This songs is a jam, a party- a mission! 
Inspired by a women's lesson to follow Jesus, it was half written while driving to church! 
Follow Him, Praise Him, Trust Him and Love Him and you will experience life to the full! 

Follow The Lord

progressive house song with a tempo of 126 bpm that is melancholic, in a G minor scale. female vocal sung in spanish, which translated would be roughly that the music brings her in all sorts of places, she calls at you "papi" (daddy/love/friend) to come dance and enjoy life with her. (not an exact translation at all, but word per word or exact translation cannot be done so a rough estimate of how it would be in english should do). 
FREE DOWNLOAD

AYE PAPI

AYE PAPI - FREE DOWNLOAD

Modern take on the style of traditional field hollers, with a metaphoric river

Wide Old River

Rhythmic trance track with deep melodic break in the middle 

Ignite

“Mwito wa Mababu” is one of the most personal and profound collaborations I've ever been part of.
Working with SAFA MOYA felt more like answering a spiritual call than making a track. Her voice doesn’t just sing – it remembers. Through every phrase, you can hear the echoes of generations and the pulse of ancestral ground.

The idea was clear from the beginning: to keep the essence pure. We built the song around raw, acoustic elements – claps, foot stomps, kalimba – recorded in open, natural space. Nothing synthetic. No tricks. Just the human voice, leading and responding, connecting to something older than all of us.

And then came the moment of expansion. For a brief passage, we opened the door to a cinematic deep house atmosphere – just enough to carry the spirit further without distorting it. Pads, subbass, and a gentle pulse that breathes beneath her voice, like a memory carried on wind.

This track is a call across time, a song for the soul and the soil. I'm incredibly proud of what we created together. Thank you SAFA.

- Tom Lysar

Mwito wa Mababu (feat. Safa Moya)

A fiery bluegrass-gospel showstopper where Eve reclaims the Fall with swagger, wit, and girl-group harmonies. Righteous, rebellious, and irresistible.

A Food Truth Revival

I Don't Give a Fig (What You Say)

License/Purchase

A stripped-down gospel soul version of “Pass the Peas,” delivered with quiet conviction and foot-worn grace. A female voice—weathered, warm, unwavering—leads the way through verses of legacy, struggle, and ritual. Acoustic and unhurried, this take trades groove for grit, with harmonies rising like memory behind her. It’s not performative—it’s practiced. An altar made of wood, breath, and repetition.

Pass the Peas

Lyrics/License

Pass the Peas (Gospel Soul)

A high-energy, instrumental jazz-funk piece in a major key, featuring a prominent brass section, a walking bass line, and a driving drum beat. The tempo is upbeat, creating a lively and danceable feel. The primary instruments are a trumpet, trombone, saxophone, electric bass, and drum kit. The brass section plays a call-and-response melody, with the trumpet often taking the lead. The bass provides a consistent, rhythmic foundation with a walking pattern. The drums maintain a steady, syncopated groove with prominent hi-hat and snare work. Production elements include a clean mix with clear separation of instruments, and a slight reverb on the brass to add depth. The song structure is primarily verse-chorus, with instrumental breaks allowing for improvisation-like melodic variations within the brass section. There are no vocals present in this piece.

an anxious night at the hotel

Mmm, yeah…
You point your finger,
But I ain’t the only sinner.

You tell your friends I’m the one to blame,
Every little story, always my name.
But sugar, look who’s talking loud,
Acting so righteous, playing to the crowd.

You say you’re tired, you say you’re through,
But honey, I’m just as tired of you.

Shame on me? Are you kidding, girl?
You’ve been spinning lies all over the world.
Don’t play that saint, don’t twist the truth,
Shame on me? No, shame on you.

You cry at night, but it’s crocodile tears,
Drama on repeat for a couple of years.
You talk of vows, but you broke them first,
Pointing at me just makes it worse.

Don’t preach to me ‘bout love and pain,
When you’ve been running the same old game.

Shame on me? Are you kidding, girl?
You’ve been dancing lies in your shiny pearls.
I won’t chase, I won’t play the fool,
Shame on me? No, shame on you.

You throw the stone—
But your hands ain’t clean!
You wear the crown—
But you’re no queen!
We built this fire, both struck the match,
Now you’re crying ‘bout the scratch.

Shame, shame, shame… (uh-huh)
On who, on who? (not me, not me)
You say my name, (say my name)
But girl, look at you!

Shame on me? Are you kidding, girl?
You’ve been spinning lies all over the world.
I won’t beg, I won’t be your fool,
Shame on me? No, shame on you.

Mmm, shame on you…
Not me, girl…
Shame on you.

Shame on me ?!? (Motown reload)

Why would people hate you for offering a cure?
This slow-burning spiritual blues explores a timeless paradox: the most transformative teachings often provoke the strongest resistance. Inspired by the Lotus Sutra's prophecy of persecution and the delta blues tradition of singing truth through suffering, this song is both a warning and a medicine.
Featuring raw, soulful vocals, National steel guitar, Hammond B3 organ, and gospel harmonies, "Love Till Love's the Only Sure" walks you through darkness into light—from stones thrown to birds taking flight.
A parable. A prayer. A blues song about carrying impossible love through an impossible world.
65 BPM. D minor. Your heart, broken open.

[Verse 1 - Slow, Deep] 
Well the old physician rolled into town
Said, “I got medicine, gonna pass it around.”
“Ain’t no quick fix, no sugar-sweet lie,
One drop of this truth and you’ll never die.”

(Pause, low growl)
“But I’ll warn you, child—it cuts both ways.
This cure burns bright and it don’t obey.”

[Chorus - Call and Response] 
Why they gonna hate you for the cure? (Tell me, tell me)
Why they gonna hate you for the cure? (Lord, have mercy)
‘Cause truth don’t fit the story they adore—
That old story, Lord, they’re clingin’ for sure.

[Verse 2 - Building] 
There were three healers in that town,
One cooled fever, one calmed it down.
Built their names on what they knew—
Then came the stranger sayin’, “That ain’t true.”

“Y’all been teachin’ folks to cope,” said he,
“But hope’s the only remedy.”
“The sickness ain’t what you believe—
It’s the fear you won’t release.”

[Chorus] 
Why they gonna hate you for the cure? (Tell me, tell me)
Why they gonna hate you for the cure? (Lord, have mercy)
‘Cause truth don’t fit the story they adore—
That old story, Lord, they’re clingin’ for sure.

[Bridge - Speaking Blues Style] 
Now listen here...
The headache woman, she turned pale,
Thirty years of learning felt like fail.
“If pain ain’t my mountain, what’s left of me?”
She cried to the man by the healing tree.

He said, “Sister, I ain’t here to win—
I’m just showin’ you where health begins.”
“That fear you feel’s the final wound,
My medicine works there too—real soon.”

[Verse 3 - Intensity Rising] 
He called the young ones, said, “Gather ‘round,
This truth’ll cost you—dear and profound.”
“When you carry this medicine through the town,
Those old healers’ll try to strike you down.”

“They’ll call you fool, they’ll call you liar,
But love’s the flame that lights the fire.
When the stones start flyin’—don’t you hide,
That’s the moment faith’s been tried.”

[Big Chorus - Full Voice] 
Why they gonna hate you for the cure? (Tell me, tell me)
Why they gonna hate you for the cure? (Lord, have mercy)
‘Cause truth don’t fit the story they adore—
That old story, Lord, they’re clingin’ for sure.

[Verse 4 - Softer, Mystical] 
“You won’t be walkin’ all alone,
Every healer’s ghost will see you home.
Guardians fierce, soft as lullabies,
Keep watch beneath the mercy skies.”

"They'll keep your heart soft when the world gets hard 
They'll stand watch while you're standing guard" 
"And that attacker throwing stones at your head? 
That's your teacher in disguise," the old man said

[Verse 5 - The Teaching] 
"See, every curse word is a chance to be kind 
Every rejection is a way to refine" 
"That headache healer with the angry face 
She carrying the medicine too, just ain't found the place"

"Deep down inside where she's afraid to look 
That's where the healing is, that's the holy book" 
"And when she finally gets a pain won't quit 
She might remember you offered something different"

[Final Chorus - Resolution, Hope] 
Let ‘em hate you for the cure—love ‘em anyway,
Let ‘em hate you for the cure—sing while you pray.
Love what they can’t endure till daybreak’s pure,
Love till love’s the only sure.

Love Till Loves the Only Sure

"Good Seed" is a patient, grounding folk-blues meditation on the wisdom of tending life like a garden. With fingerpicked acoustic guitar, warm harmonica, and call-and-response vocals, this song explores what it means to plant good seeds, give freely without demanding results, and learn from the spaces where nothing grows.

Drawing on timeless gardening wisdom and spiritual insight, this track reminds us that we can't force growth - we can only create the conditions and trust the process. Some seeds bloom in spring, some take years, and some teach us through their silence. The empty spaces in our garden hold wisdom just as profound as the flowers.

Perfect for anyone who's learning to work at a different pace, to give light without attachment, to honor both the blooms and the bare soil. A companion piece to the bardic tradition of carrying wisdom through song.

Key themes: Patience and trust • Learning from what doesn't grow • Giving freely like the sun • Garden wisdom • Letting go of control • Empty spaces as teachers • Scattering kindness like seeds

Lyrics: 
[Verse 1]
Got my hands in the dirt, got the sun on my face
Been learning to work at a different kind of pace
You can't pull on a seedling to make it grow tall
Sometimes the waiting is the wisest work of all

[Chorus]
Just plant good seed, tend the garden well
Give it light and water, let the seasons tell
Some will bloom in spring, some will take their time
And the ones that don't grow, well they teach you just fine
Plant good seed, let it be

[Verse 2]
I used to think that I could force my way through
Fight and push and make things do what I want them to
But the sun don't demand, and the rain don't command
They just give what they got, leave the rest in nature's hands

[Chorus]
Just plant good seed, tend the garden well
Give it light and water, let the seasons tell
Some will bloom in spring, some will take their time
And the ones that don't grow, well they teach you just fine
Plant good seed, let it be

[Bridge]
Every flower that don't bloom
Is teaching something true
Maybe wrong soil, maybe wrong time
Maybe it's making room for something else to shine
There's wisdom in the empty space
Where nothing shows its face

[Verse 3]
So I listen to the silence where the seeds won't grow
There's a message in the nothing that I need to know
Not everything's meant for every piece of ground
Sometimes letting go is the most fertile thing I've found

[Verse 4]
I'm just a gardener with a patch of earth and time
Scattering kindness like seeds along the line
Can't control the weather, can't command the spring
Just offer up my light and see what mercy brings

[Final Chorus]
Plant good seed, tend the garden well
Give it light and water, trust the story it will tell
Some will bloom tomorrow, some will take some years
And the ones that don't grow hold a wisdom just as clear
Plant good seed
Oh, plant good seed
And let it be

[Outro]
(Slow and peaceful)
Hands in the dirt, sun on my face
Learning to work at a different kind of pace
Plant good seed... and let it be


Good Seed

High-energy, 808-driven kid trap anthem about pocket treasures and counting. Big, bouncy beat; crisp Atl-trap delivery; tons of repeatable hooks so kids can chant along while parents don’t go nuts. No filler, just pocket checks, zip-zip stashes, and count-ups from 1 to 10.

Hoody Wit Da Goody

Noctiglitch is an AI artist/persona utilizes an electronic lofi dance style inspired by Tokyo Machine and Daft Punk. The track "Girl Gamer" is a rom-com song based on meeting a girl gamer in game Enjoy ^_^

GIrl Gamer

High-energy Atlanta-trap bounce for the after-haul ritual: dump the sweets, sort by color/shape/size, count by tens, sip water, zip it up. Big 808s, crisp delivery, tons of repeatable call-and-response so kids can shout along while adults keep their sanity. Timeless (no holiday refs), purely about sharing, sorting, and counting.

Good for: classroom clean-ups, party breaks, car-ride hype, PE/movement minutes.
Clean content: kid-safe lyrics, no scary SFX, no sirens.
BPM: ~142 • Vibe: punchy, playful, repeatable.
If you use it in a short, tag KANTIBUS / Juice Box Jams so we can repost 🧥🍬

SWEET SORT!

808-forward reggaeton-trap flip of the classic chant; call-and-response moves, counting 1–10, and a sunny dembow bounce. Male lead with light island accent; crisp, kid-safe bars and a giant hook parents can tolerate on loop. Perfect for classroom movement, party breaks, and car-ride energy.

Vibe: punchy, playful, repeatable • BPM: 140 • Lane: JBJ trap with dembow spice
If you use it in a short, tag KANTIBUS / Juice Box Jams so we can repost. 🟡🧃

KNICK-KNACK DEMBOW TRAP

ATL triplet kid-trap adventure inspired by the classic dream tale: three friends in a walnut boat riding a star river. Big 808s, bell sparkle, chantable names, and repeatable call and response that kids echo instantly while parents can live with it on loop. No spooky stuff, no sirens. Steady bounce with a giant hook.

Vibe: bold, cinematic, repeatable. Lane: ATL trap (kid safe).
 🌙⭐️

Wink It Blink It

Chicago-trap bounce with a Moroccan nod: clean 808s, hand-drum colors (darbuka and qraqeb textures), and a kid-friendly hook built on the classic chant. Action cues pair with the syllables-tap, clap, roll, freeze-so kids can move along while the groove stays heavy and parent-tolerable. No sirens or scary SFX.

A RAM SAM SAM Maghreb-Trap

Chicago-trap bounce with a respectful nod to Korean folk: pentatonic bell motif, light janggu-style sidestick colors, and a big kid-friendly hook about walking the Arirang road together. Crisp delivery, counting and breath cues, and repeatable call-and-response; great for classroom movement, calm focus breaks, and car-ride loops. No sirens or scary SFX.

ARIRANG ROAD - Korean Folk Trap

Electronic music producer & composer.
https://linktr.ee/SpeakingColors

The entire sound is in my hands. I write cyber poetry, produce, and compose every track ready for Immersive 3D. Every beat is crafted for spatial and next-gen headphones.
Intimate lyrics, total immersion, every track.

For 30 years I kept unfinished demos to myself, never letting them out. Now I finish what I start and release it the moment it’s alive.

I use every tool available — human or machine — as an instrument.
Technology doesn’t replace creativity. It expands it.

Please like and share. 
Welcome to the musical world of The William Altig Choir, where ancient wisdom meets contemporary sound.

Inspired by the teachings of the Lotus Sutra and infused with deep spiritual themes, my music blends the rich traditions of blues and folk with modern elements, creating a unique fusion that resonates with both the heart and soul.

I've been captivated by the Lotus Sutra's messages of compassion, wisdom, and transformation since my youth. It's a journey of self-discovery that has found its voice in my music. Each song is a reflection of my own spiritual awakening and a celebration of universal truths.

My style is characterized by emotive storytelling, powerful lyrics, and a commitment to exploring the depths of human experience. Featuring contemplative blues, acoustic slide guitar, saxophone melodies, and the harmonies of a gospel choir, my music reflects a quest for enlightenment and a better understanding of the self.

Join me on this musical journey. Together, we can explore the teachings of the Lotus Sutra, finding solace, hope, and a deeper connection to the world around us.

#SpiritualMusic  #LotusSutraMusic  #ContemplativeBlues  #BuddhistGospel #AcousticSlideGuitar  #GospelChoir  #Self-Discovery  #SpiritualAwakening  #Hope  #The_William_Altig_Choir

Russell "Hitman" Alexander is that guy you probably know: he worked as a musician his entire life, but ended up also doing other things to support his family. After numerous albums, international tours, and critical acclaim, he’s still fighting.

Like, follow, comment, share. There's more coming. Always.

See phrases.pub for lyrics, licensing, and a full, searchable catalog.

Phrases and Phases Publishing is a one-man label, archive, and reality-refraction field. Founded by J. Adam Walters - lawyer-turned lyricist, satirist, and architectural dropout from polite society - it's the home for songs that shouldn't exist, poems that go to far, and fictional universes with better paperwork than the Library of Congress. 

From folk elegies to parody rap to theocratic cartoon trauma epics, everything here is written by a human who uses AI as a collaborator and instrument rather than an outsourced brain, and finished only when it reaches a space where laughing hurts, or hurting laughs.

I am a passionate singer songwriter, Mom and teacher. I love to create music that brings hope in God. I love to pass it on!

KANTIBUS is an American producer/songwriter who has been creating songs since 1990.

It is a portmanteau of his first initial and last name. 

KANTIBUS started creating what would eventually become known as Drill or Trap Music, demonstrating expertise in both genres. 

As such, he is a pioneer of the "violent real life criminal" styles that exist still in the underground today. 

Tom Lysar creates electronic music with an emotional core — shaped by atmosphere, structure, and instinct. His compositions don’t follow fixed genres but emerge from moments, moods, and inner imagery.

Much of his music is rooted in an extensive archive: early studio sessions, unfinished sketches, and custom loops originally crafted for sample packs, background cues, and small creative projects such as indie games and online content. In 2025 he began reshaping this material, refining old fragments into finished works and aligning them with his present sound. The result is a continuous flow of releases that feel both timeless and immediate — carrying the depth of past explorations into the present.

In his work, sound, memory, and motion merge into a fluid musical expression. Each track becomes an invitation: to drift, to remember, or simply to feel.

This is music that doesn’t confine — it opens space. Between light and shadow, closeness and distance.

🎧 Available for external projects (DJ sets, video, sync etc.)
📩 Just get in touch

🌐 More links below

New tracks tagged #Call and Response