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.
Wavelength
Colin James Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Comin' in like last call
Beatin' on my bedroom wall
Big beat for y'all
Yeah, yeah, yeah
She's burning like a flame thrower
Can't forget her wanna know her
Buzzin' like a honey bee
Yeah, yeah, yeah
Turn it on
Get it on my wavelength
Turn it on
Get it on my wavelength, baby
So mama can you find a cure
For the tired and the poor
We're all hungry underneath
But there's nothin' here to eat
Baby now take off your paint
Say a prayer for Friday's saint
Life size and in your face
Superstar you got the grace
Yeah, yeah, yeah
Turn it on
Get it on my wavelength
Turn it on
Get it on my wavelength baby
Outside certified getting high undignified
Setting like a sunset sitting like a silhouette
Turn it on get it on my wavelength
Turn it on get it on my wavelength, baby
Turn it on get it on my wavelength
Turn it on get it on my wavelength, baby
The lyrics to Colin James's song "Wavelength" are about the power of music to connect people and transcend the struggles of everyday life. The singer references the radio, which is "beatin' on [his] bedroom wall," as a symbol of the way music fills the empty spaces in our lives. The singer's obsession with the radio is evident in the chorus, as he pleads with "mama" to "Turn it on/Get it on my wavelength." The use of the word "wavelength" here is significant, as it can be interpreted both literally (as in tuning the radio to the right frequency) and metaphorically (as in connecting with someone on an emotional level).
In addition, the lyrics speak to the singer's yearning for something more than what he has. He asks "mama" to "find a cure/For the tired and the poor," which can be seen as a reference to the struggles of everyday life. The line "We're all hungry underneath/But there's nothin' here to eat" is particularly striking, as it captures the feeling of longing that often goes unfulfilled. Despite this, the singer is still able to find solace in music, which provides a sense of comfort and belonging.
Overall, the lyrics to "Wavelength" are a tribute to the power of music to uplift and connect us. They encourage us to embrace the beauty of life, even in the midst of hardship and struggle.
Line by Line Meaning
Well there's somethin' on your radio
The singer notices something playing on the radio.
Comin' in like last call
The music is loud like someone yelling out last call in a bar.
Beatin' on my bedroom wall
The music is so loud, it's shaking the singer's bedroom wall.
Big beat for y'all
The music has a strong, energetic beat.
She's burning like a flame thrower
The music is intense, like a weapon that shoots flames.
Can't forget her wanna know her
The singer wants to remember the music and learn more about it.
All the hits come back to me
The singer is reminded of other popular songs they've heard before.
Buzzin' like a honey bee
The artist is excited and energized by the music, like a bee buzzing around.
Turn it on
The artist wants to hear more of the music.
Get it on my wavelength
The artist wants to connect with the music on a personal level.
So mama can you find a cure
The singer asks for help with a problem.
For the tired and the poor
The problem is likely related to fatigue and poverty.
We're all hungry underneath
The singer suggests that everyone has unmet needs or desires.
But there's nothin' here to eat
The singer implies that there is a lack of resources or options to fulfill those needs.
Baby now take off your paint
The singer is addressing someone and asking them to remove a façade or disguise.
Say a prayer for Friday's saint
The artist requests that the person offer a prayer or wish for a day of rest and celebration.
Life size and in your face
The person being addressed is present and noticeable.
Superstar you got the grace
The person being addressed is talented and impressive, with a sense of ease and confidence (grace).
Outside certified getting high undignified
The singer describes activities that are beyond approved standards and possibly disrespectful.
Setting like a sunset sitting like a silhouette
The artist describes a peaceful and beautiful setting, possibly involving a person (silhouette) watching a sunset.
Turn it on get it on my wavelength
The artist repeats their desire to connect with the music.
Turn it on get it on my wavelength, baby
The artist adds a friendly, possibly flirtatious tone to their request to connect with the music.
Turn it on get it on my wavelength
The singer repeats their desire to connect with the music.
Turn it on get it on my wavelength, baby
The artist adds a friendly, possibly flirtatious tone to their request to connect with the music.
Lyrics © Sony/ATV Music Publishing LLC, CCS RIGHTS MANAGEMENT CORP, Kassner Associated Publishers Ltd
Written by: Colin James, Thomas Salter, Tom Wilson
Lyrics Licensed & Provided by LyricFind
Silvio Pratto
Awesome.