this song smolders, delightfully, sensually...

nice sad......very moving....g8 song....:O)

Дякую! I'm listen again and again...

I thought he said b*tches at first I was like oh my goshh hahaha good song

i've been listening to this song for like five days straight

Thank you for this song.. It's healing me every time then i fell down. 

I Could Say, taken from the Odyssey EP.

Release date: November 10th 2013

Pre-orders available soon.

Produced and arranged by Hugh Worskett.
Engineered by Ben Mclusky, Hugh Worskett and Mark Bishop.
Mixed by Mark Bishop.
Mastered at Abbey Road Studios by Christian Wright.
Recorded at Snap Studios, London.

facebook.com/leostannardmusic
twitter.com/LeoStannard

contact mark@mmglondon.com

I Could Say

So, you said you wanted a song
To lift you from the aching of a Valentine's alone
Well I wrote you this to tell you it is done
So forget him now, forget him
He is gone

Listen, babe 
If I were there today
I'd pick you up, take you by the hand, and lead you home
To a certain place that we both know
Wear your favourite summer dress and take my arm

And off in the evening we'll go
Wander beneath the marble arches, singin'

(Chorus)
The Louvre under the sun
The Louvre under the sun
Though I don't understand it at all
I feel like I've known it all along

I'm a certain kind of a guy
Who thinks you're fine, adores the freckles pinned beneath your eyes
In fact, I'd say they drive me kind of wild
And that is that and that I can't deny

So let's stay up talking far too late
I want to find the secrets that you keep from everyone else
And rest assured I know you'll know me well
Ask me anything you want, girl, and I will tell you all

The violins clear their wooden throats
Murmuring incantations
Soft and low for us
And it goes

(Chorus)
The Louvre under the sun
The Louvre under the sun
Though I don't understand it at all
I feel like I've known it all along

The Louvre under the sun
The Louvre under the sun
Though I don't understand it at all
I feel like I've known it all along

So, babe
Let's inquire a fate
And draw some straws and ask them should we leave or should we stay
But I think we know just what they're going to say
I think we know just what they're going to say

Les Enfants - It Was Good

Good And Slow

Written & Performed by Adam French, Produced by Edward Turner.



Adam French - More To Life

Motopony - Euphoria

Listen to my new single 'Say Goodbye' here: EdProsek.lnk.to/EPSayGoodbye55 
Find more info here: EdProsek.lnk.to/Me55 
You can also listen to all my songs on Spotify: EdProsek.lnk.to/SpotifyProfile55 

Music, Lyrics & Arrangement by Ed Prosek
Produced, Engineered & Mixed by Charlie McClean
Additional engineering Rob Quickenden
Recorded at Ford Lane Studios and Tiny Lion Studios
Mastered by Sam Eddison at Golden Ears Mastering

Ed Prosek - Acoustic Guitar/Vocals
Thom Mills - Drums/Percussion
Charlie McClean - Electric Guitar/Backing Vocals
Alan Cassab - Piano
Scott Gentry - Double Bass
Joe Keelan - Mandolin
Jake Faun - Banjo

Press Contact:
kim@supercatpr.co.uk

Management: Denis Kleinert
denis@odyssey-music.net

www.EdProsek.com
www.facebook.com/edprosekmusic
www.twitter.com/edprosek

Copyright Ed Prosek Music 2014
All rights reserved

Hold On Tight

Produced by Tim Whitten. Recorded at BJB studios. 
Mixed by Peter Katis.




Wishingbone

Songbird is perhaps one of our favorite tunes on the record. 

If you like what you hear and want to show your support, please share this album with the hashtag #weareontherun. You can also purchase the album digitally or physically at brideandgroom.bandcamp.com/album/on-the-run. Thank you for listening.

Songbird singing 
Such a pretty tune 
Singing softly 
Singing to the moon

Writing songs for
Places he's slept 
Framing photos 
Memories he's kept

He's getting colder 
His feathers are going grey 
He's gonna sleep soon

He fears the break of day  
They say he's not okay 

Songbird calling
Calling for too long 
No one listening 
Sing another song

Maybe this time 
He'll come to your door 
Let him whisper 
Let him on your floor

He's getting colder 
His feathers are going grey 
He's gonna sleep soon

He fears the break of day  
They say he's not okay 

Can you hear me?
I'm everything you need

Songbird

From forthcoming new AVALANCHE EP.
Available on Home Music Co. August 21st(CAN/US) / October 2nd(EU).

http://www.kallemattson.com

A Long Time Ago

"Wide-Eyed" was the first single from, and is the second track on, our second album, "A Folded Letter." The song was recorded in November, 2015 in a cabin at Lake Wallenpaupack, Pennsylvania.

Written and recorded by Brian Curry, Steve Shimchick, and Jeff Petescia. 
Kevin Lucero - Cello
Ralph Nicastro - Mixing
Alan Douches - Mastering

Lyrics:
People, lost in the haze, defeat their own lives, it seems
Aimless, wandering wide-eyed, I was bound to love again

I will do you no harm, I won't fly
I will do you no harm, I will try

Darling, hazel-eyed mountain song, my soul longs for you
Running, I wasn't gone for long, I've grown all for you

I will do you no harm, I won't fly
I will do you no harm, I will try 
I could die in your arms, I could die
I could die in your arms, I could die

What if I lose all sight and ambition?
What if my heart weakens my vision?
What if all I need is right in front of me? 

I could die in your arms, I could die
I could die in your arms, I could die
I could die in your arms, I could die
I could die in your arms, I could die

Available on iTunes

Wide-Eyed

Taken from our debut album Orixé and also featured on sold out first EP.
The album Orixé is out now through iTunes.
For physical CD sales please check out our web site.





Saturday Sun - Seagull

“I use my gut, and my gut don’t lie to me” is more than just a lyric in Twin Forks’ exuberant “Something We Just Know,” it is a kind of mission statement for the quartet. If you’ve ever been to a musical performance that made you lose all sense of time and place and give in to the cathartic feeling of clapping and dancing and singing along, you’ve already visited the sweet spot where Twin Forks have made it their mission to reside. “Whatever makes the audience stomp their feet and sing at the top of their lungs, that’s what I want to be doing,” says singer/guitarist Chris Carrabba. “I want to be generating that spirit from the stage.

Carrabba figured out the guiding principle for Twin Forks before he even knew exactly what the project would sound like. During recent solo tours, Carrabba -- whose Dashboard Confessional grew from an intimate solo-acoustic affair to a bona fide arena rock band during the mid ‘00s -- says he was reminded how important that audience connection had always been to him as a performer.

He also knew he wanted to craft a sound closer to the music he’d loved as a kid -- classic folk, country and roots music. Growing up outside Hartford, Connecticut in an area he describes as “half-rural, half-city,” Carrabba developed an early fondness for acoustic singer-songwriters he heard on the radio -- Cat Stevens and John Denver and Gordon Lightfoot -- as well as the more obscure Townes Van Zandt, Bob Dylan and Guy Clark LPs he found in his mother and step-brother’s record collections. “At the beginning of Dashboard, I wanted to write an acoustic record, but every time I played a D,C, or G chord -- which are called the ‘cowboy chords’ -- I would think about how Tom Petty or Cat Stevens or John Denver or Gordon Lightfoot did this already,” says Carrabba. “That’s when I started tuning my guitars all to hell and back, just so they sounded weird to me. I was probably playing DCG anyway, but I didn’t know anything about guitar, and that was how I could get myself feeling like I was in new territory.”

“When I started playing acoustic-based music, I wasn’t trying to avoid traditional folk because I didn’t love it -- I just loved it so much and didn’t wanna do an injustice to it,” Carrabba notes. “And I had other influences and I thought, why can’t I combine this punk and hardcore feeling with this classic folk feeling -- because they were both such massive loves of mine. But right now I’m more excited about utilizing the age-old, time-tested thing and trying to excel within the parameters of a traditional template.”

He still wanted to be in new territory, though, so when he started writing songs for the project that would evolve into Twin Forks, he wanted to add a new twist. So Carrabba spent three years teaching himself traditional fingerpicking technique. “There’s magic in that kind of playing, where you’re managing two guitar parts,” he says. “I have always found it fascinating and it just seemed like it was calling to me.” Equipped with that new set of skills, Carrabba started writing his most delicate, musically articulate compositions yet, temporarily setting them aside for he-didn’t-know-what. In the interim, making his 2011 covers album, “Covered In The Flood,” gave him the chance to explore his relationship with songs by some of his favorite folk and country artists, both classic and contemporary, including Clark, John Prine, Justin Townes Earle and Corey Brannan. He then worked up those covers for a performance at San Francisco’s Hardly Strictly Bluegrass festival.

The experience was a major awakening. “Onstage at HSB, we were elated. All I want to be is elated while I’m performing. Why else should we be getting onstage? We’re not up there to be some good-time charlie band, but we are not hiding the fact that we are elated to be onstage with you and we’re choosing the songs that are giving us the best edge to be able to do that.”

After Hardly Strictly Bluegrass, Carrabba returned home with a new sense of purpose and a clarity of vision for Twin Forks. In the previous two years, he had been sticking to a temporary rule he’d imposed on himself as a songwriter: “I had made this rule that I would not say ‘love’ or ‘heart’ in my lyrics,” he explains. “I would talk about those things but I wouldn’t say them. So when I came home from that festival and I did write the first song and it did say both ‘love’ and ‘heart,’ they felt like the right words, after not having used them for so long. I let the songs happen and found a tempo that suits what Twin Forks became.”

“Something We Just Know” came to him first, and then, the flood -- another eight songs in the following eight days. Twin Forks began tracking the new songs whenever they could, between tours with other projects, in a multi-purpose space Carrabba had converted into a studio. Over the course of several weeks starting last fall, they managed to record more than twenty tracks that they plan to whittle down to eleven or twelve for the debut LP they plan to release later this year. “We tracked everything live, and I have this tendency to get really excited about what everyone is doing and I’ll make a little hoot or shout, and you can hear all those things in the final versions of the songs,” says Carrabba. “On ‘Scraping Up The Pieces,’ everytime I listen to it and hear Suzie laughing, I’m dying to remember what could have been so funny. Then we additionally multi-track, which we figured was a thoughtful way of approaching the record. You get the error-prone thing that has all the magic in it, but that doesn’t mean you can’t chase a little more precision. But the goal is always to do our best to get it right in the same room with each other, looking at each other, laughing with each other. I think you can feel that all over the songs.”

Originally recorded with musician friends including mandolin player Suzie Zeldin, bassist Jonathan Clark and drummer Ben Homola, Twin Forks has evolved as a live band to include Kimmy Baranoski on backing vocals, Kelsie Baranoski on mandolin and Shawn Zorn on drums.

Good And Slow

Twin Forks Music

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