Pat Benatar Songs - Little Too Late Lyrics

Pat Benatar - Little Too Late

Pat Benatar - Little Too Late Lyrics and Youtube Music Videos

Album: Get Nervous
Released: 1982

Little Too Late Lyrics

I hear you had a good offer down on Third Avenue
You tell me that was the reason
For whatcha' put me through, yeah
And now you come collapsin' back
I feel the heat of your attack
Want me to take you back
I'm givin' you the sack
So don't waste your time

[Chorus:]
It's a little too little
It's a Little Too Late
I'm a little too hurt
And there's nothin' left that I've gotta say
You can cry to me baby
But there's only so much I can take
Ah, it's a little too little
It's a little too late

You say you had a good time
But did ya' think it was for free - yeah
And how much did it get ya', all their flattery
And now you come back, runnin' for protection
You've been bitten by love and stung by rejection
You can't connect
What did you expect?
I'm still gettin' over you

[Chorus x4]

Writer/s: CALL, ALEXANDER HUGHES
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Little Too Late

This was written by Alex Call, a songwriter and musician who was lead singer in the group Clover (Huey Lewis was also in the group). Says Call, "I wrote that around the same time I wrote '(867-5309).' I was really angry at a guy who had been playing lead guitar with me who had split to go play with somebody else, so that's what the song is about. It wasn't actually a boy-girl thing, it was more like a bandleader-lead guitarist thing - 'You want to come back and play with me, I don't think so, Bud.'"

Call: "From a production standpoint, it was kind of funny. There used to be these vinyl LPs called Drum Drops. Drum Drops were just drum tracks recorded by some drummer in a studio. They're like 3 1/2 minute long things. There'd be a fill every 8 bars and a little something every 4 bars. I was going through and went, 'Oh, I kind of like this,' and started playing around. We had the very first drum machines, which were these little cocktail things, they looked like a little suitcase. They had 'Rock 1,' 'Rock 2,' 'Conga,' 'Jazz' and 'Waltz.' One output, a mono output. I used that a lot, I ran it through a little spring reverb, but we're talking about the early days of multitrack home recording. I had a big 15 inch reel 4-track as my recording thing. The way you multitrack on that, you have to flip these sync switches, so when you actually overdub, you're hearing it off the first head, so it was really murky-sounding, like you're playing underwater. When you get done recording, you flip the sync switches back and all of the sudden it sounds great, it sounds clear again. What you do then is, you record 3 tracks of stuff and pong it down to one. Then you record 2 tracks, and pong it down to another 2, so by continuing to pong tracks around, you could record 16 or 24 tracks of stuff, but with each generation, the sound got smaller and smaller. That's how it was done back then, the spring reverbs, the old cocktail drum machines. The drum drops were much better than the drum machines. I only used them on that one song, for everything else, I used 'Rock 1' on my old drum machine."

Like "Hit Me With Your Best Shot," this became one of Benatar's most recognizable songs, and is often considered a female-empowerment anthem. Both songs, however, were written by men under interesting circumstances. Says Call, "Somebody said, it's not necessarily the truth, it's somebody's truth. For a song to connect, it has to have some reality to it, but it may be the reality's slightly skewed from what people think." (Check out our interview with Alex Call.)

Benatar said of this song: "That was Alex Call. I just liked the song. Some outside songs we rip to pieces. That song is not far from what he originally wrote."