I've always loved this tune.  A friend of mine asked me to record a quick demo of this so I did.   Full disclosure: I bought the backing tracks from Bobby's Backing Tracks (dotcom).  I did two full run-throughs and kept the second one.  There are no overdubs, or "punch-ins"  

Europa (Carlos Santana) Cover

"Downhill" is a rock/pop anthem rooted in the frustration and heartbreak of watching a once-stable connection unravel. Inspired (surprisingly) by a fallout with my ex-landlord, the song explores shifting dynamics, emotional confusion, and the sting of unmet expectations. While it sounds like a breakup song—and is framed like one—it was actually born from a non-romantic fallout, which is part of my songwriting signature: turning everyday conflicts into grand anthems.

Produced by Jay Ives, Downhill blends gritty rock instrumentation with a polished pop structure and a soaring, catchy hook. Its dynamic build mirrors the inner turmoil of navigating miscommunication and power shifts in any kind of relationship—romantic, professional, or otherwise. It’s for anyone who’s ever felt blindsided by someone they once trusted.

Lyrics:

VERSE 1

We met the first time
And you were all smiles
I had great plans for us
Could be good friends, and then some
I wasn't looking for nobody new
But I was starting to 
warm up to you

PRECHORUS
Then you started mind-twisting
And you like to play the victim
The lies started out white, then turned gray
Now they're so dark, I can't find my way

CHORUS (x2)
I feel, I feel
Us go downhill
I build, I build
So you could break it down again

VERSE 2
I thought I got you
One moment you're so good
But then the very next
you're acting so sketch
You went back on everything you said
Went from rosy pink to seeing red

PRECHORUS
You have such a good facade
I wanna know who the architect was
Once so nice, not so much twice
I won't stay around for thrice 

CHORUS (x2)
I feel, I feel
Us go downhill
I build, I build
So you could break it down again

BRIDGE
We both got our lasts
You got the word 
and I had had the straw

Every word flashes past
The lessons learnt
The storms I saw     
         
CHORUS (x2)
I feel, I feel
Us go downhill
I build, I build
So you could break it down again

OUTRO(x2)
I feel, I feel, I feel, I
Feel us go downhill
I build, I build, I build, I
So you could break it down again

Downhill

Simon & Garfunkel instrumental medley

For every child who’s been told they’re “too much” or “not enough”
This is the story of life in a world that won’t slow down.

A neurodivergent mind trying to survive the noise, the lights, the looks, the labels. Misunderstood by teachers. Isolated by classmates. Always one step behind, or three steps ahead, but never quite where the world expects.

Until one quiet moment, and in my case, the sound of a clarinet.
It didn’t fix everything, but it gave my chaos a rhythm, and my mind some space to breathe.
(It won’t be the answer for everyone, but it helped me begin to find my way.)

This track isn’t perfect, neither am I.
But it’s honest. And sometimes, that’s enough. 💙🎵🕊️

This track is for the kids who feel everything.
💙 For the ones masking to fit in.
💙 For the ones melting down inside.
💙 For the ones still searching for a safe place to just be.

You’re not broken. You’re brilliant.
And your rhythm matters. 🎵🕊️

****Lyrics****

They said, “Use your words,”
But mine don’t come when I need them
They said, “Pay attention,”
But I already was, just not the way they wanted
I don’t talk much in class
But my head never stops
I see things they don’t
And they call it “wrong”

It’s too loud, too bright, too fast
And I’m trying, I promise, I really am
But I don’t fit in their lesson plan
So they call me “difficult” again
I’m not broken, I’m not bad
I just need someone to understand
It’s too loud, too bright, too fast
And I’m doing the best I can

The lights flicker hard
And the questions come too quick
They say “just be normal”
But don’t say what that is
I like quiet corners
They call that “hiding”
But I call it breathing
When the noise keeps rising

It’s too loud, too bright, too fast
And I’m trying, I promise, I really am
But I don’t fit in their lesson plan
So they call me “difficult” again
I’m not broken, I’m not bad
I just need someone to understand
It’s too loud, too bright, too fast
And I’m doing the best I can

I wish they’d stop asking me why I’m like this
And just ask me what I need
They might find I’ve got answers
They’ve never even seen

Then one day they handed me a clarinet
Said, “Let’s see what happens”
And I did
I held it close
Like something that understood
One steady breath
And the chaos moved

It’s still loud, still bright, still fast
But I found a way to hold it back
Through every note I find my pace
In every sound, I carve some space
No, it didn’t fix everything
But it helped my heart to sing
It’s still loud, still bright, still fast
But now I know who I am

I am not naughty
I am not wrong
I just needed
My own kind of song
And if you’re someone who stands beside us
When the world feels too sharp to explain
Who waits through the silence
And stays through the strain
If you've helped us breathe
When the noise felt too wide
If you’ve shown us our value
Instead of making us hide
Then thank you
For seeing the spark
For hearing the thread
For loving us gently
When others just fled

🎵 Too Loud, Too Bright, Too Fast

The Days of Wine and Roses - LIVE Piano and Technics GN9 Organ

Instrumental of two nice contemporary songs in three-quarter time: Moon River, composed by Henry Mancini (lyrics by Johnny Mercer) for the 1961 movie Breakfast at Tiffany's, and Try to Remember, composed by Harvey Schmidt (lyrics by Tom Jones) for the 1960 musical The Fantasticks.

Moon River and Try to Remember

On A Cloudy Afternoon

Para escuchar la versión original  https://soundcloud.com/juan-fco-bueno/guitarra-version-original-ver-texto
Para escuchar la versión instrumental  https://soundcloud.com/juan-fco-bueno/guitarra-dedicada-al-maestro-jesus-flores-ver-texto

GUITARRA

No sé bien cuándo fue
ni cómo ni dónde
nos vimos por primera vez
pero sí que recuerdo, 
siendo niño en el pueblo,
te miraba fijamente
y después de poseerte
mis dedos bajaban y subían
por tus cuerdas que, al tañirlas,
volaban los sonidos
que para mis oídos
eran como música celestial.

Guitarra, fuiste para mí
como un guardián que me resguardó
del miedo que me impedía dormir
en la penumbra de mi habitación.

Guitarra, fuiste para mí
como la hermana que me faltó:
tu compañía me hizo sentir
la sensación de que siempre existió.

Hoy un hombre ya soy
y nada ha cambiado
porque eres mi don y razón:
el azar quiso un día
que entraras en mi vida
para ser, hoy como ayer, mi pasión.

Guitarra, tú eres para mí
como el mejor cuerpo de mujer:
con tu presencia me haces feliz
con tus canciones me das el placer.

Guitarra, tú eres para mi
lo que de niño mi madre fue
lo que hoy en día me anima a vivir
y me prepara para mi vejez.

GUITAR

I don't know exactly when,
or how, or where
we first met,
but I do remember,
as a child in the village,
I gazed at you fixedly,
and after possessing you,
my fingers would go up and down
your strings, which, when I strummed them,
blew forth sounds
that, to my ears,
were like heavenly music.

Guitar, you were to me
like a guardian who protected me
from the fear that kept me from sleeping
in the darkness of my room.

Guitar, you were to me
like the sister I was missing:
your company made me feel
the sensation that you always existed.

Today I am a man,
and nothing has changed,
because you are my gift and reason:
chance willed one day
that you came into my life
to be, today as yesterday, my passion.

Guitar, you are to me
like the best body of a woman:
with your presence you make me happy,
with your songs you give me pleasure.

Guitar, you are to me
what my mother was as a child,
what today encourages me to live
and prepares me for my old age.

Guitarra (dedicada al maestro Jesús Flores Guitarrista)

Singer/songwriter Bob Dylan’s classic song Mr. Tambourine Man. He performed it at the 1964 Newport Folk Festival and recorded it in 1965. 

The Byrds also recorded it in 1965, launching the folk-rock genre by using electric instruments. They changed the time signature from 2/4 to 4/4, making it suitable for dancing. Both recordings received Grammy Hall Fame Awards. My recording is in Dylan’s groove with the abridged lyrics the Byrds used. 


Mr. Tambourine Man

This is a cover of me playing one of my favorite Jeff Beck tunes, "Never Alone" from his Album "Emotion and Commotion".   I do not own any part of this song or recording, nor do I wish any profit from it.   I just like it, wanted to play it and share it.   Thanks!

Never Alone Cover (original by Jeff Beck)

BLUES - MOTHER OF SWAMP CITY
Tim Sanders - Guitar 
Ron Snyder - Bass & Drum Arrangement 

Tim Sanders.
https://soundcloud.com/user-486905636


Sanders & Snyder - The Six Foot Rule Blues (Instrumental)

Music is Life! Play, record, produce,  perform, arrange, listen.✌  ♬ ♩♫ ♩

On A Cloudy Afternoon

FendrGuitPlayr

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