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Rabble Rock Radio

by Stone Pony

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1.
Across Town 03:20
Sue had just been shed, by her car-dealing east-end ex, but the low tide meant no force-fed death into the Thames just yet. London Bridge was awash with girls in low-cut tops as scaffold frames stained the night sky beside St Paul's Casing the scene, cupid lovers kissed each other on the benches of a side-street prowl Across Town, Samson’s bringing the house crashing to the ground Across Town, all that echoes is the howl of Delilah crying, my Delilah why. Sue was so afraid that her smile betrayed the contempt she felt for the east-end men on the Thames tonight In that moment the crowd burst into song, chants of hearts still racing from today’s belated cup run Causing a scene, football brothers taunt each other and slam their glasses down Across Town, Samson’s bringing the house crashing to the ground Across Town, all that echoes is the howl of Delilah crying, my Delilah Why’s our time spent drifting when there’s so much left unsaid, between princes and kings. Tied to this scene, restless brothers bleed each other dry, then pray the night sky won’t come falling down As Across Town, Samson’s bringing the house crashing to the ground Across Town, all that echoes is the howl of Delilah crying, my Delilah why
2.
Across the dance floor, college girls fend off, New Cross hot shots and the hangers on Oh Little Lisa, she draws me over from running wild with some guys from the year below New lines, catch ups, her brothers all paid up, working the fire station over in Lambeth Loose lips, lets slip, she still thinks of me when she hears the Boss on the radio Lisa comes clean it seems she’s lonely for some honesty Then tells me that she can’t remember why we fell Oh there’s still something to be said, for life on the edge Over me, she’s under me, she’s telling me how I should be if I wanna leave, leave with her tonight Over me, she’s under me, she’s telling me how I should be if I wanna leave, leave with her tonight On venue nights the times fly by, as on snake-bite highs we set the world to right Where street seasoned pro’s run the show with bed hair, ripped clothes, modelling the Gallagher pose Sharp pretty dresses on undercooked messes, the class left this place long before sunset fell As girls they stand their ground, Little Lisa is spinning me round and around and around At ease with me I see she’s lonely for some honesty So I tell her that I still care for her and just maybe... There’s still something to be said, for life on the edge Over me, she’s under me, she’s telling me how I should be if I wanna leave, leave with her tonight Over me, she’s under me, she’s telling me how I should be if I wanna leave, leave with her tonight Every once in a while her eyes caught fire and she’d be close to crying at what? I just don’t know I liked to think she was overcome, seeing so much beauty in everything and everyone Last orders fall she asks if I’ll walk her home but says she’s got no time to talk about why we went wrong Leaving the bar dry, she locked her arm in mind and we walked side by side into the night...
3.
The local’s full with mates from school, rotting away on the bar-stools A double shot of the barmaids love, sets the tone for this evenings role-call “Jimmy”, tell us a tale about the switch-hitting women from the Welling estate This brim-stoned, backbeat, James Dean prophecy Is a smoking gun for high times when we meet But just recently his drinking etiquette has turned nasty For some reason though no-one provokes him He starts spitting insults in every direction If someone stands to call him on it His face contracts and he starts to get violent My Hyde (standing on the top of the world) of closing time My Hyde (standing on the top of the world) of closing time St George, he calls as the high street dawns, tangled up with the barstools Where the stainless stars cross fire and charge shine sharp and hard to lead us onwards “Jimmy” keep it down, the boys ‘round here ain’t messin’ around Moonlight excites low lives on the curb A call to arms for crash land kids who yearn for blood in the night but these restless stares ain’t sittin’ right Fortunes collide on a downward run Try as he might, he can’t hold his tongue Taunts the live wires and playful ones; We wanted peace, but it’s earthbound from now on. My Hyde (standing on the top of the world) of closing time My Hyde (standing on the top of the world) of closing time These stone-faced disgraces crawl out from the council estates and spring up straight and proud A South London stand-off, you want to leave it be, but Jimmy won’t back down Unstable souls fold and roll back as this wide-eyed rat-pack expand and fill the street Flying high on some misguided ride of honour, the young brother’s eyes are showing signs of unease Lanky leader spits and bleeds us, knows he’s no chance but wants to find out Squares up as all goes quiet... The kids freeze as this wirey wretch sinks to his knees, no time to think just dive in, he ain’t seen, you sink him Spinning round you catch these blood shot brothers rolling on the ground The chaos splits leaves Jimmy’s stranded with three kids, laying the boot in, he manages to pull himself to his feet and shuffle down the street Gliding round the back you catch these two cats cold, down they go as they other makes a run for it up the road Blood rips on his shirt, Jimmy’s more annoyed than hurt, his face is aching, scraped hands won’t stop shaking. He wants to find them, you wanna get off the street before the police come
4.
Down the steps slides Sarah in her wedding dress as the groomsmen gather in the hall. She’s cautiously counting on the sunset to break her fall. Last man standing made the call; the day is old, but the sun holds strong through it all. This windswept McGuffin stands tall. Raise your glass, raise your glass to the lovers who have passed. Sarah’s wedding make-up is fading away. She’s sick and tired of these double-sided hearts, broke down from the start, struggling for a spark. But the rustling of angels’ wings on the corner brings the young romantic’s fall into orbit. She tells them the answer is gravity. ‘It’s called gravity’ she says. Raise your glass, raise your glass to the lovers who have passed. Sharp winds would howl beside her, stirring up memories of the past, Where restless boys would bow to ask her how to make these feelings last. Sarah sits safe at the station, picking holes in the remainder of the day, So stung with sorrow, maybe tomorrow, she’ll be back to stay. But the ceaseless greetings have left her beaten and leaving town in search of Eden’s refrain As the train, it pulls away, she swears that she’ll be back to stay. Raise your glass, raise your glass to the lovers who have passed. Raise your glass, raise your glass to the lovers who have passed.
5.
I caught her laughing hard – she wouldn’t tell me about it. It seems my being there don’t affect her. I try and act the part, rehearsing the stories I tell, but she don’t seem to care. I don’t get her. So I go with heart on my sleeve, blood on my shoes, I’m down on my knees, But she’s slow to show if she cares at all. Oh this is useless, nothing’s rooted. My affection is endless. Why won’t she notice? Away from prying eyes, caught in a silence together, she floors me with a smile. She’s a wonder. But in the firing line, back where the gossip can get her, she tries her best to hide. But still I want her. So I go with heart on my sleeve, blood on my shoes, I’m down on my knees, But she’s slow to show if she cares at all. Oh this is useless, nothing’s rooted. My affection is endless. Why won’t she notice? So I go with heart on my sleeve, blood on my shoes, I’m down on my knees, But she’s slow to show if she cares at all. Oh this is useless, nothing’s rooted. My affection is endless. Why won’t she notice?
6.
Shop shutter tags, black graffiti lines come closing time, the kids form a line. As young couples eye houses overpriced in the estate agent’s window. Couples come and go, police cars take it slow, patrolling the street, eying up the curb-dwelling deadbeats Who hang their heads down low, blowing cigarette smoke and choking on the ashes as it falls. Face up the daylight got stuck, the streetlights are on but the moon’s shit out of luck. Waiting for the stars to come and lead us home. Daylight saving keeps the kids out late, scattered rats across the high street way. But the sunset that lights the day will fade out and fall away. Fade out and fall away. Empty restaurants glow, custom’s running slow as the owner stands with his face at the front of house window Watching the dog-walking dad hustle his mutt through the late-closing swing-park. Face up, security erupts as the white van pulls up to lock the swing-park up. The fence is low, so the dad he jumps, but the dog won’t budge. Daylight saving keeps the kids out late, scattered rats across the high street way. But the sunset that lights the day will fade out and fall away. Fade out and fall away. Fade out and fall away.
7.
Trapped under the dance floor lights, backstage innocence stutters and dies as Lisa trips on this claptrap hood rat’s stone-hearted lies. Mischief in their eyes, security offers a word to the wise, but the spirited city cat’s doing just fine, scratching at the underside. Goodbye to your mother’s eyes, goodbye to your father’s desires as faith resigns to deny your flight into the night’s firing line. Ah, your conscience starts to sound. Ooh, the rain keeps falling down. Sunday service starts early in New Cross. Snake bite stains that scar in the wash. The boy in the corner is hunched over, throwing his lungs up and left to rot. Little Lisa, the Lee kids miss her since she moved up town with her West End fella and promised the park boy she’d always remember that summer of first love. Ah, your conscience starts to sound. Ooh, the rain keeps falling down. Rust on the shoulders of school sweethearts looking older. They don’t mind the park boy picking at the raindrops, picking at the bottle tops now.
8.
Star-crossed doorway set the scene, Sally stood across from me Sighed there must be more than this, above the Bluewater quarry Small talked order struck a chord, talking shop about football As this job was lost to her thoughts on Fab’s formation (Plays down her beauty with short hair and baggy jeans) A fire spread upon this shift, Sally let her armed guard slip Round the back of Pliskin’s house, this mini-skirted weekend past Some riot-policed romeo promised hearts of rainbow gold But I know that she don’t suffer fools gladly This girl with the crucifix chain only dances when it rains On wild nights fighting back sunrise, yours was the smile that made my heart shine Through drifting and drinking, sparring and sleazing I was thinking about you Choking on stars under your sweet girl charms there’s something I gotta ask Do you wanna dance... She’s bang, bang, bang on the money She’s bang, bang, bang on the money She’s bang, bang, bang on the money Across the beat she parts the streets, young guys stare in disbelief (That girl’s so pretty, she’s out of your league) So Sally say something to me about how great this could be if we just stopped fooling and moving around. This girl with the crucifix chain only dances when it rains On wild nights fighting back sunrise, yours was the smile that made my heart shine Through drifting and drinking, sparring and sleazing I was thinking about you Choking on stars under your sweet girl charms there’s something I gotta ask Do you wanna dance... She’s bang, bang, bang on the money She’s bang, bang, bang on the money She’s bang, bang, bang on the money I’m choking on stars (under your sweet girl charms) I’m breathing hard (under your sweet girl charms) I’ve got sweaty palms under your sweet girl charms There’s something I’ve gotta ask...
9.
The boys are waiting outside Liverpool Street Station. 2 hours late, I could never take the early boozing. Leaves me dazed and confused before the darkness falls. State of play, a few beers here then on our way up to Brown’s for some strip downs and clowning around. Jimmy pulls out his card and lets the bar know he got paid today. Bouncers surround us, square everyone up and down and warn us now, ‘keep your hands to yourself,’ these guys, they ain’t messing around. Hanging out at Brown’s. Hanging out at Brown’s. Inside left to right, it’s all fellas. City cats flashing cash, suited and booted storytellers. Eagle-eyed, squinting blind up at the stage lights. Yuppies don’t mind me, I’m here for the ladies and some old-fashioned bloke conversation about ins and outs and ups and downs of stripper dating. Hanging out at Brown’s. Hanging out at Brown’s. Spotlight falls upon the stage as shadows mask the dancer’s face. I count out all I have in change and dodge the looks that come my way from the private dancers as lonely-hearted office chancers cave. A hand taps softly across my arm, hot breath stinging, I swing around to the smiling girl no older than me with perfect eyes and perfect teeth wearing barely a thing, I don’t know where to look, so I look down. My face burns red, ‘You’re quiet,’ she says. I mumble something underneath my breath. My friends all laugh at my expense as Jimmy steps in and slips her ten of his best. She grabs my hand and leads me back where we can be alone.

about

The first full-length album from Stone Pony.

Free Digipack copies of the album are available.
Please email stone-pony@hotmail.co.uk with address details.

Produced by Adam Petty.

Released by No Coward Music nocoward.com
Album art by Alejandra Bize of superskat.com

credits

released April 17, 2012

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Stone Pony UK

Stone Pony are:
Robert Batley
Adam Batley
Tibor Beetles
Tom Collis
Adam Petty

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