Music section. (Second part.)

Billy stepped in to give the band some pointers, chatting briefly with Spencer about the guitar rhythm and seeing if they could push it up a notch with each drumbeat.

-So that's it. One second. - Alan remarked, taking notes on whether they could turn the song into something epic.

-Perfection and good moments are always about subtle changes. Sometimes less than a millisecond can make the impact we aim for—or miss it entirely. Here, luckily, we've got a strong grip on what we call randomness, that work everyone takes for granted. - George chimed in.

-His definition is spot-on. I love how he can turn every rhythm to his advantage—it's almost like he's telling us a story. - replied Josh Robert, an ardent fan of Billy.

-He's got a European tour coming up, hitting several places in September and part of October: nearly 10 cities in Spain, 7 in Portugal, 9 in France, 9 in Italy, 11 in Germany, plus stops in Austria, Greece, and some Nordic countries. - said Michael Okclars, a family friend who had taken it upon himself to look after Billy.

-When is he heading back to England? - George Martin asked.

-Soon. He's going to Latin America first to finish his Spanish album, then he'll work on another movie or series, maybe some commercials, and come back next year. He loves touring, but he prefers a more laid-back schedule, resting his voice for a week or two between shows. - Michael explained, unsure if Billy would embrace another grueling tour.

-He should head to Japan, China, or India—massive markets. Even a 5% share of those populations equals entire countries. - George Martin suggested, recognizing the untapped potential of these regions.

-Later, perhaps. Right now, it's important not to overburden someone so young. He's worked tirelessly and is only 18. We've got 20 to 30 years to establish his legacy.- Michael reasoned.

…

In the studio, Billy took a deep breath. He was determined to break the mold with one of his songs. Spencer's guitar was a thrilling sonic punch, while Sugar Egg playfully wrestled with Connor, and Jack's bass thundered track after track with mischievous precision. Billy laughed, and the sound was caught on tape.

His reverberating voice filled the room.

🎶🎵🎵🎵🎶🎵🎵🎵

One eats Prozac like Tic Tac,

He spends them with Cognac and with Balzac

The other one likes Arjona and Coelho

Plays with her hair and wants to be a model

If one is loneliness

And two are company

Three is like playing spy

Against KGB and CIA

🎶🎵🎵🎵🎶🎵🎵🎵

If you paid attention, the song seemed to echo his history with Avril and Alessandra. He wasn't with either of them, though he could have been. One was hurt, and the other craved security—not someone who might replace her with someone newer. Yet, with both, he enjoyed the pleasures of life.

Not many understood Spanish, but Michael, who had spent three years learning the language due to his connection with Billy, picked up on some of it. Regardless, the music—pure, raw rock—spoke for itself. Billy infused the track with passion and a sensual intensity that stirred those who heard his vocals.

The imagery he envisioned featured a woman in a sheer white shirt, dancing seductively under red and violet lights—a manifestation of desire. It was a fleeting, evocative image that captivated the people in the studio once again.

🎶🎵🎵🎵🎶🎵🎵🎵

One has the eden in her Bra

That one moves well the other one too

One believes in goblins and fairies

The other one believes in Prada, doesn't believe anything

I don't know who I love the most

Nor who I bear the less

I've been a liar, an infidel

It wasn't good, but it was good

🎶🎵🎵🎵🎶🎵🎵🎵

The scene shifted. Billy layered emotions into the song—his favorite type of vocal performance—channeling the feeling of helplessness. The conflict of wanting to be morally upright yet succumbing so easily to temptation. Music, in this context, became a medium for exploring pleasure and fleeting relief from anxiety.

Taking a measured breath, Billy added imagery of raindrops trailing down a window, capturing the fleeting joy of sharing intimate moments with someone. From a present perspective or across varying scales of time, his imagined audience needed this experience of falling and rising again—a poignant cycle that resonated deeply.

🎶🎵🎵🎵🎶🎵🎵🎵

And I have learned that loving two

It is the same as not loving any

Blonde Sun, Brunette Moon

My tragedy is my fortune

And love two

It is the same as not loving any

Blonde Sun, Brunette Moon

I don't know who I love the most

Nor who I bear the less

I've been a liar, an infidel

It wasn't good, but it wa

🎶🎵🎵🎵🎶🎵🎵🎵

-I really love that part. - George Martin remarked.

-It's like the moment the song takes on a wicked edge, that rebellious streak we often fail to grasp fully. It's a brilliant way to close the track. - George continued, narrating how the song resolved itself. It told the story of a man confessing to having done something wrong but admitting he'd do it again—because he could, because it felt good, because it was who he was. A declaration of unrepentant authenticity.

-Could we release an English version? - Michael Okclars asked.

-Too complex, - someone replied.

🎶🎵🎵🎵🎶🎵🎵🎵

And I have learned that loving two

It is the same as not loving any

Blonde Sun, Brunette Moon

My tragedy is my fortune

And love two

It is the same as not loving any

Blonde Sun, Brunette Moon

Of course it doesn't work

If we are three halves

When there are more than two people

There are always more than two truths

And until it all falls

Under its own weight

I keep loading my karma

I'm still lying with kisses

🎶🎵🎵🎵🎶🎵🎵🎵

Billy exhaled deeply as the song ended. The producer gave his approval, and Billy sighed in relief. It was exactly what he wanted. Repeating a song more than five times could be exhausting for him.

-Let's move on to the next one, - Billy said, ready to tackle what seemed to be another challenging track.

The next song, "Ciudad Mágica (Tan Biónica)," was crafted to energize a crowd with its strong notes and infectious melody. It was a song designed to inspire joy—a catchy rhythm with simple lyrics. Its structure allowed for a smooth flow, making it a standout track.

The Spanish album, for Billy, was a challenge. He mused about creating albums in Portuguese, Italian, and maybe French—the languages he considered most accessible. German, on the other hand, felt beyond his reach. Still, singing in five languages? No one had done that, at least in rock. His eyes sparkled at the thought.

In classical music, maestros like Julio Iglesias and Andrea Bocelli had achieved global fame across languages—but in rock, this was uncharted territory.

...