Hey Ladies and Gentlemen.
You’ve probably heard me talk about how some people have become interested in the music that I have written. As my regular listeners know, I have written some of my own Bumper Tunes, to take me in and out of the breaks for my broadcast, known as Two’s Company, Three’s Allowed over there on Renegade Broadcasting.
What I am about to do, is embed some of my music here with some basic descriptions as to what the music meant to me personally as I wrote it. I will also supply a download link for any that may be interested in keeping a copy.
I hold the copyright to this music, but you have my permission to do with the music, what you want, including make money off it if you can, on two conditions.
Condition 1: You let people know who wrote, performed and/or tracked it.
Condition 2: You are not jewish. Should you be jewish, you are not welcome to my music, without paying me 6 million dollars per song, otherwise, without prejudice, I will be forced to sue you and cause you to cry 6 trillion jew tears.
Enjoy the music Ladies and Gents.
Track 1 was written on an Amiga 500 in a program (software) called Octamed IV. It was one of the first and more favoured Amiga’s that was released after the Amiga 1000. I know, I know. The company that created the Amiga, known as Commodore were a backward lot and they made the 1000 before the 500. The instruments used for this song were ripped out of a game called “Star Dust” which was in tradition of the earlier game known as Asteroids. I wrote the music to resemble some of the Demo Crew music that was getting around at the time. If you don’t know what a demo was back in the days of the Amiga (very different to what we know now) do a search for “Amiga Hardwired” on YouTube.
Track 2 was written to experiment with my new bass guitar at the time. I was playing very basic riffs on the bass and knew almost nothing of it, but with the help of the electric guitarist in our band and some good recordings of our instruments, I was able to have a bit of fun in the name of practice. This song was tracked in a program called Fastracker II on the PC, written by a demo crew called “Triton”. Whilst Octamed on the Amiga was OK, it only had 4 audio channels with true stereo 8bit sound, but the PC soon took over with 16 emulated stereo channels (32 channels if you were using the Gravis Ultrasound Sound Card if I remember correctly) and it was 16bit, at 44,100 khz which was in itself a huge plus over the sound quality of the Amiga. The Gravis Ultrasound Sound Card was the first card to be released that used a form of Sound Banks for MIDI. I was lucky enough to own one after a friend of mine alerted me to the fact early on in the Ultrasounds existence. I never completed this song.
Many people have told me that this song has a Metallica’ish feel to it. It was tracked in FT2 also and I never completed it.
You’ll recall this song from the broadcast. I use it as one of the Outro’s, that bring me into the 2nd hour sometimes and also occasionally it takes me out of the show. I originally wrote this for a game that was going to be released by some people that I knew, but the game never got finished.
What you’re listening to here, is me playing live. However, as much as it sounds like a Piano, I assure you it is far from it. I didn’t have access to a Piano or a Keyboard at the time, so I downloaded a piece of software called “Piano 21” and I would sit there night after night, playing the Piano on my computer keyboard. People were so amazed that I had worked out where all the musical keys were, that when they visited me, it wasn’t unheard of to say the least that they would get me to play. Even when I had access to a Keyboard or a Piano they would often get me to play the computer keyboard because it placed them in a state of Awe.
MIDI Sounds from an AWE Sound Card and Piano 21.
This one was just a bit of fun. Seeing what I could do with electronic sounds and a classical point of view.
This was written for a friend that was creating his own Quake III ( a game) maps and also making his own mods. He wanted something high energy because Quake is one of those games where you’re on the move continuously.
Another attempt at mixing electronic sounds with the ideal of classical music. Too many people would buy a musical keyboard and automatically jump into making rap crap or techno, due to the dismal sounds available on the keyboard. I wanted to show people that even with very little effort, it was very easy to make electronic sounds do what you want them to do.
One of my favourite Piano pieces. I wasn’t able to compose it the way that I wanted, because I was using Piano 21 at the time, which meant that I was restricted to the computer keyboard and given that I have never been taught music, it was difficult for me at the time to compose through notation alone. At least at the time of writing this song. I think I was actually using the recorded sound of a Harpsichord in place of the Piano for this song. You’ll notice my love for the Contra Bass and the drums along side the Piano. A couple of beautiful ladies, indeed.
Cemetery. This was the first song I ever sung in. My singer (Greg) was not available at the time, so I took it upon my stupid self to sing it after having composed the music. Greg would have been back in the next couple of days, but being the cocky little bastard I was (possibly still am) I couldn’t wait, because I thought I had composed the best song in the world. It’s funny, because every song I compose never comes out the way I want it to, but every new song I create is the BEST in the world. Until the next one. And the next one after that. I learned quickly, never to dedicate a song to a girl any longer, because you think you’re dedicating the best of your work to her until you write your next song. Then you’re left with explaining to her, why her song is 2nd best. And then 3rd. And then 4th…. It’s not pretty.
This song is called Merlin and was written for a cat with the same name. The cat was dear to an ex of mine and unfortunately it was hit by a car right there in front of us all. The ex was pretty damn devastated as you are when something like this happens to an animal that is like a family member so I wrote a song in the name of the cat as an attempt to cheer her up.
This one is called Finitoa. As in the Italian word Finished and A. When you’re using a tracker such as FT2, you count in Hexadecimal. 1,2,3,4,5,6,7,8,9,a,b,c,d,e,f,10,11,12,13,14,15,16,17,18,19,1a,1b,1c etc… It’s pretty much memory addressing. So when I was writing a song, I would name it in a numbered fashion, so that I would know what save I was up too. I would save the first take as Finito1. Obviously on the tenth take, I was at FinitoA.
This one’s called River. It didn’t even come out CLOSE to what I had in mind in the beginning but it sounded good, so I left it that way. It gave me that feeling of floating down an Amazonian river in a canoe. Like many of my songs, it’s incomplete. This song, besides the last Piano piece I ever did, has to be by far, the most demanded song that people want me to finish.
I hate this song. It shits me. It’s one of those that has a couple of good bits in it that I like, but the rest of it is horrible. I only keep it around for the couple of good bits otherwise it would be toast. I think one day I will throw it away, just because of it’s fuckheadedness.
One of my early Harpsichord pieces along side some really shitty electronic sounds. Back then, beggers could not be choosers. Unless they were black and on welfare. Or jews screaming “holofuckingcaust”.
This was a mixture between FT2 and a piece of software that was called “The Rebirth”. The Rebirth was originally (and probably still is) a hardware synthesizer where you could create your own synthetic sounds. If you understood frequencies and Sine Waves you could become quite creative and your sounds would be totally original to anything else that had been heard. Back when I was around 9, my brother had a Sega Home Personal Computer. It had rubber keys that beeped every time you pressed one, that’s how far back we are going. We started messing around with basic programming and you could use “Sound” as one of the instructions. We made some pretty radical things come out of that computer. I’m proud to say that we were way ahead of our time. Whilst I didn’t think to record it, because I was a child that didn’t know any different, I did show my school for a “show and tell” type session and the teacher was amazed. The Rebirth was then made into software based entirely on the hardware machine and I was able to make different sounds.
FT2 & Rebirth.
I named this one “Do It”. Because as I was composing it on a music keyboard that was hooked up to my PC via a MIDI interface and when it was starting to come out good, I jumped up and yelled, “DO IT BABY!” Ha! So I named it Do It. I was using Cakewalk to sequence the music at the time. With Cakewalk you could choose to place your notes with the mouse or hook a MIDI able keyboard up to the PC and play it as you would a Piano and it would be the PC that holds the instruments.
MIDI – Cakewalk
This song was written for a gentleman that had written a book of poetry. He had heard some of my latest Piano pieces and loved them so much that he asked if I would put some music to some of his poetry. So the words you’re hearing are out of his book. I am no singer as you can tell from any songs I sing in, but my singer on this one was 700 kilometers away, so I had to do the dirty work myself. It’s made up of 3 parts. 2 parts poetry and 1 bonus part that sounds a little Irish.
MIDI – Cakewalk
This was the last Piano piece that I ever wrote and it’s incomplete. This is the only other song that has been in huge demand to be completed. I don’t know if I ever will. Who knows? I do enjoy the piece and it’s possibilities are not out of the question.
MIDI – Cakewalk
This was one of those songs that I dedicated to a girl. It was also one of those songs that I had to explain to her, that was later 2nd and 3rd best. Needless to say, I almost ended up having to throw the crazy bitch out of the window because of her endless complaining for a new song.
MIDI – Cakewalk
Stolen Love, I wrote after my Aunty Lynn had died of cancer. Sorry, I mean chemo. I played the part of the cancer and my singer Greg played the part of the loved one losing her. Chemo is worse than the cancer itself and I felt I needed to do a song that shows how cancer is used to scare people into chemo. For the lack of a better way of explaining it. The United Nations, Population Control has a lot to answer for, as do the jews behind it.
MIDI – Cakewalk
You’ll probably recognise this one. It’s the music used behind my introduction to Two’s Company, Three’s Allowed. Jimmy voiced over the start of it. Now you will get to hear the full song. I originally wrote this one purely out of having a bit of fun on the Keyboard/Piano. Every note is mine, as is every assigned instrument, just as every song here you have heard so far. The difference between this one and the rest you have heard, was this song came out 98% the way I wanted it too. The rest I would say only came out 80-85% the way I wanted them too, usually due to limitations. This one is called, Surface.
MIDI – Real Instruments & Cakewalk
This was dedicated to Jean Finlay. An elderly mother of a friend that passed away. She was as humble as they come and taught me a great many things. I remember asking her once, “Jean, I want to go overseas some time soon, but I’m scared I will get lost whilst I am over there…” She asked me, “You have a mouth and a pair of ears don’t you?” I said, “Yeah…” She replied, “Good. Then ask somebody to help you. You might be surprised, but most people want to be good people and they will help you find your way….” This comforted me.
MIDI – Cakewalk
I hope you enjoyed the music good Ladies and Gents, as much as I disliked writing all of this.