Is This What I Get From Loving You
Marianne Faithfull · Other Songs - Marianne Faithfull
That you've been seen with a certain Barbie
And now I'm so afraid I'm losing you
Oh baby, don't tell me you don't want my love
I couldn't give it to just anybody
Baby, won't you tell me it's not true?
Don't leave me baby
Don't tell me it's over after I trusted you
And did my best to make you happy
Is this what I get for loving you, baby?
Is this what I get for loving you, baby?
There was a night when you held me tight
You said you'd always love me
You said you'd never hurt me
What would there be left for me?
It's such a cruel world to be alone in
I always needed you to look out for me
And baby, I'm gonna miss your lovely arms
They're the only arms I feel at home in
Don't you know how lonely I'm gonna be?
Don't leave me baby
Don't tell me it's over after I trusted you
And did my best to make you happy
Is this what I get for loving you, baby?
Is this what I get for loving you, baby?
There was a night when you held me tight and
You said you'd always love me
You said you'd never hurt me
Don't leave me, baby
Is this what I get for loving you, baby?
Is this what I get for loving you, baby?
There was a night when you held me tight and
You said you'd always love me
You said you'd never hurt me
Is This What I Get From Loving You
Released in 1965, Marianne Faithfull's 'Is This What I Get From Loving You' stands as a defining track of the British Invasion era, blending folk sensibilities with emerging pop sensibilities. The song captures the raw vulnerability and disillusionment characteristic of Faithfull's early career, reflecting the turbulent personal life that often fueled her artistic output. Recorded during a period when she was navigating fame and heartbreak, the track showcases her distinctive vocal style, characterized by a haunting, breathy tone that conveyed deep emotional resonance. While not part of a major studio album at the time, the recording became a staple of her discography, illustrating her ability to translate personal narrative into universal musical expression. The composition remains a poignant example of mid-60s British pop, highlighting the intersection of folk authenticity and commercial appeal that defined her early work.