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Baby I'm A Fool
by Melody Gardot

How was I to know that this was always only just a little game to you?
All the time I felt you gave your heart I thought that I would do the same for you,
Tell the truth I think I should have seen it coming from a mile away,
When the words you say are,

Baby I'm a fool who thinks it's cool to fall in love?
If I gave a thought to fascination I would know it wasn't right to care,
Logic doesn't seem to mind that I am fascinated by the love affair,
Still my heart would benefit from a little tenderness from time to time, but never mind,
Cause baby I'm a fool who thinks it's cool to fall in love

Baby I should hold on just a moment and be sure it's not for vanity,
Look me in the eye and tell me love is never based upon insanity,
Even when my heart is beating hurry up the moment?s fleeting,
Kiss me now,
Don't ask me home

Cause baby I'm a fool who thinks it's cool to fall,
Baby I'm a fool who thinks it's cool to fall,
And I would never tell if you became a fool and fell in love.

Lyrics © Warner/Chappell Music, Inc.
Written by: MELODY GARDOT

Lyrics Licensed & Provided by LyricFind

My One And Only Thrill
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Melody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities — which also include her vocal resemblance to Fiona Apple's smoky tones — gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut. Read Full BioMelody Gardot's 2006 debut, Worrisome Heart, was greeted with warmly enthusiastic reviews that never failed to mention Gardot's musical similarities to Norah Jones and Madeleine Peyroux, or her sadly compelling story of surviving a severe hit-and-run accident at the age of 19. The tragedy gave critics an irresistible hook, and the musical similarities — which also include her vocal resemblance to Fiona Apple's smoky tones — gave new listeners a familiar touchstone, but both merely provided an entry into a fine, accomplished debut. Released three years later, Gardot's second album, My One and Only Thrill, proves that the first was no fluke; it doesn't build upon the debut so much as it sustains its quality. Like before, My One and Only Thrill is built primarily on Gardot originals (a fine version of "Over the Rainbow" that closes the album being the only exception) that seamlessly blend sultry, late-night jazz blues, singer/songwriter introspection, and sophisticated pop melodies. If anything, My One and Only Thrill emphasizes Gardot's chanteuse qualities, feeling like more of a jazz album than its predecessor, thanks both to its languid atmosphere and also Gardot's phrasing, which elegantly elongates her melodies and slips into scat. These are slight, subtle progressions but what impresses is how thoroughly My One and Only Thrill lives up to the promise of her debut, offering another album that is as enchanting in its sound as it is in its substance.
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