Weekend in London

Affirmation (Live)

Doing the Right thing isn’t always the right thing to do

Doing The Right Thing

Fixer Of Everything ft. Taylor Hayes

By 1971, Billy Noknees had already dabbled in funk, soul, and absurdist storytelling, but Nigel P. Crumb was unlike anything he had attempted before. Inspired by a half-remembered pub conversation about the fleeting nature of fame, Billy set out to craft a song that was equal parts triumphant, ridiculous, and utterly pointless.

Recorded with producer Reggie “Proper” Hastings in a London studio known for its "tea breaks first, music second" policy, the session was intended to be a grand, theatrical celebration of the most unremarkable man in history.

The track itself was a whimsical, brassy spectacle, blending big-band bombast and overconfident chants of Nigel’s name. Billy, ever the storyteller, delivered spoken-word interludes with all the gravitas of a Shakespearean tragedy, despite the fact that the lyrics revolved around a man tripping on a raisin.

At first, things went unusually smoothly. The studio was filled with top-tier brass players, a tight rhythm section, and a session banjoist who played with the enthusiasm of a man trying to prove something to his father. The backing choir, hired from a nearby theatre company, took their roles far too seriously, treating Nigel’s tale like a historical epic.

Billy, however, couldn’t resist making things harder than necessary. Midway through the session, he decided the recording needed more authenticity—so he scattered loose crumbs across the studio floor to “capture the spirit of Nigel’s journey.” This resulted in the trombone player slipping mid-solo, the drummer stepping on a biscuit, and the bass player storming out after his shoe became glued to the floor with jam.

Despite the chaos, delayed takes, and an unplanned 40-minute tea break, Nigel P. Crumb was completed, featuring Billy dramatically narrating the downfall of a man who tripped twice and somehow had a statue melted into spoons. When Nigel P. Crumb was pressed to 7” vinyl, it unexpectedly caught fire with British radio DJs, many of whom found the utter pointlessness of the song utterly fascinating.

The track peaked at #31 on the UK charts, largely because listeners assumed it was a novelty single tied to an actual person. Confusion only deepened when a real-life man named Nigel P. Crumb from Sussex received an accidental wave of minor celebrity, appearing in a tabloid article titled "I Am Not That Nigel, But I Could Be."

Unfortunately, as the song itself predicted, fame was fleeting. Within six months, Nigel P. Crumb had vanished from the airwaves, and a warehouse full of unsold 12"s was repurposed as drink coasters by the studio.

It wasn’t until a lost copy resurfaced in 2003, tucked behind a row of dusty novelty records in a second-hand shop in Brighton, that Nigel P. Crumb was given new life. Now, after a careful AI remastering, it is presented with its original sleeve—a striking sketch of Nigel.

So gather ‘round once more—because Nigel P. Crumb is back!
A song about nothing that somehow became something, and proof that sometimes, tripping over a raisin is all it takes to become immortal.

Nigel P. Crumb

Music Music Mix 42

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Love is a Losing Game Instrumental (Prod. Major M)

Final Re-release. This has been an interesting two years full of dizzying ups and horrifying lows. Without this avenue of escape and my fiancée I wouldn’t be the half sane person I am. I hope you enjoy what I have written. It’s been a lifetimes work and a dream I’ve never been able to escape. Even if this is as far as I get at least I won’t look back on what could have been. Thank you to everyone who continue to support me and welcome any new listeners you won’t be disappointed. Or you might be but it will be interesting. 💙💙💙💙💙

There Wasn't Much To Do, There Wasn't Much To Say (Unmastered)

Inspired by a Muhammad Ali narration heard in the "1971, the year that music changed the world", documentary series on Apple TV, in the episode about the riots at the Attica penitentiary in NY, during which 33 inmates and 10 correctional officers were killed.

[Verse 1]
Better far from all I see, mmh
To die fightin’ just to be free
Yeah, better far from all I see
To die fightin’ just to be free
‘Cause lyin’ still and givin’ in
Ain’t the end that’s meant for me

[Verse 2]
Don’t want no bed where I waste away
Breathin’ slow at the end of days
Don’t want no bed where I waste away
Hearin’ ‘em whisper, feelin’ afraid
I’d rather stand tall with nothin’ left
Than fade out in pity and shame

[Chorus]
You can chain my hands, but not my soul
You can beat me down, but I won’t fold
You can take my body — that’s just clay
But I’ll rise again some righteous day

[Verse 3]
Better than a cell with no way out
Where the silence fills your shout
Yeah, better than a life locked tight
Is one good fight in the open light
They can throw me in a grave so cold
But they can’t ever buy my soul

[Chorus]
You can chain my hands, but not my soul
You can beat me down, but I won’t fold
You can take my body — that’s just clay
But I’ll rise again some righteous day

[Bridge ]
I ain’t scared of dyin’ — not like this…
But I won’t live kneelin’, beggin’ to exist…
You hear me?

[Instrumental Break] 

[Final Chorus] 
You can chain my hands, but not my soul 
You can break my bones, but I stay whole 
You can take my body — bury it deep 
But my freedom’s mine — and it won’t sleep

Attica

Wonderful Love

Buy on Bandcamp

Taboo Run - Wonderful Love

« Je l’aime trop pour en être jaloux, j’ai pris le parti d’en être fier. »_ Cette phrase, signée Choderlos de Laclos dans *Les Liaisons dangereuses*, dit tout. Elle désarme les conventions, renverse les idées reçues et donne au mot "aimer" une profondeur que beaucoup ignorent.

Le libertinage n’est pas un vice, c’est un art. Loin des clichés de débauche ou d’égarement moral, il repose sur une philosophie aussi exigeante qu’élégante : celle de l’honnêteté, du respect mutuel, du plaisir librement consenti, et surtout, de la confiance absolue. Être libertin, ce n’est pas trahir. C’est choisir de vivre l’amour sans chaînes, sans mensonges, en accord profond avec soi-même et avec l’autre.

Ceux qui jugent le libertinage sont souvent ceux qui ne le connaissent pas. Ou qui le redoutent. On lui reproche de briser le couple, alors qu’il peut au contraire le renforcer. Car pour aimer ainsi, il faut s’aimer fort. Il faut se connaître, s’accueillir, s’oser. Et aimer l’autre non comme une possession, mais comme une liberté en mouvement.

La jalousie est un poison lent. Elle naît de l’insécurité, de la peur de perdre, du besoin de contrôle. Mais le véritable amour n’a pas peur. Il ne se cache pas derrière des promesses ou des menottes invisibles. Il accompagne. Il encourage. Il offre. Quand deux êtres s’aiment vraiment, ils se permettent l’exploration. Pas pour fuir l’autre, mais pour mieux revenir à lui, chargés de sensations nouvelles, de désirs ravivés, de regards encore plus complices.

Le libertinage repose sur une idée simple et pourtant révolutionnaire : et si l’on osait vivre ses désirs non pas *contre* le couple, mais *dans* le couple ? Et si l’on transformait l’infidélité en sincérité, la frustration en liberté, le silence en confidence ? Beaucoup se trompent, mentent, cachent. Et souffrent. Il serait sans doute plus doux, plus juste, de se dire : "Voilà ce que j’ai envie d’explorer. Veux-tu m’accompagner, ou du moins me comprendre ?"

Le libertinage n’est pas réservé aux initiés, ni aux esthètes décadents des salons XVIIIe. Il peut naître entre deux êtres simples, mais courageux. Deux êtres qui s’aiment assez pour ne rien s’interdire, et qui comprennent que le plaisir n’est pas une menace. Qu’aimer, ce n’est pas enfermer, c’est ouvrir. Ouvrir à l’autre, à soi, aux jeux des sens, aux chemins inconnus.

Alors non, le libertinage n’est pas un caprice. C’est un choix. Un chemin de liberté partagée, de volupté sincère, de vérité nue. Il ne s’impose pas, il se propose. Il ne remplace pas l’amour, il en explore d’autres dimensions. Et ceux qui y goûtent sans honte, en conscience, savent qu’il n’y a pas là de danger… sauf celui de se découvrir vivant.

JE L'AIME TROP POUR ETRE JALOUX

Dave Warren ASCAP/BMI
Lyrics:
(Verse 1) In the depths of the delta, where the Mississippi flows A sound was born, a feeling that nobody knows It was the blues, a cry from the soul A reflection of the struggles, the heartache and the cold
(Chorus) Rock the blues, let the rhythm take control From the cotton fields to the city streets, it's a story to be told Rock the blues, the roots of rock and roll A legacy that lives on, forever in our souls
(Verse 2) Robert Johnson, Muddy Waters, and B.B. King Their music echoed through the ages, a sound that would make us sing Elvis, Chuck Berry, and Little Richard too They took the blues and made it new, a sound that would break through
(Chorus) Rock the blues, let the rhythm take control From the cotton fields to the city streets, it's a story to be told Rock the blues, the roots of rock and roll A legacy that lives on, forever in our souls
(Bridge) From the juke joints to the concert halls The blues has traveled, standing tall It's a sound that's raw, it's a sound that's real A feeling that connects us, a story that we all can feel
(Verse 3) Eric Clapton, Stevie Ray, and Jimi Hendrix too They took the blues and made it their own, a sound that would see them through The Rolling Stones, The Who, and Led Zeppelin as well They all drew from the blues, a sound that would make them swell
(Chorus) Rock the blues, let the rhythm take control From the cotton fields to the city streets, it's a story to be told Rock the blues, the roots of rock and roll A legacy that lives on, forever in our souls
(Outro) So let's rock the blues, let the music set us free A sound that's timeless, a sound that's meant to be It's the roots of rock and roll, a story that's true Rock the blues, and let the music see us through.

Attica

vkritis

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