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.
February 18th 2018, Jewish News UK published this article, falsely claiming that Michele Renouf had been arrested in Germany :
Within less than a minute, both the URL and headline were altered. No arrest took place; the ex-model was merely “probed”(!) by Dresden police . The corrected article is still online.Continue reading
Yesterday’s spin from Zionist-controlled mass media regards ‘Holocaust’ Memorial Day 2019 was slightly different than in preceding years. There were, of course, plenty of films and documentaries meant to reinforce the current state religion of Holocaustianity – the world’s newest foundation myth, created in order to control western society and prevent Europeans from attaining their full potential.
From The Guardian – whose founder’s motto, ironically, was Comment is free but facts are sacred:
Moshe Kantor, president of the European Jewish Congress, said: “As each year the number of Holocaust survivors able to share their personal testimony diminishes, our responsibility to honour their experience, to educate the uninitiated grows ever greater if we are to ensure that Jews can live as safely as all other European citizens.
“On 27 January, the world will unite to remember all the victims of the Holocaust – let their voices give us the call to action we need to work together, united, to ensure the future of the Europe we know.”
Notwithstanding my conviction for posting politically incorrect songs to the Internet, by far the toughest battle I’ve faced throughout 2018 has been an emotionally gruelling and bitter test involving individuals who are supposed to be on the same side. For the record, and in order to bring this difficult year to a close, you will find below various extracts and posts taken from monthly updates on this website.
Evidence of a conspiracy to oust me from revisionist ranks has stacked up over the course of the year, some of which is included below, along with articles touching on my trial and other general topics of interest to nationalists and those in favour of free speech. Also featured are several of my favourite writings of 2018.
During the years I spent teaching in Swiss secondary schools, in-training days were often orientated towards how to motivate a class of musically mixed-ability teenagers to sing together tunefully and with conviction. One of these training days I remember in particular, given by a male colleague who, during a football World Cup championship, had filmed all the participating teams singing their respective national anthems. The lesson was clear: more often than not, teams who sang with passion and heartfelt conviction went on to gain satisfactory results.
International sporting events have long been one of the subtle ways by which Globalists have been able to implement their agenda of mass non-white immigration into European countries. Most noticeable in football, cricket and athletics, multiracial “national” teams have in recent decades become increasingly present on track, field and pitch. Can a cricketer, for example of Pakistani origin born in England, truly harbour the same patriotism for his adoptive country than an Englishman born and bred in England whose northern European genetic makeup is an integral part of his origin and identity?
Sporting professionals who happen to be British citizens born of foreign parents have the choice whether they compete for Britain or for the country from which their parents originated. Is this fair? Does this not raise questions of possible conspiracy? Would this be one reason why English national teams in so many disciplines tend to produce disappointing results?