Name: Standing Static (Remix) by Reedy
Duration: 4 min 11 s
Description: Melodic, guitar driven hard rock straight from the Rust Belt. Recently remixed/remastered at Cat Box Studios.

more nice guitar drumming bass and vocals

@w0lfbxne: Thanks for taking the time to listen.

Great chord and melody. The sound is great!

Cool and catchy track. The guitar tune is awesome

Moonlight

J3 is 3 men for Jesus Christ.
Timothy Pepper, Mark Combs and Robert Grigg have joined forces to celebrate our savior in song!
@tim-pepper-442859450
@markcombs-928282858
@robert-grigg

Entertaining Angels

Melodic, guitar driven hard rock straight from the Rust Belt. Recently remixed/remastered at Cat Box Studios.

Standing Static

Standing Static (Remix)

Lyrics:

We took the clouds and bent them
To our eyes imagination
Laughed at silly observations that we made

Like how the sun seemed so much hotter
Next to cold northeastern waters
Though our breathe fogged up the warmth between our face

And Sarah sang these graces
To leave familiar places
Cause she just couldn't handle anymore

But sometimes to be there you have to stay right here
And the next best thing is just another fear
And wailing winds will howl and hiss
The voices of the life you miss
But moving on is always sad my dear

We spoke of the unknown
With a rosy colored filter
Tones of youthful optimism
And a smile

Of a vivid shade of green
That is bursting at the seems
Corresponding to the distance and the miles

But sometimes to be there you have to stay right here
And the next best thing is just another fear
And wailing winds will howl and hiss
The voices of the life you miss
But moving on is always sad my dear

My Dear

My father passed away over 40 year's ago when I was just nine. His legacy lives on. I wrote this song in 2018 but haven't had the courage until now to get it produced. It's obviously a very personal song, but with quite a  universal theme... This is not meant as a sad song. The white linen coast is my metaphor for Heaven... Often when heaven is depicted in movies, you see people walk along a coast line dressed in white linen.

The White Linen Coast

My version of a gospel classic. Recorded 5/14/21

In The Garden - Gospel Cover

“Unfound” closes Solar Messiah with haunting finality — a slow-burning modern-rock epic about searching for meaning in the aftermath of loss. The outro swells with layered guitars and emotional weight, fading into silence like a prayer unanswered.

Solar Messiah

Unfound

testing

This was composed as a soundtrack for the short film. Road Trip Through America. The film/soundtrack will be archived at the Moving Image Research Collection at the University of South Carolina.

Road Side Reverie

String Quartet No. 1
Duration: 22'
Publisher: BIll Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1026
For More Information: https://robertpaterson.com/string-quartet-no-1
For more information on album: https://www.americanmodernrecordings.com/the-indianapolis-quartet-robert-paterson-string-quartets-1-3

PROGRAM NOTES
My original intent with this work was to write a set of four independent miniatures. After writing the first maximally-sized one, I decided to change course: these four "miniatures" are now my String Quartet No. 1.

Although these four movements are designed to be independent, small amounts of material are used interchangeably between each movement. Most notably, material from the first two movements is used in the third, and material from the third movement is used in the fourth.

The most prominent aural feature of the first movement, Fast and Sprightly, is the recurring "clarion" motive. This motive evolves into various thematic gestures and also reappears in the next two movements. Another prominent feature of the first movement is the use of jazz references. The string quartet is required to "swing," a style of playing usually only utilized by jazz musicians and big bands.

The second movement, Logy, begins by parodying North American, southern-style country waltzes. While composing this movement, I had visions of my mother interrupting "Three good ol’ boys fiddlin’ on a porch in Rabun Gap, GA," quipping at them to stop. The quipping is represented by the first violinist interjecting the "Rob–ert" theme. This strange, surrealistic daydream probably originates from memories of my mother calling my name from the other side of the bedroom door when I was a boy.

A section called "Andrew Lloyd Webber Disease" occurs in the middle of the second movement. This section is a schizophrenic alternation of a sick, dissonant, violin duo with an Andrew Lloyd Webber-sounding viola and cello duo. By the end of the movement, my mother joins the "Good ol’ boys" for a final song, after they have all become sick from eating too many boiled peanuts.

The third movement, Sad, Luscious Adagio, uses material from the first and second movements, but at a much slower tempo. Each player has a featured solo in this movement: the cellist plays a solo in double-stops and the violinist plays one made up of almost entirely artificial harmonics. The second violin and viola solos are intended to highlight the instruments’ singing qualities and the performers’ lyrical abilities. As with Logy, I use material recycled from previous movements.

Although the fourth movement, Energetic Polka, is not a strict polka, it has a polka-like beginning. It also contains a few short "quotes," the most notable one being the appropriation of the melodic line from the theme song from the television show The Love Boat.

Material from other movements is also used in Energetic Polka, particularly by the cello. The cellist never has a chance to play the "Pseudo-fugato" theme in Logy, so the cellist "aggressively" reintroduces it in this movement. Energetic Polka ends with a section entitled "Hyperfast shimmy and shake."

Standing Static (Remix)

Reedy

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KUZUESSENCE Gt

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