That lead is beautiful. Both the playing and the production!! 

The guitar passages here... And the bass... Are wonderful 

 This is an absolutely magnificent piece beginning to end. 

Totally took me out of my body...great music

brilliant guitar work my friend this reminds me of the great Gilmour 👍

Voici une pièce que j'ai faite il y a un certain moment avec Gary Courtland-Miles (Anomon).  Il m'a demandé si je pouvais ajouter des orchestrations sur une de ses magnifiques pièces de piano.  Sur le thème de l'Amour et l'importance de sa place dans nos vies.

Here's a piece I did some time ago with Gary Courtland-Miles (Anomon).  He asked me if I could add orchestrations on one of his beautiful and heartfelt piano pieces.  This is all about Love and the importance of it in our lives.

https://soundcloud.com/gary-courtland-miles

It's Something Like This - with Anomon

Phantom World

(Written by Terry Reeves)
Terry Reeves: Vocals
Hans Albers: All instruments/Arrangement & Production

New video on YouTube:  https://youtu.be/Z7NUmzq-TCY

For me, getting older has certainly had some advantages, one of them being the ability to take on life's pressures without continually worrying about what is coming along next.

Being seen as the “Wise Old Man" in the family (you know, the one in the comfy chair closest to the TV in the living room), my sons, daughter, nieces and nephews will often plonk themselves down on the seat next to me and disclose their personal problems.  Much though I’d like to pretend otherwise, I rarely have any useful advice to volunteer, the reality being that I offer little more than a sympathetic ear.  That they trust me enough to take me into their confidence is nonetheless most flattering, the reason most likely being that I’m neither judgemental nor threatening and most importantly can be trusted to keep what I’m told entirely to myself.

This song was written after one of these tête-à-tête’s, one in which there was absolutely nothing I could do to change the situation and could only empathise, say that they need never feel they were on their own and affirm I’d always be there for them whenever the need arose.  All the same, I did find myself wishing I could have been of greater help.  I truly did feel blue for them.  

Life can be a sod of a thing sometimes.  When that happens, what else is there to do but write a song about it?   (Terry Reeves)    
 

A glass on the table, half full a distance away
Feeling thirsty and dry so unreachable today
Closer tomorrow but might drain to half empty
Distance unchanged my thirst remains plenty

Feeling so blue for you
Really blue for you

I’ve stood in the forest heard whispers of lies
Every leaf falling past, covers a layer of spies
Try hiding from truth, planet can never disguise
Face stays in the shadows screaming silent cries 

Feeling blue for you
Really blue for you

Look out of the window reflections inside my head
Reversing a vision giving sight to those who bled
The slaughter of life has reduced the time earned
Loving life not chewing death the option unfurled

Feeling blue for you
Really blue for you

I will answer questions if you ask with a smile
I may travel a distance over one million miles
Moving is never a picture puzzles of reasons
Hoping to find missing piece to help mental lesions

Feeling blue for you
Really blue for you

FEELING BLUE FOR YOU - Cripple Club & Hans Albers

“Second Passacaglia for String Orchestra” was completed in July, 2022 in Fairview, TX. 

From the composer's publisher Creative Spirit OnLine: "Brooks’s Second Passacaglia unfolds broodingly over a 17-bar, slowly moving bass line in cellos and basses, while the variations above increase in movement and intensity until finally arriving at a subdued and haunting final cadence."

The work is in one movement. Performance time is about 10 minutes. 
Printed and electronic scores and parts are available from www.CreativeSpiritOnline.com
A virtual recording of this work is posted on www.soundcloud.com/robert-john-brooks.

Performance notes:
•	Tempo, expression, and dynamic markings should be strictly observed.
•	There is no key signature. Accidentals apply to the end of the measure or to the note or notes tied over the measure, and only to notes of the same pitch class, in the same octave.
•	Hairpin pairs (e.g.: mp <>, mf ><) indicate a temporary volume change of one dynamic level.
•	Passages marked  fff  or ppp  indicate playing as loudly and as quietly as possible, respectively.
•	Double-bass “C-extension” is required.

Contact information: 
Email: robtjbrooks@yahoo.com 
Web: www.soundcloud.com/robert-john-brooks
Web: www.CreativeSpiritOnline.com

View/Purchase Score

Second Passacaglia for String Orchestra

(Written by Terry Reeves)
Terry Reeves: Vocals, Acoustic Guitar
Hans Albers: All other instruments, Arrangement & Production

I think it’s important to say that a lot more women than you think have had one or multiple miscarriages. It’s just that it is a subject not often talked about because of the very personal pain that the couple go through. The unborn life has no contact with anybody else except the mother and the emotions are often only remembered by the mother and father.
When Jo and I were expecting our second child we were very excited and looking forward to having another Reeves in our growing family. I will never forget the day that we were told we were going to lose the baby and once told, left sitting in an open A & E waiting area having to cope with all our raw emotions and the prospect of the impending loss amongst the rest of the other patients.
Jo had to go through a painful operation to terminate the pregnancy and it is a day she will never forget. We were a family of three planning being a family of four having now to plan being a family of three recovering from an invisible loss and explain it to our young son.
It was an extremely difficult time but we were fortunate that after a few years we did have two more children. Jo tells me that although it is difficult to explain the connection she had with the unborn child that the presence of life inside her will never be forgotten.
I felt I couldn’t let this moment in our lives pass by without acknowledging our unborn child in some way. The rollercoaster of emotions we shared at that time from euphoria at increasing our family to devastation and bereavement at our loss were felt intensely only by Jo and myself played it’s part in forging the strong bond we have had throughout our relationship. (Terry Reeves)

Two giving chance for more to love
Sharing excitement of a life that grew
Future moments by imagination
Holding tightly to a dream, not knowing who

The moment will always be there

No blessing from a hand of friendship 
Could change the feeling of love untried
A desperation of disappearing contact
Sixteen weeks of wonder with a life inside

The moment will always be there
Will always be there x2

Will always be there x3

It’s hard to share the tears of life unborn
Expectations waiting, true feelings strong
Growing three to four into a family together 
Not knowing where to be or why we belong

The moment will always be there
Will always be there x2

Many questions asked reasons who or why
Emotional growth but no name it’s true
An everlasting memory impossible to share
Changing 4 back to 3 kept just between two

The moment will always be there
Will always be there
Will always be there
Will always be there

FOUR TO THREE - CRIPPLE CLUB & HANS ALBERS

This came out of a piece I'd been developing over a couple of weeks, searching for variations around a central theme on felt piano. After a couple of less than successful attempts at developing the track with a fixed bpm I ended up freestyling it as an improv with some subtle drones from Spitfire labs Foghorn, a unique and free library of sounds derived from recordings of the Sumburgh head Foghorn on Shetland. 
One of the options in the labs library is a selection of engine room noises from the two diesel engines that power the foghorn, I wondered whether the engine room could stand in for percussion on the track and here is the result. Thanks for taking time out to check it out.

the engine room

Words and music K Gennery

For my Nan, Emily Adelaide Francis 1903-1972
Mother of 15 
Grandmother to 24
intro voice, my 93 year old Mum, talking about her Mum.....Emily.

While on my own i find myself lost in the past
maybe i should step back and leave well alone
For there you are ready to receive me
feel safe and warm wrapped in the arms of emily

long ago wished i could have told you so
such a long time ago ooh how i loved you so
ooh how i loved you so....emily

you were gone in a blink of an eye
i should have come and whispered goodbye
 i was young but it doesnt ease the hurting
age is not an excuse its all i have

long ago wished i could have told you so
such a long time ago ooh how i loved you so
ooh how i loved you so....emily

emily

Emily

Goodnight

Midnight Talking (For two guitars)

This track was made in 2015-16 and included on the 2017 album "Hand Made". I used guam instrument samples and of course many many guitars. A painting by artist Zhang Xiaogang was taken for decoration.

 Buy https://guitarbeard.bandcamp.com/track/guamodelica

Hand Made

Guamodelica

Composed & produced by: Chivicke 
Home-Studio Productions ©2020

Photo: My father in 1936

This piece is expressly composed to honor my father. He died in 1956 as a consequence of the penalties suffered in the concentration camps after the Spanish civil war. I was six years old. Life didn't give us much time to be together.

Daddy

I keep bees and write music
Big thanks for your support!!! You find my music also on Drooble https://drooble.com/sergey.chuprikov and Hearthis https://hearthis.at/sergey-chuprikov/

Guamodelica

Guitarbeard

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