It's A Pity To Say Goodnight

The Four Freshmen · Other Songs - The Four Freshmen

What a shame the night is ending, cross my heart I'm not pretending

You look grand sitting in the moonlight

Oh I'm in love there's no mistaking, can't you see my heart is breaking

Must you go on this lovely June night



It's a pity to say goodnight because I never saw stars so bright

But if you gotta go home, you gotta go home, give me a goodnight kiss

It's a pity to say farewell because the man in the moon won't tell

But if you gotta go home,you gotta go home give me a goodnight kiss.



How's about tomorrow night just you and me

I'll be waiting for you darling underneath the apple tree



It's a pity to say goodnight because I want you to hold me tight

But if you gotta go home, you gotta go home give me a goodnight kiss

It's a pity to say farewell because the man up in the

moon won't tell, won't tell

If you gotta go home, go home, go home give me a goodnight kiss



How's about tomorrow night just you and me

I'll be waiting for you darling underneath the apple tree



It's a pity, pity just to say goodnight because I want

you to hold me tight

But if you gotta go home dear,

you gotta go home dear, give me a goodnight kiss

It's A Pity To Say Goodnight

The Four Freshmen's 1959 recording of 'It's A Pity To Say Goodnight' stands as a quintessential example of vocal jazz harmony. The group, known for their intricate four-part harmonies and sophisticated arrangements, delivers a performance that balances emotional depth with technical precision. This track, often associated with the swing era, showcases the group's ability to reinterpret standard material into a fresh, engaging composition. The recording features the signature smooth interplay between the lead singer and the backing vocalists, creating a lush sonic texture that defined the group's sound. While the song draws from existing songbooks, the Four Freshmen's arrangement elevates it through their distinctive approach to rhythm and harmony, making it a staple in collections of vocal jazz from the late 1950s.