This track on Spotify: https://open.spotify.com/album/1xzYpCWG7dIM3DTqGiygbf?si=LEtIWfccRLqXdGWv7No0Eg&utm_source=copy-link (also available on Apple Music and various other platforms)

My tribute to the master of emotional soundscapes and haunting melodies, the one and only Harold Budd. You will be greatly missed! 


Video: https://www.youtube.com/watch?v=MXNwFViIlKg

Dark Blue Silence (for Harold Budd)

Another great song by @candyside-arcade that I have had the privilege to interpret and sing. 

Do listen to @candyside-arcade's fun, energetic and life-affirming songs.
https://soundcloud.com/candyside-arcade/hiding-in-plain-sight   One of my many favourites.
P-line:
℗ @ Candyside Arcade & SuZanne Ledwith
I, think much more today
About it is I stand to lose
More than what I could gain
When I kneel down to pray
About what it is that I must to choose
To keep the pain at bay

Open my mouth to say
About what seems the most confused
When it could be so plain
I think much more today
About what I stand to lose

What I stand to lose

When I kneel down to pray
About what it is I stand to lose
More than what I can gain
Open my mouth to say
About what it is that I must choose
To keep the pain at bay

I think much more today
About what seems the most confused 
When it could be so plain
And when I find a vein
I know what I stand to lose

What I stand to lose

What I Stand To Lose

I made this for my little sister; it's a string of cameos about the town where we were born and raised - a suburb of Newcastle Upon Tyne.  Low income, but real world, real people, real troubles, real joy, real love, real communities, real humour, real music, real life.  All in gloriously rough 1960's industrial working class North East England monochrome.

For those of you not from that part of the world, lyric translations back to English are available upon request. :)

Started as a scribble, pretended to be a poem for a while, then I decided to noodle along and then.....  Ah, you know how it is.....in Byker town.
__________________________________________________________________

Byker Town

Wallpaper of steam trains
Where the sweeping headlights sprawled
‘Cross the ceiling to the old piano
Up against my bedroom wall
In ‘67 the lid came down
Never played again so fair
I’m walking back to Byker town
I’ll meet you there.

Cross the bridge to get to school
Rope swings underneath
Bull’s eyes from the slaughterhouse 
Bombed out rail yard stark relief
Billy Smart’s big top’s coming down
But I don’t care
I’m walking back to Byker town
I’ll meet you there.

Stench of old men in the Raby Arms
A bottle of dog to take back yem
Dominos and baccy tins
Were all that mattered way back then
Every retail product to be found
In Ernie’s shop just six foot square
I’m walking back to Byker town
I’ll meet you there.

Quayside Sunday mornings
Champion, just the job
A week of meat to feed the bairns
For only fower bob
Scranshins from the chippy van ‘round
The side door of the Mayfair
I’m walking back to Byker town
I’ll meet you there.

Sent out on the Wednesday
In Charlie Shepherd’s finest rags
Over to the smokies
To get free broken kippers by the bag
Dad got paid when Thursday came around
Treats for us to share
I’m walking back to Byker town
I’ll meet you there.

Front step full of babbies
Grazed knees on skinny legs
Back lane rows of nappies
Her face is full of wooden pegs
He’s on the dole no work to be found
Torn bookie slips by his chair
I’m walking back to Byker town
I’ll meet you there.

Nets twitching down the road
Never washed in years
Kids with mucky faces 
Almost clean behind the ears
Never seem to have a frown
Owning only what they wear
I’m walking back to Byker town
I’ll meet you there.

Give up all the baggage I’ve got now
Of life in disrepair
I’m walking back to Byker town
I’ll meet you there.

Byker Town

Usher Valse by Nikita Koshkin

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

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

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

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

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

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

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

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

JTS

Jump Blues

Banjo Blues

C Mayor – 4/4 – 120 BPM – 3:50
Intro:10 compas
Parte A: 16 compas 
Parte B: 16 compas
Parte C: 8 compas
Las tres partes separadas por compas suelto (D)
Estructura : I-A-D-B-D-C-O
Instrumentación:
Drums: Abbey road vintage drummer Ebony kit full + sound Factory snare maker 
Ample Guitar Semi-Hollow
Flautas:
-	Ample china Dadi
-	Ample china dong xiao
-	Ample china Oudi con automatización de paneo
Ample china Pipa
Ample Ethno Banjo
Ample Ethno Ukelele
Sax Tenor grabado con micro B2 Behringer y focusrite + Melodyne + Fatchannel + Ampire + analog delay
6 pistas de voces : 1 principal, 3 de coros con automatización de paneo, una de hombre que es mi voz - 5 semi tonos, con Melodyne, TR5 De Esser – compressor presonus– room reverb presonus, analog delay. Letra en francés.
Mezcla: TR5 One “complete one”
Master: Ozone 9 elements – adaptative dynamic
Sobre la canción:  Primero vino la portada, que es la foto del insecto mismo que inspiró la canción. Parecía sonreír y posar para la foto. La letra de la canción me vino en el coche, como muchas veces y después me puse con la producción y cogí el saxófono y me puse a improvisar cosas. He ido metiendo un montón de instrumentos y después he ido quitando capas y capas. Por una vez creo que no es una canción deprimente, al contrario. Un empuje para que miremos las cosas/vidas, de más cerca, para descubrir tesoros que no sospechábamos con nuestras miradas superficiales y poco sostenidas. O quizás para ver las cosas que queramos ver y como las queramos interpretar. Julio 2023.

Le Sourire Des Insectes

August 2, 2023
coop with Hauslabor  soundcloud.com/kersten-ginsberg

BRAMERUN  [coop with Hauslabor]

Bad - Boy! Bad - Girl!

A waltz
An absence of kiss 
A desire 
in 
memory
An erotic singularity

In The Mood For Love / Yumeji's Theme (Solo Piano Arrangement)

Nu Hviler Du

Nu Hviler Du - No.6 - 6 Elegiac Songs Op.59 - Edvard Grieg

Written and lead singing by Randy Arnold, who was our group leader.  
Old tracks from late 90s band Morry and I were members of - Ten Months Later. Morry played lead guitar and I played rhythm guitar and sang back up vocs. The main singer is our friend Randy Arnold who wrote this song. Other bandmates: Yandell Wood (Drums) and Matt Garlove (Bass), along with other friends. Recorded mainly in Matt's basement. Sadie Hawkins Dance was the name of the album.

Sadie Hawkins Dance

Don't Get To Deal (10ML)

A classically trained pianist, with a passion to add colour inside the lines of different repertoires. Here you can find my covers of some of my favourite songs that I made for solo piano, my renditions of classical pieces, and lastly some original improvs or songs of mine. All my audio files are RAW. Recording on a Kawaii MP11SE.
Feel free to dm for a feedback or a collab.

SKG, Greece

In The Mood For Love / Yumeji's Theme (Solo Piano Arrangement)

Estefanía

Recent comments

OESJ

Donna Dior

Related tracks