You'd Better Love Me (While You May)Words & Music by Timothy Gray & Hugh Martin
Recorded by Mel Torme, 1964
AM7 F#m Cdim(III) C#m7-5 AM7 You'd better love me while you may AM7 F#m Cdim(III C#m7-5 F#7 To - mor - row I may fly a - way D9 Cdim Bm7-5 E7-9 AM7 D9 AM7 F#m I want your gen - tle touch, your con - ti - nen - tal touch, D9 Cdim Bm7-5 E7-9 Your el - e - men - tal touch AM7 C#m7-5 D9 E7 You want me too -- oh, I know that you do. AM7 F#m Cdim(III) C#m7-5 AM7 AM7 - D9 - Cm7-5 - AM7 You'd better love me while I'm here AM7 F#m Cm7 C#m7-5 D C#m7-5 Bm I have been known to dis - ap - pear D F#m Bm Bm7/E AM7 C#m7-5 F#7 So, don't let this mir - a - cle melt a - way AM7 F#m C#m7-5 AM7 F#m C#m7-5 D B7 The clock ticks fast a - bove me, if you think fond - ly of me AM7 Bm7-5 D9 E7-9 AM7 D9 AM7 You'd bet - ter love me while you may, while you may. Bridge: A AM7 D9 Bm7-5 E Fdim A D9 A You called me back with a si - lent plea, AM7 D9 Bm7-5 E7 E7-9 A From another time, another place, another me; A AM7 D9 Bm7-5 E Fdim Am E7 Am You called me back, and I found my way E7 A F#m D9 Bm7-5 E To a half-remembered, half-forgotten yesterday. Fdim F#7 Cdim But I might not stay, so remember, baby, Repeat last verse
*Requested by recent visitor David Banks. Purists will no doubt notice that Torme takes a half-step rise on the last line of the bridge, to F7 rather than to F#7 as I show it here, and that the final verse follows suit, raising a half-step throughout. I'm sticking to my policy: if I can't play it, I don't show it. The half-step raise on the final verse confounds me to the point I don't even bother trying to make the jump, I merely found a way to return to the original verse's key. If you're smart enough to notice, you're probably also smart enough to fix it, so help yourself.