Pat Arnold (born Patrica Ann Cole, 3 October 1946, Los Angeles, California), professionally known as P.P. Arnold, is an American born soul singer who enjoyed considerable success in the United Kingdom in the 1960s and beyond.
Born into a family of gospel singers, Arnold married early and had two children, working a series of menial jobs until the early 1960s, when Maxine Smith, an ex-girlfriend of her brother, contacted her with an offer. Maxine and her friend Gloria Scott had managed to arrange an audition for three girls to replace the original Ikettes, the dancer/singer troupe that provided vocal and dance accompaniment for the Ike and Tina Turner Revue. Smith and Scott had been stood up by a third girl, and desperate from someone to make up the trio, Smith contacted Arnold, whom she knew to be a singer.
At the audition the three girls were offered the job on the spot, but Smith convinced Arnold to attend a concert in Fresno that night before making a final decision. When she arrived home at 6:00 the next morning, Arnold's furious husband struck her. Arnold left him immediately and, placing her children in the care of her parents, she joined the Ike & Tina Turner Revue.
After several years touring the United States with the Revue, she came to England in 1966 when the Revue toured there in support of The Rolling Stones. Impressed by her powerful and soulful voice, Mick Jagger convinced Stones manager Andrew Loog Oldham to sign Arnold to a recording contract with his newly founded Immediate Records record label. Arnold quit the Turner band to remain in London and establish a solo career.
She enjoyed several major British hits on Immediate, including songs written for her by Steve Marriott and Ronnie Lane from label-mates The Small Faces, who also backed her on several recordings. Arnold also provided backing vocals on the group's hit "Tin Soldier" as well as touring with them during 1968.
Her first backing band, The Blue Jays, had been inherited from American soul singer Ronnie Jones. This was followed by The Nice, led by Keith Emerson. During this period Pat toured alongside Jimi Hendrix, The Who, The Kinks, Blind Faith, David Bowie and others, and she scored several hits including a cover version of "The First Cut Is the Deepest" and "Angel of the Morning", plus the Marriott-Lane song "(If You Think You're) Groovy".
After the collapse of Immediate in the late 1960s, Arnold signed a production contract with the Robert Stigwood Organisation and released two singles on the Polydor Records label, produced by Barry Gibb of The Bee Gees, but a planned album with Gibb was never completed.
In 1970 she moved to the musical stage, appearing alongside P.J. Proby in the rock musical Catch My Soul. She then formed a new backing band that included the future members of Ashton, Gardner & Dyke, plus Steve Howe, who would soon join Yes. During this period she contributed session musician backing vocals to many notable UK sessions (including the Nick Drake song "Poor Boy") and she toured with Eric Clapton, who also produced a number of unreleased sessions with her. During these sessions she met the American bassist Fuzzy Samuels of Crosby, Stills, Nash & Young, and they subsequently married and had a son.
Feeling out of place in the rapidly changing British music scene of the mid 1970s, Arnold and Samuels returned to her hometown of Los Angeles. While living there, Arnold's marriage to Samuels ended and, just two weeks after the split, her daughter Debbie was killed in a car accident.
After her daughter's death Arnold withdrew from public life for some time, not re-emerging until 1978. At this time she was reunited with Barry Gibb, who wanted to complete the never-finished solo album for her. Again this did not materialise, but Arnold was eventually teamed up with Barry's youngest brother Andy Gibb for a duet recording of the Carole King song "Will You Still Love Me Tomorrow". Arnold subsequently formed a new band, Inner Circle, but this was not successful.
In 1981 she moved to Hollywood, where she won minor roles in popular TV series including St. Elsewhere and Knots Landing. She returned to England in 1982, wishing to raise her younger son there. She soon began working with leading British reggae band Steel Pulse and returned to the UK Singles Chart with her contribution to "Respect Yourself", the 1983 cover version of the Staples Singers song, recorded with Arnold by the electro-pop band, Kane Gang.
In 1984 she returned to the stage in the cast of the musical Starlight Express, after which she worked with a number of noted British acts including Boy George as well as working on several movie soundtracks. Weeks before beginning a tour with Billy Ocean, Arnold's legs were badly injured in a car accident, although she went ahead with the Ocean tour, at first appearing on crutches, but her injuries eventually forced her to leave the tour after ten weeks.
In 1985, Arnold's vocals graced the theme tune to the movie The Supergrass, written and starring Peter Richardson of The Comic Strip.
Without a record contract and unable to play live, Arnold survived by doing sessions for advertising jingles. This eventually led to a successful association with Beatmasters, and her contributions to their song "Burn It Up", which reached #14 in the UK Singles Chart, as well as working with The KLF on the tracks "3 a.m. Eternal" and "Last Train to Trancentral" and Altern-8 on "Evapor 8" (credited as Altern-8, guest vocal P.P. Arnold).
She appeared on Roger Waters' album, Amused to Death, in 1992, providing vocals on the song "Perfect Sense".
Growing dissatisfied with her session singer role, she returned to the musical stage with work in a theatre workshop project.
In 1994 she joined the cast of the award-winning musical Once On This Island. While the production was playing in Birmingham she met leading UK band Ocean Colour Scene, one of the new wave of latter-day mod groups who (like their mentor Paul Weller), idolised The Small Faces.[6]
Her friendship with OCS led to her singing the lead vocal, backed by Primal Scream, on a cover of The Small Faces' "Understanding", which was included on a successful Small Faces tribute album. She also worked extensively with Ocean Colour Scene on their 1997 album Marchin' Already. This was followed by numerous TV appearances including Later with Jools Holland and touring with Ocean Colour Scene in 1997-98.
She also recorded vocals for the 2000 album, Standing On The Shoulder Of Giants by Oasis.
This success led to plans for her to record her first solo album in decades, but once again it was not completed. Deciding to put together a new band to promote her material, Arnold joined forces with Chaz Jankel, former pianist with Ian Dury and The Blockheads. This was followed by an invitation to tour widely with Roger Waters. She was a backup vocalist on his 1999–2000 tour In the Flesh, (also on the CD and DVD of the same name) as well as the 2006–2008 tour, Dark Side of the Moon Live.
In mid 2007 she released her first recorded work for several years, Five In The Afternoon. The album is a duet with The Blow Monkeys frontman Dr. Robert and has been met with critical acclaim, as have their live performances at several venues.
www.pparnold.com
To Love Somebody
P. P. Arnold Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A certain kind of light
That never shone on me
I want my life to be lived with you
Lived with you
There's a way everybody say
To do each and every little thing
But what does it bring
You don't know what it's like, baby
You don't know what it's like
To love somebody
To love somebody
The way I love you
In my brain
I see your face again
I know my frame of mind
You ain't got to be so blind
And I'm blind, so, so, so blind
I'm a man
Can't you see what I am?
I live and I breathe for you
But what good does it do
If I ain't got you, ain't got?
You don't know what it's like, baby
You don't know what it's like
To love somebody
To love somebody
The way I love you
You don't know what it's like, baby
You don't know what it's like
To love somebody
To love somebody
The way I love you
You don't know what it's like, baby
You don't know what it's like
To love somebody
The lyrics of P. P. Arnold's song "To Love Somebody" depict the intense longing and desire to be with someone who is not reciprocating the same level of love. The opening lines express the singer's realization that there is a type of love they have never experienced before, a love that they want to share and live their life with. This light is metaphorical, representing the happiness and fulfillment they believe they can only attain by being with this person.
The chorus emphasizes the depth of the singer's love for this individual. It is a love so profound and powerful that it cannot easily be put into words. They emphasize that the listener cannot comprehend what it truly feels like to love somebody in this way, to experience the intensity and devotion that the singer has for the person they desire.
The second verse delves into the singer's internal struggle. They can't get this person out of their mind, and they are aware of their own emotional vulnerability. When they say "I'm blind," it suggests that their infatuation prevents them from seeing the reality of the situation clearly. The singer acknowledges that they are a man and can't help but love and breathe for this person, but they question the purpose and value of their love if it is not reciprocated.
The repetition of the chorus reinforces the singer's frustration and longing. They highlight once again that the listener cannot truly understand the depth of their emotions and what it truly feels like to experience this unrequited love.
Overall, the lyrics of "To Love Somebody" portray the overwhelming desire and heartache that come with loving someone who doesn't love you back. It speaks to the pain of longing for a connection that seems unattainable and the yearning to be fully understood and loved by another person.
Line by Line Meaning
There's a light
There is a special and unique feeling or presence
A certain kind of light
A specific type of positive and illuminating energy
That never shone on me
That I have never experienced or felt before
I want my life to be lived with you
I desire to share my entire existence with you
Lived with you
To be intimately connected and intertwined with you
There's a way everybody say
There are common suggestions or advice given by people
To do each and every little thing
To handle every single aspect or detail
But what does it bring
But what satisfaction or fulfillment does it truly provide
If I ain't got you, ain't got?
If I don't have you in my life, what does it matter?
You don't know what it's like, baby
You have no understanding or awareness of the experience, my dear
To love somebody
To have deep affection and care for another person
The way I love you
In the intense and profound manner that I love you
In my brain
In my thoughts or mind
I see your face again
I constantly envision your presence and image
I know my frame of mind
I am aware of my state of thinking or mindset
You ain't got to be so blind
You don't have to be oblivious or ignorant
And I'm blind, so, so, so blind
And yet, I am unable to see clearly or understand
I'm a man
I am an individual, a human being
Can't you see what I am?
Can't you perceive or comprehend who I truly am?
I live and I breathe for you
I exist and find purpose in my devotion towards you
But what good does it do
But how does it truly benefit or make a difference
If I ain't got you, ain't got?
If I don't have you in my life, what value does it hold?
You don't know what it's like, baby
You have no understanding or awareness of the experience, my dear
To love somebody
To have deep affection and care for another person
The way I love you
In the intense and profound manner that I love you
You don't know what it's like, baby
You have no understanding or awareness of the experience, my dear
To love somebody
To have deep affection and care for another person
The way I love you
In the intense and profound manner that I love you
You don't know what it's like, baby
You have no understanding or awareness of the experience, my dear
You don't know what it's like
You are unaware of the emotions and feelings involved
To love somebody
To have deep affection and care for another person
Lyrics © Universal Music Publishing Group, Royalty Network
Written by: Robin Hugh Gibb, Barry Alan Gibb
Lyrics Licensed & Provided by LyricFind
@josephvengen9989
The beautiful and supremely talented P. P. Arnold kicking it out.... to the stiffest crowd I've ever seen....
@rickylarter2163
Deep Purple faced this lot once
@ciaomuffet
Oh are they real? I thought they were stuffed dummies..
@harryhackney6416
Where do they find these audiences from the cemetery maybe
@gavincohen9532
Probably waiting for Tom Jones or a herd of performing elephants to come on
@regharris9565
They're French, says it all
@micktaylorisgod7828
A great Barry Gibb song but Pat takes it to a totally different level. What a performance.
@TheLobocantaore
A Bee Gee classic and the Bee Gees did a pretty good job too!
@micktaylorisgod
I’m coming back to this again, it still blows my mind. I think that French audience is actually stunned by how brilliant Pat’s performance is.
@chrisblue4960
One of the best voices ever. She still sounds great now!