McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. While in the UK, she made two albums which, although well received, enjoyed only limited circulation.
In the late 1970s, McCorkle returned to the United States and settled in New York City, where a five-month engagement at the Cookery in Greenwich Village brought her to wider public attention and elicited rave reviews from critics.
During the 1980s, McCorkle continued to record; her maturing style and the darkening timbre of her voice greatly enhanced her performances. In the early 1990s, two of the albums McCorkle made for Concord Records, No More Blues and Sábia, were enormously successful and made her name known to the wider world. She was recorded by the Smithsonian Institution which at the time made her the youngest singer ever to have been included in its popular music series. McCorkle played Lincoln Center's Avery Fisher and Alice Tully Halls five times and Carnegie Hall three times, and was featured soloist with Skitch Henderson and the 80-piece New York Pops in a concert of Brazilian music.
Thanks to her linguistic skills, McCorkle translated lyrics of Brazilian, French, and Italian songs, notably those for her Brazilian album Sabia. McCorkle also had several short stories published and, in 1991, began work on her first novel. She published fiction in Mademoiselle, Cosmopolitan Magazine, and non-fiction in the New York Times Magazine and in American Heritage, including lengthy articles on Ethel Waters, Bessie Smith, Irving Berlin and Mae West.
McCorkle suffered for many years from depression and cancer, and took her own life at age 55 by leaping off the balcony of her highrise Manhattan apartment. She was alone in her home at the time. The police immediately entered her home after identifying her body and found no foul play. Suicide was ruled the cause of death.
I Take to You
Susannah McCorkle Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I thought about you
I p*ssed a shadowy lane
And I thought about yo&117
Two or three cars arked under the stars
A winding stream
Moon shining down on some little town
And every stop that we made, oh, I thought about you
When I pulled down the shade then I really felt blue
I peeked through the crack, looked at the track
The one going back to you
And what did I do? I thought about you
Susannah McCorkle's "I Thought About You" is a nostalgic tune about a person reflecting on a train ride where they thought of their loved one. The opening lyric, "I took a trip on a train and I thought about you," sets the tone of the song. The mention of the shadowy lane indicates a sense of loneliness and uncertainty, possibly about the future of their relationship. As the train moves on, the person sees several sights that remind them of their lover. The mention of two or three cars parked under the stars, a winding stream, and moon shining down on some little town describes the serene environment around them.
Despite the beautiful scenery around them, the person feels blue and lonely when they close the shade on their train cabin. They find themselves looking back at the track leading back to their loved one. The final lines, "And what did I do? I thought about you," summarize the person's thoughts throughout the entire song. They couldn't stop thinking about their significant other, even when they were surrounded by beautiful scenery.
Overall, "I Thought About You" illustrates how the memory of a loved one can stay with us through different experiences.
Line by Line Meaning
I took a trip on a train
I embarked on a train journey
And I thought about you
You were constantly in my thoughts throughout the journey
I p*ssed a shadowy lane
I crossed a dark lane
And I thought about you
You were on my mind even during the short moment when I crossed the lane
Two or three cars parked under the stars
There were a few cars parked under the stars
A winding stream
I saw a stream that was curving
Moon shining down on some little town
The moonlight was illuminating a small town
And with each beam, the same old dream
The moonlight reminded me of the same old dream I keep having
And every stop that we made, oh, I thought about you
Every time the train made a stop, you were on my mind
When I pulled down the shade then I really felt blue
I felt sad when I pulled down the shade on the window
I peeked through the crack, looked at the track
I looked through the small opening and saw the train tracks
The one going back to you
The track taking the train back in the direction of where you are
And what did I do? I thought about you
I kept thinking about you throughout the journey, even at the sight of the train tracks going back to you
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Chelsea Dee
Like a duck takes to water,
Like the flowers take to dew,
Like Aladdin (a latin?) takes to Aladdin quarter,
I take to you
Like a fish takes to swimming,
Like the Irish take to stew,
Like a sultan takes to a flock of women,
I take to you
Like moon in June
N kiss and bliss,
A park, a bench, and a tree,
They all go together,
And honey so do we
Like a star takes to gleaming,
And a moonbeam to the moon,
Like a lover takes to a night of dreaming,
I take to you,
Baby, I take to you.
Like parades take to trumpets up and down Fifth Avenue
Like a ducthess takes to tea and crumpets
I take to you
Like a golfer takes to a brassie
Like a bird's eye to a view
Like a Scottsman takes to a bonnie wee lassie
I take to you
Like rain and shine and tic-tac-toe
Ireland and Mother Machree
They all go together
And honey so we
Like the Dutch take to tulips
And the swiss Yodelahee yodeloo
Like ???
I take to you
(Instrumenal)
Like the spring takes to May Day
Like a G-Man to a clue
Like your mother takes to your dad on payday
I take to you
Like a redhead takes to henna
And a monkey to a zoo
Like a Strauss waltz takes to a Old Vienna
I take to you
Like sweet and low
And yes and no
Like golly gosh and aw gee
They all go together
And Honey so do we
Like a stock takes to trading
Like the French to "par le vouz"
Like a sailor takes to a hula maiden
I take to you
Like sweet and hot
A house, and a lot
A lock and a door and a key
They all go together
And honey so do we
Like a rancher takes to yipping
Like a cowboy to wahoo
Like a steamboat takes to the Mississippi
I take to you, Baby!
I take to you, Honey!
I take to you, Darling!
I take to yooooou
I take to you
Milosiva Anaís
It's "like a ? takes to a few mint juleps," I think!