It’s fair to say I’m slightly rusty on the guitar but it’s been enjoyable to reunite and also a good way to keep fit.
I’m back. For how long is uncertain but, for now, I am once again at liberty to express myself in my own home country. This new-found liberty is necessarily tempered by way of another upcoming trial for another satirical song, rendering the art of expression somewhat limited. I’m sure you get my drift.
Above: keeping busy with sourdough, making preserves and tending to my little garden.Continue reading
Dans le jardin de mon Père, les lilas ne sont pas encore fleuris. Not to worry, there are bees fighting over the rosemary, as well as a new bucket garden. There are also giant reflections in the perpex coldframe panes, daffodils, tulips, violas, and plenty of healthy seedlings and sprouting greens.
Needless to say I would rather it be pouring with rain tomorrow. Alas the weatherman is against me. Thanks to everyone for your messages of support. I will try to update you all if and when possible.
Hope Not Hate’s Matthew Collins has been up to his usual tricks recently, apparently paying a photographer to camp outside my door. As well, despite one official complaint in 2018 to his bosses at Hope Not Hate, he is again flirting with unlawfulness by reproducing screenshots sent to him by one of his little spies on Facebook. Collins of course is no stranger to intimidation, threats, violence – even against women. It would be no surprise if the person feeding him juicy tidbits from my Facebook page publicly parades as a far right nationalist and probably even chats to me regularly on Facebook. Vermin.
Last Monday, a month or so after Collins’ latest antics, Hope Not Hate (HnH) published its annual edition of State of Hate. Rather than asking the obvious question (Why no “zero tolerance” when it comes to Michele Renouf’s ‘historic acquittal’ in Dresden last October?), the author instead presents what could be a passable script for the latest edition of Eastenders Nationalism. Either that or it’s a pitch for a new game show ‘Pimp My Offense’.
Like any TV production team, HnH may have the funding, but do they have the talent? Some of the information is correct, regarding both Renouf and myself. The character smears, however, come straight from the mouths of the Lidy and her long time, dashing companion, the oh-so-gallant Captain Clever-Clogs himself. In short, HnH once again are merely confirming that they are in choppy waters, using any distraction to try and convince readers of my awfulness.
Both camps will be anxiously following my upcoming cases with a great deal of interest. Not long to wait. My next trial opens this coming Tuesday, March 30th at 10 am, Westminster Magistrates Court, London. Whatever the outcome, HnH will be blaming me, for years to come, for ‘starting a cat-fight’ which they helped engineer.
If I do lose my case, then it will be just one more instance showing that, as far as seeking justice is concerned, Anything Goes.
Wednesday March 17th at noon I was again due in court, this time charged with a more serious matter under the Public Order Act for ‘distributing a video with intent to incite racial hatred’.
Scheduled just a fortnight before my other Communications Act S. 127 trial begins on March 30th, it was supposed to be plea hearing.
To begin with, my lawyers and I only received the prosecution papers at 9.30 am that same day, two hours before the actual hearing was due to start.
Not wishing here to go into the details of the evidence against me, nor of the two separate witness statements included in the CPS documents, I will just say that this latest attempt at prosecution is the most surreal to date:
Whilst waiting to be called into court, the prosecution lawyer informed my barrister, Adrian Davies, that the necessary consent of the Attorney General had been neither granted nor even requested, as is required by law.
Finally, after 45 minutes’ wait, the issue was dealt with in under ten minutes.
The CPS has been granted six weeks’ adjournment until April 28th in order to seek the Attorney General’s retrospective consent – if that is indeed possible, legally speaking.
That same evening, the CPS prosecutor in my other case, Ben Maguire, delivered an opening note for what is to be a hugely important test case for freedom of speech in the UK.
I am facing trial on three separate counts of “causing gross offence” under S. 127, for comments made during two Internet radio podcasts in 2019.
The first two counts appear to be an attempt on the part of my accusers, once again in collusion with the authorities, to widen the definition of “sending” or “causing to be sent” to now include conversations broadcast by third parties outside the UK. The third is an alleged GAB post linking to one of the broadcasts.
This trial follows my arrest more than a year ago in January 2020(!) by two plain clothes Special Branch officers outside Derby Crown Court. This arrest and subsequent lengthy stint on bail saw me completely gagged for ten months, until last November when District Judge Michael Snow lifted the total ban and varied my conditions, allowing me to speak at least on certain topics.
The key Crown witness in this case is also one of the two witnesses in the new Public Order prosecution against me, as detailed at the top of this post.
If Bedlam Jones doesn’t rue the day he listened to porky pies on anti-Semitism, then hopefully he soon will. It would be possible to publish an entire book using only the witness statements made against me by these professional complainants.
Rendez-vous March 30th 10 am, Westminster Magistrates. All support welcome.
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.
Lyrics by Gerard Menuhin. Adaptation (of Blue Suede Shoes), arrangement, performance and production by me.
This is the latest collaboration between Gerard and I, the first of what will hopefully turn out to be a trio of blues numbers. Please let us know what you think in the comments and please share widely.