I Got It Bad And That Ain't Good
Sarah Vaughan · Other Songs - Sarah Vaughan
But I'm in love and I know what time it is
The good book says, "Go seek and ye shall find"
Well, I have sought and my, what a climb it is
My life is just like the weather
It changes with the hours
When he's near, I'm fair and warmer
When he's gone, I'm cloudy with showers
An emotion like the ocean
It's either sink or swim
When a woman loves a man
Like I love him
Never treats me sweet and gentle, the way he should
I got it bad and that ain't good
My poor heart is sentimental, not made of wood
I got it bad and that ain't good
But when the weekend's over and Monday rolls around
I end up like I started out: just cryin' my lil' heart out
He don't love me like I love him
No, nobody could; I got it bad and that ain't good
So bad, so bad
I got on it so bad, so bad, though folks with good intentions
Tell me to save my tears
I'm glad; I'm mad about you; I can't live without you
Lord above me, make him love me the way he should
Like a lonely weeping willow lost in the wood
The things I tell my pillow
No woman should
I got it bad, bad, so bad and that ain't good
About I Got It Bad And That Ain't Good
Sarah Vaughan's "I Got It Bad And That Ain't Good" stands as a quintessential example of her mastery over jazz standards and vocal improvisation. Recorded during the height of her career, the track showcases her unique ability to blend soulful emotion with technical precision, a hallmark of her style that defined the mid-20th century. Vaughan's interpretation transforms the song's narrative of romantic heartbreak into a sophisticated musical statement, utilizing her rich tone and dynamic range to convey complex feelings without relying on literal lyrics. The recording reflects the broader context of the Great American Songbook era, where artists like Vaughan reimagined popular melodies with jazz harmony and swing rhythms. Her performance on this track highlights her status as a vocalist who could navigate both the emotional depth of ballads and the rhythmic drive of uptempo numbers. This piece remains a testament to her enduring influence on vocal jazz, demonstrating how a singer can elevate a familiar composition into a timeless work of art through sheer vocal prowess and artistic interpretation.