Daryl Runswick and Kerry Lee Crabbe

Songs Volume 2

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This Volume contains recordings from 1980, a couple of years before Volume 1, and (tracks 5-8) from the mid 1970s when a big manager, Jack Fishman, was interested in promoting me. Nothing came of that in the end.

The rhythm section for these recordings consists of Ray Russell and/or Phil Lee on guitars, John Marshall on drums and myself on keyboards and bass guitar. On the earlier sessions Tony Hymas is the main keyboard player, while I overdub synths and piano. I also solo on double bass on two of these tracks.

I'm the only lead vocalist on this Volume, though there are girl backing vocals on a couple of the Fishman tracks. On the 1980 recordings the 'bvox' duties are taken by a distinguished team – Daryl Runswick and Linda Hirst.

Three of the songs here have been done by other artisits:
Let Yourself Off Your Lead was recorded by The King's Singers; The Colours Ran by Cleo Laine; and How Come I Missed It? by Swingle II.

 

 

 

[ 1 ]    She Got The Curves, I Got
The Angles
            

 

I got the nerves
they got the jangles
'cos she got the baubles
boys, and the bangles 
              – she got the curves
                 I got the angles

Venus and Mars
can't hold a candle
she's like a star
covered in spangles 
              – but I got the car
                 I know how she handles

She look so nice
eyes are a scandal
Princess of ice
come & midnight ramble 
              – she say no dice
                 I like to gamble

She got the lips
say she is solo
she got the hips
swivel à gogo 
              – but I got the quips
                 I got my mojo

What she deserves
she may well be nearing
just for hors d'oeuvres
I'll nibble an earing 
              – oh, she got the curves
                 but I got the steering

Is it a crime
to feel such emotion
Lady sublime
do you get the notion 
              – I got the time
                 if you got the motion

See how she swerves
dodges and tangles... 
                 she got the curves
                 I got the angles


Composed 1979. Daryl, vocals, backing vocals, Wurlitzer piano,
Rhodes piano, piano, piccolo bass guitar, bass guitar; John Marshall, drums.

 

[ 2 ]    One-Night Stand            

 

It was a one-night stand,
like shaking hands with a stranger,
really, no danger,
it just didn't mean a thing –
all a matter of glands,
luck, muddle and music,
just a one-night fling.

Just a one-night stand,
I can't think how it happened,
something went snap and
her knee hit the palm of my hand –
just a one-night fling,
so I said I must go now
but she had the know-how –
and you know how some women can cling,
just a noe-night fling.

             Well I suppose
             I'd had one or two doubles,
             you know how it goes
             when you're drowning your troubles,
             and I'd had such a hell of a day –
             and you seemed such a long way away...

[She: You could have cried to me,
         you needn't have lied to me...]

             I kept trying to ring,
             but the phone-booths were crowded,
             and my mind was too clouded
             to think of the right thing to say –
             and you seemed such a long way away...

[She: I was beside you,
         I was inside you...]

Just a one-night stand,
I don't klnow why I did it,
I don't know why I hid it,
it was over before it begun – (please believe me)
just a one-night fling,
it was yang it was yin
in the night on the wing,
& it wasn't as if we had fun (please believe me) –
just a one-night fling.

             Just a one-night stand,
             look, today is today,
             understand,
             tell me what do you say –
             oh, you seemed such a long way away...

[She: I was beside you,
         I was inside you...]


Composed 1979. Daryl, vocals, piano, piccolo bass guitar, bass guitar;
Linda Hirst, backing vocals; John Marshall, drums.

 

 

[ 3 ]    Taking And Leaving            

 

I'm leaving the key
beside the TV
with a cheque for my share of the bills –
But I'm taking the Stones and the Crosby and Stills,
Help, Abbey Road, Let it Be...
– Oh, I'm leaving that sweater
it always looked better
on you than on me.

My paperbacks too
I bequeath unto you
well, except for The Lord of the Rings –
I don't want to hang on to too many things
that are likely to make me feel blue.
– Oh, I'm taking The Golden Bough
might even read it now
I'm free of you.
I'm leaving the key...

             Here I go again
             hear that midnight train
             ooo eee
             remember me.

I'm thinking of you
I know what you'll do
as you get to the place we called home –
see my note on the floor, and find out you're alone,
shut the door, look around, see it's true
– Oh, you know I'm not lying
I hope you're not crying
for me or for you.


                   Lie on the bed now
                   rest your weary head now
                   I'm without you
                   as you're without me.


             There's a lot of pain
             riding on that midnight train
             ooo eee
             remember me.


Composed 1976. Daryl, vocals, piano, Rhodes piano, piccolo bass guitar, bass guitar; Linda Hirst and Daryl, backing vocals; Phil Lee, guitar; John Marshall, drums.

 

[ 4 ]    Edge Of The City            

 

                   We drove to the edge of the city
                   Hoping for peace to descend
                   Hoping peace would fall like rain.
                   But we sat and we wept tears of pity
                   For a lifetime's end
                   For the children's pain.

           Rejoice, rejoice
           The choice is yours
           The fire, the famine or the flood.
           Above the clouds an eagle soars
           The sun is dying in its blood.

We've been building too much and too long
Getting it wrong
Stop & ask yourself where you belong
Get it wrong
Get it wrong

                   We drove to the edge of the city
                   Hoping for peace to descend
                   Hoping peace would fall like rain (my Elaine).
                   And we sat and we wept tears of pity
                   For a lifetime's end
                   For the children's pain.
                   Behind us lie the scattering tracks of our wheels
                   And ahead of the
                   The indifferent hills.


Composed 1974. Daryl, vocals, piano, piccolo bass guitar, bass guitar; Phil Lee, guitar; John Marshall, drums.

 

[ 5 ]    Let Yourself Off Your Lead            

 

           Listen everybody
           All the bad news may be true
           It surely is a dog's life
           So here's what you must do –

Why don't you let yourself off your lead every once in a while
Oh baby why don't you take a chance and let the good times roll for a mile
You know we've all got to die so you might as well live with style
Why don't you let yourself off your lead – once in a while.

Why don't you let yourself off your lead every now & again
You know you really should take a drink with your fellow men now & then
You never know when you're gonna be offered the chance again
Why don't you let yourself off your lead – now and again

You can slog slog slog to make your pile
But it's a lucky dog who can smile smile smile

Da da da da – you gotta let yourself off let yourself off

You gotta let yourself off your lead every once in a while
Oh baby why don't you take a chance and let the good times roll for a mile
You know we've all got to die so you might as well live with style
Why don't you let yourself off your lead – once in a while.


Composed 1971. Daryl, vocals, backing vocals, piano on intro,
Arp 2000 synthesiser, double bass, bass guitar; Tony Hymas, piano;
Ray Russell, guitar; 3 girl backing singers; John Marshall, drums.

 
 
 

All these compositions and recordings
are covered by copyright.

 

[ 6 ]    Sweet Old-Fashioned Thing            

 

You always leave some money
When you use the telephone
You never take a drink and
You prefer to be alone
             But you've never taken wing
             You sweet old-fashioned thing

You never borrow money
You never lend your comb
You hate arriving late and
You catch the last bus home
              You believe in wedding rings
              You sweet old-fashioned thing

                           Little girl – if I ever thought you'd care
                           Well you know that I'd be there
                           And with you all the way
                           Little girl – if I knew the reason why
                           Are you lonely are you shy?
                           You only have to say – I'm with you all the way

You never show your feelings
All the time my love has grown
Have I been wrong concealing
That I want you for my own?
              Will you teach my heart to sing?
              My sweet old-fashioned thing
             


Composed 1973. Daryl, vocals, Arp 2000 synthesiser, double bass, bass guitar;
Tony Hymas, Rhodes piano; Ray Russell, guitar; John Marshall, drums;
3 girl backing singers; strings.

 

[ 7 ]    Lying Again            

 

Mumma mumma mumma
there's a burglar at the back door
mumma mumma mumma
got a jemmy and a jackdaw
oh mumma mumma mumma
what's he doing with that hacksaw?
come see burglarman at back door, oh yeah

Mumma mumma mumma
there's a bogey in the bedroom
mumma mumma mumma
he's so high he has no headroom
oh mumma mumma mumma
big ole feet go boom de-dead-boom
come see bogeyman in bedroom, oh yeah

              I'm lying again

Mumma mumma mumma
is a lie-detector expert
mumma mumma mumma
hit me so hard on me hand hurt
oh mumma mumma mumma
now I'm dying in me best shirt
lie face downward in de ground dirt
brown dirt
hand hurt
best shirt

              I'm lying again


Composed 1972. Daryl, vocals, bass guitar; Tony Hymas, piano;
Ray Russell and Phil Lee, guitars;John Marshall, drums.

 

[ 8 ]    The Colours Ran            

 

I used to keep a handkerchief
in memory of you
it had little yellow flowers
on a ground of azure blue
it was pretty when our love-affair began
but the colours ran

Memories are funny things
the past is like a dream
like sepia-tinted photographs
or shadows on a screen
like a rainbow when a storm-cloud hides the sun
and the colours run

You said I never understood
my whole world turned to blue
my handkerchief just couldn't stop
the teardrops starting through
I remember how the bitter end began
I watched you walk away from me beside another man
and the colours ran


Composed 1974. Daryl, vocals, Arp 2000 synthesiser, bass guitar; Tony Hymas, Rhodes piano; Ray Russell and Phil Lee, acoustic guitars; John Marshall, drums.

 

[ 9 ]    Meaning Right            

 

Get the meaning right and the words come naturally
Get the feeling right and your love floats out to sea
In the morning light – will you set sail with me?

For a distant shore where the sunlight warms the sand
What is water for but for running through your hand?
Should I tell you more – or do you understand?

              Smile, southern isle
              waves are breaking
              You in my arms
              as we're waking
              Love on the breeze
              for the taking

You've got it right all right cos it's coming through to me
Now you're feeling right and your love flows out to me
Got the meaning right and the words came naturally


Composed 1975. Daryl, vocals, piano, piccolo bass guitar, bass guitar; Linda Hirst and Daryl, backing vocals; Phil Lee, guitar; John Marshall, drums.

 

[ 10 ]    How Come I Missed It?            

 

It was way back when when it started
– how come I missed it?
wasn't I ever young?
By the time I got to the party
the windows were misted
              the fling was flung
              all the songs were sung
              – how come I missed it?

Started in the fabulous fifties
– how come I missed it?
why wasn't I told?
By the time that I heard about it
it had all got twisted
              rock'n'roll was old
              all the seats were sold
              – how come I missed it?

Da da-da da, da da-da da, how come I missed it?
Da-da da, da-da da, why wasn't I told
Da da-da da, da da-da da, how come I missed it?
Da-da da...

It all happened back in the sixties
– how come I missed it?
why didn't they phone?
Three long days of peace love and music
my name wasn't listed
              I was on my own
              with my gramophone
              – how come I missed it?

It's going on now, a minute away
– how come I still miss it?
who do you have to know?
I don't want the good life for ever and ever
I just want to kiss it
              then I'd let it go
              but at least I'd know...

              ...tell you I've been quite a hot rat
              in my time, in my mind
              won't you tell me where it's all at
              – next time?


Composed 1975. Daryl, vocals, Rhodes piano twice, Wurlitzer piano, bass guitar; Linda Hirst and Daryl, backing vocals; John Marshall, drums.

 

[ 11 ]    Rock'n'roll Won't Fade Away            

 

all the rock'n'rollers streamed out of the café
their gladrags all in tatters & their leathers worn away
& they listened to the raindrops as the taxis never came
& someone had a cigarette but no-one had a flame
& johnny jiver he was there and jane the highschool queen
& none of them knew where they were or where the hell they'd been
& the streetlamps died
in the light of day
& a train cried far away
& rock'n'roll won't fade away

they kicked a stone around the street and dropped it down a drain
the wind was wild and blew the garbage hard against the grain
& little bits of withered leaves stuck on to blue suede shoes
a newspaper rolled by their feet but no-one saw the news
& on a hoarding overhead a girl was selling rum
in an island in the tropics where the bad times never come
& her smile was wide
till it peeled away
she wasn't there anyway
& rock'n'roll won't fade away

              & the man with the scratched guitar
              sang a song to the morning star
              he wasn't going very far
              he even sold his car for that guitar

the rock'n'rollers walked away and wandered round the town
don't matter just how late it gets a rocker won't lie down
the factory siren sounded like an animal in pain
& older men walked out to work along the factory lane
& women hung out washing in their gardens at the back
& little kids ran off to school beside the railway track
& the deejays played
in another day
& rock'n'roll won't fade away.


Composed 1980. Daryl, vocals, Wurlitzer piano, Rhodes piano, piccolo bass guitar, bass guitar; Phil Lee, guitar; John Marshall, drums.

 

 

 

 

[ 1-4 ] [ 9-11 ] Recorded at Essex Music Studios, Poland Street, London, December 1980. Engineer John Burns. Produced by Daryl Runswick. [ 5-8 ] Recorded at CTS Studio 2, Wembley, 1974 or 5. Engineer unknown. Produced by Jack Fishman and Daryl Runswick.