James was only 18-years old when he captured the attention of guitar legend Stevie Ray Vaughan, who marveled at this prodigious guitar talent, and immediately decided to take him on the road through the Canadian prairies, and later the United States. It wasn't long after that the young musician began opening for the likes of John Lee Hooker, ZZ Top, Steve Winwood and Keith Richards, Colin's 1988 self-titled debut Colin James was the fastest-selling album in Canadian music history featuring the smash hits "Why'd You Lie?”, “Voodoo Thing” and “Five Long Years". It featured a team of three top producers, including Tom Dowd (Eric Clapton, Lynyrd Skynyrd, The Allman Brothers), Danny Kortchmar (Bon Jovi, Billy Joel, Daryl Hall & John Oates, Stevie Nicks, Neil Young) and Bob Rock (Jann Arden, Michael Bublé, Bush, The Cult, Loverboy, Sarah McLachlan, Metallica).
James followed up his record-breaking debut with a strong 1990 release, Sudden Stop, which was produced by Joe Hardy (.38 Special, Steve Earle, The Jeff Healey Band, ZZ Top ). This release has two top forty radio hits: "Just Came Back" and, "Keep On Loving Me Baby", and features Bonnie Raitt singing backing vocals on "Give It Up". This sophomore album further helped established Colin's integrity as an artist to lookout for.
James formed The Little Big Band in early 1990's and would eventually release a trilogy of CDs fronting this 1930's-50's style punchy horn section band, playing classics and originals featuring his stellar guitar fills and confident vocals. The first Colin James and The Little Big Band was released in 1993, and it was produced by Chris Kinsley (The Cult, Duran Duran, Psychedelic Furs, The Rolling Stones). The second Colin James and The Little Big Band II was released in 1998 on Warner Music, while the third, Colin James & The Little Big Band 3 was distributed on Maple Music in Canada and Universal Music Group globally in 2006, and he would eventually do a fourth with the band, a holiday album Colin James & The Little Big Band Christmas.
In 2008 he took home three Maple Blues Awards (Toronto Blues Society), which included Entertainer of the Year, while his release Limelight also went gold in Canada.
James released his twelfth album Rooftops and Satellites on October 6th, 2009, and it was a return to his guitar Blues-Rock roots. The album was primarily co-written by Tom Wilson (Junkhouse, Blackie and The Rodeo Kings, Lee Harvey Osmond) and Thomas "Tawgs" Salter, co-writer and producer of Lights' debut and Josh Groban's Awake, and it has generated four Canadian radio singles, “Man’s Gotta Be A Stone”, “Lost Again”, “Wavelength” and “Johnny Coolman.”
2011's 'Take It From The Top: The Best Of’ pays tribute to James's career's first 23 years and serves as a celebration of Colin’s return back where he started his recordings, Virgin/EMI. This Greatest Hits collection also features two newly recorded tracks, “It’s Gonna Be Alright“ as well as an innovative cover of the Buddy Miles' classic “Them Changes”, that were recorded in Vancouver with veteran producer Bob Rock (Michael Bublé, Metallica), reuniting the two after almost twenty years.
On June 12th, 2012, James released his fifteenth album, appropriately entitled Fifteen, which was produced by Joe Hardy (ZZ Top, Brooks & Dunn, Jeff Healey, Steve Earle), who had handled three of Colin's previous album productions including his successful sophomore release. Colin co-writes with Gordie Johnson (Big Sugar, Grady) on the opener “Sweets Gone Sour” and the rocker “I Need You Bad.” Colin also re-teamed with Tom Wilson and Thomas “Tawgs” Salter on four high-octane tracks, including the bluesy “No Time to Get There” and the driving “Stone Faith,” the album’s first single.
Fifteen also features two beautiful co-writes with Ron Sexsmith that reveal Colin’s seductive side: “Finally Wrote a Song for You”, a soulful love ballad; and “Shoulder to Cry On,” a moving acoustic number that highlights his vocal range, while closing the album. The disc also features some inspiring covers, including John Lennon's "Jealous Guy", Peter Green's (Fleetwood Mac) "Oh Well", [artis]Foy Vance’s gospel-tinged “Shed A Little Light,” and Allen Toussaint's funky "Sneakin' Sally Through The Alley", which has perhaps become best known by Robert Palmer's cover.
On February 3, 2015, James released Hearts On Fire which was produced by Colin Linden at House of Blues Studios in Nashville, and this twelve track collection is distributed by Universal Music. The title track and all but two of the songs were written or co-written by Colin.
In 2016, James was named an inductee into the Western Canadian Music Hall of Fame presented by FACTOR (The Canadian Foundation Assisting Canadian Talent on Recordings). In addition to this honour, Colin headlined the Western Canadian Music Awards Show at Casino Regina on October 13th, 2016, kicking off BreakOut West’s 14th year of celebrating Western Canada’s talent.
James's studio album Blue Highways features thirteen Classic Blues covers from guitar-hero greats like Blind Willie McTell, Freddie King, Peter Green, and Robert Johnson. The CD was released on October 16th, 2016. Recording and Production was primarily handled in Vancouver by Colin James and Dave Meszaros, with recording and mixing assistance from Eric Mosher, Chris Stringer and Jason Jaknunas. Blue Highways is being distributed by True North Records, and iTunes.
Over his illustrious career, James has earned 16 Maple Blues Awards, and he has worked and toured with the 'who’s who' in the international music scene (in alphabetical order): Luther Allison, Jann Arden, The Chieftains, Albert Collins, Robert Cray, Tom Dowd, Buddy Guy, Johnny Hallyday, John Hammond Jr., Gordie Johnson, Albert King, Bobby King and Terry Evans, Danny Kortchmar, Lenny Kravitz, Little Feat, The Memphis Horns, Craig Northey, Bill Payne, Bonnie Raitt, Keith Richards, Bob Rock, The Rolling Stones, Roomful Of Blues, Carlos Santana, Mavis Staples, Roebuck "Pops" Staples, Stevie Ray Vaughan, Tom Wilson, Betty Wright and ZZ Top. In addition to writing most of his own material, his music has been covered by artists like Maria Muldaur, Johnny Halliday and Lucinda Williams.
C'mon With the C'mon
Colin James Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
C'mon swing it with the jive brother
You gotta swing it with the jive brother
Yeah, you gotta c'mon, c'mon, c'mon
Where you going with the jive brother?
You gotta tell me what's the jive brother
You gotta tell me what's the jive brother
You're gonna lose all you got
If you don't get down to it
You never wanna blow your top
Savin' it but you never can stop
What's your jive brother?
You gotta tell me what's your jive brother
You have to tell me what's the jive brother
Yeah, you gotta c'mon, c'mon, c'mon with the come on
C'mon swing it with the jive brother
You gotta swing it with the jive brother
Let's swing it with the jive brother
Yeah, you gotta c'mon, c'mon, c'mon
Let's jump with the jive brother
Let's jump with the jive brother
Let's be jumpin' with the jive brother
Yeah, you gotta c'mon, c'mon, c'mon with the come on
You're gonna lose all you got
If you don't get down to it
You never wanna blow your top
Savin' it but you never can stop
It with the jive brother
You're having trouble with the jive brother
Yes trouble with the jive brother
Yeah, you gotta c'mon, c'mon, c'mon come on
The lyrics to Colin James’s song “C’mon With the C’mon” speak to the idea of releasing oneself to the music and the rhythm, embodied through the term “jive brother”. It is likely that “jive” here means a way of moving to music that is energetic and uninhibited, with a focus on syncopated rhythms and improvisation. The repetition of the phrase “c’mon” and the exhortation to “swing it” and “jump” convey a sense of urgency and excitement, calling the listener to participate fully in the experience.
The repeated question “What’s your jive brother?” suggests a kind of community formed around shared musical experience, where each participant brings their own individual perspective and style. The second verse, with its lines “You’re gonna lose all you got / If you don’t get down to it / You never wanna blow your top / Savin’ it but you never can stop”, acknowledges the potential for inhibition and the need to overcome it in order to truly engage with the music. The repeated call and response structure of the chorus reinforces the idea of music as a communal experience that brings people together.
Some possible interpretations of the song might include a celebration of African American musical traditions, such as swing and jump blues, and the role that these styles have played in bringing people together across racial and cultural divides. The lyrics could also be read as an exhortation to break free from social norms and expectations and embrace a more spontaneous and joyful way of being. Overall, “C’mon With the C’mon” encourages the listener to let go of their inhibitions and fully immerse themselves in the music and the moment.
Line by Line Meaning
C'mon swing it with the jive brother
Encouragement to participate in the jive dance style with enthusiasm and confidence
Where you going with the jive brother?
Asking for clarification and understanding of the jive dance style
You're gonna lose all you got
If you don't get down to it
You never wanna blow your top
Savin' it but you never can stop
Warning against the consequences of holding back and not fully engaging in the present moment
Let's jump with the jive brother
Suggesting to participate in the jive dance style with high energy and excitement
It with the jive brother
You're having trouble with the jive brother
Yes trouble with the jive brother
Yeah, you gotta c'mon, c'mon, c'mon come on
Recognizing and addressing difficulties in participating fully in the jive dance style, and urging oneself to overcome those obstacles and join in with enthusiasm
Lyrics © Warner Chappell Music, Inc.
Written by: Andy Gibson, Cab Calloway
Lyrics Licensed & Provided by LyricFind