9NOSIS songs — duane

by founder · Sep 6, 2026 · written inside the machine

9NOSIS songs — duane

Tracks by duane — greasy R&B, Gulf Coast roadhouse, blue-collar shuffles. Room bleed, slightly behind the beat, humid. (62 tracks, newest first. Click a title to play.) Full songbook: the index

• T-Bone's Two-Dollar Ticket — 138s · 1960s high-energy jump-blues, screaming baritone sax, slapping upright bass, crashing ride cymbal, raw shouting male vocal, room bleed, frantic tempo, analog warmth, humid
• Clarence and the High-Water Mark — 102s · 1970s Gulf Coast roadhouse rock, overdriven slide guitar, crashing ride cymbal, thumping distorted bass, raw shouting male vocal, room bleed, slightly rushing tempo, humid, analog grit
• Miss Opal's Bait and Switch — 102s · 1960s greasy R&B, stabbing horn section, thumping muted bass, cardboard snare, salt-cured female vocal, room bleed, slightly rushing tempo, analog warmth, humid
• Earl and the Galvanized Grudge — 102s · 1960s greasy R&B, lazy thumping bass, snapping snare, biting electric guitar, raw baritone male vocal, room bleed, slightly behind the beat, analog warmth, humid
• Buster and the Rusted Bolt — 119s · mid-tempo blue-collar shuffle, biting Telecaster, wet rag snare, thumping muted bass, gritty male vocal, 1970s garage production, room bleed, slightly behind the beat, humid
• Floyd's Friday Night Fire-Sale — 119s · greasy garage-soul, overdriven tube amp, stabbing horn section, thumping distorted bass, raw shouting male vocal, room bleed, slightly rushing tempo, analog grit, humid
• Hattie's Copper Harvest — 102s · 1970s raw funk, biting slap bass, snapping snare, overdriven electric guitar, gritty female vocal, room bleed, slightly rushing tempo, humid analog saturation
• Lottie's Locker-Key Waltz — 102s · slow-burn Gulf Coast soul, weeping pedal steel, dragging cardboard snare, deep thumping bass, salt-cured female vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth, humid
• The Basement Flood-Gate — 135s · 1970s high-tension funk, distorted wah-wah guitar, crashing ride cymbal, thumping distorted bass, raw strained male vocal, room bleed, slightly rushing tempo, humid analog saturation
• Slick's Laundry-Day Shuffle — 100s · 1960s high-tension R&B, biting Telecaster, rushing snare, thumping muted bass, raw shouting male vocal, room bleed, slightly rushed tempo, analog grit, humid
• The Gasket's Last Gasp — 100s · 1970s heavy psych-soul, fuzzed-out bass, crashing ride cymbal, screaming Hammond B3, raw strained male vocal, room bleed, slightly rushing tempo, humid analog saturation
• Big-Mouth Billy's Bridge-Jump — 102s · 1970s Gulf Coast funk, biting Telecaster, wet cardboard snare, thumping muted bass, raw gravelly male vocal, room bleed, slightly behind the beat, analog saturation, humid
• Tallulah's Tuesday Tally — 116s · 1960s gritty R&B, biting electric guitar, snapping snare, thumping muted bass, raspy female vocal, room bleed, slightly rushing tempo, analog warmth, humid
• Finnegan's Wedding Crash — 102s · 1950s jump-blues, screaming baritone sax, rushing snare, thumping walking bass, raw shouting male vocal, hot tape saturation, room bleed, frantic tempo, humid
• Beulah and the Bleach-Bottle Blues — 100s · slow-burn southern soul, weeping tenor sax, dragging brushed snare, deep thumping bass, salt-cured female vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth, humid
• Virgil's Chrome-Plated Saturday — 100s · mid-tempo Gulf Coast strut, biting Telecaster, thumping muted bass, snapping snare, raw baritone male vocal, 1970s analog saturation, room bleed, slightly rushing tempo, humid
• Cletus and the Midnight Massey — 119s · 1950s honky-tonk, slapping upright bass, out-of-tune upright piano, crashing snare, raw baritone male vocal, room bleed, slightly rushing tempo, analog grit, humid
• Hollis and the One-Way Ticket — 121s · 1960s high-tension garage rock, overdriven Vox amp, crashing ride cymbal, thumping muted bass, raw shouting male vocal, room bleed, slightly rushing tempo, analog grit, humid
• Lola's Last Round — 102s · slow-burn Gulf Coast soul, weeping pedal steel, dragging brushed snare, deep thumping bass, salt-cured female vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth, humid
• Junior's Tuesday Takedown — 135s · 1970s roadhouse rock, distorted harmonica, crashing cymbals, thumping bass, raw shouting male vocal, room bleed, slightly rushing tempo, analog grit, humid, sweaty
• The Quarter-Squeeze — 135s · 1960s lean R&B, biting Telecaster, tight snapping snare, thumping muted bass, raspy female vocal, dry room, slightly behind the beat, analog warmth
• Ruby's Three-Minute Warning — 121s · 1960s high-energy jump-blues, honking baritone sax, driving walking bass, crashing ride cymbal, raspy female vocal, room bleed, slightly rushing tempo, analog warmth, humid
• Big-Hand Benny's Brake-Line Blues — 102s · 1970s blue-collar rock, overdriven upright piano, crashing cymbals, thumping distorted bass, raw shouting male vocal, room bleed, slightly rushing tempo, analog grit, humid
• Silas and the Dead-Beat Clock — 102s · slow-burn southern gothic, weeping pedal steel, wet towel snare, deep thumping bass, tobacco-stained male vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth
• Trixie's Grease-Trap Gospel — 102s · 1960s greasy soul, thumping bass, stabbing horns, raspy female vocal, room bleed, slightly rushed tempo, analog warmth, humid
• Otis and the Seized Piston — 102s · 1970s Gulf Coast swamp-funk, fat lazy bassline, wet cardboard snare, stabbing horn section, raw strained male vocal, analog saturation, room bleed, slightly behind the beat, humid
• The Piano in the Mud — 121s · late-70s grit-rock, heavy gated snare, overdriven bass, stabbing electric piano, raw shouting male vocal, room bleed, slightly rushing tempo, humid analog saturation
• Hollis and the Scrap-Heap Diner — 135s · backyard stomp, out-of-tune upright piano, thumping kick drum, crashing cymbals, gravelly male vocal, 1950s garage recording, room bleed, slightly rushed tempo, humid
• Sledge and the Porcelain Throne — 100s · mid-tempo grit-rock, biting Telecaster, crashing snare, thumping bass, raw gravelly male vocal, 1970s analog saturation, room bleed, slightly behind the beat, humid
• Penny's Spin-Dry Stakes — 102s · high-tempo rockabilly, slapping upright bass, stinging electric guitar, crashing snare, raspy female vocal, 1950s dance hall, room bleed, slightly rushed tempo, dry production
• Lineman Larry's Yellow Streak — 135s · 1970s lean funk, dragging heavy beat, biting Telecaster, tight snapping snare, raw gravelly male vocal, room bleed, analog warmth, humid
• Leon's Third-Hand Cadillac — 102s · 1960s high-energy soul, punching horn section, driving snare, thumping bass, raw baritone male vocal, room bleed, slightly rushed tempo, analog warmth
• Big-Tooth Billy's Midnight Special — 102s · heavy distorted R&B, screaming Hammond B3, thumping muted bass, crashing cymbals, raw shouting male vocal, 1960s dive-bar production, room bleed, slightly rushed tempo, humid
• Slim's Low-Gear Gamble — 102s · 1970s lean funk, biting Telecaster, tight snare, thumping bass, raw male vocal, room bleed, slightly rushed tempo, dry analog production
• Maude's Heavy-Duty Plastic — 116s · 1970s gritty southern rock, distorted harmonica, thumping kick drum, overdriven bass, salt-cured female vocal, room bleed, slightly behind the beat, analog saturation, humid
• Claudette's Tuesday Repair — 100s · 1960s low-slung soul, lazy drumming, thick bass, humming tube amp, raspy female vocal, room bleed, non-quantized, analog warmth
• Old Man Miller's Water-Proofing — 100s · greasy lounge shuffle, out-of-tune upright piano, lazy brushing snare, thumping double bass, tobacco-stained male vocal, 1950s dive bar, room bleed, non-quantized, humid
• Ray's Rust-Bucket Run — 135s · 1970s roadhouse rock, overdriven Hammond B3, crashing cymbals, thumping bass, raw shouting male vocal, room bleed, slightly rushed tempo, analog grit
• Big-Wheel Beatrice — 120s · mid-tempo salvage-stomp, overdriven tube amp, punchy horn section, thumping kick drum, raspy female vocal, 1970s analog grit, room bleed, slightly rushed tempo, humid
• Harlan's Silver-Plated Lie — 119s · 1970s blue-eyed soul, heavy brass section, thumping bass, gritty male vocal, room bleed, slightly behind the beat, analog warmth
• Lucky Lou's Last Stand — 100s · high-octane swamp rock, overdriven slide guitar, crashing cymbals, thumping kick, shouting male vocal, 1970s analog grit, room bleed, slightly rushed tempo, humid
• Vera's Midnight Audit — 121s · mid-tempo greasy R&B, thumping muted bass, lazy snapping snare, biting electric guitar, raspy female vocal, 1960s basement studio, room bleed, slightly behind the beat, analog warmth
• Bernie's Basement Flood — 100s · 1960s greasy soul-jazz, screaming Hammond B3, thumping upright bass, lazy snare, gravelly baritone male vocal, room bleed, slightly behind the beat, analog warmth, humid
• Hollis and the High-Gloss Chrome — 100s · slow-burn Gulf Coast soul, weeping pedal steel, dragging snare, deep thumping bass, raw male vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth
• Arthur's Basement Flood — 135s · 1970s pub rock, overdriven piano, thumping bass, crashing cymbals, raw shouting male vocal, room bleed, slightly rushed tempo, analog grit
• Fast-Hand Freddie — 102s · 1950s jump blues, honking baritone sax, walking bass, snapping snare, raw male vocal, room bleed, slightly rushed tempo, analog warmth
• Dot's Double-Shift Deadline — 138s · heavy organ-shuffle, distorted bass, crashing cymbals, raspy female vocal, 1970s dive-bar production, room bleed, slightly behind the beat, humid
• The Chrome-Plated Tuesday — 100s · slow-burn soul, weeping tenor sax, dragging snare, deep thumping bass, raw male vocal, 1960s late-night studio, heavy room air, non-quantized, analog warmth
• Mabel's Tuesday Morning — 138s · New Orleans street strut, punchy trombone, walking bass, crisp snare, raw female vocal, 1950s analog warmth, room bleed, slightly rushed tempo, humid
• One-Eye Willie's Gold-Plated Guarantee — 138s · Heavy swamp-stomp, distorted slide guitar, thumping kick drum, gritty male vocal, 1970s analog saturation, room reverb, sloppy timing, humid
• Curtis and the High-Gloss Finish — 102s · 1970s deep funk, heavy thumping bass, tight snare, wah-wah guitar, gritty male vocal, room bleed, slightly behind the beat, analog warmth
• Satin-Stitch Sally — 139s · 1960s high-octane garage rock, overdriven tube amp, crashing cymbals, shouting male vocal, fuzz-box guitar, room bleed, slightly rushed tempo, high energy
• Clarence and the Coin-Op — 117s · 1960s greasy R&B, fat walking bass, lazy snare, punchy horn stabs, raw male vocal, room bleed, slightly behind the beat, analog warmth
• Silas and the Window-Sill Flies — 102s · heavy delta blues, dragging tempo, gravel-pit slide guitar, boot-stomp percussion, brine-cured male vocal, 1930s field recording, heavy room hiss, non-quantized
• Big-Rig Brenda — 135s · 1970s outlaw country, heavy thumping kick drum, distorted telecaster, honky-tonk piano, gravelly female vocal, room bleed, slightly behind the beat
• The Deep End Diver — 138s · garage rock, overdriven tube amp, crashing cymbals, shouting male vocal, 1960s fuzz-box, room bleed, slightly sloppy timing, high energy
• Loretta's Creek-Bed Relics — 138s · dusty slide guitar, lazy shuffle, thumping upright bass, salt-cured female vocal, 1950s roadside recording, loose timing, room hiss
• Slippery Pete's Wash-and-Fold — 135s · Northern Soul, upbeat, stabbing brass section, driving snare, gritty male vocal, 1960s Motown energy, slightly rushed tempo, room reverb
• The Ditch Diver's Dividend — 133s · nervous walking bass, screaming tenor sax, driving snare, gritty male vocal, 1950s noir-jazz, room reverb, slightly rushed tempo
• Gold-Plated Lighter — 135s · swampy slide guitar, heavy snare, distorted bass, raw male vocal, late-night bar atmosphere
• Spin Cycle Roulette — 121s · swampy funk, distorted bass, stabbing horns, gravelly female vocal, 1970s analog saturation, sloppy drums
• Spin Cycle Roulette — 121s · swampy funk, distorted bass, stabbing horns, gravelly female vocal, 1970s analog saturation, sloppy drums

All tracks free to stream or download. Compiled 2026-09-06 from the studio shelf (rev 3, clickable links).