1988

It Would Have Been Difficult To Get Naked 
In The Front-Room Closet Recording Studio 
Of Our One-Bedroom WeHo Apartment 
I Used 'Addicted To Love' Sound Samples 
Not Parts - Just The Sound Of...
I Stayed-Up All-Night Recording 
But Mostly Listening Back To 
My Tascam 4-Track Recording 
Thanks To My Wife, Christie Mellor
For The Tascam & 
Thanks To Peter Hasting's For His 'Old' Sampler & Samples
Thanks To Bowie / Lou Reed / Beach Boys / Left Banke 
Pardon For... 
Outliving Patrick Swayze 
& The 80's Techno Thing 
I've Often Imagined A Conga Line 
Snaking Through A Room Thing For This Track
But... As You Could Imagine
The Older I Got The More 'Getting Naked' Seemed... 
Less Appealing?
Moving Swiftly To Completely Embarrassing
By The 'Getting Naked' Bit 
Because It's Totally Part Of The Track
It's Like You Can't Cut The 'Na Na Na' From 'Hey Jude'
But Now At 75 'Naked' Is Not What You're Hoping For
You're Hoping For A "Cover"!!!@
So Yes I'm Urging Youger  & More Attractrive Folks 
To 'Cover' This Track

GIRLS

Girls Can Make You Look Out Your Window
Girls Can Make You Hear The Angels Sing
Girls Can Still Look Good Inside A Pinto
They Get Away With The Strangest Things
Girls
Girls Are Hiding In The Closets
Girls Are Waiting In The Wings
Girls Are Turning Into Doctors
Girls'll Do The Strangest Things
C’mon & Get Naked – Naked With Me
C’mon & Get Naked – Naked With Me 
Girls
Girls Can Really Drive You Crazy
Girls Are Better Than Onion Rings
Girls Go For Patrick Swayze
Girls'll Dig The Strangest Things
C’mon & Get Naked – Naked With Me
C’mon & Get Naked – Naked With Me
Girls Like, Girl's Like The Strangest Things

®rgoldman dragbunt music

GIRLS, GIRLS

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio 

LYRICS
You stood by me
when no one did
Past, I know, didn't say much
Still, I got it
It's just us, no big stage
No perfect lines, no spotlight fame
But when you laugh
I lose the world
It's just us
And that's enough
You don't try hard to impress
Still, somehow you do it best
And I still show up
It's just us, no big stage
No perfect lines, no spotlight fame
But when you laugh
I lose the world
It's just us
And that's enough

IT’S JUST US

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio 

LYRICS
Mirror on the wall, it's a little bit wild.
Lipstick tube with a wicked smile.
Cherry red, like a secret spell.
It looks like magic, can you tell?
My heart's doing cartwheels,
in this drugstore light.
I press my lips, I feel something new.
Like I'm glowing inside.
Cherry shine, I crossed that line.
One swipe, I'm walking sky high.
Blush bloom, it's my debut.
In this shade, I'm someone new.
Cherry shine.
Cherry shine.
I blow a kiss to the world outside.
Lip print on my soda, and I don't hide.
A little color, a little brave.
Something sweet I get to save.
Cherry shine, I crossed that line.
One swipe, I'm walking sky high.
Blush bloom, it's my debut.
In this shade, I'm someone new.
Cherry shine.
Cherry shine.
Just a girl
in Cherry Shine.
Stepping out into a time.

CHERRY SHINE

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio 

LYRICS
You said “forever” with sunscreen in your eyes
I laughed, lit a sparkler, and watched it die
Poolside promises, cherry-stained lies
Another summer love, deep-fried

Endless July, yeah, we’re such a cliché
Kissing like we mean it, then drifting away
Plastic hearts in a heatwave high—
A perfect fake in endless July

Told the moon all our secrets, then forgot
Your name tastes better when it’s not
Slow-dancing with nowhere to be
You said “this is real”… ironically

Endless July, yeah, we’re such a cliché
Kissing like we mean it, then drifting away
Plastic hearts in a heatwave high—
A perfect fake in endless July

Maybe we’ll mean it next time
Or maybe just lie…
Like always
In endless July

ENDLESS JULY

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
Baby your sweet taste of honey
melts on my lips like wine in the summer time.
Heaven could never look so fine, a little sweet taste of honey.
Ah ah ah ah ah ah ah ah

Going around, around, around, going around the world.
Going around, go around the world.
Golden light is dancing on your skin.
Your silhouette in the moonlight.

Every breath slow, the world's asleep, we drift away where the water's deep.
with a sweet taste of honey
Going around, around, around, going around the world.
Going around, go around the world.

Ocean glasses glimmering in your eyes.
Every mile just pulls me back to you.
Every sound is soft, the colors fade, we're lost inside this dream we've made.
with a sweet taste of honey

SWEET TASTE OF HONEY (Alternative)

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
Like ripples on the water
Where the stone is skipped away
Like the echo of a secret
That you almost meant to say

Moments bending into hours
And the hours into time
Spinning quiet constellations
In the windmills of your mind

Turn it over, turn it slow
Watch the seasons come and go
Every thought a silver line
Through the windmills of your mind

Keys that jingle in your pocket
Words that fade before they land
Footsteps melting in the shoreline
Letters written in the sand

Faces change without a warning
To the shapes you leave behind
Turning, turning without ending
In the windmills of your mind

Close your eyes and feel it flow
Things you lost and never know
All the threads you can't unwind
In the windmills of your mind

THE WINDMILLS OF YOUR MIND

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
I’d really like to see you,
I’d really like to see you,
One of these days,
One of these days...

One of these days,
We’ll meet there,
Where the crossroads
Kiss the sky,
Too bold to say goodbye,
Too shy to say I love you.

One of these days, I’ll find you,
Through the cracks of time’s refrain,
In the echoes of old laughter,
That washes away the pain.

The wind will whisper secrets,
The stars will light our way,
And all the words unspoken,
We'll have a fire gently burning.

One of these days, we’ll meet there,
On roads the restless paved,
Where the wild wind knows our names,
And the stars write their confessions.

I’d really like to see you,
I’d really like to see you,
One of these days,
One of these days...

ONE OF THESE DAYS (Alternative)

Recently, while driving to LAX to pick up my wife, I heard Love Can Make You Happy by Mercy on the radio. While listening, I imagined my wife in her seat looking out the window, and as Mercy vamped out the ending of their song, this song wrote itself as I eagerly dictated the lyrics into my phone. I've always wanted to write a song about Los Angeles, and some might say that that is all I do, but this is the one I'll stand by. Preferably, at the corner of Rosecrans and Vermont. Where the kids are hip.

Mosaic Tiles / Welcome Home

MUSICIANS
John Beckmann: all music, lyrics, and production
Tanner McGraw: vocals and backing vocals
Lawson Mars: backing vocals
Lux Astralis, New York: recording studio

LYRICS
Will I find you there
with your golden hair
glistening in the breeze
I hope I find you there
In the sunlight
In the sun
in the sun
Will I find you there
Will I find you there
with your golden hair
I'd love to meet you there
By the sea
By the sea
Will you meet me there
By the sea
in the sunlight
in the sun

BY THE SEA

Kill Your Sons (Cover)

There's No-Fi - Like Lo-Fi
Some 'Sound' Advice 
I've Been Writing & Recording Songs 
Since I Was 14 In 1964
When I Began 
I Couldn't Read Or Write Music
So In Order To Remember It 
I Had To Record It... 
In The 60's, It Was On A Reel-To-Reel 
By The Late '70s, I Realized 
I Had To Be My Own Favorite Artist  
And Keep Track Of The Songs I'd Written 
To Keep Me Company In My Old Age
So - This Is A Musical Diary Of My Life 
For The Last 60 Years
By Clicking "Playlists" 
You Can Follow A Progression
By The Decades

Last In Line For The Brain Scan - 
https://larrycreature.bandcamp.com/album/last-in-line-for-the-brain-scan

Larry&Creature - FIRE FIRE FIRE = https://larrycreature.bandcamp.com/album/fire-fire-fire

Larry&Creature - Alien Werewolves & The Cosmic - https://larrycreature.bandcamp.com/album/alien-werewolves-the-cosmic

Larry&Creature - Ghosts ) ) ) - https://larrycreature.bandcamp.com/album/ghosts

Larry&Creature - U F O (Shadow Moon) 
https://larrycreature.bandcamp.com/album/u-f-o-shadow-moon

Larry&Creature - Machine Demons ))) - https://larrycreature.bandcamp.com/album/machine-demons

Disappear - Larry&Creature out on bandcamp here = https://larrycreature.bandcamp.com/album/disappear

Remain Alone//Drone out now- on 23 Stab wounds records Germany here - https://23stabwounds-records.bandcamp.com/album/remain-alone-drone

or the Creature Bandcamp album version Here - https://larrycreature.bandcamp.com/album/remain-alone-drone 

Symbols ((Stil There)) on Bandcamp
https://larrycreature.bandcamp.com/album/symbols-stil-there
OR 
Get it here at 23 Stabwounds records - https://23stabwounds-records.bandcamp.com/album/symbols-stil-there

 NIghtmare City album on the Aumega Project - https://aumegaproject.bandcamp.com/album/nightmare-city                            Demon Turns Daemon on Amazon.com - https://www.amazon.com/dp/B07TKNFTPM
Also new Creature Albums out on my own Bandcamp- https://larrycreature.bandcamp.com/

Albums also out on these Net Labels -

- https://23stabwounds-records.bandcamp.com/

 Via Kosmische - https://soundcloud.com/viakosmische

 - https://tibproditaly.wordpress.com/

Also find Larry&Creature on all the links below.

(Larry) all songs written and produced by me at home on an old digital 8 track and my Guitar. My main influences are Horror movies, Sci fi movies and books, Spirituality and weird Rock n Roll music which i love to play and write. I live in the UK and i hope you enjoy my music. Please listen loud.
Stay Spooky.

"Listen to them, children of the night. What music they make."

www.mortalprophets.com

“Anyone having trouble getting to, or staying, asleep should proceed with caution when playing The Mortal Prophets’ debut album around bedtime. The demonic intentions implied by the album’s name and defined by John Beckmann … coil each selection in menacing directions, bringing fresh, often frightening twists to these standards. Be aware - when you engulf yourself in these riveting, uncompromising performances. They are not for the squeamish.”
- American Songwriter

The Mortal Prophets: John Beckmann’s Cinematic Descent Into the Electric Psyche

In the sprawling constellation of modern music, The Mortal Prophets occupy a shadowed corner—less a “band” in the traditional sense than a living, breathing séance conducted by John Beckmann. Across a series of albums, Beckmann has been excavating the strata of Americana, dream pop, blues, and avant-garde minimalism, folding them into a fever-dream narrative that feels like it was beamed from a late-night pirate radio station somewhere between the Mississippi Delta and the outer rings of Saturn. 

Beckmann, who founded New York’s Axis Mundi Design before turning his obsessive creative drive toward music, approaches songwriting like a visual architect—each track a space you inhabit rather than simply hear. His arrangements have the tension of architectural blueprints: precision married to instinct, steel and stone softened by ambient light. In GUITARWORKS II, the most recent installment in a sprawling instrumental odyssey, guitar tones unspool like distant telegraph wires, calling to mind Robert Fripp’s collaborations with Brian Eno, or the glacial drift of Cluster’s experimental soundscapes. It’s profoundly cinematic, yet never ornamental.

If Beckmann’s earlier releases (Stomp The Devil, Me and The Devil, Dealey Plaza Blues) reached back into mythic Americana—the open road, outlaw ballads, acid-washed folk visions—his more recent work tilts toward the abstract, replacing narrative with mood. This is music that understands how memory works: fractured, impressionistic, prone to bleed between truth and hallucination. The Mortal Prophets operate in that liminal space where you’re not sure if you’re dreaming, or just remembering wrong. 

Vocally, when Beckmann steps to the mic, it’s with a delivery equal parts Leonard Cohen confession and Bowie-esque theater—half-smirk, half-sermon. Lyrically, he trades in arcane symbols and sly allusions: 19th-century mystics rub shoulders with dive-bar drifters, and romantic longing flickers like neon through a rain-soaked windshield. He’s not afraid of obliqueness; in fact, he seems to revel in it. Where many contemporary songwriters flatten their work into algorithm-friendly hooks, Beckmann builds labyrinths. 

Part of The Mortal Prophets’ magnetism lies in its refusal to settle. One album might summon the humid ghost-blues of Junior Kimbrough refracted through a loop pedal; the next might drift into synth-heavy dream pop worthy of an early-’90s 4AD release. Beckmann’s collaborators—rotating players drawn from both avant-garde and roots backgrounds—expand that sonic palette, giving the project an almost shapeshifting quality. 
In a cultural moment where genre boundaries are largely performative, Beckmann treats them as haunted ruins worth spelunking through. His songs feel like dispatches from parallel histories of American music—histories where psychedelia never died, where blues never got sanitized, and where experimentalism didn’t have to hide in academic halls. 

The Mortal Prophets may never break into the Billboard mainstream, but that’s hardly the point. Their appeal is in the slow burn, the intimacy of discovery. Beckmann’s work isn’t built for quick consumption; it’s built for listeners willing to linger, to decode, to wander down the long corridors he constructs. In an era obsessed with speed and surface, The Mortal Prophets offer the opposite: a deep dive into the echo chamber of the self, scored by a man who seems to know exactly how to make the walls sing.

New tracks tagged #LOU REED