FreeEarCandy

If the American revolutionaries lived in the USA today and did exactly what they did in the 1770s, they would almost certainly be arrested, charged, and prosecuted for incitement, sedition, or domestic terrorism. Even the **Declaration of Independence itself**, with its charge that people have a right to “alter or abolish” a government that violates their rights, could be interpreted in a modern context as advocating the violent overthrow of a constitutional order — a potential violation of laws against sedition. The line between patriot and criminal is drawn not by speech or action alone — but by power, perspective, and time. It’s a reminder that history doesn’t just record events — it interprets them, and those interpretations shift with who holds authority, who tells the story, and when it’s told. The nature of ones economics will dictate the character of the people, just like nature (eco system) dictates the evolving attributes of all life forms and the world they live in. Nice work Nigel.

Hello! From the album "Wish You Were Here". Created this in 2014 and updated it with some new VST instruments. All new vocals and electric guitar intro. No samples. Other than that, peace! https://www.bandlab.com/post/c41182b7-b796-f011-8e62-000d3aa6e7e5

Nice!

This is a cover of David Gilmour's song titled "There's No Way Out Of Here" from the 1978 album David Gilmour. David is the lead guitar and vocalist from the band Pink Floyd. This album is one of David's solo projects. More about the original song below... This cover is a collaborative effort put together by FreeEarCandy & Homestudio Kurumin sometime around 2014, but was never fully completed and published for lack of ability to find a female vocalist to handle the backup chorus lines. Still absent of the chorus lines, I decided to go ahead and publish this work today. Analog Lineup: Guitar: GSP 2101 digital/analog vintage guitar signal processor Bass: Marcelo from Homestudio Kurumin, Brazil. Vocals: Dean from FreeEarCandy, USA Digital VST lineup: Organ: Combo of Rapture (preset organ2) & Dimension Pro (preset Hammond). Drums: Session Drummer (extra shoutout to Homestudio Kurumin for helping me tidy up the midi drum track. Harmonica: Combo of TTS Harmonica & Rapture Clarinets Story behind the song" David Gilmour is the debut solo studio album by Pink Floyd guitarist and co-lead vocalist David Gilmour, released on 26 May 1978. The album reached number 17 in the UK and number 29 on the Billboard US album charts; it was certified Gold in the US by the RIAA. The album was produced by Gilmour, and consists mostly of blues and guitar-oriented rock songs, except for the piano-dominated ballad "So Far Away". The tracks used for the album were recorded between February and March 1978 with engineer John Etchells at Super Bear Studios in France. They were then mixed at the same studio by Nick Griffiths. Session musicians included bass guitarist Rick Wills and drummer Willie Wilson, both of whom used to be part of Jokers Wild with Gilmour. The album was recorded at the same studio where Pink Floyd bandmate Richard Wright had recorded his first solo album Wet Dream just weeks before, though it would not be released until September 1978. The album's only single was "There's No Way Out of Here." The single flopped in Europe, but became popular on album-oriented rock radio stations in the US. The song was originally recorded by the band Unicorn (as "No Way Out of Here") for their 1976 album Too Many Crooks (Harvest Records, US title Unicorn 2), which Gilmour produced. It was also recorded later by New Jersey stoner rock band Monster Magnet on their Monolithic Baby! album,[citation needed] and by Iron & Wine on his 2015 covers album Sing Into My Mouth. One unused tune that was written and demoed at the time would later evolve, via collaboration with Roger Waters, into Pink Floyd's "Comfortably Numb" from The Wall. However, a song included on this album, the piano ballad "So Far Away", uses a chorus progression not unlike the chorus to "Comfortably Numb", albeit in a different key. Likewise, the song "Short and Sweet" can be seen as a musical precursor to "Run Like Hell" (also from The Wall), with its shifting chords over a D pedal point, using a flanged guitar in Drop D tuning. "Short and Sweet" was written in collaboration with Roy Harper, who recorded a version, on which Gilmour played, for his 1980 album The Unknown Soldier...Wikipedia https://soundclick.com/share.cfm?id=14954588

The tune and vocals remind me of a musical scene I heard in the Bruce Willis movie "The Fifth Element". Futuristic and alien. Cool stuff!

Nice KSBand. My Icon plays the flute, but I use a VST when I'm in need of that sweet stick. I don't come across many tunes anymore that use a flute so its a rare pleasure. The tune sounds nice. Yes. Relaxing and laid back.

This one I like. Don't change anything. Well done!

I think if this were mine I would slow the pace down a bit. Make the instruments talk more emotionally and not follow the grid. Sort of like you did at the end. Rather than a march go for a somber mood. The piano hook is good. Vocals would certainly help guide the pace and perhaps offer an opportunity to give pause at the end of a verse and let it breath. The horns can then take the lead between vocals and take the tune to a higher level of emotion and then softly land the tune at the end of the runway. Sonically the tune sounds good. Everything is clear and spaced. Rome wasn't built in a day!

Thanks! I may have exaggerated a bit about the time, but I do know it was more than 24 hours. I think my issue in the moment was fear of losing the mood before I completed the arrangement and performed the final analogue instrumentation recordings. I tend to forget what I'm doing after a long breaks and lose a bit of muscle memory. Also, I was an impatient neophyte still learning all the features in my DAW and making tons of mistakes. Yes. I'm a boomer too and also wishing things lasted longer. Stay well, Equality... Underneath these blue skies.

I wrote this song around early spring 2016. I entered the studio and began fooling around with various sounds on my keyboard, looking for inspiration. After a long period of getting nowhere and not feeling inspired by anything I found, I came across a sound effect that seemed to match exactly how I felt about the progress I was making. It was the sound of my time going down the drain. Amused by the irony, I put the keyboard away and grabbed my faithful acoustic guitar. That's when I latched onto something that wouldn’t let me go. It was like I was under a spell and couldn’t break away. Many hours passed, feeling like minutes, until I had completed the musical arrangement. When I looked at the clock, I was shocked to see I had been up for at least 48 hours. I must have drunk six pots of coffee through the whole ordeal and was looking for more because I didn’t want to fall asleep in the middle of the day and begin a vampire sleep cycle. But I was completely out of beans. So I drove one mile down the road to the local coffee shop to grab an extra-large cup of rocket fuel, hoping it would keep me awake for at least six more hours. As I sat in the parking lot of the coffee shop, sipping my brew in the noonday sun with my window wide open, the sun was warm as I inhaled the cool spring air into my exhausted body. I knew I wasn’t going to last six more hours. My eyes began to close as I sat there, watching the people energetically hustling and bustling as my mind surrendered. I didn’t want to move another inch, but I knew I couldn’t fall asleep sitting in my truck at a coffee shop parking lot. But there was a part of me that really didn’t care. It just felt so good sitting there in the warm sun, breathing that cool spring air. I do not remember publishing this tune and I have no records that I did. So you will be the first the hear it after all these years. The title is Under Blue Skies. Hope you enjoy it.

Out of the box. Nice work.

If you feel in a playful or experimental mood and want to widen it with a second acoustic guitar, then take the acoustic guitar track and plop it into melodyne (if you have the software?), and then slightly alter the timing and maybe a very slight offset of tuning (up or down). You can do this to the entire track all at once and it will make quick work of it. Then you can incorporate the result into your project and see if you like the wider sound. If you do, then you can either keep it or make a second one the old fashion way. Its a nice laid back tune. Dean.

Very nice playing!

Merry Christmas!

Thanks for the review and critique, and sorry for the late response. I took another stab at the entire mix and remastered. Switched the AD drum kit for a NI drum kit, and added some sub bass and low end brass. Cleaned up some of the vocal delays and tamed down some sibilance issues. Added some space to the vocals. Will leave the old one up. Here is the new one...

.

Very nice, Nigel. The whole package is top shelf. Dean.

Hello Nigel! Thanks for dropping in. Quantum superposition is a condition of non-locality. In the case of Quantum particles, the particle is everywhere simultaneously and will remain in that state of uncertainty until measured by an observer. The double slit experiment demonstrates the phenomenon. Its a bit hard to wrap ones head around at first, but it comes down to 2 outcomes. Certainty (locality) & Uncertainty (non-locality). Glad you liked the new track. Nigel. Dr Quantum Double Slit Experiment.

Ha! Sounds too ominous for me to look. So I went back to 1942 in my Nash Rambler and found a brave soul named Tweety Bird whose curiosity about the matter was not deterred by the thought of killing a cat. And we all know curiosity always kills the cat. Upon inspection, Tweety animatedly insisted he thought he saw a puddy cat, expressing some "uncertainty". However, upon closer examination, Tweety Bird declared, "I did, I did! I did see a puddy cat." Now, why one would ever think about putting a poor puddy cat in a box I'll never know, but I strongly suspect the thought of catching a roadrunner was too challenging, even while riding on a beam of light. Personally, I have mixed feelings about it. I don't know if I want to laugh or cry. Perhaps if I put my confused emotions in the box and have someone look I'll be able to sort it all out? What do you think?

I like the song. Vocals sounds real good. No really much I can add in the way of constructive advice to guide you any further than what has already been proposed in the comments above. Well done so far. Dean

Lush and sonically warm. As goldilocks would say, just right. One of Glen's greatest hits. Glen was a master, and among one of my favorite song writers of the time. You performed this classic in a most excellent fashion and dedication to the original mood. Very well done! Dean

Thanks, Wookiee. Time is an interest topic, for sure. I have been intrigued with the possibility that our sense of self is responsible for many concepts that just don't follow objective reality. There is no left or right side of any space until a ego steps into the space and measures. Much the same a Schrodinger's cat and the collapse of the wave function. Our sense of self creates this notion of separation-the world inside our head and the world outside our head. Seems all the relativity is a consequence of the observer. Much the same as the duality of left and right, and in and out, time also has dualistic qualities -past and future. This song lyrically exploits these dualistic concepts. Personally, I think there are a lot of things pointing at the possibility its all one thingy and the rest is mind fookery. E=MC^2. "Things that are equal to each other are equal to the same "Thingy"." < Euclidean 1 thingy. Thanks, Wookiee.

Thank you, Bjorn.

Yummy! Very nice Mark!

You certainly make it interesting. As far as the comments about the chord progressions. I notice the same magic when I play the piano. Not so much with other instruments. I don't know why that is, but its very inspiring. Seems like no matter what I do it sounds good which lends a greater degree of freedom in the moment. Hope all is well. Nice work! I like it!