Song: “My baby my darling”

Not to worry; no mawkish sappy cringe-worthy moments here.
More like the dual Lobster scenes in  Woody Allen’s ‘Annie Hall’ I link below
This fellow, certain that he’s found ‘the one‘ finds anyone else’s company a source of constant comparison… and quiet
I do like this song, overlooking its several technical production-faults. No one’s perfect. Not even ‘My Baby my Darling’.


Verse one

Somebody new, and she don’t even look like you
Even in the candlelight
I close my eyes and think this can’t be true

She says I look elegant in blue
It’s not that I don’t think she’s right
I just wanted to be ‘elegant’ with you

Cho: My Baby, my Darling; I can’t live without you!

Verse Two

My silent spring;
All the oranges in bloom
But can’t even smell the flowers
I don’t even listen when they sing

Now she’s asking what to bring?
But I’m not even listening
And I tell her I can’t think of anything..

Cho: My Baby my Darling; I can’t live without you!


Verse Three

I’ll be all right
I’ll just smile and throw a kiss
If I can’t be with the one I love
I should love the one I’m with?
But not tonight;
When I think of what we missed
There’s got to be a God above
To make someone so precious and so right
Cho: My Baby my Darling; I can’t live without you!

Verse four

Someday she’ll call
I’m not that easy to forget;
When we held each other
Time was just a number in a picture on the wall

Now I think it’s time we met
We always had so much to say
Lately I don’t talk to you at all

My Baby, my Darling; I can’t live without you!

lobster scene



9 thoughts on “Song: “My baby my darling”

    1. solberg73 Post author

      Sympathies: not too many things I hate more than comment-swallowing. The initial act of pure expression is disfigured into a memorization challenge, with a depressing loss of spark and spontaneity.

  1. somewittyhandle

    The scene reminds me of tournament bridge, where you get to see how different people perform when dealt the same hand. Dealt the lobsters, girl B is no match for girl A.

    Your (again wonderful) song perfectly captures his face in the last 3 seconds of the clip.

    The rhythm of it brings into focus your change in policy: you used to lay them out beat-wise, so that the first beat of the bars/2 bars/4 bars began each line of the lyrics. This would have sliced off ‘somebody’ for example, and moved it to the line above. I’m wondering what significance can be attached to this shift in policy. Does it reflect a relative emphasis on the coherence of the lyric, rather than the music? Or just humouring the norms?

    1. solberg73 Post author

      An alert-eyed/ eared question. For years I felt aberrantly iconoclastic in my insistence on matching the lyrics’ written form to the beat-count of the song.
      And yes, as synchronicity would have it, when I finally transcribed the lyrics to this one this morning, I did wonder what had happened to my trademark style.
      Ascribing the change a cosmic significance may be a bit of a stretch, but then I’m a guy who re-plays dreams scene-by-scene immediately upon ‘surfacing’ searching for ‘Where’d *that* come from?!’ With only occasional insights.
      Somehow I wagered that you’d like this tune, and thanks , Duncan, as always

  2. promisesunshine

    I dunno, but it seems to me like the 4th verse is saying the opposite, until the chorus is repeated a couple times as a reminder.
    I liked the way the melody traveled.
    Nice little ditty. Easy to listen to.

    1. solberg73 Post author

      Yes, the ‘concept is a bit scattered. 4th verse admits the facts; that it’d been a while, but she’s still center-stage in the singer’s heart.
      Glad you liked it, Carrie

      1. eleanorio

        I’m with Duncan on this one. I thought the rhythm was asymmetrical at first, that you’d thrown some 2/4 measures in with the prevailing 4/4, but I see that you’ve just moved your text, Brahms-like, so that we aren’t always aware of where the downbeat is. It generally syncs up at the end of complete sentences. So that was an interesting exercise in spotting the discrepancies.


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