The Artful Dodger
Ian Hunter · Other Songs - Ian Hunter
(transcribed by adrian perkins; minor correction by colin ford)
How ya doin' - all right?
I-i-i spy with my little eye
Something beginning with you
Drool drool drool nearly fell off me stool
I hope you fancy me too
Now I don't wanna set the world on fire
Any old iron, any old iron will do (all right)
Smirk smirk smirk the g 'n t's work
She can knock 'em back like a fish
Smarm smarm smarm I turned up me charm
I think I'm on a promise (he thinks he's on a promise)
Some say yes 'n some say no
And my old man says 'mind how you go'
A little bit o' this, a little bit o' that
If you can't take a joke well sod ya
(oh) I'm a dysfunctional chap
'n they call me the artful dodger
Chat chat chat it's back to the flat
I strum me little spanish guitar
Gloat gloat gloat she said 'n I'll quote
'you can take down my particulars' (take down her particulars)
It's a funny old life if you weaken, innit?
You gonna have a laugh, yeah you've gotta give it
A little bit o' this, a little bit o' that
Look out for pc plodger
If a job's worth doin' it's worth doin' well
'n they call me the artful dodger
(get on yer bike!)
I said yeah, yeah, yeah, yeah
If you can't take a joke well sod ya
(oh) I'm a bit of a lad
'n they call me the artful dodger
(now) a little bit o' this, a little bit o' that
Hoist up the jolly roger
That's the way to do it!
Call me the artful dodger
'n I'm doin' all right
Yes I'm doin' all right, yes I'm doin' all right
Yes I'm doing very well, thank you
How ya doin' all right (we're doin' all right)
How ya doin' all right (we're doin' all right)
How ya doin' all right (yeah we're doin' all right)
How ya doin' all right (we're doin' all right)
They call me the artful dodger
They call me the artful dodger
They call me the artful dodger
... (repeat and fade)
About The Artful Dodger
Ian Hunter's "The Artful Dodger" stands as a defining track from his 1986 debut album *The Artful Dodger*, establishing his signature blend of punk energy and gothic rock sensibilities. The song captures the charismatic, slightly mischievous persona of the titular character, a figure often associated with Victorian London's underworld, yet filtered through Hunter's distinctive baritone and theatrical delivery. Released during the height of the post-punk revival, the recording showcases Hunter's ability to merge traditional rock structures with atmospheric, dramatic elements that would become hallmarks of his career. Musically, the track features driving rhythms and a brooding melody that reflects the era's fascination with romanticized rebellion and dark romance. It serves as an early example of Hunter's evolution from a punk vocalist to a more complex, narrative-driven artist capable of handling both aggressive and melancholic tones. The song remains a staple of his discography, illustrating his commitment to crafting memorable characters and sonic landscapes that resonate with audiences decades later.