Time, Run Away

One For The Money

Wer Wird Denn Trauern

Orientalisch angehauchtes Liebeslied für frisch Verliebte, die so verliebt sind, dass sie eine Weltreise mit einem fliegenden Teppich unternehmen möchten.

Unterwegs

d' Dampfbahn pfuused

Miers

I once played this song at an open mic and someone approached me afterwards saying, “sounds a lot like Tom Petty.” While I wouldn’t officially refer to him as an influence, I took it as a compliment to be polite. To some extent I still find these comparisons annoying, but appreciate that it helps listeners connect with your sound. What I will never appreciate is being asked to make these comparisons myself. Yes there is almost always some influence that might answer the question, “what does your music sound like?” But this song, more than any song I’ve ever written, is simply me. Acoustic, melodic, introspective, ironic, transparent. Originally called “Day by Day’” when it was conceived almost twenty years ago, the story and title have been updated to reference an album I am indebted to, without fear of comparison. It’s a story I won’t (and cant) tell here, because it’s a story I never intended to tell.

Dizzy

As bits and pieces of songs often evolve side by side, it’s easy to borrow or steal your own lyrics. Sometimes it oddly feels like you have to give yourself permission. But even when retaining the same melody, lyrics can serve a different purpose with new context. And that can make all the difference. In this song, in two places you’ll hear, “I wanted to make you believe in me.”  With these simple words I reluctantly sacrificed a chorus in one song for a bridge in another. But it was the bridge I needed, quite literally, and somewhat ironically, to replace lyrics that now live silently in the background. I only later realized that in the story I was trying to tell, what I really needed was to believe in myself.

Walk Around Me

La versione di "Have a nice day" (Stereophonics) eseguita dagli "All You Can Hear - acoustic band", alias: Matteo Gelmini, voce solista e chitarra; Davide Iori, basso elettrico, cori; Lorenzo Aldrovandi, chitarra ritmica e solista, cori; Massimo Ferroni, batteria.

Fonico audio: Alessio Cairoli
Ph: Fausto Franzosi

HAVE A NICE DAY (All You Can Hear acoustic band)

La versione di "DIamonds on the inside" (Ben Harper) eseguita dagli "All You Can Hear - acoustic band", alias: Matteo Gelmini, voce solista e chitarra; Davide Iori, basso elettrico, cori; Lorenzo Aldrovandi, chitarra ritmica e solista, cori; Massimo Ferroni, batteria.

Fonico audio: Alessio Cairoli
Ph: Fausto Franzosi

DIAMONDS ON THE INSIDE (All You Can Hear acoustic band)

Coverversion des Hits von Roy C. aus den Sechzigern.

Shotgun Wedding

Acousticcover-Version des Cyndi Lauper-Hits aus den 80igern

Girls Just Wanna Have Fun

Acousticcover-Version des Hits von Eric Burdon und den Animals aus den 60iger Jahren

Don't Let Me Be Misunderstood

A sweeping, heartfelt ballad blending the intimacy of a singer-songwriter performance with the lift of pop rock and the warmth of soft rock. Gentle verses open over steady acoustic strums, carrying raw honesty into a chorus that soars with layered harmonies and rich instrumentation. Adult contemporary touches keep the sound timeless, while dynamic swells give it a cinematic pull. A song for holding fast to conviction, even when the road ahead is uncertain.

[LYRICS]

If the truth falls in an empty room
No breath to stir, no light to bloom
Does it still cut when it leaves my lips?
Or fade like smoke from my fingertips?

I never asked for cheers to stay
Just someone real, not walk away
I lit the match, you let it die
And watched the embers glow, then close their eyes

Truth without a witness—
Falls, and no one knows
Still I’ll chase it anyway
No matter where it goes

I stand alone beneath the weight
Of every truth I try to state
No gavel falls, no eyes remain
Just echoes drowning in the rain

No final word, no steady hand
But still I make my stand

Truth without a witness—
Falls, and no one knows
Still I’ll chase it anyway
No matter where it goes

No matter where it goes

If the truth falls in an empty room…
I’ll speak it still, I’ll speak it true
’til silence breaks to light
and carries through the night


Truth Without a Witness – A Pop Rock / Soft Rock Singer-Songwriter Ballad

“I’d Still Choose You” doesn’t sound like a choice—it feels inevitable. Acoustic guitar in quiet patterns, Hammond breathing underneath, a voice high and fragile at once. The song moves like a memory that refuses to fade: simple, clear, impossible to erase. Not a chorus, but a promise written by hand.


I’d Still Choose You

A breezy, good-time tune about clocking out, hitting the local hangout, and chasing that perfect mix of flapjacks and happy hour. Light country-rock spirit blended with acoustic bar-band energy, written for anyone who’s ever needed syrup, friends, and a stiff drink to start the day. Grab a plate, raise a glass, and enjoy “Pancakes and Booze.”  

LYRICS
©2025 Ggreg Snyder

[Verse]
Working every day in the downtown scene,
The job is a drag and the boss is mean.
After work we all like to beat the crush,
Chasin’ happy hour for a sugar rush.

[Chorus] 
Pancakes and booze, oh what a feast,  
With Ontario maple, shipped from the east.  
From rooftop views to a hole in the wall,  
Serve up the flapjacks and pour it tall. 

[Verse]
Bartender pour me a highball scotch,
For the first hour I'll just sip and watch.
Till the ladies stroll in, looking for a time,
Flip up the hotcakes, it's my dime.

[Chorus] 
Pancakes and booze, oh what a feast,  
With Vermont maple, shipped from the east. 
From rooftop views to the hole in the wall,  
Serve up the flapjacks and pour it tall . 

[Guitar solo]

[Bridge] 
There's always a new trend,
And we all love the sweeties.
Livin’ like this man,
I’m flirtin’ with diabetes.

[Chorus] 
Pancakes and booze, oh what a feast,  
With Quebec maple, shipped from the east.  
From rooftop views to the hole in the wall,  
Serve up the flapjacks and pour it tall .



Pancakes And Booze

Un quartetto affiatato. Un sound amalgamato. Un repertorio di successi riletti in chiave “unplugged”.

Kooks Dan’o is the stage name of American singer‑songwriter Daniel S. Passarini.  Based in Johnstown, Colorado, he describes himself as “just a guy, writing & recording music in his home studio.” Since 2021 he’s self‑released a prolific catalog of albums and singles, including Landings (2021), Elements of Past Static Debris (2022), Songs for Lulu, Terra Firma, Single Track Mind, and Islands of Ataraxia (all 2023). His sound blends rock, country, indie and folk‑singer‑songwriter styles, with introspective lyrics and intimate home‑studio production.

Kooks Dan’o’s catalog is built around intimate, guitar‑centered songs that pull from a mix of folk, country, indie and rock, often with a lo‑fi, “bedroom” production aesthetic and deeply introspective lyrics. Across all of these genres, the throughline is Dan’o’s personal, reflective lyrics—meditations on love, loss and longing—wrapped in warm, guitar‑first productions that feel both honest and home‑made. 

Dan’o’s lyrical voice is defined by: natural imagery (storms, oceans, seasons, dust, echoes), melancholic honesty about love, self-doubt, and loss, and a minimalist, poetic style with lines that feel like secrets whispered into tape.

By all accounts, Kooks Dan’o isn’t flaunting flashy shred—he’s a songwriter first, and his guitar work is solid, tasteful and service‑oriented. Kooks Dan’o’s guitar playing — particularly in the context of home‑studio, singer‑songwriter production — is confident and versatile—never ostentatious, but always perfectly pitched to serve the song. 

 Fans have highlighted Dan’o’s intimate, laid‑back performance, strong melodic sense and polished yet personal production, likening his work to cherished folk‑rock and indie‑country touchstones.

After a nearly two-year break, Kooks Dan’o has three projects currently lined up and in the works: two unique concept albums, as well as a “Live at Home” acoustic performance album with accompanying video series. Look for these projects to be available sometime in 2026 and/or 2027.

Formed in 2013. Dissolved in silence. Reopened only in fragments.

Morrigan’s Howl was a French-Breton band led by Julien Moreau — singer, writer, shadow. Known for their haunting lyrics, analog aesthetics, and theatrical performances, the group released only four official albums before withdrawing from the public eye.

Their sound was a blend of psychedelic folk rock, 70’s ballads, and distorted intimacy. Every song felt like a lost letter. Every show, a ritual.

Rumors say they never truly split. Just vanished.

These releases are part of the surviving archive.
Curated by those who still remember.

I’ve always lived at the crossroads of music and poetry — where feeling becomes form, and melody turns memory into meaning. Whether it’s a lingering jazz note, a well-placed rhyme, or a shift in tempo that tells a deeper story, I’m drawn to that quiet magic where art reflects life with a little more style.

My roots are in classic music — the kind that doesn’t chase the moment but lingers with you long after the last note. Over time, that love expanded into poetry writing and jazz — especially the kind that swings, speaks, and smirks all at once. Jazz, to me, isn’t just a genre; it’s a personality. A conversation. A little tilt of the head and a grin that knows more than it says.

When I set out to create an album, it’s rarely just a collection of songs. I approach it like a personal playlist — one that drifts and flows as if the entire tracklist were one long, uninterrupted piece. Each track leans into the next, shifting mood, pace, or voice, but always carrying the same thread of feeling. I want you to listen the way I do — not as a shuffle of moments, but as a cinematic arc. One breath that lasts an hour.

Lyrically, my work is rooted in lived experience. Sometimes it’s obvious. Other times it’s just the skeleton of a memory, dressed up in wit, irony, or longing. I draw from real-life events, then let the poet in me twist, stretch, or sweeten them to taste. Depending on the tone of the album — playful, romantic, nostalgic, or something in between — I try to keep the emotional truth intact while giving it a fresh coat of creativity. A little humor where it fits. A deeper dive where it hurts.

My newest jazz album continues this tradition — short-lined swing tracks, conversational duets, and tongue-in-cheek storytelling. It’s an homage to late-night alleyway ballads, rooftop serenades, and train station goodbyes — all bound together with a sense of charm and cohesion. Each song is its own little scene, but together they tell a story — one you can revisit with each replay.

Thanks for stopping by my profile. I hope you find something that earns a spot on your repeat-play list — a melody, a lyric, or a moment that feels like it was written just for you.

I started playing guitar when grunge bands and boy bands were battling for top 40 spots, so you might say my sound is somewhere (awkwardly) in the middle. After being kicked out of several bands in high school and college, despite being a founding member, I was warmly accepted into the open mic community as another artist recovering from years of playing covers. Several  songwriters I admire have said that a song needs to sound good on an acoustic guitar before adding in the full band; I echo this by keeping my Taylor front and center. Streaming platforms might label this “singer/songwriter,” but I prefer “songwriter/singer” to reflect the priority I place on the creative process, rather than the performance.

Dziedātājs un dziesmu autors Oskars Deigelis savu karjeru uzsāka 2010. gadā, kad pirmo reizi sevi pieteica ar debijas singlu „Neatlaid” (pied. Rassell), kam pēcāk tajā pašā gadā sekoja vēl viens radiosingls „Ar vienu skatienu”, kā arī Ziemassvētku singls „Sapņu autobuss”, kas bija viena no visvairāk lejupielādētākajām Ziemassvētku dziesmām portālā „platforma.lv'' 2010. gada nogalē, līdz pat 2011. gada maijam. 

2011. gadā sekoja vairāki veiksmīgi radiosingli, tostarp, „Man ir labi”, „Mums abiem gaismas gana”, „Ar sauli sirdī” (pied. Fakts), kā arī dziesma „Minēt nav vērts”, kas iekļuva „Muzikālā Banka 2011” finālā. 

2012. gadā piedalījies TV šovā ''Okartes Skatuve 2'', kur nokļuva līdz finālam. Tajā pašā gadā ņēmis dalību arī mūziklā ''Dzimuši Mūzikai'' un ierakstījis arī ''VIASAT LV'' reklāmas džinglu '' Labāk, ātrāk, tuvāk, vienmēr''. 
Neilgi pēc šova „Okartes Skatuve 2” beigām, Deigelis izdeva singlu „Šeit un tagad”, taču īsi pēc tam pārstāja strādāt pie sava debijas albuma, lai sāktu darbu pie kristīgās mūzikas albuma. 

2013. gada pavasarī tika izdots Deigeļa kristīgās mūzikas albums ''Izglābts'', ar singliem „Tu mani iedvesmo”, „Mīlestība nepāriet”, „Par ticību un cerību” u.c. jaunām dziesmām. 

2014. gadā Deigeļa singls „Just Stop” iekļuva starp 24 pusfinālistiem, konkursā ''Dziesma 2014'' (Eirovīzija 2014).
Šajā gadā mūziķis sācis darbu pie jauna albuma, atgriežoties pie sava sākotnējā stila, apvienojot jaunās dziesmas, ar tām, kas tika rakstītas laika posmā no 2010. līdz 2012. gadam. 

2014. gada rudenī tiek izdots Deigeļa dubultalbums „Dubults neplīst”, ar jauniem singliem, tajā skaitā „Man Tevis nepietiek” (pied. Dween), kas tika iekļauta vairākās pašmāju mūzikas izlasēs, „Spēj tik pasmaidīt”, kā arī dziesmu „Nejaušā tikšanās”, kas tika uzņemta Deigeļa mūzikai neraksturīgajā šlāgermūzikas lauciņā, piedaloties aptaujās „Dzintara Dziesmas” un „Šlāgeraptauja”. 

2015. gadā Deigelis dodas brīvprātīgajā darbā ārpus Latvijas un sāk strādāt pie sava trešā studijas albuma, jau šajā gadā izdodot pirmo albuma singlu „Bez dvēseles”, kam pēcāk seko „Gribas bēgt”. 

2016. gadā piedalās TV šovā "Mūsu Labākās Dziesmas" un izdod singlus „Man ir viss” un „Tavā istabā”.

2017. gadā izdod trešo studijas albumu "Mūza", ar singliem „Vēlos atrast” (pied. Lily), „Sirds pārved mājās” (pied. Jenny May), „Tomēr gaidu” (pied. Rassell) u.c. jaunām dziesmām. 

2018. tiek izdots jauns singls „Es un Tu”. 
2019. - "Velcpelīte" un "Beigu beigās''.
2020. gadā "Virs zemes", "Visas skaistās lietas", "Savāda diena".

2020. gadā tiek izdots ceturtais studijas albums "Kamēr esmu". Gada nogalē izdots singls "Parā' man" ar dziedātāju Patriku Peterson.
2021. gadā izdots EP "Kaverversijas". 2022. gadā izdots EP "Mani stāsti, manas teikas".

Deigelis radījis dziesmu tekstus tādiem izpildītājiem kā Lauris Reiniks, Nikolajs Puzikovs, Rassell, Samanta Tīna, Adriana Miglāne, Jenny May, Sabīne Berezina, Kašers, Mārtiņš Ruskis, grupa Forte, Rihards Bērziņš, Madara Grēgere u.c. 

Dziedātājs kopīgi ierakstījis dziesmas ar tādiem mūziķiem kā Lily, Rassell, Sabīni Berezinu, Faktu, Lību Ēci, Jenny May, DJ Dween, Uģi Jēkabsonu u.c.

Boston College
@whistlerockofficial
YouTube:  https://www.youtube.com/channel/UCjelIXRU3QKOecdi0QVEmhw

Songwriter blurring the lines between country, pop, folk, and whatever else feels honest. Silicon Valley roots, zero Nashville clichés. Think tech-metaphor heartbreak, cowpunk energy, and the sweetness of two good people parting ways. Call it alt.country if you need a label.

New tracks tagged #Acoustic-rock