01	Long Live Man Dead: Long Live Man Dead						03:57
	02	Long Live Man Dead: Skull						05:45
	03	Peter						03:26
	04	Snails						07:14
	05	Time And Space						07:32
	06	Who Spoke						02:23
	07	In Spite Of Harry's Toenail: Goodbye-Farewell-Adieu						03:39
	08	In Spite Of Harry's Toenail: Harry's Toenail						05:45
	09	Smokescreen						06:33
	10	Saga Of Smith And Smythe (1969)						08:28
	11	My Room						06:31
	12	Saga Of Smith And Smythe (1971)						07:20

Gnidrolog [UK]
In Spite of Harry's Toenail (71), Lady Lake (72)

Gnidrolog are a long-forgotten band from the UK, whose two releases of bluesy progressive rock, in the style of early Jethro Tull, were passed by without much ado. The Tull comparisons also stem from the prominence of the flute to Gnidrolog's music. In fact, the group boasted two members on wind instruments, including flute, oboe and sax, adding another dimension to their sound, very reminiscent at times of early VDGG, abetted by Colin Goldring's intense style of vocal delivery.

There was a big write-up on this band in the Gentle Giant newsletter. I've never heard 'em, but I think they might appeal to GG fans. Vocalist Colin Goldring's name might ring a bell - he was a guest player on The Yes Album.


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In Spite Of Harry's Toe-Nail (1971)

Tony Senatore from the U.S.A, May 4, 1999

"A fine progressive rock band that you probably never heard".

"GNIDROLOG is an obscure English progressive rock band. Their sound is very avant-garde. They had a lot of influences, and were not afraid to use every one of them on their CD entitled "In Spite Of Harry's Toe-Nail". Their music is reminiscent of King Crimson and Gentle Giant,but they definitely had their own sound. The band was comprised of Colin and Stewart Goldring on lead vocals, guitars, recorders, tenor sax and harmonica, Nigel Pegrum a classically trained flautist and oboist, on drums and percussion, and Peter "Mars" Cowling, one of the greatest, most underrated of all rock bassists, on bass and cello. I like GNIDROLOG because they were true to themselves. They played precisely what they wanted to play, which definitely doesn't happen with the so-called alternative bands of the nineties. If you like music played by a bunch of guys with goatees that play songs that have three chords, and jump around like a bunch of morons, don't buy this CD, you will be disappointed. If you're interested in expanding your musical horizons, then check out "In Spite Of Harry's Toe-Nail". I think you will be pleasantly surprised".
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Reviewed by: Peter Pardo from Washingtonville, NY, at Prog-Net

Gnidrolog: In Spite of Harry's Toe-Nail - Rating: ****

"Gnidrolog's debut album is a masterful slice of varied, complex, angry prog. Darker and heavier than the follow-up, Lady Lake, In Spite of Harry's Toe-nail is so unique sounding that it draws almost no comparison. I hear a slight similarity to Gentle Giant's first album, but other than that the comparisons end. The songs range from the angry epics like the opener "Long Live Man Dead" and "Snails" to the wonderful acoustic pieces like "Time and Space" filled with lovely guitar, flute and recorder, before giving way to heavy guitars and multiple time changes, as well as a spacey horn section that could have come from a Miles Davis record. Flute work as well would make Ian Anderson proud on this one.The lead guitar work by Stewart Goldring is exceptional on this track as well (can you tell this is my favorite song!). The next song "Who Spoke" is a two and a half minute acoustic ditty, again reminiscent of Gentle Giant. The following title track is a nine minute plus tour de force that is very dramatic, with great vocals and playing by the band. This tune has a Wishbone Ash feel to it as far as the pacing and guitarwork goes. Great stuff with lots of changes. In addition to the original album on this CD re-issue, there are 4 bonus tracks (2 leftover songs plus two live tunes) that make the package well worth while. My one complaint is not including the CD tray artwork (here it is, just for you) on the cover, as it is a wild picture and would have made for great impact on the cover of the booklet. Besides that, this comes highly recommended and was worth the wait!"
(The tray artwork is now available from our Sales page as an A3 poster in colour or black and white - are we responsive or what!).
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Reviewed by: Tommy Schonenberg, Keeper of Tommy's Forest of Progressive Rock 1999

Gnidrolog - "In Spite of Harry's Toe-Nail" (1971)

"I really looked forward to hear the first of Gnidrolog's two classic albums, and I'm not disappointed at all. "In Spite..." is a rougher and more complex album than "Lady Lake". It's also more medieval- influenced. The vocal sections still sound quite a bit like Gentle Giant, but the band had their own sound. The use of wind instruments is gorgeous, and I would bet my life that Gryphon listened a lot to this album.

The tracks are complex and stuffed with odd time-changes and disharmonious riffs and themes. Most of the title-track is a energetic jam and quite different from the rest of the album. The overall complexity and medieval mood of this album makes it in my opinion an even better album than "Lady Lake." Gnidrolog were simply one of the most overlooked of all the early 70's progressive rock bands. This is with no doubt the re-release of the year and comes HIGHLY recommended for anyone into TRUE progressive rock!"
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Reviewed by: Stavros Moschopoulos (AFIS) 1999

Gnidrolog - "In Spite of Harry's Toe-Nail" (1971)

"Gnidrolog is another one of those great (and almost unknown) groups from the '60s/'70s era when musical adventure was de rigeur and creative madness was the minimal requisite and excuse for the elaborate creations of multi-faceted musical concepts. The band consisted of the brothers Goldring (Colin and Stewart) on lead vocals, guitars, recorders, tenor sax and harmonica, Nigel Pegrum, a classically trained flautist and oboist, on drums and percussion, and Peter "Mars" Cowling on bass and cello.

Together they released two vital rock albums: Lady Lake and In Spite Of Harry's Toe-Nail. ...In Spite Of Harry's Toe-Nail is a fantastic album full of complex rock gyrations, creative arrangements and psychedelic structure that is as vibrant and alive today as it was in 1972 -- a true sonic adventure for the discerning rock fan."
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Reviewed by: Volkmar Mantei of Ragazzi Germany 1999

Gnidrolog - "In Spite of Harry's Toe-Nail" (1971)

"Gnidrolog is part of the fine league of bands that inhabit the Progressive Rock genre. Their music is a very complex, woven play with a similarity to Gentle Giant, without sounding really similar to that band. Their distinct concertante tracks develop in unconventional ways. Dramatic and expressive sounding, high energy, musical and clear non-song-oriented structures built on the voice of Colin Goldring. Lyrical ideas interweave, illuminated by acoustic guitar, spinet, flute and bass, and hard rock passages, just like crimsonesque earthquakes in their intensity, running through the songs of the original 1972 LP.

The band plays epic and complex music. For example the second part from "Long Live Man Dead" - the band makes unison, complete unison in hard rock, developed from a gentle, fixed flute part - I have never heard that before. The band have many still, lyrical passages on this, their first album (the second album "Lady Lake" has the same fantastic quality and magic). From these still, partly acoustic pieces develop the intense, furious exploding high spirits. For example "Snails". The flute is beginning, the guitar breaks in with intensity and the song goes into a mad, wild rock; overwhelming. Just like a horde of escapers making a wild, high-spirited dance of joy, always stopping and asking astonished at how successfully they made their escape, and falling into the dance of joy again. It all has melancholy and humour, in a successful change of the feelings.

The four bonus tracks may not have the sound quality you all wanna have. But they are a very good example of the live work of the band. You should understand it right, not as a bad bonus, but like a gift. And yes, those who want to know what Gnidrolog means, have to read the name of the brothers Colin (lead voc, g, rec, sax, horn, harm) and Stewart (lead voc, g, voc) Goldring from behind and make a little twist. Peter Cowling (bs, cello) and Nigel Pegrum (perc, fl, oboe, piano) are today part of Gnidrolog again. Soon comes out a live album of the band, played in 1972. And a really new album comes out the next time. I can't wait to hear it!"
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Reviewed by: Simon of New Horizons 1999

Gnidrolog - "In Spite of Harry's Toe-Nail" (1971)

"First time around Gnidrolog had a fairly short career running from 1969-1973, but in that time they managed to play some of the classic venues alongside some of the most illustrious names in the history of rock music. Sadly, despite producing some truly inspiring works, they never quite achieved the level of acclaim that they richly deserved. The lineup on this album are Colin and Stewart Goldring, Peter Cowling (bass) and Nigel Pegrum (drums) - who after leaving Gnidrolog went on to join Steeleye Span. The music is a real blend of guitar work and vocals augmented by recorders, flutes, saxophones, harmonicas, and such like. The end result is a unique style that was leading edge for it's time. Now, looking back it's really very hard to tell exactly who was influencing who, but this album certainly has some elements that are strongly reminiscent of the likes of VDGG, Gentle Giant and Jethro Tull.

The album opens with 'Long Live Man Dead' and from the outset one is struck by the starkness of the powerful vocals set against some very harsh guitar riffs. After the initial opening the sound throttles back a little and there is a nice passage with woodwind sounds contrasting well with the guitar and percussion work. Vocals continue with less harsh tone, but they are charged with emotion and feeling. 'Skull' is effectively a continuation of the first track and is marked by gently echoing flute work set against the acoustic guitar. The track finishes with a reprise of the opening vocal and guitar theme, before lapsing into a series of musical echoes reminiscent of King Crimson's earlier works.

'Peter' has a very mellow opening with Peter Cowling's cello coupled with a beautiful flute arrangement which plays alongside. Acoustic guitar and vocals add to the air of melancholy on the track. There is a brooding sense of unease as 'Snails' starts up with recorder and oboe. A repeating pattern on the electric guitar soon joins in, the percussion part is gradually introduced and the pace slowly builds up. The vocals initially come in short, fairly quiet sections, alternating with heavy oppressive, and somewhat disharmonious, guitar work. The track is musically very advanced for its time and it provides a relentless assault on the senses as the frenzied pace and feeling of discord continues to build - it's almost above likes and dislikes - it simply is! It takes a little getting used to but is very effective.

In complete contrast 'Time and Space' is another piece that opens peacefully, a recorder and oboe passage is set against acoustic guitar and a lightly tripping vocal line. It gives way to some far more progressive elements with a much heavier sound. The song seems to have it's roots set in renaissance period music but overall, I am tempted to draw comparisons to King Crimson and Gentle Giant. The following song ,'Who Spoke', is a quiet acoustic guitar track with some very plaintive, almost anguished vocals, very akin to Peter Hammill. The final track 'Goodbye-Farewell-Adieu' is another piece split into two parts. The first section 'Goodbye-Farewell-Adieu' contains woodwind sounds winding gently around, with gentle trills and more quiet guitar work. The vocals are very melancholic with harmonizing that is truly superb. The second part of the piece, 'Harry's Toenail', is an instrumental piece which is suddenly more upbeat with driving drum rhythms and pacey guitar work. Harmonicas give a really nice bluesy feel to the track.

The eight tracks referenced above, which made up the original album, were all recorded in 1972. However, for this CD release four bonus tracks have been added, increasing the playing time by nearly 30 minutes. These extra tracks are 'Smokescreen' and 'Saga of Smith and Smythe', both recorded in 1969. From 1971 come 'My Room' and differently mixed version of 'Saga of Smith...'. These rare tracks are certainly of interest, I particularly liked 'Smokescreen' which has a very Jefferson Airplane sound to it. Certainly, the inclusion of additional tracks increases the overall value for money, but I have to say that the sound quality is not up to the standard of the rest of the CD!

Twenty seven years on, this album still sounds great. There are a few rough edges for sure but this is, in part, due to the technology available at the time of recording. Some fans of modern neo-progressive music may find the album a little disconcerting at times, but one thing is very very clear - this is truly progressive music at it's best. Furthermore, just to prove it can be done, all the tracks come in at under the ten minute mark and there's not a trace of keyboards anywhere - marvellous! And why 'Harry's Toenail'? ... well you'll just have to get yourself a copy of the CD to find that out - it's well worth hearing!"

Simon 25th November 1999





Gnidrolog


In Spite of Harry's Toenail (1972)
Lady Lake (1972)
Live 1972 (1972)
Gnosis (2000)

Gnidrolog Homepage http://www.gnidrolog.com/

County Of Origin: England
Established: 1969
Styles: Symphonic


Biography

Gnidrolog are one of the more overlooked bands that took part in the progressive rock explosion in Britain around 1971 -73. Why the band is nearly forgotten nowadays is a mystery to me. When Mike (the other guy behind this site) first played me Lady Lake, my jaw literally dropped. Expecting some banal proto-progressive stuff, I was pleasantly surprised to hear powerful, full-blown progressive rock with an dark, original feel. The best comparisons I can make would be to groups like Van der Graaf Generator, Jethro Tull and Gentle Giant, and Gnidrolog often meets the same level of brilliance as those bands. Of course, it would be a mistake to say that Gnidrolog were simply heavily influenced by these bands, since the group was coexisting, and rose to prominence, in tandem with them.

In fact, judging from their gig history, Gnidrolog were fairly integral to the prog scene at the time, playing shows with everyone from Colloseum, Wishbone Ash and Greenslade to Gentle Giant, Soft Machine, King Crimson and even Magma. So why hasn't anyone ever heard of these guys? Why are they forever condemned to the obscurity, only to be uncovered years later by only the most intrepid of prog archaeologists? Well, maybe the fact that they only released two albums had something to do with it. Besides that, I'll be damned if I can figure it out. Actually, Gnidrolog recently reformed and put out a new studio album, Gnosis, which has gotten some good reviews, though I haven't heard it yet. Still, pick up In Spite of Harry's Toenail or better yet, their opus Lady Lake, and prepare to be bowled over. - Greg Northrup [July 2001]

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In Spite of Harry's Toenail (1972)

IIn Spite of Harry's Toenail contains many of the same traits as its follow up, the masterful Lady Lake. Colin Goldring's dark, demanding vocal delivery, which commands attention in much the same way that Peter Hammill's does. Alongside this are the group's complex, multi-instrumentalist talents, lending a Gentle Giant-like feel to many of the pieces. Cello, saxophone and various wind instruments abound, along with the searing guitar of Stewart Goldring. This album is definitely a grower however, unlike the relatively immediacy and great songwriting of Lady Lake. In Spite of Harry's Toenail is a denser, darker, heavier and more complex beast.

The two part "Long Live Man Dead" is, to put simply, an utter classic. This cut utterly smokes, with savage guitar riffs from Stewart Goldring to accompany a great vocal line and a powerful, percussive attack as the song shifts through its many phases. "Snails" is simply frenetic, building up into a closing climax of pure chaos and crashing instruments. "Time and Space" is actually quite pretty through its initial verses, but builds into densely orchestrated chaos later in the song. The closing title epic is another major highlight, heavy, complex, emotional and aggressive, like the rest of the album.

This is certainly a great album, but definitely tougher to get into than Lady Lake. I would suggest that one start there first before moving onto their first album. In Spite of Harry's Toenail is ambitious, complex and energetic, and is just as often viewed as the better of the two albums. Personally, I see Lady Lake as the more refined, mature work, with a greater song writing grasp, making it the preferable entry point for beginning to enjoy this great band. - Greg Northrup [July 2001]


Long Live Man Dead - 9:43
1. Long Live Man Dead
2. Skull
3. Peter - 3:46
4. Snails - 7:14
5. Time and Space - 7:30
6. Who Spoke - 2:23
In Spite of Harry's Toenail - 9:23
7. Goodbye-Farewell-Adieu
8. Harry's Toenail

Bonus Tracks:
9. Smokescreen (1969) - 6:34
10. Saga of Smith and Smyth (1969) - 8:29
11. My Room (1971) - 6:32
12. Saga of Smith and Smyth (1971) - 7:20

Colin Goldring - Lead vocals, Guitars, Recorders, Tenor Sax, Horn, Harmonica
Stewart Goldring - Lead guitar, Vocals
Peter Cowling - Bass, Cello
Nigel Pergum - Percussion, Flute, Oboe, Piano

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Lady Lake (1972)

An obscure classic from the 70s recently re-released on CD, Lady Lake is a dark symphonic epic in the vein of other early, blues-inspired progressive rock. The band draws from the sounds of early Tull, Gentle Giant and Van Der Graaf Generator, while adding more folk and medieval touches due to the prominent addition of woodwind instruments. The keyboard presence is sparse, with the exception of a small bit of piano on "Same Dreams", but is not missed.

The majority of the songs start out as do many other typical rock pieces of the time, but build in intensity and complexity over their respective courses. This is most evident on "I Could Never Be a Soldier", which starts out as a rather simple, song-oriented piece, but is then transformed into a chaotic maelstrom of haunting vocals, wailing sax and pounding bass. Colin Goldring's vocal delivery is often reminiscent of Peter Hammill, especially on the powerful "Ship".

The title track shows the band at their most complex, instrumentally, featuring different stylistic variations throughout. This includes a jazz influenced introduction as well as the appearance of various woodwinds and brass instruments at various points. The rest of the song takes on more of a Van Der Graaf vibe, with a powerful dirge-like feel and chaotic squeaks and squawks from the sax and cello. The final track, "Social Embarrassment", is also full of interesting instrumental and vocals ideas, and displays the most resemblance to Gentle Giant. Lady Lake is a fine example of dark symphonic prog, with overtones of early Tull, VdGG, Gentle Giant, as well as distinct medieval-sounding influences. Overall, the album comes highly recommended to fans of the aforementioned bands, as well as devotees of early symphonic prog in general - Mike Prete [February 2001]

A very surprising and overlooked album of dark progressive rock from the early 70s. Gnidrolog definitely sounds like a mixture of early Jethro Tull and Van Der Graaf Generator, with heavy emphasis on both flute and saxophone. Much of the songs are structured around fairly conventional vocal melodies, with cool lyrics backed by familiar song structures, before breaking into incredible chaotic james full of flute, sax and guitar interplay. The opening two tracks, "I Could Never Be A Soldier" and "Ship" are mindblowing, full of dark melodies led by Colin Goldring, who bears an emotional tone with a passing resemblance to Peter Hammill.

Overall, this a vastly underrated album that must have been overshadowed by other prog gems of the same time. Great work what will appeal to fans looking for a unique, dark mix of early Tull and VdGG. - Greg Northrup [February 2001]


1. I Could Never Be a Soldier
2. Ship
3. Dog With No Collar
4. Lady Lake
5. Same Dreams
6. Social Embarrassment

Pete Cowling - Bass, Cello
John Earle - Vocals, Wind
Colin Goldring - Guitar, Saxophone, Vocals Stewart Goldring - Guitar
Nigel Pegrum - Flute, Drums, Oboe
With:
Charlotte Fendrich - Piano (5)

Gnidrolog Records - GNCD 002 T - 1999





WARSAW SEPTEMBER 1999
Stewart Goldring

At The Grand Hotel in Cruzca , two old retainers sit passively in the cloakroom waiting for cloaks that never appear. Sullen prostitutes chew American gum and wait for their next 30 dollar victim midst the faded 50's marble, squat and thick-legged on their mock leather seats. Outside in the wide boulevards, the grey buildings are flecked with neon signs selling western goods that no one can buy. Wide- faced girls in too-tall shoes and too-short skirts tread the broken streets lightly arm-in-arm with their loved ones. At the metro, night-sticked , black-suited city guards parade from arcade to arcade, spying the latest sales in the sex shops and leather goods. At night, my Polish companion shows me the University, where the young were beaten, and the passport office where he was once denied exit. He urinates gleefully over the doors to mark his disaffection, a child of the '50s gladly British now away from the struggles of poorer Poles. Across the Vistula in Praga, pensioners trapped by poverty, scratch their existence from the sad, dry earth. Denied entry to the city, the buses and trams inhospitable to the poor and disabled, they soon expend their meagre pay on Vodka and beetroot and tomatoes. Now, the Communist Party Headquarters boast home to The Polish Stock Exchange, bedecked with flashing Philips signs and satellite dishes. Peugeots and Ladas tyre-scream down the wide vistas, hardly stopping at all in the absence of Police patrols. Denying anti-Semitism, the shops sell fiddler-on-the-roof figures to the tourists, along with Russian dolls and amber jewellery. At the Synagogue in the old Jewish ghetto, sunlight burns through the windows, decrying the dark history of the people and the place. I think of the 300,000 Jews starved and murdered at Treblinka, Dachau and beyond, but cannot cry. I touch the walls hoping that the Dibbuk of the dead will touch me in some way, but hear only the soft sweet voices of the children playing in the aisles. They take wine and cakes to mark the passing of the holiday, I come and leave unannounced, a stranger feeling for my roots. My blood fled from Konin and pogroms 70 years before. My only contact with them, my grandmother, dead with her passing. I pass the Jewish theatre and head for the park by the tomb of The Unknown Soldier, and watch the girl scouts tramp in their black socks in line to their history lesson. Soon to be home, an ex-Jew me, looking for answers and questions in the land of my fore-fathers. No answers or questions come, no sadness to be had, no laughter I can join in, only the young of Poland making their life anew in this democracy. Gone the chains of occupation and communism, just the young with mobile phones glued to their ears and hope in their hearts. However, on every corner in every street, beggars sit head-bowed, outstretched-handed hoping for a few coins and guitar players strum-singing patriot songs with verve and vigour for their supper. Then they remind me of the sunken faces and white bodies of the dead of the ghetto, still, I hear the cries of the martyrs of the uprising. They were the young then, with no help or hope. My only thanks to Warsaw, now I can cry.




BLUE CANDLE (1969)
Colin and Stewart Goldring
Published by Kempyre music

Soft white pillow
Your head rests on my shoulder
No need to talk about things
Blue candle burning castle, burning castle

Chorus

And is it true?
That the moon seems to stand still in time
Blue blue blue (repeated)

Blue candle burning castle
Reflected on my wall
Your halls and changing towers
Take me to another world, another world

Chorus

Take my hand to the castle (x3)
Where the moon seems to stand still in time
Blue blue blue (repeated)

Take me where you're going
Straight to the blue
When I reach the castle
I'll be in love with you
Blue blue blue






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Gnosis (2000)
REACH FOR TOMORROW
FALL TO GROUND
WONDER, WONDER
KINGS OF ROCK
CRAZY, CRAZY
GOING TO FRANCE
THE CITY SLEEPS








REACH FOR TOMORROW 5'14
(Words & Music: Colin Goldring)

Shadai!
Reach for tomorrow, Find yourself a star.
Don't you think we're lucky We've come this far.
Thinking you were falling yesterday
But it doesn't matter now.
You were only searching for a question anyhow.
Reach within your sorrows, find the door ajar.
Walk into the sunlight, returning from afar.



FALL TO GROUND 4'52

(Music: Stewart Goldring. Lyrics: Colin Goldring)


Come in and sit down, put your feet up
It's the end of the day
Won't you take sometime to show me?
I seem to have lost my way.
I was angry with you,
Only 'cause I wanted you so badly.
Will you pick me up?
Or drop me at the end the day?
I've been rushing around, pushing you away,
Wishing that you could save me
When I fall to ground.
Now I'm running away, wanting your kiss,
Wishing that you could save me
When I fall to ground.
Falling I'm falling,
Falling I'm falling,
Falling to ground.
Come on and get up, it's time we
Started to welcome the day.
It's time you faced it; you knew what you were taking on
From the very first day.
I was angry with you,
Only 'cause I wanted you so badly.
Now you're stamping your feet,
Trying to get your own way.



WONDER, WONDER 4'42

(Words & Music: Colin Goldring)


Standing in the corner, of a dark room,
Holding out a hand, hoping you'll come soon,
Helping you to meet me, making it half way,
Then you just greet me, you say you can't stay.
Chorus: Put down what you're doing for later,
Come up and join me on my bed.
We'll try to recapture the wonder,
Wonder when we first met.
Wonder, Wonder,
Wonder, Wonder.
Trying to be perfect, right in every way,
You and your computer, restructuring the day,
Watching television, you hop from show to show,
Immediate excitement, When I want to go slow.
Chorus
Well I guess we go on living, in different kind of shells,
You and your computer, communicating worlds.
Phone me on the mobile, when I'm ordering the bread.
You will find me busy; I'm just following the dead.
Chorus



KINGS OF ROCK 6'50

(Words & Music: Colin Goldring)


The bottle is half-empty; I'm laid down on my bed,
And I ask you for your sympathy,
Somewhere to rest my head
Chorus: Turn the light out,
And light the candle.
Tomorrow might not come,
Saw the headlines,
Then I heard it on the radio,
Said the Kings of Rock are dead,
The Kings of Rock,
The Kings of Rock are... x3
Draw the curtains, entertain me,
And make me smile just for a while.
I go to fight the lights tomorrow,
Carry on whilst I still can.
I had a friend who made some money.
I had a friend who lost the lot.
I got a friend who's got nobody.
I got a friend who got the shock.



CRAZY, CRAZY 4'31

(Words & Music: Colin Goldring)


I've got a man inside of me, he's pushing me on and on.
He makes me feel so guilty, every time I get it wrong.
I got a woman inside of me; she makes me sing and play.
I copied her anxiety, now I get in the way, Oh yes I do
Chorus: I'm crazy, Crazy, crazy, crazy,
And it's all because of you,
All because of you!
I'm so crazy, Crazy, crazy, crazy,
And it's all because of you,
All because of you!
I've got a child inside of me. He's very, very shy.
He's always out performing to hide the reason why.
Got a brother inside of me. Well being twins is so surreal.
He plays left-handed music. He knows just how I feel.
We've been through everything together,
Sharing all the way.
Well it would be bloody marvellous -
To have something of my own one day! Oh yes it would!
As we walk toward the sunset -
In a rock 'n' roll good-bye.
We share the same people inside of us.
That's the reason why, yes that's the reason why.



GOING TO FRANCE 4'42

(Words & Music: Colin Goldring)


Packing up the camper, taking what you only need.
Make sure you bring the hamper,
Don't forget the baby's feed!
Rolling with the ferry, buying what you don't really need.
Listening to the two piece - Murdering the Everleys!
Chorus: We're going to France!
We're going to France!
Going down the highway, stopping in the country towns.
So sunny on the terrace, spitting out the coffee grounds.
Trying out the language: La Pain aux Chocolat,
S'il vous plait - Amy's Orangina?
Dylan's drinking 10 a day.
Shutters are closing, light colours merging,
French girls are posing...
Chorus: We're going to France,
Going to France! We're going to France!
Arriving at the campsite, hanging out in St Tropez.
A barbecue is just right, staying on the beach all day.
Helen won't go topless. It doesn't matter anyway.
Raphael and St Egoulf. It's just a dream away.


THE CITY SLEEPS 4'42

(Words & Music: Colin Goldring)


See the paper rolling down the street,
Carrying yesterday's news.
In the heat of the night my women sleeps.
I watch the late night show,
Wish I had somewhere else to go,
But there's nowhere, nowhere, nowhere, nowhere
Chorus: I feel this town is gonna eat me up,
Spit me out, I turned round...
But the city sleeps.
I read a book, I try to concentrate.
It's just a compromise - in the heat of the night.
My women sleeps, she never realised,
She only worries when the kids get ill,
It happens sometimes, sometimes, sometimes, sometimes
See the bedclothes scattered on the floor.
I see her sleeping, in the heat of the night.
At last I'm lost in the pleasant dream,
Just as another siren screams
Somewhere, somewhere, somewhere.








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