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Total ratings: 1367
Length: 4:38
Plays (last 30 days): 2
I went to the doctor
Knocked at his door
And he said girl what can I do you for
And I said doctor
For a start
The man I love has done and broke my heart
And he checked my pulse
And fever too
And he said girl theres nothing I can do
You are love sick
There ain't no cure
I fear the devils knocking at your door
He sent me home
And straight to bed
And gave me pills
To rest my head
But it won't do
Cause all I want
All I need
Is darling you
I said please (please) don't let me go (don't let me go)
I said please don't let me go (please don't let me go)
I said please (please) don't (don't) let me go
I said please don't let me go (please don't let me go)
You wouldn't have it
Or any of that
You took my love
But you couldn't give it back
You let me go (You let me go)
You walked away (You walked away)
You broke my heart (You broke my heart)
In everyway (In everyway)
You left me crying (crying)
You left me blue (blue)
You left me dying over you (you)
And I said please (please) don't let me go (don't let me go)
I said please don't let me go (please don't let me go)
I said please (please) don't (don't) let me go
I said please don't let me go (please don't let me go)
And the doctor said
Why you dig a grave
This poor heart might be to weak to save
And I said doctor (doctor)
I'm not ready to die (doctor)
I said doctor won't you say you'll try
And I said please (please) don't let me go (don't let me go)
I said please don't let me go (please don't let me go)
I said please (please) don't (don't) let me go
I said please don't let me go (please don't let me go)
(Clarinet Solo)
He said your heart
Will never be the same
He said you
May never love again
And I said doctor
The love I had to start
I gave it to the man who done and broke my heart (broke my heart)
Broke my heart (Broke my heart)
Broke my heart (Broke my heart)
He broke my heart (Broke my heart)
He broke my heart (Broke my heart)
He broke my heart (Broke my heart)
He broke my heart (Broke my heart)
He broke my heart (Broke my heart)
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
Oh my my
michaelgmitchell wrote:
Too much for me.
dsn wrote:
Yeah. Same here.
Francesco_Insyde write :
La vie n'est jamais assez... ni trop !
GONNA HAVE TO LET YOU GO, BABE.
Take care - here's a 4 to take with you ~
.
LOL I just did the same thing!
from 8 to 9 me
As a production artist, I can't tell you how many times I've wanted to say the same thing to the clueless commenters of visual art. Just because you don't like something, don't discount the skill and planning that went into it. My favorite example is the photographer Joel Peter Witkin (Whitkin?). Some of the most disturbing, grotesque stuff Ive ever seen, and very grunge, before there really was grunge, but the man had mad photography skills, before the days of Photoshop, and no mater how sick the material, it was made just the way he wanted it to be, and with great skill.
So, say you dislike it, even hate it, but don't say it sucks if you don't know the history or skills it takes to make it.
For those who have any interest in exploring the World of Joel Peter Witkin, here is a portal
https://www.edelmangallery.com/witkin33.htm
Here's the link:
https://www.cbc.ca/player/Shows/Kids+Shows/Kids%27+CBC+Music+Videos/ID/1523563696/
You should know that when I went to view this just a few minutes ago, I received a message that said the video was unavailable. I have no idea why. But for your warped viewing and listening pleasure (and to satisfy your inner child), I hope it's back online soon.
The video of this song is fantastic. Such a great tune!
Oh how she moves
When on the stage
Gets in a groove
She can't escape
Totally surrendered
To the spell rendered
By ghosts of lost love remembered
I'd like to see her, but it seems as if she rarely performs outside of Canada.
*edit: Oh, she does have some shows scheduled in the Northeastern U.S. and Chicago.
The fonts are fine. The cover's just half-finished is all. Maybe the two faces don't belong together, but there's nothing wrong with either of them. I'd actually like to know what the script is... seems like something Veer would put out but it's like finding a needle in a haystack, browsing thru font after font.
Thanks for the illumination, Scott. I'd also say the cover is as the designer, art director and publisher at https://www.outside-music.com/ intended. Obviously going for a period look, and the headline over photo block was often used in cover art from 1940 - 1960 - partly because (in the days of multiple plate stripped, masked and registered film negatives), it was less costly to do the mechanical art if you weren't dropping a lot of type out of a large four-color-process photo. The combination of a woodcut style sanserif masthead and brush font script was common in the era of hot (lead letterpress type fit into a chase) type when your choices were restricted to the sizes and fonts in the typesetter's cabinet.
This is what Barber had to say about the intended feel of the recording in an interview with the Brunswickian:
Her new album has a lounge singer aspect to it - the listener feels like they are transported back to the ‘40s in a smoky hotel bar. But more than just the era itself Barber wanted to recreate the feeling of romance in the music.
"I think I've always written songs that are pretty romantic and I think that romance has been lost in a lot of modern music so I look to the old classics. I just wanted to deliver it and bring that sound back to contemporary songs," said Barber.
Given that, the art director probably researched some classic torch and ballad cover art from the period as a reference for the finished piece. Absolutely no reason for a San Francisco company like Outside, with access to top level designers locally to just accidentally do something shoddy.
Maybe they overthought it and allowed the search for historical accuracy to overshadow mass appeal, but this is a certainty: The fonts aren't bad, as in thoughtlessly chosen. The cover's not half-finished, but finished to the standard set by Jill Barber's own concept. You may not like it from your own personal aesthetic perspective (I don't), but don't mistake the work that went into this as anything less than a professional effort to respect the recording artist's desired feel of the work.
Crikey, I thought I retired from being a Creative Director years ago. Much ado about nothing, but that's the biz.
Sorry to dredge this up 2 years later but I'm sticking with my "half finished" diagnosis. They may have gotten what they were after, but it falls flat for most of us so that means more work is needed. However, this larger version shows a little more subtle "aging" detail that in real life probably makes the art look better. I still think they needed a gothic font to balance out the frilly-ness of the two fonts they have. Or just maybe the song titles in Britannic Book.
Also, the art as I see it in the RP version knocks out the dirty white to just white, so that makes the layout seem off-kilter... slightly horizontal rectangle floating in a white square gives odd margins. Click it for larger version.
Edit: If they'd just let that pink background flood the cover, or at least go up to behind the Chances title, I'd like it better. I agree that they probably scoured used record stores for period examples; I wonder if it's an homage to a particular album.
the music is fun too...
steady.
As a production artist, I can't tell you how many times I've wanted to say the same thing to the clueless commenters of visual art. Just because you don't like something, don't discount the skill and planning that went into it. My favorite example is the photographer Joel Peter Witkin (Whitkin?). Some of the most disturbing, grotesque stuff Ive ever seen, and very grunge, before there really was grunge, but the man had mad photography skills, before the days of Photoshop, and no mater how sick the material, it was made just the way he wanted it to be, and with great skill.
So, say you dislike it, even hate it, but don't say it sucks if you don't know the history or skills it takes to make it.
A sizable portion of the members here are graphic designers and/or artists, including the poster to whom you were responding. "Clueless" would better describe a presumption that one is the only person here who knows about "production art" or its history and required skills. I do share your frustration about uninformed criticism, however, but that seems to happen in every field.
oh please...who actually buys the album for the artwork anymore...who actually buys the album anymore, period?
sometimes I think that only a daily basis
The fonts are fine. The cover's just half-finished is all. Maybe the two faces don't belong together, but there's nothing wrong with either of them. I'd actually like to know what the script is... seems like something Veer would put out but it's like finding a needle in a haystack, browsing thru font after font.
Crikey, I thought I retired from being a Creative Director years ago. Much ado about nothing, but that's the biz.
As a production artist, I can't tell you how many times I've wanted to say the same thing to the clueless commenters of visual art. Just because you don't like something, don't discount the skill and planning that went into it. My favorite example is the photographer Joel Peter Witkin (Whitkin?). Some of the most disturbing, grotesque stuff Ive ever seen, and very grunge, before there really was grunge, but the man had mad photography skills, before the days of Photoshop, and no mater how sick the material, it was made just the way he wanted it to be, and with great skill.
So, say you dislike it, even hate it, but don't say it sucks if you don't know the history or skills it takes to make it.
The fonts are fine. The cover's just half-finished is all. Maybe the two faces don't belong together, but there's nothing wrong with either of them. I'd actually like to know what the script is... seems like something Veer would put out but it's like finding a needle in a haystack, browsing thru font after font.
Thanks for the illumination, Scott. I'd also say the cover is as the designer, art director and publisher at https://www.outside-music.com/ intended. Obviously going for a period look, and the headline over photo block was often used in cover art from 1940 - 1960 - partly because (in the days of multiple plate stripped, masked and registered film negatives), it was less costly to do the mechanical art if you weren't dropping a lot of type out of a large four-color-process photo. The combination of a woodcut style sanserif masthead and brush font script was common in the era of hot (lead letterpress type fit into a chase) type when your choices were restricted to the sizes and fonts in the typesetter's cabinet.
This is what Barber had to say about the intended feel of the recording in an interview with the Brunswickian:
Her new album has a lounge singer aspect to it - the listener feels like they are transported back to the ‘40s in a smoky hotel bar. But more than just the era itself Barber wanted to recreate the feeling of romance in the music.
"I think I've always written songs that are pretty romantic and I think that romance has been lost in a lot of modern music so I look to the old classics. I just wanted to deliver it and bring that sound back to contemporary songs," said Barber.
Given that, the art director probably researched some classic torch and ballad cover art from the period as a reference for the finished piece. Absolutely no reason for a San Francisco company like Outside, with access to top level designers locally to just accidentally do something shoddy.
Maybe they overthought it and allowed the search for historical accuracy to overshadow mass appeal, but this is a certainty: The fonts aren't bad, as in thoughtlessly chosen. The cover's not half-finished, but finished to the standard set by Jill Barber's own concept. You may not like it from your own personal aesthetic perspective (I don't), but don't mistake the work that went into this as anything less than a professional effort to respect the recording artist's desired feel of the work.
Crikey, I thought I retired from being a Creative Director years ago. Much ado about nothing, but that's the biz.
Fonts used on album cover = pretty bad
BillG wrote:
I'd agree pretty much, though I'd probably go with:
Music = very good
Fonts used on album cover = very bad
The fonts are fine. The cover's just half-finished is all. Maybe the two faces don't belong together, but there's nothing wrong with either of them. I'd actually like to know what the script is... seems like something Veer would put out but it's like finding a needle in a haystack, browsing thru font after font.
About Britannic Bold ...
Yeah. Same here.
Are your Kidding!!! The headphones are turned up and I'm doing the chair dance.
(Bill we need a chair dancing smiley!)
Yeah. Same here.
Aw heck, please don't blame the poor, innocent typefaces for bad overall cover design. I'm not saying they're the most elegant ever, but they do support the '40s-standard theme of the music.
They suit the theme of the cover. Thank you for correctly referring to them as "typefaces" instead of "fonts".
Seconded! You can listen to any and all the songs from Jill's albums on her site.
oh my my, i'm gonna have to let her go.
please someone do.
As long as you're at your computer... https://www.jillbarber.com/
oh my my, i'm gonna have to let her go.
I feel exactly the same way about this song.
sooooooooooo jealous!
Actually this is a song I didn't appreciate from the CD until I saw her play it live at the Black Sheep Inn in Wakefield, QC this winter.
(maybe 100 or so people + Jill & her band - awesome)
She oooozes warmth & earthy sexiness and this song is really 'acted out' on stage.
This song is all about delivery & she really delivers live.
sooooooooooo jealous!
He broke my heart. Oh my my. ad intinitum
yeah, except for the opposite. her voice, it do grate on a nerve.
He broke my heart. Oh my my. ad intinitum
Sorry you're bored - you just don't want to hear about it, right?
But oh my my - he really did break my heart!
He broke my heart. Oh my my. ad intinitum
Yeah, but still says a lot... not only with words but through that fascinating groove
He broke my heart. Oh my my. ad intinitum
EssenceLumin wrote:
Aw heck, please don't blame the poor, innocent typefaces for bad overall cover design. I'm not saying they're the most elegant ever, but they do support the '40s-standard theme of the music.
Oh My My .... (rinse & repeat) until I want to shut the radio off
sorry Bill - Madrugada + RadioHead were amazing - this was a let down of epic scale .... I guess you cant win them all the time
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Blah, blah blah, blah blah blah
Downright grating, IMHO - your mileage may vary.
There are a couple more songs from this CD on the LRC. One is the title track and the other is called "Never Quit Loving You". Both songs are good, but my favorite is "Never Quit Loving You" and I think that would fare better on the regular playlist. However, I'm not sure if they're going to make it to the regular playlist, because they've been on the LRC for a long time.
The more it goes on the better it gets.
Fonts used on album cover = pretty bad
I'd agree pretty much, though I'd probably go with:
Music = very good
Fonts used on album cover = very bad
Fonts used on album cover = pretty bad
I thought this was Joan Osbourne for a minute there....
Me too. I like it.
and your rating was?........
I thought this was Joan Osbourne for a minute there....
Please Lord, tell me it's 'real'.........
Like this, I think
IDK man.....no matter how great the groove or the voice I can only listen to the line "oh my my" so many times before I want to start kicking the dog or something :^ /
I just give in to the groove and enjoy it. Part of my ever growing collection of dance songs for when I just want to let loose. Love this track.