I've Never Been To Me
Loretta Holloway · Other Songs - Loretta Holloway
You're a discontented mother and a rich inventive wife
I've no doubt you dream about the things you'll never do
But I wish someone had a talked to me like I wanna talk to you
Ooh I've been to Georgia and California, oh, anywhere I could run
Took the hand of a preacher man and we made love in the sun
But I ran out of places and friendly faces because I had to be free
I've been to paradise, but I've never been to me
Please lady, please, lady, don't just walk away
Cause I have this need to tell you why I'm all alone today
I can see so much of me still living in your eyes
Won't you share a part of a weary heart that has lived a million lies
Oh I've been to Nice and the isle of Greece
While I sipped champagne on a yacht
I moved like Harlow in Monte Carlo and showed 'em what I've got
I've been undressed by kings and I've seen some things
That a woman ain't s'posed to see
I've been to paradise, but I've never been to me
Hey, you know what paradise is? It's a lie. A fantasy we create about
People and places as we'd like them to be. But you know what truth is?
It's that little baby you're holding, and it's that man you fought with
This morning, the same one you're going to make love with tonight.
That's truth, that's love
Sometimes I've been to cryin' for unborn children
That might have made me complete
But I, I took the sweet life and never knew I'd be bitter from the sweet
I spent my life exploring the subtle whoring that cost too much to be free
Hey lady, I've been to paradise, but I've never been to me
I've been to paradise, never been to me
(I've been to Georgia and California, and anywhere I could run)
I've been to paradise, never been to me
(I've been to Nice and the isle of Greece
While I sipped champagne on a yacht)
I've been to paradise, never been to me
(I've been to cryin' for unborn children)
I've Never Been To Me
Loretta Holloway's 1958 recording of 'I've Never Been To Me' stands as a defining example of the early rock and roll era, blending traditional country harmonies with emerging electric instrumentation. As one of her most celebrated singles, the track showcases her distinctive vocal style, characterized by a clear, emotive delivery that bridged the gap between rural roots and urban pop. Released during a period of significant musical transition, the song reflects the broader cultural shift toward youth-oriented expression while maintaining the structural integrity of country ballads. Holloway's performance on this recording helped establish her reputation as a pivotal figure in the genre's evolution, demonstrating how country artists could successfully adapt to the changing soundscape of the late 1950s without sacrificing their authentic identity.