You are a creator my friend -- so lovely !!!

Great songwriting beautifully delivered 👌😊

Love your playing style combined with the richness of your vocal timbre and the sincerity of your words. This might even be complete as the hums are a lovely gentle way to fade out. Unless you find some other words to complete it with. I love it

Beautiful lyrics and vocals - nice production too!!!

Hey Mark great writing here. Strong song!

This is so catchy...  really interesting.   Thanks for doing it.

Mark, both the guitar and the voice are working really well here. It's a sad song, of course. As previously, you lift from the personal to the bigger picture as you continue. For some reason,this reminds me of Neil Young: Something about the mix of vocal and lyrics.

This is what jamming with the great Johnny Minstrel sounds like. We always loved that light free airy sound. No added fx. Thanks Pravinand @johnny-minstrel

JM: electric guitar, harmonica

The Line (Brian Peters)

I was looking out my window on the first day of Spring
Thought I saw the Winter phantom, well he touches everything
We never know what's good or bad until one of them is gone
Everyone is looking for the line between right and wrong

Well we're looking to the heavens and we haven't left the ground
Looking for the eternal in a world going down
This road just keeps you travelling, going on and on
Everyone is looking for the line between right and wrong

I never know what's hurting, I never know what's true
But man is always restless about the things he always knew
It seems like it started from the day I was born
Everyone is looking for the line between right and wrong

All of us are blinded, learning how to survive
Someone else may tell you, you got to keep hope alive
Well I'm staring out my window, I might see another dawn
Everyone is looking for the line between right and wrong

The Line (w Johnny Minstrel)

in memory of beautiful, brilliant Bre x 
https://soundcloud.com/bre-cabin

I was honoured to have the chance to collaborate with Ms. Bre on one of her incredible, beautifully unique compositions.

Every time I listen to her music, I'm astounded. We hope you like it : )

Composition and all instruments - Bre Cabin / Lyrics and vocals - ltp.

Chants and melodies - Rhiannon's Liquid Soul (+ltp)

simple love  (capo 3)

been lookin out my window  lookin out my window for so long  am7   g  
sitting in the shadow    sitting in the shadow  of a song     am7  g
dont try to cheer me up  c  d  g em
im happy when im lonely  am7 c   d
bring on by your simple love     c  d  g  em
and we'll talk about tomorrow    am7  c   d (low)

the years have been flying,  days have been dying   they're gone
so many lost to us, and those who live through us, undone
heading for some further shore
no silver will we need there
It's simple love we may adore
such gold light of our sorrow

TASCAM DR-05

simple love  (song fragment)

out of rope

C I miss the sun
Am don’t know where he’s gone
F but not as much as I G7 miss you

C I stay indoors
Am pace these floors
F Forgot what it is to G7 kiss you

Em I know time is F running out
Em don’t know what this F song’s about
except G7 growing old
dm7 growing G cold x2

C There’s less time ahead
than Em what’s gone before. 
F What will we do 
with the G7 years left in store?

C Use them or lose them, 
Em that’s what they say. 
F Keep on breathing
till G7 that judgement day 

C And I don’t want F hope
C I won’t F despair
C am out of F rope
but I don’t G7 care

for these C changing F times
the C digital F stew
I C read the F signs 
to get a G7 clue

Em Just another empty F weekend. 
Em Nothing to do but F sleep. 
Em These dark and F wintry days. 
Em How slowly, how mercilessly they F creep. 

Fmaj7 I can’t make the day G anew; Am
Am has it all run out at G last?
Fmaj7 All is silent in this G listless Am room.
Am I live with shadows of the G past.
Of the past  F G

(repeat ‘there’s less time ahead’ section + add)
No, I don’t want hope / I won’t despair
am out of rope / but I don’t care /
I just don’t F (G bass) care. (E shape one fret up, soft)

out of rope

g Waiting for the bathroom to bm heat up
c so I can have a g spruce.

g Sitting at this table in the bm main room
in my c jumper the colour of which is g puce.

It’s d Saturday night in an c English g village
and c no buses am7 run this d late

g It’s Saturday c night, and g I’ve been em7 meditating
on the c state of my am7 life c
and the am7 state d of the g state

saturday night in an english village

Electronic Rock Orchestral Version Cover, Snuff By Slipknot

Luca Belfiore  - Snuff, Slipknot Cover (Electronic Rock Orchestral Version)

„No matter how much you travel, if you don’t dive, you cannot say you’ve seen the world.“ Quote from a diver. It must be a moving feeling to dive into this mysterious and peaceful underwater world. I hope this song conveys a little of that experience, even if I haven't been able to experience it myself yet.

Cover picture background and some sound effects: pixabay.com

Diver's Dream World - OMCB

JTSunrise Rendition of St. James Infirmary

Slow Blues, 60bpm 4/4

[Refrain]

Dm                    A7              Dm
I went down to St. James Infirmary 
Bb7 A7 Bb7 A7 Dm
To see my Baby there
                        Dm                     A7                 Dm
They had Her stretched-out on a marble table 
Bb7    A7 Bb7 A7 Dm
Asleep, so cold, so fair

[Verse]

             Dm                      A7                Dm
Let her go, You let Her go, God you let Her
Bb7    A7 Bb7 A7 Dm 
Wherever You may be
                Dm                                  A7                 Dm
Couldn’t never look this whole-world wide-over
Bb7    A7 Bb7 A7 Dm
Find a girl half as sweet

[Verse]

            Dm                 A7                     Dm
Gonna bury Her in Her strait-laced boots 
             Dm             A7                 Dm
In Her  walk’n coat and Cloche’ hat
          Dm                    A7            Dm
Put a twenty-dollar bill in Her coin-purse 
        Bb7                    A7   Bb7 A7 Dm
So She’ll know She died standin' pat

An American folk song about going to St. James Infirmary to retrieve a deceased lover. The song evolved over time and potentially from British origins in the 1800s, roots can be traced to the early jazz and blues era in New Orleans. Lyrics and melody were adapted and rearranged by numerous artists over centuries and emerged from a blend of folk, blues, and jazz. It’s popularity grew through oral traditions, diverse interpretations, and legendary performances 

Marble tables were practical for hygiene in morgues due to their white, durable, and non-porous characteristics. The thermal mass of a thick marble stone slab table allowed for temperature retention—ideal for icing in warm climates or maintaining an ambient cool surface in morgues which were typically located in medical facility basements

During the late 1800s and early 1900s, fashionable women dressed in tailored jackets, walking coats, and tailored suits. Garments were designed to be fashionable and practical. Popular was the tailor-made suit, which consisted of a matching jacket and skirt. Suits could have varied styles, including fitted jackets with defined waists and skirts. A walking coat was characterized by its length and suitability for outdoor activities. Women's fashion during this period saw a shift towards more tailored and practical clothing

Unlike higher heels of previous decades, shoes in the 1920s often had lower, practical heels to reflect the era’s active style. Boots had lace-up designs, providing a snug fit around the ankle and calf. This style allowed women to participate in energetic social activities. A stif pointed-toe contributed to a sleek and modern look and had defensive advantages. Boots were made of leather or fabric. Suede and patent leather being also popular

A Cloche (“bell” in French) is a bell-shaped fitted hat that became fashionable in the 1920s, complementing shorter hairstyles of the time

"Standing pat", a poker term meaning to keep one's hand as dealt without drawing additional cards, suggests the idea of a person being content and staying true until the end

In 1927 Fess Williams and his Royal Flush Orchestra were first to record the song under: "Gambler's Blues", crediting Carl Moore and Phil Baxter’s “St. James' Infirmary”. The song became more popular after Armstrong's comedic 1928 recording which mocked more emotionally serious versions. By 1930 at least twenty different recordings had been released. The Duke Ellington Orchestra recorded the song multiple times under names like "The Ten Black Berries", "The Harlem Hot Chocolates", and "The Jungle Band”. In 1933, Cab Calloway's version was released in a classic Betty Boop cartoon and his instrumental version featured Calloway's related hit song - Minnie the Moocher. Irving Mills managed both Calloway and Ellington. Mills Music published both artists 

My version of lyrics. Info from the internet

JTS

St. James Infirmary

maybe we'll agree to disagree
maybe we'll see thru the trees
maybe we'll walk hand in hand
maybe we'll fall
maybe we'll stand

maybe we'll look in and see what we can take
maybe we'll brush it off
and learn to live in a new way
maybe we'll take a stand
maybe we won't stand for anything
maybe we'll just relax
upon the old decrepit swing

maybe we'll just rejoice
about the time that remains
maybe we'll just hold on for our lives

simple love (song fragment)

watermelon tourmaline

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