In 1950, McPhatter joined Billy Ward & the Dominoes, and was present for the recording of "Sixty Minute Man", which was a huge hit in 1951, and was one of the earliest rock and roll records. After several more hits, McPhatter quit the group in 1953 because he made little money and gained virtually no fame, in spite of his voice being the lead on most of the group's songs. McPhatter then signed to Atlantic Records after forming a group, The Drifters. "Money Honey", "Such a Night", "Honey Love", "White Christmas" and "Whatcha Gonna Do" became huge hits.
In 1954, McPhatter was drafted but was assigned in the U.S., allowing him to continue recording. He soon left The Drifters and launched a solo career. His first solo hit occurred just after being discharged - "Love Has Joined Us Together" (with Ruth Brown). He released several R&B hits in the next few years, but only made one serious dent in the pop charts with the Brook Benton penned song "A Lovers Question", which made it to #6 in 1958. White groups usually covered his best compositions and achieved more widespread mainstream success. In spite of this, McPhatter became one of the most popular black musicians among white listeners. His 1956 recording of "Treasure of Love" saw him enjoy just one week in the UK singles chart. The lack of any subsequent entry gave him the unenviable tag there of being a one hit wonder
McPhatter soon signed to MGM Records, and released several more hits. "I Told Myself a Lie" and "Think Me a Kiss" (1960) became minor pop hits, as was "Ta Ta", his first single for Mercury Records. "I Never Knew" and "Lover Please" (1962) became even bigger pop hits, but his career started suffering due to his alcoholism. Other black artists were following McPhatter's blueprint into pop audiences, including Rudy Lewis, Johnny Moore, Sam Cooke and an all new line-up of The Drifters. McPhatter's unreliability kept him from maintaining his career in the face of this competition. As the 1960s wore on, McPhatter's career kept falling in spite of a few minor hits.
In the early 1970s, McPhatter spent some time living in England, where he still had a significant audience, but this was short-lived. Back again in America, Clyde McPhatter died of a heart attack in 1972, at the age of 39.
In 1987, he was inducted into the Rock and Roll Hall of Fame. His pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame.
Little Bitty Pretty One
Clyde McPhatter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Little bitty pretty one
Come on and talk to me
Lovely, lovely, lovely one
Come on, sit down on my knee
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Tell you a story
It happened long time ago
A-little bitty pretty one
I've been watchin' you grow
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Little bitty pretty one
Come on and talk to me
Lovely, lovely, lovely one
Come on, sit down on my knee
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm
Mhm-mhm-mhm-mhm-mhm
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah
Ah-ah-ah-ah-ah
The lyrics of Clyde McPhatter's song Little Bitty Pretty One are focused on the charm of a young girl. The singer urges her to come and talk to him and sit on his knee as he tells her a story. The lyrics imply that the singer has been watching the girl grow up and has been attracted to her for a long time. The repetitive, almost hypnotic chorus emphasizes the singer's desire for the girl to come closer to him. Overall, the song emphasizes the innocence of youth and the beauty of young love.
The lyrics of Little Bitty Pretty One were written by Bobby Day, a singer-songwriter who had his own hit with the same song in 1957. However, it was Clyde McPhatter's version that became the most well-known and enduring. The song was a big hit for McPhatter, reaching number nine on the Billboard Hot 100 chart in 1962. The song has since been covered by numerous artists, including Frankie Lymon, Huey Lewis and the News, and Thurston Harris.
Line by Line Meaning
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Instrumental intro
Ah-ah-ah-ah-ah-ah-ah-ah
Vocalization
Little bitty pretty one
Referring to a young and attractive girl
Come on and talk to me
Asking her to engage in conversation
Lovely, lovely, lovely one
Complimenting her on her appearance and personality
Come on, sit down on my knee
Inviting her to get closer and be more comfortable
Tell you a story
Starting to share a personal tale
It happened long time ago
Setting up the story to be from the past
A-little bitty pretty one
Referring again to the young girl from before
I've been watchin' you grow
Implying that he has known her for a while and has seen her develop
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Instrumental break
Ah-ah-ah-ah-ah-ah-ah-ah
Vocalization
Little bitty pretty one
Repetition of the earlier compliment
Come on and talk to me
Repeating the request for conversation
Lovely, lovely, lovely one
Repeating the earlier compliment
Come on, sit down on my knee
Repeating the invitation to get closer
Mhm-mhm-mhm-mhm-mhm-mhm-mhm-mhm
Instrumental outro
Mhm-mhm-mhm-mhm-mhm
Additional musical flourish
Ah-ah-ah-ah-ah-ah-ah-ah
Final vocalization
Lyrics © Kanjian Music, BMG Rights Management, Reservoir Media Management, Inc.
Written by: Robert Byrd
Lyrics Licensed & Provided by LyricFind
@preschoolguy2010
Background musicians
Backing Vocals – Gordon Stoker, Margie Singleton, Millie Kirkham, Neal Matthews, Ray Walker (2)
Bass – Bob Moore
Chorus – The Merry Melody Singers
Conductor [Orchestra] – Jerry Kennedy
Drums – Buddy Harmon*, Willie Ackerman
Guitar – Harold Bradley, Jerry Kennedy, Kelso Herston,Ray Eddington*
Harmonica – Charlie McCoy
Piano [88's] – "Hargus Robbins*
Saxophone – Boots Randolph
Trumpet – Bill Justis
@ellenr.3549
So much fun to dance to this song. Great singer and back up band.
@berthadaniels5373
Love This version by the one and only, Mr Clyde Mcphatter. Awesome voice. ❤❤
@alicerobertson5660
Remember the time I dance to this song 🎵.
@berthadaniels4050
Love this version the most...One and only Mr Clyde Mcphatter.🎶🎶🎶🎶
@billmiller4140
I was a dj at WAPE in jax in 1963...What a great sound!
@TheJbh222
To my ears.this is the best version of this classic #...........ty 4 posting
@JaySmith-mz7vg
I like his vocal delivery the best out of the many versions of this song.
@berthadaniels4050
Clyde Mcphatter.Such a great great singer. Gone too soon. RIP. 💗💗
@ChuckWroste
I like all 5 versions of this great song that hit the charts, but to my ear, this is the best. The little extra "who-oh" they do really makes it stand out.
@HeavenBound1
The extra "woah woah" is a copy of Frankie Lymon's version, which was recorded in 1960. Take a listen to it.