Very nice production, kind of jazzhop I like. Bit of rap, pinch of rhythm and blues.

The beat underneath is a chilled dream...!

Super cool music and lyrical flow//well expressed and conceived!

Love is blind...and maybe a little deaf! A simple, folksy song about listening to someone pickin' a guitar. Sung by Sierra Wolfe, Chris and Shael on guitars and produced, as always, by Shael Wrinch at the Stone Hill studio, Bowen Island...
Lyrics:
My baby loves to play guitar
I know he's never very far
'cause when I hear that Gibson tone
I realize I'm not alone
My baby loves to play guitar
My baby loves to sing a song
and he may sing it right or wrong
He's not the best I've ever heard
but I hang on every word
My baby loves to sing a song
He's just a little out of tune
He's been know to clear the room
but when I see those dreamy eyes
his voice is still my sweet surprise
I'd buy his records by the pound
My feet would never touch the ground
and I may be his only fan
but I'd cheer to fill the stands
My baby loves to play guitar

The Tequila Monday Project

Play Guitar

P433

Composition/mixage/masterisation @Tulipe-records
Guitares rythmiques et solo/basse Philippe @user-759566380
Texte et chant Guillaume @user-759566380  
 Guitares rythmiques/ batterie/ chant/ Stéphane 


Introduction 
A l'aube de sa mort , les esprits décrivent à Geronimo l'avenir des hommes.

Paroles 

Des Lunes sans loups
De longues rivières de bitumes
Un monde d'égouts
Guidé par des fous en costumes
Où tout accélère
Des saisons qui n'ont plus le temps
Des oiseaux de fer
Qui volent plus vite que le vent

Pleure Geronimo , pleure
Sur l'avenir des hommes
Quand y'aura plus de fleurs
A poser sur leurs tombes
Et qu'arrivera l'heure
De la danse des Ombres

Des terres violées
Pour des richesses de misères
Paradis volés
En échange d'un bout de désert
Des dieux qu'on trahit
A coup de mensonge en leurs noms
Des femmes qu'on enfoui
Sous des coutumes de sombres cons

Pleure Geronimo , pleure
Sur l'avenir des hommes
Quand y'aura plus de fleurs
A poser sur leurs tombes
Et qu'arrivera l'heure
De la danse des Ombres

Des prisons sans murs
Pour des évadés du réel
Vidés de nature
Errant dans l'enfer du virtuel
Marins sans boussoles
Perdus sur les mers illusoires
De ces mégapoles
Où l'on se croise sans se voir

Allez pleure Geronimo 
Bientôt la danse des ombres 

Eteintes à jamais
Ces lumières sauvages d'autrefois
Ils ont tout brûlé
Dans des flammes de sans foi ni loi
Le grand incendie
Mais plus de retour sur leurs pas
Tu leurs avais dis
que l'argent ne se mange pas

Les larmes de Geronimo

Les Larmes De Geronimo  " Jim & Tulipe "

I Cannot (You Do Not)

Apartment 27

What Is This

Beat Produced by - Robec -  https://soundcloud.com/robec-277309038?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Southern Rap Outlaw(Prod.Robec the Genius)

LYRICS

Phone on the sofa, 
oh you're taking in nothing,
vaguely listening to the scene.
I would kinda love it if you'd give me something, 
something to work with, 
something to grow.
I would kinda like it if you showed some feeling,
or if there's nothing you would let us know. 

We're heading out to see the queen.
We're here to see what's going wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

The beer bottles pile up by your feet, 
your grieving; isn't aimed above but rather just below.
Any excuse to feel collective meaning, 
just laying back to enjoy the show. 

We're heading out to see the queen.
We're oh so worried what's gone wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

We're heading out to see the queen.
We're here to see what's going wrong.
We're all relaxed and so serene.
We're heading out to see the queen. 

Your eyes barely flicker as you light up your cigarette,
take a drag and survey the scene.
I was kinda hoping that you'd be my princess.
kinda hoping that you'd be my queen.

The Queen [with The Fall of Saigon]

Moonchild

Written: 2021
Duration: ca. 5'
Instrumentation: solo violin (MIDI Version)
World Premiere: TBA
Sheet Music Currently Unavailable
For more information:  https://robertpaterson.com/adagio

PROGRAM NOTE
Adagio for solo violin was composed as a surprise birthday present for my good friend Adam Abeshouse who is an excellent violinist, and also one of the world’s greatest classical recording producers. Since I enjoy creating pieces that musicians have a personal connection with, I asked Adam’s wife Maria which pieces Adam likes to play, and she mentioned the first movement of J.S. Bach’s Sonata No. 1 in G Minor. I have quoted phrases from various pieces by Bach in a few of my other works (my Elegy for Two Cellos and Piano, for example), so I decided to embed a few phrases from that movement in this piece, so that when Adam plays it, he will be reminded of his favorite piece by Bach. I also included motifs based on Adam’s first name (A, D, A, and Mi, the solfège name for E) and also on Maria’s name, and his daughters Sarah and Emily.

Adagio for solo violin was commissioned by Steve and Hildy Martin in honor of Adam Abeshouse’s 60th birthday.

Adagio for Solo Violin (Pre-Premiere Version)

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

What Is This

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