Kenny Wayne Shepherd – Blue on Black

From his 1997 album, Trouble Is… The song reached #78 on Billboard’s Hot 100 chart on May 8, 1998.

From Songfacts

When you mix blue and black, the black consumes the blue. It’s a powerful metaphor for a one-sided or broken relationship, which seems to be what the song is about, although with lines like “tears on a river, push on a shove” it could also relate to a death or abuse of some kind. In a Songfacts interview with Kenny Wayne Shepherd, he said: “So many people have applied it to a death in the family, an abusive relationship, a broken relationship, or whatever. There are so many different ways. That’s what’s beautiful about music and lyrics is trying to write a song that the listener can apply to their own experience in whatever way seems fit. And that’s one of those songs.”
Shepherd wrote this with the husband-and-wife team of Tia Sillers and Mark Selby, who also composed “There’s Your Trouble” for Dixie Chicks. “We wrote that when we were down in New Orleans,” Shepherd told Songfacts. “I had the music, and Mark and I were just rolling with the music and tried to develop things up. Tia came up with this idea based on a shirt that I was wearing that was blue and black. She noticed the two colors that were dominant on my shirt, and if you mix those two colors together, black consumes the blue. It doesn’t amount to anything if you put the two together: You still have one color, instead of creating a new color.”
With this track, Shepherd became one of the few blues artists to land on the Hot 100. He never returned to that chart, but consistently went to #1 on the Billboard Blues Albums tally.
Jerry Harrison of Talking Heads produced this track and the rest of the Trouble Is… album.

Blue on Black

Night
Falls and I’am alone
Skin
Yeah chilled me to the bone
You
Turned and you ran
Oh yea
Oh slipped
Right from my hand
Blue on black
Tears on a river
Push on a shove
It don’t mean much
Joker on jack
Match on a fire
Cold on ice
As a dead man’s touch
Whisper on a scream
Doesn’t change a thing
Doesn’t bring you back
Blue on black

Blind
Oh now I see
Truth
Lies and in between
Wrong
Can’t be undone
Slipped
From the tip of your tongue

Blue on black
Tears on a river
Push on a shove
It don’t mean much
Joker on jack
Match on a fire
Cold on ice
As a dead man’s touch
Whisper on a scream
Doesn’t change a thing
Doesn’t bring you back
Blue on black

Writer/s: Tia Sillers, Mark Selby, Kenny Shepherd

 

Lisa Loeb & Nine Stories – Stay (I Missed You)

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Come/Go/Leave/Stay

From the 1994 Reality Bites soundtrack and from her 1995 album, Tails. The song peaked at #1 on Billboard’s Hot 100 chart on August 19, 1994.

From Songfacts

In our interview with Lisa Loeb, she explained: “At the time I was having arguments with my boyfriend, who was actually my co-producer as well – we made records together. And then I go off into some other areas: I remember somebody close to me was going through severe, severe depression. A lot of times in my songs, I get into some phase where I describe some other situation, and there’s a whole verse in there about somebody who is very, very depressed. But yeah, it was a story about a breakup I was going through, and that situation where it’s gotten into your head too much. Partially because somebody else is telling you that you’re only hearing what you want to, and that puts you in a little bit of a tailspin. It puts me in a little bit of a tailspin, because you can’t figure out what’s actually real, are you only seeing things through your own eyes? Are you actually seeing things the way that they really are, or are you making things up? And at what point do you know whether you’re seeing things the way that they really are?”
This was used in the movie Reality Bites. Loeb’s friend, Ethan Hawke, brought it to the attention of Ben Stiller, who saw Loeb perform and used her song in his movie. It was a huge break for Loeb, who did not have a record deal at the time. When she found out the song was going on the soundtrack, she knew it was the end of her temp work – she had a gig with the consulting firm Ernst & Young at the time).
Long before this song became a hit, Loeb performed it at her shows, where it got a great response and was one of her most requested songs. Says Loeb: “I usually write songs that are more fictional, and for some reason when I sat down to write that song, I let myself write more about how I was feeling at that moment. And that’s something I think about a lot as I continue to write music, that the songs that I write that are more personal and without as much editing, are the ones that people connect to more.”

Stay (I Missed You)

You say I only hear what I want to
You say I talk so all the time so.

And I thought what I felt was simple,
And I thought that I don’t belong,
And now that I am leaving,
Now I know that I did something wrong ’cause I missed you.
Yeah, I missed you.

And you say I only hear what I want to:
I don’t listen hard,
I don’t pay attention to the distance that you’re running
Or to anyone, anywhere,
I don’t understand if you really care,
I’m only hearing negative: no, no, no (bad)

And so I, I turned the radio on, I turned the radio up
And this woman was singin’ my song:
The lover’s in love and the other’s run away,
The lover is cryin’ ’cause the other won’t stay.

Some of us hover when we weep for the other who was
Dying since the day they were born.
Well, this is not that:
I think that I’m throwing, but I’m thrown.

And I thought I’d live forever, but now I’m not so sure.

You try to tell me that I’m clever,
But that won’t take my anyhow, or anywhere with you.

You said that I was naive,
And I thought that I was strong.
I thought, “hey, I can leave, I can leave.”
Oh but now I know that I was wrong, ’cause I missed you.

You said, “I caught you ’cause I want you and one day I’ll let you go.”
You try to give away a keeper, or keep me ’cause you know you’re just so scared to lose.
And you say, “Stay.”

You say I only hear what I want to.

Writer/s: Lisa A. Loeb

Rick James – You And I

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…I/Me/Them/Us/You/We.

From his 1978 album, Come Get It. The song reached #13 on Billboard’s Hot 100 chart on September 22, 1978.

You And I

You and I, we fit together like a glove on a hand
That’s right, don’t you know
That I would gladly take you anywhere you wanted to go.
You and me are as close as three part harmony, wouldn’t you agree?
And in the chance our romance ended it would surely be the end of me.
Some people might say I’m infatuated, I don’t care
‘Cause they really don’t know
They’ll never see or hear the things I do with you.
So far as I’m concerned they all can go to hell.
Woh, woh, woh, woh baby cakes, now swing it sugar.
Do, do, do, do, do, just swing it baby,
You and I, will be together until the six is nine, that’s right.
When you need me I never hesitate,
I always come, it’s so much fun. Yeah!
You and I, although we’re poor our love has brought
More wealth than Hughes, himself
And if by chance there is an afterlife when we die
You and I, I’ll spend it with you
Some people might say I’m infatuated, I don’t care
‘Cause they really don’t know
They’ll never see or hear the things I do with you.
So far as I’m concerned they all can go to hell.
Woh, woh, woh, woh, baby cakes, now swing it sugar.
Do, do, do, do, do, just swing it baby, Can’t take it baby
You and I, you and me are going to be together eternally
You and I, you and me are going to be together eternally
You and I, you and me are going to be together eternally
Yeah, yeah, yeah
You and I, you and me
Dance girl, ev’rybody on the floor, ev’rybody dance on the floor
Dance on the floor, ev’rybody dance on the floor, hey, you over there
Ev’rybody dance on the floor, ev’rybody dance on the floor
Now shake it on down.
Ev’rybody dance on the floor, ev’rybody dance on the floor
Shake your bootie now, ev’rybody shake your bootie now.
ev’rybody shake your bootie now.
Do, do do do do do do do do do do
Ev’rybody dance on the floor, dance ya’ll
Ev’rybody dance on the floor, come on baby, all right
Dance, dance, dance and shout, let’s dance and shout
Get on the floor ya’ll, dance and shout, don’t just stand there yeah!
Dance and shout, don’t just stand there, yeah!
Dance ya’ll, dance and shout
The latest groove so you can move on the floor
Ev’rybody dance on the floor
The latest groove so you can move on the floor
Ev’rybody dance on the floor
The latest groove so you can move on the floor
Ev’rybody dance on the floor
Ev’rybody lay your bootie down, ev’rybody shake your bootie now.
Can’t hear you, shout, ev’rybody shake your bootie now
Ev’rybody shake your bootie now, ev’rybody shake your bootie now.
Shake it on down, shake your bootie now
Ev’rybody dance on the floor, do, do, do,
Source: LyricFind
Songwriters: Rick James

Peter Frampton – Baby, I Love Your Way

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Babe/Cutie/Doll/Honey/Sweetie.

From his 1976 album, Frampton Comes Alive. The song reached #12 on Billboards Hot 100 chart on August 27, 1976.

From Songfacts

This is a very romantic love ballad. Frampton is telling his girl that he loves everything about her and wants to be with her day and night.
This went nowhere when Frampton first released it as a single in 1975. The next year, he included it on his live album, Frampton Comes Alive, and it helped the album become a huge hit. The live version was the second single released from the album, after “Show Me The Way” and before “Do You Feel Like We Do.”
Lisa Bonet sings this in the 2000 movie High Fidelity. John Cusack’s character hates the song until he hears her sing it.

Baby, I Love Your Way

Shadows grow so long before my eyes
And they’re moving across the page
Suddenly the day turns into night
Far away from the city but don’t hesitate
‘Cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way every day
Want to be with you night and day

Moon appears to shine and light the sky
With the help of some fireflies
I wonder how they have the power shine shine shine
I can see them under the pines
But don’t hesitate ’cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way every day
Want to be with you night and day uh yeah

But don’t hesitate ’cause your love won’t wait
I can see the sunset in your eyes
Brown and grey and blue besides
Clouds are stalking islands in the sun
Wish I could dry one out of season
But don’t hesitate ’cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way uuhh
Want to be with you night and day
Ooh baby I love your way every day
Want to tell you I love your way uuhh
Want to be with you night and day

Writer/s: Peter Kenneth Frampton

 

Chris Norman & Suzi Quatro – Stumblin’ In

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Duets.

The song was released as a single in January 1979. The song peaked at #4 on Billboards Hot 100 chart on May 11, 1979.

From Songfacts

This song, which Quatro performed as a duet with Chris Norman, the frontman for Smokie, was a departure from her hard rock sound, as the pair sing about stumbling into love with someone they never expected to be with. This song turned out to be by far the biggest American hit for both performers. >>
This was written and produced by the team of Mike Chapman and Nicky Chinn, who were responsible for the lion’s share of hits for both Smokie and Suzi Quatro. Smokie had cut ties with the team, but in 1978 Chapman was producing Quatro’s album If You Knew Suzi, which they were recording in Cologne, Germany. In a spell of serendipity, Smokie received an award in nearby Dusseldorf at this time, and after the ceremony, Quatro and Chapman joined them at a party where music broke out. Chapman sang a medley of the hits he wrote with Chinn, and later, Quatro took the stage with Chris Norman. As Quatro played bass, Norman put his arm around her, and Chapman got an idea.

The next day when he was working with Quatro, he came up with the line “our love is alive” and started hashing out the song “Stumblin’ In,” which he pitched to Quatro as a duet with Norman. She loved the idea.

Chapman finished writing the song with Chinn, and the duet was included on Quatro’s

album.
Quatro’s biggest cultural impact in America was her role as Leather Tuscadero on the TV show Happy Days from 1977-1979.

Stumblin’ In

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

Wherever you go, whatever you do
You know these reckless thoughts of mine are following you
I’ve fallen for you, whatever you do
‘Cause, baby, you’ve shown me so many things that I never knew
Whatever it takes, baby, I’ll do it for you

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

You were so young, ah, and I was so free
I may have been young, but, baby, that’s not what I wanted to be
Well, you were the one
Oh, why was it me?
‘Cause, baby, you show me so many things that I never see
Whatever you need, baby, you’ve got it from me

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

Stumblin’ in, stumblin’ in
Foolishly laying our hearts on the table
Stumblin’ in

Ah, stumblin’ in, mmmh, stumblin’ in
Now and then firelight will catch us
Stumblin’ in

Oh, stumblin’ in, ah, I was stumblin’ in
Foolishly laying our hearts on the table
Stumblin’ in

Oh, stumblin’ in
Ah, stumblin’ in
I was stumblin’ in
We were stumblin’ in Writer/s: MICHAEL DONALD CHAPMAN, NICHOLAS BARRY CHINN

Tom Petty and the Heartbreakers – Swingin

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Tom/Dick/Harry

From their 1999 album, Echo. The song reached #17 on Billboards Mainstream Rock Songs chart on September 17, 1999.

Swingin
Well, she was standing by the highway
In her boots and silver spurs
Gonna hitchhike to the yellow moon
When a Cadillac stopped for her
And she said, “Hey, nice to meet you, are you goin’ my way?”
Yeah, that’s when it happened
The world caught fire that day

And she went down swingin’
Yeah, she went down swingin’

Well, she was over twenty-one
In trouble with the law
And it didn’t faze her none
She called her mother-in-law
And said I need a little money
I knew I could count on you
After that night in Vegas
And the hell that we went through

We went down swingin’
Like Benny Goodman
Yeah, we went down swingin’

Moonlight on the interstate
She was ‘cross the Georgia line
Looked out the window feeling great
Yeah, it had to come in time
And she said I’m never goin’ back
She said at last I’m free
I wish ma could see me now, she’d be so proud of me

She went down swingin’
Like Glenn Miller
Yeah, she went down swingin’
Like Tommy Dorsey
Yeah, she went down swingin’
Like Sammy Davis
She went down swingin’
Like Sonny Liston

The Cardigans – For What It’s Worth

From their 2003 album, Long Gone Before Daylight. It’s really hard to believe but the song never charted in the U.S. but did chart in other countries.

From Wikipedia

For What It’s Worth” is the first single from The Cardigans‘s fifth studio album Long Gone Before Daylight. It was released on 17 February 2003, reaching number eight in the band’s native Sweden, number 31 in the United Kingdom, number 37 in Ireland, and number 98 in the Netherlands.

For What It’s Worth

One, two, three, four
Hey baby come round
Keep holding me down
And I’ll be keeping you up tonight.
The four letter word got stuck in my head
The dirtiest word that I’ve ever said
It’s making me feel alright.
For what it’s worth I love you
And what is worse I really do
Oh what is worse I’m gonna run run run
‘Til the sweetness gets to you
And what is worse I love you!
Hey please baby come back
There’ll be no more loving attack
And I’ll be keeping it cool tonight.
The four letter word is out of my head
Come on around get back in my bed
Keep making me feel alright.
For what it’s worth I like you
And what is worse I really do
Things have been worse
And we had fun fun fun
‘Til I said I love you
And what is worse I really do!
For what it’s worth I love you
And what is worse I really do.
Oh
For what it’s worth I love you
And what is worse I really do.
Oh
For what it’s worth I love you
And what is worse I really do
Source: LyricFind
Songwriters: Nina Persson / Peter Anders Svensson