The paper will offer a reconceptualisation of the term “translation,” which is an object of study of both translation studies and translation semiotics. However, in the case of the latter, it has been associated mainly with interlingual translation proper. The paper will demonstrate how translation may actually turn into creative transduction, which as argued by Gorlée (2023: 171) is a transenergising process of creativity guaranteed by “intersemiotic transmutability,” i.e. by the possibility of translating linguistic signs into signs of other semiotic systems.The paper will present a multimodal and comparative analysis of the Polish singable translation of the song A Boy Named Sue written by Shel Silverstein and performed by Johnny Cash. The source text will be a video recording of the live performance delivered in 1969 at San Quentin State Prison, whereas the target text will be the Polish translation done by Wojciech Młynarski and presented in a TV performance by the character actor Mieczysław Czechowicz in 1970.The analysis will be carried out on three levels that correspond to the macrocodes that make up the song, i.e. the natural language, including the verbal and paraverbal codes; music, including non-verbal acoustic codes; and the performance, including visual and socio-perceptive codes. The main focus will be placed on the multidimensionality of translation, which will demonstrate how changes at various levels helped reinforce the comic effect. This creative transformation of one form of energy into a different one was possible mainly thanks to utilising the connection between all sign systems.