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Romana
(Once Upon a Tin Mine)

Lyrics — Davy

Music — Davy

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Vocals — Davy

Backing Vocals — Martin, Brugin

Guitars — Martin, Brugin

Drums — Frier

Bass — Davy

Piano — Brugin

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Recorded — 1, 3, 5-6 July 1969

Key: A major

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Sometimes I feel like, like I don’t know

Like I don’t know spit of what really matters here

Here is where I leave all my eloquence

Entrusted to the same kind of game

Other fools have played

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And I can hope that you’ll see me through

But in the quiet times, my doubt has much to do

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Sometimes I feel like, like I don’t see

Like I don’t see the anesthesia in a tune

A light in the belfry, blinking out an anthem

Invested in the wrong kind of song

Other fools have played

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And I can hope that you’ll see me through

But in the quiet times, my doubt has much to do

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Won’t anybody please save me

I’ve got a hope in my head

And should I fear things that now lie forgotten?

Come on Romana, come on Romana

Won’t you choose me instead?

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But what is distance, but resistance to your love

Once upon a tin mine, all familiar faces

Disgusted by the sole type of role

A fool like me had played

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Won’t anybody please save me

I’ve got a hope in my head

And should I fear things that now lie forgotten?

Come on Romana, come on Romana

Won’t you choose me instead?

"Romana"
Review by Jonatan Sigurdsson

"Romana" is the opening track of Side B of Fehr Beach, and for the most part, it delivers.

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Immediately we are drawn into a dynamic, forward-moving instrumentation spearheaded by Davy's bass riff and the soldiering beat of the floor tom. After a brief introduction to the other players o the piece - namely, the guitars - a thundering downbeat-blasting rhythm dominates the verses, shadowed below by Davy getting a little too trigger-happy on the bass, and above by his vocals.

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His bass during the verses (and "But I can hope that" bridges) isn't optimal for me, but I will forgive him on account of the fact that he was known to cut loose and improvise quite a bit on basslines of songs that he personally penned. Clinical, optimized refinement may be too much of an ask for every aspect of his songs.

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Nonetheless, the harmonies that support him in the bridges and eventually the chorus (especially the choruses) fit in snugly with the overall mix - another feather in the cap of Gordon Waller, even if the instrumentation itself is not as innovative as it would be in a Brugin track.

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There isn't too much else to say about "Romana". It's catchy, has serviceable enough lyrics, and a predictable, safe structure and arrangement. Standard Davy fare.

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It's like eating a square meal. It's good. But unremarkable.

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★★★☆☆

Contact information

coming soon.

The Plutos

Anapest Records Greenwich 

London, ENG

United Kingdom

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