In the fading light of evening I rested by the lake, ripples dashing cross the surface mirror my broken dreams. A sudden spark, a gentle note, bounces in my head. It dances through my mind, playing on the reflected twilight beams as i sat by the water. The moving waves that I witnessed at the water’s edge formed that chorus in my mind and i sang it all the while. That is how the song came tob e and i feel it represents a greater human need, the desire for a love that binds two souls closer than any stitch, any weld.

CREDITS
Songwriting/Composing: Pascal Ayingol
Production/Keys:  Pascal Ayingol, Simon Reid
Lead Vocals: Pascal Ayingol & Maya Vivid
Guitars: Pascal Ayingol
Drums: Jordan McQueen
Additional Instruments: Pascal Ayingol, Simon Reid
Mixing: Pascal Ayingol, Simon Reid


#Indie  #Singer-Songwriter  #FolkPop  #Duet

Incomplete (feat. Maya Vivid)

The light shines on the ancient sky. Time amiss of it's bloom. On the ancient painting beyond times reach.

The Light

Freespirit

I kind of like songs that start out saying one thing but end up saying something completely different...

I wouldn’t change a thing


when I come back from dusty roads
i’d bring you tales
bring dust in my clothes
and I’d fall asleep… in mid flow…

when I’d come home from sailing seas
I’d bring you things
I thought that might please
never mind things that
we might need

But I, I, I
I wouldn’t change a single thing…

when I’d come home from work
I’d sit myself down
I’d kick off my shoes and I’d
talk about
all of the things I planned to do…

but I, I, I
I never changed a single thing
I couldn’t bend in the wind…

I couldn’t change a thing
I couldn’t change anything…

I lit the fire
you cleared the grate
I worked for hire
and you had to wait
I changed the tire
you filled our plates
you never tired
and I stayed out…

you brought me down to earth
and I hit the ground hard
but I hit the ground running
so everything
would seem the way it should…

but I, I, I

still hadn’t changed anything…

Wouldn't Change a Thing

The Best Part Is Yet To Be

Life moves so fast,  it is hard to see loved ones that were once so powerful and strong, whether our own parents or someone that we looked up to, our very own super heroes, come back down to earth and face mortality as we see them age and way too many lose a lifetime of who they loved most and what meant the most to them as their memories fade from Dimentia and Alzheimer's

Drawn to Old Times

Drawn To Old Times

I've never got into Facebook.... but just once I looked up people from my school and home town: the only face I recognised was Melanie, this is for her...

MELANIE


Melanie
would that i had been so bold
i’ve never been so cold…

Could it be
 if i had ears to hear or eyes to see
i kept them closed

cos now it seems
you were someone
just like me
all at sea
but not for a single day
did you ever lose your way

you know you never ever,
never looked away
you know you never ever
you never changed a day
you know you never ever
not for a single day
did you ever fade away….

Melanie
with your pages open wide
all that history inside
and your poetry and science
analysed

know that we
would only be so cruel 
as only fools can be
knowing and pretending not to see 

could it be
you were so much
more than we
could ever be…
cos not for a single day
did you ever turn away

you know you never ever,
never looked away
you know you never ever
you never changed a day
you know you never ever
not for a single day
did you ever fade away….

Melanie (sitting here)
seeing every jaded face, 
and all these tired eyes
you know you’re the only one I recognise

Do you remember me?
I’m the one that
would always be
Lost at sea…
but not for a single day
Did you ever look away

you know you never ever,
never looked away
you know you never ever
you never changed a day
you know you never ever
not for a single day
must you ever fade away….

Melanie

The last of our vocoder project tracks. A summer dream-pop vibe..

LYRICS:

Sunset glowing on the mountain
Hour is late but no one's counting
Eat our tea out of a round tin
Look out baby, we've gone campin'

Wake up waiting for the sunrise
Tartan blanket on our cold thighs
Canvas creaking on some loose guys
Campfire smoke will sting in both eyes

Darling, where's the lighter?
I can't find the matches
Cooking on a gas stove
Washing in the river

We're home here in the wild
We lay our heads on stone
And share our sunburn smiles

Gone Campin' (Sunburn Smiles)

A sister song to Stranger in a Strange Land, also inspired by the plight of refugees, more specifically about those who would take advantage of them…


IT’S ALL MADE UP

now you see me
you know I see you
you found your way to here from who knows where…

stay with me
we’ll sail across the sea
and we’ll only find the places there
that no one else has ever seen or been…

don’t you know that
it’s all made up
miss a go ‘cos
it’s all made up

now can hear me
you know I hear you
crawl aboard there’s one more place right here.. 

take my hand
we’ll shape those shifting sands
lift up your pack and don’t look back
it’s almost in your hands

realise i specialise in
new horizons
far and wide
come around and 
hunker down we’ll
cast away your
ready town

don’t you know that
it’s all made up
miss a throw ‘cos
it’s all made up

believe in me
and what you see will be 
ignore the hordes, ignore the clause
you’ll share in every single thing you see…

realise i specialise
in theorising spice and lies
come around and shutter down
we’ll dream away your dreary town…
realise i specialise in
new horizons
far and wide
come around and 
hunker down and
cast away your
dreary town…

don’t you know that
it’s all made up 
miss a throw ‘cos
it’s all made up…

don’t you know that
it’s all made up
miss a go ‘cos
it’s all made up…

it’s all made up…

it’s all made up…

All Made Up

Caledonoia on my mind

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

The Four Seasons

Spring Songs - II. April 5, 1974 (Text by Richard Wilbur)

based in the north east of England indie rock ,acoustic rock , alt rock

The Best Part Is Yet To Be

82 ( Ian Willis )