(Written by Terry Reeves)
Terry Reeves: Vocals
Hans Albers: All instruments, Arrangement & production

From the age of 15 when I first stepped into the world of employment I was told it would be a major advantage to get a job that lasted through to the State retirement age of 65. At the time I'll admit it was not something I took at all seriously.  When you’re that age, the last thing on your mind is bloody retirement.   

However, by the time I reached my early 50’s and had been diagnosed with multiple sclerosis, my mind became a little more concentrated on reaching what might now  conceivably prove to be an eminently missable target.  In the interim, the UK government decided that, given the population was living considerably longer than it once had, they would incrementally be raising the retirement age, meaning that mine now became 66. 

Our dear old Nan was a dedicated Bingo player and knew that number callers used particular phrases for certain numbers, one of the best known being 66, known as  ‘Clickety Click’.  So reaching pensionable age became inextricably linked to Bingo, hence the title and subject matter of this song.   

The number one - ‘Kelly’s Eye’ - seemed a good place to start and having done some fascinating research, I worked my way through the Bingo calls, choosing the ones whose scansion worked best, until I reached the magic ‘Clickety Click'.  

As the chorus explains, there were no guarantees I’d actually get there, it was just a target.  But I did get there and this song celebrates the fact.  

The song ends with the traditional exclamation of the player who has won the game, being either ‘House!’ or ‘Bingo!’.  When I was recording the vocals, my constant and beautiful companion Marvin (it is he who is pictured in the cover art) reacted to my shouts with a loud bark, perfectly in time, so we decided to keep it in.  Marv is with me at 99% of the recordings and enjoys being involved when the opportunity presents.

As always, huge thanks to the wonderful Hans Albers for another brilliant backing track which is, as I think you’ll agree, perfect for the song.  That man is a genius.
Thanks so much for listening.   (Terry Reeves)


It all started with Ned Kelly’s eye (1)
A cup of tea (3) to stop going dry
Tom Mix (6) wearing hat, riding fast
Monkey’s cousin (12) hanging, trying to last
Key of the door (21), two little ducks (22)
Paid half a crown (26), keep up the luck
In a state (28), rise and shine (29) but alive
One dirty knee (33) to help jump and jive (35)

Sixty six not to preconceive
Sixty six, a target to achieve

Half way to laugh, more than eleven (37)
As life begins (40), time for fun (41) isn’t heaven
Up to tricks (46) towards four dozen (48)
Five-0, Five-0, it’s off to work (50) with percussion
Danny la Rue (52), a man at the door (54)
The snakes are alive (55) but don’t wriggle more
Shotts bus (56) to Scotland, check the sign
Variety of Heinz (57) to the Brighton Line (59)

Sixty six not to preconceive
Sixty six a target to achieve

A baker’s bun (61) all tickety boo (62)
Tickle me (63), almost retired (64) laughing too
Retirement age(65), it should have been fun
Clickety click (66), getting paid
Take the money and run  
Route 66, nearly there
Clickety click, the sound of my wheelchair

CLICKETY CLICK - CRIPPLE CLUB & HANS ALBERS

Dive into the energetic world of the latest electronic dance track! With pulsating beats and infectious melodies, get ready to dance the night away to electrifying vibes.

Zıplayan Fasulye

Dedicated to Lala Miner 💗🌟

~~~~~~~

Like a puppet with a script
And some clocks to mark the beat
Of a heart that doesn't believe
Of a body that doesn't forgive
Of a mind that doesn't fit in
Of a soul that wants to fly, fly, so high

How do we know?
How do we feel?
How do we show?
How do we fear?
How do we live?
How do we hear?
How do we take?
How do we give?

Like a toy from outer space
And some rocks to show the way
To a heart that purely believes
To a body that always forgives
To a mind that bravely fits in
To a soul that's flying higher, high, so high

How long do we know?
How long do we feel?
How long do we show?
How long do we fear?

How long do we have to live,
without knowing what is real?

How long do we have to live?
How long... do we have to believe?

How long do we have to live,
without knowing if you are real?

How long...

How do we know?
How do we feel?
How do we show?
How do we fear?
How do we live?
How do we hear?
How do we take?
How do we give?

How long do we have to believe,
without showing what is real?

How long...

How do we know?
How do we feel?
How do we show?
How do we fear?
How do we give?
How do we hear?
How do we take?
How do we live?

How long do we have to live,
without knowing what is real?
How long do we have to live?
How long... do we have to believe?

How long do we have to believe,
without knowing what is real?

How long do we have to live?
How long... do we have to believe?

How long do we have to believe,
without showing what is real?

What is real?


---
 
Lyrics, Vocals & Guitar by @melakki
Bass Guitar, Synthesizers & Artwork by @boolapp-goro
Mix & Master by 2:45
Recorded & Published by 2:45

Real

In this final version (here the draft: https://soundcloud.com/michele-ansani/sunday-derby) I have the honour of adding the contribution of Manuel Pietra (take a listen to his tracks: https://soundcloud.com/mozartwolfy81), my friend and my daughter's piano teacher, in the first and in the last part of the piece.
For those (like me) born in the late 1950s and raised in Milan in the 1960s, Sunday of derby (AC Milan vs. FC Internazionale) was the most beautiful and most feared day of the year. The three sections of the piece correspond to three easily understood moments: before the match (Saturday night and Sunday morning); during the match (Sunday afternoon); after the match (Sunday evening and Sunday night). All imperfections (as usual) are mine.
As it's clear in the end of the second part of the piece, my team won the match that time (so many years ago ...). I'm sorry to say that Manuel is a fan of the other Milan team, the one that lost the game in the circumstance mentioned ...

Michele Ansani: piano, keyboards, guitars (and arrangement).
Manuel Pietra: piano.
Stadium effects from Pixabay

Cover picture: L. S. Lowry, 'Going to the match' (1953).

------
Composed by Michele Ansani (part 2) and Manuel Pietra (part 1 and 3 not depending from part 2)
Posted on SoundCloud: 2024, September 2.

Sunday Derby (extended version) **

Recorded on a basic 4-Track tape machine. Inspired by the peacful time in the gardens of a historical mansion not far from Scarborough on East coast of England.

Garden Of The Source (2003)

#RemixTheRoots #LynnPaulPierre #KDXProductions #Marshmello #Marshmellocrew
Alla Junglists, need more, you find da Bomb Here seen, Big Up Respect Marshmello and the Junglist Massive.

Video link : https://youtu.be/SzNtv3kbl5c

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"Just Can't Stop" (LPP Deadbolt remix)

edwardxylo  1min 3 secs

This is my entry for Round 2 of the "Spintunes" contest! The prompt/challenge was to write and record a song that makes prominent and creative use of rhythmic contrast between long and short note values.

LYRICS

The headline in the news today
Says they plan to find a way
To make a dog’s life last a little longer
And Bryan Johnson has a dream
A hundred pills and LEDs
To help his body age a little slower
 
But take it from someone who’s done
The thing you seek to do
The practice is not new

There’s no glory in longevity
There’s no glory in longevity

My name is John, the great magician
Alchemist and mathematician
Spoke to angels in obsidian mirrors
I could plot the stars to glean
The tangled fates of English queens
Cracked the code and learnt to live forever

And though our methods change
The craft remains the same
As I can explain

There’s no magic in longevity
There’s no magic in longevity

Imagine watching everything you love cease to be
While you count the hours in eternity

There’s no comfort in longevity
There’s no comfort in longevity

There is no difference between you and I
Only the knowledge that time can provide

Longevity

Shockwave

Lockdown

wormhole

Composé, réalisé par Jacques Lemaire alias Idematoa, Septembre 2020 via Studio One
Free Download : https://idematoa.bandcamp.com/track/from-one-shore-to-another-my-new-life

Used Softwares :

01 - Spitfire Audio - BBC Symphony Orchestra - Core - Clarinet Legato
02 - Spitfire Audio - BBC Symphony Orchestra - Core - Flute Legato
03 - Spitfire Audio - BBC Symphony Orchestra - Core - Horn Legato
04 - Spitfire Audio - Aperture Strings - Aperture Ensemble - Tremolo
05 - Sonuscore - The Orchestra Complete - Violin 1 Staccato - Violin 2 Staccato - Viola Staccato - Cello Staccato - Double Bass Staccato
06 - Orchestral Tools - Time Micro - Bass Ensemble Triplets
07 - Spitfire Audio - BBC Symphony Orchestra - Violin 1 - C.Sord Long CS
08 - Spitfire Audio - BBC Symphony Orchestra - Core - Brass - Horns a4 - Legato

From One Shore To Another - My New Life

Lynn Paul Pierre is "Alternative", a combination of early Jungle, Rave, Industrial and Dance mashed up with precision and harmony.
New Music dropping every 2 months, all good things take time.
Dedicated Husband, patient Father, Voting NARAS Member with the Producer & Engineer Wing, Lead Operator Pyrotechnics.

"Just Can't Stop" (LPP Deadbolt remix)

LYNN PAUL PIERRE / KDX Productions

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