“Edgar Allan Poe”(Composed and performed by Reynold D. Philipsek 2010 copyright Zino-Rephi Music BMI)Guitars-Reynold and percussion by Michael Bissonnette Ever since I was 12 years old, Edgar Allan Poe was a favorite writer. I was so smitten at that age that I had my mother make a black cape for me (for some reason I thought Poe wore a cape) […]
(Written and arranged by Reynold D. Philipsek 1994 copyright Zino-Rephi Music BMI)Voices, guitars and all instruments by Reynold exceptDrums by Steve Read SmithBass by Luke KramerTrombones by Zane SchaeferRecording Engineer: Stymie Seamans This song is literally a recitation of London pub names lifted from the London phone book. At the time I had a good friend in London named Peter
The Pubs of London Read More »
(Composed and performed by Reynold D. Philipsek 2011 copyright Zino-Rephi Music BMI)Recording engineer: Stymie Seamans I sent this piece out once before quite a while ago but accidentally heard it on Spotify again and liked it. Actually, at first, it didn’t connect with me that it was my recording. That’s an odd thing when it happens and a bit disappointing
“Reverie” (Composed and arranged by Reynold D. Philipsek copyright 2008 Zino-Rephi Music BMI) Guitar-Reynold Harmonica- Clint Hoover Bass-Matt Senjem Percussion- Michael Bissonnette This is the quartet version of the song. I sent out the solo guitar version last January. This is one of several songs I have written with the 3/3/2 Nuevo Tango pulse that Astor Piazzolla originated. The tune
Here is a sneak preview of an interview and podcast I did with Phil Nusbaum that will air on KBEM in early October. Essentially, I speak about my new, upcoming EP I have done that will be out in October and how I have spent my time during the pandemic. Have a listen and let me know what you think.
Interview with Reynold on KBEM Read More »
(Composed and performed by Reynold D Philipsek 2015 copyright Zino-Rephi Music BMI)Guitars-ReynoldRecording engineer-Stymie Seamans This is an odd little piece. They say Prokofiev kept a notebook with “tidbits” of ideas and when he began to compose a piece (like the Third Piano Concerto) he would consult this notebook when he got stuck. He then would find a “tidbit” that would