As we drove down the last hill on the freeway before Baltimore, I burst out laughing. I couldn’t believe my eyes! The city was spread around the Chesapeake Bay, and rising proudly out of the center was a giant stone tower, like something from the Middle Ages. In the middle of the tower was a huge clock, and what made it so absurd was that the words “BROMO SELZER” were prominently displayed on all four sides.
Indeed, Baltimore’s reputation for the strange and uncanny goes back as far as Edgar Allen Poe’s residence there, where he created the modern horror story in the 1850s.
Indeed, Baltimore’s reputation for the strange and uncanny goes back as far as Edgar Allen Poe’s residence there, where he created the modern horror story in the 1850s.
Well, as we stayed in Baltimore and I read the local underground Press, it seemed to me to be the ultimate clown city. I remember one article (since lost) where a column started with the line “As I lay drunk in the gutter, looking up at the stars…”. And our friends from the clubs we played liked to call themselves “Baltimorions.”
The streets of the gay downtown area were thronged with gays, queens, young women, all in the wildest second-hand glitter clothes. I was delighted - after 4 years of the dour and menacing Boston street night life, I was back in the Haight, and everybody was a Cockette!
I had forgotten that Baltimore was the home of the famously outrageous film-maker John Waters and his troupe of drag queens and bohemians – and it was not until I started researching this chapter that I discovered Baltimore had been a wild city for decades, the center of East Coast burlesque and strip-tease clubs.
The streets of the gay downtown area were thronged with gays, queens, young women, all in the wildest second-hand glitter clothes. I was delighted - after 4 years of the dour and menacing Boston street night life, I was back in the Haight, and everybody was a Cockette!
I had forgotten that Baltimore was the home of the famously outrageous film-maker John Waters and his troupe of drag queens and bohemians – and it was not until I started researching this chapter that I discovered Baltimore had been a wild city for decades, the center of East Coast burlesque and strip-tease clubs.
 |
| John Waters publicizing his first movie, "Pink Flamingos" |
 |
| Blaze Starr, reigning queen of Baltimore clubs from c. 1940 to 1960 |
If only I had remembered this, we never would have fired Bubbles! Bubbles had been our original manager, and was doubtless one of the most bizarre characters in the city – always wearing a kaftan to fit his immense girth, with a round cherubic face with a huge pink nose, and in the middle of his nose, a long black hair sticking out like a horn on a rhinoceros. Truly different, but not outrageously different for Baltimore – if we had only remembered Blaze Starr and Pink Flamingos!
Well, here is the whole tragic story: the rise of some musicians to become local superstars, and then blind pride causing their downfall.
BOSTON BEGINNINGS
In 1974 I was sharing an apartment with two other jazz music students. It was a nice apartment (for a change), so I got around 10 steady piano students. With three people sharing the rent, my living expenses were low. And as I continued playing with Ben Petrucci and got some temp typing gigs, I was more well off than I had been since 1965.
Also, a disco lounge, the Cabaret, had opened up just a half mile walk from my apartment, it was a combination of the old and new disco styles – there were still plenty of free-form dance improvisers, but highly trained professional dancers and dance acts had also started to appear. The club had a food and drinks lounge with a piano, and somehow I got that gig. I just had acquired enough ballad chops to hold down the chair, mainly from my Ben Petrucci gigs. And now my income was even nicer, with the combination of students, typing, Ben Petrucci’s gigs and now my lounge pianist act.
One of the main paid singers was Brandy, a sex-change queen from Hawaii who specialized in Broadway standards, so I was able to use the my Cockettes-cum-Petrucci experience to hold that act down, using lots of frills and harmonic embellishments. To top it off, my roommates sent me a really nice birthday card.
Mike Gullage had moved permanently now to Provincetown and changed his job from fry-cook to waiter. He would visit Boston several times a month, and was looking good with the sweet fresh air of Cape Cod and the improved meals he was getting from a restaurant instead of a take-out fry place.
Then one day I got a call from Charles Holley. “Hey Lee, there’s a guitar duo here that wants to add a keyboard player. Why don’t you come on down and talk with them? It might be a nice opportunity for you.” So I took the streetcar down to the CAI house in Jamaica Plain, and met Alex Kelly and Victor St. John.
They looked like two opposites: Kelly a tall, blonde Canadian, Victor a shorter Caribbean with curly black hair. Their voices blended beautifully – Kelly high alto and Victor tenor. They both played acoustic guitar, mainly chording. They formed their duo at Friends World College in 1968. Then the duo broke up, and they each moved independently to Boston. In 1972 they “connected again and played more often learning each other’s songs” (email from Victor, April 4, 2023). They formed two groups before forming Kelly St. John with some advice from Charles Holley as to adding me and Jack Jarnis. A distinctive feature of their music was that their two rhythm guitars blended to create a really fresh groove.
Well, here is the whole tragic story: the rise of some musicians to become local superstars, and then blind pride causing their downfall.
BOSTON BEGINNINGS
In 1974 I was sharing an apartment with two other jazz music students. It was a nice apartment (for a change), so I got around 10 steady piano students. With three people sharing the rent, my living expenses were low. And as I continued playing with Ben Petrucci and got some temp typing gigs, I was more well off than I had been since 1965.
Also, a disco lounge, the Cabaret, had opened up just a half mile walk from my apartment, it was a combination of the old and new disco styles – there were still plenty of free-form dance improvisers, but highly trained professional dancers and dance acts had also started to appear. The club had a food and drinks lounge with a piano, and somehow I got that gig. I just had acquired enough ballad chops to hold down the chair, mainly from my Ben Petrucci gigs. And now my income was even nicer, with the combination of students, typing, Ben Petrucci’s gigs and now my lounge pianist act.
One of the main paid singers was Brandy, a sex-change queen from Hawaii who specialized in Broadway standards, so I was able to use the my Cockettes-cum-Petrucci experience to hold that act down, using lots of frills and harmonic embellishments. To top it off, my roommates sent me a really nice birthday card.
Mike Gullage had moved permanently now to Provincetown and changed his job from fry-cook to waiter. He would visit Boston several times a month, and was looking good with the sweet fresh air of Cape Cod and the improved meals he was getting from a restaurant instead of a take-out fry place.
Then one day I got a call from Charles Holley. “Hey Lee, there’s a guitar duo here that wants to add a keyboard player. Why don’t you come on down and talk with them? It might be a nice opportunity for you.” So I took the streetcar down to the CAI house in Jamaica Plain, and met Alex Kelly and Victor St. John.
They looked like two opposites: Kelly a tall, blonde Canadian, Victor a shorter Caribbean with curly black hair. Their voices blended beautifully – Kelly high alto and Victor tenor. They both played acoustic guitar, mainly chording. They formed their duo at Friends World College in 1968. Then the duo broke up, and they each moved independently to Boston. In 1972 they “connected again and played more often learning each other’s songs” (email from Victor, April 4, 2023). They formed two groups before forming Kelly St. John with some advice from Charles Holley as to adding me and Jack Jarnis. A distinctive feature of their music was that their two rhythm guitars blended to create a really fresh groove.
 |
| Victor on your left; Kelly on your right |
Kelly St. John was a balanced straight and gay quartet. Kelly was basically gay, but also had a long time love affair with a woman, Renee Hurtubise. By this time I was totally gay. Victor is totally straight, and has had the longest partnership of almost anyone I know - over 50 years! with graphic artist Liz Resneck. (They made it official when they got married in 1980). Jack Jarnis was and is totally straight: he had no steady girlfriends at the time, despite his incredible sex appeal – the last I heard from him was a letter in 1980 when he was getting married – but nothing since.
After having formed two groups, Victor and Kelly were starting a third try with Jack Jarnis. Jack was a short, intense Greek American and a master guitarist, especially on wah-wah. I have never heard as good a wah-wah player in my life (just listen to Cranberry Jam, his wah-wah background to the trombone solo, c. minutes 2:30 – 4:00
https://www.youtube.com/watch?v=9KAC6WtYx6s
After having formed two groups, Victor and Kelly were starting a third try with Jack Jarnis. Jack was a short, intense Greek American and a master guitarist, especially on wah-wah. I have never heard as good a wah-wah player in my life (just listen to Cranberry Jam, his wah-wah background to the trombone solo, c. minutes 2:30 – 4:00
https://www.youtube.com/watch?v=9KAC6WtYx6s
 |
| Charles Holley, Victor ST. John, just the tip off Tom Gardfield's ear, and someone I don'l know |
Charles suggested they add a keyboardist, and so there I was. We started rehearsing, and then played a couple of gigs at the Cabaret. Then we all went into a recording studio and recorded four songs, my “Riverflies” (about gays cruising along the Charles River park at night), “She’s a Dancer” (Kelly’s ode to Renee), and two others that are now completely gone. The CD rot plague really did a number on these pieces, but you can hear some fragments of the music. Believe me, it sounded crystal-clear and sweet before CD rot did its NON-loving magic.
So then we all drove down to Baltimore and Bubbles introduced us and played our tape for to the owners of the bigger gay clubs there, the Club Hippo and the Gallery. Within two weeks we went from playing on weekends to five nights a week.
Something about our sound really appealed to Baltimore. The vocalists could both blend in different combinations of Kelly, Victor and Jack, or have a soloist with the other voices coming in as a chorus. Sometimes all three voices would sing as a harmonic unit. Or the other three would sing a song without any accompaniment except me on a small percussion instrument. I couldn’t sing, but my Banacos me able to play a lot of fast and often beautiful keyboard solos. Finally, Jack Jarnis had been with Tribal Rhythms for years – I believe he lived in the CAI house for a while – and had mastered their approach to adding new layers of percussion. He also could play electric bass, rhythm guitar, wah-wah guitar, and guitar solos.
All 4 of us had learned from Tribal Rhythms how to start a groove, maintain it, and change it without losing any momentum. And we had brought down lots of percussion instruments, the use of which could change dramatically the sound from one song to the next.
So our music had a great amount of variety, and still was always rhythmic, always with a good groove. Click on these links to hear some of the surviving fragments.
1) I Hear You Call My Name (Jack) https://www.youtube.com/watch?v=rahGbQ7UW7w
2) State of Mind (Victor) https://www.youtube.com/watch?v=l1nikkG0a70
3) Catchin’ Time on a Train (Kelly) https://www.youtube.com/watch?v=y_RkBWXU9YM
4) Rock n Roll Rainstorm (Jack and Kelly) https://www.youtube.com/watch?v=JfD1O-rHhhQ
5) Riverflies (Lee and Kelly) https://www.youtube.com/watch?v=KxPh7QAyIdo
6) I don’t wanna lose you (Jack) https://www.youtube.com/watch?v=5kYVoXkxs4s
So then we all drove down to Baltimore and Bubbles introduced us and played our tape for to the owners of the bigger gay clubs there, the Club Hippo and the Gallery. Within two weeks we went from playing on weekends to five nights a week.
Something about our sound really appealed to Baltimore. The vocalists could both blend in different combinations of Kelly, Victor and Jack, or have a soloist with the other voices coming in as a chorus. Sometimes all three voices would sing as a harmonic unit. Or the other three would sing a song without any accompaniment except me on a small percussion instrument. I couldn’t sing, but my Banacos me able to play a lot of fast and often beautiful keyboard solos. Finally, Jack Jarnis had been with Tribal Rhythms for years – I believe he lived in the CAI house for a while – and had mastered their approach to adding new layers of percussion. He also could play electric bass, rhythm guitar, wah-wah guitar, and guitar solos.
All 4 of us had learned from Tribal Rhythms how to start a groove, maintain it, and change it without losing any momentum. And we had brought down lots of percussion instruments, the use of which could change dramatically the sound from one song to the next.
So our music had a great amount of variety, and still was always rhythmic, always with a good groove. Click on these links to hear some of the surviving fragments.
1) I Hear You Call My Name (Jack) https://www.youtube.com/watch?v=rahGbQ7UW7w
2) State of Mind (Victor) https://www.youtube.com/watch?v=l1nikkG0a70
3) Catchin’ Time on a Train (Kelly) https://www.youtube.com/watch?v=y_RkBWXU9YM
4) Rock n Roll Rainstorm (Jack and Kelly) https://www.youtube.com/watch?v=JfD1O-rHhhQ
5) Riverflies (Lee and Kelly) https://www.youtube.com/watch?v=KxPh7QAyIdo
6) I don’t wanna lose you (Jack) https://www.youtube.com/watch?v=5kYVoXkxs4s
OUR MAGIC SUMMER
We also all were in our twenties, good looking, and the first mixed straight and out-front gay band to play in Baltimore. Bubbles started us with a weekend gig at a more sedate gay lounge, and then we moved over to the wilder Club Hippo, a miniature disco bar and dance spot. From then on, we played five or six nights a week, mostly at the Hippo, but regularly at the more sedate club also.
Our reputation grew fast. John Waters had put Baltimore on Hollywood’s map, which combined with us being one of the first openly gay and straight mixed bands put in the front of pop music fashion. On a couple of nights an agent flew out from Los Angeles to check us out, and it looked like we were going to get a chance at a recording contract.
Meanwhile, I was discovering the joy of gay groupies. All the other bands I had played with before were straight, and while there were often some nice women hovering at the stage exit after a set, I was forced to be monastic until the band returned to Boston. Now, however, it was gay guys – beautiful young men, often farm boys with smooth muscled bodies like Greek statues – waiting for me after the set.
And the whole band was wine and dined by the older and wealthier gays and bohemian crowd of Baltimore. Banquets, yacht trips, drives to parks … one incident summed it all up for me: I was wading in the Chesapeake Bay on a beautiful afternoon when one of the band called out “Lee, we got invited to a clambake party, but X also wants to take us on his yacht all around the Bay. What do you want to do?”
I was blown away, such a contrast to my low-budget musician’s life in Boston. In fact, we wound up going to both of the events, and in the penthouse of one of the gay bar’s owner I had my first – and last – taste of 11 year old vintage Chianti. I have never tasted as delicious a wine since.
THEN COMES THE FALL …………….
We also all were in our twenties, good looking, and the first mixed straight and out-front gay band to play in Baltimore. Bubbles started us with a weekend gig at a more sedate gay lounge, and then we moved over to the wilder Club Hippo, a miniature disco bar and dance spot. From then on, we played five or six nights a week, mostly at the Hippo, but regularly at the more sedate club also.
Our reputation grew fast. John Waters had put Baltimore on Hollywood’s map, which combined with us being one of the first openly gay and straight mixed bands put in the front of pop music fashion. On a couple of nights an agent flew out from Los Angeles to check us out, and it looked like we were going to get a chance at a recording contract.
Meanwhile, I was discovering the joy of gay groupies. All the other bands I had played with before were straight, and while there were often some nice women hovering at the stage exit after a set, I was forced to be monastic until the band returned to Boston. Now, however, it was gay guys – beautiful young men, often farm boys with smooth muscled bodies like Greek statues – waiting for me after the set.
And the whole band was wine and dined by the older and wealthier gays and bohemian crowd of Baltimore. Banquets, yacht trips, drives to parks … one incident summed it all up for me: I was wading in the Chesapeake Bay on a beautiful afternoon when one of the band called out “Lee, we got invited to a clambake party, but X also wants to take us on his yacht all around the Bay. What do you want to do?”
I was blown away, such a contrast to my low-budget musician’s life in Boston. In fact, we wound up going to both of the events, and in the penthouse of one of the gay bar’s owner I had my first – and last – taste of 11 year old vintage Chianti. I have never tasted as delicious a wine since.
THEN COMES THE FALL …………….
One evening at the Hippo, a steady boyfriend of mine came up to me with a worried look. He told me he had a dream the other night, about us. A voice told him if we stayed together we would be stars, but if even one member left, the band would fall apart, disintegrate into oblivion.
What a coincidence! That same week one of the club owners was convincing Jack that we should drop Bubbles, his weirdness would alienate record execs, and so on. Meanwhile Kelly had a couple of rich older businessmen friends who were saying the same thing, and who said they had the money and knowledge to make us a hit!
As happened later with my Los Angeles bands, these self-promoting would-be Brian Epsteins were total disasters – they knew nothing about music except where the biggest dollars were, but they had no clue how to get there. The two rich business men then paid for us to make a demo record at the most famous recording studio on the East Coast then, Gamble-Huff in Philadelphia! (For more on Gamble-Huff, check back on the “John Kleckley and Smoke” chapter). I am sure they thought if this place costs the most money, it must produce the best sound.
But what these ignorant businessmen didn’t know was that the whole appeal of Kelly St. John was its connectivity, how each member played off the others, sometimes dropping out, sometimes coming in, sometimes everyone quiet except for a soloist, sometimes some rock and roll …. But always the four of us playing off each other.
So Gamble-Huff, great as it was in pop music, was totally the wrong studio for Kelly St. John. Instead of playing together in one room we were recorded one by one, one track at a time. The result was really tedious – no connectivity: I mean, how could there be if we were each alone on a separate track, recorded at a different time? And as far as the Studio was concerned, we were just another amateur band that they could get some recording fees from, and had no interest in or understanding of our music: folk-rock was a long way from being their bag in the first place.
AFTERMATH ……
While in Baltimore we were all living communally in a house around 2 miles away from downtown. And throughout there were strains in the group – which included along with the four musicians Victor’s fiancée Liza and Kelly’s boyfriend Gary. And in addition to the gay-straight divide, there was a pro-amateur divide. Jack and I considered ourselves the real professional musicians – well, we practiced and knew how to play modes – while Victor and Kelly felt that their compositions and two voices were what made the whole band work.
These divisions were not very big for the first seven weeks, but sure enough once Bubbles was ousted, our interaction soured. For these last few post-Bubbles weeks, we composed no new songs, and our act was getting a little stale.
Once the summer was over and we went back to Boston, the band officially broke up. Later I worked with Jack again both for a week with Smoke and then for a long time with Ben Petrucci. He made several studio recordings with me and Ben, notably Spring Will Come (lead vocal and guitar) and some brilliant wah-wah guitar work on “Cranberry Jam” and “Cranberry Dreams.” Jack continued with Ben, then went with some other bands. The last I heard from him was a letter he sent me in 1980, saying he was about to get married and continued working in music.
https://www.youtube.com/watch?v=_2Vb3Ab-wQ0 – Spring Will Come (lyrics by Kelly Glenny)
https://www.youtube.com/watch?v=9KAC6WtYx6s – Cranberry Jam (group improve: Jack, Lee, Ben leaders}
I lost touch with Victor until 2018, when I found him on Facebook while looking for Kelly St, John material, but he had even less tape remnants than me. Victor and Liz had married in 1980, and are now grandparents.
Victor had a huge success the field of education, both through performing and in recording. “Our work was highlighted in the Harvard Educational Review. We presented workshops for thousands of students and teachers in hundreds of schools in Massachusetts and New England and worked with many underserved schools in Boston. We created Talking Stone Press and Production to distribute our many recordings and create original educational material for publishers such as Scholastic, Hampton Brown, Curriculum Associates and others. We have appeared on numerous radio and television programs as well as presenting performances in schools and other venues. I had produced a cable TV show named Try It! which ran for several years on Brookline Public Cable which featured various artists demonstrating their art form and encouraging viewers to explore their own creativity. Several of our recordings and publications received gold and silver Parents Choice Awards. Troubadour was incorporated in 1980, and closed in 2015 when Judy and I retired.” (Email from Victor)
As happened later with my Los Angeles bands, these self-promoting would-be Brian Epsteins were total disasters – they knew nothing about music except where the biggest dollars were, but they had no clue how to get there. The two rich business men then paid for us to make a demo record at the most famous recording studio on the East Coast then, Gamble-Huff in Philadelphia! (For more on Gamble-Huff, check back on the “John Kleckley and Smoke” chapter). I am sure they thought if this place costs the most money, it must produce the best sound.
But what these ignorant businessmen didn’t know was that the whole appeal of Kelly St. John was its connectivity, how each member played off the others, sometimes dropping out, sometimes coming in, sometimes everyone quiet except for a soloist, sometimes some rock and roll …. But always the four of us playing off each other.
So Gamble-Huff, great as it was in pop music, was totally the wrong studio for Kelly St. John. Instead of playing together in one room we were recorded one by one, one track at a time. The result was really tedious – no connectivity: I mean, how could there be if we were each alone on a separate track, recorded at a different time? And as far as the Studio was concerned, we were just another amateur band that they could get some recording fees from, and had no interest in or understanding of our music: folk-rock was a long way from being their bag in the first place.
AFTERMATH ……
While in Baltimore we were all living communally in a house around 2 miles away from downtown. And throughout there were strains in the group – which included along with the four musicians Victor’s fiancée Liza and Kelly’s boyfriend Gary. And in addition to the gay-straight divide, there was a pro-amateur divide. Jack and I considered ourselves the real professional musicians – well, we practiced and knew how to play modes – while Victor and Kelly felt that their compositions and two voices were what made the whole band work.
These divisions were not very big for the first seven weeks, but sure enough once Bubbles was ousted, our interaction soured. For these last few post-Bubbles weeks, we composed no new songs, and our act was getting a little stale.
Once the summer was over and we went back to Boston, the band officially broke up. Later I worked with Jack again both for a week with Smoke and then for a long time with Ben Petrucci. He made several studio recordings with me and Ben, notably Spring Will Come (lead vocal and guitar) and some brilliant wah-wah guitar work on “Cranberry Jam” and “Cranberry Dreams.” Jack continued with Ben, then went with some other bands. The last I heard from him was a letter he sent me in 1980, saying he was about to get married and continued working in music.
https://www.youtube.com/watch?v=_2Vb3Ab-wQ0 – Spring Will Come (lyrics by Kelly Glenny)
https://www.youtube.com/watch?v=9KAC6WtYx6s – Cranberry Jam (group improve: Jack, Lee, Ben leaders}
I lost touch with Victor until 2018, when I found him on Facebook while looking for Kelly St, John material, but he had even less tape remnants than me. Victor and Liz had married in 1980, and are now grandparents.
Victor had a huge success the field of education, both through performing and in recording. “Our work was highlighted in the Harvard Educational Review. We presented workshops for thousands of students and teachers in hundreds of schools in Massachusetts and New England and worked with many underserved schools in Boston. We created Talking Stone Press and Production to distribute our many recordings and create original educational material for publishers such as Scholastic, Hampton Brown, Curriculum Associates and others. We have appeared on numerous radio and television programs as well as presenting performances in schools and other venues. I had produced a cable TV show named Try It! which ran for several years on Brookline Public Cable which featured various artists demonstrating their art form and encouraging viewers to explore their own creativity. Several of our recordings and publications received gold and silver Parents Choice Awards. Troubadour was incorporated in 1980, and closed in 2015 when Judy and I retired.” (Email from Victor)
 |
| Victor and Liz then... |
 |
| ... and now |
The last I heard from Jack was the letter in 1980 saying that he was about to get married. The last I heard from Kelly, was that he and Renee married in 1977, after living together ever since we got back to Boston from Baltimore), and then a postcard from Ontario in 1977, Kelly’s home country. Finally, there was a ‘what our family has been doing’ Christmas letter, also in 1977.
APPENDIX: Three Poems by Kelly
Below are three poems Kelly sent me in 1978, when I was in LA with Creation City. The first two are gay poems; the third is clearly is about Renee.
“Leland, these lyrics come from a songbook of mine that is entitled “An effort of drowned camels” and I hope you enjoy them.” (c. 1978)
1) Sailor John
Sailor John walked slowly by
And gave me an appraising eye
From head to toe, up and down,
Silently searching, making no sound
He turned around his thumbs in belt
As his smile spread, the rush I felt
I walked over and said “hello, hey, hi.”
“Hey, hi, hello” came his reply.
Well, we stayed the night in a fine hotel
And were satisfied when the morning fell
We spent a week in bed, so careless of time,
Took showers, made love and drank sweet wine.
Now, Sailor John, he’s gone away
His leave was done, he couldn’t stay,
But this man appeared, named Captain Ron,
To keep my mind from Sailor John.
2) One Last Goodbye
He turned around his thumbs in belt
As his smile spread, the rush I felt
I walked over and said “hello, hey, hi.”
“Hey, hi, hello” came his reply.
Well, we stayed the night in a fine hotel
And were satisfied when the morning fell
We spent a week in bed, so careless of time,
Took showers, made love and drank sweet wine.
Now, Sailor John, he’s gone away
His leave was done, he couldn’t stay,
But this man appeared, named Captain Ron,
To keep my mind from Sailor John.
2) One Last Goodbye
You’re on your way
to find a new day
to find a new day
off again to look for someone new,
our time is gone
our love is dead
just give me one last goodbye
before the next hello is said
one last goodbye
and I promise not to cry
one last goodbye
and I promise not to cry
leave me now
from my side
our time is gone
our love is dead
just give me one last goodbye
before the next hello is said
one last goodbye
and I promise not to cry
one last goodbye
and I promise not to cry
leave me now
from my side
Your time has come
please leave me high
don’t bring more words
to the tears I’ve shed
just give me one last goodbye
before the next hello is said
please leave me high
don’t bring more words
to the tears I’ve shed
just give me one last goodbye
before the next hello is said
3) I really don’t Believe
She takes me high (quietly touching)
She makes me sigh …. Lift her from our fever bed (fever bed)
Gently speaking words we’ve said (oh, we’ve said)
(chorus)
And I love her (I love her)
(chorus) She gives and she takes (ch: she gives and she takes)
And her mist-tinged voice speaks
And my soul, it aches, with love (with love)
(My woman is all my time)
(everything she is, is mine)
(every movement on her way)
(brings a love that’s new each day)
Her gentle smile, her tender eyes)
more than make me realize
that she’s a world of her own (her own)
and I’m so glad she’s chosen
to share my home (to share)
so glad (so glad)
so glad (so glad)
so glad (so glad)
Comments
Post a Comment