### **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.

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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.

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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 Get The Blues, Inspired by Tuba Skinny and Bo Carter:

 [C/G] Baby I'm so blue, so blue about you [A/A7] sweet thing ‘Cause your [D7] lovin' [G7], so soft and [C/G] warm 
When I get the deep blues down in my [A/A7] heart sweet babe
‘Cause I'm [D7] many miles [G7] from your lovin' [C/G] home
Now, listen here sweet baby, [C7/G] now please listen to me [F] 
I know that your lovin' is the [D7] best I’ve ever [G7] seen [C/G]  And I get so blue, so blue about you [A/A7] sweet babe ‘Cause your [D7] lovin' [G7] is so soft and [C/G] warm

C/G, A/A7, D7, G7, C/G
C7, F, D7, G7
C/G, A/A7, D7, G7, C/G
 Baby I'm so blue, still think about you sweet babe 'Cause your love is so soft and warm
When I get the blues deep down in my heart sweet babe
Because I'm so many miles from your lovin' home Now, listen here sweet baby, I really can't understand Thinkin' 'bout your lovin' mixed with some other man
And I get so blue, so blue about you sweet thing 'Cause your love is so soft and warm

Carter recorded the song in 1935. After making his recording debut in 1928 backing Alec Johnson, he became a prominent musician of the American blues era, recording 110 songs. He also played with and managed his family’s band, the Mississippi Sheiks, and several other acts. He and the Sheiks often performed for whites, playing the pop hits of the day and white-oriented dance music, as well as for blacks, playing the blues.

Carter went partly blind during the 1930s. He settled in Glen Allan, Mississippi, and despite his vision problems did some farming and continued to play music and perform, sometimes with his brothers. He moved to Memphis, Tennessee in the 1940s and worked outside the music industry 

Carter had strokes and died of a cerebral hemorrhage at Shelby County Hospital, in Memphis, Tennessee on September 21, 1964. He is buried in Nitta Yuma Cemetery, Sharkey County, Mississippi.

The above information about Carter was obtained from the internet and may be true.

This song is a string band overdub with my 1950 Hopf gut string, 69 Martin 00-21, banjo on the bounce, slide solo on uke, and some single note backing on my tricone resonator. The gut string is being pick strummed for percussion and it’s the first time I used a pick on a guitar in probably a decade. A finger tap on the tambourine and some shaker as well.  

JTSunrise

I Get The Blues “I’m So Blue” JTSunrise Mostly Good String Band  (Duck 'n Cover)

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

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

JTSUNRISE

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

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

Psychobilly original Banjo Cat version of a hoedown classic. Put a smile on that face 😊. All the Best and Enjoy!!! JTSunrise


OG Banjo Cat
https://youtu.be/bXNEDXn2zQs

Banjo Cat KEEP ON THE SUNNY SIDE

Keep On The Sunny Side - OG BANJO CAT #1 - JTSunrise Mostly Good String Band (Century of Progress)

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

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

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

GET OUT NOW WHILE YOU CAN

ABANDON ALL HOPE YE WHO ENTER HERE

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

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

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

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

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

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

Hesitation Standard Blues

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

"Going to Germany" “Goin’ to German” “Goin’ to Germa”
Gus Cannon (blues banjo legend) Noah Lewis (blues harmonica legend) and the 'Jug Stompers' recorded this song in 1929, titled 'Going to Germany' but they sang it "I'm goin' ta Germa". 
In my version, “going to Germa/n” is a reference to the January 8–10, 1811 German Coast Uprising- largest slave insurgency in US history. I believe that is what Cannon intended.
The blues provides an undertone way to protest oppression and a blues song that can be heard nearly 100 years later can be relevant today.
Jug Stompers 1929 version: https://soundcloud.app.goo.gl/EGtavui9wyhK152m8
The German Coast was a region of early Louisiana settlement located above New Orleans, and on the west bank of the Mississippi River. It was largely settled by German immigrants.  Four slave-holding plantations developed along this coast.
The 1811 Uprising gathered an estimated 500 slaves from plantations along River Road and marched toward New Orleans. Insurgents killed two white men. The local militia was called. Confrontations with militia and executions killed 95 slaves.
There was also the reality of executions, imprisonment and enforcement fines from Jim Crow laws after Reconstruction. Jim Crow laws were a collection of state and local statutes that legalized racial segregation. Named after a minstrel show character, the laws existed for about 100 years, from the post-Civil War until 1968. Laws were lethally enforced to marginalize African Americans. Denying them the right to vote, hold jobs, get an education or other opportunities. Those who attempted to defy Jim Crow laws faced arrest, fines, jail sentences, violence and death for them and their friends and families.
In the song, the storyteller is considering collateral retaliation against authorities while being mindful of severe punishment not only to himself but also to members of his community if he does something violent in retribution to his persecution or punishment. Going to German is a way to pause to reflect on what happened to those who lost their lives fighting authoritarian injustice before retaliating to remember the heads on the pikes in German of their relatives. I believe “get away from my window” is a reference to self-isolation when Jim Crow was in pursuit of the storytelling fugitive, because anyone associated with the fugitive would also be subject to severe punishment. Turning-in oneself to face the severity of Jim Crow punishment for whatever race crime was committed was the untimely the stoic option, but only after going to German to pray and think about it.
On the 1929 song, Cannon played a five-string banjo. His and most other early banjo playing styles was not like the modern country and bluegrass styles we know today. It had more in common with the playing of jazz musicians like Johnny St. Cyr who favored the tenor banjo or six-string banjguitar that is still used in New Orleans Traditional Music in a syncopated strum or pinch playing style correlated to the treble rhythm of the song opposite of the alternating bass note to create a bounce in the tune. A banjo is a drum with strings and can be played as such.
If you play old-time music and live near Seattle, or if you are visiting the PNW and want to play in an old-time parlor band with Banjo Tony (bandmate) and me please let me know.
JTSunrise version [G, C, D]

I'm goin' to German, might back some ol' day I'm goin' to German, might be back some ol' day Goin’ to German Mississippi
I might be back some ol' day

Get f'm my window; stop knockin' on my door  Get f'm my window; stop knockin' on my door Get f’m my window woman, ain’t got no woman no more

When you’s in trouble, I worked an' paid yo' fine When you’s in trouble, I worked an' paid yo' fine
Now I'm trouble babe, but you won’t be payn’ mine

I went to German, I got down on my knees and prayed 
I went to German, I got down on my knees and prayed I went to German Mississippi, and now I’m back today 

JTSunrise

Going to German

Going To German Mississippi - Solo Bluesman (Century of Progress)

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

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

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

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

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

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

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

They Shot The Tiger On His Chain

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

In most US states the mourning dove hunting season goes from Sept. 1 to Oct. 30, with a daily bag limit of 15 birds. They are flushed with dogs (usually just one bird dog per hunter) and shot in flight with a shogun. Hunting is a cultural tradition in rural areas of the US. 

A Dove is also slang for the person that captivates your heart with a single glace. Beautiful to no end. Elegant like a empress/emperor. They are a forever beauty. The love in many people's life. No one is able to escape from the captivation of their eyes. 
Guy: that girl’s so fine she must be a Dove. 
Dove Flipback: how did you know my name is Dove?
by SecretFanOFDove September 10, 2019 Urban Dictionary 

JTSunrise Cover Version of September Doves by Lost Dog Street Band:
Chords: G Em D C

[Verse 1]
There was a very sacred place back where I grew
Between three old pine trees that nobody knew
I'd close my eyes and pass the time like youngin's often do
But now I'm long-gone, completely ruined

Darlin' you and I were made for many different things
To live and learn and lie and laugh and fight and dance and sing
But our hearts have been so battered by the things that we have seen
And I can feel it in the way you look at me

[Chorus]
We could pick any old road and start again
Hell, we could change our names and try to forget
Lord knows I'll be sorry when it's done
But circumstances shot us down like September doves
Our circumstances shot us down like September doves

[Verse 2]
My grandmother's lullabies used to sing me to sleep
And I can't sleep nowadays without liquid relief
Well if lullabies were whiskey then my Grandma's drinks were cheap
I can't afford sleep anymore

And we were made for lovn’ our souls are far too old
And loneliness needs company and a lost dog needs a home
So you will be the fire and I will be the coal
And we can burn out of control

[Chorus]
We could pick any old road and start again
Hell, we could change our names and try to forget
Lord knows I'll be sorry when it's done
But circumstances shot us down like September doves
Our circumstances shot us down like September does
Our circumstances shot us down like September doves

Band Bio:
Lost Dog Street Band is American duo Benjamin Tod (from Tennessee) and Ashley Mae (from South Dakota). The band began when a Tennessee songwriter and a fiddle player from south dakota began playing music on the streets to fund their like for hopping freight trains. Their earlier band “Barefoot Surrender” split ways in January 2011 in Oregon. They tramped a hard winter back to Dixie, they met back with old friend Christin to start on a new album and a new life. By the following winter they were meeting old friends back in the northwest and started a new band called SPIT SHINE. The original band mascot lost dog Daisy Mae died that summer and the band name was thought to be done with. A new lost dog Copper Tod was found that fall and revived a new spirit. Spit Shine went on for the next year and a half. ‘Life is A Dog-Gone Shame’ recording began early in 2013 with help from members of Barefoot Surrender (Jason O'dea) and Spit Shine (Nicholas Ridout) Lost dog street band finally got a van to do a real tour. Shortly before the albums release, their best friend, brother, and band mate Nicholas Ridout died at the age of 24. With broken hearts and worn souls they press on in his memory."

Playing this song helps me through hard times and maybe it can help others. I have recorded a few more covers of their songs including one of my favorite songs ever (when Nicolas or Tod sings it) which is “Lazy Moonshiner” written by Nicolas Ridout.

Three Fingers and The Truth JTSUNRISE

PS
If you like this song and now like LDSB please consider purchasing the “Lazy Moonshiner” song on BC by Nicholas Ridout https://nicholasridout.bandcamp.com/track/lazy-moonshiner

Lost Dog Original of Sept Doves: https://youtu.be/Eh47m0dUdbc
Spit Shine and the origins of LDSB: https://www.gothiccountry.se/articles/south/spit-shine.html

September Doves  - JTSUNRISE

September Doves (Mr. Saturday Night)

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

X-Day was October 21, 2003

Cover Art: Rare X-day comic worth millions

This song was written by and for someone I used to see around town who would stare into space like a dead China doll. My main place to live since 1992 has been Seattle and I travel to Portland to see shows also.  The Crocodile Cafe was one of a handful of venues where the 1990s scene occurred - it was not that big and did not last long. It was common to see local music makers standing and lounging in the bars and restaurants before and after shows, lounging, drinking, smoking (yes smoking inside the bars and restaurants - remember that)and most shows in the early 90s were a few hundred people or far less. You could often say hi and chat with the musicians you admired - they may give me a smile or nod an smug shrug - a common response for locking eyes and being dumbfounded for a second while standing in front of a musical hero.  If you wanted to exchange meaningful words it was best to be a regular at shows and to have an identifying look. I often wore an old John Deere tractor hat to shows (Im a real deal farm kid) and after a while people would get used to me and say “hi John” and I became part of the place like the duck tape on the upholstery and the sticky floors. I did the dumbfounded eye-lock an said hi to Elliott Smith. A soft-spoken shy-smoking guy who never uttered an unprofound word who remains a hero to many of us who make music ourselves. I was at this show: https://youtu.be/g-eeznGMbxg There’s is no shortage of conspiracies about every single thing he ever did - I’ve heard the story about who it was written for and I know of and met them also, but I think this song was also left by him for us to morn him in his own words because is the kind of sick and twisted and underhanded shit he did. In his twisted mind I believe this is what he crafted as a legacy and achieved with new emerging musicians adored into his mind games - possibly not knowing about who this music came from. I once told him he should change his stage name to “Debbie Downer” and earned a smirk. I could not bring myself to listen to him again until I heard SoundCloud artist Nouel do this song (please find the Solo Artist  “Nouel” on SoundCloud, Spotify & YouTube). She does this song pure an forgiving

Nouel : https://youtu.be/nKr-TGp6EjI

JTSunrise

Someone I Used to Know

Someone I Used To Know

She Went Down To The River Alone - “ Down To The River Blues “
Traditional American Blues Song written by Camille Bordelon - find my Blues Sister from a different mister on SoundCloud 

Bluesman version with lyrics adulterated by JTSUNRISE 

Em, Am, E, B7

She was gonna kick the habit of all the rotten 
trifling men
She was swearin on the Bible 
When the weekend came again
She went down to the river alone

She said my love for her was heartbreak
It didn’t matter where She turned
She kept on trusting all the wrong ones
She kept on getting burned
Then She went down to the river alone

It didn’t matter who She choose 
She was born
Born to lose 

She kept on loving all the mean ones while the nice ones slipped away 
Thought She was trying to break that cycle and do things a better way 
But She went down to the river alone 
   
They found her with all her pockets 
Full-a pebbles rocks and stones 
She sank straight to the bottom 
So she’d leave those boys alone
She went down to the river alone

It didn’t matter who She choose 
She was born
Born to lose  

They found her with all her pockets 
Full-a pebbles rocks and stones 
She sank straight to the bottom 
So she’d leave those boys alone
She went down to the river alone

She said her love for me was heartbreak, didn’t matter where I turned
I keept on trusting her, I kept on getting burned
Then She went down to the river alone
She went down

Played into the bricks while sang into the tin can by JT on his 1934 small bell body Kalamazoo KG11 parlor guitar made by Gibson during the Great Depression, see photo

1934 was the year after OG VLSunrise (AKA Biscuit Roller) was born 

1930s blues guitar legend Robert Johnson played whatever guitars he could get his hands on. Johnny Shines, one of Johnson’s traveling companions in the mid ‘30s, said in interviews before he died that Johnson liked the Kalamazoo guitar, a budget brand made by Gibson, and also Stella guitars

In the first photo the world saw of Blues Father Mr. Robert Johnson, discovered in the late ‘70s by Steve LaVere and published in Rolling Stone magazine in 1986, the guitarist sits for a photo booth self-portrait, a cigarette dangling from his lip, a Kalamazooo flat-top guitar in his hand. The identifying features of the KG model is 14 frets to the body, five dot markers, binding inside the sound hole, and a black ebony nut

Kalamazoo guitars, made in by Gibson factory in Kalamazoo MI, are thought by blues enthusiasts to be the guitars that Johnson played during his recording sessions. Johnson’s first recording session took place in San Antonio, Texas, on November 23, 1936

My early “dark burst” top (ebony black finish elsewhere) KG11 was similar to the KG14 Johnson was photographed with. KG11 has a shorter body. Early dirty thirties Kalamazoo flattops did not have pick guards. There is an unused mother of tortoise shell pick guard in the original case (mother of toilet seat is what blues guitarists called the swirled plastic used on cheaper model guitars). The case has mostly disintegrated. Guitar has an Adirondack spruce top (aged the old-fashioned way…88 years). Has Honduran mahogany neck, back, and sides. Brazilian rosewood board, triple-bound sound hole, bound top, tapered headstock, and original ebony-stained Brazilian rosewood bridge. The signature ebony nut width is 1-3/4ths with a big OG blues guitar “V” neck…and oh, the sound…dang!  Less refined to play than my old Martins, but the dusty mahogany tone gives that ethereal vintage woody vibe at its finest! 

“Experts” have yet to confirm the KG and Stella models that Johnson used in the 1930s. He also liked the Kalamazoo arch top 

More on that https://youtu.be/LCPljsfaKmA

JTS

Everyone would have clicked-off too soon if I put this up top - THE ORIGINAL GANGSTER Camille Blues Sister Version https://on.soundcloud.com/9HPZZx8oa1Kvit1j7

She Went Down Blues

Down To The River Blues - OG Son Of A Biscuit Roller JTSunrise Sings Solo Bluesman Guitar

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

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

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

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

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

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

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

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

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

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

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

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

DOLLAR BILL

Dollar Bill

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

[Verse 1]

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


[Verse 2]

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


[Verse 3]

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


[Instrumental]

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


[Verse 4]

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


[Outro]

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

DO RIGHT

Do Right (1964 B-25N-12)

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

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

C F C F

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


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

C F C F

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


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

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

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

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

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

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

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

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

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

JTS

JAMES RIVER BLUES

James River Blues

Pancho And Lefty  Townes Van Zandt Cover frank watkinson

Northwest Passage

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

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

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

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

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

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

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

Existential metaphors in "Death Defying" by Hoodoo Gurus:

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

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

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

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

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

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

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

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

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

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

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

JTS

DEATH DEFYING

Death Defying

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)

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

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

Seattle Music Era

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

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

Musical Influences and Style

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

Signature Songs and Contributions

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

Prolific Output

JTSunrise has a substantial discography on SoundCloud, with over 200 tracks available. This includes a mix of original songs, raw covers, and collaborations with other artists. His music spans genres like folk, bluegrass and country blues, cowboy country, and 90s acoustic rock, reflecting his diverse influences.

Commitment to Seattle’s Artistic Community

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

Thanks everyone for support! 

Find other Art  and Videos by #JTSUNRISE: IG, YouTube, X, TikTok, BlueSky interweb media @JTSunriseMusic
www.linkedin.com/in/jtsunrise-music-1528072b0

JTSunrise

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