The Lady Is A Tramp
Shirley Bassey · Other Songs - Shirley Bassey
On "Live at Talk of the Town" inserted: I have, I have
And never wished for turkey
I've hitched and hiked and drifted to
From Maine to Alberquque
Alas I missed the beaux arts ball
And what is twice as sad
I was never at a party
Where they honoured Noel Coward
On "Live at Talk of the Town":
I was never at Barbra Streisands party - aaah
And that make me bloody mad
A...[unknown] funny girl
On "At The Pigalle":
Alas I'm always known as being in the pie(??)
I was never at Alma Cogans party
A shame
When she honoured Ringo Starr
On "The Birthday Concert" & video "An Audience With Shirley Bassey":
I was never at Hugh Grants party
When he honoured the great divide - ouh
His social circles move to fast for me
My hobohemia is the place to be
I get too hungry for dinner at eight
I love the theatre but never come late
I never bother with people I hate
That's why this lady is a tramp
I don't like crap games with barons and earls
Won't go to Harlem in ermine and pearls
Won't dish the dirt with the rest of those girls
That's why this lady is a tramp
I like the free fresh wind in my hair
Life without care
I'm broke... that's oke
Hate California, it's cold and it's damp
That's why this lady is a tramp
I like the free fresh wind in my hair
On "Live at Talk of the Town": I like the free fresh wind in my wig
Life without care
I'm broke... that's oke
Hate California, it's cold and it's damp
That's why this lady is a tramp
And I love it
Yes, I'm a tramp, and I love it
And I wish that you will come in my way yeah
I wish that you will come in my way yeah
I wish that you will come in my way
Yes, I'm a lady
But a tramp
The Lady Is A Tramp
Shirley Bassey's 1966 recording of 'The Lady Is A Tramp' stands as a definitive interpretation of the classic song, showcasing her distinctive vocal power and theatrical flair. Originally written by Rodgers and Hart for the 1948 film 'Kiss Me Kate', the track was famously performed by Fred Astaire in the 1956 musical 'The Music Man'. Bassey's version, released on her 'Emi / Ua Years 1959-1979' compilation, captures the song's mischievous energy while highlighting her signature alto range and dramatic delivery. The recording became a staple of her repertoire, demonstrating her ability to transform existing material into a powerful solo statement that resonated across the UK and international charts. Her performance remains a benchmark for operatic pop and musical theatre adaptations, cementing her status as a leading figure in British show business during the mid-20th century.

