Hi! I'm Dan Tharp, a solo acoustic guitar player who plays classical and steel string guitar....but only in my spare time. I don't make a living as a musician. I'm actually the IT Director at Pekin Hospital.
I've been playing guitar off and on since I was 13/14 but never could bring myself to perform or record because of "stage fright" and that stupid/crazy voice in my head that keeps telling me I'm not good enough to make a living at it.
So, I pay the bills the old fashioned way (with a real job) and play just for fun. Well I'm in my 40's now and I've been thinking maybe it's time to get over that and start recording and maybe(?) performing again. I just purchased a BOSS BR-600 Digital Recorder to record my pieces with. As I get the time, I'll start uploading them to this site. By the way, the BR-600 is an AWESOME device. I recommend it highly!
I hope you enjoy the music.
If you do, please pass this site along to your friends!
I'd really like as many people as possible to hear it.
I appreciate any feedback anyone has to offer...good or bad.
Four years ago, Jack Savoretti quit making
music. He’d had enough – of scratching a living as an independent artist, of
business bust-ups, of being touted as a soon-to-be star. He’d spent two years
(and all of his savings) in legal dispute with a former manager and seen the
release of his second album so botched it barely came out. He was 26 and
recently married, with a baby on the way. “I thought that was my run, I’d had
fun and now it was time to get a proper job,” says Savoretti. “I was done with
music and, honestly, I didn’t mind.”
What happened next couldn’t have surprised
the singer more. “As soon as I said, ‘screw this’, I couldn’t stop writing,” he
recalls. “I wrote out of anger, although the songs were more of a cry for help.
It was the best, most personal music I’d ever made. I realised I had really
learnt how to write, how to express exactly what was in my head.”
That album, 2011’s critically-acclaimed
‘Before The Storm’, saw Savoretti turn a corner. That he was an exceptional
singer was never in dispute – those gorgeous, gritty, soul-soaked vocals that
caused such a fuss when he first emerged and saw his DIY debut, 2007’s ‘Between
The Minds’, championed by Radio 2 – but by his own admission, his early work
was him finding his feet.
‘Before The Storm’ reignited Savoretti’s
passion, taught him how to put himself in his songs and, crucially, led him to
the musicians who helped him helm ‘Written In Scars’, his impressive new album
and his first to be released by a major label, with whom he signed earlier this
year. “A lot of the songs were written with Sam Dixon, who is Adele’s musical
director and Sia’s main co-writer”, says Savoretti. “I also wrote with Matt
Benbrook who has worked with Paolo Nutini, Jake Bugg and Faithless and finally,
of course, with my guitarist Pedro Vito and Seb Sternberg (Pedro’s production
partner). I drew inspiration from them all.
“The heartbeat of the album is rhythm. It’s
all about groove, drums and bass. The sound was key – it came before the songs
or the subject matter. I completely changed the way I’d previously written,
abandoning structure for a looser, loopier, almost circular approach.“
What Savoretti didn’t spot until ‘Written
In Scars’ was underway was the influence of music from his family past. “Most
of my musical influences come from my parents,” says Savoretti, “My mum was
into The Eagles, Crosby Stills & Nash and Motown. My dad played mostly
Italian music from the ‘60s and ‘70s. In the past I suppressed that as an
influence but, for the first time, on these songs, it appeared.’
What Savoretti calls the Euroclash of his
past emerges in the album’s rich, warm textures and brooding atmospherics, as
well as in the Spanish-style guitar that opens both the title track, a rousing
revolution anthem, and future single ‘Home’. It’s there in the melancholy piano
and soulful phrasing of ‘Back To Me’ and in the darkness that envelops ‘The
Hunger’, a song through which bass beats like a pulse.
Most striking, however, is the loose-limbed
nature of songs driven largely by percussion. Gone are Savoretti’s troubadour
days, although that impassioned voice remains – if anything, grittier and
gutsier than before. That groove he mentioned is everywhere, from the dreamy
‘Don’t Mind Me’, a midtempo song with a hip-shaking sexiness, to even the
gorgeous, folk-tinged, strings-backed ‘Broken Glass’. That circular approach to
songwriting makes sense as soon as you hear ‘Home’s mesmerising chorus, the
repeated piano riff of the spectacular The ‘Other Side Of Love’ or the frenzied
finale of ‘Fight Til The End’.
Savoretti’s reliance on rhythm is at its
most obvious, and most glorious, on Tie Me Down, the first single to be
released from the album, leading an EP out in October. A recurring acoustic
guitar riff, tribal bass drum beats and a galloping groove back an instantly
infectious, near hypnotic vocal on a stompalong of a song that couldn’t spell
out Savoretti’s new sound more clearly.
Lyrically, ‘Written In Scars’ largely deals
with struggle, or rather overcoming struggle – hence the title. “Some of that
struggle is personal,” says Savoretti, “but much is about the struggles going
on everywhere at the moment. It’s about emerging from strife, with fists in the
One song that doesn’t fit the theme is ‘The
Other Side of Love’, which deals with the dark side of love, described via
tales of an abusive relationship and of a boy frightened to come out, albeit
set to deceptively uplifting percussion and strings.
“’The Other Side Of Love’ has a slightly
different sound, as well as different subject matter,” says Savoretti. “It
probably suggests the next phase for me, after this album.”
The sole track that looks back is ‘Nobody
‘Cept You’, a beautiful cover of an obscure Bob Dylan song that Savoretti
discovered at his lowest ebb.
“That song genuinely saved my life,” he
says. “I was in Santa Monica, at Jackson Browne’s studio, to make my second
album and someone played me a Dylan bootleg that had ‘Nobody ‘Cept You ‘on it.
At the time, I wanted to grab my shit and run, away from everything and
everyone but that song inspired me to go on, to be grateful for what I have.
“It’s definitely nerve wracking recording a
Dylan song, but thankfully, not many people know it and even fewer have covered
it; it’s not ‘Mr Tambourine Man’. It is also amazing how many people shut up at
a gig when you introduce a Dylan song. It’s a song that’s helped me in so many
Declan McGarry has worked with
some of the best and biggest names in Nashville including Billy Falcon (Bon
Jovi collaborator), Steve Marcantonio (Grammy Award winning engineer), Brian
White (“Watching You” by Rodney Atkins). In 2012 Declan teamed up with #1 hit
songwriter and producer Jeff Coplan (Love and Theft) and recorded what he
describes as his best work to date. His ep is scheduled to be released in 2013
and contains songs filled with images of small towns and heartland America in
the vein of Bruce Springsteen and John Mellencamp with a country twist. But
it’s McGarry’s honest genuine voice that takes the listener to a whole new
level of believing.A natural performer
and a storyteller that speaks from the heart, McGarry has been attracting the
attention of some of the music industry’s biggest names. In 2012 McGarry was
one of 6 artists selected to perform the CCMA’s New Artist Showcase where he
caught the attention of Music Row Magazine founder David M. Ross who wrote: “There were lots of interesting
talents that took the stage [for the 2012 CCMA New Artist Showcase], but the
one that caught my ears with stage presence, voice and interesting original
songs was Declan McGarry. McGarry is a young Brad Paisley meets Jason Aldean
mashup.” – David M. Ross (MusicRow) When not in Nashville writing
with the city’s finest, McGarry is out on the road with his band bringing the
party to cities and towns across the country and building his career song by song,
town by town, fan by fan. This is one show you don’t want to miss when it rolls
through your town!
(pronounced Mar-ko-may) is a Canadian singer songwriter. Gifted with a pure
voice, she blends lyrics with a unique wordless language that brings us in an
atmospheric universe. Marcomé carefully fuses different world music
influences with jazz style and classical vocals creating a new world music
genre. Marcomé produces, arranges and engineers her musical work. She is
a keyboardist, programmer and sound engineer as well as a proficient
After completing her post-graduate studies
in commerce and communications, Marcomé worked in theatre, in both music
composition and sound creation. She then moved into the music industry. Her
impressive professional experience and background as a quality sound and
mastering engineer, has allowed her to collaborate with renowned artists and
producers. This is the source of both her musical inspiration and artistic
sense. Her industry collaborations include work with such artists as Diana
Krall, Cecilia Bartoli, Le Cirque du Soleil, Branford Marsalis, Sir George
Martin, Tom Waits, Daniel Lanois, Pat Metheny and Yes.
The Making of Seven Seas:
debut album entitled Seven Seas, was released in Canada, USA, Europe, Asia and
the Middle East in 1995 and received critical acclaim. All the lush sounds and
vocals of the original release have been enhanced,Seven Seas
Remastered is born; the magic of the sound is breath taking. Co-produced
with Michel Robidoux (Frank Zappa), Seven Seas
Remastered incorporates keyboards, fretless bass and traditional world beat
instruments while layering her vocals over the pieces of music. Marc Langis
(Celine Dion), on fretless bass, Michel Donato (Oscar Peterson, Toots
Thieleman), on counterbass and Michel Dupire (Roch Voisine), on
percussions enhance Marcomé’s ethereal voices.
The Making of River of Soul:
began writing new compositions for what would eventually become River of Soul.
The years that separate Seven Seas
of Soul allowed the artist to mature and evolve both emotionally and
spiritually. Marcomé’s strength lies in her ability to weave and create multicolored
sounds with strong melodies. In this River Of Soul
succeeds. It is a recording imbued with intimacy and laced with introspection.
It was cinematically conceived; it’s a feast for the eyes as well as the ears.
Welcome to the River Of Soul,
a voyage filled with spirituality, imagination, sensitivity and a surreal sense
of being. River Of Soul was co-produced with Michel Robidoux (Leonard
Cohen) who also adds his exquisite guitar playing to the mix and Martin Lord
Ferguson (Cirque Du Soleil). Michel Dupire’s (Sarah McLachlan),
sophisticated percussions adds a distinctive touch and ryhthm to the overall
Of Soulis an album, which many people will discover a deep connection
The first single & music video entitled
River of Life sets the tone and unleashes the magic within. “Come and
run in the river, let the waters rejoice in your life”.
Rick Miller has been composing, producing, performing and recording since the early 1980s, gaining a great deal of production experience while working at Sound Design Studios in Toronto and later in his own studio in Lakefield, Ontario, all the while honing his skills as a singer and songwriter. Early this century, Miller turned his attention to progressive rock, the music he grew up listening to, and released four prog CDs between 2004-2009. Falling Through Rainbows (2009) is his latest; this is the new Unicorn Digital edition. Rick lists his influences succinctly as The Moody Blues, Pink Floyd, Steve Hackett, and Gabriel-era Genesis, but its the first two that dominate, such that Falling Through Rainbows can easily be described as a cross between The Moodies and Floyd. Miller sings and plays guitar and keyboards (lots of Mellotron), assisted by other musicians on flute, cello, guitar, violin, and drums. This is old-school melancholy, and those David Gilmour-style guitar leads are just what is needed to shift The Moody Blues out of the late 1960s into the 1970s progressive rock era.
Canadian multi-instrumentalist Rick Miller
has always been one for mellow music. Beginning his work in the eighties with
the new age record "Starsong", Rick has gone on to make a series of
albums, often drawing comparisons to the work of Pink Floyd, and for good
reason. "Dark Dreams" is another warming addition to this saga,
capitalizing on his soulful guitar style and artistic maturity.
The comparisons to Pink Floyd are well founded,
although I think I would take it one step closer and liken Miller's work to
Floyd guitarist David Gilmour's solo career, particularly "On An
Island". The music here is fleshed out with atmosphere, built around
melancholic songwriting, and brought to life through Miller's lead guitar, of
which listeners will hear much of. Although his voice is somewhat plain, Rick
uses it well, and his songwriting- often graced with satirical lyrics- works
with his subdued vocal approach. Like many other, more laid-back vocalists in
prog rock- notably Steven Wilson - Rick Miller distinguishes his vocal talent
through beautiful vocal harmonies. The key to his talent lies in the guitar,
Although much of the album's forty-five minutes is allocated to the
more structured elements of his songwriting, he never forgets to give some
breathing room for his guitar, home to some of the most tasteful soloing I've
heard in a while.
Above all, I may be most impressed by the
way Miller has produced his work. After having worked in a recording studio for
some time, it's clear that this experience has translated well in his work,
resulting in a gorgeous sound for "Dark Dreams". With particular
regards to his vocal harmonies, Rick's ear for mixing is spot-on. Of course-
much like the songwriting- the sound of "Dark Dreams" sticks itself
within a fairly tight room. Barring the ethnic ambiance that bookends the
record, listeners can expect to hear a fairly straightforward course of
melancholic rock, rarely deviating from the slow to mid-tempo pace. For the
intents of a 'chill out' album, "Dark Dreams" does not suffer loss,
but it would have been nice to hear Rick Miller's artistic vision broadened.
His talent and skill of engineering is very evident, but the sense of restraint
is never broken.
Needless to say, fans of David Gilmour's
solo work will love what Rick Miller offers; Rick certainly delivers many of
the same traits and qualities that make the former such an icon. "Dark
Dreams" rarely leaps out or seeks to surprise, but it creates a warm,
welcoming atmosphere for one to sit down and relax to, and I think that's what
Miller set out to do all along.
"The album “In the Shadows” by Rick Miller is simply the best
Progressive Rock Album to come out in a very long time. With a voice like
Justin Hayward of the Moody Blues, Guitar riffs that rival David Gilmour of
Pink Floyd, and the engineering talents of Alan Parsons, Rick Miller has
produced an instant classic that I consider to be the best progressive rock album of 2011." ~ Stewart Brennan World United Music.
Magnetic Cherry began life in Sunderland, North-East
England in early 2009 when local lass Emma joined forces with her brother Chris
to develop some long-standing ideas for ‘original’ music.
From the very beginning, the goal was to draw on a zenith of experience and
musical knowledge that they shared.
With her powerful but melodic vocals, Emma had an immediate impact on the
north-east’s acoustic blues and folk circuit cementing her innate natural
ability as a songstress.
Her brother Chris established himself as a veritable ‘one-man-band’ by his
early teens but drums are where his talent really lies and it is this that
forms the solid foundation of the Magnetic Cherry sound.
Also recruited was self taught guitarist Mark Bushell who had been playing
along to electric blues and rock music since he first picked up a guitar aged
This brings us to the music itself which is difficult to ‘pigeon-hole’ but were
you to dissolve a core of folk-rock into a melting pot of blues and add a dash
of country you wouldn’t be a million miles away!
Emma Louise Callaghan
Mark Bushell Chris Callaghan Richard (Lionel)Johnson
Influences: Sarah MacLachlan, Ingrid
Michaelson, Sarah Bareilles, Joni Mitchell, Eagles, John Mayer, Leona Neiss
So, like, what's our story? Well, us Beat
Rats sprung to life in NYC a way's back so’s we could cop a choice gig at
CBGB’s before it shut up. That gig we came on like gangbusters and blew the lid
off the joint! So, the light bulb goes on and us Beat Rats figured we’ll start
making the scene. Armed with a boatload of raucous rockety riffs, we invaded
some of the most drunken establishments in the US. Earlier this year we made
like a rock and rolled into the studio where we barreled through a sonic
barrage of Beat Rat dittys. Today, we spend our dims and brights peddling our
crazy new album around. So shake a leg and cop our CD! Then, maybe we’ll be
able to scratch up enough loot to make a buncha noize in your neck of the
woods! This is one scene you gotta make. You’ll blow your wig and fall right
So keep yer peepers on hi-alert and catch them swingin’ Beat Rats!
Frank Max - Guitar,
Paul Garwood – Guitar, Tony Matura - Bass, Mongo - Drums
The name originates from one of the greatest children's books ever written, "Where The Wild Things Are", The Max was born out of several other bands around the Nashville area. The Hot Rocks, Slow Dither, and Lunchbox Mysteries. "We're interested in writing great songs and making people dance." says Chad with a huge grin. "It's more about having fun and making music then anything else." Joe continues, "We jammed together once, and the very next week we were in the studio pumping out great tunes. Everything just gelled." Having been recording engineers for several years now, Adam Deane and Matt Coles are a production team to be reckoned with. Having worked on numerous hit records with the best Nashville has to offer, these guys know how to make records. The Max haven't been around for long, but they are sure to get your attention fast
Chad Hannah, Joe Copeland, Adam Deane, Matt Coles, JC Monterrosa
The Beatles, The Kinks, Ryan Adams, Bloc Party, Kings of Leon, U2, The Cure, Led Zeppelin, AC/DC, Pearl Jam, Fountains of Wayne, All American Rejects
Victor Stellar is a composer and sound
director from Moscow Russia. He began his creative music career in 1998 through
his love of music where he began experimenting with sound. Victor has several
popular albums under his belt and continues to work on new projects.
Every so often, a great band comes along
that sounds like nothing that is happening around them. Upon listening to
Cavalier Rose’s demos, it may come as a surprise that the band was brought to
life in Brooklyn.
Cavalier Rose formed during the winter of 2009. After getting together a
handful of times at each others’ apartments to exchange musical ideas, the
group gathered in the basement of Sarah’s house for its first full-band
rehearsal in late February. As it was immediately apparent that this
collaboration was yielding prolific musical creation, a recording session and
gig were scheduled. In late March – after just 7 full band rehearsals – the
band traveled to a 19th century sheep farm on the Connecticut River to record.
Three days later, they returned to New York, where they played their first gig
to a capacity crowd at Pianos. Two weeks later, The Deli Magazine named
Cavalier Rose “NYC Artist of the Month”.
In December, the band embarked on a tour to Rock Island, IL to record a
Daytrotter session, playing shows in Pittsburgh, Ann Arbor, Chicago and
In these very early stages of Cavalier Rose’s existence, they are beginning to
hone in on their goal: to change the face of music.
Psychedelic, Alternative, New Wave, Dark Wave – (2000 to 2019)
Psychedelic, Alternative, New Wave, Dark Wave – (2020 to 2029)
Rock, Alternative - (2010 to 2019)
Rock, Alternative – (2020 to 2029)
Soft Rock, Lite Rock, Alternative – (2010 to 2019)
Soft Rock, Lite Rock, Alternative – (2020 to 2029)
Pop Rock – (2000 to 2019)
Pop Rock - (2020 to 2029)
Folk Rock, Acoustic – (2010 to 2019)
Folk Rock, Acoustic – (2020 to 2029)
Hard Rock, Heavy Metal – (2000 to 2019)
Punk Rock, High Energy Rock n Roll – (2000 to 2019)
Southern Rock, Alt Country – (2000 to 2019)
Classic, New Age Classic
New Age Alternative
Ambient, Electronic, Relaxation
Music for the Revolutionary Mind
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