Those of you who watched my recent BitChute video will know that this latest number is another TMML Productions collaboration with Gerard Menuhin.
After receiving the first version from Gerard in 2017, I did have a go, but wasn’t quite ready. Some ideas are best shut in the bottom drawer then dug out again after a few years. Five years. Hard to believe.
One of my issues with the words at the time, if I remember rightly, was the fact that the character in the song has transitioned from male to female. How could I perform such a role convincingly? Nor was I able to find a solution for the rhythm and phrasing, until about a fortnight ago, when I came up with a bossa nova theme, one that I feel fits perfectly with the incongruous, the unnatural and the unauthentic. Almost six minutes of bewildering musical loveliness – at least that’s my own impression.
This number follows on nicely from two other recent satirical songs, Mission Photo-op and Anything Goes, – the latter to be re-released as a “live” vocal version. One more swing number and I will have a second E.P; both produced in under four months, since October.
It is not currently in my interest, legally speaking, to rake in donations – although if you wish to contribute a small sum I would be very grateful. (I need to make sure that my websites are up-to-date, possibly offering some form of subscription.) It would be great to hear your suggestions regarding what kind of music or topic you would like to hear more of, within reason of course. And if you would like to help in other ways, then please like, follow and share if you can.
Music & lyrics by Alison Chabloz and Gerard Menuhin © tmml productions 2021
A fourth and final Covid-19 ditty, featuring a live vocal performance to a backing track that was created after much deliberation with lyricist Gerard Menuhin on the choice of music.
Gerard’s first suggestion was to use the Dave Clarke Five’s ‘Glad All Over’, in particular for the bass drum that is part of the hook line: ‘Because I’m BOOM BOOM glad all over’.
In the end, I adapted that idea to a composition of my own, that nevertheless pays tribute to DC5 in the middle eight.
The sound is decent this time round, but the lighting could be better. Composition of some songs – e.g. my previous number ‘Caught Covid From The Cat’ – can be completed within a day, although there may be some minor changes whilst recording, etc.
Prohibition Mission was supposed to be the third number of a Covid EP. I wanted a catchy melody without the restrictions of a repetitive chord structure, as with blues or rock n roll. Here’s the final result.
Original musical satire, courtesy of Chabloz & Menuhin.
For some reason, my audio editing software failed to capture a L/R stereo track with separate channels for vocal and keys.
The audio is therefore mono, meaning less possibilities to edit and remove, for example, plosives and other parasitical noises.
My performance is 100% live, to camera, with the absolute minimum of post-production trickery.
The theme is humorous. No offence is intended towards pet owners or their pets or indeed anyone else. Enjoy!
Have you had your jab?
Here’s TMML Productions latest jab – at the jab, and at the obedient masses, living in hope that their jab will enable them to get back to “normal”.
A back-to-the-old-days live demo. Quality is now better than it was few years ago, although my means for such a production are limited to what you see in the video: my Yamaha arranger-keyboard, my 30-year old Shure SM58 (easy to see that my Sony headphones have lasted only a fraction of the time) and the Zoom H4n Pro device, partially seen, in the lower left-hand corner. This piece of kit is ideal for home-studio recording, as well as for capturing audio outside. It can be used as a condenser mic, as a four-track mixer and – my favourite setting – as an audio-interface, once connected to a laptop via USB.
For such a live demo, using the Zoom H4n Pro as my audio interface, it’s only possible to record one stereo track (left/vocals, right/keys). This track then has to be mixed and rendered to two separate mono tracks, and then re-mixed, in order to get a decent balance.
The musical inspiration (excepting the middle eight) – as well as the lyrics – comes once again from Gerard Menuhin, who proposed the famous blues number Work Song. For years, as a classroom music teacher, I used the Monty Alexander Live in Montreux version for music & movement exercises. My students were kept on their toes.
Meanwhile, Gerard and I are on a covid roll. Watch this space.
My appeal against the National Probation Service takes place this Friday, January 10th 2019, 10.30 am, at Derby Combined Court Centre, Morledge, Derby DE1 2XE.
This post could be the last one for a while, as I expect to be sent back behind bars for three weeks. If further conditions are imposed, these may well include an outright ban from publishing on the Internet, including here on my own website. My enemies – the enemies of freedom of expression – wish to see me silenced for good. They, along with the other usual suspects, are still falsely claiming that I was convicted for ‘holocaust’ denial. The aim is to mislead people into believing that questioning or, in my case, mocking the dubiousness of orthodox ‘holocaust’ history, would be a criminal offence. Bring it on, I say: such legislation, as already exists in many European countries, only makes people more curious as to why it is unlawful to question a historical event.
To mark today’s application to the High Court, the Atelier de chansons potaches is proud to present Les copains d’abord (‘Friends first’), original song by Georges Brassens, here in a parody version that tells the story of Alison Chabloz, (pronounced “Chablo”); spiritual daughter from England, — a worthy heiress, talented, friendly British comedian and female star of the Atelier de chansons potaches, – of Dieudonné M’Bala M’Bala and Robert Faurisson.
Thumbnail from an original drawing by ProjetKO.
A year ago today, Robert Faurisson passed away. For more than 40 years, his life was entirely dedicated to the revisionist cause. By way of his study, research and quest for historical exactitude, he also sought exoneration for the German people, wrongly accused during and since the Nuremberg Victors’ Trials, and declared his unbending support for the plight of the indigenous Arabs of occupied Palestine.
In light of Faurisson’s dual citizenship (France/UK) and bilingualism, it is perhaps unsurprising that he was the first prominent revisionist to discover my own leanings in this direction. That was back in 2015 when I performed a quenelle salute at the Edinburgh Fringe. From that infamous day onward, Faurisson – with the help of his devoted sister, Madame Yvonne S. – was typically diligent in informing revisionists worldwide of my musical and other contributions, for which I am still immensely grateful.
When I began composing my series of Songs of the Shoah, I paid tribute to Faurisson in ‘Nemo’s Antisemitic Universe‘ – one of the songs which later saw me convicted and sentenced in an English court. Before circulating the video of my song, I sent him a copy, politely asking his permission to proceed. His response came almost immediately with a resounding J’approuve! The rest is history, so to speak…