Tetsusonical collection.

One weekend in february 2025 there was a gathering of 7 musical performers. They travelled from the cold winter of the north, they came from the west , from the capital and from Copenhagen. We had Rhizoman, Tormodino, TK,, Maria Ru,   Tor Stone, Filippo and Tetsu playing songs of old...

Satori garage

Electric Warriors Jeepster by T.REX.

Jeepster is a term that refers pretty much to an adolescent or young male individual of more or less average and/or insignificant stature, who goes after the object of his affections with almost unwavering tenacity.

Use of the term... at least the modern usage, goes back to the 70's, where Marc Bolan of T.Rex explored and popularized the concept in his song "Jeepster" as the metaphor of the Jeep as the dichotomy between automobiles to expresses the predicament of pursuing a person above one's social stature. In the song "Jeepster" is actually a jeep, pursuing a Jaguar.

Bolan used car or vehicle metaphors often in his songs and if you think of all the connotations of a jeep such as power, masculinity, rolling over rough terraine, etc. when he sings "Girl, I'm just a Jeepster for your love" you can kinda get just what Bolan means.

Electric Warriors is 
Maria Ru
Roy Ronno
Rhizoman
Flippo
Tetsu.
TT

Jeepster

Deborah by Tyrannosaurus Rex, written by Marc Bolan., performed by Flippo of the Electric Warriors.

deb
Deboree-deb n' deboree-de-bree-deb
Deboree-deb n' deboree-de-bree-deb
Deboree-deb n' deboree-de-bree-deb

Oh Deborah, always look like a zebra
Your sunken face is like a galleon
Clawed with mysteries of the Spanish Main, oh Deborah...

Deboree-deb n' deboree-de-bree-deb
Li-di-di-di-di-di-di
Deboree-deb n' deboree-deboree-deb
Li-di-di-di-di-di-di

Ni-ni-ni-ni-ni-ni-ni

Deboree-deb n' deboree-de-bree-deb
Deboree-deb n' deboree-de-bree-deb

Oh Deborah, always dress like a conjuror
It's fine to see your young face hiding
'Neath the stallion that I'm riding, Debora...

(Ex tempore)
Dug a re dug ...
(Ex tempore)
Deborah

Dug a re dug n dug a re dug etc

Oh Deborah, you look like a stallion
Oh Deborah, you look like a stallion
Your sunken face is like a galleon
Clawed with mysteries of the Spanish Main
Oh Deborah

Deborah

"The Slider" is a captivating rock anthem by the renowned English band T.rex, known for their innovative blend of glam rock and psychedelic sounds. Released in 1972, the song displays a unique lyrical and musical style that continues to resonate with audiences till this day. Let's delve into the lyrics of "The Slider" and explore its deeper meaning.

The song opens with the iconic line, "I could never understand the wind at all," immediately drawing listeners in with its enigmatic nature. This introspective line sets the tone for the rest of the song, as the protagonist embarks on a journey of self-discovery and meaning.

As the verses unfold, we witness a series of vivid and imaginative imagery. The lyrics paint a picture of fantastical realms and mythical figures, blending reality and imagination. Lines like "I saw the virgin's cleaning lady" and "I could never crawl like them" evoke a sense of otherworldly encounters and a longing for liberation from societal constraints.

"The Slider" explores themes of self-expression, individuality, and escapism. Amidst the dream-like narrative, there lies a call to break free from conformity and embrace one's unique identity. The lyrics encourage listeners to unleash their inner desires and escape the limitations imposed by societal norms, asking us to "bang a gong" and make our own mark on the world.

Musically, "The Slider" stands out with its infectious guitar riffs, catchy melodies, and Marc Bolan's distinctive vocals. Its energetic and upbeat tempo perfectly complements the rebellious and free-spirited nature of the lyrics. The song's production showcases T.rex's signature glam rock sound, incorporating elements of funk, blues, and even a touch of boogie-woogie, resulting in an irresistibly groovy and timeless composition.

In conclusion, "The Slider" by T.rex is a lyrical masterpiece that invites listeners to explore their own sense of self and embrace their individuality. Through its imaginative storytelling and captivating musicality, it encourages us to break free from societal expectations and embrace the fullness of our inner selves. This iconic song remains an anthem for those seeking to express their uniqueness and unleash their creative spirit upon the world.

Electric Warriors Are
Rhizoman
Tormodino,
Maria Ru
Flippo 
Tetsu.

The Slider

"Children of the Revolution" is a song written by Marc Bolan, the frontman of the British rock band T. Rex. The song was released in 1972.

"Children of the Revolution" is known for its distinctive riff and catchy chorus. The song is about a revolutionary movement of young people and their rebellion against a established society. Bolan sings about being a part of this revolution and challenging the status quo with lyrics that are full of energy and passion.

The song has a combination of glam rock and early punk rock sound, and it has become a classic in rock music. "Children of the Revolution" has also gained popularity through various cover versions and has been featured in films and TV shows because of its iconic style and message.

Electric Warriors are

Rhizoman
Tormodino
Roy Ronno
Maria Ru
Flippo
Tetsu.

Children of the revolution

Teen riot structure, ankle deep in fear
Babies lost in bellies and the oracle can't hear
A demon angel demi-god blasted through the night
Me and Lucy Lightning holding on real tight

An ancient Lord in wonder rung upon my bell
I fed him with my nightmares And he ate my dreams as well
All London was in blazes burning to the sound
Of deep galactic tragedies in stereophonic sound

A tempest teen of stature in Gatsby hat and cloak
Licked upon my lollipop, but I didn't get the joke
As devastation mounted my wardrobes almost burned
The teens held hands on shifting sands and wonder what they learnt

Teen riot structure, ankle deep in fear
Babies lost in bellies and the oracle can't hear
Oh no
An ancient Lord in wonder rung upon my bell
I fed him with my nightmares And he ate my dreams as well

All London was in blazes burning to the sound
Of deep galactic tragedies in stereophonic sound
A tempest teen of stature in Gatsby hat and cloak
Licked upon my lollipop but I didn't get the joke

As devastation mounted my wardrobes almost burned
The teens held hands on shifting sands and wonder what they learnt

Teen riot structure

Flippo Tetsu amalgamated inc. Plays rock`n roll.

Choo Choo Ch'Boogie" is a popular song written by Vaughn Horton, Denver Darling, and Milt Gabler.

The song was recorded in January 1946 by Louis Jordan & His Tympany Five and released by Decca Records. It topped the R&B charts for 18 weeks from August 1946, a record equalled by only one other hit, "The Honeydripper." The record was one of Jordan's biggest hits with both black and white audiences, peaking at number seven on the national chart and provided an important link between blues and country music, foreshadowing the development of "rock and roll" a few years later.

History and background
Although "Choo Choo Ch'Boogie" is now seen as epitomising the style known as jump blues, it was written by white songwriters whose background was in country and western music. The song is credited to Darling, Horton and Gabler. Denver Darling (1909–1981) was a "hillbilly" guitarist and songwriter,as was his occasional songwriting partner Vaughn Horton (1911–1988). Darling and Horton had recently contributed "Don't Hang Around Me Anymore" to Gene Autry, a hit for him in 1945. Horton's other writing successes included "Mockin' Bird Hill", "Sugar-Foot Rag" and an updated version of Jimmie Rodgers' "Muleskinner's Blues."[4] The third credited songwriter was Milt Gabler (1911–2001), then the vice-president of Decca Records and Louis Jordan's record producer. A few years later, still at Decca, Gabler was also responsible for producing Bill Haley's epoch-defining "Rock Around The Clock" (and Haley, in turn, recorded a version of "Choo Choo Ch'Boogie" for his album, Rock 'n' Roll Stage Show[.

The song summed up the feelings of excitement followed by disillusionment felt by many who were returning from serving in the Second World War:[2]

You reach your destination, but alas and alack!
You need some compensation to get back in the black
You take your morning paper from the top of the stack
And read the situations from the front to the back
The only job that's open needs a man with a knack
So put it right back in the rack, Jack!

Choo choo ch’ Boogie

See You Later, Alligator" is a 1950s rock and roll song written and first recorded by American singer-songwriter Bobby Charles. The song was a Top Ten hit for Bill Haley and His Comets in 1956 in the United States, reaching no. 6 on Billboard and CashBox. In the UK, the single peaked at no. 7.

History
Originally entitled "Later, Alligator", the song, based on a 12-bar blues chord structure was written by Louisiana songwriter Robert Charles Guidry and first recorded by him under his professional name "Bobby Charles" in 1955. His recording was released on Chess Records under the title "Later, Alligator" as 1609 in November 1955 backed with "On Bended Knee". Guidry, a Cajun musician, adopted a New Orleans–influenced blues style for the recording. The melody of the song was borrowed from bluesman Guitar Slim's "Later for You, Baby" which was recorded in 1954.Guidry also wrote "Walking to New Orleans", which was recorded by Fats Domino.

The song was also recorded by Roy Hall, who had written and recorded "Whole Lotta Shakin' Goin' On" ten weeks before, on December 1, 1955, at a Nashville session.

Bill Haley recording
The most famous recording of the song,, was that created on December 12, 1955. by Bill Haley & His Comets at a recording session for Decca Records.Unlike most of Haley's recordings for Decca, which were created at the Pythian Temple studio in New York City,Alligator" and its flip-side, "The Paper Boy (On Main Street U.S.A.)", were recorded at the Decca Building in New York. The song was featured in Rock Around the Clock, a musical film Haley and the Comets began shooting in January 1956. Regarding the claim that Decca records released this disk on February 1, 1956, in both 45 and 78 formats,[5] Billboard had already listed the song as debuting on January 14, 1956, on the Best Sellers in Stores chart at no. 25 and on the Top 100 at no. 56.The Decca single peaked at no. 6 on the Billboard and CashBox pop singles chart in 1956.[7]

Haley's arrangement of the song is faster-paced than Guidry's original, and in particular the addition of a two-four beat changed the song from a rhythm and blues "shuffle" to rock and roll. The song also has a more light-hearted beat than the original, starting out with a high-pitched, childlike voice (belonging to Haley's lead guitarist, Franny Beecher) reciting the title of the song. The ending of the song was virtually identical to the conclusion of Haley's earlier hit, "Shake, Rattle and Roll".

Bill Haley's recording of "See You Later, Alligator" popularized a catchphrase already in use at the time,[8] and Princess Margaret of the United Kingdom was quoted as saying it.[9][10] It would become Haley's third and final million-selling single, although it did not hit the top of the American charts.

Haley and the Comets re-recorded the song several more times: in 1964 for Guest Star Records, a drastically rearranged version for Mexico's Orfeon Records in 1966, and once more in 1968 for Sweden's Sonet Records. It was also a staple of the band's live act. Several post-Haley incarnations of The Comets have also recorded versions of the song. Guidry, under his Bobby Charles pseudonym, re-recorded the song in the 1990s.

See u later Alligator

Do you practice music on the tundra thursdays? Meet up with the band to present a musical idea?

This song is about creationality in a band setting with potatochips, coca cola, coffee and a lot of amplifiers.
Written by Tetsu, Guitar and idea by Rhizoman, the rest by Tetsu.

Thursday saviour meditative mix

A classic Bowie track performed by Paradigma Garage 25.
Crew for this one: 

Tormodino
Rhizoman
Maria Ru
Tor Stone
Filippo
Tetsu.

Space Oddity

The band practice song, Tetsu`s tribute to rock Music as invigorator.

Thursday saviour

Rikki dont lose that number

fyst tok maten hatten, så tok han bilen…

First we take Manhattan

Don’t waste my time

Maria Ru sings in the style of Janis, but this is very much her own interpretation of this classic.

Me and Bobby Mcgee

Riders on the storm

Up the country

California Shake

Call me the breeze

Reality check take 2

It is balling on. More and more. We don’t sing Balle postbud.

Balle på seg, merr og merr.

Akilleus talks to Priam after having killed his son Hector, and tells him that Zeus keeps two jars on the floor, one with evils and one with blessngs, and he likes to mix them and throw among mankind. Goodnight Gomorrah, I will never sleep again, dimemsional degradations, Quantum guerillas

Zeus plays quantum guerillas, chuckles and hums.

To write a happy song (shubidu shubidong)

Looking for a kangaroo-in Katmandu

Bogaloptics to the people. Long version.

Bogaloptics to the people.waw..wav

Deutsche Opal 4 Frauenvokal..mp3

See Margarita dancing. Versjon 1.mp3

sidde på èin pollert.mp3

Grumpy old men.mp3

Virtue signalation blues..mp3

Prektighetsposør lang.mp3

Gunstig Intelligens! Med Lyrikk..mp3

Andalucifal intelligence .mp3

Mediterrenean moondance..mp3

Que tal, Andalucía..mp3

prektightetsposør sannhetsmassør..mp3

jamón económico.mp3

contrebandier dans le sable rouge.mp3

Greek moonotonous .mp3

camping in the back of a Ford.mp3

komito beach rembetication..mp3

Dreamquests behind the third veil has always been a treacherous affair. Beware of moggoths and balouvers and their vicious balouvering shots. You can actually hear them shoot real balouls at the dreamquester towards the end of the journey and whatever you do, don't stop. Loud, loud, cries the darkened ravenfliers to chase the moggoths from your ears. Did the dreamquester wake up sane enough after a very close battle with the moggoths?

Dreamquest on a prancing Black horse in the realm of Rarn.

Off planet duel for banjo and electric guitar

True memory, from the early 1970`ies. The boat, 15 feet, 65 hp Mercury 4 cylinder outboard engine, fast and beautiful on a quiet lake surface ...tent called Tirich Mir, for 2. Blonde girl, long hair, lake. Beer debut. We kissed a lot. Acoustic guitars by Tetsu and son Filip Rein.

Distant Memory song

Dont know what Olduvai means? Forget about listening to this piece.

Dawn at Olduvai.

Had my first pianolesson in 1966 and played bass in my first band in 1972, Discovered Tontos Expanding Head Band, Pierre Henry, Can and Popol Vuh the same year and have made electronic music since. Tetsu`s Tundra became a geomusical entity east of sense and west of insanity one day in 2014.  Love all you beautiful weirdos that sometimes beam down from your spaceships to visit the tundra .  I am the guy with the hat in the picture - the rest of the guys are innocent and has no connectivity whatsoever to the Tundra.

Tetsu's tundra

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