The Bumblin' Bones learned an important lesson about songwriting: there can be as much honesty in singing about a bent-up paper clip as there is in singing about two star-crossed lovers. The music that The Bumblin' Bones have been making embraces the honesty of life in it's mundane moments as well as its heartbreaking moments. A song like 'Parking Lot Heroes' tells the story of a worn and sallow man who feels truly lucky and beautiful to be drinking a 40 oz in a sun-pounded parking lot. while a song like 'No One' is the inner monologue of a man who greedily loves somebody despite knowing that his love is ultimately disallowing her to flourish. 
The Bumblin' Bones formed in April of 2014. Ian Hinkley (formerly of the bands 'Cavemen' 'Punchface Sally, Paulie Hips and the Childbearers) has been writing and performing songs on Guitar and Piano for 15 years in the bay area. Heavily influenced by Tom Waits, Jack White, Bob Dylan (with a little Talking Heads and David Bowie thrown in), he was joined by Bass Player Matt Ruff who; after years of playing everything from Punk Rock to Ecuadorian folk music, had thrown himself into the world of '60s psychedelia full force. They were then joined by Taylor Diaz (of The Grandfather Paradox) whose unfaltering, symphonized drum style perfectly beds Ian's occasional scattershot guitar style.
The Trio immediately went to work; gigging and writing new songs together based on their new sound aesthetic. 
Audiences quickly reacted to the honesty that the band was exploring; as well as the powerful dynamics of the alternative instrumentation and inventive structure. 
Over the last few months of performing, People have tried to label The Bumblin' Bones everything from Carnival Rock to Lo-fi Pop. but what they've heard the most is that the rawness of the songs and performances are inspiring and powerful. as one audience member put it; it's the kind of music that makes you want to pack up your bindle and start a new life somewhere.
In October, the Bumblin' Bones went into the studio to get to work on their first batch of recorded material. the songs that have come out of these sessions so far have proven to heighten the ideas set forth when the band was formed. the exploration of life through the prism of the honesty in a moment. Stay tuned for these new recordings to be released in the near future!
The Bumblin' Bones are:
Ian Hinkley: 
Guitar, Keyboards, Vocals
Matt Ruff: 
Bass, Backup Vocals
Taylor Diaz: 
Drums, Guitar

MUSICIAN / AUTHOR.

2013 TRUTH STORY ~ RESTING IN PEACE ON EARTH IN LIFE @ http://www.musivine.com/blogs/312 

http://thedorisalloyword.blogspot.com/2013/02/resting-in-peace-on-earth-in-life-first.html

http://outsideout.blog.com/2013/02/26/resting-in-peace-on-earth-in-life-part-one/

The Doris Alloy Sound began experiments in 1995 with a Sampler, a 4-Track recorder and Synth. Backward tapes. Occasional sampled voice. Drones. Elements of contemporary styles such as Jungle and Drum 'n' Bass crept into later recordings.
An early track (82 Eridani + Zeta Reticuli - edit) was included on the 1996 Spliff Tapes compilation 'Sensible People Live In Free Fish Tanks 4'.

A series of DIY cassette EPs followed (The Unpopular EP, The Lure Of Space, In Discordance With Doris, Old Wounds Torn Open, Doris Alloy, Devastation This Way, The Winter Collection, New Styles). 
A Drum Machine joined the line-up and the beats became harder and faster.

Emotive as I might be
As cold as I can be
This is a frozen wasteland
I'm caught in the ice

We're all frozen embryos
Waiting to be claimed
Waiting to be thawed out
.... Waiting

(FROZEN 1996) 

Original 1997 recording of Robots Rock released on In Yer Face Sampler 'And Then Some' in '98.

Doris Alloy also recorded as part of 3-piece bedroom-studio artists Peter, Paul And Doris from '95 to '97 (w/ Pauly Wauly and Andy D).

Recorded London Broil And Potatoes with producer Dave Ball (The Grid/Soft Cell) in '98. The track was eventually released in 2003 as the opening track on the Matthew Glamorre-compiled Kashpoint CD. 
Doris Alloy reluctantly participated in a video for the recording. Channel Five show UK Raw did a feature on the making of the video and The Offset, Glamorre's gang of fashion, music and artist hoodlums.

Terminate all bars
Terminate all beaches
Terminate all cars
Kill the drivers / teachers
Press the rest
The cherubs are speeding
Accidental orgasms
I always regret the waste

(TUNE INTO A NEW STRAIN 1997)

Debut 6-track CD titled Doris Alloy was recorded in the late autumn of 1998 nocturnally in a small eight track studio situated in the middle of a field of cows in Bedford. This included 3 instrumental and 3 vocal tracks; Frozen, Radical Chic, Razor Fish, Flanking The Tide and Lonely Rooms That Lock You In, as well as a self-produced version of London Broil And Potatoes. 
The CD was favourably received by some and totally over-looked by others. One review suggested Doris Alloy was almost good enough to have been signed by 4AD in 1980.

The follow-up CD Nattercan released in '99 featured the digitally recorded Better, Stronger, Faster (which combined the themes to TV series The Six Million Dollar Man and Charlie's Angels), and the low-budget Apoptotic, Samizdat, Nattercan, Something Futuristic and She Was Radioactive.

Everywhere I Go I Am Under Surveillance
Everyone Is Looking At Me Programmed To Transmit
I've A Feeling My Movements Are Recorded And Beamed ....
To Central Control.
Your Vision Is Blurred
Your Vision Is Bent
And Far Too Illogical
To Send As Your Agent.

(METAL FOR ROBOTS 2000)

Third CD collection Metal For Robots in 2001 was of 8 track studio recordings inc. Sex Somewhere, Deathcentric, Pornographonic, Pedestrian Rage, Latitude 50 / I Just Want That Doris, Metal For Robots, Jaunt and What You Think You Think Is Real. 
An enthusiastic reviewer raved that 'Doris Alloy is worth a 1,000 mini-moogs'.

During the six years Doris Alloy was recording on a daily basis he amassed an enormous catalogue of material. Some tracks were lost or recorded over when tape space became scarce but over 150 recordings have survived. From self-indulgent wonky beginnings to tight dramatic thematic instrumentals and songs; always original, unique, challenging, authentic and synthetic.

If You Drive A Lousy Car
It Doesn't Matter Who You Are
Your PM10's Are A Disgrace
We Shall Wipe That Smile Off Your Face
We're Separated By Metal And Glass
These Mobile Death Machines Will Never Last

(PEDESTRIAN RAGE 2000)

During the period 2002 - 2012 there has been one new recording by The Doris Alloy Sound - the 16 minute Bizarre Construct (formerly 'Lost To The Machine'). 

Bizarre Construct was composed Nov/Dec 2011 recorded Jan/early Feb 2012. It was based upon lyrics written while living in a tent, in a wood for seven weeks. 
However once arrangements of the music began and creative juices stirred and flowed again after a decade of abstinence from recording artistry and four minutes became eight and eventually sixteen. The original lyrics, The House Is A Machine, is now a fully formed song in its own right, but only exists in the mind of The Doris Alloy Sound at present. 

http://www.musivine.com/thedorisalloysound

Read ~ RESTING IN PEACE ON EARTH IN LIFE by The Doris Alloy Sound.

http://www.musivine.com/blogs/312

If you didn't already know, an adjustable bed with a memory foam mattress is arguably one of the most comfortable ways to sleep, but many people that haven’t tried them don’t really understand much about adjustable beds. We’ve rounded up some of the most common misconceptions about adjustable beds so you can banish those myths and try this one of a kind sleeping experience for yourself. If you think an adjustable bed isn’t for you, think again. Once you try it, you’ll see what you’re missing.

My full name is Julie Maria Staines.
 
I was born in The London Hospital in Whitechapel on the 13th September 1972 and was brought up in Chadwell Heath in Essex with my Mum and Dad and sister Anne who was six years older than me and wouldn't let me in her room very often.   
My mother, Kathleen, was a fairly strict Catholic so Anne and I did the whole Church on Sunday thing, which was cool because I was massively in love with Josef Costa who was an altar boy and we both went to religious schools: St.Bede’s Primary and Canon Palmer Secondary. As long as I was somewhere near Joe I didn't care.
 
My father, a proper East-end boy was in the motor industry by day and the jazz scene - when us kids were asleep in bed - by night and that's probably where it all began for me. I loved everything about going to gigs with my Dad (when I was occasionally allowed). 
The smell of the beer and the cigarette smoke.  The men all dressed up on Sunday lunchtime in bow ties and suits and the ladies looking glamorous. The complimentary roll mops and roast spuds on the bar. The mic stands, the drum kit, the free drinks. The fact  that everyone in that pub knew my Dad by his first name and he was the star whose picture you could see displayed behind the bar.
 
I guess I knew right then that this is what I wanted for myself. Something about the whole thing truly grabbed me and I was hooked.
 
My Mother, died tragically  when I was only eleven and by now Anne was out working and staying at boyfriends’ houses. This did mean one good thing though: I had my Dad to myself.

Every Sunday we would cruise around London in his Mustang with the top down listening to Tony Bennett, Frank Sinatra, Ella Fitzgerald and Bing Crosby and it was always the words he made me listen to.  So there it is, set in stone forevermore: my earliest memory of being educated in music and of learning to appreciate the way great singers phrase and tell a story through song. A passion for lyrics was born.

 
Most of the kids in my school left as early as they could and if you lived that close to London you ended up working in the City. So I joined the masses of folk who travel on the underground everyday and spent a lot of life stuck in tunnels trying to read whoever was sitting next to me's newspaper, without them noticing. But of course they always did.

It was around this time that my Dad  had remarried and though I no longer had him to myself  it didn't matter because they gave me a beautiful baby brother who they called Jake, named after Jake's Burgers in Seven Kings. Six years after that a second beautiful boy arrived called Robert and the small family grew and four became six.
 
I worked in a firm of Solicitors in Great Portland Street in the West End as an office junior and generally messed about, smoking in cupboards and laughing all day with a classic girl, Julie who thought I was hilarious, which is handy when you're a bit of a joker like me. We ate curry just about every lunchtime which cost us all of a pound in the Indian Y.M.C.A. and drank tea and stole biscuits for the rest of the time. Work? Not really that much.
 
Needless to say apart from the laughs my heart wasn't truly in it so I legged it out of the 9-5 thing after meeting a German producer who I began a collaboration with. He often nagged me about my constant singing out of tune and made me sing into a guitar tuner to practise. I soon realized that this was not the Lennon/McCartney partnership I was looking for and I joined an all girl rock band called 'Dearjon'.
 
I gained all my experience from that band and had an absolute blast. What a fantastically crazy ride to work with chicks that get to share everything:  bras, lipstick, taste in men, food, beds, cars, fights, pillows, sandwiches, socks, the stage. Mums - of which there were quite a few - wanted to adopt me. Spiritual beliefs, music, books, records,  jumpers, planes, record deals and hot grub before rehearsals from the bass player, Lid's Italian parents who had a chippy in Kinson. 
 
Liddy didn't drive back then but she had no problems getting the rest of us to pick her up before gigs because we all knew that whoever got there first got the pickled wally and hot chips. What a result!
 
We gigged in just about every town in this country for a pittance which we never even saw because the sound guy got that. We toured, we made records, we signed deals, we did T.V. shows. We travelled to different countries, we had fab clothes, we played at Wembley, we did lots of radio roadshows, we worked harder than any other band I've ever known and we were mates. BUT............It wasn't for me. 
 
The band split. Sort of. Me and the Drummer, Tina left and the rest of them went to South Africa taking Lidia with them. She soon came back though and landed herself the job of bass player in Ezio, an outstanding and amazing band, so no complaints from Lid. Meanwhile I hooked up with a local producer Steve Ennever and we wrote a bunch of songs, did some cool gigs - with the help of some mates - and signed a huge recording contract in New York with Columbia Records.
 
Jon Leshay, who now manages Mandy Moore and various other artists, was the man who mentored me throughout. He lent me money he almost certainly never saw again, took me to great restaurants, introduced me to some pretty fantastic people, inspired me to write music when I didn't want to. Believed in me, got my songs used in films and TV, made his home my home every time I was over there and his family made me welcome around their dining table too many times to mention.
Twelve years on and I still send him everything I write because if Jon doesn't like it I know that nobody else will either. He has that wonderful gift which can sniff out the talent and spot a hook and a melody within the first few seconds of hearing it. 

Because I knew so many industry people over there in America I spent a year there on and off. I never had a green card so I had to keep coming back which I never wanted to do. Somehow I still feel that a little piece of me has been left over there under a tree or in a diner somewhere and I could see myself going back one day to live.

British Racing Green was recorded at Sunset Sound and Ocean Way Studios in LA and was mixed in New York. I don’t know if I liked going over there to work or to shop because that was often just as thrilling. (I’m not really into fashion at all but the clothes were cheaper and generally cooler and the make-up in Bloomingdales, well don’t even get me started on that.)

I would come back with bag loads of stuff.

Anyway, Mike Elizondo, producer and co-writer for Eminem and Dr.Dre, was our bass player, Brian McCloud was the drummer and Lyle Workman the guitarist and these guys were some of the best session musicians in the world and between them have worked on so many massive records. I was a very lucky little cockney.

We stayed in a complex in LA built for actors, musicians, film-makers and the like while they’re making movies and albums, so if I wasn’t in the studio, I was sat around the pool with all the stars of tomorrow. Life was tough back then.

The record took three months to make and the Americans seemed to like us Brits.  I felt at home. I remember Green Day spent a fair amount of time in our studio lounge because of all the English tea I made. That was before they trashed their own studio and Tori Amos gave me some very good advice about signing the deal when we met at The Four Seasons. I played her some piano and needless to say she quickly left.

I became friends with some glorious songwriters and musicians and had the time of my life. Was privileged to see some amazing live shows: David Bowie at the Amphitheatre in LA (although we had to leave early because the strobes were literally doing my epileptic mate’s head in) , Johnny Cash at The House Of Blues, Ricki Lee Jones in New York, Michael Stipe - who thought he had been to a party with me earlier that week - Madonna in a diner and I would also try to spy on Brad Pitt who lived down the road from Jon. I often saw Clint Eastwood, who was producing a record in the studio next to ours, and LOVED hearing all the rock and roll stories from the guys we were around.

So, when my album was never released and I had to come back to England with a big thump and had to try to make some money, it was a bit of a blow to say the least and I spent several years sulking.

I stopped writing songs and had my only son, Sid.

Having another mouth to feed put even more pressure on Sid’s father and I to keep money coming in and he was only doing little bits of supply work because he couldn’t get a permanent teaching job in Bournemouth. We were more broke than ever before so I got in touch with a local agent who said she could get me plenty of work in hotels in Bournemouth but that I would need a pianist. She gave me the telephone number of two piano players in the area.

One was a man who, when we spoke on the phone, didn’t exactly float my boat and the other was Esther. 
She answered the phone call and I said ‘ Hi, Michelle gave me your number, I’m looking to put a trio together to go out and get some work, I’m really skint. How old are you?’
She replied 

‘Twelve.’

And that was that! She was the one for me.

We met up a day or two later in my flat to have a kind of run through, to audition each-other sort of thing. She brought her Triton Korg Keyboard along and we began.
 ‘Do you know Ironic by Alanis?’ I asked

 ‘No’ she said.

Do you know, ‘Everyday Is A Winding Road, By Sheryl Crow?’

‘No,’  she said. And that’s how it went on until she said.....

‘Do you know the theme tune to Fame?’ I knew I was in trouble as she thrashed out the tune  so loud she woke the baby who was then only a few months old. 
I sang along but my God we sounded diabolical!

It was the worst audition in history and musically we were chalk and cheese. 
She hated every record in my collection and I wasn’t over keen on hers BUT somehow we both knew that we had to work together and not in hotels but we just had to work together.

We did go out as a duo doing loads of covers and sometimes we enjoyed it and other times we hated it. Sometimes we would literally cry before gigs because one of us wouldn’t want to go in and we’d turn the car around never to be seen again.

Until one day Steve Ennever asked me if I wanted his old piano, the one that used to be resident in Arnie’s Shack Studio, and because I wanted Sid to have piano lessons at some stage we made arrangements to collect it. 

One evening Esther came around to visit. She had been studying song writing at the Brighton Institute Of Music. She had moved to Brighton and I wasn’t seeing much of her at that time. We cracked open a bottle of wine, sat at the piano - having never written a song together before - and wrote ‘Superheroes’.

The start of another unique relationship took shape and Esther and I started writing permanently. It wasn’t easy finding time in between work  and motherhood but where ever possible we would squeeze in a few hours here and there. In time Esther and I had co-written a whole catalogue of songs and formed a solid and wonderful friendship for life.

She even comes on holiday with us because she can’t bear to miss out on anything fun that I’m doing.

With the help of Alan ’Big Al’ Hill at Sonic Studios in Poole our demos have been recorded and ready to be played to the world. 

So if Leona Lewis fancies recording one, can someone please let us know or if Bruce Willis is looking for a theme tune to the next big movie or if you want to see us play on your stage then get in touch. We write them, we play them, we love them. We do whatever comes next.

It’s been a tough, fun,  crazy, hard and relentless journey at times but we’re ready and up for arriving at our next destination!





 
 
 
 
 
 
 
 
 


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D&C 19:23 - "Learn of me, listen to my words, walk in the meekness of my spirit, and you shall have peace in me."

"Not a day goes by that we’re not in need of God’s grace and peace. Every morning we need His Spirit to fill us again, to strengthen us for what’s ahead. Every day we need a fresh word that He speaks to our hearts, to help keep our focus on what’s more important. Trying to run this race of life without Jesus will do nothing but drain us dry.

The people of Israel spent 40 years in the desert, wandering in circles. Times were intense, hot, and dry. I'm sure they got weary. But God met them where they were. He made sure they had what they needed. They learned how much they had to rely on Him through every hard and grueling step..

They were hungry, and God sent manna. Every day a miracle was there, right before their eyes. They just had to pick it up.

“When the dew was gone, thin flakes like frost on the ground appeared on the desert floor. When the Israelites saw it, they said to each other, “What is it?” For they did not know what it was.

Moses said to them, “It is the bread the Lord has given you to eat. This is what the Lord has commanded: ‘Everyone is to gather as much as they need. Take an omer for each person you have in your tent.’”

The Israelites did as they were told; some gathered much, some little. And when they measured it by the omer, the one who gathered much did not have too much, and the one who gathered little did not have too little. Everyone had gathered just as much as they needed. Then Moses said to them, “No one is to keep any of it until morning” (Exodus 16:14-19).

And just like the people of Israel had to gather it fresh every morning in the wilderness, so it is with us. They couldn't store it up; they had to look for it daily. And God always provided. Each morning it was there, waiting for them. Every day He made sure it met their needs, they were satisfied, they were nourished, they were cared for. And they never lacked, for God's resources never run dry.

That's what He does for us every single morning. Sometimes we miss it, out of busyness or stress. We try to get things going too fast, spinning wildly, trying to get it all done, and sometimes we might start to forget what matters most.

But even for those times, His grace is there. He waits for us. His patience and His peace never run dry.

Each day, His miracles are all around, right before our eyes. We just have to choose to look for them, to pick up His provision, and stay close to His Presence.

Jesus covers our past, secures our future, and gives us all that we need for this day too. He promises that as we come to Him, and allow His truths to nourish and saturate our lives, we will be satisfied. We will have all that we need to live abundantly and freely in this life.

Don’t waste another moment trying to do life all on your own strength. We were never meant to carry the load and burdens that we face daily; we will always fall short. But we can live in and through His power. It’s a daily choice. May God help us to choose wisely." - Debbie McDaniel

Come go scripture treasure hunting with these lessons looking for the "hid treasures" (Proverbs 2) of knowledge and understanding that God is trying to gift us at the bottom of the scripture ocean. Fill out the answers for email support. We are not just looking for information but for manifestations that can take away our fear of being alone and the fear of not being important that cause most of our problems in life. 

We then take our treasure up to the surface cashing them in for change being gifted wisdom, clarity, contentment, joy, "peace in Christ" (D&C 19:23) and ultimately Charity. Moving forward in our disciple's journey (https://speeches.byu.edu/talks/bruce-c-hafen_disciples-journey/) and gaining this spiritual growth that Dr. Tony Evens talks about so well at - https://youtu.be/14Um8sPpJP4 is our focus of this class.  Go to https://comefollowmedaily.org/to sign up.

In today's music climate, where everyone seems cast from the same mold as if mass-produced in some obscure Autotuned, Ciroc- and champagne-fueled artist-building plant, a sonic craftsman like GOD-FR33 is a bit of an anomaly. Born in Milwaukee, WI, GOD-FR33 comes from an extensive musical background and family, such as The Latimore Brothas, Stevie Johnson, Jacob Latimore, and being mentored by the likes of Terry Sims( Jazz Pianist), Jeff Blue( A&R/Atlantic), Fred Hanba( A&R/Tommy Boy), and Stuart Epps( Engineer for Elton John, Led Zeppelin, Jimmy Page, and Oasis). He was raised on a steady musical diet of funk and soul from the 1970s and '80s, jazz and '90s Hip-Hop, GOD-FR33 is an artist's artist; an amalgam of lyricism, musicianship, technical production skills and, perhaps most significant, complete reverence for and deference to the musical greats before him. "My music is heavily influenced by yesteryear," he admits. With a hodgepodge of legendary and extremely talented acts as sonic influences - rap juggernauts Nas, 2Pac, Notorious BIG, and Common, King of Pop Michael Jackson, funk purveyors Slave, riddim master/cannabis advocate Peter Tosh and Bob Marley, iconic Hip-Hop beatsmith J. Dilla and English R&B band Loose Ends, just to name a few - GOD-FR33 aims to revitalize the notion of quality over quantity and create a body of work that will not only last forever, but be forever appreciated. "Today's artists are all about looks, what they're wearing and what kind of car they drive instead of focusing on their actual body of work. I think that's what's missing from music today. A lot of these artists - and I'm not talking just Hip-Hop, but music in general - if they died today, how many of these tunes would you actually remember?" If asked that question about his music, GOD-FR33 wants to ensure that everyone who hears his material - be it his own Hip-Hop, Jazz, Rock, Alternative/Soul, or the R&B he writes or the instrumentals he produces - can confidently answer, "ALL of them." To make that happen, GOD-FR33 takes extreme care in crafting each rhyme he spits, weaving firsthand experiences and those of others into cohesive, truth-filled bars focused intently on real life instead of the iced out, sexed up fantasy perpetuated by many MCs. He also takes extreme care in creating the soulful sound-beds on which those words lie, utilizing both the sounds stored in beat machines, keyboards and other electronic devices and live, self-played instrumentation. "I grew up listening to and playing music so mine is a whole different sound than someone who strictly samples," he says. "I think the person who plays gives you a deeper feeling when you're listening to their music." And GOD-FR33 is eager to give that feeling to as many people as he can. Though fiercely independent and proud of his underground artist status, he is not anti-major label and admits that if the right opportunity presented itself he'd definitely sign a deal. "I worked really hard to be heard," he reasons, and a major label backing is the best way to extend his music's reach. Still, a deal isn't necessary for GOD-FR33 to continue doing what he does best. "I do music for the feeling I get when I'm in a room by myself just creating, not worried about being judged or about anyone else's opinion. It's a part of who I am. Even if I never get signed, I'll always create." An artist who makes the music he wants to make and truly does it for the love? This guy really is different.....


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