by Keith TaylorGreetings All.
While you listen to the music see if it matches the life-style of a day in your life. From crawling out of bed in the morning to staggering into it at night - well, maybe not quite that bad, but you know what I mean. If anything my days are a bit more hectic so it should be speeded up a bit for me. Anyway, that's enough from me, hope you like it. Keith Taylor from slightly sunny Blackpool! |
Source: AMPLINEX 025 disk, file $.SYNTHET |
by Paul HibbertThis song was an attempt to do an old fashioned ballad that went wrong. It is still I think a reasonable tune and the lyrics that go with it are ok but I don't feel it is the best that I can do. I have another that will be in AMPLE fairly soon and I hope to do a much better "production" job on that.
|
Source: AMPLINEX 025 disk, file $.SURELY |
by Frank DudleyMonster Computations Lyrics:
Suddenly, they took away the starlight. Suddenly, they took away the sun. And they shattered the night with the blinding sight of a terrible light in a cause they thought right. Oh baby Jesus! Why didn't you speak? Why didn't you speak more clearly? And the rain came down washing away all the blood and tears. And the Earth turned brown rotting away Mama's work of years. And the Sun burned bright, Lighting up eternal night. Wearily, they struggled for survival. Drearily, they set about their task. And they grovelled around in the sterilised ground, searching for worms which refused to be found. Oh baby Jesus! Why didn't you speak? Why didn't you speak more clearly? Those who remained who were sighted, Had to believe what they saw. Total destruction and smouldering ruins Rubble on rubble and more. Those who complained tried to fight it, Lost the impossible war, Turned to construction from charred remains. Who let it happen? What for? And the drains stained brown, Flushing away all the stench and mess. And the rats ran free, Searching for scraps in the emptiness. And the Sun burned bright. Lighting up eternal night. Slovenly, is how it made a man feel. Stealthily, the vultures wings drew near. As they scratched at the fields, But the ground wouldn't yield, For the contents were sealed and would not be revealed. Oh baby Jesus! Why didn't you speak? Why didn't you speak more clearly? And the rain came down, Washing away all the blood and tears. And the Earth turned brown, Rotting away Mama's work of years, And the Sun burned bright, Lighting up eternal night... |
Source: AMPLINEX 025 disk, file $.SUDDEN |
by Bo HansonComposed by: TraditionalThis is the second tune I've submitted so far. It's pretty straightforward as far as instruments go, and no sound effects are used. Although there are lyrics to it, they are in Russian (apart from something that sounds like 'yo-o heave ho...') and, as I can neither read nor write the language (or get the symbols on the Beeb keyboard), I left them out. But I think it's got the feel and moodiness of the real thing and I hope you like it. So listen and enjoy.
Bo Hanson‚ Dragonsoft 90 |
Source: AMPLINEX 025 disk, file $.VOLGA |
by Michael LefevreMusic 5000 version recorded Duration: 3:50
I always have difficulty making up names for pieces. This title is supposed to refer to the mineral rock rather than the music. When I thought of it I didn't notice the double †meaning. |
Source: AMPLINEX 025 disk, file $.SOLID |
by Don BuckleyComposed by: Charles Chaplin03-06 November 1990 Copyright 1954 Bourne Inc, New York USA
This music has been converted from Island Logic's Music System format by CRUMPLE - ConveRsion Utility for aMPLE written by AJP McMaster, which was published in AMPLINEX 018, July 1990. Conversion and expansion by Don. |
Source: AMPLINEX 025 disk, file $.SMILE |
by Jack WrigleyComposed by: Johnny Kidd (Heath)By Johnny Kidd & the Pirates This piece started life as a try-out for Peter Miller's note-bending utility from AMPLINEX 011. It uses two of the three words (bn1 and bn2) but not bn3. I think they work quite effectively with the guitar sound 'leadgit' (prt5).
3 Voices are used for the drum parts, which is a touch extravagant, but the original Johnny Kidd recording had a typical early 60's empty sound anyway. A liberal sprinkling of 'Echo' adds to the period effect. Jack Wrigley |
Source: AMPLINEX 025 disk, file $.SHAKING |
by R SapolskyComposed by: Thelonius Monk & Cootie WilliamsI do like the rather unusual chords used by MONK throughout this piece. Don't you?
|
Source: AMPLINEX 025 disk, file $.ROUND |
by Ted Kirk1951-1990 |
Source: AMPLINEX 025 disk, file $.PRELUDE |
by Julian BentonComposed by: EnyaDisco mix |
Source: AMPLINEX 025 disk, file $.ORINOCO |
by [unknown contributor]Composed by: John Field |
Source: AMPLINEX 025 disk, file $.NOCTU12 |
by Earl BonnarComposed by: Mike Oldfield |
Source: AMPLINEX 025 disk, file $.INCANT |
by Tim SketchleyI wrote this piece in my early teens. I think it's a simple piece and so I didn't think it would be worth the time programming, but now I have I feel pleased with it.
Not much to say about it except the usual use of Echo, newact, and a few slurred notes. |
Source: AMPLINEX 025 disk, file $.GROOVY |
by John BartlettComposed by: Morgan Lewis & Nancy HamiltonFor anyone interested there is an alternative intro. Get the word 'play' and substitute 'j' for 'i'.
Aficionados may recognise a quote from Charlie Parker's 'Ornithology' at the beginning of the second chorus, this is based on the same chord progression. There was much more I wanted to put in but the system is on the limit (so reduce tempo in the Mixing Desk). Hackers watch the mixes – they are all embedded in the score. |
Source: AMPLINEX 025 disk, file $.HOWHIGH |
by Jeff BennettComposed by: HandelArrangement by Granville Bantock Since becoming a Hybrid user in Nov 89 I have been programming the complete Water Music suite by Handel and have completed 13 of the 22 parts. This is the famous 'Water Share' music and, as with the whole suite, is based on an arrangement by Granville Bantock as published by W Paxton & Co, 36-38 Dean Street, London W1. With hindsight it would have been easier to work from an orchestral score as I have to dissect the piano transcription back into the individual instruments. Unfortunately the 38 character string length for the PLAY definition means that I have had to leave out the first phrase repeat.
|
Source: AMPLINEX 025 disk, file $.WATER13 |
by W T HydeComposed by: Herschel Evans & Edgar BattleArrangement by George Blackmore |
Source: AMPLINEX 025 disk, file $.DOGGIN |
by Andy KnightComposed for the Music 5000. March 1989 |
Source: AMPLINEX 025 disk, file $.DESERT |
by Neil WalkerComposed by: Peter de Rose(c)1934,1967, Robbins Music Corp.
Saturday nights, billiards, a jar or two the monkey walk and Bury Pali'... it's a long walk home, a long time ago. As you can hear the lads are getting ready. When they start, any key for the serious stuff... Program & arrangement (c) Neil Walker This program contains copyright words from Richard Bettis' editing utility 'U.Wave' (AMPLINEX 014). These redefine the preset waveforms Metal and Syncer. The words are: WMOD, WZERO, WG!, WGC, wave, wnum, trans and do-up. To stop the program use the TAB key. The original waveforms will then be restored to the synthesiser. 'set' redefines the new waveforms. 'reset' restores the original ones. A very useful utility by Bob Ord can be found in AMPLINEX 015. A waveform may be drawn and the program will produce the harmonic values to use with WHG, another word in Richard Bettis' program. '%' out the first and last lines in the RUN word if you want RUN the program from Mixing Desk. The fade and swell words may be of interest. About coloured text: using #OUT with a colour code before DISPLAY is an easy way of getting a line of colour. |
Source: AMPLINEX 025 disk, file $.DEEPPUR |
