Sunray Project debut album

rock

Paige rock music

zeppelin

GeralZona

glen

original led zepplin tracks mixed by Mr Jamie Goodman 

Ramble on led zepplin mixed by jamie goodman AKA (slob rock)

No Quarter

The working title for this melancholy mood melter, was "Captain Jack Harkness," a character from BBC's Doctor Who, later the star of Torchwood, who is unable to be killed, has lived an unfathomably long time, has seen probably everything possible due to his life expectancy and his ability to travel through time, and dies an unrecognizable creature known no longer by his stolen "human" name, but as a wise, revered being called "The Face of Boe."

If I thought the BBC would let me (or knew the exact rules about using the name) I wouldn't have renamed it. I feel like the song kind of paints a profile of the character, and how sad it must be to live the life he does. In Doctor Who, when we meet him, he is a cocky, selfish, incredibly charismatic, and ultimately mortal con-man from the future. In a battle against the infamous enemies of the Time Lords, the Daleks, "Captain Jack" dies to protect others. It is when another companion of the doctor named Rose Tyler looks into, and becomes one, with all of space and time, calling herself the "Bad Wolf" and brings him back to life, at the same time disintegrating the atoms of the invading bad guys. By the time we meet him as the "new" head of the Torchwood Institute, we face a completely different man, who has lost more people than anybody will ever meet in their life, trying so very hard to not become close to those he knows he will just lose anyway, and utterly failing, caring for and even falling in love with people through countless lifetimes- dying over and over again to save them for just a little bit longer and feeling the pain of fire, torture, bullets, blades, teeth, and any other normally fatal experience with each round he experiences all the while hoping "As long as they're okay, PLEASE let this be the last one!" just to gasp and suck up a lung full of air and sit up like somebody waking from a bad dream just a few minutes later. 

That must be true pain, and perhaps sad but certainly true, the times my life truly seems the darkest, I can look to this fictional character's own personal drama and say "but at least I'll NEVER have to face all of that."

The Current title, while not as strongly associated with the notes (which inspired both the original and final title, not the other way around) is still attached to the song for, what I feel, is just as legitimate and appropriate a reason. With most music, instrumental or not, I will always picture some sort of story; usually of my own making and sometimes completely opposite of what the lyrics may say the song is about if the sounds dictate something else. Though the number is nowhere near the amount that I do this with personally, there is a large percentage of songs where the lyrics are meant to be ironic- some the band or singer have come right out and admitted as much, and some, we must assume, the artist assumes that you'll know better because the music itself, nothing more than sound, being unable to mislead or decieve, and therefore must be the door that always speaks the truth (thanks Labyrinth, for the metaphor) tells you the singer is lying. 

That's not true. The music can lie too, it's up to the listener I think, ultimately, to decide which has done which.

Many of the times, however, I will picture what I would call more of a storyboard than, say, a music video. I imagine a series of still images, what I call "sonic paintings" or "aural paintings". They are very detailed, capable of movement/animation, but more often than not are static. This is because, I think, of the way I hear music. I know many other musicians do this, but not as many artists as you'd think, and certainly not the vast majority. I have actually trained friends to hear it this way as I was growing up, and watched it never erase something they liked previously, but unlock things they found previously un-listenable/noise/etc.

My sister told me that when she thinks about a song that she can't hear, all she hears is the singing. My mother, a huge Led Zeppelin fan (and genuine music fan), told me Zeppelin was all she listened to as a teen/early adult due to her obsession with the voice of Robert Plant, and that is what she hears when listening to the band. I for some reason have never been able to "hear it as a whole", yet I always hear the whole thing. I hear each instrument, each sound as it's own individual idea, and each part is only complete when the sonic painting has been completed- each part either contributing to one giant idea or presenting it's own personal idea, either complimenting each other in a theme or standing independently (this is the case in a cacophonous passage, as is often found in genres such as avant garde jazz and progressive rock; when the instruments seem to clash against each other and make what most call noise and few hear music). It is more often the case with an instrumental piece that I will be presented with several ideas that form a theme rather than a single idea, as there are no words to point me in any one direction. Think of it like a churches stained glass, where there may be one big picture, but all around it are smaller parts of the story. As I find it difficult to focus on all of them at once (really, impossible) I see the static or slightly moving images instead of the music video.

People have told me with much of my original rock music, as well as with this project that it reminds them of movie soundtracks. I don't disagree. However, I never intend for that to be the case. Often my music is melancholy. Not depressed or depressing, but written in minor keys and carrying an air of sadness with them. This, again, is unintentional, as most of the time I try to have moments of intense fury or unintelligible laughter or unreasonable happiness as well, but if there is to be only one theme, it tends to be a melancholy one, because I write alone so often and the song will begin softly with a single instrument playing, and that often portrays a darker feeling. "Cracks in the Lens of a Dim Film Projector" as a sentence alone projects (pun) more than just the image it's describing. You will also picture the theater it sits in perhaps. Is it empty, with cobwebs and dust clinging to the curtains or just sparsely populated, perhaps a run down independent or third-run theater that can't afford to change the bulb that doesn't shine bright enough or the scratched, lightly cracked lens - but not the lens itself, or the scratches or cracks- but instead the shadows they cast where the light splits coming through it, obscuring what's behind that strange, jagged black line. Or do you instead imagine the kinds of movies that are played on these projectors? Forgotten black and white classics, dark and underground pornography too filthy to describe, the hopeful art film that sold two tickets locally to a teenage couple that only ducked in because they just discovered that thrusting their tongues in each other's mouths in the dark, empty, air conditioned room is more pleasant that holding hands in the blistering summer sun. All of this and more just from the phrase. Now, combine that with the music.

Maybe that's why I often find vocals to be either too much or too restricting.

Cracks in the Lens of a Dim Film Projector

Guitar/Vocals - Miguel Bestard
Bass - Dominico Angarano
Drums - Sass Hoory

For booking the grooviest band since time began please contact Sass at sasshoory@gmail.com

Red House - Jimmi Hendrix

Lyrics and Music By Led Zeppelin
Copyright Atlantic Records/Zeppelin

Jeff Dewine- Acoustic Guitar and Vocals
Justin Werner- Cajon, Shakaer, Tambourine and Vocals

Recorded at Reds Cafe on 3.9.2014
by Infinote Music & Dragonfly Sound
Photo Courtesy Standby LivePro
Copyright Awol Circus 2014
All Rights Reserved

ROM 5) Jeff Dewine "In the Light" (By Led Zeppelin) Featuring Justin Werner

[50 cent]Just A Little Bit-50 Cent

Jazz - Joe Satriani- Steve Vai- Stevie Ray Vaughan- Eric Jo

Led Zeppelin - Whole Lot Of Love (110bpm 2 Phat Phuks Rework)

A synthesizer cover of John Paul Jones' excellent intro to "In The Light" by Led Zeppelin.

In The Light - Led Zeppelin - Intro Cover

Led Zeppelin cover from the classic Physical Graffiti album. This version features classical South Indian violin, soulful female vocals, and grimy synth bass with live drums and strings.

In The Light (Led Zeppelin cover)

Groovy instrumental featuring Persian santoor and Indian tabla. Some say it sounds like a chase scene from a 70's Iranian spy film.

Excursion

Balafon-driven instrumental in the style of 70's afro-pop

Fàmakundalày

Led Zeppelin - Boogie With Stu *electricblues* mix

Gold Dust Woman (Fleetwood Mac Cover)

Pink Floyd- Echoes

Gemini Trap (ft. Mohamad Firoozi & Anastasia "Anya" Smith)

Sunray remix of a song by Austin Indian folk singer Oliver Rajamani

Josiyam Solley

Nazareth - Hair Of The Dog - Cover

Check out some tunes from the bands playing this years MOON BLOCK PARTY POMONA. For more info visit http://www.moonblockparty.org

KIEV - Be Gone Dull Cage

Led Zeppelin - Rock N' Roll

Me playing a good Zeppelin tune with some added synth in the background

Led Zeppelin - Going to California

Led Zeppelin   Stairway to Heaven Live (HD)

1 Bourbon, 1 Scotch, 1 Beer (George Thorogood)

acoustic ocver of river of deceit by mad season... performance and recording by me.

Mad Season - River Of deceit

Lead vocalist with Anglo-Celtic band TINKERSCUSS.I also play harp and shruti box and a couple of other instruments..and I am happy to do session vocals for a variety of musical genres

More about Tinkerscuss and Bryony :

Tinkerscuss are the Gloucestershire based band who play a mixture of both heritage and Celtic based music. Erin and Bryony first cut their teeth on the rock and blues scene of the mid 70’s to early 80’s playing covers of Free, Led Zeppelin, Joni Mitchell and other blues based bands. It was during this time that they discovered Pentangle, Clannad, The Bothy Band, John Martyn, and Planxty. (usually chilling on the way home in the early hours of the morning in their overcrowded band van) It was Scottish musician Dick Gaughan who took them down an altogether different route, entering the world of 'Celtic' folk music and DADGAD guitar tuning. The guitar style seemed so different and the sounds were almost ‘harp’ or ‘pipe’ like, which fascinated Erin.
Bryony's rich, resonant vocals and expressive performance was always a 'crowd stopper' so in 2003 they formed the Anglo/Celtic duo ‘Tinkerscuss.’ The music created an atmosphere of melody and rhythmic beauty and they played across the county of Gloucestershire in folk clubs, pubs and local festivals.
In the spring of 2010, after releasing their debut CD 'NINE TREES' Tinkerscuss met up with folk legend Jake Walton after recording a version of Jakes song ‘Black Sarah’ from his 1991 CD ‘Songs from the Gurdy Man. They decided to play some summer dates together encompassing some of Jake’s older songs as well as some of his latest from his 2001 CD ‘Emain.’ Jake is currently working on a compilation album from his very wide back catalogue, and Tinkerscuss are both playing on and involved in the production of this.
Description
' NINE TREES' REVIEWS
.. as well as containing some very fine versions of traditional songs includes an absolutely beautiful version of the terrific Karine Polwart song, Firethief (beautifully sung) and has songs that the lasses have written themselves 
Mike Harding BBC Radio 2

.. conjures a resonant atmosphere of enchantment and ethereal beauty where harp, guitar, accordion, and viola enclose Bryony’s rich attractive voice on songs from a variety of sources; largely inspired by mythical tales and the cycle of the seasons; the dark and eerie effectively complement the light and joyous. fROOTS magazine issue 324

I like this CD .. you don’t often get to hear songs in the Cornish language at all never mind modern ones so it’s my pleasure to play Meriasek and Duisg Mo Chridhe ( is) a beautiful Gaelic song 
Genevieve Tudor BBC Radio Shropshire

•	“… absolutely breathtaking, stunningly talented…”
•	“… I was taken to another world that I didn’t want to leave…”
•	 “… they play together as if they were mind readers. Sets are carefully designed to carry audiences along in a flow of changing pace and mood…”
•	“…It’s obvious they love what they do and they communicate this between themselves and strongly to the audience…”
•	“…Tinkerscuss are the real deal – supremely talented recording artists and inspiring performers…”
•	“ … banquet for the senses, each course (song) delicately prepared and beautifully presented with an array of tastes and sensations-simply scrumptious “
•	“… We have been spoilt for choice by Tinkerscuss with the very entertaining and varied sets they’ve played for us. Something for everyone be it traditional or modern. Thoroughly enjoyable. “ Bodmin Folk Club
•	“.. We expected nothing less than perfection from a live show having heard Nine Trees – and we got it. Engaging to watch; great interaction between the band; stunning performance.. will definitely have them back” Black Swan Folk Club, York

Bryony Holden - Long Lankin

For the full story see http://bit.ly/XUx2xT

Produced by Tom Hambridge  
Recorded at Sound Stage Studio, Nashville TN  
Engineered by Jim Cooley and Nick Autry  
Mixed &Mastered by Tom Hambridge and Michael Saint-Leon at The Switchyard, Nashville TN
Executive Producer: Bruce Iglauer  

Additional Recording by:  
Shane Baldwin at Elevated Basement, Savannah GA  
Stuart Sullivan at Wire Recording, Austin TX  
Brendan Muldowney at Carriage House, Stamford CT   

Photos by Christopher Durst, christopherdurst.com 
Packaging design by Kevin Niemiec 
Alligator logo by Michael Trossman  

Booking: The Rosebud Agency, www.rosebudus.com 
Management: jacklyn@jamescottonsuperharp.com
jamescottonsuperharp.com  

James Cotton plays and endorses Seydel Harmonicas (seydelusa.com) 
Tom Holland endorses Delaney Guitars (delaneyguitars.com) and GHS Strings (ghsstrings.com) 
Jerry Porter endorses Sabian Cymbals (sabian.com), Smith Drums (myspace.com/smithdrums) and Evans Drumheads (evansdrumheads.com)  

Gregg Allman appears courtesy of Rounder Records 
Joe Bonamassa appears courtesy of J&R Adventures 
Ruthie Foster appears courtesy of Blue Corn Music 
Warren Haynes appears courtesy of Stax Records 
Keb Mo appears courtesy of Yolabelle International/ILG 
Darrell Nulisch appears courtesy of Severn Records

Cotton Mouth Man

Order from Alligator

James Cotton - Bonnie Blue

Badfish

Alt+J - Bloodflood [D3V457473 Remix Extended]

Sunray Project is Jason Mckenzie, a tabla player, drummer, and an acoustic/electronic producer from Austin, TX.  Check out the full debut album here!  https://sunrayproject.bandcamp.com/releases.