Marshall Tucker Band. He wrote "Fire on the Mountain", the band's first top 40 hit, though had hoped that Charlie Daniels would record the song. He left the band in 1984 and later worked as a songwriter. He released a solo album, American Street, in 1999. The song was originally recorded by the band on their 1975 album, Searchin' for a Rainbow, and released as the album's first single. It peaked at number 38 on the Billboard Hot 100.

JTS did this song for a useless and no good worthless claim with the JTS Mostly Good String Band.

May the road rise up to meet you, the way it was: https://youtu.be/C4a40FjB_sM

Cover Art: Fire on the Mountain by Meg Goff https://fineartamerica.com/profiles/meg-goff

Fire On The Mountain - JTSunrise Mostly Good String Band (Country Gentleman)

Chain of Command Blues

Chain Of Command Blues (Century of Progress)

The song Saturday Satan, Sunday Saint was written by Wayne Walker and was first recorded and released by Ernest Tubb in 1969. 

Saturday Satan, Sunday saint
Foolin' your neighbors
That's what you think
Readin' the good book
Singin' the hymns
Come Monday morning and it's back to a life of sin

Old brother Brown
All week he steals
Tells everyone
His big business deals
The deacon walks by
A dollar hits the plate
Tryin' to buy himself a ticket to the pearly gates

Old sister Rose (softly with a lilt)
In the very first row
Been a-sittin' right there
Twenty years or so
Never hears a word
When the preacher speaks
Too busy talkin' bout the bad girls down the street

Saturday Satan, Sunday saint
Froolin' your neighbors
That’s all that you think
Readin' that good book
And singin' those hymns
Come Monday mornin' and it's back to a life of sin
Come Monday mornin' and it's back to a life of sin

The seventh day of the week in many religious traditions, and the sixth day of the week in systems using the ISO 8601 norm; the Biblical seventh day of the week, observed as Sabbath or "Day of Rest"; it follows Friday and precedes Sunday.

Saturday Etymology: sæterndæg, from Sætern, from Saturnus, possibly from Etruscan, + dæg; a translation of dies Saturni. All I know is Monday morning it’s back to a life of sin. JTS

Saturday Satan Sunday Saint - “ Frooln’ Yer Neighbors “(Country Gentleman)

JTSunrise Mostly Good String Band “There She Goes/Glows” cover of the 90s one hit wonder pop song “There She Goes" a UK fog/time machine Top of The Pops Sssuperhit by the Liverpool rock band the La's - written by the band's then cute as a button babyface frontman, Lee Mavers. He gained a reputation for perfectionism and eccentricity and obsession over the group's recordings. The song reached 13 on the UK Singles Chart when it was remastered in 1990.

In May 2007, NME placed the song at number 45 of the 50 Greatest Indie Anthems. The La’s band's self-titled album with hit song was named one of the 40 greatest one-hit wonders by Rolling Stone, with the magazine stating "Whether about heroin or just unrequited love, the La's single 'There She Goes' off their self-titled debut has endured as a founding piece of Britpop's foundation."

JTSunrise version:

[Intro] G D Cadd9 x2 

G     D   Cadd9 Cadd9
There she goes
G         D   Cadd9 Cadd9
There she goes a-gain
G       D        Cadd9 Cadd9
Racing through my bra-ain
Am       G     Cadd9  Cadd9
And I just can't con-tain 
 Am       G     Cadd9  Cadd9      D
This feeling that re-mains

[Refrain] G D Cadd9 

G     D   Cadd9 Cadd9
There she goes
G         D  Cadd9 Cadd9
There she blows a-gain
G        D        Cadd9 Cadd9
She’s pulsing in my veins
    Am      G     Cadd9 Cadd9
And I just can't con-tain
    Am        G     Cadd9  Cadd9    D
This feeling that re-mains

[Interlude Rock Out)

G D Cadd9 Cadd9 x2 G D Cadd9 Cadd9 Am G Cadd9 Cadd9 D

[Refrain]

G     D   Cadd9 Cadd9
There she goes
G          D     Cadd9 Cadd9
There she goes again
G       D         Cadd9 Cadd9
Racing in my brain
   Am      G      Cadd9 Cadd9
 I just can't contain
    Am       G    Cadd9 Cadd9  D
This feeling that remains


[Bridge]

Em          Cadd9
There she goes
Em7            C
There she goes again
    D        G
She calls my name
    D        Cadd9 
She pulls my train
D           G              D              Cadd9
No on else can heal my pain
    Am            Em    C
And I just can't contain
    Am          G         D
This feeling that remains


[Refrain]

G     D    Cadd9 Cadd9
There she goes
G         D    Cadd9 Cadd9
There she goes again 
G       D       Cadd9 Cadd9
Racing in my lane
   Am      G     Cadd9 Cadd9
I just can't contain
    Am       G    Cadd9 Cadd9   D
This feeling that remains

G     D   Cadd9 Cadd9
There she goes. she glows
G     D   Cadd9 Cadd9
There she goes again, she glows again
G     D   Cadd9       G
There she glows, she glows…

Dedicated to Erika Lewis (Tuba Skinny fame)  - Double Dog Dare her to cover this song with her new band while playing that wonderful sit-down bass drum

In 2008, the single was re-released on vinyl for its 20th anniversary. On US NPR Ben Gibbard selected "There She Goes" as his pick for "perfect song” "defines the perfectly written pop song: an instantaneously recognizable melody and lyric set to simple, economic musical structure. It is such a simple song that it boggles the mind that someone hadn't already written it."Eric Clapton also praised the song. In December 2021, Oasis's Noel Gallagher said it was his favorite song from the 1990s.

La’s Video: https://youtu.be/KUCh2tXnh94

Cover Image: Production still from movie “Attack of the 50 Foot Woman”. A 1958 independently made American science fiction horror film directed by Nathan H. Juran (credited as Nathan Hertz) starring Allison Hayes: A space visitor's touch turns an unhappy heiress into a vengeful giant. A cautionary tale of the supersonic age of murder and giantess fetish! The film is the story of Nancy Archer and a fireball careening over Earth.  Nancy is wealthy and beautiful but has a drinking problem and mental illness. This establishes her as a bona fide disposable B-movie pig and justifies the awful treatment she receives, which in turn justifies her drinking and paranoia. Every woman is a beautiful time traveler

YouTube https://youtu.be/UmAmcy9ZMOQ
fingers + thumb & breath


JTS

There She Goes (In Bob We Trust)

There She Goes - “There She Glows” -  All the Best!!!  JT

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

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
Now the works getting slow
C                       F 
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
To 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

Pancho And Lefty  Townes Van Zandt Cover frank watkinson

The banjo is a musical instrument with African origins, believed to have been developed by enslaved Africans in the Caribbean and later brought to North America. The exact origins of the banjo are unclear, but it is thought to have evolved from similar stringed instruments in West Africa, such as the akonting or ngoni

The banjo first gained popularity in the United States during the 19th century, particularly in the American South, where it became associated with African American music and culture. Early banjos were typically made with gourds for resonators and animal skin for the drumhead, and were played using a technique called frailing or clawhammer, in which the player's fingernail or a piece of bone is used to strike the strings

In the late 19th century, the banjo underwent a period of rapid evolution, with improvements in materials and construction leading to the development of more sophisticated and versatile instruments. One important development was the introduction of the resonator, a wood plate behind the open drum that increased the volume and projection of the banjo's sound. Another was the development of the five-string banjo, which added a shorter fifth string that allowed for more complex playing techniques

The origins of the 5-string banjo are unclear, but it is believed to have been developed by African American musicians in the mid-19th century. The addition of the fifth string, which is shorter than the other four strings and is tuned to a higher pitch, allowed for a wider range of notes and made it easier to play certain melodies and chord progressions

One of the early pioneers of the 5-string banjo was Joel Sweeney, a white musician from Virginia who popularized the instrument in the mid-1800s. Sweeney is often credited with introducing the shorter fifth string, as well as other improvements to the banjo, such as the addition of frets and the use of metal strings

However, it's important to note that the development of the 5-string banjo was likely a collaborative effort among many musicians, both black and white, and its exact origins are difficult to trace. Nonetheless, Sweeney's contributions were significant and helped to establish the modern form of the instrument that is still popular today

During the early 20th century, the banjo became a popular instrument in a variety of musical styles, including jazz, blues, and country music. The instrument was played by a number of famous musicians, including Earl Scruggs, who popularized a three-finger picking style that became known as the Scruggs style

In recent years, the banjo has experienced a resurgence of popularity, particularly in the realm of folk and Americana music. Today, the banjo is played in a wide range of styles and genres, and is appreciated for its unique sound and cultural significance in musical storytelling 

JTS

Jump Blues

Banjo Blues

Northwest Passage

Northwest Passage (Mastered With Frogs And Starry Clear Sky At 83pct + BIG Banjo Ending)

The "House of the Rising Sun" is a famous folk song that originated in the United States, and there are many different theories about its origins and meaning. One theory is that the song was inspired by a real house of prostitution in the Storyville district of New Orleans

Storyville operated from 1897 to 1917, and it was known for its music, gambling, and prostitution. Many of the city's most famous musicians got their start playing in the clubs and brothels, including jazz legends like Jelly Roll Morton and King Oliver

The folk song known as “Rising Sun Blues” tells the story of a young man lured into a life of gambling and vice, ultimately leading to his downfall. A cautionary tale to future generations to avoid repeating the same mistakes he made and his father before. Other original versions tell the story from a female perspective in the vice trade. It was popularized by various artists and music genres for over a hundred years. The origins of the song are unknown but it is believed to have been passed down orally for many years before being discovered, recorded and published in 1937 by Alan Lomax

Storyville was home to Marianne LeSoleil Levant, whose name translates to "Rising Sun" in French. The song may have been written about her establishment in the district

Marianne was born in France in the late 1800s and moved to New Orleans as a young woman. She quickly became one of the most sought-after prostitutes in Storyville and was known for her exceptional beauty and style. She was also known for her intelligence and was fluent in several languages, which made her popular among wealthy and cultured patrons. Marianne was particularly famous for her relationship with the photographer E. J. Bellocq, who captured a series of portraits of her and other prostitutes in Storyville. The photographs, taken between 1912 and 1914, are now considered some of the most important and iconic images of the era. Marianne LeSoleil Levant's name translates to "Marianne The Rising Sun". Marianne died sometime before 1917. The details surrounding Marianne LeSoleil Levant's death are a mystery. The disappearance and death of prostitutes was common. There are different versions of the story. Some sources claim she was murdered by a client. Some say she was done-in by a criminal enterprise. Storyville had numerous brothels, saloons, and other establishments that were located in a designated district for the city's vice trade. The district was shut down in 1917 as part of US government war preparations to eliminate gambling and prostitution operations where soldiers would be stationed. New Orleans was a port of embarkation for WWI 

The Hall of Mirrors was a popular entertainment venue in Storyville that featured live music performances and other forms of entertainment. It was located at 235 Basin Street and was named after its signature feature, which was a large number of mirrors covering the walls and ceiling. The venue hosted some of the most famous jazz musicians of the era. The mirrors created a dazzling effect and made the space appear larger than it actually was

Mahogany Hall, located at 417 Basin Street, was a high-end brothel that catered to wealthy patrons. It was known for its opulent decor, which included mahogany woodwork, velvet curtains, and chandeliers. The brothel was also known for its beautiful and talented prostitutes, who were said to be some of the most desirable in Storyville

Both the Hall of Mirrors and Mahogany Hall were located in the heart of Storyville and were known for their luxurious and decadent atmosphere. They were both popular among wealthy patrons who often visited New Orleans for world class horse races and were known for their high-quality entertainment and services

Cover art: House of the Rising Sun #1 from $50.00 https://www.magwireart.com/all-prints/house-of-the-rising-sun-1-rsyy4

JT

Rising Sun Blues

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

Kevin Song
JTSunrise - 1993 - similar Seattle version from then played at Lake Union Pub many times

My friend wears a steel ring
And a yellow man sits in her pocket
I love her dirty hair 
As it clings to her face, she sings

Her vanilla scent always lingers 
When I leave her in the mornings
And I’ve got a new word she says
“Swank” she says, and she sings 

It’s good to see you 
It’s good to see you, oh
It’s good to see you
In my home playing this Kevin song again 

We stand in the forest now
With our eyes closed without breathing 
Can we stop time this way
I think to myself and this day stays 

It’s good to see you 
It’s good to see you, oh
It’s good to see you
In my bathrobe playing the Kevin song again

This 90s song written about a best friend special girl who would stay with me a few weeks at a time when she was in town on modeling jobs. She kept her cigarettes in a plastic purse she got in Japan shaped like a yellow cartoon guy by the name of “Mr Friendly”. She used a thick flannel shirt as a jacket and in the front shirt pocket was the yellow man. She would sing the song “Kevin” by the band Th' Faith Healers UK all the time and play their album Imaginary Friend every time we got together from a CD case she traveled with. She wore a wide shiny stainless steel ring on her left thumb - I put it there a decade earlier when we were in high school in rural Illinois. I made it from a piece of coiled spring steel in high school shop. I bet it’s still there. During the day I had to work when she was in town on her modeling jobs. She usually had a few jobs to bring her in, and when she was done - parties were it with her at the Pub. While I was at work she would hang out with her other Seattle friend Matt of SomeGarden who picked her up in front of my apartment in an extra fancy BMW. I never listened to them since. I hope Chris Cornell is doing ok, haven’t seen him in a while 

Seattle Lake Union Pub Lore:

The Fire Pole: Band flyers and other posters in those days covered the wood utility poles along Seattle streets and sidewalks. There were often a few inches deep of posters stapled on top of posters around each utility pole in the city. The pole in front of the Seattle Lake Union Pub was famous being an exceptionally fat pole with multiple layers of stapled upon stapled band flyers, and infamous for going up in flames a few times. Cops would show up when the pole got lit, peoples in the Pub knew it when the pole got lit was time to split because the cops would be there soon

The Legend of The Swill: Beer there was cheap, sometimes 3 dollars for a pitcher and cans of Schmidt (animal beer) was a buck or so, but for Pub patrons even cheaper was even better. When the drain tray under the beer taps was full, bartender Elise Sauer (vocalist for deathmetal band Evaders) would pour it into a cup and put it on the bar and sing with her amazing voice “Swill” and this would result in a reflex response of the crowd to see who could get it first. I remember Dizzy Lee Roth and Mark Pierce of ZEKE fighting over the swill

7 things that reportedly happened at the Lake Union Pub:
1. Members of the punk band The Mentors were supposedly arrested for indecent exposure after performing a sexually explicit show at the Lake Union Pub in the 1980s
2. Legendary musician Iggy Pop is rumored to have once performed a spontaneous show at the Pub, climbing on top of the bar and throwing drinks at the crowd
3. The ceiling would drip with sweat and the carpet was a horrific mat of filth
4. A Tacoma band called My Name was supposedly arrested for using fireworks inside 
5. The pub was written about and described in many books and movies of the Seattle gunge era
6. The pub's Monday open mic nights led to unpredictable and surprising performances including punk musicians playing bluegrass and being quite good
7. Bartender Elise once chased a guy out of the bar and down the street with a baseball bat after he said something highly offensive to her

JTS

JTSUNRISE

Kevin Song

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

"Don't Go Back to Rockville" is a song by the American rock band R.E.M. Delivered by the band's vocalist Michael Stipe and released as a single in 1984, as well as appearing on their second studio album, "Reckoning” the same year. My friends, me at 16, an other hardcore musician people loved the record

The song's title refers to Rockville, Maryland, a suburb of Washington, D.C., and the lyrics convey a sense of longing, regret, and the desire to escape from a place and situation. Michael Stipe mentioned in interviews that the song was written by Mike Mills as a plea to a special friend at the time, asking them not to return to Rockville

R.E.M. was formed in Athens, Georgia, in the early 1980s and became one of the leading bands of the alternative rock scene. "Don't Go Back to Rockville" is one of their notable early tracks and remains a fan favorite

Mike Mills always put his heart into it and remains my favorite bandmember: https://youtu.be/iKlwHbXVBJ8?si=HA8czyNjpBCZwHNc

JTS Mostly Good String Band version in C

[Verse 1]
C
Looking at your watch a third time
C                               F   Fsus4  F  Fsus4  F
waiting in the station for the bus
C
Going to a place that's far,
C                               F   Fsus4   F  Fsus4  F
so far away and if that's not enough
G            F      Em    Am
Going where nobody says hello,
Am                        Gm          F   Fsus4   F  Fsus4  F
they don't talk to anybody they don't know
C
You'll wind up in some factory
C                                           F   Fsus4   F  Fsus4  F
that's full time filth with nowhere left to go
C
Walk home to an empty house,
C                               F   Fsus4   F  Fsus4  F
sit around all by yourself
G                     F           Em  Am
I know it might sound strange but I believe
Am                   Gm          F   Fsus4   F  Fsus4  F
You'll be coming back before too long

[Chorus]
C                 Dm    G
Don't go back to Rockville,
C                 Dm  G
don't go back to Rockville,
C                 Dm   G
don't go back to Rockville
F
And waste another year

[Verse 2]
C
At night I drink myself to sleep and pretend
C                               F   Fsus4   F  Fsus4  F
I don't care that you're not here with me
C
'Cause it's so much easier to handle
C                               F   Fsus4   F  Fsus4  F
All my problems if I'm too far out to sea
G                    F      Em   
But something, it better happen soon
        Am                  Gm        F   Fsus4   F  Fsus4  F
Or it's gonna be too late to bring you back

[Chorus]
C                 Dm    G
Don't go back to Rockville,
C                 Dm  G
don't go back to Rockville,
C                 Dm   G
don't go back to Rockville
F
And waste another year

[Bridge]
C                           F    G    F   G
It's not as though I really need you
C                          F    G    F  G
If you were here I'd only bleed you
Dm      Am          Dm       Am                F
But everybody else in town only wants to bring you down and
           F               G
That's not how it ought to be
            G              F            Em    Am
Well I know it might sound strange but I believe
Am                   Gm          F   Fsus4   F  Fsus4  F
You'll be coming back before too long

[Chorus]
C                 Dm    G
Don't go back to Rockville
C                 Dm  G
don't go back to Rockville
C                 Dm   G
don't go back to Rockville
F
And waste another year

C                 Dm    G
Don't go back to Rockville
C                 Dm  G
don't go back to Rockville
C                 Dm   G
don't go back to Rockville
F
And waste another year

This song is about Ingrid Schorr, a formidable young woman the band knew at the University of Georgia whose hometown was Rockville, Maryland. She got a lot of attention on campus as classmates lamented her departure

Martin 00-21 Guitar
Epiphone F-500 ChopMaster Mando
Goldtone Micro Bass
Vega Folklore 5 Sting 🐝 Banjer
100% Organic

Don't Go Back To Rockville

Don’t Go Back to Rockville

“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

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

Let Them Talk

St James Infirmary

St. James Infirmary - versão Cab Calloway - Snow White

Cab Calloway - St. James Infirmary Blues - Snow White Version

...And the Tin Pan Bended, and the Story Ended...

Satchmo Plays King Oliver

St. James Infirmary (Gambler's Blues)

JTSUNRISE is a Seattle-area blues-folk musician, writer, and philosophical multimedia artist whose work blends handmade American roots music and social critique with a mythos centered on independence, memory, and place.

Core Identity

JTSUNRISE functions as an independent cultural figure and not a conventional performer. He presents himself as an observer outside dominant social systems—an autonomous agent who studies and documents them through music, writing, and street performance. His persona often appears as the Cat-Man, a symbolic character representing the outsider who watches the world with clarity.

Musical Work

His music draws heavily from traditional American blues, folk ballads, and early jazz, especially public-domain repertoire such as:
	•	St. James Infirmary
	•	Barbara Allen
	•	Hesitation Blues
	•	When They Ring the Golden Bells

He performs historic songs with distinctive interpretations using fingerpicked guitar or clawhammer banjo. His signature instrument includes a 1934 Kalamazoo KG-11 guitar (“Maggie of Memphis”). His style reflects historical continuity—reviving older musical forms while framing them in modern social commentary.

JTSUNRISE performs as a busker, including dawn performances on Frenchmen Street in New Orleans, at Pike Place Market and the Seattle waterfront, and in cities he visits throughout the American West and Deep South during travel.

Philosophy

His work revolves around a framework he calls Harmonic Sovereignty, which emphasizes:
	•	memory as cultural infrastructure
	•	local knowledge and ecological awareness
	•	resistance to mass-scale systems of extraction or conformity
	•	artistic independence from corporate platforms

In his view, music, storytelling, and place-based knowledge create a form of moral architecture that preserves truth and identity.

Writing

Beyond music, JTSUNRISE writes extensive philosophical and cultural analysis. His major projects include large multi-volume works exploring knowledge, power, and culture, such as:
	•	The Spiral That Ate Us (a critique of economic and cultural extraction in the Pacific Northwest)
	•	The Harmonic Economy (design principles rooted in memory and local sovereignty)
	•	The Intellect Refused to Die (a philosophical exploration of knowledge and power)

These works combine urban planning, ecological thought, philosophy, musicology, and lived experience.

Background

Born 1968 in Chicago, JTSUNRISE grew up on a rural horse farm in Cuba Township Illinois along the C&NW rail road. JT Learned to hop trains and play guitar and banjo, busking by the rails until age 19 on the Barrington commuter station platform. At 19 in ’87 he left for Tempe, Arizona. JT lived in Tempe from 87-92, jamming punk-folk with Spiral Stairs of Pavement and playing solo at the Sun Club where Robin Wilson of the Gin Blossoms did his sound. Arriving in Seattle ’92 with wife PJ, grunge exploded and JT busked Pike Place and played shows and openers at the OK Hotel, Art Bar, Lake Union Pub and many other legendary venues now demolished. Decades later JT remains a Pike Place Market busker—gold bucket chained to post, case open to the rain, voice cutting the noise, keeping the Seattle soul intact.

Mythos

JTSUNRISE builds an independent artist:
	•	busking in public spaces
	•	traveling the American West and Deep South
	•	producing writings and recordings outside industry channels
	•	maintaining anonymity and artistic autonomy

The result is a hybrid artist: writer, musician, philosopher, and street performer.

In Essence

JTSUNRISE represents a modern continuation of an older American archetype—the wandering blues chronicler who documents society from the outside, using music and writing as instruments of cultural memory and critique.

Find Music, Writing, Art and Videos by #JTSUNRISE: SoundCloud, Medium, IG, TikTok, YouTube, X, BlueSky and interweb media @JTSunriseMusic

https://medium.com/@jtsunrisemusic/jtsunrise-the-cat-headed-bluesman-4aed8d45617d

JTSunrise

Pinned to spotlight

Popular tracks