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Eclection

Georg Hultgreen [Kajanus]: vocals, guitars
Trevor Lucas, bass guitar, vocals
Gerry Conway: drums, vocals
Kerrilee Male: vocals
Michael Rosen: vocals, guitars, trumpet

+ Dorris Henderson: vocals (only on EKSN 45046 single)
+ Poli Palmer: keyboards (only on EKSN 45046 single)

see below


Album: Eclection 1968 (USA) EKS-74023 - Elektra Records

Eclection - the album - front

Eclection - the album -back

In Her Mind
Nevertheless
Violett Dew
Will Tomorrow Be The Same
Still I Can See
In The Early Days
Another Time Another Place
Morning Of Yesterday
Betty Brown
St. Georg And The Dragon (Up The Night)
Confusion

All songs written by Georg Hultgreen except "Nevertheless", "St. Georg And The Dragon (Up The Night)" and "Confusion" by Michael Rosen


Singles:

  • Nevertheless / Mark Time
    J780 - Metronome

  • Another Time, Another Place / Betty Brown
    Elektra EKSN 45040 (1968)

  • Please / Saint Georg And The Dragon (Up The Night)
    Elektra EKSN 45042 (1968)

  • Please / In The Early Days
    Elektra EKSN 45046 (1968)

  • Nevertheless / Please
    Elektra K 12196 (1976) reissue

Eclection - single cover Nevertheless


Nevertheless / Mark Time 1968 (Italy) Vedette Records VRN 34088On 18 September 2001 the album "Eclection" was released on CD in the USA by the Collector's Choice label.
The label's website is
www.ccmusic.com.

Here's what they wrote about Eclection on their website:

One of (if not THE) great lost folk-rock records of the '60s. Eclection was composed of bassist Trevor Lucas and drummer Gerry Conway, later of Fairport Convention; lead songwriter Georg Hultgreen, later of Sailor; guitarist Michael Rosen and lead vocalist Kerrilee Male; together they made, well, eclectic music, reminiscent at times of the Mamas & Papas and even early Airplane (as Elektra founder Jac Holzman declares in the notes we've added, "I loved that group!"). Nevertheless, the album sunk like a stone, but it remains highly-prized among '60s collectors; it resurfaces here for the first time in 30 years with quotes from Conway in the notes as well. An obscure but highly worthy Collectors' Choice Music exclusive!


Eclection
- taken from the liner notes of the CD "Eclection", CCM-233-2, 2001 -

The rare, sole, and self-titled album by Eclection was one of the finer overlooked folk-rock recordings of the 1960s, and perhaps the best relatively unknown British folk-rock LP of its time. The band had a great deal going for them: four strong singers, rich multipart harmonies, strong original material by two composers, deftly textured mixes of electric and acoustic guitars, and tasteful orchestration that gracefully enhanced the soaring bittersweet melodies and male-female vocal blends. They were also one of the few British acts signed to Elektra Records, the hippest American independent label of that era.
None of this translated into high sales or wide renown. Eclection, so full of promise on this 1968 album, had split up by the end of 1969, never having issued another full-lenght release.
The simple label of "British folk-rock band" applies to Eclection as much as any description could. Upon closer scrunity, that term fails to capture the complexities of this enigmatic group. For this British band had but one actual British member, the rest of the group hailing from Norway, Australia, and Canada; for that matter, when one of the Australians left, she was replaced by an American. The group are closely connected to the Fairport Convention family tree via the presence of two future members of the band, yet neither of them wrote material or took prominent lead vocal roles on the Eclection album. Despite the Fairport connection, the folk background of some of the members, and the obvious vocal and instrumental folk-rock elements, they didn't think of themselves as folk-rock.
Too, this British album, recorded in London by mostly non-British musicians, sounded more like a product of California than anything else, despite the absence of any Americans on the recording. Tying it all together was the unlikely figure of producer Ossie Byrne, most known for overseeing the first international hits of the Bee Gees. Byrne, of course, was not British either, hailing from Australia.
Eclection was an apt name for a group originating from such disparate regions. Georg Hultgreem, who wrote nine of the twelve songs on the album and handled twelve-string electric and acoustic guitars, was born in Norway. The son of Russian prince Paulo Tjegodiev Sakonski and Finnish sculptress Johanna Kajanus, he moved to Paris just before entering his teens. Shortly afterwards he moved with his family to Quebec, where he learned English, and worked as a stained glass window designer before ending up in England. Michael Rosen, who wrote the remaining three songs on the LP and played trumpet in addition to six-string acoustic and electric guitars, came from Canada.
Singer Kerrilee Male, an Australian, had in the mid-1960s sung in Dave's Place Group; that outfit was featured on the Australian folk music television show Dave's Place, featuring ex-Kingston trio guitarist Dave Guard, who had somehow ended up living in Sydney. Fellow Australian Trevor Lucas had the most on-record experience of any member of Eclection, having released a couple of rare folk albums, as well as contributing to the EP The Folk Attick Presents, singing backup vocals on British folk legends A.L. Lloyd's Leviathan, and appearing on the soundtrack to Far from the Madding Crowd.
Completing the unlikely quintet was their sole British member, drummer Gerry Conway, who was just leaving his teens. Conway had been playing in the group of musical giant Alexis Korner, whose band was famous for helping train numerous future British rock stars, including members of the Roling Stones, Cream, and Led Zeppelin. If it seems like an unlikely transition from a blues-oriented ensemble such as Korner's to the pop-folk-rock of Eclection, it should be remembered that Korner's band had also given apprenticeship to Danny Thompson and Terry Cox, the rhythm section of one of the most successful British folk-rock groups, Pentangle.
Conway remembers that the other four members of Eclection had already been writing and rehearsing when he was recommended to the band and went to a London apartment to meet them, subsequently joining the lineup. He doesn't characterize their sound as folk-rock, but rather as "progressive". As he observes, "I don't think at the time we were thinking we were in any one vein or another. But as I recall, we were kind of labelled as a progressive rock band. Which was a bit thin on the ground in England when we started."
Elektra at the time had issued few recordings by British artists, the most notable exception being LPs by the Incredible String Band. "It was pretty unsual for an English ban
Eclectiond to be on Elektra," concurs Conway. "I think we felt quite sort of chuffed about it." Conway was also chuffed that, as Eclection's manager worked for Elektra, the band was able to rehearse extensively at one of the Elektra warehouses: "I remember racks of records everywhere, especially Blue Note jazz records. I remember asking [him] eventually if I could have some," he laughs. "He gave me some of these, so I was very pleased at all this."
The recording of the actual album at IBC Studios in London, as Conway recalls, was quite straightforward, the songs laid down "just as we rehearsed them. There was no complicated procedure, [though] I'm sure that all the harmonies were overdubbed later." As were the crafty orchestral arrangements, done by Phil Dennys, who had undertaken the same tasks in the early Bee Gees records that Byrne produced. "It was always the exciting part of making albums, to go in later and hear the strings put on the rhythm tracks that we'd done," enthuses Conway. "It was sort of the icing on the cake."
The combination of male-female harmonies, optimistic lyrics with shades of romantic psychedelia, folk-rock melodies, acoustic-electric six- and twelve-string guitar, combinations, and stratospheric orchestration couldn't help but bring to mind similar Californian folk-pop-rock of the mid-to-late 1960s. If so, says Conway, it was "a happy coincidence," particularly as the band never played in the Stated.
"It was quite a musical adventure of its day, radically different to other band that were around," he continues. "The lineup was quite drastically different to what was going in those days, having a sort of electric twelve-string with another electric guitar. Mike played trumpet as well. Kerrilee was a very strong, good singer, always very prominent in things." It was her voice that was the most distinctive in Eclection, recalling the female parts in West Coast harmony folk-rockers like the We Five and the early Jefferson Airplane, as well as the Seekers, though placed in hipper and more ambitious contexts than the We Five or the Seekers. ("Her voice cuts into the brain like a carving knife," wrote Lilian Roxon at the time, in her typically blunt entry for Eclection in her Rock Encyclopedia.) The male-female vocal interactions wove adroit patterns that were sometimes in the mold of the Mamas and the Papas, achieving a classical grandeur on the glorious fade to "Still I Can See" in particular, and a round-like quality on the scat sections of "In Her Mind".
Fairport Convention fans aware of the album primarily due to the participation of bassist Trevor Lucas might be surprised by the relatively subdued role he takes on the record. He had just one lead vocal on "In The Early Days", and wrote none of the song. Most of the male lead vocals went to Rosen, though Hultgreen had his own lead feature spot on "Morning Of Yesterday". While it might seem logical to view Hultgreen as the prime creative figure of Eclection, as he penned most of their songs -- "Georg was quite a prolific songwriter, he just wrote all the time" notes Conway -- Gerry nonetheless feels that Lucas "had a strong presence in the group. I think people looked upon him as the leader."
Eclection were a popular live act on the college / university circuit. Conway remembers Rosen's "Nevertheless" -- the obvious choice for a first single with the California sunshine pop / Mamas and the Papas similarities at their strongest -- getting quite a bit of airplay in Britain, although it didn’t chart. Gerry cites another Rosen song "St. Georg And The Dragon (Up The Night)", as one which went down particularly well with concert audiences. Yet the album -- complete with a gatefold sleeve boasting full lyrics and a groovy, psychedelic cover photo (by Joel Brodsky, noted for his pictures on early Doors sleeves) with mannequins, including some provocatively nude female ones -- did not sell all that well. In the US especially, it's quite a feat to find an original copy in the used bins.
"I loved that group," declares Elektra president and founder Jac Holzman. "They were a fascinating group, a wonderful band, and I thought the records were wonderful. I think our mistake was not
The original line-up of Eclection: Michael Rosen, Gerry Conway, Kerrilee Male, Trevor Lucas, Georg Hultgreen [Kajanus]bringing them to the States, because they really needed to get out of England. There was too much other stuff competing in England, and in the States, we might have had an easier time. I don't know why we didn't bring 'em. I think, had we got 'em the right venues and gotten them some help with their show, it would have worked."
Another major blow to Eclection's longecity was the departure of Male in late 1968. "Once we started playing live it was very soon apparent that Kerrilee didn't want to stay with it," says Conway. "I think she decided she didn't want to be in the music world. Once she had left, the band slowly but surely changed, with different members leaving. We ended up sort of half a million miles away from what we started with."
Male's replacement was Lucas' friend Dorris Henderson, a black Californian who had moved to England in the mid-1960's. She had already established herself as a noted folk singer, particularly with her first album, 1965's There You Go!, a collaboration with top British guitarist John Renbourn. The new lineup did cut one single, "Please (Mark II)", a soulful cover of a song by the Californian psychedelic band Kaleidoscope. "But as time passed, it was no longer a progressive rock band," feels Conway. "At the end of its days, it was more of a kind of a jazzy, bluesy band." After several personal changes -- one addition was percussionist / vocalist Poli Palmer, formerly in the fine psychedelic cult band Blossom Toes, and later to join Family -- "we just decided, eventually, that we weren't really going anywhere. Not where we wanted to go, anyway." After about a year of gigging with post-Kerrilee Male lineups, Eclection broke up in late 1969 (though Henderson did head a revamped version of the band in the 1970s). Lucas and Conway formed the rhythm section of Fotheringay, featuring Trevor's girlfriend (and, later, wife) Sandy Denny, who had just established herself as the finest British folk-rock singer as part of Fairport Convention. Fotheringay made a fine folk-rock album in 1970 before Denny left for a solo career. Lucas and Denny would play together again in Fairport Convention in the mid-1970s, though Denny died tragically young in 1978, while Lucas passed away in 1989. Conway's long career took in stints in Jethro Tull and Pentangle, as well as recordings with John Cale, Sandy Denny, Joan Armatrading, the Everly Brothers, Cat Stevens, Richard Thompson, Al Stewart, and many others. He's now, in 2001, the drummer in Fairport Convention, an institution that's still going strong more than thirty years after their formation.
As for the others, Hultgreen, under the name of Georg Kajanus, joined SAILOR, who had a couple of Top Ten British singles in the mid-1970s. An accomplished artist as well as a musician, he is now, believes Conway, living in Paris. Rosen later played with obscure early 1970s progressive rockers Mogul Thrash, which also included Family / King Crimson / Asia member John Wetton. Gerry last saw Michael in the early 1980s in Canada while touring with Richard Thompson, "and as far as I know, he was working in his uncle's steel mill." Conway's lost all contact with Kerrilee Male, whom he believes went back to Australia after quitting Eclection. "As it started it finished, I suppose," he chuckles. "Everybody disappeared back in the four corners of the earth."
Richie Unterberger


Georg Kajanus Interview about Eclection
Conducted by eMail, for Richie Unterberger's book "Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock" (Backbeat Books, 2003)
with special thanks to Richie Unterberger
www.richieunterberger.com and to Gary Diamond

Question: How was it that the group formed, particularly one which had such varied background and nationalities?

Georg: "Bangers", a well-known English-German sausage restaurant on the corner of Moscow Road and Queensway in London's Bayswater district, was the birthplace of Eclection. I was doing table-to-table entertaining with my huge Gibson B45 12-string, singing Gordon Lightfoot songs, amongst other selections. One of the customers one night was Canadian Michael Rosen who immediately sensed some North American connection between us. (At the time, Lightfoot was pretty unknown in Europe.) Michael was cruising Europe, much as I was doing, and had ended up in England to partake in the "fab" London music scene. We fantasized about forming a band that very night with great enthusiasm. We both lived in the area and had several subsequent musical encounters.
Michael was an aspiring lead guitarist as well as a trumpet player, which was to prove to be one of our more unusual features later. It was through Michael that the mad, Australian, redhead Trevor Lucas, became a member of the band. He was also out looking for a place in the musical sun of London. His track record was more considerable than Michael's or mine. He agreed to join up but was initially unhappy about playing bass rather than playing his favorite acoustic Fender six-string. He grumbled a bit but finally gave in. It was through Trevor that we met Kerrilee Male, another Australian, who impressed us with her wonderful voice as well as her beautiful appearance.
Also hanging out in Bayswater in those days was another friend of Michael's, Joni Mitchell. It was Joni who came up with the name "Eclection." There is, of course, no such word as Eclection, but her idea for the name was based on the eclectic nature of our nationalities as well as our diverse musical backgrounds. Soon we determined that the group would benefit from some more weighty rhythm, so I believe Trevor brought in Englishman Gerry Conway who is a very talented drummer and percussionist.

Question: The Eclection album, on which you wrote most of the songs, seems to me have a rather Californian pop-folk-rock feel, particularly in the harmonies and production. Would you agree or disagree, and how much was the folk-rock of the era an influence in your songwriting and arrangements?

Georg: I would agree that the musical direction of the group was probably closer to American folk-rock than anything else. I must confess, having spent my formative musical years haunting the folk clubs in Montreal, Canada and watching all the current folk and folk/rock programs on TV, I was strongly influenced by this music. The most influential artists for me at the time were people like Dylan, the Byrds, Fred Neil, Simon and Garfunkel, the Beach Boys, the Mamas and the Papas, and Gordon Lightfoot. Pre-Eclection, I was a purist fighting the acoustic battle versus the electric "demons" creeping into the scene. I remember being shocked when Dylan went electric. It is therefore ironic that I should end up a few years later playing an electric 12-string in Eclection. My first "ax" with Eclection was a green monster called a Burns Baldwin which weighed a ton and gave me neck-aches after concerts, but I didn't care as it had a great sound. Later I bought a Fender electric 12-string from Pete Townshend, who for some reason wanted to sell the guitar rather than destroy it in his usual manner.

Question: As the principal songwriter of the band, I'm interested in your appraisal of what might have made Eclection's material stand out, stylistically, from other bands, whether folk-rock ones or just other pop and rock acts.

Georg: In some ways I am surprised that I ended up the principal songwriter in Eclection since I certainly did not think of myself at the time as an accomplished composer. However, I was very prolific and I had a good ear for melody. Other powerful influences on me at the time were classically-orientated music as well as the French chanson, i.e. Jacques Brel and Georges Bressens, so an interesting combination was created. As to my lyrics, what can I say? English was my third language (after Norwegian and French), so that should give me license for some of my poetic obscurities.

Question: It's interesting that you were signed to Elektra, possibly the most respected independent popular music label in America at the time. The label had signed very few other British artists at the time, other than the Incredible String Band. Do you recall how you got the deal with Elektra, and what sort of expectations the company had for the band in terms of the music and the audience it wanted to reach with your recordings?

Georg: My memories are a bit murky here, but I believe it was through Michael Rosen and Joni Mitchell that we managed to contact Jac Holzman. He came over to see us and seemed to like us. Of course we were flabbergasted when he did sign us, considering the icons he already had on his label. As far as expectations of the record company were concerned, we had no idea as we were never that planned or calculating in our approach. We just did what we wanted to do and hoped that people would like it. Sadly, the promotion of the album was badly organized in the UK by Polydor and we only made a few TV appearances, mainly in Holland. As far as America was concerned, there was no promotion that I can remember. Although Jac loved the album, there was definitely a problem somewhere in the marketing department. Perhaps it was the fact that we were based in the UK and signed to a US record company that presented a major logistical problem. Of course, the Incredible String Band did make the Atlantic crossover, but I guess we didn't catch the same boat. Also, we didn't have very forceful management at the time, which didn't help.

Question: There were relatively few other groups in the UK at that time that were combining elements of folk and rock with full electric and orchestral arrangements, as Eclection did. Did you feel that you were somewhat unusual in England in that regard, and why do you think there were relatively few other artists following that direction there at the time?

Georg: Again, Eclection's mixture of musical backgrounds and influences were in vast contrast to our contemporaries in England at that time. Also, our producer, Ossie Byrne, who discovered the Bee Gees, was instrumental in utilizing the string arrangements that lifted the tracks away from the current sounds. As a matter of fact, we weren't even sure of the idea when he first suggested it, but we were all pretty pleased with the result.

Question: To what degree were you pleased or dissatisfied with the Eclection album, and what are your favorite songs and/or aspects of the recording?

Georg: I have never made an album that I felt totally pleased with and the Eclection album is no exception. That said however, I listened to it recently when Collectors' Choice Music re-released it on CD and I was struck by the mood created by the vocals generally and some of the inventiveness of the vocal arrangements. I was also saddened by the fact that Kerrilee Male's voice was so tragically under-used. This was one of the main reasons why she finally left the band. I was also struck by the sloppy timing of many of the songs, however, that is more due to current music of today being "time perfect" (computer- or sequence-based.) Basically, I liked the naive and wistful flavor of the album.
Regarding my favorite songs, that's very difficult. I think the most original song on the album is "In The Early Days" sung by Trevor rather than myself. He was absolutely in love with the song and desperately wanted to sing it. I let him perform it, because the quality of his voice seemed more effective than my own for this particular piece. Michael's trumpet sounded quite magical on the track as well.

Question: How well do you think the songs of Michael Rosen, the only other writer with material on the album, complemented yours on the LP?

Georg: I don't feel that Michael's songs created any conflict with my own on the album since to a large extent the arrangements were worked on by all of us.

Question: Do you recall the details of how Kerrilee Male left?

Georg: As far as I know, she went back to Australia after the split. As I mentioned before, her voice was exceptional and I wish that we had found a way through our arrangements to create more lead vocals for her.

Question: Eclection didn't record much after the first album, although the group continued to play live for a while, with some different members. How did the group's sound change during that time, and what led to its dissolution?

Georg: After Kerrilee left, Doris Henderson took over. She was a very respected American singer in the folk scene in England. Unfortunately, the musical direction of the group then shifted to a much more jazz-orientated approach due to numerous guest musicians passing through. I was feeling more and more trapped in an alien musical environment and I finally had to leave. Also, the fact that nothing happened with the album was a bit of a blow to all of our egos. We never made any further recordings, other than a few demos.


Eclection Lyrics

In Her Mind / Nevertheless / Violett Dew / Will Tomorrow Be The Same / Still I Can See / In The Early Days / Another Time Another Place / Morning Of Yesterday / Betty Brown / St. Georg And The Dragon (Up The Night) / Confusion

In Her Mind

She's leaving time to be
A trace for reason
Solitude owes me her smile
Why in so many years
Could she forget
Life without a moment to dream

In her mind she's free
Left her days to be
Leaving on the promise of her silence
Seeking through her tears the reason why
Aiming at the sunrise in her eyes

My dreams of yesterday
Wind hide the sorrow
That remains in the passing of time
Making silence become
What's left of my illusions of you

In her mind she's free
Left her days to be
Leaving on the promise of her silence
Seeking through her tears the reason why
Aiming at the sunrise in her eyes


Nevertheless

Nevertheless I can't help dreaming of you
I can't help falling for you
I just can't help

Nevertheless I won't try calling your name
I won't try hanging around
I just won't try

Now and again I might think of you
Hiding the pain that comes from loving you

Nevertheless I'll go on waking each day
I'll go on making my way
I'll just go on

Nevertheless I'll soon find someone who cares
I will find somebody else
I know I'll find

Now and again I might think of you
Hiding the pain that comes from loving you

Nevertheless I can't help dreaming of you
I can't help falling for you
I just can't help

Nevertheless I won't try calling your name
I won't try hanging around
I just won't try


Violet Dew

Lost in a maze of colours
Where will it end
Sailing through wildwood flowers
Piercing the mist of Violet Dew

Saving my eyes from seeing
Facing away
From colours that I am breathing
Piercing the mist of Violet Dew

Follow the line of sunlight
Opens my mind
To a world within a dark night
Piercing the mist of Violet Dew


Will Tomorrow Be The Same

It was a time I could sense the rightful way
For the life I should have
But through the years
With no one behind me
Life became a closing wall

It's not the way I would pretend
That led me to see
Only my senses know
Where I should have to be

Dreaming of the life that I can't find
Leaving all my chances far behind and
Sleeping through my troubles
Will tomorrow be the same

Once again, I would gaze beyond the limit
Of my days, and my time
Knowing well that no one would deceive me
Like myself, if I could see
It doesn't help to be above, with nothing to come
Like someone said to me, "You can't chew without your gum!"

Dreaming of the life that I can't find
Leaving all my chances far behind and
Sleeping through my troubles
Will tomorrow be the same


Still I Can See

Blinking white through the crystal air
Waving down and around
Clicking feathers of ice to bear
Mixing tinkles of sound

Still I can see, where it will go
Nothing but time as far as I know
Patches of green on which I can lean
It's time to go

Pictures falling in focus of
Good times are to be seen
Blow the crystals from side to side
And ask them where they have been

Still I can see, where it will go
Nothing but time as far as I know
Patches of green on which I can lean
It's time to go

Close your eyes never say a word
Rising high with the sound
Clouds are breaking and beams of sun
Will drive them homeward bound

Still I can see, where it will go
Nothing but time as far as I know
Patches of green on which I can lean
It's time to go


In The Early Days

In time to see the war
Said he quite slowly, but say no more
It's not so plain to see
When you are longing not to be
But all the sunlight I never saw
And never will see

In the early days, being anywhere
In a moment of life without a care
Reaching out to see, wanting life to be a dream

One can't belong to pain
Nothing inside me would be the same
The reasons I would give
Always remind me of how to live
But all the feelings I never had
And never will feel

In the early days, being anywhere
In a moment of life without a care
Reaching out to see, wanting life to be a dream


Another Time Another Place

Another time, another place
Perhaps alone we could have seen
That maybe if we tried to look at life another way
We might have been
Together on our way towards the everlasting love of life
That must be true
But nothing in this world can keep us apart from doing
What we want to do

So try to find a way to understand
Please try to find a way to understand

When I think about the days we know
And every hour spent for things to come
And now I see it's not the way we live
But the way we think that makes our pleasures numb

So try to find a way to understand
Please try to find a way to understand

Another time, another place
Perhaps together we would be
A step ahead of all those things that we should never see
But all those years we stumbled through without a care
of what to do
And now I've learned from present on the past
And found that life is you

So try to find a way to understand
Please try to find a way to understand


Morning Of Yesterday

The rain became a living maze
Changing all the time
Spinning on its way through the haze
With a crystallising chime
That takes the sound to wander through my mind
And leaves me with the time

Looking at the rain falling down
On the ground
Oh I wish I could feel
That the morning of yesterday
Could have been on the sunny side
But it helps to see the rain
'Cause it takes my thoughts away
And it shows me where I am

Whatever I would fail to see
From leaving things behind
The reason for it all to be
Would never change my mind
From all the passing fictions that I find
And lingers with the time

Looking at the rain falling down
On the ground
Oh I wish I could feel
That the morning of yesterday
Could have been on the sunny side
But it helps to see the rain
'Cause it takes my thoughts away
And it shows me where I am


Betty Brown

Betty Brown was small and round
Red hair had she too
From the schoolyard homeward bound
As I came passing through
I looked at her, she smiled at me
Not so pretty but fine for me
Didn't know just what to say
So I passed along my way
Betty Brown

Betty Brown was homeward bound
Betty Brown was on my mind
Betty Brown was homeward bound
Betty Brown was on my mind

Next day I stood tall and brave
Waiting for the smile she gave
Wishing that she would be there soon
So we could share the afternoon
I waited there from one till three
But no Betty Brown could I see
Standing by the ice cream stand
With a flower in my hand
Betty Brown

Betty Brown was homeward bound
Betty Brown was on my mind
Betty Brown was homeward bound
Betty Brown was on my mind


St. Georg And The Dragon (Up The Night)

Up the knight a face was appearing
Again and again my love I saw
You were there, where was I
Tripping through your shadow in the floor

That's where we are
That's where we are

Shadowed clouds passing by
Weaving vague traces of the sun
Sitting high in night's crystal palace
See how you've made the colours run

That's where we are
That's where we are

Up the knight a face was appearing
Again and again my love I saw
You were there, where was I
Tripping through your shadow in the floor


Confusion

Pictures in my mind
Framed by space and time
I watch them come and go
Still I want to know
What's happening... inside me

The books have all been read
They say it's all been said
These words I try to use
Serve only to confuse
My confusion... inside me

I close my eyes
Fall into visions of fairyland

So I hide behind
A comic pantomime
Trying to play the game
Wanting to hide the pain
That lingers... inside me

I close my eyes
Fall into visions of fairyland


Last updated: 01 September 2003


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