There are few songs that have a Jazzier, bluesier, more swinging, syncopated, percussive and bopping feel than "Played Green Plaid," and I have classified it thus. That being said, this was played and performed on a First Act FG-127 flattopped steel-stringed àcoustic guitar that I got from an antique shop in York in May or June of 2019. And, I still believe that, of all my guitars, this, though of the cheapest and "crummiest," is the most authentically jazzy-sounding...albeit, I have an Oscar Schmidt OE40-N that is the very epitome and definition of a "jazzbox," and yet, still this tiny, silly, little ukulele-sized/student guitar, with its 18 frets, is probably jazzier-sounding than even that, or my other most authentic-SEEMING, typified, stereotypically jazzy guitar, my SS Stewart Archtop Acoustic. Even so, of all, this one, crazily enough, still sounds, at times, the jazziest. 

How To Conclude A Song Bop (AKA Played Green Plaid)

This is mostly a jazzy and bluesy, swinging, bopping track, but there are also assorted elements of other musics in it as well, including: Rock, Folk, Country, Swing, Rockabilly, Ragtime, Classical, Western, Country-Jazz, etc. Mostly, however, this is a very jazzy, bluesy, bopping track. I just added conceits and motifs culled from several of the above-mentioned genres, that's all. 

Thanksgiving Turkey Trot (AKA Space Shooter Gang Theory)

While I cannot, in good conscience, accurately attempt to lay claim to the fact of this piece being well within the bourn of Country: a fact which even yet is embroiled in the roiling bedrock of utter dispute: I can conscientiously state that this piece contains assorted moments seemingly culled directly from and typifying the most exemplary and archetypal specimens of Country, yet this song also contains many elements culled from the likes of Jazz, Blues, Folk, Rock, Swing, Classical, Ragtime, and, most and best of all, Western Swing, Country-Jazz and Rockabilly. In fact, if I had to name but three genres/subgenres that were representative of this piece, it would be, without a doubt, the three just named: Western Swing, Country-Jazz and Rockabilly. It is that and them more than it is much of anything else. 

Illinoian Canabis Cable Swing

This lengthy piece, though it several times segues into the likes of Blues, Folk, Rock, Swing, Country-Jazz, Bluegrass, Folk, Jazz Rockabilly, Ragtime and many others; and though it seems also to contain several elements deriving from the traditional folk musics of the Greek/Mediterranean/Balkan world, the Hungarian/Romanian/Russian world, and the Near-Eastern/Middle-Eastern/Turkish/Arabic/Levantine world, as well as just seeming to be either Classical or Neoclassical, I have thus decided to classify it accordingly. And I have followed the same pattern when naming its sections. 

Sudbury Plaza Concerto Swing Suite: Larry Laundromat/Stygia/Klez, Ma/Kazakhstanian Mountainslide

"Tonight, On Cryptocurrency," though it fact melds and blends together an odd amount of other, quite disparate genres; or at least the archetypes, motifs, modalities, conceits and typical melodies thereof; represents a first in many ways, not the least of which being the fact that I seem to stay in time throughout, which is an absolute rarity for me. As many of those of you who have listened to my music here may be aware, there is a marked tendency in me as a guitarist to suddenly retard or accelerate my playing, often without warning. This is just further proof of my apparent refusal to be forever fettered by the conventions of structured music, many of which, I, for a whole host of reasons, often rail at or actively rebel against. Yet, even structureless, freeform me knows that for music to qualify as such it must contain some allusion to form, timing, and structure, so that I always at least lay down a foundational melody or theme before attempting to segue away from it into often truly outre territory. Perhaps even the best and most structured of my music might be best described as being a specimen of what is most often known as "outsider music," but, in this supposition, I digress, and the digression, fascinating and painfully self-revealing as it may be, is hardly relevant to the subject at hand. No; the point and my purpose here is, or should be, to categorize, classify, describe, and explain my music, which, in a sense, I've already done. But, no matter; the description plows ever onward. The last thing that I should say is that, besides thinking this an excellent example of the two genres I elected to assign to it, I think this piece could also not unreasonably be said to contain the likes of Folk, Rock, Swing, Country-Jazz, Classical, Funk, Ragtime, Rockabilly/Early Rock And Roll, Western Swing, Gypsy-Jazz and others. However, despite various changes in tempo and dynamics; which by themselves seem to suddenly bring the song into quite different and genre-assigned territory; I think that I still can without fear of equivocation state that it is, first and foremost, a primary fusion if Blues and Jazz, or at least of bluesiness and jazziness, and it was Jazz and Swing and the like that I first had in mind whilst in the very midst of "composing" this wholly Improvisational song. That being said, I hope you all enjoy this very fun and pleasant-seeming, yet swinging/bopping/ rocking, bluesy and jazzy song. One in whose various archetypally bluesy and jazzy, swinging/rocking/bopping conceits, I often find myself lost herein. Well, again, enjoy, and thank you for perusing this description and giving audition to my latest track-my latest, and with no immodesty, perhaps my very greatest and most listenable, track. :) 

Tonight, On Cryptocurrency...

While there are comical elements to this song; these being chiefly contained and manifested in the seriocomic and hopefully discernible/audible lyrics, as this song is one of the first on here to feature me singing; this is mostly a serious, dramatic, melancholic, honest, true, sad, and tragic song...albeit with some assorted moments of a chiefly lyrically confined alleviating outre silliness: a lightening of the otherwise dark and heavy subject matter of the song. Furthermore, though I opted to place this song under the heading of Folk & Singer-Songwriter, it could just as well, for any number of reasons, go under those of Alternative Rock, Indie, Gospel, Psychedelic/Progressive, Folk-Rock, Acid Folk, Christian Rock, Ballad, and/or Christian Psychedelic Folk-Rock...I guess. Maybe it might even just be a somewhat unclassifiable song. At any rate, I hope you enjoy it, and my singing, which is not the world's greatest (that, and I'm probably off-key and out-of-tempo here, too.) 

(Built By The Sons Of Cain: ) Rusty Paperclip

Another song wherein I sing, this yet another song to employ my often silly and seriocomic/tragicomical themes, and lyrics. Additionally, this song goes through four or five separate stages, but none of that was deliberate, I assure you. Once again, I selected the Folk & Singer-Songwriter genre, and though it does fit, this song also contains elements clearly derived from the likes of Folk, Indie, Gospel, Psychedelic/Progressive, Folk-Rock, Hard Rock and Heavy Metal, Pop, Alternative Rock, Blues, Rock, and Preslayan Early Rock And Roll/Rockabilly. This is, I suppose, a little less serious of a song than the first, although neither is very serious, yet strangely both are about or involve the introduction of fairly serious elements and themes. But, I digress. This making of VOCAL music is fun! Indeed, I forgot how fun it can be. :) 

Don't Take Another Man's Bike (Soldiers Of Evil)

Ironically, this song, which is eminently jazzy, swinging and bluesy, and which features a great deal of absurdly funny, silly, meiotic/hyperbolic lyrics, somewhat expertly and semi-authentically jazzily sung by myself, is my shortest one on here to date. 

The Streets Are Always Just A Block Away (Silly Sally)

Personally, I believe the song to be, and it is and is meant as a lighthearted emulation of it, but I would rather classify it as Gospel, for that is clearly what it is risibly attempting to be, but there being no heading for nor option of Gospel, I elected to classify it as the only other thing that most closely approximated Gospel, and that in fact was the offspring of it, R&B and Soul, both of those having originated from said. Now, one last thing to bear in mind is that I was singing, only singing, all by myself with no accompanying instrumentation of any kind whatsoever, not even the simple percussion of synchronic/metronomic/syncopated slaps or hand-claps. The only occasional, incidental and barely audible/discernible auxiliary percussion/accompanying instrumentation of any kind could be said to be the humming I am here and there doing herein. That being said, there remains only one thing of note to say which is, like every other song I've made today or indeed ever, this was completely made up and improvised on the spot, which thus explains any bad, dumb, crappy, poor, or crummy spots. lol. That, and that, much as I love to make music, and to be as diverse and eclectic and versatile as possible in the music I make, and to reference, pay homage to or actively emulate/attempt to reproduce all my multitudinous favorite music, I am in no wise a true musical professional. I am just a lowly amateur, but almost happy and content with that standing. And that is all ye need know, or could ever want to know. (lol) 

Let Me Shine (Aka Lemme Shine)

There not being an adequate classification to perfectly describe and categorize this song, I had little other choice but to place it under the heading of "Rock," yet, the fact remains that this song is more than mere Rock, much more. And, though it is in fact more than even this, the fact of the matter remains that, when I first set out to "compose" this completely improvised song, that I quite literally made up as I went along, it was with the inner-spoken intention that I would attempt to make this and to play a Funk song. Yet, again, this song is neither completely Rock nor Funk. I think it contains assorted elements of archetypes, motifs, modalities, conceits, concepts, passages, and themes deriving from Blues, Folk, Jazz, Country, Swing, Rockabilly, Ragtime, Bossa-Nova, Classical/Neoclassical, Western Swing, Psychedelic and Progressive Rock, Hard Rock/Heavy Metal, Afro-Cuban (though that was very limited and rare; I mean, I love that kind of music, but it's very difficult to play, especially on guitar and especially for me; even more so when you don't have a rubric for what the tempo is), Afro-Beat/Afro-Funk (ditto; and sparse, very sparse...barely in there at all, quite frankly), Folk-Rock, various others, and Rock and Funk. Just essentially 1960's-1970's music, really...or my lame, insulting and lamentably poor attempt at recreating it. 

Violaceous To Spoilt Wine (The Golden Thread)

I wouldn't really describe this as straight-up, 100% authentic, unalloyed, undiluted, pure, thoroughgoing, absolutely bonafide Jazz, for it unfortunately isn't, but it certainly contains a number of conceits culled from and allusions to Jazz. While I would like to try to describe it as being some sort of Soul-Jazz, Funk, Rock, or Jazz-Rock or Jazz-Funk, and while it is, I suppose, probably closer to this than to any other genre, especially Blues (though there are archetypal motifs from Blues here as well), it is not either of these, either. No; it is something else; something apart, something different. It definitely contains the conceits culled from many another source, many another genre. One such genre is, I suppose, Classical/Neoclassical, but that of course is not the only one. There are others, but with no ill-will towards those who might listen to me and my oddly, impossibly outre music, I really weary of enumerating each and every last one of them. As such, I am foregoing that this time, and leaving that task entirely up to you, the listener. For the lateness of the hour is very pronounced indeed, it being presently 4 o'clock in the morning (am/antemeridian), and I do truly grow so weary with the onrush of dawn and the onset of nascent drowsiness that I find I cannot fill this out now to my satisfaction, so let you listeners discern what might be in it you may. In the meantime, before I retire for the "evening," let me leave you all with this one thought: That, besides this being essentially an experiment in producing purely acoustic Funk or Jazz-Funk; a gambit that may or may not have failed; an interesting fact concerning this song is its title and the source thereof: Quite simply, this came from something, a line spoken by Bob Newhart as his character Dr. Bob Hartley in one episode of "The Bob Newhart Show" that I just watched ...that is, I MISHEARD the line. What he actually said was something like: "What am I going to do? Psychoanalyze corn?," and what I thought I heard, at first, was "Sacriani and his corn," and thus, a new song title was born! :) lol. And this being my recentest song, I figured it was only fitting that it should graced with the boon of being bestowed with my newest song title idea. lol. Well, that, and the fact that I couldn't think of any other, more fitting song title for this are what occasioned it being given the aforementioned title. lol. Well, enjoy.

Sacriani And His Corn

I was born in Portsmouth in 1982, moved to Kittery in 1985, thence to Eliot, whereat I've lived since 1997 or so. I've been playing guitar since sometime between 1998 and 2000, and making/recording music since 1999. The best, most accomplished, talented, technically proficient and creative era of my music and my playing/performing began in 2015. Since 2000, counting all my home recordings, audio cassette tape recordings, my filmed performances both on and off the Internet, my various recordings on YouTube, BandMix, Broadjam, Chirbit, Clypit, Rumble, Bitchute, ReverbNation, Instagram, Twitter, Facebook, Spoon, SoundCloud, SoundClick, etc, I would estimate that I've made at least 2000 recordings by now. Unfortunately, almost none of them are yet uploaded to here, and most of these are only available via my other, earlier SoundCloud account, which I follow via this very one, but yeah. At any rate, my primarily guitaristic improvisational music has been variously classified, described, and categorized by some as "Atonal," "Abstract," "Avant-Garde," "Dissonant," "Impressionistic," "Postmodern," "Experimental," and "Primitive," and I guess I agree with those assessments, but I would also like to add that, to me, they evoke both the best and the worst of, and attempt to reproduce and pay homage to: Balkan, Bebop, Blues, Bluegrass, Classical, Country, Country-Jazz, Folk, Funk, Gypsy-Jazz, Hard Rock, Hawaiian, Heavy Metal, Hungarian, Indian, Jazz, Jump-Blues, Manouche, Mediterranean, Middle-Eastern, Near-Eastern, Polka, Punk, Progressive, Psychedelic, Psychobilly/Psychebilly, Ragtime, Rock, Rockabilly, Swing, Swing-Blues, Western Swing, Arabic, Greek, Balkan, Turkish, Russian, along with various permutations and comminglements of these; and at least two genres of my own coinage and creation: Classical Country Swing, and Blujazz. More on all of this, including where you may see and hear my other music (and my other, earlier account on here) later.

El Brasilian Jacquet (After One O' My 2016 Albums)

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