Lulu's Back In Town

Sammy Davis Jr. · Other Songs - Sammy Davis Jr.

Where's that careless chambermaid?

Where'd she put my razor blade?

She mislaid it, I'm afraid,

It's gotta be foun'!

Ask her when she cleaned my room

What she did with my perfume;

I just can't lose it,

I've gotta use it,

'Cause Lulu's back in town.



Gotta get my old tuxedo pressed,

Gotta sew a button on my vest,

'Cause tonight I've gotta look my best,

Lulu's back in town.

Gotta get a half a buck somewhere,

Gotta shine my shoes and slick my hair,

Gotta get myself a boutonniere,

Lulu's back in town.

You can tell all my pets,

All my Harlem coquettes;

Mister Otis regrets

That he won't be aroun'.

You can tell the mailman not to call,

I ain't comin' home until the fall,

And I might not get back home at all,

Lulu's back in town.



You can bet I've got it bad,

Best complaint I've ever had;

We'll be stepping out tonight,

An' struttin', an' how.

We're in for the swellest time,

Finish up without a dime;

Look here, you fellers,

I'll make you jealous,

My Lulu, she's a wow.



Gotta get my old tuxedo pressed,

Gotta sew a button on my vest,

'Cause tonight I've gotta look my best,

Lulu's back in town.

Gotta get a half a buck somewhere,

Gotta shine my shoes and slick my hair,

Gotta get myself a boutonniere,

Lulu's back in town.

You can tell all my pets,

All my blondes and brunettes;

Mister Otis regrets

That he won't be aroun'.

You can tell the mailman not to call,

I ain't comin' home until the fall,

And I might not get back home at all,

Lulu's back in town.

Lulu's Back In Town

Sammy Davis Jr.'s 1967 recording of "Lulu's Back In Town" stands as a vibrant testament to the swing revival of the late 1960s. As a masterful interpreter of jazz and swing standards, Davis delivers a performance that balances technical precision with infectious energy, capturing the spirit of the era's dance halls. The track showcases his ability to blend vocal agility with rhythmic drive, drawing from a repertoire that included iconic hits like "Smile Darn Ya Smile" and "Girl From Ipanema." Released during a period where Davis sought to bridge the gap between traditional big band sounds and emerging rock influences, this recording highlights his commitment to keeping swing music alive for new audiences. The song remains a defining example of his work, reflecting the optimism and musical sophistication characteristic of his career at the height of his fame.