We Three
The Ink Spots Lyrics
We three - we're all alone
Living in a memory
My echo, my shadow, and me
We three - we're not a crowd
We're not even company
My echo, my shadow, and me
What good is the moonlight
The silvery moonlight that shines above?
I talk with my echo
But where is the one I love?
We three - we'll wait for you
Even till eternity
My echo, my shadow, and me
We three - we're all alone
Seems like we're livin' in a memory
That's my echo, my shadow, and me
We three - we ain't no crowd
Fact is, we ain't even company
That's my echo, my shadow, and me
You know I been wonderin'
What good is the moonlight
That silvery moonlight that shines way, way up above?
Yeah, I walk with my shadow
I talk with my echo
But where is that gal that I love?
We three - we'll wait for you
Even till eternity
My echo, my shadow, and me
Lyrics © Warner Chappell Music, Inc.
Written by: DICK ROBERTSON, NELSON COGANE, SAMMY MYSELS
Lyrics Licensed & Provided by LyricFind
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(1934-1954)
The Ink Spots were a vocal group in the 1930s and 1940s that helped define the musical genre that led to rhythm and blues and rock and roll, and the subgenre doo-wop. They gained much acceptance in both the white community and black community largely due to the ballad style introduced to the group by lead singer Bill Kenny. They were inducted into the Rock & Roll hall of fame in 1999.
Their songs usually began with a guitar riff, followed by the tenor Bill Kenny, who sang the whole song through. Read Full Bio(1934-1954)
The Ink Spots were a vocal group in the 1930s and 1940s that helped define the musical genre that led to rhythm and blues and rock and roll, and the subgenre doo-wop. They gained much acceptance in both the white community and black community largely due to the ballad style introduced to the group by lead singer Bill Kenny. They were inducted into the Rock & Roll hall of fame in 1999.
Their songs usually began with a guitar riff, followed by the tenor Bill Kenny, who sang the whole song through. After Kenny finished singing, the bass would either recite the first half, or the bridge of the song, or would speak the words, almost in a free form, that were not part of the song, commonly using the words "Honey Child", or "Honey Babe", expressing his love for his darling in the song. This was followed by Kenny, who finished up singing the last refrain or the last half of the song. On some songs Deek Watson would sing the lead rather than Bill Kenny. This was mostly on the uptempo "Jive" songs.
The Ink Spots formed in the early 1930s in Indianapolis. The founding members were :-
Orville "Hoppy" Jones (b. 17 February 1902, Chicago, Illinois – d. 18 October 1944, New York City) (bass) (Played cello in the manner of a stand up bass)[1]
Ivory "Deek" Watson (b. 18 July 1909, Mounds, Illinois – d. 4 November 1969, Washington, D.C.) (tenor) (Played guitar and trumpet)
Jerry Daniels (b. 14 December 1915 – d. 7 November 1995, Indianapolis, Indiana) (tenor) (Played guitar and ukulele)
Charlie Fuqua (b. 20 October 1910 – d. 21 December 1971, New Haven, Connecticut)
(baritone) (Played guitar)
*** BILL KENNY ***
The voice that made them famous Bill Kenny (Mr. Ink Spot) was born June 12th 1914 in Philadelphia PA, and died Mar 23rd 1978 in New West Minister, British Columbia. When Bill Kenny joined the group in 1936 they were mostly a "Jive" ensemble, performing swinging uptempo songs. It wasn't until The Ink Spots 1939 recording of "If I Didn't Care" that Bill Kenny's voice began being regularly featured on Ballads, which it was until The Ink Spots disbanded in 1954. Hits that feature Bill Kenny include "I Don't Want To Set The World On Fire", "We Three", "The Gypsy", "Address Unknown", "With My Eyes Wide Open I'm Dreaming", "So Sorry", "Bless You", "My Prayer", "Into Each Life Some Rain Must Fall", "It's A Sin To Tell A Lie", It Isn't A Dream Anymore", and dozens of others. Bill Kenny has been listed as an influence by such great artists as Elvis Presley, Sam Cooke, Johnny Mathis, Sonny Till, Clyde McPhatter and many others. Bill Kenny is often noted as the father of Doo Wop for his high tenor singing and his introduction of the popular "Top & Bottom" format used by virtually every Doo Wop group in the 50's and 60's.
Since Bill Kenny broke up The Ink Spots in 1954 there have been well over 500 black vocal Quartets calling themselves The Ink Spots none of which have or had any original members. There are even groups still touring as The Ink Spots today. It is largely accepted that if the group didn't contain Bill Kenny then the group was/ is a fake.
The Ink Spots were a vocal group in the 1930s and 1940s that helped define the musical genre that led to rhythm and blues and rock and roll, and the subgenre doo-wop. They gained much acceptance in both the white community and black community largely due to the ballad style introduced to the group by lead singer Bill Kenny. They were inducted into the Rock & Roll hall of fame in 1999.
Their songs usually began with a guitar riff, followed by the tenor Bill Kenny, who sang the whole song through. Read Full Bio(1934-1954)
The Ink Spots were a vocal group in the 1930s and 1940s that helped define the musical genre that led to rhythm and blues and rock and roll, and the subgenre doo-wop. They gained much acceptance in both the white community and black community largely due to the ballad style introduced to the group by lead singer Bill Kenny. They were inducted into the Rock & Roll hall of fame in 1999.
Their songs usually began with a guitar riff, followed by the tenor Bill Kenny, who sang the whole song through. After Kenny finished singing, the bass would either recite the first half, or the bridge of the song, or would speak the words, almost in a free form, that were not part of the song, commonly using the words "Honey Child", or "Honey Babe", expressing his love for his darling in the song. This was followed by Kenny, who finished up singing the last refrain or the last half of the song. On some songs Deek Watson would sing the lead rather than Bill Kenny. This was mostly on the uptempo "Jive" songs.
The Ink Spots formed in the early 1930s in Indianapolis. The founding members were :-
Orville "Hoppy" Jones (b. 17 February 1902, Chicago, Illinois – d. 18 October 1944, New York City) (bass) (Played cello in the manner of a stand up bass)[1]
Ivory "Deek" Watson (b. 18 July 1909, Mounds, Illinois – d. 4 November 1969, Washington, D.C.) (tenor) (Played guitar and trumpet)
Jerry Daniels (b. 14 December 1915 – d. 7 November 1995, Indianapolis, Indiana) (tenor) (Played guitar and ukulele)
Charlie Fuqua (b. 20 October 1910 – d. 21 December 1971, New Haven, Connecticut)
(baritone) (Played guitar)
*** BILL KENNY ***
The voice that made them famous Bill Kenny (Mr. Ink Spot) was born June 12th 1914 in Philadelphia PA, and died Mar 23rd 1978 in New West Minister, British Columbia. When Bill Kenny joined the group in 1936 they were mostly a "Jive" ensemble, performing swinging uptempo songs. It wasn't until The Ink Spots 1939 recording of "If I Didn't Care" that Bill Kenny's voice began being regularly featured on Ballads, which it was until The Ink Spots disbanded in 1954. Hits that feature Bill Kenny include "I Don't Want To Set The World On Fire", "We Three", "The Gypsy", "Address Unknown", "With My Eyes Wide Open I'm Dreaming", "So Sorry", "Bless You", "My Prayer", "Into Each Life Some Rain Must Fall", "It's A Sin To Tell A Lie", It Isn't A Dream Anymore", and dozens of others. Bill Kenny has been listed as an influence by such great artists as Elvis Presley, Sam Cooke, Johnny Mathis, Sonny Till, Clyde McPhatter and many others. Bill Kenny is often noted as the father of Doo Wop for his high tenor singing and his introduction of the popular "Top & Bottom" format used by virtually every Doo Wop group in the 50's and 60's.
Since Bill Kenny broke up The Ink Spots in 1954 there have been well over 500 black vocal Quartets calling themselves The Ink Spots none of which have or had any original members. There are even groups still touring as The Ink Spots today. It is largely accepted that if the group didn't contain Bill Kenny then the group was/ is a fake.
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Archlord Angel
For those who watch Better Call Saul:
My echo: Jimmy McGill, as he is the most distant one. Also, for an echo to form, some distance is required: Considering Jimmy is his first and true identity, now "destroyed" and forgotten, it is not far-fetched to deem him the "echo"".
My shadow: Saul. His recent criminal deeds in the Breaking Bad world and his fear of being caught by the police are like a shadow who haunts his soul. When compared to the echo, a shadow is almost always behind you: It has your shape, looks like you, but of course, it is not you. By observing its outline, in spite of its featurelessness, it is possible for someone to recongnize you. This is, as shown a number of times, Gene's greatest fear.
And Me: Gene. But then, could we really assume this is the protagonist's true self? From a pure viewer perspective, the answer is no. His "true" and primary self is Jimmy McGill, but now he is an echo. Gene longs for the "glory times" when he was Saul, daydreaming of becoming his shadow. His present self, Gene, is ironically the most shallow and miserable of all the three, possibly nothing but an echo, a shell of a formerly prosperous person. Yet, right now, he is the protagonist's "me".
Living in a memory: I think this one is quite obvious
We're not a crowd/We're not even company/We three, we're all alone: The identities cannot ever meet one another, as this is the same as condemning Gene/Saul/Jimmy to a life in prison. Even though he is three, he is lonely and must remain so in order to survive.
What good is the moonlight/That silvery moonlight(...) But where is that girl that I love?: This life is meaningless now, I cannot appreciate it. He has no one he loves around (Kim doesn't even show up in Breaking Bad).
I cannot help but love Better Call Saul's production team.
I hope we get another great series from Vince Gilligan when BCS is over.
Comiccando
We three, we're all alone
Living in a memory
My echo, my shadow and me
We three, we're not a crowd
We're not even company
My echo, my shadow and me
What good is the moonlight
The silvery moonlight
That shines above?
I walk with my shadow
I talk with my echo
But where is the one I love?
We three, we'll wait for you
Even 'til eternity
My echo, my shadow and me
We three, we're all alone
Seem like we living in a memory
That's my echo, my shadow and me
We three, we ain't no crowd
Fact is we ain't even company
That's my echo, my shadow and me
You know, I've been wondering
What good is the moonlight
That silvery moonlight
That shines way, way up above
Yeah, I walk with my shadow
I talk with my echo
But where is that gal that I love?
We three, we'll wait for you
Even 'til eternity
My echo, my shadow and me
Sourse: LyricFind
Ignacio Altuna
Gracias Sr. Becker! Me alegra que le agradara el comentario. Acá estos discos llegaron algo tardíamente, antes habían editado a The Platters (1956)
que fueron un boom, y durante añosy hubo algunos otros grupos del mismo tipo, pero fuera de de los dos nombrados, ninguno llegó a la altura de éstos. Yo soy de Buenos Aires (Argentina} y bastante mayor (80)... Ud., ¿Desde donde escribió? Repito mi agradecimiento. Hasta siempre, ligados por el común afecto por los viejos, buenos discos. Ignacio Altuna (a) Nacho9
MatTehCat
I tend to think about this song this way:
"My echo": the effects of our past actions.
"My shadow": what we appear to be as we see ourselves.
"Me": ourselves as ourselves, in essence, our soul. I not as I but as "I".
The idea that the three are living in a memory seems to be a metaphor for the idea that what we are, as a whole, unified, cannot be grasped and attained, are ephemeral, yet are; so to speak, they are transcendent aspects of the self. This is supported by the idea that the three are not a company, they are not a crowd, they are merely a plurality in one; in faith, intended to come together one day. This idea, or rather the idea that they're a plurality, is supported by the line, "I walk with my shadow, I talk with my echo, but where is that gal that I love?": We "walk," with, or I would say bear, how we appear to be and how we see ourselves, we commune with our past-selves to reflect, and are that we are, for without being the case, could not have a sense of our desires and could not question in the first place, which is rather reminiscent of Descartes' "Cogito, ergo sum." the idea that they will one day come together is supported by the line, "We three, we'll wait for you, even to eternity." Unless you plan on waiting forever, without end, which does not appear to be the case or possible, you would have faith that they would one day unite.
Just my thunks.
KAREN-CHERIE COGANE
This beautiful song, "We Three" was written by my father, Nelson Cogane, the prolific ASCAP lyricist/songwriter. The Ink Spots version is classic. A moving love song, "We Three" was written for my mother, Dorothea Cogane, his inspiration, and was composed before my parents were married. I'm so proud to have had such a wonderful and gifted father.
Shamus Orthington
What
Kreegs
Makes the song all the more beautiful. Thank you for sharing!
z
what a lovely story
ObsidianDawn
Truly legendary. I happened to hear this on the passerby. Glad I stopped to listen to it.
Not Nori
bruh i’d be flexing tha everyday lol
Atlas
“I can’t believe there’s like a billion people on this planet, and the only person I have to talk about this is you” - Jimmy McGill
TV MAN
@Joseph Wong 😐
Tylerc010
Last season😭 Please for the love of god Kim makes it to the hoover shop!
Khamis Michael
@Olivia Primm same for me