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Composition Tools in Notion

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Composition Tools in Notion

Postby myusiqman » Wed Feb 22, 2012 9:11 am

Just a quick question:

Are there any tools in Notion to perform quick transformations on selected passages of score e.g. inversions & retrogrades, or is there a scripting language that can allow users to create custom processes to speed up the composition process

New to Notion and really enjoying the experience so far :)
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Re: Composition Tools in Notion

Postby fabiolcati » Wed Feb 22, 2012 12:14 pm

No, there isn't. But it would be nice to have it.
I'm sure that your experience would be more enjoyable. Even mine.
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Re: Composition Tools in Notion

Postby myusiqman » Wed Feb 22, 2012 12:32 pm

Oh :( Looks like something to submit to the "Feature Requests" wishlist!! Guess I'll have to do it the old fashioned way still then.....where's my pencil?
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 1:12 am

There is a virtual festival of things that can be done with computer algorithms, and some of the more advanced techniques are easiest to understand when you are conversant with Joseph Schillinger's System of Musical Composition (SoMC) . . .

For those folks who might not be familiar with SoMC, there are two vastly useful basic principles:

[NOTE: NOTION 3 is ideal for making sense of SoMC, especially when one is not so skilled in reading music notation and playing piano . . . ]

(1) Complex rhythm patterns are constructed by combining simple rhythm patterns . . .

For example, consider that there are five musicians and each musician plays a drum or cymbal on a specific beat, where the first musician plays a kick drum on every beat; the second musician plays a ride cymbal on every other beat; the third musician plays a hi-hat on every third beat; the fourth musician plays a snare drum rimshot on every fourth beat; and the fifth musician plays a high tom-tom on every fifth beat . . .

This creates a moderately complex rhythm pattern, and the first five measures are shown in the following screen capture:

Image

The high-level rhythm pattern is 30 measures, where the length in measures of the rhythm pattern is determined when all the drums and cymbals play on the same beat, which occurs in the 30th measure . . .

[NOTE: The true length of rhythm patterns and everything else is very important in SoMC, in part because it is a key aspect of understanding and controlling symmetry and asymmetry . . . ]

This is the way the 1-2-3-4-5 rhythm pattern sounds at a tempo of 182 beats per minute (BPM), and the pattern is played three times (90 measures):

"1-2-3-4-5 Rhythm Pattern" (The Surf Whammys) -- MP3 (4.5MB, 298-kbps [VBR], approximately 2 minutes and 4 seconds)

This rhythm pattern is relatively easy to follow, but if you want to have a bit of FUN with musicians and singers, then you can do this exercise, which can be done with whatever is handy if there are no drums, cymbals, and Latin percussion instruments available . . .

The amusing aspect is that most musicians and singers initially will think that this is easy to do, but it is not so easy to do, especially when the numbers are higher and odd (for example, 2-3-5-7-9) . . .

However, this is only an intermediate step in creating a rhythm pattern in SoMC, because additional steps do the same thing that occurs after you listen to the rhythm pattern for a while, which is done with a series of flexible rules that reveal the high-level rhythm pattern as sum of all the individual beats . . .

(2) Scales, melodies, chords, harmony parts, counterpoint, and all that stuff follows similar rules, but the pitch components are more obvious, although once you realize that drums, cymbals, and Latin percussion instruments are melodic when properly tuned, it is not so difficult to understand that the pitch-based aspects are included in the rhythm pattern stuff . . .

The primary difference in (1) and (2) is that the pitch-based stuff is graphed, where the x-axis represents beats and the y-axis represents semitones or half-steps . . .

This is the 1-2-3-4-5 rhythm pattern with the drumkit instruments replaced with an electric bass, electric fuzz guitar, and some synthesizers:

"1-2-3-4-5 Melody Pattern" -- MP3 (4.5MB, 304-kbps [VBR], approximately 2 minutes and 4 seconds)

OBSERVATIONS

Once the basic concept of using mathematics and geometrical patterns begins making a bit of sense, I think it becomes obvious that a good bit of the work done in composing a song can be enhanced with computer-based tools, especially since much of the information pertaining to rhythm patterns, scales, chords, melodies, harmonies, counterpoint, and so forth exists in clearly defined rules that are easily put into algorithmic form for use in computer programs, where for example the rules for different types of vocal harmonies generally are well-defined . . .

On the geometrical side, one of the more useful insights from the SoMC involves what I generally call "flipping", where you begin with a simple phrase and then "flip it" in one of several ways to create a new phrase, which is easiest to understand when you have graphed a few melodies and studied them for a while . . .

Two of the simplest types of "flips" are (a) horizontal and (b) vertical, where a horizontal "flip" plays the phrase backward but keeps the pitch of the notes the same, while a vertical "flip" changes the pitch of the notes . . .

For example, consider the phrase C4-E4-G4, which are the notes of C Major triad . . .

If you do a horizontal "flip", then the resulting pattern is C4-E4-G4-G4-E4-C4, but if you do a vertical "flip", then the resulting pattern is C4-E4-G4-F#3-D3-B2, as shown in the following diagram, where (a) the x-axis shows the duration of each note, which in this example are quarter notes and (b) the y-axis shows the pitch of each note, which in this example are semitone units with A3 being the reference pitch (y = 0) . . .

[NOTE: I made a tiny mistake in the first version of the diagram. The problem was that I forget that A3 to C4 is three semitones, as is E4 to G4, but I fixed it and changed the names of the vertically "flipped" notes . . . ]

Image

If you do a bit of intuitive dot connecting, it should be easy to see (a) that there now are several patterns all derived from C4-E4-G4 and (b) that the patterns are mathematically and geometrically related . . .

And if you study these apparently simple note patterns for a while, which is easier (a) if you play electric bass or electric guitar and (b) if you taught yourself how to play "by ear", then with a few more variations of "flips" it becomes obvious that these are the notes for several classic Rhythm and Blues, Heavy Metal, and Rock phrases . . .

Curiously, C4-E4-G4 are the notes of a Major triad, but B2-D3-F#3 are the notes of a Minor triad, really . . .

Really!

THOUGHTS

NOTION 3 does a few very basic things which are helpful, where for example (a) you can select a series of notes and do a transformation based on a specific interval, which is easy to do, and (b) you can create a new staff and copy notes from an existing staff to the new staff, followed by doing a transformation, which takes a bit longer but also generally is easy to do . . .

There is so much stuff that can be done algorithmically that it is a bit beyond mind-boggling, and there are a few basic requirements, all of which I have explained in reasonably sufficient detail in the topic "NOTION 4: Vision for the Future" in this FORUM . . .

NOTION 4: Vision for the Future (Notion Music FORUM)

For example, consider a melody as being points on a curve, which is not a difficult thing to do in graphic user interface (GUI) programming . . .

When you do this, the melody becomes a continuous curve, and I suggest that having a set of vector drawing tools will be vastly helpful for composers, since instead of having to move, adjust, and fine-tune a melody one note at a time, it should be both possible and practical to switch to vector curve mode and then to work with a melody as it were a continuous curve in a drawing program like Photoshop or iDraw (both of which are personal favorites) . . .

I have no idea how musicians who did everything solely in the formal music theory path view stuff, but I understand the way that "play by ear" musicians think, and the basic reality is that once you learn some where in the range of 50 to 100 popular songs "by ear", then you soon have the required epiphany, which to be specific is that nearly every popular song is a virtual festival of phrases "borrowed'" from other popular songs . . .

Perhaps more correctly, once you learn the electric bass parts for 50 to 100 popular songs, then you know the electric bass patterns for every popular song--past, present, and future--which also is the case with lead guitar solos . . .

On the formal music theory side of the universe, I suppose that this maps to learning and understanding the basic set of scales, chords, arpeggios, and so forth, which essentially is the same thing but not in a way that maps so immediately to composing silly DISCO and Pop songs about ladies underpants . . .

For example, as part of the research for YouTube blurb for the Surf Whammys fabulous song, "(I Want) Angela Gossow's Underpants (Ya-Ya-Ya)", I noticed that something about "Purple Haze" (The Jimi Hendrix Experience) was ringing a distant but oddly proximal bell, and after a bit of pondering I had the required epiphany . . .

"In The Hall Of The Mountain King" (Edvard Grieg) -- YouTube music video

"Purple Haze" (The Jimi Hendrix Experience) -- YouTube music video

"(I Want) Angela Gossow's Underpants (Ya-Ya-Ya)" (The Surf Whammys) -- YouTube music video

Doing this stuff is not so difficult, but (a) it takes a while and (b) it could be a lot easier, which is where there are stellar possibilities for Notion Music to add significant compositional tools and techniques to the next version of NOTION, which is fabulous . . .

Fabulous! :D
Last edited by Surfwhammy on Thu Feb 23, 2012 5:32 am, edited 1 time in total.
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 3:09 am

As a bit of follow-up on the SoMC examples, I created a new NOTION 3 score using the drumkit stuff from the rhythm pattern example and the melody stuff from the melody pattern example, but I moved the drumkit stuff one measure forward, since this makes the overall pattern more complex in an intriguing way, which is fabulous . . .

Image

[NOTE: Since this is far enough along to be a song, I inserted four (4) empty measures at the start, which is one of the odd requirements for doing ReWire on the Mac where Digital Performer 7.24 (MOTU) is the ReWire host controller and NOTION 3 is the ReWire slave, so at present there are a few seconds of silence at the start of the song. For reference, the instruments are done with SampleTank 2.5 (IK Multimedia), and some of them are enhanced with the Opto-Compressor and Vintage Program Equalizer EQP-1A from T-RackS 3.5 Deluxe (IK Multimedia). This version is done entirely within NOTION 3, so it uses the NOTION 3 Mixer rather than being done in Digital Performer 7.24 (MOTU) . . . ]

"SoMC-1-2-3-4-5-Heavy-Metal" (The Surf Whammys) -- MP3 (4.9MB, 306-kbps [VBR], approximately 2 minutes and 10 seconds)

Fabulous! :D

Then next step in transforming this into a song begins by listening to it over and over for a while, since the realities here in the sound isolation studio are (a) that I only have heard this song a few times and (b) that it takes a while for the aliens from outer space to beam me the next set of instructions . . .

Typically, when a song is at this step, the verses are defined, so the next few steps involve discovering (a) where the chords need to change, (b) what the structure of the chorus needs to be, (c) whether there is a bridge, and (d) whether I might want to do a Flamenco and Mime dance thing during an interlude while wearing fuzzy bunny slippers, ballet tights with an impressive codpiece, and a Venetian mask, which tends to be the case more frequently that I would have imagined several years ago, really . . .

Really!

As it pertains to the overall topic, my general perspective is that I should be able to do all this stuff in less than an one (1) hour, as contrasted to approximately eight (8) hours, which mostly is a matter currently of needing to do a lot of manual note entering, copying, pasting, defining VST staves, and so forth and so on, a good bit of which certainly can be automated or at least made more efficient, faster, and easier . . .

Nevertheless, the most important fact is that I can do this with NOTION 3, which basically maps to my being vastly happy here in the sound isolation studio, as well as being graciously patient with respect to anticipating NOTION 4, which I think will appear sooner or later, because (a) Notion Music is focusing on iPad (iOS) apps, (b) Apple is very aggressive in moving iOS stuff into Mac OS X, and (c) the so-called "Youth of Today" understand all the high-level stuff intimately and expect it, which is great except that it often comes at the expense of having absolutely no clues about all the equally important low-level stuff . . .

As an example, my best guess is that the so-called "Youth of Today" probably do not immediately recognize that the following three songs basically are variations of the same song, but so what . . .

"The Pusher" (Steppenwolf) -- YouTube music video

"Billie Jean" (Michael Jackson) -- YouTube music video

"Like A Virgin" (Madonna) -- YouTube music video

So what!

From a realistic perspective, I am not the least bit convinced that if I had a real musical group it would be possible to start with a simple rhythm pattern and then over approximately eight (8) hours transform it into the foundation for a song, although since I can do it entirely by myself I think that I should be able to do it with thoughtfully selected real musicians . . .

Regardless of whether this is something I can manage with respect to real musicians, the fact of the matter is that I now have a complete and well-defined system or formula for doing songs this way, and it works . . .

It might require 50 hours of additional work, but if I did it with four real musicians and it took 10 hours, it maps to 50 hours at 10 hours per musician, which makes it pretty much the same level of effort either way . . .

So, in the grand scheme of everything, NOTION 3 is a bit like having several 4-track tape machines, which is more than sufficient to do an album like "Sgt. Pepper's Lonely Hearts Club Band" (Beatles), and while it will be nice to have a 24-track tape machine sometime in the not so distant future, yet another reality is that a few days or weeks after a 24-track tape machine appears, the bright folks in the studio realize that by using the long establish strategy of "layering", it becomes possible to move everything forward to the point at which it would be nice if there were 96-track tape machines, and so forth and so on . . .

[NOTE: As explained in the topic "Notion 3, DISCO Songs, and Sparkles" in this FORUM, the complete system or "formula" I use here in the sound isolation studio makes it both possible and practical to have as many as 500 to 1,000 "heavy" VSTi virtual instruments in a song, although it takes a while . . . ]

Notion 3, DISCO Songs, and Sparkles (Notion Music FORUM)

As an example of something which certainly can be automated in a general way, consider the technique which I call "sparkling", which is a way to put the individual notes of an instrument into motion across the "rainbow panning arc" . . .

Currently, "sparkling" an instrument requires (a) creating seven additional staves, (b) copying the notes from the original staff to each of the seven additional staves, (c) replacing individual notes with equal value rests, and (d) adjusting the panning location of each staff so that it positions its notes in very specific locations on the "rainbow panning arc" . . .

And from my vast experience in Computer Science and software engineering, I know that if I can the steps manually following a very precise set of rules, then it can be done just as precisely in a computer algorithm simply by performing a specific sequence of functions and whatever, which certainly can include being able to define the particular panning pattern via adjusting a curve in a vector drawing window, and when this is possible, it does not require a lot of additional work to save the specific algorithm, panning pattern curve, and so forth in a local SQL database as a custom-defined "sparkle" . . .

None of this stuff replaces talent and skill, but it has great potential to move composing to a higher level, for sure . . .

For sure! :ugeek:

P. S. This Surf Whammys song has a lot of "sparkled" instruments, which is fabulous . . .

Image
The Absinthe Drinker (Viktor Oliva)

[NOTE: All the instruments are done with music notation, IK Multimedia and NOTION 3 bundled virtual instruments in NOTION 3 where the generated audio is recorded as soundbites in Digital Performer 7.24 via ReWire, with the vocal recording and processing, as well as mixing and mastering, being done in Digital Performer 7.24. This song has approximately 150 VSTi virtual instruments, mostly due to the "sparkling" which requires 8 staves per "sparkled" instrument, and the instruments are spread over approximately 7 synchronized NOTION 3 scores, which is the only practical way to have this many "heavy" VSTi virtual instruments. It is easiet to hear the "sparkling" when you listen with studio quality headphones like the SONY MDR-7506 (a personal favorite), although this is a loudspeaker mix. And for reference, this song is based in part on "Lucy In The Sky With Diamonds" (Beatles) and "Not Myself Tonight" (Christina Aguilera) . . . ]

"(Baby You Were Only) Dreaming" (The Surf Whammys) -- MP3 (9.2MB, 276-kbps [VBR], approximately 4 minutes and 26 seconds)

Fabulous! :D
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 3:23 am

I have Southern accent, somewhat like Elvis, which tends to make it a bit difficult for folks to understand the lyrics to Surf Whammys songs, but so what . . .

"(Baby You Were Only) Dreaming!" (The Surf Whammys)

[CHORUS] ~ A

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

[1ST VERSE] ~ B

Absinthe in camera
Sailing the seas
In search of green auras
As much as I please

The telephone rings
But nobody's home
An imagined young lady
Sits there all alone

As velvet clouds of rolling fog
Dance around and wander through your mind
When the telephone operator tells you
To insert another dime if you want more time . . .

[CHORUS] ~ A

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

[BRIDGE] ~ C

I'm not myself tonight
Möbius was right!
Are you upside-down and your left is your right?

[CHORUS] ~ A

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

[2ND VERSE] ~ B

Desire leads you to a lake
With a waterfall, so you cross it
And there are sweets on the road
That make the ducks quack . . .

All of them are happy
When you slide
Beyond the poppy flowers
That cast shadows on it all

And it's pretty strange

Bumper cars driven by toads
Arrive nearby and offer their wares
Select one and get on board
Where you are floating but then you feel so lost . . .

[CHORUS] ~ A

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

[BRIDGE] ~ C

Are you the same as you were last night? All right!
But, is your head screwed on tight?
Are you upside-down and your left is your right?

[CHORUS] ~ A

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming . . .

Baby you were only . . .
Baby you were only . . .
Baby you were only dreaming

{3RD VERSE] ~ B

You are on a train with a chimera
And the conductor has a scarf
That he is tying in the mirror
For the workers who deliver chocolates

All at once the telephone operator
Who is wearing glasses
Arrives at the door
And is gracefully distracted . . .

"Look at the rainbows and sparkles!", she says
"Look at the rainbows and sparkles!", she says
"Look at the rainbows and sparkles!", she says!
Ahhhhhhh . . .

©2011-2012 RAE Multimedia


So what! :D

In the same way that one can use the SoMC to compose songs, one also can use the basic principles with a few adjustments and modifications to compose lyrics, which is fabulous . . .

Fabulous! :ugeek:
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 6:46 am

This is an example of a few more types of "flips", which includes doing an octave transformation, where this pattern looks like a "W" . . .

Image

[TIP: If you "flip" a "W" vertically, then you get an "M", but this also happens when you "flip" it horizontally, except that the phase is offset like the cycles of cosine and sine waves, but since the rules for "flipping" are vastly flexible, you can do whatever you desire, really . . . ]

Image

Yet another useful bit of information is that by doing the first vertical "flip" of the three basic notes {C,E,G} the number of unique notes in this particular instance doubles, which is one way to create a scale or basic pattern from which a melody is constructed, where in this instance the primitive six-note set is {B, C, D, E, F#, G}, which works nicely as an electric bass pattern when you start it on G2 and go upward {G2, B2, C3, D3, E3, F#3, G3}, since among other things it includes one of the most well-known four-note phrases that George Gershwin composed, which to be specific is {G3, E3, D3, C3}, although the it might have been in a different key, but so what . . .

"Rhapsody In Blue" (George Gershwin) -- YouTube music video

So what!

Explained yet another way, the fact of the matter is that you do not need a lot of notes to compose elaborate melodies, harmonies, songs, symphonies, or anything else that maps to having a bit of musical FUN . . .

In some respects, it is easier when the aliens from outer space beam the instructions for a song in a continuous stream over a few minutes, but if the information arrives a bit too slowly, then one strategy is to use a few techniques from the SoMC and to "flip out" for a while, which is allowed, since if there are any incorrect notes, sooner or later the aliens from outer space will beam you a few clues, which nearly always are revealed simply by some combination of (a) listening to the composition over and over and over for a while, (b) applying a bit of "play by ear" common sense, and (c) doing some type of transformation or augmentation which makes absolutely no sense in any immediately conscious way, since yet another rule is that it is virtually impossible for a human being to do anything intentionally which is truly random, which is fabulous . . .

Fabulous! :ugeek:
Last edited by Surfwhammy on Fri Feb 24, 2012 11:53 am, edited 1 time in total.
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 5:11 pm

I did a bit more work on the 1-2-3-4-5 song, mostly adding a chord pattern with changes at 8-8-4-4-4-2 and then fitting the electric bass to the chord pattern, but I also increased the tempo to 222 beats per minute (BPM) . . .

"(Tastes Like) Anarchy For Her" (The Surf Whammys) -- Prototype -- MP3 (4MB, 305-kbps [VBR], approximately 1 minute and 45 seconds)

At present, I consider the 30-measure sections to be verses, and there are three of them, which is enough for listening, although I probably will double it to six, since it is easier to get a sense of the song when it drones for a while . . .

A melody is beginning to appear, and I am pondering the idea of basing the lyrics on a few of the scents of Axe® personal hygiene products, since (a) I like the names and (b) there is something to be said for using the name of an adolescent personal hygiene product in the title of a song . . .

Image

"Smells Like Teen Spirit" (Nirvana) -- YouTube music video

Image

Making sense of the Axe product line is not so easy, but there is a new line called "Anarchy" which has a version for the ladies, and there probably is a way to have a bit of FUN with "Anarchy For Her", although more along the lines of "(Tastes Like) Anarchy For Her", where it is virtually guaranteed that Unilever® spends millions of dollars doing research on buzzwords for marketing stuff to teenagers, hence should know a lot more about it than I do, and this fits nicely with my ongoing quest never to have a truly original idea, as well as providing a clue for the bridge and chorus, which is fabulous . . .

Fabulous! :D
Last edited by Surfwhammy on Fri Feb 24, 2012 11:55 am, edited 4 times in total.
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Re: Composition Tools in Notion

Postby Surfwhammy » Thu Feb 23, 2012 7:56 pm

In some respects, the most important composition tool in NOTION 3 is your mind, and toward the goal of providing a few insights into what I think is a reasonable amount of time to do instrumentation and arranging when composing songs, you can check the times of my posts, although due to consuming vast quantities of Massimo Zanetti Master Chef® coffee made in the ratio of 1/2 cup of ground coffee to 12 ounces of water at the ideal brewing temperature of 200 degrees Fahrenheit it probably takes longer absent the coffee buzz, but so what . . .

So what!

Now that the song has a proper working title, I made it twice as long and added a SampleTank 2.5 XL (IK Multimedia) VSTi virtual Stratocaster doing hard slides, since the aliens from outer space are being quite cooperative here in the sound isolation studio, which is fabulous . . .

"(Tastes Like) Anarchy For Her" (The Surf Whammys) -- MP3 (7.4MB, 298-kbps [VBR], approximately 3 minutes and 24 seconds)

Fabulous! :D
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Re: Composition Tools in Notion

Postby Surfwhammy » Sat Feb 25, 2012 6:13 pm

I made a few changes to the kick drums, snare drums, and electric bass . . .

(1) As part of the technique that I call "sparkling", I created a second kick drum and then panned the two kick drums to the far-left and far-right, respectively, which then made it possible to add a few measures of double kick-drumming where the kick drums alternate from far-left to far-right, but otherwise are at top-center, since one of the more curious aspects of panning a pair of identical instruments far-left and far-right is that when they both play the same note it appears at top-center . . .

(2) I did the same thing for the snare drums that I did for the kick drums . . .

(3) I made a few measures of the electric bass an octave higher and changed the notes from droning to a simple major triad pattern, which accents the double kick-drumming . . .

These are somewhat subtle changes, but they reveal more of the overall structure of the song, which now is titled "Tastes Like Anarchy", which makes it more general and fits with the concept that in an AXE® universe everybody tastes like Anarchy, which is fabulous . . .

"Tastes Like Anarchy" (The Surf Whammys) -- MP3 (7.5MB, 304-kbps [VBR], approximately 3 minutes and 24 seconds)

Fabulous! :D
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