Don't Touch Me
Duke Ellington & His Orchestra Lyrics
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I'll get along
Forget about me
Just be happy my love
Let's say that our little show is over
And so the story ends
Why not call it a day the sensible way
Look out for yourself
That should be the rule
Give your heart and your love
To whomever you love
Darlin' don't be a fool
Why do we cling to this old faded thing
That used to be
So if you can forget
Then don't worry 'bout me
Why should we cling to some old faded thing
That used to be
So if you can forget
Then you don't worry 'bout me
"Don't Worry 'Bout Me" by Duke Ellington/His Orchestra is a song about two people who are ending their relationship amicably. The singer is telling his former partner not to worry about him and to move on with her life. He also advises her to look out for herself and not be a fool by giving her heart to just anyone. The song encourages listeners to let go of old relationships and move on to find love again.
The lyrics are simple and straightforward, but they contain a lot of wisdom. The singer recognizes that it's time for both parties to move on and that holding onto past relationships is not the way to live a happy life. He encourages his former partner to look out for herself, warning her not to be a fool and give her heart to someone who doesn't deserve it. The song is a reminder that moving on is an important part of life and that it's okay to let go of relationships that no longer serve us.
Line by Line Meaning
Don't worry 'bout me
Please do not be concerned about me
I'll get along
I will manage without any issues
Forget about me
Please move on from thoughts about me
Just be happy my love
I want you to be content and joyful in life, my dear
Let's say that our little show is over
Let us assume that our performance together has ended
And so the story ends
Thus, the narrative concludes
Why not call it a day the sensible way
Why not bring closure to things logically
And still be friends
And continue to have a friendly relationship
Look out for yourself
You should prioritize your own well-being
That should be the rule
This must be the guiding principle
Give your heart and your love
Share your affection and devotion
To whomever you love
With someone who you love
Darlin' don't be a fool
My dear, do not make an unwise decision
Why do we cling to this old faded thing
What is the reason for holding on to this outdated and dull connection
That used to be
Which was once present
So if you can forget
Thus, if you are able to forget
Then don't worry 'bout me
Then there is no need to be concerned about me
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Rube Bloom, Ted Koehler
Lyrics Licensed & Provided by LyricFind
Jeremy Stobingham
Dear Polyphonic, as a long time Ellington fanatic (about 35 years I've been obsessed now), I think a second video on Billy Strayhorn is ABSOLUTELY needed. He was equal to Duke's genius in almost every way ('almost' not meaning Strayhorn was lesser, just that their "sounds" are very similar but not the same). And Duke knew it, having described saying "Billy Strayhorn is my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine.” Billy Strayhorn wrote about 50% of Duke Ellington's repertoire during his tenure which lasted almost 3 decades, from December 2 1938 to May 31 1967. Far from being just a ghostwriter or a pinch-hitter for Duke, Strayhorn was his own man from the very beginning. Where Ellington (as his aide and chronicler Stanley Dance has pointed out) tended to rely more heavily on the blues, Strayhorn was thoroughly schooled in French impressionists like Claude Debussy and Maurice Ravel, as well as Bach, Brahms, and Stravinsky. Part of the joy of Ellington compositions like ''Rockin' in Rhythm'' or ''Dancers in Love'' is the devil-may-care fashion in which one section almost randomly follows another, in the stop-and-start tradition of the great stride pianists. In Strayhorn's pieces everything fits together much more organically. And although Strayhorn's music could stomp, moan and swing no less convincingly than Ellington's (particularly in his most famous composition, ''Take the 'A' Train''), there was always a greater tenderness. Just listen to pieces like "Cashmere Cutie," "The Star-Crossed Lovers," (99% of the song is Strayhorn, only the ending chord and intro are done by Duke) "All Day Long," or "Multi-Colored Blue." Aaron Bell, Duke's bassist in the early 60s said ''There's so much more sensitivity and complexity in Strayhorn's compositions than Ellington's." "We could always tell Strayhorn's.'' History however, has not been the kindest to Strayhorn. Even long long after his death few (except those who are truly hip) know his name, even less know just how much of a genius he was. As a openly gay black man, a video about him could also provide endless inspiration to those in LGBT+ community, who are often critically underrepresented in all sorts of mediums. Also in Masterpieces by Ellington (one of the most criminally misleading names of all time), Strayhorn wrote the bulk of the arrangements without credit…. In Sophisticated Lady for example, Duke’s arrangement is heard first, and then when the vocal section comes in, it’s Strayhorn at the wheel…. He even sits in on piano for that beautiful cadenza, and then that upbeat section with the lush orchestration… it’s like Duke used his arrangement as a point of departure for Strayhorn to do his thing. So yeah to clarify, there is a bit of Duke in there, but the heavy lifting and fancy things are Strays. The section after Johnny Hodges solo and the 3/4 section in Mood Indigo is Strayhorn.
Martin Brady
Waiting for Polyphonic reply! ;o)
Dan Waldis
Wonderfully stated! You're more than just an Ellington Fanatic, his music has reached you deeply, as it has me. As one story goes, George Gershwin once made the statement that had he been able to write the song Sophisticated Lady, he would have traded in everything he wrote for that piece (talk about hero worship -- and justly deserved, I think!). Nonetheless, I would be extremely surprised if Billy Strayhorn hadn't been involved in the composition of that song. His signature seems unmistakable.
And Ellington had his strengths also. The type of orchestration that made Glenn Miller famous (clarinet playing the lead part) was an Ellington orchestration. And who was given the credit? We all know, via the Hollywood version of the Glenn Miller story. Sheesh.
But bottom line is that I think you're correct. Ellington sometimes referred to Strayhorn as his editor. Billy Strayhorn's deep understanding of harmony made its way into much of Ellington's composition. They were a great team, and Billy Strayhorn deserves far more recognition.
Yannick Ndombe
Wow!! You said everything I ever thought since I first heard and read about Billy Strayhorn importance for Duke's music. His story and contribution would make for a great movie or documentary!! So nice to have someone out there with the same Idea !!
Pher
I love these jazz videos. We need one on Charles Mingus
Bertram Blik
I love them too! Or one titled "the most melodic and easy listening bebop song of all time"
Alternate&Unreleased ShellacRecordings
Black Saint and The Sinner Lady
Joshua Gregoire
Yes! Musical Giant!
Pax Wallace
Mingus's "Man on The Turquoise Cloud" was written for Ellington and anyone who knows anything can hear he was deeply influenced by and chasing Ellington his whole life. PS I'm a Jazz Pianist who performs "Goodbye Pork Pie Hat" at least once a Week.
Viktor Berzinsky
I cosign this statement without hesitation.