Lucky

"'Lucky' took me a little while to get to the arrangement. The song is about finally settling into being okay, and 'I want to see how lucky, Lucky can be'; Lucky is a nickname for myself. The feeling of the song is very up. With that old guitar lick from James Harrah, that Andrew Gold feeling, '70s guitar, it's just fun."  - Melissa Etheridge

I want to see how lucky Lucky can be

I saw you through my blind intoxication
My shock induced insane self medication
You looked at me and smiled
Said get ready to get wild
Sugar you just need a brief vacation

CHORUS
I want to see how lucky Lucky can be
I want to ride with my Angel and live shockingly
I want to drive to the edge and into the sea
I want to see how lucky Lucky can be

I was dried up I was starving I was mangled
I looked like hell twisted up and tangled
You whispered in my ear
The ghosts are gone it's clear
For too long you've been tied up you've been strangled

I don't want to ride on the shotgun side
Don't want to be a quaint observer on this super sonic ride
Double down split the aces to the races
I feel lucky tonight

to top

This Moment

"It's not often when I'm really, really excited about something that I've done. I remember when I was writing 'This Moment,' I thought, 'Oh, I got that magic connection.'

"John Shanks had put together this wonderful bed of music with that 6/8 feel, which I don't write from very often, and it was like, 'Okay, I want to make it about a singular moment...this moment.' There's the universal watching your loved one sleep and being blown away by that, and I just wanted to make that colorful and intense ('I want to swallow the moon, and give a smile back to you'), and I wanted it to be so clear ('Tell the angels they'll just have to wait'). Wanting time to stand perfectly still, right then.

"I love that song, and I totally I had my Barbra Streisand moment in the end. I remember looking at John, going, 'Is that too much?' He's like, 'No. Let's go all the way.'"  - Melissa Etheridge

I, I am watching you sleep
It's the promise you made
What I find I can keep
Oh I want to swallow the moon
Give a smile back to you
Lighting your way
Tell the angels they'll just have to wait

CHORUS
Cause I want to stay here in this moment
Can I quietly slip into you
You and I can stay here in this moment
Let the world fade away
I just want to stay with you

I, I am watching you breathe
I am pulled into you
As you smash into me
Oh I want to give you the stars
All that I can hold in my arms
Placing them where you lay
Tell the angels they'll just have to wait

With my hand on your skin
We can slowly begin
I am free
Now the heavens have less
Cause I found the best
And I won't let them take you away
Tell the angels they'll just have to wait

I want to stay here in this moment
Make the earth stand impossibly still
Disappear in your kiss
We'll never be missed
Let the world fade away
I just want to stay
With you

to top

If You Want To

"I wrote that after the first sessions with David Cole. I was in my I-want-to-stand-on-my-rock-&-roll-ground mood, I want a guitar rock song with a chorus/hook, and I want to see everybody jumping down on the floor when I sing that song.

"Tammy gave me her number and I said, 'I'll get back to you in a couple of days.' I didn't call her back for a week. When I called her, she was like, 'Where I come from in the Midwest , a couple days is a couple days.' She started giving me a hard time. It was that time of, 'I've been so busted and broken, and do I really want to get back out there.' A lot of songs are from that place: 'Mercy,' 'Secret Agent'.the themes were different, but the emotional depth was still there."  - Melissa Etheridge

Hello yes that's what I said
I guess I thought that I was dead
So I just called you from my bed to say hello
You see I got this funny notion
Life is only just an ocean
I've been drowning in emotion
Now I'm swimming back to shore
And I'd like to talk to you

CHORUS
If you want to you can call I'll be around
If you want to you can write this number down
If you want to
If you want to leave a message at the tone
If you want to you can call me here at home
If you want to
I'll be alone

So now I've called
Yes it's been a couple days
Okay seven this I know
But I've been movin' kinda slow
So I called oh it must be so appalling
If you think that I've been stalling
This is me now I am calling
And I'm better than before
And I'd like to talk to you

Don't you want to know don't you want to be
Someone who takes a chance
On a fool like me
Staring at the door
Staring down the hall
Waiting my whole life just for you to call

Hello yes that's what I said
I am breathing I'm not dead
I'm waiting here now in my bed
And I'd like to talk to you

If you want to let your fingers do the walk
If you want to I got hours I can talk
If you want to

to top

Breathe

"My record company said, 'We have a song from another artist on our label that we love'-they never released it as a single and they said 'Will you listen to it?' I listened to it and thought, 'If I heard this on the radio I would love this song.' At first I thought it was a song about heartbreak, and the record company can't see me as in love and successful, and I got angry for a second. Then I read the lyrics and it is about being on the road and missing your partner, and I said, 'Oh, I can do that!'"  - Melissa Etheridge

I played the fool today
And I just dream of vanishing into the crowd
Longing for home again
But home
Is a feeling I buried in you

I'm alright I'm alright
It only hurts when I breathe

And I can't ask for things to be still again
No I can't ask if I could walk though the world
In your eyes
Longing for home again
But home
Is a feeling I buried in you

I'm alright I'm alright
It only hurts when I breathe

My window through which nothing hides
And everything sings
I'm counting the signs
And cursing the miles in between
Oh

And home is a feeling I buried in you
That I buried in you

I'm alright I'm alright
It only hurts when I breathe

(Written by Ryan Jordan, Marc Wanninger, Andreew Swiggins, Douglas Randell & Brandon Armstrong © 2002 Through The Pink Publishing (ASCAP)/EMI Music Publishing (ASCAP)

to top

Mercy

"'Mercy' is probably one of my favorite songs, and it was one of the first ones I wrote. I was looking for inspiration, and one inspiration for me is rhythm. I was working with a guy named Jon Taylor-not the Duran Duran guy. I said, 'Dude, can you put me some rhythms together? I want to write while I go to Europe .' So he made some rhythm loops for me, and on one loop he put this little guitar riff and he sang, 'It's going to be alright, it's going to be okay.' That was all he sang, just those two lines. I'm digging the groove, and he comes in every now and then, singing, 'It's going to be alright, it's going to be okay,' and I started singing around it. His voice was just so relaxed, so laid back, and I wrote this chorus all around it. All of a sudden someone else is singing the hook, the chorus.

"I worked on it with the band at the time, and James Harrah and Mark Browne would sing, 'It's going to be alright, it's going to be okay.' I even brought David Crosby down, but it didn't quite fit his voice. Then C.J. Vanston [who played bass and keyboards on the album] brought this girl in to sing backgrounds, which I never do. Her name is Bernie Barlow and I love the way her voice sounded. I thought, 'Oh, that's sexy, it feels good.'" - Melissa Etheridge

Well I have lived ten years plus ten
And ten and ten again
I have seen too much to pretend
Then you wanted to come in
I have survived all of the lies
They made me wise
The locks and walls and the peace it buys
Still when I look into your eyes
It's a surprise when you say

It's gonna be all right
It's gonna be okay
Just hold on tight
Let it all go away

Oh mercy mercy baby
What do you want from me

Well I plead mercy mercy baby
I do not know what this all means
It's been awhile since I been stylin'
In just my jacket and my jeans
It hurts to walk it hurts to talk
It hurts to think about it
Shout about it
Could I be sure without a doubt
That you could never live without me

I want to fall in you crawl in you
Surrender all in you now
Could I be sure in you pure in you
Finding the cure in you
Now I plead have mercy on me

Now I am kneeling at the alter
In the temple of your eyes
And I am asking for a miracle
I have been too long paralyzed
When you say get up and stand up
And climb the rope of hope
And open up again
Oh the peace you say is promised me
Seems too much to comprehend

to top

Secret Agent

"Whoa, I'm having sex and it's fun. Except for the vocal, that whole track was recorded completely live, we were all in the same room playing." - Melissa Etheridge

Smooth as cream she's every young boys' dream
She's like a hot roller coaster on a video screen
She's off the hook
Take a look
Let your imagination cook
She don't play by the rules
She don't go by the book

All the boys want to know if she's got something to hide
All the girls are relieved she working for the other side
She's a sinner a saint
She'll run it cool and hot
She's a secret agent
You can believe it or not

Killer eyes and homicidal sighs
You can't resist it to be twisted in her suicidal thighs
Confessional lips
Professional fingertips
It's a deception to perfection
Her exceptional hips

Her disguise is specialized
And her code is confidential
It's her modus operandi
She's a threat makes them sweat
As she drags her cigarette
Man what you see
Ain't always what you get

She make a grown man cry
She make a woman try
She make you want to believe
Then she will leave you high and dry
You got nowhere to run
Got her phasers on stun
With her toys like the boys she is second to none

to top

Will You Still Love Me

"I was trying to put the set list for the upcoming tour together, and I thought, 'It would be nice to go from "Royal Station 4/16" to "Will You Still Love Me," because it's the same kind of progression and feeling. 'Will You Still Love Me' is one that I wrote after working with David Cole; I realized, 'I'm going to write a song completely from my soul.' I just went right inside and said, 'Yeah, this being in love is great, but what happens on the days that I'm not up to it?' I use the metaphor of 'the crowd screams for more,' I'm in the circus and I'm performing, but what about the days when I just can't? Will you still love me?" - Melissa Etheridge

The sky is too high
To paint tonight
The wind is too strong
To hold onto
I'd climb on your roof
And call out your name
But somebody stole my silver shoes
Now the show must go on and on and on

Will you still love me anyway
Will you still need me when you're victorious
Will you still want me when I've nothing to say
Will you still love me anyway

I am in the big top
On the live wire
Under the gun
Over the fire
I'd swing up so high
Like a swan I would dive
But someone took my net and then they buried me alive
And the crowd screams for more encore encore

Oh I, I need to know why
Does a love die
What becomes a lie
When does it begin
Tell me how's it end
When you're carved into my skin

Will you still love me anyway

to top

Meet Me In The Dark

"It was in the same period where I wrote 'Will You Still Love Me' and 'When You Find The One.' It was me going completely back in the other direction of, 'Okay, I'm a rock & roll songwriter; my history is Springsteen, the Eagles, Bob Seger-those ballads that I used to listen to when I was in 10 th grade. I said, 'That is what I am, that's where I came from.' I sat down at the piano and wrote that song in one sitting, I think out of reaction to my record company, out of reaction to the 'corporateness' of music nowadays. I said, 'I'm going to bring this up from my soul, from what I love.'" - Melissa Etheridge

Keep your eyes down
Keep your head lowered
Keep to yourself dear
Do not tell a soul
You know it's wrong
What they've been saying
You knew all along
That I would have to go
Find a place where light shines on my reflection
A place where I can stand up on my own
Not down on my knees
Until then please

Meet me in the dark
Meet me in the shadows
Past the old graveyard
Down Eisenhower road
Meet me where the storms
Blow out on their own dear
Meet me in the dark
Never let me go

I know everyone
Has their unspoken fear
It eats away their senses
And their humanity
They carry all their secrets
Every night down to the river
And they try so hard to drown them
They won't do that to me
Cause I'm working hard saving all my money
And the tips in this jar will buy a brand new set of wings
For my Mercury
Until then please

I could never hide this little light of mine
If God made a mistake then I should die before I wake
Maybe it's my fate to swim against this tide
Swallowing my pride

Keep your eyes down
Say that you don't know me
For I could not survive
If they took you away

to top

Tuesday Morning

"J.T. [Jon Taylor] put some loops together for me, and on one he took this Civil Rights Gospel singer in the '60s, named Ella Jenkins, and sampled her singing an old Gospel song: 'Up and down this road I go, skipping and a-dodging to the .44.' I was messing around with it, and hearing 'skipping and a-dodging to the .44' over and over, and it just started getting way inside me. It was February 2002, five months after 9/11, and I started writing 'Tuesday Morning.'"

"I remember getting People magazine with the stories of Flight 93, how these heroes did it. They get to Mark Bingham and there's his lover, and I thought, 'Oh my god!' I hadn't heard that until I saw the People magazine. Time goes by, and the government starts putting out the benefits for the families of those who lost their lives; a certain percentage of people who lost their lives, of course, were homosexual-at least 10% of any population is gonna be homosexual-and the government says no. All of a sudden, that felt uncomfortable. I start watching as it unfolds, and they mention Mark Bingham but they don't mention that he's gay. It starts to get a little more whitewashed away. Here is a bona fide hero of our American culture, one of the four men who said, 'C'mon, let's roll,' being wiped away. That's not okay with me.

"It was very hard when I was writing the song. In the original lyrics I'm not so nice. I think I even said by name, 'Mr. Ashcroft, maybe it was your life that he saved. Where was that airplane going? And yet you will not acknowledge him.' I went really, really hard with it, and I remember thinking, 'No one's going to hear me if I'm yelling so loud. My job is to present it, just kind of ask that it be considered." - Melissa Etheridge

Up and down this road I go
Skippin' and dodgin'
From a 44

10:03 on a Tuesday morning
In the fall of an American dream
A man is doing what he knows is right
On flight 93
He loved his mom and he loved his dad
He loved his home and he loved his man
But on that bloody Tuesday morning
He died an American

Now you cannot change this
You can't erase this
You can't pretend this is not the truth

Even though he could not marry
Or teach your children in our schools
Because who he wants to love
Is breaking your Gods' rules
He stood up on a Tuesday morning
In the terror he was brave
And he made his choice
And without a doubt
A hundred lives he must have saved

And the things you might take for granted
Your inalienable rights
Some might chose to deny him
Even though he gave his life
Can you live with yourself in the land of the free
And make him less of a hero than the other three
Well it might begin to change ya
In a field in Pennsylvania

Stand up America
Hear the bell now as it tolls
Wake up America
It's Tuesday morning
Come on let's roll

to top

Giant

"'Giant' was written in Berlin , in the freezing cold in February. For the DVD Live.And Alone , they said, 'Okay, we want to film you down by the Berlin wall, at Checkpoint Charlie.' I remember being there in 1988 when it was completely communist and scary, and then I was there in '89 when the wall came down. Now Checkpoint Charlie is a souvenir stand. I stood there and I was struck and blown away with what people who need to move ahead can do. I was inspired to write a song, very general, about any situation of the downtrodden or the underdog-you could put it to a sporting event-to be that general, but specific that I, personally, just me, can make a difference. It was a real challenge.

"When I was working up 'Giant,' it was so simple in that rock & roll way that we all know. I tried to make it today-sounding and went in these other directions, but I kept coming back. It's a big guitar/drums song, that's just what it is." - Melissa Etheridge

You tried to hold us down
You tried to hold us back
You tried to make us wrong
You tried to make us crack
You wanted to see us cry
You wanted to see us leave
You didn't count on the tide
You didn't count on the pride
You didn't count on me

I am a giant
And you will not make me fall
And you will not make me crawl
I am a giant
And I'm not alone
Winds of change have blown
And the walls come tumbling down

And I've learned from my mistakes
Picked myself up off the floor
I have learned just what it takes
Now I am stronger than before
And we are standing side by side
We are determined now to win
We have come too far
And we've got the scars
And we are never going back into the shadows again

I am a giant
Hey hey bye bye

to top

Come On Out Tonight

"This song is about meeting Tammy for the first time, in a bar, and about my ego. I would go to that bar with Ellen [DeGeneres]; we'd be Sinatra and Dean, and we'd sit there and go, 'We the most famous lesbians.' And Tammy came up and asked me out; she had a certain amount of fame and success, yet she wasn't out. It's about, 'Yeah? You want to come on up to #1? Well, are you ready for the spotlight, because you're going to have to come out.'" - Melissa Etheridge

Well you got some tips and you learned some licks
You want to try and teach this old dog a new trick, huh
Well you told your friends you'd have a little bit of fun
You want to walk on up now to number one, huh
You ask me if I'd like to dine
Do you have enough courage
Have you had enough wine, sunshine

Keep your head up don't you sweat in the spotlight
You're comin' out tonight, yeah
You're comin' out tonight

Take a good hard look at this big star view
Don't be bitin' off more than you're ever gonna chew, yeah
You can break the rules when you play in the dark
But every wild fire comes from a little bitty spark, yeah
Does your Mama know who you're hangin' around
A souped up punk in a rock and roll gown, small-town

Keep your head up don't you sweat in the spotlight
You're comin' out tonight
Come on out tonight yeah
Come on out tonight

Are you ready for your big premier
Your people think you're acting sort of queer
Hey come over here

Tell your friends that you won't be home
You got a tiger by the tail and a tiger on the phone, yeah
You're looking sharp you got the right location
Everybody's ready for the next sensation
Your reputation

Keep your head up don't you sweat in the spotlight
You're comin' out tonight
Come on out tonight yeah
Na na na na na na

to top

Kiss Me

"'Kiss Me' is one of the first songs I wrote for the album. It's about as simple a song as one can get. I think it was a real freeing experience for me to just write a simple, sexual song. It's a fun song; it's about pretending and having fun with your partner. It was nice to be able to get up in front of a crowd and sing and be frisky." - Melissa Etheridge

Baby whatcha doing tonight
I'll go anywhere that you wanna go
I'll jump into my car
Go down to that bar
Pretend I'm someone that you don't know

I'll ask you if you would like to dance
Slip myself up close to your thighs
You can buy me a drink
We'll make everyone think
That love is so damn perfect tonight

Kiss me, kiss me
Kiss everything away
Oh honey now kiss me, kiss me
Kiss me come out and play

A woman can go crazy I know
Workin' all day in and day out
We'll let off some steam
Create a scene
Nothing like a good scream and shout

Your kiss is like medicine
A prescription to ecstasy
And your mind is my playground
Look at what I found lying next to me

Baby whatcha doing tonight
I'll be anyone you want me to be
Just a girl in a bar
Your personal superstar
I just wantcha to

to top

When You Find the One

"I wanted to wrap up the whole experience of the album somehow in a nice little exclamation mark, and 'When You Find The One' is a very simple song, a simple story about how my life was, what my experiences were. I had many emotional experiences in my life, many relationships, and now I've come to a part of my life, finally, when I'm 42, where I've actually found the one . When you find the one there's no questioning the silence, it's just really simple. It's just a simple statement of truly, truly being in love, and I wanted to end with that." - Melissa Etheridge

I was a slick Midwestern gal
On the long hard road into Southern Cal
Didn't find any crime
In filling up all my time
I had the devil in my bones
And an angel on my mind
And I drank up all the movies
And I searched for happy endings
I turned love inside out
Till I was perfectly pretending
Still I believed it could be true

When you find the one
There's no questioning the silence
All is said and done
When you find the one
When you find the one

You could say that I was crazy
I was that kind of girl
I had to open up a lot of oysters
Before I found myself a pearl
I had to kiss a lot of frogs
To find my grass was green enough
Had to be face down in the gutter
To see what is and isn't love
Then I woke from all the dreaming
To your taste and to your laughter
I cried till I was dry
And now I live my ever after
I believed I always knew

When you find the one
There's no questioning the silence
All is said and done
When you find the one
And when you make the choice
To believe in your existence
With hello you will know
When you find the one

I believed it could be true
I believe I always knew

to top