Crawford was born in Memphis, Tennessee. He began formal piano studies at age nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered Manassas High School, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.
Crawford appears on an early 1952 Memphis recording for B.B. King with a band including Ben Branch and Ike Turner.
In 1958 Crawford went to college at Tennessee State University in Nashville, Tennessee. While at TSU, he majored in music studying theory and composition, as well as playing alto and baritone saxophone in the Tennessee State Jazz Collegians. He also led his own rock 'n' roll quartet, "Little Hank and the Rhythm Kings". His bandmates all thought he looked and sounded just like Hank O'Day, a legendary local saxophonist, which earned him the nickname "Hank". This is when Crawford met Ray Charles, who hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band—becoming its musical director until 1963.
When Crawford left Ray Charles in 1963 to form his own septet, he had already established himself with several albums for Atlantic Records. From 1960 until 1970, he recorded twelve LPs for the label, many while balancing his earlier duties as Ray’s director. He released such pre-crossover hits as “Misty”, “The Peeper”, “Skunky Green”, and “Whispering Grass”.
He also has done musical arrangement for Etta James, Lou Rawls, and others. Much of his career has been in R&B, but in the 1970s he had several successful jazz albums with I Hear a Symphony reaching 11 on Billboard's Jazz albums list and 159 for Pop albums.
David Sanborn cites Crawford as being one of his primary influences. Crawford is recognized by saxophonists as having a particularly unique and pleasing sound. In 1981, he featured, with fellow horn players Ronnie Cuber and David Newman, on B. B. King's There Must Be a Better World Somewhere.
In 1983 he moved to Milestone Records as a premier arranger, soloist, and composer, writing for small bands including guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John. In 1986, Crawford began working with blues-jazz organ master Jimmy McGriff. They recorded four co-leader dates for Milestone Records: Soul Survivors, Steppin’ Up, On the Blue Side, and Road Tested, and toured together extensively.
The new century found Crawford, shifting gears and going for a more mainstream jazz set in his 2000 release The World of Hank Crawford. Though the songs are compositions from jazz masters such as Duke Ellington and Tadd Dameron, he delivers in that sanctified church sound that is his trademark. Followed by The Best of Hank Crawford and Jimmy McGriff (2001), and Back (2007).
Take A Look
Hank Crawford Lyrics
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There's something that I just got to say
Baby baby, sweet baby
You left me hurtin' in a real cold way
Speak your name
Ooh and I feel a thrill
You said I do
I told you to just be true
And give me just a little time
Wait on me, baby, I want you to be all mine
I just get so blue
Since you've been gone, baby
(Why'd you do it? Why'd you have to do it?)
Since you've been gone
(Why'd you do it? Why'd you have to do it?)
Baby baby, sweet baby
I didn't mean to run you away
It was pride on my lips but not in my heart
To say the things that led you to stray
But ah, me
Hear me now
I don't know what I'm gonna do
Got to get you back somehow
I'm praying, take me back
Consider me please
If you walk in that door, I can get up off my knees
I've just been so blue
Since you've been gone, oh baby
(Why'd you do it? Why'd you have to do it?)
Since you've been gone
(Why'd you do it? Why'd you have to do it?)
Well I've been so lonely
(Sweet sweet, sweet sweet baby
Baby, since you've been gone
(Sweet sweet, sweet sweet baby)
I've been so lonely
(Why'd you do it? Why'd you have to do it?)
Since you've been gone
(Why'd you do it? Why'd you have to do it?)
Baby baby baby been so lonely
(Sweet sweet, sweet sweet baby)
The lyrics to Hank Crawford's song Take A Look describe a man trying to win back the love of his life after she left him. The opening lines "Baby baby, sweet baby / There's something that I just got to say" reveal the desperation in the singer's voice. "You left me hurtin' in a real cold way" suggests that the break-up was particularly painful and emotional.
The singer reminisces about their time together, singing "Speak your name / Ooh and I feel a thrill / You said I do / Hey, and I said I will." However, he also acknowledges that there were issues in their relationship, and that he made mistakes too. "I told you to just be true / And give me just a little time / Wait on me, baby, I want you to be all mine."
The chorus of the song repeats the same line twice, with the singer asking "Since you've been gone / (Why'd you do it? Why'd you have to do it?)" He is clearly struggling to come to terms with the break-up, and is desperate to understand why it happened. The final lines of the song, "Well I've been so lonely / (Sweet sweet, sweet sweet baby / Baby, since you've been gone)" reveal the depth of the singer's feelings, and how much he misses his lover.
Line by Line Meaning
Baby baby, sweet baby
Addressing the lost lover affectionately with a sweet nickname.
There's something that I just got to say
Expressing the urgency to reveal something important.
You left me hurtin' in a real cold way
Accusing the lover of coldly causing emotional pain.
Speak your name
Suggesting that the mere mention of the lover's name brings excitement.
Ooh and I feel a thrill
Confirming that thinking about the lover is a thrilling experience.
You said I do
Recalling the marriage commitment made by the lover.
Hey, and I said I will
Recalling the promise of commitment made to the lover.
I told you to just be true
Requesting the lover to be truthful and loyal.
And give me just a little time
Asking for some patience from the lover.
Wait on me, baby, I want you to be all mine
Expressing the desire to be with the lover exclusively.
I just get so blue
Admitting that being without the lover is causing sadness.
Since you've been gone, baby
Stating the time of separation from the lover.
(Why'd you do it? Why'd you have to do it?)
Asking the lover the reason for leaving.
I didn't mean to run you away
Apologizing for the actions that led to the lover leaving.
It was pride on my lips but not in my heart
Admitting that excessive pride caused the utterance of hurtful words, but the heart's intent was not to hurt.
To say the things that led you to stray
Confessing that the words spoken pushed the lover away.
But ah, me
Expression of sadness and regret.
Hear me now
Desiring to be heard and understood.
I don't know what I'm gonna do
Admitting to helplessness without the lover.
Got to get you back somehow
Expressing the strong desire to get back together with the lover.
I'm praying, take me back
Requesting the lover to forgive and take the artist back.
Consider me please
Pleading with the lover to give the artist another chance.
If you walk in that door, I can get up off my knees
Expressing the hope that the lover's return will end the singer's desperation.
Since you've been gone, oh baby
Reiterating the pain of separation from the lover.
(Why'd you do it? Why'd you have to do it?)
Raising the question of why the lover had to leave.
Well I've been so lonely
Stating the loneliness felt by the singer.
(Sweet sweet, sweet sweet baby
Reiterating the sweet nickname used to address the lover.
Baby, since you've been gone
Restating the time of separation from the lover.
(Why'd you do it? Why'd you have to do it?)
Repeating the question of why the lover left.
Baby baby baby been so lonely
Re-emphasizing the loneliness felt by the singer.
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., SPRINGTIME MUSIC INC
Written by: Aretha Franklin, Ted White
Lyrics Licensed & Provided by LyricFind