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SONNET 73 — Liner Notes (Generated by Sonnet 5)

That time of year thou mayst in me behold

Shakespeare's Sonnet 73 is built on a single rhetorical device repeated three times: "in me thou see'st" — look at me and see this.

Each quatrain offers a different image of ending, each one closer and more intimate than the last. Autumn is the widest lens — a season, a year's turning. Twilight narrows to a single day's close.

The dying fire narrows further still, down to something small enough to watch flicker out in a room. The couplet then turns the whole poem outward: this dying is not a complaint but an argument for love — you love more fiercely what you know you must lose.

The piano and cello setting follows that same narrowing. The cello enters low and stays close to the voice throughout, less an accompaniment than a second consciousness in the room — the thing that already knows how the poem ends.

The piano is kept sparse deliberately; this is not a poem that wants ornamentation. Each quatrain pulls the dynamic in slightly further, so that by the third — the fire "consumed with that which it was nourish'd by" — voice, cello, and piano are all near silence.

The couplet is the only moment the two instruments play together rather than in dialogue, which is the sonnet's own gesture: the turn from three separate images of loss into one shared understanding.

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Psychedelic Dreamer (Remastered x2) (Cover)

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Here I had Claude Sonnet write the prompt for this

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Listen to Light the World Again by RLW on Udio. Discover, create, and share music with the world. Use the latest technology to create AI music in seconds.

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Here is the UDIO version using the same text as the previous song

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RLW - What Will the Morning Bring | Udio

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Listen to What Will the Morning Bring by RLW on Udio. Discover, create, and share music with the world. Use the latest technology to create AI music in seconds.

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OK Suno did not create a Charles Ives song as prompted but one that might fit well in a musical.

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And here is another version of this with a female vocalist.

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This is a cover of sorts of the previous song here, Sorry for the Echos where I had Claude Sonnet 4.6 give the lyrics and eta tags a face lift and am using Sono 5.5.

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Yet Another Christmas and Another Year Older (Suno 5.5)

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Yet Another Christmas and Another Year Older (Suno 5.5)

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Yet Another Christmas and Another Year Older

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Yeah! Suno 5.5 is out. Here is a cover of my Suno v5 of this song.

BTW, I had to shelve using Claude Sonnet 4.6 for now in that it was burning tokens like crazy and costing me money to keep buying more time.

Maybe I might figure out a way to reduce the taken burn rate and resume using it but for now it is on the shelf.

Meanwhile I have Suno 5.5 to explore!

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Here is a link to the Document Scroll and Roll.

Here is the latest version.

Here is a link that enable one to create a new chat that supports building a score form a MIDI file. This is untested so it may or may not work.

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Music and Program Note generated by Claude Sonnet 4.6

Amazing Grace

Theme and Variations

A Setting of the Hymn by John Newton

for Soprano and Ukulele Basso Continuo

Duration: ca. 4:10  ·  Six Variations

Program Notes

John Newton wrote Amazing Grace in 1772, the year he was ordained as a curate at Olney, Buckinghamshire. He had been a slave trader. He had survived a near-shipwreck that he described as his conversion moment. He had spent years after that conversion still working in the trade before finally abandoning it.

The hymn is not abstract theology. It is the testimony of a man who understood wretchedness from the inside and could not fully explain how he had come out the other side. That is why it has lasted.

This setting asks a simple question: what else is inside this melody?

Amazing Grace is pentatonic — built on five pitch classes (Bb, C, D, F, G).

The Scroll and Roll system used here takes that five-note skeleton and asks what happens when the remaining seven pitch classes of the chromatic scale are carefully introduced, one group at a time, across six variations.

Each variation adds new harmonic color while the melody and the words remain completely intact. By the final variation, all twelve pitch classes are present.

The row has been revealed by the hymn rather than imposed upon it.

The result is a piece that begins in the simplest possible harmonic world and ends in the harmonic world of twelve-tone serialism — and yet remains, from first note to last, recognizably Amazing Grace.

The scroll survives the roll.

The Ukulele as Basso Continuo

The accompanying instrument is a ukulele in low-G tuning — strung so that the lowest string descends to G below middle C rather than the standard high-G reentrant tuning.

This small change transforms the ukulele from a chord instrument into something much older: a basso continuo in the Baroque sense, simultaneously providing bass line and harmonic support from a single instrument.

The thumb plays a walking bass line drawn from the retrograde inversion of the twelve-tone row (RI0), one note per beat on the downbeat. The fingers play the harmonic fill — a chick on the off-beat using the inversion form (I0) mapped to available chord voicings.

The result is three simultaneous voices from four strings: bass, inner harmony, and implied upper register.

The same architecture that a Baroque lutenist or keyboard player would have read from a figured bass.

The choice of ukulele is not whimsical. Its small, warm, slightly nasal timbre sits below the soprano without competing with it.

It sounds like a parlor instrument — domestic, intimate, the kind of thing someone might actually play while singing a hymn at home in 1772.

It grounds the piece in human scale even as the harmony above it becomes increasingly chromatic.

The Voice: Ahn Ji-Seul

The soprano is Ahn Ji-Seul, the fictional Korean singer at the center of the ANiGosSin project, realized here through the Sheena 2 voice in SynthV Studio 2 Pro.

Her Korean accent is canonical, not a flaw — it is part of what makes her reading of this English hymn singular.

She is not performing Amazing Grace as a native speaker would. She is approaching it from outside, which turns out to be exactly the right vantage point for a hymn about undeserved grace.

The vocal production in this setting applies several principles developed specifically during this composition.

They are worth explaining because they represent a theory of singing made explicit — the kind of knowledge that master singers carry in their muscles without ever needing to articulate.

Consonants as Percussion

Every syllable of text has been analyzed for its onset consonant type, and the dynamic shape of that note determined accordingly.

The key insight is that consonants function like percussion instruments: they define the rhythmic attack and the character of each word, but they do not carry the melodic or dynamic weight.

That belongs to the vowel.

Plosives (G in “grace,” B in “blind,” D in “found”) land like a kick drum or snare — brief, definite, the word snapping into focus. Fricatives (S in “sound,” SH in “sweet,” F in “found”) shimmer like a hi-hat — the consonant is sustained, the voice eases in behind it. Nasals (M in “me,” M in “amazing,” N in “now”) resonate like a bass drum — the hum precedes the vowel and gives it warmth.

The aspirate H (in “how”) is a ghost note — breath first, voice following quietly behind it.

In every case the dynamic envelope of the note is a smooth hill: the voice enters softly, rises through the consonant to a peak somewhere in the middle of the vowel, then fades toward the next word. No note has a vertical spike at its onset.

A spike is what a drum makes. A singer makes a hill.

Consonant Anticipation

Say the word “show” slowly: shhhh…OWN.

The beat falls on the first O, not the SH. This is how singing physically works.

The consonant is a gesture the mouth makes toward the note — and the note is the vowel.

In this setting every note begins slightly before its written beat position — by an amount determined by its consonant type.

Fricatives (SH, S, F) anticipate the beat by 60–90 milliseconds: the hiss builds in the silence before the vowel opens.

Plosives (G, B, D) by 30–50 milliseconds: the stop consonant closes and opens again, and the vowel blooms on the beat.

The aspirate H anticipates by 50–80 milliseconds: breath before voice. Vowel-initial syllables land directly on the beat.

The practical effect is that the melody feels sung rather than programmed. Notes do not begin at their grid positions. They arrive, the way a real voice arrives.

Ornament Vocabulary

The ornamental language is progressive across the six variations.

The listener is given time to learn the melody before it begins to transform.

Time Signature Transformations

The piece is in 3/4 throughout — the traditional meter of this hymn. But each variation applies a different rhythmic feel by stretching or compressing individual note durations without changing the total phrase length. The time signature transforms without changing the bar lines.

Variation two broadens into a 4/4 feel by holding the downbeat of each bar slightly longer. Variation three stretches phrase midpoints into a 5/4 feel. Variation four applies rubato: the first half of each phrase is slower, the second half catches up. Variation five compresses into a 6/8 compound duple feel, which is why it moves at 92 BPM and still sounds urgent. Variation six is free: the Eb Mixolydian pitch classes receive expanded durations and the passing tones compress around them, creating an asymmetric pulse that has no standard time signature.

The ukulele continuo throughout maintains the original 3/4 pulse. The soprano floats above or beside it, never quite landing where the uke expects, which is exactly the right relationship between a singer and her accompanist.

A Note on Listening

Twelve-tone music functions, among other things, as a palate cleanser — in the precise sense that a sorbet between courses clears the accumulated flavor of what came before so the next thing can be tasted freshly.

After extended exposure to tonal music, the ear stops really listening and starts anticipating: every resolution arrives where it was expected, every cadence confirms what was already known.

The music becomes a confirmation rather than an experience.

The chromatic enrichment in this piece works against that anticipation gradually.

By variation three the ear cannot quite predict where the next note will land. By variation five the harmonic world is genuinely unfamiliar. And then the words come back:

Amazing grace, how sweet the sound.

After five variations of chromatic turbulence, those words land differently than they did at the start. The hymn has not changed. The listener has been recalibrated. That is the piece.

Technical Notes

Voice: Ahn Ji-Seul (Sheena 2, SynthV Studio 2 Pro). Soprano. Range: F3–D5.

Accompaniment: Ukulele basso continuo, low-G tuning (G3–C4–E4–A4). Thumb: bass line, RI0. Fingers: harmony fill, I0.

Row: P0 = C, F, B♭, E♭, A♭, D♭, G♭, B, E, A, D, G. Used across all ANiGosSin compositions

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Musical Meditations for Solo Cello 12 Tone

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Musical Meditations for Solo Cello 12 Tone

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Musical Meditations for Solo Cello 12 Tone

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The Piece (Notes here generated by Claude Sonnet 4.6)

Musical Meditations for Solo Cello in Twelve Tones is a short through-composed work for unaccompanied cello lasting approximately two minutes and forty seconds.

It is the third completed work in the ANiGosSin project — a multimedia gospel radio program combining Anglican chant, twelve-tone serialism, and Southern Gospel instrumentation — and represents the first purely instrumental piece in that catalog.

The work unfolds in six continuous sections, each exploring a distinct relationship between the twelve-tone row and the physical nature of the cello itself.

The piece has no key signature and no tonal center. Rather than experiencing this as an absence, the listener is invited to hear it as a kind of radical freedom — the cello ranging across its entire geography without the gravity of a home pitch pulling it back.

What anchors the music is not harmony but trajectory: the arc of a phrase, the weight of a bow stroke, the sudden brightness of a high A string against the resonant darkness of an open C.

Structure

A — Opening  |  Row form P0. Slow and lyrical on the D and A strings. Expressive long tones with breathing silences and occasional grace note approaches.

An open D string pedal tone sustains quietly beneath the second statement of the row, suggesting a second voice without ever becoming one.

The section establishes the row as a singing melodic line rather than an abstract pitch sequence.

B — Development  |  Row form I0 (inversion). The row turned upside down produces a different character entirely: agitated, clipped, unstable.

Three passes of increasing intensity, with staccato bursts and tremolo held notes alternating.

The dark C and G strings predominate. By the third pass the bow is barely leaving the string between notes — the energy has become almost violent.

C — Double Stops  |  Row form R0 (retrograde). The row played backward, now collapsed into double stops wherever adjacent row notes can be played simultaneously on adjacent strings.

This is where twelve-tone orthodoxy meets cello idiom most directly:

Schoenberg permitted octave displacement of row notes, and we exploit this to transform awkward close intervals into comfortable sixths and fifths spread across two strings.

An open G string pedal drones beneath the entire section.

D — Pizzicato Interlude  |  Row form RI0 (retrograde inversion).

Everything goes plucked — a complete change of world. The bow disappears entirely.

What remains is rhythmic and dry, punctuated by Bartók snap pizzicato accents on strong beats.

Runs between row notes are played pizzicato as well, which pushes the limits of what is idiomatic but remains physically achievable.

A brief section, over almost before the ear has registered the change.

E — Return  |  P0 again — the opening row returns, but entirely transformed by what has come before.

Now on the high A string, now with tremolo and sforzando swells, climbing toward a climax at the ninth note where a double stop is held with the expression pedal pressed to maximum.

The same twelve pitches in the same order as the opening section; an entirely different musical experience.

Coda  |  A descending run arrives on the open C string — the lowest note on the instrument — held alone for nine beats at ppp, the bow barely touching the string, the sound fading rather than stopping.

The cello breathing out.

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Musical Mediataions for Solo Cello 12 Tone

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OK, this song might apply to me as well as I have cranked out that many videos and more in a week and has actually got me back to revising many of the AI Generated Psalms where I spend both more time, uses later tech, and employ Claude Sonnet 4.6 to help me revise them, which it is proving indispensable in doing that marking improving the quality of my work by creating tons of meta tags and the like that I can feed into Suno to get better markedly result.

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A really sad song for any dog lovers

Here is the link to my Sonauto page.

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rlwilsonxx - Fair, Kind, and True (Sonnet 105)

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rlwilsonxx - Fair, Kind, and True (Sonnet 105)

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Here is the link to my Sonauto page.

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Maybe AI can create even more jobs that it replaces older human jobs.

This song was inspired by this YouTube video. MPORTANT WARNING: Tech CEO Predicts Future of AI

Here is the link to my Sonauto page.

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AI Reduces the I in ROI - Cutting the Corners Clean (Extended 2) - Sonauto

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AI Reduces the I in ROI - Opportunity Spin (Extended 1) - Sonauto

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In the halls of power, he took the floor

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In the halls of power, he took the floor

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One might ask, why create an AI song about president Rutherford B. Hayes?

My answer,why not!

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In the halls of power, he took the floor

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Gypsy Jazz and K Pop Unite (Cover) (Cover)

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Gypsy Jazz and K Pop Unite (Cover) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Dancing And Bowling (Remastered x2) (Cover)

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Dancing And Bowling (Remastered x2) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Psychedelic Dreamer (Remastered x2) (Cover)

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Psychedelic Dreamer (Remastered x2) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Shadows of the Silver Screen (Remastered x2) (Cover)

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Swingin' With Figaro (Remastered) (Cover) (Cover)

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Swingin' With Figaro (Remastered) (Cover) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Gypsy Jazz Serenade (Remastered) (Cover) (Cover)

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Froggy Focus (Cover) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Travelers of Melody with Camera in Hand 

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Travelers of Melody with Camera in Hand 

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Travelers of Melody with Camera in Hand (Remastered) (Cover)

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The Garden Stroll (Remastered) (Cover) (Cover) (Cover)

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The Garden Stroll (Remastered) (Cover) (Cover) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Dare I Say - Silicon Symphony (Extended 2) - Sonauto

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No animation here in that I have used up all my Suno credits.

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We Spell Our Most Favorite Austen with an e.

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We Spell Our Most Favorite Austen with an e.

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Sorry Stephen Austin, but your no Jane Austen

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Texas Ode to Austin, Not Steven but Jane

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Here in this Christmas eve story all is not calm but rather time to shake,rattle, and Run!

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Advent is a time of for sober introspection and penitence so many who observe the church calendar think one should wait closer to Christmas to celebrate Christmas and not jump the gun and start celebrating Christmas during Advent. This song take a humorous take on the Christmas secular classic, It Beginning to Look Like Christmas with that slant in mind

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An AI generated Christmas carol using the words from a Christmas poem by Henry Vaughan

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a poem by By Sara Teasdale set to AI generated music.

Perhaps some of the chronology of when the magi arrived may be a bit off in this poem, but giving a poet a bit of a poetic license seems quite the reasonable thing to do in cases such as this.

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Christmas Carol (a poem by By Sara Teasdale)

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Robo Rhythm (Remastered) (Cover) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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A poem by Edgar Allen Poe set to AI generated music.

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I used to tell my daughter Nithy stories when she was little.

Nithy was her friend, an ornithomimus bird like dinosaur.

The only AI here is some of the video clips.

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The text of this song is from a Christmas poem about a children's Christmas pageant that I saw many years ago where I now neither remember who write the poem nor can I now recall all the words in it. That said I tried to set this song to the words the best I can remember them these many years later but I am pretty sure I got some of them wrong. I also tried search for this poem on line with no luck there but I seem to recall that it was part of some anthology of poems.

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Eternal Harmony (with solo trumpet) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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When visiting my folks over Christmas in Pass Christian , Mississippi we use to drive down what was called Christmas Card Lane where people would make outdoor Christmas Cards to display in their front yards.

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Yet Another Christmas and Another Year Older

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Yet Another Christmas and Another Year Older

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Yet Another Christmas and Another Year Older

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Yet Another Christmas and Another Year Older by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Took a lot of retakes to coax the AI ti get this but perseverance does pay off!

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There are still a few rough spots here that I can't get the AI to fix but it still sounds pretty cool what the AI generated!

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Yeah! I have just learned how to make jazz covers using Suno Studio!

After you've gone and left me crying
After you've gone there's no denying
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had

There'll come a time, now don't forget it
There'll come a time when you regret it
Someday when you grow lonely
Your heart will break like mine
And you'll want me only
After you've gone, after you've gone away

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You say this does not sound like Martian music?

Well, how do you know? Have you ever heard Martian Music?

And on Mars there are many styles and genres of music too, just like Earth, even more!

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In the halls of power, he took the floor

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In the halls of power, he took the floor

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Here is a cover by Suno of the previous tune.

Lyrics

In the halls of power, he took the floor
With a steady hand, he set to restore
A United States, wearied by war
Oh, Rutherford's days, heeded the call no more

[Chorus]
'Twas the oath, the pledge of the steadfast
Peaceful times, peaceful times, he strived for them once more
From strife to calm, he tried to heal
With compromise, a nation’s deal
Civil rights to the oppressed
In Reconstruction's test, he gave his best

[Verse 3]
The Ohioan's way, with a lawyer's mind
Guide the country true, leave divisions behind
His legacy clashed, in tales untold
The Compromise of Eighteen Seventy-Seven bold
With Tilden's defeat, and the Union's fate
A presidency's start amid the debate

[Chorus]
Oh, the helm he took in turbulent seas
With a sailor's grace, he sought for ease
When the ballots lay, in deep dispute
The bargain struck was resolute
Fair Rutherford became the chief,
Promised reform, gave some relief

[Verse 4]
With Lucy by his side so fair
The White House gained a temperance air

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In the halls of power, he took the floor

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In the halls of power, he took the floor

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Synopsis:

This sonnet, expanding the couplet that closes s. 9, accuses the young man of a murderous hatred against himself and his family line and urges him to so transform himself that his inner being corresponds to his outer graciousness and kindness.

For shame deny that thou bear’st love to any,
Who for thyself art so unprovident.
Grant, if thou wilt, thou art beloved of many,
But that thou none lov’st is most evident.

For thou art so possessed with murd’rous hate
That ’gainst thyself thou stick’st not to conspire,
Seeking that beauteous roof to ruinate
Which to repair should be thy chief desire.

O, change thy thought, that I may change my mind.
Shall hate be fairer lodged than gentle love?
Be as thy presence is, gracious and kind,
Or to thyself at least kind-hearted prove.

Make thee another self for love of me,
That beauty still may live in thine or thee.

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This started out life as an instrumental but I added vocals as well courtesy of Suno Studio.

Surf sound effects Pixabay here

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[Verse 1]

I'm dreamin' of bright days

I'm dreamin' of sweet ways

Sunshine on my face all through

Those blue skies make my heart anew

Gonna dance through the day as we used to do

And sing songs just for you

[Chorus]

Blue skies are comin',

I feel them near

Sweet melodies bringin' us cheer

Good times await us right along the way Gonna bask in the joy every day

[Verse 2]

I'm hopin' for laughter

Dreamin' of forever after

In the breeze that's warm as can be

I see good times rollin' just for me

With every step we take, oh we'll be free

And love will make us merry

[Chorus]

Blue skies are comin',

I feel them near

Sweet melodies bringin' us cheer

Good times await us right along the way

Gonna bask in the joy every day

[Bridge]

Hold on to the dreams that we share

Let's catch the moments floating in the air With every heartbeat, we'll find our way

To endless fun, come what may

[Chorus]

Blue skies are comin',

I feel them near

Sweet melodies bringin' us cheer

Good times await us right along the way Gonna bask in the joy every day

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How Heavy do I Journey (Shakespeare's Sonnet 50)

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How Heavy do I Journey (Shakespeare's Sonnet 50)

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Synopsis:

In this first of two linked sonnets, the poet’s unhappiness in traveling away from the beloved seems to him reproduced in the plodding steps and the groans of the horse that carries him.

Text

How heavy do I journey on the way,

When what I seek, my weary travel’s end, Doth teach that ease and that repose to say “Thus far the miles are measured from thy friend.”

The beast that bears me, tired with my woe, Plods dully on, to bear that weight in me,

As if by some instinct the wretch did know His rider loved not speed, being made from thee.

The bloody spur cannot provoke him on

That sometimes anger thrusts into his hide, Which heavily he answers with a groan, More sharp to me than spurring to his side; For that same groan doth put this in my mind:

My grief lies onward and my joy behind

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How Heavy do I Journey (Shakespeare's Sonnet 50) (Edit)

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How Heavy do I Journey (Shakespeare's Sonnet 50) (Edit)

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[Verse] In the lone star state, there's a little shack

Where a cowboy sits, strumming tunes out back

He hides his secrets, beneath the old oak tree

Pickin' his ukulele, sets his spirit free

[Verse 2] No one knows his sorrow, no one's seen him cry Silent tears are falling, as the days go by

He serenades the moon, with melodies so sweet

But the sadness in his voice, is all that he can bleat

[Chorus] Strummin' on a uke, singin' songs of loneliness

He's got no friends but his strings, to ease his heart's distress Closet ukulele player, keepin' secrets in the night

Lonely melodies bring comfort, under moonlight's softest light

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[Verse] In the moonlit meadow where melodies roam,

Rabbits swing and squirrels sway, full of life's zest.

Gypsy jazz fills the air, a lively tune to call home,

As bunnies hop and squirrels dance, strutting their best.

[Verse 2] With nimble paws and twinkling eyes,

They jive and jitterbug under starry skies.

The music swings, it's a fanciful display, As rabbits and squirrels groove in their own special way.

[Chorus] Oh, swingin' tails and nimble feet,

Rabbits groovin' to the rhythm, squirrels meet.

Gypsy jazz in harmony they embrace,

An enchanting scene, full of life and grace.

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[Verse] Cherubino's got a heart in a whirlwind

Infatuations with the ladies It's hard to keep countin'

He's a young dreamer with a fire in his eyes

Serenadin' all the ladies Don't matter the size

Oh Cherubino

Boy You're such a charmer

Every gal's got a story 'bout breakin' their armor

He's got a sweet little tune and a smile that's bright

Leavin' all the ladies tangled up in the night

[Verse 2] Cherubino's got a thing for the countess

Day and night

He can't help but obsess

But wait a minute!

There's another he admires It's Barbarina now

Settin' his heart on fire

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Oh Truant Muse  (Shakespeare's sonnet 102)

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Oh Truant Muse  (Shakespeare's sonnet 102)

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Sono Studio

Synopsis:

The poet defends his silence, arguing that it is a sign not of lessened love but of his desire, in a world where pleasures have grown common, to avoid wearying the beloved with poems of praise.

AI Generated Text

O truant muse, what shall be thy amends For thy neglect of truth in beauty dyed?

Both truth and beauty on my love depends; So dost thou too, and therein dignified.

Make answer, muse. Wilt thou not haply say “Truth needs no color with his color fixed, Beauty no pencil beauty’s truth to lay; But best is best if never intermixed”?

Because he needs no praise, wilt thou be dumb? Excuse not silence so, for ’t lies in thee To make him much outlive a gilded tomb And to be praised of ages yet to be.

Then do thy office, muse; I teach thee how To make him seem long hence as he shows now.

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Swingin’ With Figaro (Remastered) (Cover)

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Swingin’ With Figaro (Remastered) (Cover)

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[Verse]

Gather round folks, I got a tale to tell

'Bout a little ditty called The Marriage of Figaro (Figaro)

In this opera, the plot's as twisty as a trail

But the music's sweet as honey, swingin' italo (ooh-yeah)

[Verse 2]

Figaro, Figaro, he's a sly ol' chap

Servin' his master while makin' ladies swoon (swooon)

Count Almaviva is a jealous man, oh-so-menacing

But Figaro outwits 'em, dancin' to a tune (ooh)

[Chorus]

Swingin' with Figaro, dancin' through the night (swing it!) Fiddles and guitars, playin' with del [Chorus]

Swingin' with Figaro, dancin' through the night (swing it!) Fiddles and guitars, playin' with delight (ooh-yeah)

Oh, the Marriage of Figaro, what a sight to see (oh-oh)

Western swing meets Mozart, now that's a melody! [instrumental]

[Chorus] Swingin' with Figaro, dancin' through the night (swing it!)

Fiddles and guitars, playin' with delight (ooh-yeah)

Oh, the Marriage of Figaro, what a sight to see (oh-oh) Western swing meets Mozart, now that's a melody!

[cello]

[end]

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Swingin' With Figaro (Remastered) (Cover) (Cover)

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Swingin' With Figaro (Remastered) (Cover) (Cover)

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Dance of the Hellenic Soul (Remastered) (Cover)

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Dance of the Hellenic Soul (Remastered) (Cover)

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Dance of the Hellenic Soul (Remastered) (Cover)

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Gypsy Jazz Serenade (Remastered) (Cover)

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Gypsy Jazz Serenade (Remastered) (Cover)

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[Verse]

In the moonlit night, a melody begins to play

The violin sings, a hot breath of sound in the air

Crackers, cheese, and wine, a feast of flavors sway

With every note, memories of days gone by we share

[Verse 2]

Underneath the stars, we dance to the rhythm's sway

Guitar and bass, they strum and pluck in harmony

In this gypsy jazz, we find our souls' escape

Lost in the music, we find ourselves feeling free (feeling free)

[Chorus]

Oh, let us serenade, with violins that sparkle and shine

A tale of laughter and love, of memories so divine

In this gypsy jazz, as the wine flows and time goes by

We'll dance and reminisce, to the melodies that still reside

[Instrumental]

[Chorus]

Oh, let us serenade, with violins that sparkle and shine

A tale of laughter and love, of memories so divine

In this gypsy jazz, as the wine flows and time goes by

We'll dance and reminisce, to the melodies that still reside.

[instrumental]

[end]

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Gypsy Jazz Serenade (Remastered) (Cover) (Cover)

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Gypsy Jazz Serenade (Remastered) (Cover) (Cover)

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The Garden Stroll (Remastered) (Cover) (Cover)

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The Garden Stroll (Remastered) (Cover) (Cover)

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[Verse]

Walking down the avenue

With a smile upon my face

I've got a green thumb I'm a floral embrace

Heading to the nursery

Where the flowers bloom with grace

Lost in the fragrance of this botanical space

[Verse]

Oh

The colors mesmerize

Like a rainbow in the sky

Each petal seems to dance As the breeze goes by

Enchanted by the tulips

The daisies And the roses

Every bloom captures my heart

Every scent sends me in poses

[Chorus]

Oh

In the garden I roam (ooh-yeah)

Through the nursery I'll go (ooh-yeah)

Catchin' sight of each floral gem (ooh-yeah)

Lost in the beauty

My love for them

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The Garden Stroll (Remastered) (Cover) (Cover) (Cover)

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The Garden Stroll (Remastered) (Cover) (Cover) (Cover)

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Givin’ Up My Beer for A Flat Earth Girl (Remastered) (Cover)

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Givin’ Up My Beer for A Flat Earth Girl (Remastered) (Cover)

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Givin’ Up My Beer for A Flat Earth Girl (Remastered) (Cover)

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Electric Dreams of the Highway (Remastered x2)

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Electric Dreams of the Highway (Remastered x2)

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Electric Dreams of the Highway (Remastered x2)

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Most everyone from time to time have caused others pain but often unintentionally but rather due to lack of wisdom or maturity or just about of not thinking clearly or getting a bit distracted... or maybe just a touch of wishful thinking that can cloud one's otherwise good judgement.

One then hopes to be forgiven but can the harm be ever totally undone or total restitution ever made?

That's what this one is all about!

[Verse]

In a garden full of laughter

I sowed seeds of sorrow deep

Never meant to carve the shadow that haunts those who can't sleep

Petals fall on silent twilight my regrets in every breeze Whispered words of love so hollow bring me now down to my knees

[Chorus]

Sorry for the echoes of the past where kindness wilted fast

Caged inside a hazy mirror hope those scars won't ever last Learn from stumbling over heartstrings but can't mend the broken glass

Linger in this maze of daydreams searching still for peace at last

[Verse 2]

Tangled vines around my memories choking blooms that never speak

Every smile a cryptic riddle every tear a bitter leak

Silent raindrops on my conscience each now falling with a plea

Could I change the woven fabric of their lives just like the sea

[Bridge]

Ripples in the pond of moments spreading wide then fading thin

Wishing stars to realign them take away the traces' sin

Cycles turning lessons learning but undoing lost in time In the peace of cosmic whispers trust in mending through the climb

[Chorus]

Sorry for the echoes of the past where kindness wilted fast Caged inside a hazy mirror hope those scars won't ever last Learn from stumbling over heartstrings but can't mend the broken glass

Linger in this maze of daydreams searching still for peace at last

[Verse 3]

In this realm of psychedelic wanderings carry lanterns dim yet warm

Leading towards the paths of healing finding roots amidst the storm

Paint the skies with hues of comfort letting love fill every space

Knowing that the past can't alter yet the future can embrace

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Sorry for the Echoes (Remastered x2) (Cover) (Cover)

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Sorry for the Echoes (Remastered x2) (Cover) (Cover)

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[Verse]

Well, down in Texas, there's a place to unwind

Where cowboys and cowgirls have a real good time

With their cowboy hats and their boots on tight

They gather round for a game on a Saturday night

[Verse 2]

Now the fiddles start a playin', feet start a-hoppin'

Bowling pins are fallin', you can hear 'em droppin'

Everyone's catchin' that good ol' swing

Dancin' and bowlin' is their favorite thing

[Chorus]

In the bowling alley, with the western swing

Toe tappin', hand clappin', everything

Grab your partner, swing 'em round and round

Bowling and hip-shakin', the best in town

[Instrumenatal]

[Chorus]

In the bowling alley, with the western swing

Toe tappin', hand clappin', everything

Grab your partner, swing 'em round and round

Bowling and hip-shakin', the best in town

[end]

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Dancing And Bowling (Remastered x2) (Cover)

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Dancing And Bowling (Remastered x2) (Cover)

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Coffee Bar Serenade (Remastered x2) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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Shadows of the Silver Screen (Remastered x2)

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Shadows of the Silver Screen (Remastered x2)

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Nostalgia often cast a rosy glow on times that maybe were as not as great as one might now remember where life's problems seem to then have been cast more in black with white good guys with white hats and bad guys with black hats or gangster pin striped suits.

But maybe that desire for a "simpler life" is not all bad if practiced with a bit of moderation for reality seems to be anything but simple!

Lyrics.

[Verse]

In a smoky bar, where the jazz is swingin'

There's a lonesome cowboy, his heart's been singin'

He sips his whiskey, as he longs for the past

Where dames were dangerous and shadows were cast

[Verse 2]

The music's playin', the floor's feelin' alive

With every step, the cowboy takes a dive

Into a world where the heroes wear suits

And the villains scheme, with their devilish pursuits

[Chorus] Oh, it's a black and white romance, under the silver moon

Where the heroes are brave and the villains meet their doom In the dark alleys of old film noire dreams

The cowboy dances, to the sound of the accordion's gleam

[Instrumental]

[Chorus]

Oh, it's a black and white romance, under the silver moon Where the heroes are brave and the villains meet their doom In the dark alleys of old film noire dreams

The cowboy dances, to the sound of the accordion's gleam

[end]

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Shadows of the Silver Screen (Remastered x2) (Cover)

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Shadows of the Silver Screen (Remastered x2) (Cover)

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Stamp Collectors Unite Under The Moonlight (Remastered x2)

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Stamp Collectors Unite Under The Moonlight (Remastered x2)

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Stamp Collectors Unite Under The Moonlight (Remastered x2)

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Yippie! Suno V5 is now out!

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Baton Rouge Bullwinklin’ (Remastered x2)

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Froggy Focus (Remastered x2) by My Really Terribly Bad AI Music Review (@rlw). Listen and make your own on Suno.

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[Verse]

Awake at dawn, camera slung 'round neck,

Searching swamps, what the heck, Lens seeks them hoppers, crouched low,

Frogs in focus, where the lilies grow.

[Verse 2]

Mud-soaked boots, trail unknown,

Birch and pine, snapping them alone,

Eyes wide on amphibian's smile,

Croak signal, makes it worth the while.

[Chorus]

Ribbit echoes through the air,

Pictures snap, he’s always there,

Frogs in frames, not any hogs,

Life of a shooter, just lovin' frogs.

[Verse 3]

Hunkered by the creek, flash in hand,

Warty prince, front page grandstand,

Croakin’ divas on the lily pads,

Hop, ribbit, make the crowds so glad.

[Bridge]

Darkroom fog, prints reveal,

Little froggies, those hearts they steal,

Echoes of marsh, slides in show,

Gallery of croaks, on we go.

[Verse 4]

Polaroid snaps, capturing leap,

Shutter clicks, in wetlands deep,

Tadpoles groovin', watch 'em grow,

Catalogued croaks, in evening glow.

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Listen to Lone Quill Wanderer by RLW on Udio. Discover, create, and share music with the world. Use the latest technology to create AI music in seconds.

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here

[Verse]
People shout and point their fingers, crying out their fear,
But when it comes to change, oh, they soon disappear.
The world keeps turning, but they just sit back and sigh,
If we want a better place, we’ve got to give it a try.

[Chorus]
So lend a hand, don’t just complain,

Together we'll rise, let love be the chain,
With open hearts and minds, we'll heal what’s been slain.
In harmony we'll gather, let the good vibes flow,
One step at a time, it’s the way we will grow.

[Verse]
So take your neighbor’s hand, and bring them along,
We'll dance through the struggle and sing our sweet song,
In fields of daisies, under the sun's warm embrace,
We'll sow the seeds of kindness in this sacred space.

[Chorus]
With every smile we share, we’ll sparkle and shine,
Embracing every soul, let our spirits entwine.
Through the laughter and the tears, we’ll find our way,
Hand in hand, together, we’ll create a new day.

[Bridge]
So let the music rise, and let it be our guide,
As we walk this path of love, with the stars as our pride,
In the circle of life, we’ll spin a tale so bright,
With the colors of our hearts, we’ll paint the world with light.

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[Chorus]
Echoes ripple, the past redefined,
Chasing illusions, we're all intertwined.

[Verse 7]
With the sun setting low, and the stars on the rise,
We'll dance on the edge where the madness lies.
In spirals of color, we’ll find our way,
Underneath the surface, let the music play.

[Chorus]
Whispers alive in the twilight glow,
As the mind drifts free, let the feelings flow.

[Verse]
Whispers in the shadows, they cut so deep,
Words like poison, in silence they creep.
Accusations fly, intentions unclear,
Truth gets buried under all of the fear.

[Chorus]
Falsehoods spread like wildfire,
Hurtful tales that never tire.

[Verse 2]
Judgment passed without a second thought,
Crafting narratives, they can't be bought.
Innocent hearts caught in the fray,
A reckless claim can take their light away.

[Chorus]
Whispers can break like thunder,
Innocence lost, torn asunder.

[Verse 3]
Starlit visions dance upon the wall,
Faded dreams echo, hear their call.
Kaleidoscope minds, drifting through the haze,
Reality twists in an endless maze.

[Chorus]
Falsehoods rise like smoke in the air,
Illusions weave a tale so rare.

[Verse 4]
Cloaked in colors that shift and shine,
Truth and fantasy intertwine.
Chasing shadows in a warped embrace,

In the mirror, reflections start to sway,
Colors bleed into the night and day.
Siren songs in hues of emerald green,
Open your mind, let the visions be seen.

[Chorus]
Whispers echo through a velvet haze,
Lost in the music of forgotten days.

[Verse 5]
Floating through realms where the dreams collide,
We're all just travelers, the worlds reside.

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Falsehoods Spread Like Wildfire ext v2.2.2.1

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[Verse]

Trade your smile for cash again

Coin buys laughter it won't mend

Empty words just like pretend

Love ain't sold it won't blend

[Verse 2] False embraces cold as ice

Hearts on sale at a high price

Temporary feels so nice

Real love can't be diced

[Chorus] Love's a treasure can't be bought

True hearts found in simple thought

Chains of gold can leave you caught

Free love's dream that can't be sought

[Verse 3]

Washboard tunes make hearts believe

Coins fall down they won't relieve

Once you give you must receive

Real love's balance pure reprieve

[Bridge]

Clink of coin a jaded sound

False affection all around

In true love we are found

Hearts unchained they stand their ground

[Chorus] Love's a treasure can't be bought

True hearts found in simple thought

Chains of gold can leave you caught

Free love's dream that can't be sough

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Love's Old Trade (Remastered x2) (Cover)

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Love's Old Trade (Remastered x2) (Cover)

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UFOs Beneath The Colorado Moon (Remastered)

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UFOs Dancing In The Night (Cover) (Cover)

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Based on Shakespeare's Sonnet 99

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The Roses Blush of Morning Bright - Song by rlwilsonxx | Sonauto

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Based on Shakespeare's Sonnet 1.

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Garden Fall - Song by rlwilsonxx | Sonauto

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Its been a while since I have messed around with AI music generation but maybe now is a good time to get back into creating it as we now have some new tech to play around with.

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Measured Grace (Extended 2) - Song by rlwilsonxx | Sonauto

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Listen to Waves of Light by RLW on Udio. Discover, create, and share music with the world. Use the latest technology to create AI music in seconds.

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[Verse]

In a city full of lights and dreams

Where the struggles never seem to cease

Two souls in search of work

Stand side by side

Lost their jobs to machines

Swallowed their pride

[Verse 2]

Every morning they'd meet at the same place

Eyes locked

No words needed to embrace

A dance of uncertainty begins to unfold

United in their burdens

A story untold

[Chorus]

In the unemployment line

They found solace in each other's eyes

A tango of two hearts

A symphony disguised

Lost in the rhythm

Their dreams intertwined

In the midst of hardship

Love they'd find

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[Verse]

Long road winds

Dust kicks high

Old suitcase

A heavy sigh

Feet dragged in this nowhere town

Hotel bar's got me feelin' down

[Verse 2]

Neon lights

A musician croons

Plastic ferns and cheap perfume

Dreams of home

Can't shake the thought

A different life

I never bought

[Chorus]

Maybe there's a way back home

Tired of wandering all alone

Desk by day and porch by night

Swap the highway for candlelight

[Verse 3]

Whiskey glass

My company

Strangers' laughter haunting me

Salesman's pitch

It feels so thin

Dreams dissolve in tonic gin

[Verse 4]

Cheap lounge act

Voice so strained

Empty smiles

They're all in vain

Chasing warmth that

I once knew Ghost of road

I'm passing through

[Chorus]

Maybe there's a way back home

Tired of wandering all alone

Desk by day and porch by night

Swap the highway for candlelight

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Lyrics:

[Verse 1]

Solomon, wise and strong,

Built a kingdom, righted wrongs.

Spoke of virtue, love, and grace,

Yet let temptation take their place.

[Chorus]

Oh, Solomon, where did you go?

Wisdom high, yet brought so low.

A thousand loves, a heart untrue,

Strayed from the Lord who once you knew.

[Verse 2]

He wrote of wives both kind and pure,

A woman strong, a love secure.

Yet foreign voices stole his way,

Turned his heart, led him astray.

[Verse 3]

Gold and glory, palaces wide,

But in his halls, the Lord denied.

Altars rose to gods unknown,

His love for wisdom overthrown.

[Chorus]

Oh, Solomon, where did you go?

Wisdom high, yet brought so low.

A thousand loves, a heart untrue,

Strayed from the Lord who once you knew.

[Bridge]

The preacher speaks, "All is vain,"

Riches, power, love’s sweet pain.

Yet in the end, his voice did confess,

Fear the Lord, that’s true success.

[Chorus]

Oh, Solomon, where did you go?

Wisdom high, yet brought so low.

A thousand loves, a heart untrue,

Strayed from the Lord who once you knew.

[Spoken Summary]

Solomon, the wisest of kings, wrote of the virtuous wife and the path of wisdom, yet in time, he turned from his own words.

His many wives led him to foreign gods, and his heart drifted from the Lord.

Though he built the temple, he also built altars to idols.

In his later years, he saw the vanity of it all and returned to the truth: to fear God and keep His commandments.

[Liner Notes]

Solomon, son of David, was given wisdom beyond any before him.

He ruled with justice, penned Proverbs, and built the temple.

Yet, despite his wisdom, he let his love for foreign wives lead him astray.

They turned his heart to idolatry, leading to the division of the kingdom after his death.

His story stands as a warning: wisdom alone is not enough if the heart is not steadfast before God.

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Lyrics:

[Verse 1]

Absalom stood, a prince so tall,

Handsome and proud, admired by all.

Flowing locks, a noble sign,

Yet vengeance burned in his mind.

[Chorus]

Oh, Absalom, where did you go?

Lost in pride, lost in woe.

A father's love, a kingdom's cry,

Yet in the oak, you hung to die.

[Verse 2]

For Tamar's pain, his wrath was sworn,

Struck Amnon down, no mercy borne.

Fled from home, his heart grew cold,

Dreams of power took their hold.

[Verse 3]

He stole the hearts, he claimed the throne,

Turned his back on flesh and bone.

Joab watched, his warning vain,

Yet in the end, he’d strike again.

[Chorus]

Oh, Absalom, where did you go?

Lost in pride, lost in woe.

A father's love, a kingdom's cry,

Yet in the oak, you hung to die.

[Verse 4]

In battle fierce, his fate was cast,

Trapped in the branches, breathing his last.

Joab came and made it so,

The rebel prince was laid low.

[Bridge]

David wept, his heart undone,

"Oh, my son, my son, my son!"

Victory rang, but grief remained,

For love and war both bring their pain.

[Chorus]

Oh, Absalom, where did you go?

Lost in pride, lost in woe.

A father's love, a kingdom's cry,

Yet in the oak, you hung to die.

[Spoken Summary]

Absalom, son of David, avenged his sister

Tamar by killing Amnon, then fled in exile.

Though welcomed back, his heart turned against his father.

His rebellion led to war, and in the end, his fate was sealed by the very thing that set him apart.

Joab, David’s general, delivered the final blow.

David mourned him deeply, a father’s grief overshadowing victory.

[Liner Notes]

Absalom was David’s son, known for his striking looks and charisma.

After his sister Tamar was wronged by Amnon, he sought vengeance.

Exiled, he returned only to plot against David.

His rebellion ended when his hair caught in an oak tree, leaving him defenseless.

Joab, the commander of David’s army, ignored David’s wishes and struck him down.

Despite everything, David’s grief at his death remains one of the most heartrending moments in Scripture.

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[Joab and Abner]

(Style: Dramatic folk ballad with elements of military cadence. Tempo: 90 BPM, Key: D minor for a dark, reflective tone.)

This song captures both the valor and tragedy of Joab and Abner—two men who shaped Israel’s destiny, yet fell to their own ambitions

[Verse 1]
In the days of kings and battle cries,
Two warriors stood with fire in their eyes.

Joab, fierce, with his sword held tight,
Abner, strong, in the fading light.

[Verse 2]
Joab, son of Zeruiah’s line,
David’s right hand, sharp as a knife.

Abner, cousin to Saul the king,
Led the charge, made the war drums ring.

[Chorus]
Steel on steel, blood on the sand,
Loyal to kings, but blood on their hands.

One sought peace, the other sought pride,
Both met their fate where honor died.

[Verse 3]
Abner fought for the house of Saul,
But turned to David when the king did fall.

Swore to unite the land as one,
Yet Joab swore what’s done is done.

[Verse 4]
For Asahel, slain on the field,
Joab struck, and Abner reeled.

Not in battle, not in war,
A dagger’s kiss behind closed doors.

[Chorus]
Steel on steel, blood on the sand,
Loyal to kings, but blood on their hands.

One sought peace, the other sought pride,
Both met their fate where honor died.

[Bridge]
David mourned with bitter cries,
For the warrior lost in the shadows of lies.

But Joab’s sword would not be blessed,
His own end came like all the rest.

[Verse 5]
Joab lived by blade and fight,
But fell at last in Solomon’s sight.

A warrior’s fate, a traitor’s fall,
Buried outside the king’s own hall.

[Final Chorus]
Steel on steel, blood on the sand,
Loyal to kings, but blood on their hands.

One sought peace, the other sought pride,
Both met their fate where honor died.

[Outro]
The sword remembers, the land still weeps,
For the men who fought, but could not keep,
The peace they sought, the lives they took,
Their names now rest in the ancient book.

Notes.

See here for more.

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Lyrics

[Verse 1]
From Babylon’s land, where shadows did fall,
Sheshbazzar rose, answering the call.

To the gates of Jerusalem, broken and burned,
He carried the faith for which they had yearned.

He led the way, with hope in his eyes,
Building the future from ashes and cries.

[Chorus]
Sheshbazzar, leader, with courage so bold,
Bringing the people to the city of old.

The walls would rise, though the tears would flow,
He showed them the way, through the high and low.

[Verse 2]
The temple's foundation, once covered in dust,
Was restored by his hands, in God they’d trust.

Though the work was hard, and the path unclear,
He knew their hearts could cast out the fear.

The city would rise from the ruins so deep,
With promises kept that they’d no longer weep.

[Chorus]
Sheshbazzar, leader, with courage so bold,
Bringing the people to the city of old.

The walls would rise, though the tears would flow,
He showed them the way, through the high and low.

[Bridge]
From exile’s grip, to the temple’s light,
He led with vision, he led with might.

In the rubble, the voices began to sing,
A song of restoration, a new offering.

Sheshbazzar's name, in the chronicles told,
But the legacy’s weight is more than gold.

[Verse 3]
The line of David, through years of decay,
Found its hope in the dawn of that day.

Though Sheshbazzar’s role was a quiet one,
His mission was mighty, and it was not done.

He passed on the torch to the next in the line,
And Jerusalem rose with a purpose divine.

[Chorus]
Sheshbazzar, leader, with courage so bold,
Bringing the people to the city of old.

The walls would rise, though the tears would flow,
He showed them the way, through the high and low.

[Outro Notes] Spoken Outro:
"Sheshbazzar's story may be brief in the text, but his leadership and faith are monumental.

He was a quiet builder, a man of vision whose strength helped shape the future of Jerusalem.

As we remember him today, may we reflect on the role of every leader—silent or loud—in the ongoing restoration of faith and community."

Notes:

Sheshbazzar: A Leader of Restoration

Sheshbazzar is a relatively obscure figure in the Bible, but his role in the restoration of Jerusalem after the Babylonian exile is significant.

He was a leader who oversaw the first wave of Jewish exiles returning to Jerusalem, beginning the long process of rebuilding the city and its temple.

His name is found in the genealogies of 1 Chronicles, where he is identified as a descendant of King David, specifically from the tribe of Judah.

Sheshbazzar’s genealogy is notable:

Father: A descendant of Judah, likely a prominent figure in the post-exile Jewish community.

Lineage: His lineage is tied to the restoration of the kingdom of Israel, highlighting his connection to the Davidic line.

Though Sheshbazzar’s direct actions are not recorded in detail, his leadership in leading the exiles back to Jerusalem and his role in the foundation of the Second Temple are crucial.

He is believed to have laid the foundation stone of the temple, which was later completed by Zerubbabel, his successor.

Sheshbazzar’s quiet yet powerful leadership symbolizes the hope and resilience of the Jewish people as they returned to rebuild their broken city and faith.

Through Sheshbazzar, we see the enduring legacy of restoration and leadership, even in times of hardship.

Though not widely known, his faith and dedication have left an indelible mark on the history of Israel.

See here for more on Sheshbazzar.

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Song: "Pelaiah and Rephaiah"

Introduction Notes for "Pelaiah and Rephaiah"

Spoken or Written Intro (Radio Host-style)

“Welcome to this special song focusing on two relatively obscure yet significant figures from the Bible—Pelaiah and Rephaiah.

Found in the genealogies of 1 Chronicles and Nehemiah, their roles were essential in the rebuilding of Jerusalem after the exile.

Though their names may not be widely known, they were instrumental in restoring the spiritual and physical fabric of their community.

Pelaiah, a teacher of the law, and Rephaiah, a leader who helped organize the workers, left behind a legacy that still echoes in the faithful work done today.

This song traces their stories through simple yet powerful folk melodies, honoring their contributions to the community they helped rebuild.

As we listen, reflect on how the seemingly small or forgotten individuals in our lives can leave an indelible mark, even if their names are rarely spoken.

May this song inspire you to remember that all lives, no matter how obscure they may seem, have purpose and meaning.”

Lyrics:

[Verse 1] (Soft, reflective tone)
In the city of ruins, where the walls stood tall,
Two names were whispered, though barely recalled.

Pelaiah taught the people, the law in his hands,
Rephaiah built the city, on broken lands.

[Chorus] (Uplifting, hopeful feel)

Oh, Pelaiah, Rephaiah, lost in the scrolls,
Two quiet voices, still shaping our souls.

Brick by brick, word by word,
Their echoes remain though they’re seldom heard.

[Verse 2] (Descriptive, historical context)
In Nehemiah’s time, when the walls rose again,
Rephaiah stood leading the builders, strong men.

A ruler of half in Jerusalem’s fight,
Restoring the past in the cold moonlight.

[Verse 3] (Family connections - Pelaiah’s line)
A son of Elioenai, his father’s last pride,
From David’s own house, with a promise inside.

Through exile and struggle, his family endured,
Returning to teach where the faithful were stirred.

[Chorus]
Oh, Pelaiah, Rephaiah, lost in the scrolls,
Two quiet voices, still shaping our souls.

Brick by brick, word by word,
Their echoes remain though they’re seldom heard.

[Verse 4] (Family connections - Rephaiah’s line)
His father was Hur, of noble descent,
A prince of the city where the rulers were sent.

He lifted the stones with his name on the line,
A leader, a builder, a son of his time.

[Bridge] (Reflective, slower tempo)
Pelaiah stood where the scribes would read,
The law of the Lord, planting the seed.

A teacher, a guide, through trials and flame,
Yet few now remember his humble name.

[Verse 5] (Final, hopeful resolution)
Though their names fade, their deeds still remain,
In the city they built, in the words that explain.

For wisdom and labor, though lost to the crowd,
Live on in the faithful, steady and proud.

[Chorus] (Final, with harmony & crescendo)
Oh, Pelaiah, Rephaiah, lost in the scrolls,
Two quiet voices, still shaping our souls.

Brick by brick, word by word,
Their echoes remain though they’re seldom heard.

[Outro] (Soft, fading)
So when you walk by old Jerusalem’s stones,
Remember the names that time disowns.

Notes: (The lyrics and Notes courtesy of Cha GPT).

Added Family Details:

Pelaiah was a descendant of David through Elioenai (1 Chronicles 3:23-24). He likely played a role in preserving Judah’s royal lineage after the exile.

Rephaiah was the son of Hur (Nehemiah 3:9) and part of the leadership in rebuilding Jerusalem’s walls.

See here for more on Pelaiah and here for more on Rephaiah.

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As many are now beginning to become concerned about whether some day soon bots taking their jobs here is a song about a girl who prefers to dance with bots over with actual humans in that the bots are now better dancers and thinks them more fun to dance with.

[Verse]

Met a girl at the dance (ooh-yeah!)

With a sparkle in her eye (eye-eye)

She loves to move To prance (whoa-oh!)

Under the zydeco sky (sky-sky)

[Verse 2]

Boys came to dance

But failed (oh no!)

Robots had moves so sweet (sweet-sweet)

She turned around and hailed (hello!)

Those bots with their polite beat (beat-beat)

[Chorus]

Dance with bots

They're so fine

Better than the boys

All the time

All the time

Spin and twirl

What a way!

Bots are the best

Every day

Every day!

[Verse 3]

They glide

They groove

They smile (oh-oh!)

Lift her up off the ground (ground-ground) No awkwardness

No bile (whoa-oh!)

Just fun all around (round-round)

[Bridge]

She shouts out

'More bots

Please!' (please-please)

Laughter fills the air (air-air)

Under the lights

She'll tease (ooh-yeah!)

Dancing without a care (care-care)

[Chorus]

Dance with bots

They're so fine

Better than the boys

All the time All the time

Spin and twirl What a way!

Bots are the best

Every day

Every day!

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Not super great, but neither all that bad as well!

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Verse 1
Back in the day, they signed off just at twelve,
But sometimes they'd keep that welcome light.
On those rare nights, just you and me,
Telethon time, no sleep, just the TV bright.
Phone banks buzzing ,hosts cracking jokes,
With a rhythm in the air you can't deny.

Chorus
Channel5'stelethonblues,won'tyoustay?
Just us watchers in the night, fading away,
Channel5'stelethonblues,feelthatsway.
Midnight echoes of a distant day.

Verse 2
Phone calls coming in, rings fill the room,
Hosts smiling wide under studio lights.
Celebrities stand with their promises,
While the tote board numbers rise to new heights.
Stars of the screen, folks of far away,
In a beam of moving pictures, we'd stay.

Chorus
Channel5'stelethonblues,won'tyoustay?
Just us watchers in the night, fading away,
Channel5'stelethonblues,feelthatsway.
Midnight echoes of a distant day.
Breakdown
Soft and low, with whispers here,
Quiet nights, so near and clear,
In between the TV noise,
Find that space where silence joys.

Solo
Saxophone playing smooth bebop lines
Sound of phone rings faintly in the background

Bridge
Hold that hand, my late-night friend,
Together we'll watch till the end.
There's magic in this moment shared,
Just you, me, and the screen we dared.

Verse 3
Dusty streams in the black and white,
All night telethon in full swing.
Laughs and tears and marathons,
Little things that stars might bring.
We’re caught up in this endless dream,
Bound by a flickering TV beam.

Chorus
Channel5'stelethonblues,won'tyoustay?
Just us watchers in the night, fading away,
Channel5'stelethonblues,feelthatsway.
Midnight echoes of a distant day.

Outro
Channel5'stelethonblues,onelastscene,
Just the screen, and us in between,
Fade to black, but we'll be back,
In the memories where times lean.

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Channel 5’s All Night Telethon Bing by RLWilson

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[Verse 1]
Back in the day, they signed off just at twelve,
But sometimes they’d keep that welcome light.
On those rare nights, just you and me,
Telethon time, no sleep, just the TV bright.
Phone banks buzzing, hosts cracking jokes,
With a rhythm in the air you can’t deny. [Chorus]
Channel 5’s telethon blues, won’t you stay?
Just us watchers in the night, fading away,
Channel 5’s telethon blues, feel that sway.
Midnight echoes of a distant day. [Verse 2]
Phone calls coming in, rings fill the room,
Hosts smiling wide under studio lights.
Celebrities stand with their promises,
While the tote board numbers rise to new heights.
Stars of the screen, folks of far away,
In a beam of moving pictures, we’d stay. [Chorus]
Channel 5’s telethon blues, won’t you stay?
Just us watchers in the night, fading away,
Channel 5’s telethon blues, feel that sway.
Midnight echoes of a distant day. [Breakdown]
Soft and low, with whispers here,
Quiet nights, so near and clear,
In between the TV noise,
Find that space where silence joys. [Solo]
[Saxophone playing smooth bebop lines]
[Sound of phone rings faintly in the background] [Bridge]
Hold that hand, my late-night friend,
Together we’ll watch till the end.
There’s magic in this moment shared,
Just you, me, and the screen we dared. [Verse 3]
Dusty streams in the black and white,
All night telethon in full swing.
Laughs and tears and marathons,
Little things that stars might bring.
We’re caught up in this endless dream,
Bound by a flickering TV beam. [Chorus]
Channel 5’s telethon blues, won’t you stay?
Just us watchers in the night, fading away,
Channel 5’s telethon blues, feel that sway.
Midnight echoes of a distant day. [Outro]
Channel 5’s telethon blues, one last scene,
Just the screen, and us in between,
Fade to black, but we’ll be back,
In the memories where times lean.

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Link

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Yeah, we now have a ne AI Music app.

See here.

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My Really Awfully Bad AI Music Review (Show 4)

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My Really Awfully Bad AI Music Review (Show 4)

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Here is show 4!

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Based on Shakespeare's Sonnet 102

My love is strengthened, though more weak in seeming;

I love not less, though less the show appear.

That love is merchandized whose rich esteeming

The owner’s tongue doth publish everywhere.

Our love was new, and then but in the spring,

When I was wont to greet it with my lays,

As Philomel in summer’s front doth sing,

And stops his pipe in growth of riper days.

Not that the summer is less pleasant now

Than when her mournful hymns did hush the night,

But that wild music burdens every bough,

And sweets grown common lose their dear delight.

Therefore, like her, I sometime hold my tongue,

Because I would not dull you with my song.

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A western swing version of Shakespeare's sonnet 100

[Verse 1]
Oh, muse of mine, where have you flown away?
Why linger you so far, kept from my side?
(Kept from my side)
The whispers fade with every passing day
Dreams of your grace in starlight I abide
Return, sing praise that glory might still stay
In shadows deep, where longing does confide

[Chorus]
Oh, muse return to me, my night and day
Your song of beauty lights the weary way
In heart's refrain, forever shall you stay
Guide me with your song, oh muse, I pray

[Verse 2]
Where art the songs that oft adorned my heart?
Why silent now, when days so swiftly run? (Swiftly run)
The passing hours never shall depart
Without your voice, my work is left undone
Entwine with mine, that art from time may start
And boundless verse shall shine like morning sun

[Chorus]
Oh, muse return to me, my night and day
Your song of beauty lights the weary way
In heart's refrain, forever shall you stay
Guide me with your song, oh muse, I pray

[Bridge]
Silent now, but in dreams your voice I hear
Lift the shroud, in brilliance reappear
With words that spark like starlight crystal clear
Illuminate the world, drive away fear

[Chorus]
Oh, muse return to me, my night and day
Your song of beauty lights the weary way
In heart's refrain, forever shall you stay
Guide me with your song, oh muse, I pray
[Verse 3]
Why art thou silent, muse, when I require
The melody that stirred my soul before?
Return to me, so passion may aspire
To spill through words and verses I adore
Unleash anew the spark that never tires
And quench my longing in sweet, endless score

[Chorus]
Oh, muse return to me, my night and day
Your song of beauty lights the weary way
In heart's refrain, forever shall you stay
Sing, muse, your tune to this cowboy heart
Where horses run wild and stars paint the dark
Your melody's my guide through life's art
In the shadows of your absence, I shiver and hark

[Chorus]
Oh, muse, lasso my spirit with your ray
A bow that leads the fiddles to play
Verse and twang fence the blues away
With your song, guide me down this lonesome way

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A Bluegrass waltz based on Shakespeare's sonnet 97 (or so the prompt)

[Intro]

The dawn of longing stretches wide

In shadows' grasp, my heart abides

Through fields of time, where whispers speak

I seek the warmth that seasons leak

[Verse 1]

As winter's shroud does cloak the year

I wander paths, your voice I hear

Like echoes faint in frosty glades

Your memory fills the barren shades

[Chorus]

How like a winter, my heart does feel

When summers seem a memory unreal

Cold winds blow, 'cross the barren field

Longing for warmth, my heart concealed

[Verse 2]

When blossoms were plenty and time stood still

I felt your warmth against the chill

Sweet dreams of you in the evening air

Now silence echoes, with a wistful despair

[Pre-Chorus]

Seasons of longing, they creep along

The song of time, a bittersweet song

Yearning for days of sunlit cheer

In the shadows, I hold you near

[Chorus]

How like a winter, my heart does feel

When summers seem a memory unreal

Cold winds blow, 'cross the barren field

Longing for warmth, my heart concealed

[Verse 3]

The leaves are fallen, the days are bare

Yet in my dreams, you linger there

Though time and absence weigh us down

Hope still blooms in a wreath-like crown

[Pre-Chorus]

Seasons of waiting, they move so slow

Through distant fields, where memories glow

Holding the past in tender clasp

In the night's embrace, your love I grasp

[Chorus]

How like a winter, my heart does feel

When summers seem a memory unreal

Cold winds blow, 'cross the barren field

Longing for warmth, my heart concealed