A song about loss; loss of my mother to cancer and loss of an early love.

Lyrics: Copyright 2013 by Stan Rose

This is not the way it should
have been
Walking in the dark,
Alone again.
Searching silent skies for
Signs to pray.
Waiting for the stars to
drift away.

My heart's an empty place
My life's in empty space...

Light Years Away...

This is not the way to play
the game.
When I left,
your eyes were asking, Why?

Memories are never
quite the same...
Reveries will always
pass on by...

My mind's an open place
My soul's in open space...

Light Years Away...

I wrote this song about the epic fall of Lance Armstrong
in his confession on Oprah Winfrey.

Lyrics: copyright 2013 by Stan Rose
I always was a lonely fearless fighter,
I always had my back against the wall,
and though my spots were growing ever tighter
I never had to take or fake a fall.

Win at all costs,
there's nothing left to lose.

Well I may be the quintessential liar,
and that may be my only careless crime,
I'll rise like ashes from this angy fire,
it's not about the bike, this time.

Win at all costs,
there's nothing left to lose.

A song about the healing power of music.

Lyrics: Copyright 2013 by Stan Rose
You were alone,
far from home,
I could see.
Sing Simple rhymes,
it was not meant to be.
Sleep, through the night,
light the stars in my eyes...
Speak simple lines,
and in time,
you'll be fine.
You'll be fine.

See what is wrong,
with this song,
in my mind.
Sing simple rhymes,
and in time, you'll be fine.
Sleep through the night,
light the stars in my eyes,
Sing simple rhymes,
and in time,
you'll be fine.
You'll be fine.

A cover of "Buffalo Joe" by Fat Paw. lyrics by Tim Wray,
modified by Stan Rose. My theme song!

Buffalo Joe came around the corner,
duffle bag over his left shoulder,
selling some chinese herbs and remedies.

Buffalo Joe, where are you now?
I need you fast, and anyhow,
Buffalo Joe, where are you now?

And I know,
It's been a long long time.
There are things in my life that I know
I can't change...

Feeling Strange
I'm Feeling strange.
feeling strange...
I'm feeling kinda Strange.

I wrote this song after breaking my finger in a car accident. I was
convinced I would never play the guitar again, when after having pins removed
from surgery on the spiral oblique fracture, I couldn't move my finger at all.
My fears were not realized; eventually I regained most of my old mobility and dexterity.
lyrics: copyright 2013 by Stan Rose
My life is just a passing note,
a passage in this song I wrote.
The seconds float
and decades fly,
like rainbows fading
through the sky.

My dreams are
all gone, Madre Mia,
and my sleep
is the dawn
De Mi Alma.

Your time is just a fantasy,
a mote amidst eternity.
But, if you close your eyes
you'll see,
That music lasts forever.

My dreams are
all gone, Madre Mia,
and my sleep
is the dawn
De Mi Alma.

Adapted from Edgar Allen Poe's poem, The Raven.

Once Upon a Midnight Dreary
While I pondered weak and weary,
over many countless volumes of
a lost forgotten song...

As I nodded, gently napping,
suddenly there came a tapping,
as of someone gently rapping,
someone I knew all along.

Let me see now what this threat is,
Lead my mind on to explore it,
let my heart be still one moment,
says the raven, nothing's wrong...

and the raven never fitting,
still is sitting, still is sitting,
and his eyes have all the bidding,
of a demon to it's core.

And I sat engaged in guessing,
but without a song expressing
To the bird whose eyes were pressing
On my heart burned to the core.

And my soul from out that shadow,
let me fly both straight and narrow,
Saved my fate once from the gallows,
leaves me floating, nevermore.

I wrote this after seeing the otters at the zoo. Their life is so
much simpler, and perhaps better, than ours!

Isn't it sublime?
An otter's world is my life.
Eat, sleep, and play.
Your worries are not invited.

So let your spirtit sleep,
in peaceful, precious time...
and you'll be fine,
you will be fine.

Can you hear the darkness?
Do you fear the night?
Will you flee the starkness,
if you lose the light?

A song of the Apocalypse, based on Chapter 9 of
the Bible's Revelations. A progressive hard rock song.

Lyrics: Copyright 2013 by Stan Rose
Angel of Destruction,
a lion hides his pride.
Morphine runs wild
through my blood--
Abaddin's on my side.

The stars fall from the heavens,
and the fruit drops off the vine.
dark horses
run round the stable,
Revelation Number nine!

Now I see,
the time has come,
the battle cries,
will start at dawn...

With faces of men,
bright crowns of gold,
tales of scorpions,
and eyes that are cold,
the sun and the sky
are both black as my birth,
and locusts,
and lizards,
hve sprung from the earth.
The demons will fly
from the bottomless hole,
Abandon all hope--
Surrender your soul!

Angel of Destruction,
a lion hides his pride.
Morphine runs wild
through my blood--
Abaddin's on my side.

The stars fall from the heavens,
and the fruit drops off the vine.
dark horses
run round the stable,
Revelation Number nine!

A song I wrote when I lived in N California, about a lost
gold mine in the Trinity Alps. Everyone who found the gold
met with an untimely demise. A song about greed and obsession.

Lyrics: copyright 2013 by Stan Rose
Down the spine of
Devil's Backbone
Burned and mined,
I've been told...

In the Red Cap Creek Canyon
there's a mine, full of gold.

Mac Jones is coming,
He's riding a horse

To those who came before
he shows no remorse.
To an old man who stumbled
was impaled on a fence,
he would give up his secrets,
but it just makes no sense...
cause it's

Down in the Canyon
Down in the Canyon
Down in the Canyon

And no one
can understand
why a sane man
would stake his life
on the Land
Of the Lost.

Now the bones of three miners
give away what they've found
but the hard snows of Winter
chases Mac back to town

Mac Jones struggles,
he's wasting away
coughing up directions
to what led him astray

They comb the mountains,
they dig up the earth,
but the holes they uncover
won't betray what they're worth
cause it's

Down in the Canyon
Down in the Canyon
Down in the Canyon

And no one
can understand
why a sane man
would stake his life
on the Land
Of the Lost.

Exploring the voice as a percussive instrument in this instrumental
guitar piece with elements of jazz and rock.

lyrics: copyright 2013 by Stan Rose
This is domination;
Don't ask for it!

A song of self doubt.

lyrics: copyright 2013 by Stan Rose

I am my enemy
You are my destiny.

What good is telling stories,
to a room full of ghosts?
Bits of imagination
words that will help me cope...
songs I can only listen,
love, I can only dream...
I have no friends,
and I'm lost upstream.

I am my enemy
You are my destiny.

I came across forgotten times,
a golden girl, with golden eyes...
adrift amidst my sea of rhymes,
an apparition in disguise...
I can't pretend I want to pay
for memories that went astray,
She sets her sail and fades away...

I am my enemy
You are my destiny.

What good is telling stories
to a room full of ghosts?
Bits of imagination
words that will help me cope...
Songs on another mission,
love's on another plane...
I have no fear and I feel no pain.

A midlife crisis.

Lyrics: copyright 2013 by Stan Rose

The night is calling me
to play...
an Autumn Symphony
gets louder every day.

My thoughts are growing
older, lost in memories...
the leaves are getting bolder,
bracing for the freeze...

But they'll die...
as time slips by.

I once had a vivid dream
Your arms were wrapped around me;
like heaven's summertime,
Where pain and fear are gone

The clouds keep sailing faster,
waves painting the sky.
A simple fleeting moment,
when time slips by.

The night is calling me
to play...
an Autumn Symphony
gets stronger every day.

He wipes his eyes,
the dream is done.
The music dies,
and there's no one
to find a passage through the sky...

So say Goodbye!




) Into The Light  This was the first song I recorded after releasing EUREKA!!  I 've always been fascinated how complex sounding melodies can be created using devices such as counterpoint; the Bach fugues are my favorite example of layered melodies. ITL attempts to demonstrate this musical strategy by using only a couple overlayed guitar tracks that I played on my Tachamine acoustic-electric. The theme represents coming out a dark period in one's life, and 'seeing the light'; a redemption or discovery of truth.
2) March of the Sasquatch  Sasquatch is my tribute to Bigfoot, a subject I've long been interested in, to the point that I wrote a book on the subject while living in Northern California (Bigfoot Slept Here). The theme is meant to express the feeling of a hike or expedition into the depths of an ancient forest, reflecting a mystery and intrigue, mixed with a bit of apprehension. The crazy wah solo that closes the piece represents a sudden terrifying encounter with the monster of the forest. I recorded the melody of this song in one take, with no prior composing or planning; it was all completely improvised. I simply came up with a funky sounding guitar rhythm, then improvised on top of it. I use my favorite guitar effect, Slow Gear, a volume swell effect, for the main melody. Sasquatch is meant to express the main theme of this album.
3) Alien Moon Another song expressing a mysterious mood, this time a tribute to old sci-fi films, the idea of landing on an alien world, where the moon in the sky is no longer the familiar one. I used the Axon extensively in this song, including the drum track; everything was played on my Brian Moore guitar.
4) Stan's Blues My version of the blues. I wanted to record a stand-alone guitat piece, the way blues greats such as Stevie Ray and Roy Buchanan have done in the past, but modernize it and give it a progressive sound. This song uses a lot of Travis picking technique and octave playing.
5) Tioga Heaven The title refers to my address in Colorado. This was my first Axon piece, so I wanted to play tribute to techno greats like Paul Overson. Once again,  mosteverything is played on guitar, including half of the drums.
6) Hammeron This is my tip of the hat to the great fusion guitarists, Al Di Meola in particular. I wanted to recreate the exotic sound made famous in the album Elegant Gipsy. The main melody is introduced, then repeate with fourths and fifths to harmonize. The intro is a two-handed arpeggio that is one trademark of my technique, something I first learned from two-handed greats Stanley Jordan and Tony MacAlpine. The closing solo uses pick slides the way Mathias Jabs did playing with the Scorpions.
7) Fickle Hill This is a re-record of a song I first recorded while living in a small cottage in the woods on Fickle Hill, in Northern California. I use a pedal tone technique as the basis for the melody. The intro solo uses sliding taps, something I've adapted from the styles of Steve Vai and Vito Bratta (of White Lion fame). I wanted to creat an epic feel, to express the emotion of stepping out of my cabin on a dark night, and seeing the entire Milky Way spread out before my eyes.
8) Silver Cascade I recorded this piece after ice-climbing up a frozen waterfall. It was my first time ice-climbing, and I wanted to express how cool it is being out on an icy waterfall, this one named Silver Cascade. The tones express the flowing water and refractive sunlight playing on the ice. The rythm is played with a number of overlayed complex chords, using wide stretches and open strings for some really cool suspended voices. The melody uses my Ibanez Jem and the Slow Gear effect.
9) Fun Wah Frenzy The title pretty much says it. I was inspired by Hendrix and John Petrucci (my old teacher!) for the solo. I use a synthesized piano sound on my Axon guitar synth for the first half, run through some rockabilly guitar compression effects. The background rythm is a multi-fingered tap.
10) Suspended Some have told me it sounds like Robert Fripp, but I was probably more influenced by the Maravishnu project and John Mclaughlin for this one. The harmony/rhythm uses my favorite chord, really technically not "suspended" but an eleven chord that I use on several pieces on this cd. It's a chord I first learned from an early Joe Satriani tune that I heard on a vinyl disc that was included inside an issue of Guitar Player Magazine.
11) Pikes Peak/Pueblo Days My tribute to life in southeastern Colorado. I wanted to have at least one unabashed self-indulging guitar solo on this cd; hence the intro which constitutes Pikes Peak. I use a variety of techniques in the solo, starting with harmonized two-handed arpeggios, shifting to double octave taps, then some really complex two-handed stuff, and finally reverting to good-ol-fashioned shred speed-picking. Pueblo Days borrows the psychedelic backwards guitar for the harmony, but the melody transitions to a pseudo-steel drums played with the Axon, my tributeto the late east-African guitarist Ochieng Kabasellah, with a little of the Doors thrown in.
12) Septoplasty This was the final tune I recorded for the Bigfoot cd. I wrote it while recovering from surgery on my nose (a septoplasty). I had gone several day without any sleep, and was pretty uncomfortable. So, the song represents the feeling of drifting in and out of lucidity. It's a narcotic influenced decent into the boundary between life and death, sickness and health. As such, their is pain and despair, but also hope and recovery. Much of the guitar was played with a low open C tuning, with lots of harmonics!
13)  Dreaming  I literally dreamed this song. I kept hearing the simple repetitive melody in my dream, so when I woke I immediately grabbed my guitar and made sure I had the notes down. I confess, it's a really simple melody beaten to death, but hey, I dreamed it, and one can't just ignore one's dreams, can one?
14)  Sonic Acid  Once again, title says it all. I've always loved psychedelic guitar, especially influenced by Tim Wray, a great but unrecognized guitarist who fronts the band Fat Paw. This tune uses all sort of psychedelic guitar techniques, including backwards-guitar, and a variety of panned sounds.
15)  Heartbreak I had to have one pure-emotion guitar piece on this cd. I really love from-the-gut guitar, like Steve Vai's For the love of God, or Roy Buchanan's Messiah. This dragged-out solo probably owes more to Neil Young's Like a Hurricane. The whole solo is one take, one theme, all meant to express the emotions of an unrequitted love. The background arpeggios are a simple two chord progression using one of my favorite chords, a major thirteenth.
16)  Disturbed  Where Heartbreak was all about solo, Disturbed is all in the accompaniment and rythm. Another one-take idea, where I simply tuned my Tachamine to a crazy open tuning (my favorite eleven chord), then just beat away on the frets, fretboard, body, and strings all while letting things feedback. The opening and closing licks are solo phrase that I play while in the open tuning. This is a great technique to use when you wan't to 'play outside the box'.  Needless to say, the basic theme is a descent into semi-insanity. Hope you enjoyed-Stan Rose