a transient streak

Music to play loud!

WE'RE SPORADIC YET SPLENDID

I hope for much love and peace to y'all --love & hugs from Texas xoxoxo-- Kenna-Rae!!!!!

Indie Internacional

tsume to suzuran

The Death Of The Ball Turret Gunner

The music as I like it...
https://www.ladatinthebox.com

In the Box

© Joe Liberty 2021. All rights reserved.
Shake It
I wake up before the dawn
Watch the sunrise as I drive along
Find a good song on the radio
And start off another day

Will it ever cease to wonder
Every second, come what may
Just when I think I’ve seen it all
Life simply takes my breath away

Can ya hear the calling from way on high
Listen closely now and you can hear em say

Come on and shake it
Come on and shake it
Shake your life on up a bit

Come on now...

Now as it all goes, racing by
Leaves an imprint etched upon my mind
And realise it’s just a matter of time
Before it slowly slips away

So I think I’ll just take a ride
Out into the countryside 
Just need to clear the mind
And get me a little bit of fresh air

Can ya hear the calling from way on high
Listen closely now and you can hear em say

Come on and shake it
Come on and shake it
Shake your life on up a bit

La la la la la la la la la la la
La la la la la la la la la
La la la la la la la la la la la

Oh yea
Oh yea

ShakeIt

https://mauerecords.bandcamp.com/album/muerte-por-mil-cortes

08.Akraxia- La Clarividencia Del Odio

Fauve qui peut *2
Allons-nous en..
Nous n'avons qu'à suivre
La démarche des éléphants. 
Oh /

Faire ses griffes dans la savane..
Débusquer les antilopes..
S'assoupir sous un platane pour
Regarder son horoscope
Fauve qui peut...

Fauve qui peut *3
Allons-nous-en

Fauve Qui Peut

Even though the Metal Album isn't finished, and may not have Bald curdling screams yet, Us Funky Nickel Balls couldn't help but share an EP with you. Funk You.

Battle Of Big Bald

SUCKAPUNCH

Glasgow (Orchestral Version / Live From Abbey Road Studios, 2021)

Darkwave is an experimental music project incorporating elements of instrumental thrash metal combined with symphonic and electronic influences. 

Composing, guitars, programming: Zsolt Némethy.
Cover art: Lupus Photo (Dávid Ujhelyi).

Hexapla

Secunda

Don't Give Up

Hills and Highways (The Celestial Song)

Mixed and mastered by A7 Recording Studio (@a7-recording-studio, www.a7recordingstudio.com)
Co-produced by Blaž Pavšič

▶MORE◀
Web: www.ladatinthebox.com/
Spotify: open.spotify.com/artist/2nX96XjXTUZvCoNWTNNun3
SoundCloud: @Ladat
Apple Music: music.apple.com/ch/artist/ladat/1465006973
Amazon Music: music.amazon.com/artists/B07S5HGR98
Deezer: www.deezer.com/artist/66111552
BandZone.cz: bandzone.cz/ladat
YouTube: www.youtube.com/Ladat77
FB: www.facebook.com/77Ladat

▶ARTWORK◀
MaKo: instagram.com/marketka1975

Hello

The Reason Why

CLEAR THE AIRLANES, CLEAR ALL AIRLANES, WELCOME MY FRIENDS, HERE AS YOU CAN READ, THIS SOUND IS FOR WUST WHO CONTINUALLY INSPIRES ME WITH NEW AND UNIQUE AND BEAUTIFUL WAYS TO USE SOUND TO TELL STORIES, WUST YOU INSPIRED THIS ONE MY FRIEND, THANKS, AND I CHALLENGE ANYONE READING THIS TO PAY TRIBUTE TO SOMEONE ELSES SOUND BY CREATING A PIECE THAT HONORS SOMEONE'S UNIQUE SOUND BUT OF COURSE THROUGH YOUR LENS AND MAKING THEIR SOUND YOUR REPRESENTATION...
THIS ONE CONTAINS IN SOUND HOW I FEEL RIGHT NOW...
PEACE/LOVE /UNDERSTANIDNG////ROOTS
@WUST

*NO COPYRIGHT INFRINGEMENT INTENEDED...WORK LABELED AS "FREE ART" ONLINE.

ONE FOOT IN THE ABYSS & ONE FOOT IN THE SUN (FOR WUST)

Turn The Page

Dig up the dead

Blue Christmas

Blue Christmas (Recorded at Electric Lady Studios NYC, 2020)

Paul Burch, Nashville’s honky tonk auteur and a writer of unmistakably modern but instantly classic songs, announces his new album, Fevers, coming this fall via Plowboy Records. Backed by his redoubtable band, the WPA Ballclub, Burch’s 9th album Fevers reveals the side of Burch most often heard on stage—intense, unbridled, and full of bravado. Long a proponent of live, analog recording, Burch captures the sound of discovery—of performance over perfection– with his forthcoming full-length. Fevers is a riveting and haunting mix of honky tonk, stringband blues, and rock and roll grooves that defies easy categories. That’s no surprise since Burch is a category unto himself.

Critics have praised Burch’s albums as “music that sounds thoroughly modern but completely unlike contemporary country” (USA Today) and Entertainment Weekly has called him “a modern day Jimmie Rodgers.” The UK’s Uncut Magazine has awarded each of Burch’s past three albums a five star rating saying: “No one makes records like this anymore.”

Fevers catches Burch’s mellifluous voice and the rolling swing of the WPA Ballclub while the iron is still hot. “I tried to hold onto the fervor that first drove me to write the song in these performances,” says Burch. “My songs always come to me in a fever. But this time I let them run a bit wild without a thought as to what kind of album I’d end up with.”

Fevers ranges from lyrical ballads like Melancholy Baby—which combines harmonium and violin into an unearthly string section—to a startling reimagining of the folk classic Cluck Old Hen, which conjures a sandstorm howl of chanting feedback with the very same instruments.

Multi-instrumentalist and long-time collaborator Fats Kaplin (founding member of both the WPA Ballclub and Jack White’s Buzzards) co-produced the album with Burch himself. “Fats shares my love of recording live as a group and performing without a set list,” says Burch. “Knowing records by Charlie Patton and Jimmie Rodgers as kids shaped the way we listen and perform.” In many ways, Fevers represents a summation of Burch’s exploration of the American groove: “I love country and the blues and I’m finding a way to make my own rock and roll.”

For Fevers, Burch arranged the band around each song’s featured instrument and taped performances just as the rehearsal was coming together. “The focus was on connecting to the tune and making a recording that’s between a live performance and a studio record. Fevers is a literal record of a band and a songwriter discovering music and hearing it bloom.”

Burch describes Fevers as the sound of a writer in a state of discovery. “Typically no one likes to admit that you’re in a state of transition or development, but I’d rather the audience be there to participate in it,” says Burch. “Fevers is right on, but not ‘correct’ by the standards most people are making records today. Even though I wrote most of Fevers’ songs, I’m not sure what to call them. The WPA Ballclub is my instrument and I mix and match musicians to the song.”

Burch’s love for seeking new and unusual combinations is a lifelong passion. Born in Washington, D.C. the son of a painter, Burch’s childhood centered around the Workshop, an artist collective overseen by master printmaker Lou Stovall.
“Lou’s Workshop was a playground both for me and his artists. Lou encouraged different disciplines to work together. They were my inspiration for the WPA Ballclub.” Stovall’s close friendship with jazz pianist Les McCaan provided Burch his first musical teacher. “We rented a farm house that belonged to 50’s TV star Arthur Godfrey. Les would come out to play piano and talk about how instruments can blend together to paint a picture. Lou Stovall did something similar with his silkscreen prints and with color combinations that sharpened or distorted the image.”

Fevers shows that behind Burch’s ever-sharpening wit and beguiling lyricism is a keen desire to connect. The harmonies of Kelly Hogan, along with Jen Gunderman and Kristi Rose, provide both sweetness and dissent to Fevers’ tracks, which shift between the clattering, vibrato-heavy Couldn’t Get A Witness, the pounding Rhodes piano groove of Breaking In A Brand New Heartache, to the deep blues of Ocean of Tears–originally by Kay Star and Tennessee Ernie Ford—sung by Burch and Hogan literally cheek to cheek.

“Songs like Ocean of Tears go back to my days singing in the honky tonks downtown when I first came to Nashville and formed the WPA,” recalls Burch. “By day, I’d knock on the doors of musicians who played on the great country records. At night, I’d set up at Tootsies with the WPA on a plywood stage with a single mic in a back room that had no roof, singing songs up to the stars.”

Fans and critics quickly took note of the scene, which Burch chronicles in Fevers’ Saturday Night Jamboree, featuring Chris Scruggs (grandson of Earl Scruggs) on fiddle, for an effortlessly swinging track that sounds like a Saturday night.
Burch was first singled out when his 1996 debut, Pan American Flash, was named Amazon.com’s #5 Best Country Albums of the 90s and was described by Billboard’s Chet Flippo as “extraordinary…establishing Burch as a leader in marrying country’s roots tradition with a modern sensibility.”

But Burch has never referred to himself as a country singer (“Charlie Louvin said I am but I’m not so sure”) and his previous albums have landed on “best of” pop, rock and country lists in the US and UK. Burch’s musical appeal transcends genres and generations as evidenced by collaborations with Mark Knopfler, Vic Chesnutt, Ralph Stanley, Candi Staton, Ryan Adams, Lambchop, Exene Cervenka of X, and the Waco Brothers for the album Great Chicago Fire in 2012.

Though Fevers will make new fans and excite longtime listeners, it also neatly fits into Burch’s oeuvre, an ongoing exploration into how American music is constantly reshaping itself. “I had no idea artists in Nashville weren’t also writers, producers, arrangers, and bandleaders for their own work,” says Burch. “I took a different path—and sometimes I was an outsider. But it’s paid off I think. I’m free to take chances. I’m always looking for something that can expand my writing voice and scares the wits out of me.”

As a writer and an interpreter, Burch gravitates towards endeavors that can push his work into unknown territory. He’s composed music for novels (Last of My Kind based on Tony Earley’s Jim the Boy), served as a film consultant (PBS’ The Appalachians), and in September will appear on Hip Hop for Public Health’s Songs for a Healthier America, an innovative collaboration between musicians and public health advocates supported by Michelle Obama’s Let’s Move campaign. Burch also received a GRAMMY nomination for his contribution to the comeback album for Charlie Louvin (Charlie Louvin). And Burch’s tribute to Buddy Holly, Words of Love, led to a friendship and a new fan in Holly’s widow, Maria Elena. “Words of Love is a beautiful album,” said Maria Elena. “He has everything Buddy wanted to hear in an artist–his own style and his own sound.” David Olney’s Predicting the Past, produced by Burch and recorded with members of the WPA Ballclub, is due out in 2014.

Fevers continues Burch and the WPA Ballclub’s efforts to bring a revolution of sorts to their sound—sonically and lyrically—that began with Still Your Man and the opening of Burch’s analog studio, Pan American Sound.

Fevers includes 10 Burch compositions along with a combustible reading of I’m Going to Memphis, by Memphis Slim, first heard on the Alan Lomax album, Blues In the Mississippi Night, once again connecting Burch to the deep and tangled roots that drive his sound.

Peter Guralnick, author of biographies on Elvis Presley (Last Train to Memphis & Careless Love) and Sam Cooke (Dream Boogie) says: “I’m a Paul Burch fan. How could I not be? His music never fails to achieve its purpose, what Sun Records founder Sam Phillips has deemed the unequivocal purpose of every kind of music: to lift up, to deepen, to intensify the spirit of audience and musicians alike.”

Look for Fevers on vinyl and CD November 5, 2013 on Plowboy Records.

Paul Burch - Couldn't Get A Witness

This is me practicing in the late 1970's in my parents home with my 1976 Gibson Les Paul Deluxe and 1977 Marshall that I worked and paid for myself.

This also became a song that I wrote called 'You Is A Fool'.

RON SNYDER - Nobody's Home 1970's TEEN GUITAR SOLO

Today

Recorded on April 14, 2013.

Joe Storino - Vocal & Bass
Joe DeBrizzio - Rhythm Guitar
Ron Snyder - Lead Guitar

Song #6 - (Storino-DeBrizzio-Snyder) April 2013

(  Labyrinthe labyrinthe labyrinthe )

J'ai fait les cent pas ( j’ai fais les cent pas )
Dans ce labyrinthe (ouais)
J’ai fait les cent pas
Tant de fois ( égaré, egaré )


Mais je connais bien les lieux 
Et les chemins de jacinthe
Puis les règles du jeu que l’on mène 
(Dans c’labyrinthe,labyrinthe)


J’ai suivi / des empreintes ( ça et là )
Et saisi des auras
J’ai emprunté toutes les voix (là !)
Je suis allé à tout va 

Mais qu’est-ce que j’fais
Dans c’labyrinthe
Mais qu’est-ce que j’fais  ( qu’est ce que j’fais )
Dans c’labyrinthe (labyrinthe danse danse labyrinthe )
Mais qu’est ce que j’fais (qu’est ce que j’fais )
Dans c’labyrinthe ? ( labyrinthe danse danse danse)
Dis moi qu’est ce que j’fais /
Dans c’labyrinthe, labyrinthe

J’ai fait les cent pas ( dix fois ) 
Et sans contraintes aucune
J’ai fait les mille pas / Sous
 La nuit mille et une

J’ai bien compté les impasses ( droite, gauche, droite )
les sentiers tant j’en passe
J’ai bien conté sur l’aléa /( Voilà !)
Je n’en reviens pas


Mais qu’est-ce que j’fais 
Dans c’labyrinthe *2 
( Dense labyrinthe dense dense) 
Mais qu’est-ce que j’fais ( mais qu’est ce que j’fais )
Dans c’labyrinthe ( dense labyrinthe dense dense dense )
Mais qu’est ce que j’fais
 Dans c’labyrinthe  ( dense dense dense labyrinthe)
Dis moi qu’est ce que j’fais
Par ou c’est la sortie ?

Break basse

 (Mais qu’est ce que j’fais  /
 Dans c’labyrinthe ) 
Mais qu’est ce que j’fais)

Je fais les mille pas 
Dans ce labyrinthe ( dans c’labyrinthe )
Je fais les mille pas 
Encore une fois  ( Danse danse danse danse labyrinthe ) 

Je saisis des empreintes ( Là !)
Et je suis des auras
J’emprunte toutes les voix
	« Ah - Pour aller – Ah tout va ! »

Chorus

(Pour aller à tout va * 8)

(Mais qu’est ce que j’fais
Dans c’labyrinthe ( labyrinthe danse danse labyrinthe )


(Je fais les mille pas
Dans ce labyrinthe 
Je fais les mille pas
Encore mille fois) 
Je fais les milles pas
Dans ce labyrinthe ( dense dense dense )
Je fais les mille pas 
Par ou c’est la sortie ?

Labyrinthe

Come my friend and sit down here
Drink beer and wine enjoy yourself 
Come my friend and sit down here
Forget your worry and trust me

That’s my life
I enjoy it to the fullest
For a better way
I will go again 
Back to the roots 

On the road again
...

Come my friend and sit down here
Drink beer and wine enjoy yourself 
Come my friend and sit down here
Forget your worry and trust me

That’s my life
I will fight for it
For a better way
I will go again 
Back to the roots

On the road again 
...

On the road again 
...

I ask for freedom, but you say no
I ask for justice, but you keep quiet
...
 
You say it can't be done
But i want it back my life
...

On the road again

That's My Life

Interpretación y arreglos : Jesús Flores.


Producción y Mazterizacion: Arturo Guevara G.
The Noise Infection Studio

Adelita

The Chambermaids "She's Not Haunted"

Heavy Deeds "One Drum"

American Cream "Distinguished Pets"

Flavor Crystals "Ivan In The Park"

Heavy Deeds "Light Lunch"

Loin

Planet X  - From the album Turbo-Laser - by Turbo-Laser

Now available on iTunes and all good online retailers

Planet X

Spotify Singles

Friday I’m In Love - Recorded at Spotify Studios NYC

The hunger for technology is immense...but what about when we realize we can't eat microchips to get fed?

🤔

Wired World

_Instrumental With Some Of My Chop Vocal_
~GIMME A PIECE~GIMME A BREAK~BREAK ME OFF A PIECE~.....ENOUGH SAID HAHA! MUCH LOVE, PEACE & LOVE MAKING HAPPINESS FOR Y'ALL HA :o) XOXOXXX!

KRAE- ~GIMME A PIECE~GIMME A BREAK~BREAK ME OFF A PIECE~

I was honored when https://soundcloud.com/graphicsontelevisions asked me to remake ‘Tattlesnakes’ from their fantastic album ‘Pun’. Maybe it’s the wildest one, unpredictable but coherent, it inspired me immediately !!

I've remixed to my taste their original studio stems (drums & keyboards), adding my own vocals, guitars & more... hard recommendation of headphones again !!

Lyrics are from another of my ancient poems, where I played with oxytone & eproparoxytone rhymes (translated below but with lost effect in English).

Full versions album here: https://soundcloud.com/graphicsontelevisions/sets/another-pun-a-brand-new
Downloadable: https://graphicsontelevisions.bandcamp.com/album/another-pun
I suggest checking out the original tracks too: @https://graphicsontelevisions.bandcamp.com/album/pun !!!

Letra  /  Lyrics:

Claro que ya no soy plástico,  /  Clearly I’m not plastic anymore,
ni estoy falto de razón,  /  nor lacking of reason,
puesto que, siendo simpático,  /  since, being friendly,
de sangre es mi corazón.  /  of blood is my heart.

Claro que soy esporádico  /  Clearly I am sporadic
en locos cantos espléndidos.  /  in splendid crazy singings.

Gritos de loco dolor,  /  Screams of insane pain,
llenos de mudo amargor,  /  full of mute bitterness,
claro que ya no son gélidos.  /  clearly are not icy anymore.

Claro que ya soy simpático  /  Clearly I’m yet friendly
y estoy falto de amargor,  /  and lacking of bitterness,
puesto que mi corazón,  /  since my heart,
siendo de sangre, no es plástico.  /  being of blood, is not plastic.

Y en mis cantos esporádicos,  /  And in my sporadic singings,
claro que ya no soy gélido.  /  clearly I’m not icy anymore.

Gritos de loca razón,  /  Screams of mad reason,
ya no gritos de dolor,  /  not screams of pain anymore,
claro que ya son espléndidos!  /  clearly are yet splendid!

ER00EC11

Tardigrade & Tattlesnakes (with Graphics on Televisions)

An original song recorded at Abbey Road Studios in London, with the National Youth Jazz Orchestra! Oh yeah!!

Don't Tell The Bride (feat. National Youth Jazz Orchestra) Recorded at Abbey Road Studios, London

In year 2016 we made the successful ascent of Aconcagua (6,962 m).
It was good rock&roll. 
I still have in my mind the hard moments when we have been nailed down to ground on the place called Portezuelo del Viento evaluating if we still have a chance to keep going up.
All this memory turned into this kind of folk&jazz piece. I had good fun to make this music. As good as making this nice summit with good band of friends.
https://www.ladatinthebox.com

Windy corner

Short surfing on the new waves of RnB
https://www.ladatinthebox.com

On R&B Waves

I turned one more year of my life. For sure I'm getting older but it seems the spirit is not affected. I still wanna dance...
https://www.ladatinthebox.com

Wanna Dance (Electro Funk)

Bit of romance....
Done in Apple GarageBand using Chill Live Loop Grid.
https://www.ladatinthebox.com

Chilling Valentines

This is my hit for Swiss Music Awards. Or at least for Naomi Awards in category Outstandingly Bad Contribution to Music.
Or this is the outcome of experiment related to Mike Cohn’s article about “Six Agile Product Development Myths” (Myth #1: Isn’t Agile Just for Software Development?).
Anyway it doesn’t matter what it is. I had really good fun doing it.
Music and video are all done by iPhone (GarageBand with Rock Live Loop Grid and Clips), final compilation in Abode Elements, using Agile approach with spirit of “Think Big, Start Small, Learn Fast” and “Fail Fast, Fail Often, And Follow Your Passion”.
https://www.ladatinthebox.com

It Rolls

Set Me Free

Great times with family and friends, no matter the reason

Magic Time

Spinnin' Round

Tears of joy ......

Ladat, born Ladislav Tesar, is Litomerice (Czech republic) native, body and soul, who writes and composes his music in Chatel-St-Denis, Switzerland. Ladat is not a band in the true sense of the word, but rather a musical project that emerged in 2019 as an escape from reality, because things go better with music.

Ladat's musical odyssey defies conventional labels and freely blends elements of rock, folk, country, and jazz into a rich and genre-bending style that invites listeners to explore the diverse spectrum of influences that shape his emotional and diverse compositions.
As an experienced composer and lyricist, Ladat weaves stories that deeply resonate with audiences and offers a captivating and immersive musical experience, where each song is an expression of boundless passion, creativity, and an unapologetic celebration of musical diversity.

Since 2021, Ladat has been collaborating freely with the Slovenian A7 Recording Studio and musicians around guitarist and drummer Blaž Pavšič, such as Uroš Mohorič (guitar), Gregor Alič aka Hanson or Peter Beznec (bass), and singers Anton Premec, Kristina Jelić, Maja Štebih, Hana Pavšič or Oliver Neff aka Titanic Jack.