Digging this, great version of a great tune.... 👊🤘

Too Many Strings (playlist)

The Stump

MANIC MONDAY
Original song written by Prince & recorded by The Bangles
Version by Overdrive & Antoine Guigan

"Manic Monday" is a song by the American pop rock band The Bangles, and the first single released from their second studio album, Different Light (1986). It was written by American musician Prince using the pseudonym "Christopher" and was originally intended for the group Apollonia 6 in 1984. Lyrically, it describes a woman who is waking up to go to work on Monday, wishing it was still Sunday so she could continue relaxing. The single, released by Columbia Records on Monday January 27, 1986, received generally positive reviews from music critics and some comparisons with The Mamas & the Papas' "Monday, Monday". It became The Bangles' first hit, reaching number two in the United States and the United Kingdom, as well as in Austria, Canada, Germany and Ireland, and peaked within the top five in Australia, New Zealand, Norway and Switzerland. It was later certified silver in the UK by the British Phonographic Industry (BPI).
(https://www.lyrics.com/lyric/2356591/bangles/manic%20monday)


KINDNESS INC

Musical project by French singer and instrumentalist Antoine Guigan, a musician heavily influenced by hip hop, electro, and folk. He has an incredibly powerful voice and is a skilled melodica player. I recommend visiting his excellent Soundcloud page: https://soundcloud.com/kindnessinc

Antoine's first EP is available on all platforms: ffm.to/sailors-ep

LYRICS

Six o'clock already
I was just in the middle of a dream
I was kissin' Valentino
By a crystal blue Italian stream
But I can't be late
'Cause then I guess I just won't get paid
These are the days
When you wish your bed was already made

It's just another manic Monday
I wish it was Sunday
'Cause that's my fun day
My I don't have to run day
It's just another manic Monday

Have to catch an early train
Got to be to work by nine
And if I had an air-o-plane
I still couldn't make it on time
'Cause it takes me so long
Just to figure out what I'm gonna wear
Blame it on the train
But the boss is already there

It's just another manic Monday
I wish it was Sunday
'Cause that's my fun day
My I don't have to run day
It's just another manic Monday

All of the nights
Why did my lover have to pick last night
To get down
Doesn't it matter
That I have to feed the both of us
Employment's down
He tells me in his bedroom voice
C'mon honey, let's go make some noise
Time it goes so fast
(When you're having fun)

It's just another manic Monday
I wish it was Sunday
'Cause that's my fun day
My I don't have to run day
It's just another manic Monday
I wish it was Sunday
'Cause that's my fun day
It's just another manic Monday

Manic Monday

Album Title: After The Bat Was Freed ... But Before Metal Died 

An Ozzy Requiem

Description:

This is more than an album. This is a requiem. A two-part rock opera epic exploring the complete life, legacy, and psychological journey of a rock and roll icon. Performed by the virtual progressive metal band Adelheide's Wisdom.

LP 1: "After The Bat Was Freed ... But Before Metal Died"
A nine-act narrative that chronicles the rise and reflection of a legend. The journey begins in the industrial haze of 1960s Birmingham, capturing the spark of a Beatles-inspired dream ("The Day The Bat Was Freed"). It crashes through the chaotic birth of a new sound ("Sounds Like a Bunch of Cats Fightin'"), explores the creation of the demonic "Madman" persona ("They Call Me The Madman"), and descends into the self-destructive excesses of the 80s ("Wings of Sin"). The album finds its emotional core in the heartbreaking ballad "I Was Just A Dreamer," before culminating in a final, monumental tribute to the man behind the myth ("Prince of Eternal Fire").

9. Funeral of the Prince of Darkness
The fans' farewell: The finale of the main album. A loud, defiant, and proud metal anthem from the perspective of the fans who carry on the legacy. This is not a sad goodbye; it's a roar of eternal loyalty.

Funeral of the Prince of Darkness

How Will I Know  2

I was inspired by the Woman of Valour acrostic poem in Proverbs 31, but I have changed the words considerably, to make it more about an indigenous shamanic tribal woman. Plus I mixed in some shamanic drumming and also a field recording of a woman chanting at a fire ceremony.

Woman of Fire

be_someone

Initium Concentus

Original composition…..Alejandro Gonzalez M.

Zenit

When those 70's TV cops showed up with big dangerous sideburns, you knew somebody was gonna take a ride downtown, turkey!

The Illicit Frequencies EP

Dangerous Sideburn Cop Show

Fifth track in a suite of tracks inspired by a walk along a wooded river bank in the summer close to where I live. This track explores how the calming sound of the flowing river gives you a chance to contemplate the past. Enjoy. CD

Lyrics by David North:
Peace in my dreams
Sleep at night
Taken away my past for keeps
She went away
Nothing I say
She will never grow old
Story be told

On golden sands I walk upon
Tracks I leave behind
Reflectionsof the life we live
Never to be kind.

On golden sands I walk upon
Tracks I leave behind
The river is the life we live
Never to be kind.

The River is the Life we Live

Tracks I leave behind

A little song I wrote the other day .....  the whole thing just came to me in a flash!

I played and sung all the parts .... and its all put down in just one take .... the drums, the guitars, the bass, the vocals ....one take!

Call you back

Güera (RELOAD MAXTER)

A haunting journey into the shadows with "Their Dark Secret" by The Dark Messiahs.

This track is an atmospheric blend of Doom Jazz and Dark Jazz Noir, characterized by its intense mood and minimalist arrangement. Featuring sparse percussion from Sticks Thompson and resonant, brooding bass work by Wilt Flowers, the rhythm section lays a hypnotic, deep foundation.

Sonny Rhodes' melancholic piano weaves a spectral melody above the dark soundscape, occasionally punctuated by the chilling, soulful contributions of Guy Stansfield on clarinet and Blue Six on muted trumpet.

Perfect for late-night listening, film noir enthusiasts, or fans of deeply atmospheric, instrumental music that pushes genre boundaries.

That sounds like a fascinating track! A blend of doom and jazz is very unique. To create a robust, keyword-rich set for SoundCloud and help boost your traffic, I'll focus on leveraging the distinct elements of the music.

Here is a full, keyword-rich metadata set for your track:

🎶 Track Metadata for SoundCloud
Title
The Dark Messiahs - Their Dark Secret (Doom Jazz Noir)

Description
A haunting journey into the shadows with "Their Dark Secret" by The Dark Messiahs.

This track is an atmospheric blend of Doom Jazz and Dark Jazz Noir, characterized by its intense mood and minimalist arrangement. Featuring sparse percussion from Sticks Thompson and resonant, brooding bass work by Wilt Flowers, the rhythm section lays a hypnotic, deep foundation.

Sonny Rhodes' melancholic piano weaves a spectral melody above the dark soundscape, occasionally punctuated by the chilling, soulful contributions of Guy Stansfield on clarinet and Blue Six on muted trumpet.

Perfect for late-night listening, film noir enthusiasts, or fans of deeply atmospheric, instrumental music that pushes genre boundaries.

The Dark Messiahs are:

Sticks Thompson - Drums
Guy Stansfield - Clarinet
Blue Six - Trumpet
Wilt Flowers - Bass
Sonny Rhodes - Piano

For Fans Of (Similar Artists/Styles)
Bohren & der Club of Gore
Dale Cooper Quartet & the Dictaphones
The Kilimanjaro Darkjazz Ensemble
Angelo Badalamenti (Twin Peaks Soundtrack)
Jazz Noir / Dark Ambient
Cinematic Post-Rock

#DoomJazz
#DarkJazz
#JazzNoir
#TheDarkMessiahs
#TheirDarkSecret
#NewMusic
#Atmospheric
#ExperimentalJazz
#Soundtrack
#MutedTrumpet

The Dark Messiahs - Their Dark Secret (Doom Jazz Noir)

For elevators at 3 a.m., when you know you should leave… but you press “Top Floor” again.

All the same (Playing Your Game)

"Last Christmas With You" is a song about longing, hope, and waiting for someone to return—inspired by countless stories of people separated from their loved ones by war. Set in a melancholic East Prussian folk music aesthetic, the track blends traditional instruments like accordion, violin, and guitar with a deeply emotional narrative.
A soldier’s voice, hoping to reunite in the snow, is accompanied by a tender female voice and a violin carrying the melody like a memory through the cold. "Last Christmas With You" is a listening experience that asks the universal question: "How many Christmases do we spend far from those we love?"

---

"Last Christmas With You" ist ein Lied über Sehnsucht, Hoffnung und das Warten auf Rückkehr – inspiriert von den unzähligen Geschichten von Menschen, die im Krieg von ihren Lieben getrennt wurden. Eingebettet in eine melancholische, ostpreußische Volksmusik-Ästhetik, verbindet der Song traditionelle Instrumente wie Akkordeon, Violine und Gitarre mit einer tief emotionalen Erzählung.
Die Stimme eines Soldaten, der im Schnee auf ein Wiedersehen hofft, wird begleitet von einer zarten Frauenstimme und einer Geige, die die Melodie wie eine Erinnerung durch die Kälte trägt. "Last Christmas With You" ist ein Hörerlebnis, das die universelle Frage stellt: "Wie viele Weihnachten verbringen wir fern von denen, die wir lieben?"

---

lyrics:

[Verse]
All this snow
Falling like we never know
Time to run
Go
And save the soul
Hope to see you soon
We keep the silence
It's better for the kids
No sirens
So afraid for you
Please don't die
Love
I wish it wasn't true
I hope that I can hold you

[Chorus]
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you

[Verse]
This red sky
Coming over me at night
Can't run 'cause it ain't my life
I'm supposed to wait for you
I'ma sit here
Stay inside
And hold on to my Christ
I can't take it no more
No
I pray that I can hold you

[Chorus]
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you

[Verse]
She said
"I just wanted to write you and say I'm alive
Where are you
Babe?
And I really miss you
I hope that this war can be done before Christmas
Please be safe and get back to the kids
I need to hold you
I'm losing it
And I'm holding on to the thought of being with you"

[Chorus]
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you

[Verse]
So I write back
"My dear
I'm alive
I'm here
And I miss you
Love
And I'm holding on to the thought of being with you"

[Chorus]
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you
Next Christmas
Next Christmas
Next Christmas with you


Last Christmas With You

There was a time when boldness was the main characteristic of youth. Young people wanted to be different, and one of the most prominent ways to be different in my day was to listen to different styles of music. It was very striking among Generation Xers, even those who belonged to more radical urban tribes. I remember well, for example, the late Jeff Hanneman, the brilliant guitarist from Slayer, saying in an interview that he loved classical music. This kind of boldness is deeply rooted in most of the guys who lived through that era. And it's a very noticeable characteristic in most artists who came from those years. The late David Bowie, for instance, embraced electronic rhythms like jungle and drum ‘n’ bass on his incredible album Earthling. Iggy Pop said in a video that he loved the then-new branch of electronic music, a genre called industrial. And the world-famous cellist Yo-Yo Ma played a version of Metallica's “Nothing Else Matters”. The examples are numerous.

Unfortunately, I have witnessed the death of this kind of boldness in the younger generations. Young people enslave themselves to a few musical styles and refuse to listen to the universe of music that exists out there.

Overdrive is a musical project that seeks to explore different musical genres — rap, classical music, techno, punk, death metal, rock ‘n’ roll, new wave, new age, a cappella, you name it. The idea is to introduce listeners to the concepts of musical freedom, musical anarchy, musical curiosity, and bold listening (to new and old styles).

It's a one-man project with the help of countless talented collaborators. So don't be surprised to see tracks of completely different styles with equally diverse collaborators — people like a brilliant English glam singer in shiny pants singing about punks on a post-punk song; or a skilled German guitarist who plays rock riffs on a drum'n bass background; a Russian female singer with an incredibly powerful voice singing a 70s rock song; a young British rapper genius who loves electro; a Danish female singer and harpist who enjoys singing pop music on a Bach background; a French reggae singer who sings disco brilliantly; and many others.

Musical eclecticism is an expression of freedom. I love Sepultura and I love Frank Sinatra. And there isn't a single day that goes by when I don't listen to music by J. S. Bach and the German thrash metal band Destruction. I truly believe that different styles talk to each other when I make music and would love to pass on some of that thinking to my fellow young musicians.

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WIDE AWAKE
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I DON'T KNOW AND I DON'T GIVE A DAMN
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CONTACT
e-mail: muzik.overdrive[at]gmail[dot]com 
Or DM in Soundcloud/Instagram

Manic Monday

Overdrive

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