Chords for Max Crook ( Del Shannon's keyboard player on Runaway )

_ _ [D] _ _ _ [G] _ _ [C] _
[Am] This is the [E] instrument used [D] on the record [G] _ [E] and it's the instrument that was [Fm] used in the
Hi-Lo Club.
[E] _ _ [A] _ The whole thing, the [E] keyboard and so forth are there.
I didn't bring [Abm] the old tape slap box and some of the other parts because [E] it's just, some
of them are getting old and we've got hum [A] problems as it is for this [E] thing, you know.
[G] _ But anyway, that's the real keyboard there and that's the regular [A] amp that's there.
It's called a Musitron and it's something that I made out of parts and pieces of [E] another
instrument, probably three other instruments [Ab] actually, and [Am] some other electronic parts.
[E] _ _ _ And we put it together so that it would have various sounds, it would have echo, it would
have [G] reverb, you could bend [Dm] notes with it.
_ [Em] The pitch on that thing [F] is from about 14 cycles a second up [Ab] higher than you can hear, so there's
tremendous range even though it has two and a half [Am] octaves. _ _ _ _ _ _ _
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_ _ Basically _ _ _ _
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[N] I was his keyboard player and we played together at the Hi-Lo Club in Battle
Creek, which is now a bank parking lot.
[G] _ We came up with the idea for the [F] song up on the stage at the Hi-Lo Club and [Am] that bridge
actually [E] came to me in probably less than five minutes.
It was just something to fit in there. _
[Ab] I had the Musitron [B] already, it was an electronic device, [E] so I just played it on that and it
all seemed to fit together.
We then [Ab] recorded it and as we recorded it, there were a few people there, but we kept
playing it over and over, trying to get it right and pretty soon people would say, don't
you guys know anything else?
You know how that goes when you're trying to play a club.
_ [G] When I took this tape over to Ollie McLaughlin, who was a disc jockey in Ann Arbor, [B] _
who [Em] had
the record connection in Detroit, he played it and he said, well these are all good songs,
but what's this one you [A] guys covered up?
He [E] said, I hear a little bit of it, but I don't hear it all.
_ _ He said, it sounds interesting, can you guys go back and re [Abm]-record that?
_ We said, yeah, we'll do that.
We brought the tape recorder back in and we [Ab] re-recorded the song and he took it [F] into _ _ _ Harry
and [N] Irving in Detroit, big top records, and they listened to it and [E] they said, well, _ the
song is very strange.
It's different, it sounds like maybe there are two or three different songs put together.
It's got a lot of gimmicks and stuff, they don't seem to fit.
I don't [Bm] know if we want to record this or not.
So they took them in and recorded _ The Search _ [E] with strings and everything [A] and [Ab] that was not
his first release.
They didn't like it, so it sat in the can for a while.
And Ollie said, if you don't record [Gb] this runway, I'm going to take it to somebody [E] else. _
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_ _ _ _ [F] On _ _
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_ _ _ All Stars, you hear things about the [G] spectacular and [E] the bad.
_ They always stand out, but with [A] Charles Westover, is how I knew him, [Dbm] which was his real name,
[B] _ [E] the man had compassion. _ _
He was compulsive, he had to [A] remain aloof somewhat in the [Gb] professional sense, [B] because
otherwise he'd be [E] drowned by everybody.
_ [B] But he [A] had a great feeling [E] for people and how they felt.
And he [A] wanted to please everybody.
Part of his frustration [E] was that he can't please [B] everybody. _
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