001 Every Sing: Ted Chamberlain and Barbershop Singing

Welcome to Every Sing Podcast, episode number 1, with Ted Chamberlain on barbershop harmony. This show is about singing from every angle, because singing is as big as the world, and hearing about the driving passion of contributors to music enhances our own love and understanding of singing. Hello, this is Nancy Bos, and I'm excited about today's guest, Ted Chamberlain. Ted is the director of the barbershop chorus C Chordsman and a member of the Evergreen District Champion Barbershop Quartet 4.0. Ted began singing barbershop while still in high school in the 1980s. Aside from his passion for barbershop, Ted has also been a National Board Certified public school music teacher and currently has an independent voice studio. Notes and links from this conversation are available on the show's Facebook page, which is is a public group called EverySing Podcast. If you'd like a quick way to engage the EverySing guests in conversation, join the discussions on the EverySing Facebook page. If you'd like to donate to EverySing so that I can devote more time and effort to making it the best it can be, you'll find me on Patreon at patreon.com/everysing where you can donate and get some pretty cool prizes for it too. Before we get started, I want to take a moment to thank our sponsor, Teodora @teodorabeauty.com for supporting EveryCing. Teodora is offering 25% off to all of my listeners who enter EveryCing, all one word, at checkout on teodorabeauty.com. And every time one of my listeners uses that code, I get rewarded by Teodora. That's how they support this show. Our favorite Teodora products around my house are the Beauty Butter, Brazilian Glow Radiance Oil, and the Sugar Scrub Mask. We also love the soap. I have it at every sink in the house, and it has a great smell that everyone loves, not just me. I'll tell you a little more about Teodora at the end of the podcast. I'm also offering some help after the interview for people who are new to listening to podcasts. After the interview, I'm going to tell you how to subscribe to your favorite podcasts, like this one, and how to rate them on iTunes so they get better ranking, and what the show notes thing is all about. Ready? Let's go!

In this moment, with sunlight above, my cup runneth over with love. With love.

I think my passion for singing started at a really young age. I remember as young as the age of 4 and just the physical nature of singing, the physical feeling of belting it out, and that kind of carried me through quite a bit. I've always considered myself a choir boy at heart because I got a start in it as a choir boy when I was young. So even now I just feel like that's kind of a part of me is the singing. At the same time, over the years I've developed a passion for helping other people to find all kinds of really interesting things with singing. So I think I have a passion kind of on both sides, both in the performance part and in the teaching side.

Yeah.

Have you spent more of your singing career performing or teaching?

Teaching, because I was a choir teacher in public schools for about 27 years. So that was a large chunk of time. And so that didn't, of course, allow a lot of performing. And I decided early on that I didn't want a performing career so much as just opportunities to perform. So I think I'm too much of a homebody and didn't want to, didn't want to be on the road traveling all the time. And, and so I enjoy the kind of performing I get to do fairly regularly, but it's not like a performance career.

So you've got, I think, a specific niche that I've noticed that you are just really active in. And that's barbershop.

Yes, yes, that started also fairly young. Got started doing barbershop when I was 16 years old, so I've been doing it ever since.

Okay, so what do you do with barbershop?

Barbershop is a very unique style of singing, of vocal music, that it focuses so much on what we call the lock and ring of chords, which is really about getting them so in tune and in balance that you start really experiencing what I call a column of sound rather than 4 individual There's a lot of— you start to experience the undertones and overtones in it and how it all fits together in a really harmonious way. So there's a lot of physics of sound involved in it, which is fascinating. But then, like I mentioned, I was really involved— I got involved in singing because it felt really physically good. Well, that's really amplified when you're singing with either 4 voices or in a chorus of people who really understand how to get voices to kind of lock and ring, and that gets in through your whole body into your bones. And that's part of where that passion kind of developed.

There's something amazing about harmonizing with other people that I just don't get anywhere else.

Yep, exactly. Nothing like it.

Nothing like it. So what part— do you like to sing the crunchy stuff in the middle, or you lead, or what do you do?

That's a great question. I'm a natural bass-baritone in my classical world, but in Barbershop I've sung all 4 parts, and they each have their own little niche and their own personality. And each one has kind of wonderful things about it. So it's not a matter of a preference of one versus another, it's a matter of jumping in to be a part of whatever the sound is and whatever that requires me to be. And I love it all, it doesn't matter.

That's amazing. So what do you find with the vocal challenges? If you're a bass-baritone, holy cow, that Barbershop Quartet has a huge range.

It does, yes. So my low range, I kind of have a freakishly low voice. It doesn't resonate really big like a profundo would, but I can sing down. Really low, and I've got— it just stretches. I don't know, it just kind of opens up and I have this real low range. So that's all fine, but it also just through good vocal technique, you know, being able to work through my mixed voice all the way up into the falsetto, you know, I'm able to do— in barbershop, the tenor, the high part, or the tenor in a barbershop quartet or chorus is very different than like a Helden tenor where you're really kind of, you know, got full voice sound going. It's much more of a falsetto or light head voice sound most of the time. So a bass like me He just kind of does most of the stuff in tenor and falsetto.

So what are the 4 voice parts in the quartet?

We have the lead part, which is the melody, and that's kind of akin to what you might call a second tenor. The thing about barbershop, one of the things that makes the barbershop harmony the way it is, is the melody is not in the highest voice like it is in an SATB kind of a sound or a glee club kind of a sound. So there's a harmony part above the lead we call the tenor, and that's again why we don't want it too loud because otherwise it would overpower the melody, which is the one part lower. The baritone part uses a lot of the same, same range as the lead, but being an inner voice, the leads and baritones are swapping where they are relative in the chord. So when the lead's up high, the baritone's down low, and when the lead's down low, the baritone's up high, that kind of thing. So they kind of do a lot of flip-flop, a lot of similar range with lead and baritone. And then the bass kind of anchors all the chords. And what's kind of interesting, I think, is because of the way the chord's close harmony works, a lot of times basses have to actually sing rather high. You might have basses singing up middle C or D, maybe even E-flat or so sometimes for basses.

Yeah.

Whereas in some of the other traditional stuff they just kind of stay down in the very low range. But in barbershop it's a pretty wide range that the basses need to sing.

Yeah, that's got to be almost a deal killer for some guys if they have to sing above a middle C. Mm-hmm.

Yeah. And sometimes you can kind of just have people kind of back out for a note or whatever, but most of the time we just train them how to use their voice better. So they can do all of it.

What a good idea! Which brings to mind the thought that on the occasions that I've had barbershop singers in my voice studio, I find that their idea of voice type being different than, say, the choral idea or the operatic idea of what a tenor is and what a baritone is causes a little bit of a language shift.

Yep, it's because of the style of the music. It does. And it's interesting too, if you've ever worked with women who sing barbershop, they use the same voice classifications as the men's barbershop, which is even more confusing. So they still have tenor, lead, baritone and bass for women's voices. And so, and it's more about the function rather than the voice classification.

Yeah, beautiful. Got it. Okay, so you sing in a quartet. What do you do?

Yeah, I direct the Seattle Sea Chordsmen Chorus. The chorus began in 1949, and when I first stumbled into barbershop— and long story back, backstory on that— but I ended up kind of walking into a Seattle Sea Chordsmen rehearsal when I was 16, and that was kind of the beginning of the end for me. That was kind of a life-changing moment. And so then I sang with them for a few years and went off and sang with other choruses and so on. And then I started directing them about 4 years ago. So I've been the Sea Chordsman's director for just over 4 years, maybe 4 and a half years. But I've also been involved in quartets since high school, ongoing, virtually never without a quartet. Right now I'm in 2. I sing tenor in the in an internationally competitive quartet called 4.0, and then I sing lead in a quartet that's made up of Sea Corpsmen, and we're called Blue Skies.

Love it. So do both those quartets sing similar repertoire?

Uh, we have nothing the same between the two quartets, but there are some songs that would be considered similar repertoire with virtually all barbershop singers. There are some, some songs that, you know, a lot of people know. We actually have a collection of of a dozen songs they call Barber Pole Cats that singers all over the world who sing barbershop learn them. So when you get together at a convention, you can get together with 3 other guys that you've never met before and sing a song with them.

That's awesome.

Yeah, it's very cool.

I do want to talk about conventions later because I got to experience one of those from the outside once, and I was totally blown away. But tell me about 4.0 and your guys' international careers in this.

Yeah, the lead singer and I happened to be in a group called Illumine Men's Chorale, which is a classical group kind of started and run by Chris McCafferty. We were singing together in that group and went on America's Got Talent, and so we kind of got to know each other a little bit in that, in that journey. And then when that was a couple months after that, and I was looking for a new quartet, and I went to Gavin and talked to him, and he was looking actually to get into a smaller group at that time. Illumini was about 16 guys and that was too big for him. He wanted something smaller, so this turned out to be a really good thing for Gavin. And then when we were talking, he said, "Well, I have a brother who sings and he studied opera and sings bass." A literal brother, like blood relation brother? Yep.

That's fantastic, right?

Yep. So his brother Tyson sings bass in the quartet. And then a friend of mine, Ira Allen. So Ira is our baritone and Ira and I have known each other for years. So that's kind of the quartet. We started about 5 years ago now, and then just kind of worked our way through and kind of learned. Both Gavin and Tyson had never sung barbershop before, so both were classically trained, good voices, knew their instrument, but didn't know the style. And so a lot of the early, early time was kind of learning how to use all of their talent and then build it into the style of barbershop, because of course there's idiosyncrasies that go along with that and lots of, lots of stylistic things to learn. And so we work with great coaches and And we have been involved in the competition scene for some time, and we became the Evergreen District, which is basically Northwest United States, Canada, Evergreen District Champion Quartet in 2015. And so then we've been competing, I think we've competed now 4 times at the international level.

Wow.

Yeah, quartets from all over the world, literally, that compete.

How far, how high have you gone at that international level?

The highest we've placed is 25th.

That's amazing, out of the whole world?

Yep, yep.

Fantastic. I would imagine at that level, I mean, I can't even imagine what the judges would be thinking in order to decide. Everybody's going to be excellent at that level.

Well, that's really true. And one of the things I've loved about Barbershop is the whole way that contests are done. Being a middle school and then high school choir teacher, you know, sometimes the competition thing can be kind of a negative experience, or it can be kind of cutthroat. It doesn't have the right feel in my opinion a lot of times. And it's gotten better, I think, over the years, where I kind of think more like a festival or whatever. In barbershop, everything is so cordial and collegial. Everybody's— you have in the top groups, they're coaching each other, right? They're trying to help each other the best. Everybody's always wanting the best performance from everybody. And it's very educational-driven. And the judges have to go to judging school for like 3 years. And it's like there's really highly defined how they do the judging and how they work with the quartets afterwards. So in men's barbershop, One of the cool things in the judging program is that after the contest, the quartet or chorus gets to work with a judge from each category for 20 minutes or so where they can get a little bit of coaching and kind of next steps for the group, kind of like you might do as a clinic kind of thing in another setting. So, but it's very well-trained people to do that.

So what are the stories or what's the heart of your passion for this kind of music?

I think there's several things that pull together. It's not necessarily one thing. I think early on it was like I said, the physical nature of feeling it in your bones and getting your voice to kind of lock and ring with other voices, and that's still just a fascinating thing to me and really playful and fun. And so I don't think that that will ever leave, but I don't think I really paid much attention to, you know, the story that I'm delivering and all that kind of thing until much later. But that has become like the North Star in what I do, is to try and create some kind of an experience for the audience. And the international contest, we do it over the Fourth of July week. And so we just had that a couple weeks ago, and it was in Las Vegas this time. We were at Planet Hollywood. So several thousand barbershop fanatics, and there were some performances that just were some of the most emotionally impactful I can ever remember experiencing in any genre, you know, in all of my musical background. You know, people want to do a quick search, do a YouTube search for Signature Dance with My Father for an example of where this hobby is going. It's a wonderful thing.

Signature Dance with My Father. So I'm sure barbershop is evolving. It's no longer the straw hats and the candy striped clothes.

Funny you say that because the winning quartet this year actually called Main Street, uh, all four have been or are Dapper Dans of Disney World, and, uh, and they actually wear the straw hats and it's very fancy, just hype, but it's— they've taken that to the hilt as far as like that's their bit, and it's, uh, it's, it's very fun. But you're right, other than that There's nobody else that does that in the competition stage that I've seen, you know, but it is funny that they actually won this year.

Yeah, that is. Where does the new barbershop intersect with these new a cappella groups with the beatboxers and that kind of thing?

Yeah, it's kind of fun. I think that there's a real wave to try to honor kind of where the roots of barbershop, but also recognize that the a cappella world is really in an explosion right now, and our Barbershop Harmony Society bigwigs and arrangers and so on have been working with Deke Sharon and others in the a cappella world to try to kind of bridge that gap a little bit. It's important, I think, to many of us in barbershop that barbershop is a particular thing and it's different than a cappella— I mean, than what you would call like a college a cappella or the contemporary a cappella. There's specific things that make it barbershop versus something else. And so keeping the identity is kind of important as far as understanding that that's what it is, but at the same time, a cappella is also just a great avenue for expansion and building more audiences and building skills and all of that. So I think that there's a kind of a neat segue happening. In the Barbershop Harmony Society too, about 3 weeks ago they just unveiled a new vision for the organization and it's all about inclusion. There's a place for everybody and that's not necessarily been always the case, certainly not as overt as it is now. So I think there's gonna be a lot of outreach that people see and experience. And so the a cappella world really helps with that, I think.

I was in Nashville during a conference of the barbershop world, and I think there were 10,000 barbershoppers there, and gregarious, outgoing, full of love, supportive, happy. It was like all of Nashville was over-the-top bubbling.

That's us.

That's us. Is there room for introverts in barbershop?

Well, funny thing, I actually consider myself an introvert. I gain energy from being alone. Groups, groups kind of, you know, large parties and stuff like that just suck energy out of me. So I'm not much of a mingler generally in that sense. And yet here I am as a barbershop director, and I feel more alive on stage when I'm interacting than I do at any other time in my life. So absolutely, I think there are a lot of introverts that you'll find in barbershop because it gives them an outlet, gives them a place to be comfortable. I think one of the things that I found fascinating is listening to how different people have come across and found this to be kind of— and virtually everybody I've ever met who sings Barbershop and I ask the question, they will always say, "I wish I'd known about it earlier," because it seems like the biggest kept secret in the choral world, even though there's, you know, 50,000 people who sing Barbershop on a regular basis between men and women. It just seems like people don't really understand what it's all about, and as soon as they walk through the doors, they have that experience like I did. So what happened was I was in choir, of course. I was a choir geek in high school, and I was rummaging through at lunchtime one of the cupboards in the back of the choir room, and there happened to be a book of barbershop arrangements. I thought, well, this is interesting. I didn't really know anything about barbershop at the time, but it looked like it'd be fun. It looked like 4 guys can sing, you know, this TTBB stuff. So I grabbed 3 other guys and said, hey, you want to do this? And so we started singing, and then we decided— one of the guys, his mother worked at the Kingdome at the time, and and we thought, well, it'd be fun to see if we can sing the national anthem at a Mariners game. So we went to our choir director and asked him if he knew where we could get an arrangement, a barbershop arrangement of the Star-Spangled Banner. He says, well, I don't have an arrangement myself, but if you go to this church on Capitol Hill at the time on a Monday night and go down in the basement and ask for a guy named Bob Mahoney— and that's all he told me. So I went there, and that was a Sea Corpsman rehearsal, and Bob Mahoney was directing at the time. Funny thing, here when I came back much later, that was in 1980, so when I came back and started directing 4 years ago, Bob Mahoney is still in the chorus. He's had some health issues, so he's kind of backed out now, but really kind of fun to kind of flip the table. He was my director back then, and now I'm his director. It's very fun.

I love it. Go to this church on a Monday night. Was it Monday night?

It was a Monday night back then. We're on Tuesdays now, but yeah, it was a Monday night. Just kind of walked in and and there was a chorus, and it blew my mind. I had been in this classical boy choir, you know, very, very high-level, you know, choir boy singing. And when I walked in, just this raw sound, and it was amazing, again, the way the chords work together. And so it was intimidating at first, even for a person who has a lot of self-esteem as a singer. And I knew I could sight-read and all this. Well, a lot of the guys in barbershop, they do it by ear. They don't really have the sight singing skills. And so I go up on the risers and I start realizing, hey, I can sing like these guys. This is actually— but from the front it was really intimidating. I thought, how do they do that? But then you start getting into the sound and wow, it's really cool.

Well, I know there's going to be a lot of barbershoppers that listen to this particular podcast. Is there anything that those guys would like you to share?

There's a couple of things. First of all, I've mentioned earlier that there's a real thrust for education in the Barbershop Harmony Society and in Sweet Adelines Incorporated. And there's another sister organization called Harmony Incorporated in some parts across the United States. And so in all of them, they really are interested in good music education and good vocal education. And so we have this university, Harmony University they call it, which is actually next week. It's a week-long intensive university for harmony singers, and it's in Nashville at Belmont. And we have the best instructors that come out and teach. But what's really been fun is over the last very few years, they've started working toward getting music educators involved in going to Harmony University. And so started out with a couple A couple people got scholarships the first year, but I think this year there's something like 100 and some music educators that got scholarships to go to Harmony University. It's a life-changing experience for them because all of a sudden they see this whole world open up as things that they can bring back into their choral programs that really is the best ear training you'll ever get. It's fun, it's engaging, it deals with that whole a cappella game but in a really, really strong structured way. There's a lot of support that people can get for that. For kind of working with barbershop. The other thing that is not necessarily recognized is— so barbershop is, is an everybody style of music. It's, it's not highbrow, it's not, not something that people have to have a lot of education to be able to go and jump into. That said, the beginning levels, you know, when you're just starting out, it may not sound as, as amazing to some people as it does, you know, but, but it feels right. There's a lot of things to kind of develop from as you get more involved in it. The level of singing becomes really sophisticated. And I think that that sometimes gets lost in the general music world, is the high level of vocal artistry that gets developed in some of the best choruses and quartets. It's really quite phenomenal.

Yeah, I know from my own experience that there's a huge difference from listening to a chorus or listening to a quartet to actually being one and feel those sounds in your own body, like you said, from the bones. And if a person hasn't experienced that. They can't say they don't like barbershop. It's not fair because it's really being in it and being part of that.

I think you're right. I think it's a participation sport. Yes. And yes, when you're singing for an audience, it's— you have to, you have to go beyond that, just joy of yourself singing and give the audience something as well. But you don't need— as a barbershop singer, you don't need the audience to really love what you're doing because of that 'it gets in your bones' kind of thing. It's just fun to stand with 3 other guys or a chorus and just sing, just get your voices to lock and ring together. Yeah.

Totally. Well, Ted, I know you've got everybody excited about barbershop now, so I'd like you to tell me where they can learn more about their local barbershop, but also more about you. I know you're teaching some classes and how they could get involved with what you're doing.

Every year there's kind of a local Harmony College Northwest, we call it. We had over 400 people attend that this year, so I'm on the faculty of that every year. I also teach other workshops. One is a lead singer workshop and the other one is a harmony singer workshop. And I've designed those for all voice types, for both, to go to both, because you learn a lot about how to do your part when you learn about the other one. So anyway, I've got those. I do— I call them TEDshops. People are interested in those specific things, their website at TEDshops.com. As far as like getting involved in barbershop in general, the first thing is just check out the Barbershop Harmony Society. If you go to barbershop.org you'll be able to see a whole wealth of basic information. People can look up— there's a place there, there's a link somewhere on that page, I can't tell you exactly where it is right now, but people can go in and enter their zip code and it'll show the various choruses around them that they might be interested in checking out. We have a number of them in the Northwest, and if people are interested, both men's and women's groups, there's a number of them around here. Each chorus has its own kind of personality and culture, I guess, if you will. And so if people are interested in that, I would love to have people kind of email me and kind of start a conversation that way. And that would be an easy way to kind of help them sift through that from a firsthand experience on what kinds of things are out there. You can also do little searches like barbershop choruses in the Northwest or something like that and probably find some things as well. But I think that's probably the first place that I would start is going to thebarbershop.org or sending me an email and kind of taking a look around that way. It's ted@nwvoicestudio.com.

Great. All right. Any last parting words that you want to share with our audience?

Find an avenue for singing and enjoy the, uh, the whole experience of being a singer because there's nothing like it.

Yeah, that's right. I totally agree. Thank you so much for being here and for sharing your passion for barbershop and for singing. I'm really grateful to you. Thanks, Ted. Wow, what a treat. Ted mentioned a lot of great resources and ideas to follow up on, so if you didn't catch them, don't worry, we've got your back. The notes and the links from this conversation can be easily found on the show's Facebook page, which is a public group called Every Sing podcast. Before I wrap up and play some of 4.0's music, I want to thank Theodora at theodorabeauty.com for sponsoring today's episode. Without their help, I wouldn't be able to pull this off. So take advantage of their generous offer of 25% off to discover their terrific products. Theodora's natural products are inspired by ancient Brazilian beauty secrets using natural anti-aging ingredients from the Amazon rainforest. They're toxin-free, ethically sourced, sustainably harvested, gluten-free, and made in the USA. So for your 25% discount and to help this podcast, use the discount code word "EVERYSING," all one word, when you check out. If you know of any companies that would be interested in reaching the listeners of this show through podcast sponsorship, have them email info@studioboss.com to start the conversation. So to wrap it up, my takeaways from this interview today are: Ted's passion for singing started at a really young age, 4 years old, and he loves the physical feeling of belting it out. Over the years, Ted has developed a passion for helping other people to find all kinds of things with singing. And Ted's takeaway: find an avenue for singing and enjoy the whole experience of being a singer because there's nothing like it. Oh yeah, and barbershoppers get to feel the music in their bones. So go to the Facebook group Every Sing Podcast, 3 words, to get the notes and links from this episode. And while you're there, join the group to get advance notice of what podcasts are coming up next. If you like what you're hearing on Every Sing, do me a favor and hit the subscribe button on your podcast player to make sure you don't miss a single episode. If you don't know how to subscribe, are you new to listening to podcasts? You might be like I was and not have a clue how to subscribe, review, comment, or see the extra info provided through your podcast player. I'm going to go through how to do all of those things with iTunes at the end of this podcast, after the music. And if you are somebody who doesn't listen through iTunes, chances are your podcast platform will have similar features. If you're using Stitcher for Podcasts, go to the show page and click the plus sign on the right side to subscribe. So here's a little music from 4.0, and after that, the how-to-subscribe instructions. Here we go.

Oh, give me a home where the buffalo roam, where the deer and the antelope play, where seldom is heard a distant cry. Discouraging word, and the skies are not cloudy all day. Home, home on the range, where the deer and the antelope play. Where seldom is heard a discouraging word, and the skies are not cloudy all day. Oh, give me a land where the white diamonds The sand flows leisurely down the stream, down the stream. Graceful white swan goes gliding along like a maid. In a heavenly dream. Then I would not exchange my home on the range where the deer and the antelope play, where seldom is heard a discouraging word. And the skies are not cloudy. All day not cloudy, all day, all day.

Mmm, that was gorgeous. So, about how to subscribe to a podcast, comment, review, that sort of thing. First thing is how to subscribe if you're on your phone. If you aren't already listening through the podcast app on your phone, first open the podcast app and search for "Every Sing," two words, or "Nancy Bos," one S. Once you're on the show's page, you'll see a button on the right that says Or is it the left? You'll see a button that says subscribe. Tap that and you are all set. You'll get every episode downloaded to your phone every time it comes out. If you're listening on your computer, open up iTunes and click on the iTunes Store at the top of the screen. On the right-hand side of the iTunes Store, click the arrow next to music and then select podcasts. Search for Everysing, and once you open the show's page, you should see a subscribe button to click right under the gorgeous blue show logo. Next, how to review and rate. Getting ratings and reviews is super important to podcasters. If you've ever searched for a new podcast on a topic, you know that you are much more likely to visit podcasts with 5 stars. And the bigger the number beside those stars, the more likely you are to take a chance on the podcast. So the way to rate and review is to go to the iTunes Store again and search for EverySync. After you subscribe, you will see a tab in the middle of the page that says reviews. Go there and leave an honest rating and 1 to 3 sentences about what you value about this podcast. And finally, a lot of podcasts put show notes right in the podcast player for you. If you want to see the extra info in iTunes, look for the 3 little dots on the right side of the show when it's playing. Once you tap that, you'll see a bunch of options pop up, and one of them is View full description. Many podcasters put loads of information specific to the show in this part. I'll try to remember to do that each time so that you can get to the show notes without having to open a browser. That's all for this episode. Thank you so much for tuning in. See you in a few days for the next episodes of Every Sing. Music out.

Now even though it's 3 below, let's just enjoy the storm, baby. We got love to keep us warm, love to keep us so warm. I wish you a happy birthday, baby, even though I'm poor. But if you'll agree to marry me, who could ask for anything more? Oh gee, I'd like to see you looking—

ooh!

Baby, baby, a lot of diamond bracelets Goodwill doesn't sell. Baby, till that lucky day, you know darn well. Baby, I can't give you anything but love is many splendor thing. Ba-dum-dum-dum. I can't give you anything, but I'm taking a chance on chance on love. I can't give you anything, but let's fall in love. Who's up? I got plenty of love. I can't give you anything, obviously, but But the love, but the love, baby, you're the one. I love.