Damn Good Tunes

Relaxing 2025 tunes

Today's Pop hits!  Listen to 100 pop hits!

Indie Pop 1

Re-Extended 36

Re-Ex Hit 45

This is a live jam from a Halloween Party in 1987. 

Greg Michalski - SLIDE GUITAR
Ron Snyder - BASS
Jim Doyle - DRUMS
Rob Rodriguez - DRUMS

This tape was digitally restored from a different anolog speed. It is still strangely entertaining now.

Zombie Party Blues (Halloween 1987) FREE DOWNLOAD

can’t stop it

Just arrived at the address,
A voice said, “wait I’m wearing a dress.”
I smoked a cig while I waited,
When an old woman soon came out.


With a suitcase by her side,
A face that hid her sadness inside.
She closed the door to the past,
"Bye, my home," were her last words cast.


Drive me through the city lights,
Show me where my heart felt bright.
The neighborhood where I used to live,
Where my daughter was conceived.



She spoke of places she once knew,
Of her love and what she had viewed.
We traveled through her history,
That I will keep in my memory.



In the dark, she shared her past,
How quickly her life had passed.
In the taxi, the time stood still,
As I drove, her dreams were fulfilled.


Drive me through the city lights,
Show me where my heart felt bright.
The neighborhood where I used to live,
Where my daughter was conceived.

Drive me through the city lights,
Show me where my heart felt bright.
The neighborhood where I used to live,
Where my daughter was conceived.


Once at the hospice, her end was near,
In her mind, everything was clearer.
This would be her last night,
Her eyes closed with morning light.


Drive me through the city lights,
Show me where my heart felt bright.
The neighborhood where I used to live,
Where my daughter was conceived.


Drive me through the city lights,
Show me where my heart felt bright.
The neighborhood where I used to live,
Where my daughter was conceived.

DYKMN

City Lights (Remaster)

On all platforms now - Find this song on Spotify & More - https://ffm.bio/altspacebeats

At Neon Lightspeed - Part One

Worlds Apart

This is a repost of a collab with the brilliant Todd J McLean, originally posted on his Soundcloud account, 15 May 2025. Soundcloud.com/todd-j-mclean/water-to-wine?si=2debfe8ca9744b878dfc380a1a8ac430&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing)

WATER TO WINE
 
Words & Music: Goff Johnson
Vocals: Todd J McLean
Keyboards & Rhythm Guitar: Goff Johnson
Drums and Hammond Organ: Kat Hendrix
Lead Guitar: Tim Porter
 
Mixed and Mastered by Kat Hendrix at Absolute Time Studios, Vancouver, May 2025
 
About the Song

"Water to Wine" is a song about the appeal of perfection we often see online, contrasted with the seemingly unremarkable and ordinary lives that most of us lead. It’s a reflection on the emotional toll that comes from chasing validation through likes and follower counts— and the emptiness that can follow when the spotlight fades.

Our value, though, goes far deeper than what shows up on a screen and authenticity holds more power than appearances. Take a deep breath and if we look up from the scroll and take a brave look at the world — and each other — we might find something much more real!

Behind the Song (from Goff Johnson)

Ironically, while the message of the track talks about isolation and the cost of surface-level connection, the making of Water to Wine was the exact opposite of that! It came to life through collaboration with the incredibly talented Todd J McLean, who, in addition to his awesome vocals, and red-hot music connections, also created the cover art (Woman in Yellow Chair) for the track! The overall result is something far richer than either of us could have created alone.

Working together brought depth, direction, and new energy to the song — proof that the best things happen when we connect for real. No filters, just music, shared purpose, and mutual trust!

Final Notes (from Todd)

This is my first collaboration on SoundCloud. I could not have been more fortunate than to work with Goff Johnson, an immensely talented singer/songwriter/musician. When I first came across Goff, I listened to his entire Stories of Stardust album end-to-end .

Although Water to Wine is not part of Goff’s Stardust series, it is nonetheless a beautifully written song and it’s been a privilege for me to sing it. Besides, I love to sing the Blues. Thank you so much, Goff!

We owe a huge shout-out to both Kat Hendrix, a master musician and our producer, and Tim Porter, a virtuoso on guitar. It is a real privilege to work with these West coast legends.

Lyrics:

Verse 1
Someone wrote a playbook for perfection 
with lives of photo ops, their outtakes seldom seen 
today a star, the next you’re a pariah 
“Be Kind” they say, but that ain’t what they mean 
 
Chorus: 
Well I never watched the water turn to wine, 
and i never took a flower out of the desert, 
but i walked until my feet bled, and I looked until I was blind, 
and I reached out for a hand to hold in mine 
 
Verse 2 
Well there’s nothing quite as quiet as “the silence” 
after fame has passed, so flashbulb fast, away 
and i wonder if it really makes a difference 
cos the next in line wait for their time, to shine but not to stay”

Chorus: 
Well I never watched the water turn to wine, 
and i never took a flower out of the desert, 
but i walked until my feet bled, and I looked until I was blind, 
and I reached out for a hand to hold in mine

Cover Art: Woman in Yellow Chair, Todd J McLean

All rights reserved

Released by:
Why I Outta Records
Release date:
15 May 2025

Water To Wine

“Can We Pretend” is my first ever ballad — a super personal pop song about holding onto someone who's already let go. I wrote it thinking about how sometimes you just want to pretend things didn’t end, even if it hurts. Whether it was a friendship or a relationship, it’s about that moment when you’d give anything just to go back, even for a second. This one’s for anyone who’s ever missed someone that much

CAN WE PRETEND

Purple Moon Dogz Howling

Dirty Orange Puppet Head (You lied to me)

Dirty Orange Puppet Head

A mid-tempo indie rock journey through the hazy landscape of the past. This is a song about how we revisit old moments, and how they shift and change with every telling as they travel through the dust of time. The lyrics explore how nostalgia can be both comforting and deceptive, but ultimately they are about accepting the binding aspects of the past and letting go, whilst embracing the beauty of the human experience and finding solace in the present.

Dust Off My Face

Original composition……Alejandro Gonzalez M.

Luz De Vela

Breakup rage meets punk-pop sarcasm. Shredding Your Script is built to blow the roof off.  

© 2025 Karen Dyer. All rights reserved. Lyrics by Karen Dyer. Demo version. For promotional use only. Not for reproduction or distribution without written permission.



Shredding Your Script

TBH (demo) 2021

Friends, this is a little song that hopefully makes you feel something. The good thing about this song is that you can hear it multiple times without losing too much time :)

Artist: Reverend Sulanke
Title: The Grey Amnesia
Genre: Post-Punk / Dark New Wave / Coldwave

"The Grey Amnesia" is the first transmission from Reverend Sulanke – a phantom ensemble summoned from the backrooms of a half-forgotten Berlin ballroom, where the raw nerves of early The Cure meet the mechanical pulse of Fad Gadget, and the storytelling despair of Johnny Warman collides with the synth-stabbed melancholy of Depeche Mode’s "Speak & Spell" era.
A 7-minute maxi-single that unfolds like a fever dream: jagged guitars weave through ice-cold synths, while a bassline throbs like a bruised heart. The vocals – half-spoken, half-sung – drag you through the corridors of a memory that isn’t yours, where "the walls are made of static and the floor is made of broken vinyl". This isn’t just a song; it’s a seance. A tape loop of regret, played on a machine that’s always on the verge of collapsing into silence.

Recorded in the dead of night, with the ghosts of 1980s analog gear breathing down its neck, "The Grey Amnesia" is the sound of a band caught between punk’s fury, new wave’s glamour, and the gothic storytelling of a war that never really ended. Think Robert Smith’s guilt, Vince Clarke’s circuits, and Frank Tovey’s (Fad Gadget) clanking paranoia, all stitched together with the thread of a novel you can’t put down.

Written in E minor – the key of melancholy, rebellion, and haunted ballrooms. ‘The Grey Amnesia’ wraps its lyrics in the same dark embrace as The Cure’s ‘Disintegration’ or Siouxsie’s ‘Juju’, but with a heartbeat of 174 BPM.

Did you know? ‘The Grey Amnesia’ was recorded in 441 Hz – the same tuning as a heart racing just a little too fast. 🎵💓

Credits:
Written and produced by Frank Talmon l’Armée 
Band: Reverend Sulanke
Instruments: "Guitars drowned in chorus, synths tuned to despair, drums like distant gunfire"
Mastered on a reel-to-reel machine that may or may not be haunted.

---

Künstler: Reverend Sulanke
Titel: The Grey Amnesia
Genre: Post-Punk / Dark New Wave / Coldwave

"The Grey Amnesia" ist die erste Sendung von Reverend Sulanke – einem gespenstischen Ensemble, das in den Hinterzimmern eines halb vergessenen Berliner Ballsaals beschworen wurde, wo die rohen Nerven der frühen Cure auf den mechanischen Puls von Fad Gadget treffen und Johnny Warmans erzählerische Verzweiflung mit der synth-durchzogenen Melancholie von Depeche Modes "Speak & Spell"-Ära kollidiert.
Eine 7-minütige Maxi-Single, die sich wie ein Fiebertraum entfaltet: zerrissene Gitarren flechten sich durch eiskalte Synths, während ein Bassline wie ein geprelltes Herz pocht. Der Gesang – halb gesprochen, halb gesungen – zieht dich durch die Korridore einer Erinnerung, die nicht deine ist, wo "die Wände aus Rauschen und der Boden aus zerbrochenem Vinyl" bestehen. Das hier ist kein Song. Das ist eine Séance. Eine Endlosschleife aus Reue, abgespielt auf einem Gerät, das jeden Moment in Stille zerfallen könnte.
Aufgenommen in der Tiefe der Nacht, mit den Geistern analoger 1980er-Technik im Nacken, ist "The Grey Amnesia" der Klang einer Band, gefangen zwischen Punks Wut, New Waves Glamour und dem gothischen Storytelling eines Krieges, der nie wirklich endete. Stell dir vor: Robert Smiths Schuld, Vince Clarkes Schaltkreise und Frank Toveys (Fad Gadget) klirrende Paranoia, alles zusammengenäht mit dem Faden eines Romans, den man nicht weglegen kann.

In E-Moll komponiert – der Tonart der Melancholie, der Rebellion und verfallener Ballsäle. ‘The Grey Amnesia’ hüllt seine Texte in denselben düsteren Klang wie The Cures ‘Disintegration’ oder Siouxsies ‘Juju’, aber mit einem Puls von 174 BPM.

So wie der Roman ‘Hinter uns das Land’ mit den Grenzen der Erinnerung spielt, verschiebt 441 Hz die Grenzen des Klangs – eine kaum merkliche Veränderung, die alles anders fühlen lässt.

The Grey Amnesia

Why Don't U Tell Me

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e2 song

Bud Bop Feat. Marky B (Azanda Refix/Edit)
Share, Like, Comment, Repost
Marky B DNB Bud Bop Vocals with Anabolic Beatz Silence

Bud Bop Feat. Marky B (Azanda Refix/Edit)

nothing more

Good Wood

Nobody's Fault

Official music video | Zum offiziellen Musik-Video: https://youtu.be/X2mhzp-1QWg?si=0WnQHyvX4CdtwWTf

Epilogue: A New Place Called Home

Description:
This piece is the emotional epilogue to the transmedia novel "Hinter uns das Land" ("The Land Behind Us"). Like the final, quiet scene of a play, it offers a moment of reflection after the journey's end. It's the musical answer to a lifelong question: Where is home when the world you knew is gone?

The lyrics, "Now I’ve found a new place called home / In the heart / Where love has grown," are the resolution, sung from a place of hard-won peace.

Musical Atmosphere:
The arrangement unfolds not like an overture, but like a final, gentle curtain call. A delicate acoustic guitar arpeggio provides the foundation, like a steady heartbeat. A lyrical flute melody weaves in, reminiscent of a distant memory. Soft harp glissandi add a sense of grace and closure, while the warm, sustaining tones of the French horn offer deep comfort. The oboe enters with a poignant counter-melody, speaking of wisdom earned through sorrow, and the violin adds the final, expressive sweeps of emotion. Together, they create a chamber-like tapestry that feels less like a beginning and more like a soft, settling silence—the sound of acceptance after a long struggle.

This is the final musical statement, composed to leave the listener with a sense of closure and quiet strength.

Discover the story behind the music.

Explore the novel: the-land-behind-us.com

---

Epilog: Ein Ort namens Heimat

Beschreibung:
Dieses Stück ist der emotionale Epilog zum Transmedia-Roman "Hinter uns das Land". Wie die letzte, stille Szene eines Theaterstücks bietet es einen Moment der Reflexion, nachdem die Reise längst gegangen ist. Es ist die musikalische Antwort auf eine lebenslange Frage: Wo ist Heimat, wenn die Welt, die man kannte, fort ist?

Die Zeilen "Now I’ve found a new place called home / In the heart / Where love has grown" (Nun habe ich einen neuen Ort namens Zuhause gefunden / Im Herzen / Wo Liebe gewachsen ist) sind die Auflösung, gesungen aus einem Ort des erkämpften Friedens.

Musikalische Atmosphäre:
Das Arrangement entfaltet sich nicht wie eine Ouvertüre, sondern wie ein letzter, sanfter Vorhang. Ein zartes Akustikgitarren-Arpeggio bildet das Fundament, einem gleichmäßigen Herzschlag gleich. Eine lyrische Flötenmelodie spinnt sich ein, gleich einer fernen Erinnerung. Sanfte Harfenklänge verleihen ein Gefühl von Anmut und Abschluss, während die warmen, haltenden Töne des French Horns tiefen Trost spenden. Die Oboe setzt mit einer ergreifenden Gegenmelodie ein, die von einer durch Leid errungenen Weisheit erzählt, und die Geige fügt die letzten, ausdrucksstarken Emotionen hinzu. Gemeinsam weben sie einen kammermusikalischen Teppich, der sich nicht wie ein Anfang, sondern wie eine sanft sich setzende Stille anfühlt – der Klang der Annahme nach einem langen Kampf.

Dies ist die letzte musikalische Aussage, komponiert, um den Hörer mit einem Gefühl des Abschlusses und stiller Stärke zurückzulassen.

Entdecke die Geschichte hinter der Musik.

Zum Roman: the-land-behind-us.com

---

Lyrics:

[Verse 1]
Ich verlor so viel
Das ist mir klar
Der Krieg, er brach mich fast
All die Last
Tränen wie ein Strom
Endlos rann

[Pre-Chorus]
Doch durch die Asche
Konnt' ich seh'n
Einen Funken Licht, der mich befreit

[Chorus]
Ich fand ein neues, wahres Zuhaus'
Tief im Herz
Wo die Lieb' jetzt wächst
Blick' ich zurück
War es doch gut
Ich wusst' es nicht
Doch hab's verstand'n
Die Kraft, sie war da
Die ganze Zeit

[Verse 2]
Narben sind Zeichen
Auf meiner Haut
Jede ein Kampf, den ich in mir focht
Das End' war ein Anfang
Ein Neubeginn

[Pre-Chorus]
Durch die Schatten
Durch den Kampf
Baut' ich mir eine Welt aus Scherbenlicht

[Chorus]
Ich fand ein neues, wahres Zuhaus'
Tief im Herz
Wo die Lieb' jetzt wächst
Blick' ich zurück
War es doch gut
Ich wusst' es nicht
Doch hab's verstand'n
Die Kraft, sie war da
Die ganze Zeit

Ich fand ein neues, wahres Zuhaus' (Epilog aus den Original Musical)

“Forever Only (One and Only)” continues the story that began with Love Risk (Interlude) — a reflection on vulnerability, growth, and the balance between love and purpose. In Love Risk (Interlude), J 2 5 explored the hesitation that comes after heartbreak — the fear of giving your all again. Forever Only (One and Only) moves forward from that space, embracing the idea of loving freely and unconditionally, even when it means letting go. It’s about understanding that love doesn’t always have to end in possession; sometimes, true love is allowing someone — and yourself — to keep growing.

This track also showcases a new side of J 2 5, using a different resonance in his voice that brings a warmer, more soulful tone without straying from his signature depth. It’s a slightly different sound — experimental yet authentic — reflecting his continual evolution as an artist. While it steps outside the familiar, it still carries the emotion, truth, and vulnerability that define his music.

Unreleased Forever Only(One and Only)

So Low

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🍎 Apple Music: https://music.apple.com/us/artist/dulanik/1848150535

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Nick Eskew