[2010]
Lyrics & Music by Chris Pyam and Ken Punshon
Album: Voyager [2012]

”Often said, seemingly rarely meant”.

[2011]
Lyrics & Music by Chris Pyam and Ken Punshon
Album: Voyager [2012]

A symbol of peace for many, many years…

Recorded 1/5/2011 Opening excerpt of Norwegian Wood written by Lennon/McCartney and played by Wade Farlowe

Before misinterpretation sets in, I thought it best that I clarify the intent of this song. It is simply a cautionary angle that we keep our eyes on the homefront, our government. Most civilizations have fallen from within and I'm certain others see this as well. Erosion of freedoms are set from within and failure to stay vigilant, ever watchful for all, becomes a failure for each of us at some point or another. When we become systematic to the point of dividing ourselves into groups of Americans seeking this or that, then we take something away. The good of all Americans as a whole should remain prevalent, but not at the expense of again excising ourselves into groups of this or that and certainly not to the point of removing freedom from all!~ It is a fine line, but there are those... (continua)

Who put you on that high hoss, you're ridin'?
Ya better settle down.......
About Bush and Cheney

High Hoss
(The Country/Western Geopolitical Song)
Monday, February 28, 2005

What the hell are we doin' here?

Dark Days
Saturday, September 24, 2005
Wade Farlowe

Let there be no war....

The Countdown
Monday, November 14, 2005
Wade Farlowe

WW3 will be as satanic with with weapons like you've never dreamed of, beyond the realm of science fiction.....then if anyone is left around, WW4 will be fought with sticks and stones!!!

Afterglow
Extended Version
Sunday, October 05, 2008
Wade Farlowe

For those men and women, far from home.....far too long!!!

As Before
Friday, May 19, 2006
Wade Farlowe

[1999]
Album: Los Bastardos

[2010]
Testo e Musica degli Ondadhurto

[2011]
Magik Crew feat. G.O.B.

(1968)

Ballata per voci bianche, due pianoforti, organo e percussioni
A Ballad for White Voice, Two Pianos, Organ and Drums

Dalla poesia di Bertolt Brecht Der Kinderkreuzzug [1942]
From Bertolt Brecht's Der Kinderkreuzzug [1942]

(Versione inglese di Hans Keller)
Musica di Benjamin Britten
English Translation by Hans Keller
Music by Benjamin Britten


Brecht e la Kinderkreuzzug

Del 1942 è la sua [di Brecht] personale Crociata dei bambini, un piccolo poema, breve e asciutto, in trentacinque strofe senza rima, spogliate di qualunque sentimentalismo ma in grado di trasmettere, grazie alla loro essenzialità, una bellezza sconvolgente. Ancora ignaro della colossale portata delle atrocità che stanno colpendo l’Europa, il canto di Brecht assume valore autobiografi co e profetico.

Ma la fuga dei bambini dalla guerra ci obbliga a una riflessione più ampia e universale. A distanza di anni... (continua)

[2010]
Testo e Musica degli Eva's Milk
Album: Zorn

[Music: B. Allman, C. Ingles, Lyrics, Vocal Melodies: C.Cadden-James]
da Tiranny 1998

dal concept album sulle crociate Temple of Shadows del 2004

[July of 1099, Jerusalem was stormed by the army of the Holy Roman Church; which atrociously annihilated every single inhabitant. The poor man's wife and two children were among the dea; cruelly killed by the insane Christian soldiers. "The entire population of the Holy city was put to the sword, Jews as well as Moslems, 70,000 men, women and children perished in a holocaust which raged for three days. In places men waded in bloodup to their ankles and horsemen were splashed by it as they rode through the streets. Weeping, these devout conquerors went barefoot to pray at the Holy Sepulcher before rushing eagerly back to the slaughter." - Desmond Sweard, The Monks of War.]

[The Reign of Jerusalem was founded upon the fanatic, intolerant and ignorant ideals of The Temple of Hate, against the will of those who lived in the Holy Land before their invasion.]

da Bagarap Empires 2002

the high impact ‘Century Girl’ – an epic visual and lyrical montage of war and peace over the past 100 years.

[2006]
Testo e musica di Gianmarco Fusari

- Premio nazionale di musica d'autore 2007 (Primo classificato)
- Risonanze Unplugged 2007 (Primo classificato)
- Sing your Song 2008 (Primo classificato)
- Botteghe d'autore 2006 (Premio per il miglior testo)
- Palco in piazza 2007 (Premio per il miglior testo)

Testo, musica e arrangiamento: Gianmarco Fusari

En 1989, Labordeta ya se lo preguntaba en su disco Trilce. Hoy, a 85 años de su ejecución, nos lo seguimos preguntando.

La Zamarra de Gustavo

[1969]
Testo e musica di Fabrizio De André e Giuseppe Bentivoglio
Lyrics and music by Fabrizio De André and Giuseppe Bentivoglio
Album: "La buona novella"



Nel 1969 scrivevo La buona novella. Eravamo in piena rivolta studentesca; i miei amici, i miei compagni, i miei coetanei hanno pensato che quello fosse un disco anacronistico. Mi dicevano: cosa stai a raccontare della predicazione di Cristo, che noi stiamo sbattendoci perché non ci buttino il libretto nelle gambe con scritto sopra sedici; noi facciamo a botte per cercare di difenderci dall'autoritarismo del potere, dagli abusi, dai soprusi.
Non avevano capito - almeno la parte meno attenta di loro, la maggioranza - che La buona novella è un'allegoria.

Paragonavo le istanze migliori e più ragionevoli del movimento sessantottino, cui io stesso ho partecipato, con quelle, molto più vaste spiritualmente, di un uomo di 1968 anni prima,... (continua)

[1968]
Paroles et musique: Alan Stivell
Testo e musica: Alan Stivell
Album: 1 Douar


"En écoutant le disque "1 Douar", nous sommes immédiatement frappés par les idées de partage, de paix et de fraternité véhiculées par chacun des textes qu’il contient.
Parmi ceux-ci, il y en a un qui a retenu mon attention, tant par les paroles que par la mélodie : il s'agit du titre "Crimes" interprété, en duo, avec Khaled.

Yann-Bêr, auteur d’un article en deux parties, paru sur le site, a écrit sur les débuts discographiques d'Alan et sur la sortie, en 1968, d’un 45 tours comprenant quatre titres: "Flower-Power", "Les vaniteux", "Là où s'en va le Vent" et ... "Le bourreau". Ces morceaux semblent présenter, à priori, peu d’intérêt, car ils s’inscrivaient dans le contexte "variétés" de l’époque et Alan, lui-même, n'a que peu cité et interprété ces titres. Devons-nous, cependant, lui en vouloir ? Il... (continua)