The Partridge Family will be adapted into an animated children's series in the near future | Daily Mail Online

About the Song

“Doesn’t Somebody Want to Be Wanted” by The Partridge Family is one of the group’s most memorable hits, perfectly capturing the emotional vulnerability and longing that made their music so relatable. Released in 1971 as the second single from their album Up to Date, this song became a major success, reaching No. 6 on the Billboard Hot 100 and solidifying The Partridge Family’s place in early ’70s pop culture.

At its heart, “Doesn’t Somebody Want to Be Wanted” is about loneliness and the universal desire to feel loved and needed. The lyrics express a sense of yearning, with the narrator questioning why love seems so elusive. It’s a theme that resonated deeply with listeners, especially the young fans who connected with David Cassidy’s heartfelt delivery. His voice, smooth yet filled with emotion, adds a layer of sincerity that makes the song feel personal and genuine.

One of the most distinctive aspects of this track is its spoken-word bridge—a feature that David Cassidy initially disliked but was convinced to record. In this section, he speaks directly to the listener, adding an extra touch of intimacy. While Cassidy later admitted he wasn’t a fan of this part, it turned out to be a defining moment of the song, making it even more appealing to audiences.

Musically, the song blends soft rock and pop, featuring a mid-tempo groove, gentle guitar work, and a polished production style that was characteristic of The Partridge Family’s sound. It’s catchy and easy to sing along to, which helped it become a radio favorite.

Even decades later, “Doesn’t Somebody Want to Be Wanted” remains a nostalgic classic, reminding listeners of the emotional depth that pop music can have. Whether you loved The Partridge Family for their TV show or their music, this song is a perfect example of why they left such a lasting impact.The Partridge Family (a Titles & Air Dates Guide)

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Lyrics: Doesn’t Somebody Want to Be Wanted

I go downtown and roam all around
But every street I walk, I find another dead end
I’m on my own but I’m so all alone
I need somebody so I won’t have to pretendI know there’s someone just waiting somewhere
I look around for her but she’s just not there

Oh, doesn’t somebody want to be wanted like me, where are you
Doesn’t somebody want to be wanted like me, just like me

I’m running free but I don’t want to be
I couldn’t take another day like yesterday
I’m dead on my feet from walking the street
I need somebody to help me find my way

I’ve gotta get out of this town
Before I do I’ll take a last look around

Oh, doesn’t somebody want to be wanted like me, where are you
Doesn’t somebody want to be wanted like me, just like me

You know, I’m no different from anybody else
I start each day and end each night
But it gets real lonely when you’re by yourself
Now where is love and who is love, I gotta know

Doesn’t somebody want to be wanted like me, where are you
Doesn’t somebody want to be wanted like me, just like me
Doesn’t somebody want to be wanted like me, where are you
Doesn’t somebody want to be wanted like me, just like me

Doesn’t somebody want to be wanted like me, where are you

You Missed

Billy Joe Shaver first caught Waylon Jennings’ eye at Willie Nelson’s Dripping Springs Reunion back in 1972 while passing a guitar around backstage and picking “Willy the Wandering Gypsy and Me.” Waylon immediately stopped in his tracks, learned the chords on the spot, and promised to record the material. Instead of a quick cut, Shaver found himself stuck in Nashville for six months trying to collect on that promise while dealing with empty pockets and a songwriter dodging his calls. A sympathetic DJ eventually smuggled him right into one of Waylon’s studio dates. Still trying to brush him off, Waylon handed over a hundred-dollar bill with strict instructions to clear out. Shaver was broke enough to desperately need the cash, yet his pride won out. He fired the money right back with a harsh insult, prompting a furious Waylon to storm out into the hallway surrounded by a crowd. Shaver stood his ground and told him straight: listen to the songs, or catch a beating right there in front of God and everybody. Waylon finally sat down and listened. One track led to another until Jennings scrapped his own plans and built an entire record around Shaver’s writing. Released in 1973, Honky Tonk Heroes packed nine of Billy Joe’s compositions and turned into a crown jewel of the outlaw movement. The recording room stayed just as volatile, with Shaver loudly arguing over arrangement choices and accusing Waylon of altering his vision. Yet that exact friction gave the record its teeth. Waylon had just fought RCA for total creative freedom, and Billy Joe Shaver proved stubborn enough to demand that exact same respect for the words on the page.