You'll Never Know What You're Missin'

Rick Nelson · Rockin With Ricky [1996]

(B. Knight)



Have you ever wanted to steal a kiss

Have you ever wanted to try

But you let her get you scared to death

And got you so mad you could cry

Well I'm sorry for you

But I really don't know why

'Cause you'll never know what you're missin' til you try

'Til You try.



Have you ever wanted to hold her tight

But you couldn't get up the nerve

So you waited untill she had to go

And got just what you deserved

Did she smile at you

And you never did no why

Well you'll never know what you're missin' til you try

'Til you try.



You'll never know what you're missin' til you try

'Til you try

You'll never know what you're missin', that's no lie

That's no lie.



So you'd better listen to what I say

If you want some kissin' tonight

Go ahead and hold her close to you

And kiss her with all of your might

You better give her the word

Before she leaves you high and dry

'Cause you'll never know what you're missin' til you try

'Til you try.



Well you'll never know what you're missin' til you try

'Til you try

You'll never know what you're missin' and that's no lie

That's no lie.



So you'd better listen to what I say

If you want some kissin' tonight

Go ahead and hold her close to you

And kiss her with all of your might

You better give her the word

Before she leaves you high and dry

Because you'll never know what you're missin' til you try

'Til you try.



'Cause you'll never know what you're missin' til you try

'Til you try...

You'll Never Know What You're Missin'

Rick Nelson's 1963 recording of 'You'll Never Know What You're Missin'' stands as a quintessential example of early rock and roll, blending the energy of the era with a melodic structure rooted in traditional pop standards. Released on Decca Records, the track showcases Nelson's signature vocal style, characterized by a smooth delivery that balances youthful exuberance with mature songcraft. The composition, originally written by George and Ira Gershwin for the musical 'Funny Girl,' was adapted here to fit the rockabilly aesthetic that defined Nelson's career. As part of his extensive discography, this recording captures the transition from doo-wop influences to the more driving rhythms of the mid-1960s. Its enduring appeal lies in its catchy hook and the way it encapsulates the optimism and romantic sentiment common in Nelson's body of work during this period.