Song Details

Chuck Charles

"Oh My"

from the album: Hiya



Would I know, where it would go
From the moment that I met her
Was true - for you and I

We can't get enough, we like the same stuff
It's like love - only it's better
And you are all mine, oh my

Love is a thing that should never be tough
It’s totally sane and it’s still kinda nuts
Like you're kicked in the gut
But somehow as light as a feather
And you are all mine - oh my

You give me so much, you fill me with love
And you fill up - that sweater
And my appetite

I got your back, you keep me on track
It's like that - now or forever
And I know what you like

Even if this should all go amiss
Or if it always like permanent bliss
Either Dick or Liz, or hers and his forever
I’m yours and you are mine

When we fight, it's alright
As long as I - don't say "Whatever"
And you are all mine, oh my

If we're blue, we'll make it through
As long as we do - it together
I’m yours for all time, for life

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Charlie Recksieck: piano, keyboards, lead vocals
Spud Davenport: drums
Andy Machin: bass, electric guitar, vocals
Sierra West: vocals
Barry Dorr: trumpet, trombone
Andrew Zahariak: saxophone

Story Behind The Song

This is a really weird song for me, first of all because it's personal (which I don't really like doing). I wrote it as a tribute to my girlfriend, really trying to put how I loved her "down on paper". I was stressing how it's not hot-at-first-but-love-fades relationship, but both grounded and fun. That's really how I felt. I finished the song and whammo - she broke up with me, I think about 1-2 weeks before I recorded it.

So then I've got to sing this tribute to our relationship, while inside the irony of the words while I'm kind of heartbroken ... it was just plain weird. So while there are some things that seem like breakup songs here on this record, the one pro-love song actually is the one that made me sad. That was all a long time ago when it was recorded, so that rawness went away. But still, it ended up ironic at the time for me but should have nothing to do with a listener who doesn't read this paragraph.

I wanted this to sound like a big orchestral throwback production, like something Rufus Wainwright would do. Although there was a hitch: I can't sing like Rufus Wainwright. I like to think Andy's production helped this sound more authentically me. And you can't go wrong with horns and lots of backup vocals.

- Charlie Recksieck