The streets that know my tears – a moment of deep pain and revelation.

A tender farewell to Tbilisi told through 11 bluesy, soulful, and folk-infused songs.
These are whispers under the city’s moonlight – love, memory, and quiet acceptance. A journey of leaving, but never losing what stays in the heart.

Moonlight Whispers

Streets That Know My Tears

Ophelia Mulch (1912–unknown)
Born in Rockford, Illinois, Ophelia Mulch was a small-town girl with a big-city voice. After performing in church choirs and local radio programs, she moved to Chicago in 1935, finding her way into the smoky nightclubs of State Street and the speakeasies that survived Prohibition. Known for her haunting mezzo-soprano and her signature song “The Fast Lane” which she recorded as a 78 rpm single for the short-lived Lakefront Records in 1938. The record never charted, and within a year, Ophelia vanished from public life.

Some say she married a steelworker and settled quietly in Gary, Indiana. Others claim she disappeared en route to a booking in St. Louis, leaving her gown hanging in a hotel wardrobe. Her lone recording, long out of print, resurfaced in a collector’s archive in the late 1990s—its label cracked but her voice still luminous, as if she were singing from behind a veil of time.

the-fast-lane.

This is a bonus track of the first song of the album.

She is the end and the beginning.
Every step with her burns, every spin brings me back to life.
🔥 A ritual of surrender and resurrection.

A haunting tango where passion and mortality intertwine.
This song captures the essence of life through surrender — every step a heartbeat, every breath defiance. Inspired by The Doors, born from darkness, and glowing with life.

Tango of the Undying is a dark, hypnotic fusion of psychedelic rock and tango noir — a ritual of life, death, and desire.
Through smoke and rhythm, each song becomes a confession whispered to the night.
This is not an album — it’s a dance with the inevitable, a heartbeat shared with death and passion intertwined.
Haunting baritone vocals echo Morrison’s ghost, while Rhodes organs, bandoneons, and burning guitars paint a crimson stage where love bleeds and beauty refuses to die.
You don’t listen to this record — you feel it breathing through your bones.

Tango of the Undying

I Dance the Tango with Death (and That’s Why I Live) - bonus

Saw You Going By 
(c) J. Murdock McInnes Vasey

[intro]

[instrumental]

[verse]
I saw you walking slowly
you were going past that store
the one where we would wait
but it ain't there anymore

[verse]
Back then we would enter
we would look at random stuff
we never would buy any
together was enough

[verse]
I wanted to call out
to race across the street
You could not hear my shout
It never left my lips

[verse]
I followed you in silence
to the house that we now share
I let you close the door
before coming up the stairs

[verse]
I could not bare your face
I cannot stand your voice
I have heard it all before
I have no other choice

[verse]
I know what's in your eyes
I know what you will say
I will lay down on our bed
You will always turn away

[verse]
I could not bare your face
I cannot stand your voice
I have heard it all before
I have no other choice

[verse]
I know what's in your eyes
I know what you will say
I will lay down on our bed
You will always turn away

[instrumental]


[verse]
Why do you stay here by my side
What do you have to hide
If you want to go away
Just turn your face to me and say

[verse]
What do you think I'll do?
I will cry and plead with you
I will beg and tell you lies
I will say that I will die

But if you want to go away
Just turn your face to me and say

[verse]
What do you think I'll do?
I will cry and plead with you
I will beg and tell you lies
I will say that I will die

I will say that I will die

I will die

[instrumental]


[outro]

Saw You Going By (Amal)

When the World Was Kind

The Letter

A soulful blues ballad that turns lantern light into data insight, celebrating Florence Nightingale’s fight to heal with heart and charts.

Lyrics:

Born in 1820, in Florence she took her stand,  
A rebel with a mission, and healing in her hand.  
By 1854, the war began to roar,  
She walked the halls of Scutari, through blood and fevered sores.  

Florence Nightingale, the Lady with the Lamp,  
She lit up the silence, she rewrote the stamp.  
With circles of sorrow, she charted the pain,  
And turned death into data, again and again.  

She drew her coxcomb diagram, a rose of truth and dread,  
Each wedge a month, each petal a cause—blue for disease, black for the dead.  
In 1858, she showed the House of Lords,  
That filth, not fighting, filled the graves behind the war.  

She said, “Let the numbers speak,” and they roared like thunder loud,  
Sanitation, ventilation—she moved the stubborn crowd.  
Today we build with metrics, we heal with plotted grace,  
But without her rose of warning, we’d still misread the case.  

Florence Nightingale, the Lady with the Lamp,  
She lit up the silence, she rewrote the stamp.  
With circles of sorrow, she charted the pain,  
And turned death into data, again and again.  

From 1820 to 1910, her light refused to dim,  
She taught the world to measure care, not just on whim.  
Florence Nightingale, forever we sing,  
The mother of nursing, the truth she’d bring.


Lady With The Lamp (Florence Nightingale - data visualization pioneer)

Caravans in the Moonlight (ft. Luna Verite)

Baka Nga

Guardians Angel

Adele - Million Years Ago (Live at TODAY) Lyrics (CC).mp3

I write the lyrics; Mr. Alfonso Suno composes the music.  Working with the lovely Ms. Ai Ongaku, they create the arrangements.  Ms. Ongaku and her crowd are responsible for the performances.  My part in creating these tracks is very small. Nonetheless, I am to blame.  Mea culpa, mea culpa, mea maxima culpa.

Saw You Going By (Amal)

I and Ai