A moderately unusual time signature, 5/4 (or even better, 10/4),inspired much of the detail of this groovy little jam.  Naturally, 10/4 becomes "ten four good buddy", which inspired the CB radio chatter sample. And I lucked out when I discovered part of the sample includes the words "five" and "four".  Then there's "Studio 54", which you'll hear evident somewhere in this tune as well. I love little hidden double meanings. I probably spent 54 hours producing the tune ;-)

Infinity Teeth

Kiowa is one of South Florida's premeire singer-songwriters and has been grinding out incredible original music for decades. I played keys with him for years, but we rarely get the chance to collaborate. Recently, we decided to change that. This awesome Kiowa original features him on lead and backing vocals and guitar, while I did the arrangement, including drums, bass, keys, and backing vocals. We're hoping to make Amen a religious experience. Enjoy!

Kiowa: Amen

I wrote this song while in college (circa 1992) and recorded it onto my Roland D-20 synth. Then years flew by, and I forgot it ever existed. I had long since sold or given my synth away, but I did keep the 3.5" floppy discs with all the tunes I had written on it.  Then one day a few years ago, I decided to track down and buy a used D-20 synth to see if I could still load up the songs. Eventually, I got it working and recovered a treasure trove of songs I wrote, but hadn't heard in decades. It was an AMAZING experience.  And this song was among the many I recovered. I've re-arranged it using modern tools. It's a fusion of jazz and funk.  Enjoy!

November (Redux)

Another tune recovered from the early 90's and re-arranged using modern tools. Unlike the majority of tunes written in my college days, this one is less jazz and more movie score meets electronica.

Nemesis (Redux)

There's nothing I could say that could make you turn around anyway
If you could just see the expression that you left on my face
If you could feel the way I feel
Then maybe all the dreams that we had together wouldn't fade
I've been working to hard just to let you be taken away
I can't let you go.  This is the last time I'll be

Let go.

So you found another man and I see that you don't need me around
And the pain in my heart can't be explained I'm breakin down
What does he do for you that I can't do?
I wonder how long it's been goin on, you've been seein him
And I wonder if you ever stop to think about us again
Do you want me to hold onto you, baby or

Let go. How you can you drop everything?
Let go. This is the last time I'll be
Let go.  How do you expect me to
Let go? Baby, I just can't

How did we let this slip away?
All the times all the moments we shared
Only one thing left for me, baby, is

Let go.

I can't hold onto you, I...
Baby, I just need to. 
Oh, baby.  
How do you expect me to? 
How can you expect me to?

Let Go (feat. Arthur Granquist)

This song is like a metaphor of my life ATM.  At times chaotic and raw.  Occasionally simple and solitary.  Lacking in predicable overall form.  Clearly not quite finished.  But always harmonious and generally pretty damn groovy.  Originally, I sought to write something punchy and aggressive.  But then, of course,  I had to go and sprinkle my little jazz hands all over everything.  
 But that doesn't mean this tune doesn't hit.  In fact, it pushes maximum intensity in the drop, adding layer upon layer of unapologetic hero-synth madness.  Not for the feint of heart, yet good for the heart.  Rillafists is a made-up portmanteau of gorilla and fists.  I suppose the intro and outro are the Ghost.  Enjoy this progressive break.

Rillafist's Ghost

The story behind this tune is as interesting as the tune itself.  Roundabout 1992, I was working on a martial arts weapons demonstration - a choreographed stick fight between me and fellow tae kwon do blackbelt Phu Nguyen. I wrote this song to drive the choreography, using the beats to mark the individual hits of the sticks. Some of the attack patterns we did involved 5 hits, some 7, etc.  As such, this tune has a few wild time signatures and polyrhythms that are sure to twist your brain a bit.  27 years later, I've rearranged and polished it up using modern tools.  Enjoy!

Stick Fight (Redux)

Strange Metrics

Here's a remix of tune I wrote sometime in 1991 (yeah, almost 30 years ago, jeez).  This is the latest of my "vault" tunes recovered from my old Roland D-20 synth and rearranged using modern tools.  This one's a delightful fusion of pop, jazz and funk, with a side of extra funk with more cowbell. Enjoy!

Along For The Ride (Redux)

New Old Tune! The genre? Future Jazz Hands! If you likey to dance, try this tune. The tiny poem below is what this song sounds like to me.

Your Gift

To be born of mysterious disposition.
To come to know the dark as though prearranged.
To escape, in an instant, to a world made new. 
Your gift, it seems, was a gift for you.

The Walls You Build (Redux)

Originally written and recorded in 1993 (or thereabouts) directly onto a Roland D-20 synth.  Here in 2020, I've rearranged are re-recorded it using modern tools. The title was chosen in 1993, but feels oddly applicable today. May 2020 be our Dedofnite.  And the years beyond, our morning light.

Dedofnite (Redux)

When my ever-traveling vagabond family, Transit Soul, contacted me about contributing to their latest tune, I was excited to participate.  Melissa Joiner envisioned me dropping in a few spacey keyboard parts to enhance the tune.  But Mark Hinebrook failed miserably to communicate this when I asked how I should approach the tune, stating this: "The only rule is that there are no rules."  Armed with my new "anything goes" directive, I set about like a bull in a china shop and rearranged the entire song.  Ooh, let me redo the drums!  Ooh, let me redo the bass.  Ooh, let me walk all over the song structure and change the progressions.  Ooh, let me sprinkle my light jazz hands over everything!  Talk about failure to complete the primary objective!  The result is this unexpected hybrid which we now all recognize as a happy accident.  My love to Transit Soul for their invitation and for their graciousness when I delivered nothing even close to what was asked for.  Enjoy this fabulous tune.

Robert Mirabelle & Immortals

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