Slightly Older Songs

A suspenseful and dramatic orchestral piece with a slow tempo, The primary instruments are strings, including violins, violas, and cellos, playing sustained, ominous chords, There is a prominent, low-pitched brass instrument, possibly a tuba or trombone, providing a deep, resonant drone, Percussion is minimal, featuring a single, deep, resonant gong hit that punctuates the piece, The overall dynamic is soft to medium, creating a sense of tension and anticipation, The harmony is dissonant, contributing to the unsettling atmosphere, There are no discernible melodies or chord progressions in a traditional sense, but rather sustained, evolving textures, The production emphasizes a wide stereo field with a clear, spacious mix

Dutch female voice in the style of Jenny Arean — expressive and theatrical with emotional nuance, Cabaret-style delivery with subtle rubato phrasing, playful timing shifts, and ironic undertones, Rich midrange voice, slightly husky, with bittersweet elegance, Musical arrangement in light jazz-chanson style: piano-led, with upright bass, brushed drums, and occasional acoustic guitar, Start with a slow, teasing intro — just music — followed by a whispered or softly spoken line: “Niet schrikken hoor… Maar ik heb een wilde poes, ” Let the voice take its time, caress certain words, and deliver the punchlines with restrained drama, Studio quality recording, intimate and natural room ambiance, The vocal delivery should feel like a monologue set to music — personal, ironic, and emotionally layered

Dutch male voice, theatrical and expressive with humorous exaggeration, Folk-pop with light cabaret influence, Acoustic guitar, upright bass, light percussion (brushed snare and soft kick), with optional accordion and flute for comic color, Medium tempo (around 105 BPM), Clear vocal phrasing with room for dramatic pauses and over-the-top delivery, Instrumental interludes at tag points: cheerful intro, short melancholic break after verse 1, hopeful buildup after bridge, and soft whimsical outro, Keep vocals solo throughout — no backing vocals, Tone: dramatic self-pity with comedic flair

Male only! Male only! Male only! Dutch male voice, chanson-style with ambient roots influence, slow tempo, very intimate, no dramatic outbursts, Poetic and reflective mood, with acoustic piano, soft pads, subtle ambient guitar, and breathy textures, Includes long instrumental sections between verses and after the outro, Bridge is semi-spoken, outro is whispered, Style reminiscent of Wim Mertens, Leonard Cohen, and contemporary ambient songwriters, Minimal percussion, Let the music breathe with space and silence, No female vocals, One intimate male narrator throughout the full track, Male only, no duet, No voice changes, Duration approx, 7–8 minutes, The outro must contain no vocal ad-libs, spoken phrases or mumbling after the final lyrics, Let the outro be pure instrumental fade-out

Dutch male voice, modern chanson with jazz influences, Acoustic piano and upright bass form the core, supported by light brushed drums and sparse atmospheric pads, Spoken-sung delivery with expressive phrasing, ironic tone, and emotional shifts, Start with a suspenseful instrumental intro that builds tension, After Verse 2, insert a short instrumental break, After the bridge, add a longer musical interlude, End with a slow instrumental fade-out that echoes the intro theme, Maintain dynamic space for the lyrics to breathe, Slight theatrical feel, but keep it grounded and real

male vocals, emotionele rock ballad, Gitaar, mondharmonica, droevig, opgetogen

Uplifting Mexican folk-inspired song with playful male lead vocals and warm backing harmonies, Traditional instrumentation including nylon-string guitar, guitarrón, vihuela, accordion, marimba, hand percussion (claves, cajón, bongos), and occasional trumpet flourishes, Energetic rhythmic strumming with danceable feel, Inspired by the spirit and sound of Disney Pixar's Coco (2017), with touches of whimsy and emotional charm, Includes call-and-response sections, handclaps, and moments of soft spoken and whispered lines for theatrical effect, Tempo medium-fast, Vocal delivery should be expressive, clear, and engaging, ideal for musical storytelling, Language: Dutch & Spanish

Dutch male voice, chanson-blues fusion, Slow tempo, Warm acoustic piano and fingerpicked guitar as main foundation, Subtle cello in the background, Optional soft saxophone or bluesy harmonica in instrumental breaks, Voice should be fragile, slightly hoarse — a broken male voice full of weariness and emotion, No backing vocals, Keep arrangement sparse and intimate, with room for parlando (spoken-sung) moments, Use the [MUSIC], [MUSIC_BREAK], and [MUSIC_RETURN] tags to insert musical interludes in line with the lyrics

An uptempo track with trance and techno influences: a driving beat, pulsating synths, playful arpeggios, and a deep bassline, Rich instrumental layers, bright melodies, and energetic percussion, Joyful male choir vocals, powerful backing harmonies, and multiple rhythmic 'ha ha HA HA' chants woven throughout the arrangement for an extra festive vibe, Match the flow of Verses 1-2 to the later verses (4-5) with a bouncy, infectious rhythm

Solo Dutch male voice only (no backing vocals), Start with soft instrumental intro (piano, ambient strings), then bring in first spoken line: “Dat ene woord, hè — loslaten, ” Chanson-style with blues and gospel influences, Slow tempo, acoustic piano and upright bass, light brushed drums, Voice is raw, intimate, expressive — includes parlando, No added vocals or intro text, Use lyrics exactly as provided, Let silences and pauses breathe

Start the track with a short vinyl needle drop sound — classic LP crackle, as if playing from an old record, Dutch male voice, dub-reggae style with slow tempo, Warm sub bass, minimalistic drum groove (rimshots, hi-hats), and deep reverb on key phrases, Include subtle vinyl crackle and a needle drop at the start, Melodica plays a sparse counter-melody throughout, Use delay/echo on select vocal lines (especially in the outro), Delivery is spoken-sung, laid-back and expressive — closer to storytelling than singing, Lyrics reflect on food inequality, daily comfort versus hunger, Space out lines for breathing room and emotional weight, Whispered outro should repeat “Wat eten we vandaag?” with increasing softness, fading into silence

Create a full instrumental version of the original song, Maintain the same structure, melody, mood, and arrangement — including the expressive violin lines and the emotional phrasing, Do not include any vocals or humming, This should be a true instrumental cover of “It’s hard to say, isn’t it?” in the same style and tempo, No vocals

Slow piano ballad in A minor at ~60 bpm, with 8-bar solo piano intro, Female lead, low male harmony in verse 2 (Iron & Wine style), Add “Ahh” choir moments: 1) under chorus 1 end, 2) slow rise in bridge, 3) soft tension under final verse, From verse 2 onward, include expressive solo violin with sparse melodic phrasing, Intimate, minimal, no reverb

Dutch male voice, low and raspy, chanson-style, Deeply emotional and introspective performance, similar to Leonard Cohen in his later years, Slide guitar and upright bass as core instruments, with subtle brushed drums and atmospheric ambient textures, Sensitive use of harmonica as emotional echo during key passages and outro, Medium-slow tempo with room for space and silence, Musical structure includes brief instrumental interludes between verses, soft echoing of final chorus line, and a fading outro with whispered tone, Spoken-sung hybrid vocal delivery, every phrase weighted with meaning, Rooted in blues and rootsrock, with a spiritual, grounded atmosphere, Pauses: Use dramatic silence after key lines (especially ', ', '?', and emotional phrases), Vocal delivery: Slightly drag the last word of each verse for gravity, Instrumentation: Let harmonica fill pauses in verses 1 and 3, slide guitar in refrains

Dutch party song about mosquitoes ruining your summer nights, Funny, fast-paced and highly energetic, Male lead vocals with optional male backing vocals for “zoem zoem zoem” and “la la la” parts — no female voices, Add buzzing mosquito sound effects, rhythmic clapping (PATS!), and a strong singalong chorus, Style: après-ski, Snollebollekes, Dutch carnival-pop, Intro: Begin with a calm mosquito rhythm (“Zzzzoem zoem zoem”) — then shift to faster tempo with staccato “LA-LA-LA-LA-LA!” patterns, Build up festive energy, At Verse 5: music stops for a dry a capella line, This part should be performed a capella, dry and dramatic (like Annie M, G, Schmidt), Then immediately return to full festive instrumentation in the next section, After the intro, insert a short instrumental techno-style break (about 10–15 seconds, no vocals)Then abruptly cut back to the main rhythm and continue with the verses, The mood here should be over-the-top celebratory — full brass, drums, and shouting

Dutch male voice, chanson-style with jazz influences, Acoustic piano and upright bass, with light brushed drums, Slow tempo, melancholic and expressive delivery, inspired by Ramses Shaffy, Each verse unfolds like a confession, with subtle dynamics and raw emotion, The music should begin with a gentle instrumental intro based on the first vocal line, Insert a longer instrumental section between verse 2 and the first chorus to give space for reflection, The bridge is divided into three sections, each followed by a short instrumental interlude, Let the music follow the tone of each part: first philosophical and airy, then emotional and more intense, and finally soft and minimal, End with a quiet, half-spoken or whispered outro, fading gently into silence, Tempo should remain slow and reflective throughout – allow the lyrics to breathe, Single vocal performance only – no alternating male/female voices

"Dutch male voice, chanson-style with jazz influences, Acoustic piano and upright bass, with light brushed drums, Slow tempo, melancholic and expressive delivery, inspired by Ramses Shaffy, Each verse unfolds like a confession, with subtle dynamics and raw emotion, "

Dutch pop song with a playful, retro feel and moderate tempo (90–100 BPM), Male lead vocals in the style of a young Guus Meeuwis: expressive, light, and natural, Acoustic band setup with rhythmic strumming guitar and a second guitar playing fast melodic picking (like mandolin-style), Includes real handclaps on beats 2 and 4, especially in the intro and choruses, The intro features a call-and-response-style clap rhythm with nonsensical syllables (“La la la”) and claps clearly audible (“KLAP!” sound), e, g, : La la la [CLAP] la la la [CLAP], Verses describe missed opportunities with humorous regret, each ending in “Maar ach… jammer dan!” or “Dat was dom, ” The final chorus is extended with multiple “Jammer dan!” lines for audience participation, Bright mix, upbeat mood, and meezing-energy throughout

Dutch-language blues rock song with moderate tempo and shuffle groove, Instrumentation includes electric guitar with slight overdrive, walking bass, and snare-driven drums, Male vocals only — deep, husky, lived-in voice, as if damaged by years of smoke and regret, No harmony vocals, The performance should be emotionally raw, bitter, and confrontational, The song starts with the chorus, followed by three verses, an instrumental tension break, and a two-part bridge, Keep the voice front and central — this is a one-man purge, Note: This is part 1 of a two-part song, The ending should remain open, leading naturally into the continuation

Dutch-language slow blues song with soulful rock and cinematic atmosphere, Male vocals only — rough, smoky, blues-inflected voice with emotional grit, Think broken but proud, Gritty, emotional and confrontational, The performance should be raw and confrontational, The instrumental is moody and tense, with rasping guitar, deep bass, and minimal drums, The structure follows: intro with chorus, then verse 1, verse 2, instrumental break (builds tension), emotional spoken-word bridge, second chorus (more intense), instrumental bridge reprise, and short outro with final spoken line, No harmonies or background vocals — keep it stark and personal

Upbeat Dutch reggae-pop track with summery, light-hearted mood, Male and female vocals alternating in verses, occasionally singing in duet, Cheerful and expressive vocal delivery, Add catchy call-and-response elements in choruses, Instrumentation should blend acoustic guitar, bass, off-beat reggae piano, Latin percussion, tambourine, trumpet, and playful accordion flourishes, Use a laid-back groove but keep a steady danceable tempo, Background sounds may include subtle balcony ambience (distant city, birds, clinking glasses), Vocals in Dutch, Reflect the humor and down-to-earth vibe of a stay-at-home summer, Track is based on custom instrumental (uploaded mp3), Follow provided song structure closely, No intro vocals — vocals start from Verse 1, Highlight the final chorus as a peak moment, End with a final instrumental chorus section, no vocals, to allow the melody to linger and imprint

Dutch comedic funk-gospel song with spoken outro, Verses have a light and playful 70s funk groove, with dry humor in the lyrics, Pre-choruses add subtle gospel or soul harmonies, The choruses are full and uplifting, featuring a soulful gospel choir with Hammond organ, The bridge is theatrical and gospel-like, as if preached from a pulpit, followed by an instrumental interlude where a choir sings “Hallelujah, je oksel is niet dood, ” After the final chorus (sung twice: solo, then with choir), there's a breakdown: all instruments drop out, and the outro is delivered as spoken word, soft and deadpan, over a faint organ pad, The tone is humorous, soulful, and just a bit absurd — think vintage cabaret meets church service meets sweaty truth, Lyrics are in Dutch

A slow and cinematic Dutch ballad with emotional male vocals and delicate string accompaniment, Start with a gentle instrumental intro using soft strings to set a reflective, intimate tone, Verses are tender and poetic with acoustic support; choruses are fuller with subtle harmonic layering, Between lines “Zorgzaam ben jij” and “en ik?” leave a brief pause; again between “en ik?” and the following line, In the second chorus, add a gentle male harmony or soft doubling to enrich the emotional expression, without overpowering the lead voice, Include instrumental interludes: (1) after the first chorus, (2) after the bridge (longer, reflective), (3) after the final chorus, leading into a delicate and heartfelt outro, Maintain a warm, intimate, filmic atmosphere throughout, Keywords: dutch, male vocals, emotional, strings, cinematic, acoustic, reflective, soft intro, outro, Tags: cinematic ballad, Dutch, male vocals, strings, emotional, acoustic, poetic, slow tempo

A deeply emotional Dutch ballad in the spirit of “It’s Five O’Clock” by Aphrodite’s Child, Slow tempo, minimalist structure, with space between verses to let the song breathe, The arrangement should be soft and melancholic: acoustic piano, subtle strings, nylon guitar, Include brief instrumental pauses between each lyrical section, so the listener can reflect, After the final chorus, repeat the chorus melody as an instrumental reprise (no vocals), Add a melancholic instrumental outro that gently fades out — like a final goodbye, Touches of Mediterranean character (bouzouki, Greek influence) are welcome, The male vocals should sound raw, emotional, and slightly rough — like a man speaking from deep grief and reflection, Not polished or theatrical, but intimate and human, Inspired by the emotional honesty of Bram Vermeulen in songs like “Vader” and “Rode Wijn”

Dutch lullaby at 60 BPM, Soft acoustic piano, warm ambient textures, and gentle pan flute, Use only one soft female voice for all humming and melodic syllables like “mmm” and “la”, A single warm male voice speaks the lines in [Verse 2], Do not switch voices or sing lyrics, The mood is dreamy, tender and comforting, Keep transitions gentle, Let the Outro slowly fade out

Dutch-language cabaret-style song with humorous male vocals, mid-tempo and theatrical delivery, All verses and choruses are sung by a male vocalist with a warm, mid-range voice, Only the bridge is performed by a female singer, in a clear, slightly amused tone, Keep chorus lines rhythmic and steady, but maintain natural Dutch pronunciation, Do not overly split long words like 'gelukkig' or 'kwartier', Instrumentation includes accordion, upright bass, acoustic drums and subtle brass, No choirs or clapping in this part, Keep pronunciation natural and the vocal delivery playful but intelligible, Verses 5 and 6 are spoken in a rhythmic rap style by the male vocalist, The flow is playful and clear, with emphasis on rhyme and timing, Avoid female vocals except for the bridge

Playful Dutch cabaret-style song with exclusively male vocals, except for one emotional bridge sung by a female voice, Use cheeky tone, humorous delivery, rhythmic variation, and include spoken word, rap verse, and choir finale, Add ukulele and upright bass for bounce, Sung in Dutch, Use phonetic spelling where needed: “ge-fé-lie-sie-teerd”, No children’s voices

Dutch emotional ballad in cinematic style, with orchestral accompaniment (strings, soft piano, no electronic instruments), Sung in Dutch, Verses and choruses are performed with distinct vocal roles: Verses 1, 2, and 4 by a single emotional male voice (father) Verse 3 and the outro by an angelic choir, Choruses 1 and 3 sung as a duet (father and mother), with chorus 3 including soft angelic choir in the background, Chorus 2 sung entirely by the angelic choir (full harmonies) Final chorus is a duet (father and mother), Include a shy child whisper in Verse 2, Add a short spoken intro (by the father) and a fading whisper outro, Maintain gentle emotional flow with a powerful cinematic bridge, Pronounce 'Wynona' as "Why-Jo-Na", Keep the tone warm, sincere, and grounded

An ethereal ambient song sung by a celestial female voice, Layered angelic hums, emotional verses, and dreamy instrumentation, Include rich reverb, ambient textures, slow pacing, and a blend of choral humming with clear solo vocals, Emotional tone: spiritual, reflective, bittersweet

[genre: blues rock] [subgenre: Delta blues] [mood: raw grief, cathartic] [bpm: 72] [vocals: gritty male, husky to broken] [whisper: verse 6 last line] [scream: verse 3 climax] [instruments: slide guitar, harmonica wails, walking bass, sparse drums] [style: call-and-response, dynamic shifts, improvised solos] [Intro – slide guitar solo, slow bends with vibrato] [Verse 1] *Ze droegen hem weg, de wind was stil, * (acoustic slide guitar, voice cracks on "kil") [Verse 3] *, En toen brak het los:* **waarom jij, ** (voice cracks) **waarom nu, ** (full scream, feedback guitar) **waarom** (voice breaks) **verdomme!, ** (drums kick in) [Guitar solo – improvised, bends mimic sobbing] [Verse 6] *, En ik fluisterde zacht:* **[whisper]** *"jij was er, jij bestaat nog, toch, even dan, "* (harmonica fades out like a dying breath) [Bridge] *En ooit ben ik degene die verdwijnt in stof, * (voice strained, slide guitar echoes "shadow in my chest"

A playful, cabaret-style song in Dutch, performed by a male singer with a storytelling voice and a cheeky attitude, in the style of a modern stand-up comedian with guitar, The lyrics tell a humorous coming-of-age story about a boy and his lifelong "friend" named Jan — not a real person, but a metaphor for his own body, The song stays suggestive but never explicit, full of double meanings and innuendos, The music is acoustic, lighthearted, with jazzy guitar strums and subtle percussion, The tone is witty, charming, slightly absurd, and perfect for a live performance vibe, Think intimate setting, spotlight, and laughter from the audience, End with a tongue-in-cheek punchline about how Jan is always there… ready to play, even if only for fifteen minutes

Cinematic ambient soundscape with a blend of soft electronic textures and atmospheric orchestration, Incorporates stereo-panned effects that gently rotate across the audio field to evoke a sense of cosmic movement, Slow tempo with brushed percussion, light piano phrases, airy pads, and subtle melodic accents, Features non-lyrical vocals like "humm", "ahh", and "mmm" in layered harmonic textures, Interspersed with short spoken word fragments in six languages (English, French, Spanish, Low Dutch, Italian, and German), softly whispered with introspective tone, Includes sung verses in each of those five languages, each reflecting a different emotional facet of our search for intelligent life beyond Earth, The mood is mysterious yet hopeful, poetic and immersive, with occasional moments of uplift through shimmering tones and light echo effects, Ends with solo piano and a faint analog fade-out

Ambient jazz with cinematic textures, Slow tempo with brushed drums, upright bass, soft piano, and light saxophone, Non-lyrical vocals such as “humm”, “mmm”, and “ahh” are layered throughout, Between some verses, short spoken word parts are gently added in a warm and reflective low Dutch voice, Only the chorus should be sung; all other text is spoken or instrumental, The track ends with quiet solo piano and ambient fade-out, The mood is peaceful, poetic, and introspective

Cinematic, dreamlike orchestral piece with minimal human vocals, Song features soft “humm”, “mmm”, and “ahh” sounds from both solo and choral voices, with no real lyrics, Starts with rhythmic humming pulses over piano and rising violins, building gradually into a powerful orchestral arrangement with layered vocal textures, Includes multiple instrumental breaks, dramatic bridges, and slow dynamic shifts, Ends with a quiet fade-out of piano and strings, Style is poetic, emotional, ethereal, and slowly evolving

Slow, intimate acoustic ballad with a storytelling structure, Deep male vocals with a confessional tone, in Dutch, Minimal folk instrumentation: fingerpicked acoustic guitar, soft piano accents, subtle cello and emotional violin phrases woven between verses, No chorus, Mood is dark, reflective, poetic and vulnerable, Inspired by stripped-back singer-songwriter style, Especially expressive in the bridge and final verses, Music should support the lyrics, leaving room for breath and emotion, Tempo is slow and contemplative

A modern blues gospel song with deep, gritty emotion, Lead vocal by a *deep*, *raspy*, *hoarse* male singer in his 50s, reflecting on aging, loss, acceptance and strength, Support by a mixed gospel choir, including a powerful black female voice, Verses are intimate and raw, chorus is call-and-response style with the choir, Slide guitar and sharp saxophone are key: include a mini sax solo after verse 2, a slide guitar solo with handclaps after verse 3, and a long saxophone solo before the final chorus, Outro: fading sax + slide, Tempo: slow to mid, modern production with blues/gospel roots, Think: Gary Clark Jr + modern gospel + soul grit

A modern blues gospel song with deep, gritty emotion, Lead vocal by a *deep*, *raspy*, *hoarse* male singer in his 50s, reflecting on aging, loss, acceptance and strength, Support by a mixed gospel choir, including a powerful black female voice, Verses are intimate and raw, chorus is call-and-response style with the choir, Slide guitar and sharp saxophone are key: include a mini sax solo after verse 2, a slide guitar solo with handclaps after verse 3, and a long saxophone solo before the final chorus, Outro: fading sax + slide, Tempo: slow to mid, modern production with blues/gospel roots, Think: Gary Clark Jr + modern gospel + soul grit

Dutch-language blues rock ballad, 68 warm deep gritty weathered male vocal, emotional and sorrowful mood, male-only vocals with deep and dynamic tones, male choir in choruses, powerful emotional bridge, powerful chorus, instrumentation with violins, saxophone and harmonica, outro ending in soft fade, Dutch language, Starts minimal with harmonica, piano and voice, poetic and spoken-word influenced, Then builds into a rock blues ballad with dramatic orchestral bridge with strings, followed by a powerful chorus with full instrumentation, Emotional, intimate and cinematic

Instrumental only, Start with a warm, acoustic sound: soft baritone male voice, slow tempo, intimate delivery, Verses 1 and 2 should feel gentle and heartfelt, From the first chorus, gradually build to a more energetic, soulful style, Verse 3 shifts to an upbeat, catchy pop-rock feel — playful and bright, like a summer hit, The bridge is the emotional highlight: full instrumentation and strong vocals, with a short, spoken or sung child-like female voice for one line, Return briefly to a more reflective mood in the pre-chorus, then add a humorous drop, End with a powerful final chorus and a soft fade-out, Avoid female vocals except for the child’s quote in the bridge

Start with a warm, intimate acoustic tone in verse 1 and 2: soft male baritone vocals, slow tempo, fingerpicked guitar and subtle Rhodes keys, In the first chorus, increase energy with full band instrumentation — a soulful rock-pop feel, Verse 3 should shift to a catchy, upbeat summer-hit vibe with a lighthearted groove and brighter tempo, The bridge must be strong and emotional, with dramatic build-up, After the bridge, return to a more intimate feel in the pre-chorus with soft acoustic elements — but keep it grounded, End with a powerful final chorus in full gospel-rock energy, then fade out with a warm, reflective male vocal, Avoid female vocals, ‑soft pop, ‑diva vocals, ‑EDM, ‑electronic synth, ‑female lead

Emotional acoustic ballad in the style of Sinéad O’Connor's 'my darling child', Soft fingerpicked guitar and gentle piano as the core instruments, with warm ambient textures and subtle strings for emotional depth, Female vocals should be soft, breathy, and intimate — heartfelt delivery with a slightly raw, vulnerable tone, Slow tempo (~65–75 BPM), dreamy and reflective mood, solo violin in Verse 4, 70 bpm, The song should feel like a lullaby or a mother’s love letter: deeply personal, poetic, and nurturing, Avoid heavy percussion; keep the arrangement minimal and organic, Think spacious, melodic, and sincere — a soft, comforting soundscape to support tender lyrics about a mother’s love for her daughter, Note: “Wynona” should be pronounced similar to “Whyona” (one syllables: Whyona), and “Abichayil” should be pronounced “Abi-kale” (rhymes with “feel”)

Create a Dutch-language comedic cabaret-style song, in the style of Tol Hansse (e, g, "Big City"), with playful instrumentation including accordion, upright bass, piano, light brushed drums, and maybe clarinet or kazoo for comic effect, The vocals should be expressive and storytelling-like, almost theatrical, with background echo voices in repeated lines, The style should feel like a cheerful Sunday morning on a café terrace, with a small man telling a bizarre but funny story, Tempo: mid-tempo swing (around 90–110 BPM), Genre: comedic Dutch chanson / jazz cabaret, Vocal delivery: playful, sometimes half-spoken, with a wink, Not too polished — it's about character and fun, Maintain all line breaks and repeats to help the musical phrasing, Echo lines (in parentheses) should sound like background vocals or funny commentary

Instrumental 1960s-style retro rock track with strong Indo-rock and surf rock influences, Features a clean, twangy electric lead guitar with spring reverb, backed by a simple walking bass line, tight snare-driven drums, and vintage rhythm guitar, Medium-fast tempo (~130 BPM), Catchy, melodic guitar phrases and a nostalgic, danceable feel, No vocals

Dutch blues rock ballad, 68 bpm, warm deep gritty weathered male vocal, emotional climax in bridge, gospel choir, raw and soulful

Spiritual ballad, emotional and sorrowful mood, male-only vocals with deep and dynamic tones, male choir in choruses, powerful emotional bridge, instrumentation with violins, saxophone and harmonica, spoken outro ending in soft fade, Dutch language