I Want to Take You Home Tonight

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"I Want to Take You Home Tonight"
I Want to Take You Home Tonight cover
Demo by Rivers Cuomo
Album Alone II: The Home Recordings of Rivers Cuomo
Released November 25, 2008
Recorded 2002
Length 3:56
Label Geffen
Writer(s) Rivers Cuomo
RC# N/A
COR# 431
Producer(s) Rivers Cuomo
Status Released
Professional reviews
Alone II: The Home Recordings of Rivers Cuomo track listing
"Victory on the Hill
(1)
"I Want to Take You Home Tonight"
(2)
"The Purification of Water"
(3)

"I Want to Take You Home Tonight" is the second track from Alone II: The Home Recordings of Rivers Cuomo.

Appearances

Overview

"I Want to Take You Home Tonight" was written on New Years Eve in a hotel room while Rivers Cuomo was in New York City. Having left the party in the streets, Cuomo concluded that fans enjoyed songs that could be sung loudly, with enthusiasm. He wrote in his journal that one thousand "Keep Fishin's" would never equal a "Say It Ain't So" because it lacked said enthusiasm vocally. Cuomo then returned to his hotel room and worked out the song. The song was rehearsed by Cuomo as a song in contention prior to entering the studio for the band's fifth album, but the song is not known to have been rehearsed by the band as a whole.

The song was premiered ahead of the release of Alone II, with Cuomo playing the song for a limited audience during the takeover of Y-ROCK on wXPN 88.5 radio station.

Liner notes


Rivershead.png
New Years Eve, 2002, I went downtown in L.A. to attend a large rave. I booked a room at my favorite hotel, the Standard, which was adjacent to the rave, so that I could crash out at the end of the night in whatever state I happened to be. My favorite DJ, Paul Van Dyk, was performing. I was all alone, not coming with anyone and not planning to meet anyone there. Everything seemed lined up for a perfect night.

After getting settled in my room, I took the elevator down to the street. Many hundreds of people danced there, packed in, facing the stage. A succession of electronic acts pulsed out their music. Normally, I loved this type of environment. I would stand right in front of the giant speaker towers and let the bass pummel and massage me as I watched the people do their strange dances. Tonight for some reason, though, I couldn't get into it. I felt like a total outsider. I couldn't connect with anyone as I walked through the crowd. The music wasn't pulling me in. I imagined that everyone besides me was having a great time. My mind started tripping on its favorite worries, how to write songs, what kind of songs I should write, and whether or not my new songs were worse than my old songs. As everyone around me danced in ecstasy on New Year's Ever, I sat down on the sidewalk, took out a piece of paper from my jacket and scrawled out some notes about my situation.

1. Everybody wants to sing. What is there to worry about? People like to dance, sure–– and people like to rock. But everyone loves to feel the primal scream of song emanate from their chest, their lungs.
2. I have to lead these people. I have to remind them how to sing.

Just then a random guy recognized me as Weezer's singer, walked up to me, sang "Say it ain't so-o-o-o!" directly into my face, and walked away.
I looked back down at my notes and continued.

3. See? That's exactly what I'm talking about!
4. I have to remind these people what it feels like to sing from the chest.
5. That money-moment of belting from the chest is what I'm all about. The rest–riffs, lyrics, heaviness, etc. is all secondary. If I have all of those things and NOT the belt, then I have NOTHING. A thousand "Keep Fishin's" does not equal one "Say it Ain't So-ooo-ooo-oo" That is my role, my job––that full-body F# through G#. If I don't have that––I don't have anything. Capisce?
6. It's almost as if each artist really just represents one GESTURE. Whatever ornaments surround that gesture, the fact remains that there is ONLY one gesture that is important. I accept this. Everything points to this moment. This feeling. Yes, indeedy.

As lonely as I was, I left the ecstatic crowd behind and went back up to my hotel room. I had a guitar there, left by mt assistant at my request, just in case I wanted to write something, but I let it lie on the floor untouched. I sat up on the bathroom counter and focused on belting, singing out a new songs at the top of my lungs in the mirror. I figured the sound of the rave below would drown out the sound of my voice, and even my immediate neighbors wouldn't be able to hear me. The melody I sang tapped into the gesture that I imagined was "my role, my job–that full-body F# through G#"; the ingredient that I felt my newer songs had been missing. The lyrics expressed the loneliness that I felt, alone at a rave on New Year's Eve. I called the song "I Want To Take You Home Tonight" (Track 2).

Much time had gone by as I belted out the song over and over, revising it as I went, when suddenly I heard the New Year's countdown out on the street below. I rushed to the elevator to go down and be with the people, but by the time I reached the street it was too late. The moment had passed though confetti still floated earthward and people still danced. I stumbled through the crowd, anonymous, loneliness gnawing at my gut. I sat down on the sidewalk. More time passed. The DJ played "Clocks" by Coldplay and I heart the song as I'd never heard it before–the piano riff soaring majestically as the band dropped out from under it. More time passed. I saw a face in the crowd I thought I recognized. Josh Freese. Dancing joyfully, long limbs flailing. How strange. Why was he here? I didn't know. He was an acquaintance of mine. I could have talked to him, bro'ed down with him, but that was little consolation to me on this night. I needed a soul mate.

I went back up to my room, alone, and continued to belt out the song. Experiment #431. Hardly an experiment any more at all. It had arisen pretty spontaneously, out of psychological necessity, and had been developed fairly unconsciously. It sounded like a song.

Reception

"I Want to Take You Home Tonight" received a positive review from Teenage Victory Songs, being labeled as part of the blog's "Grand Playlist."

Audio

Personnel

  • Rivers Cuomo – lead guitar, lead vocals, percussion, rhythm guitar, bass guitar

Lyrics

I want to take you home tonight
And lay you down beside the fire
I've never seen your face before
I probably won't see you no more

I hope I find another girl
That thinks that I am lovely too
But they don't make those kind of girls
And so I cry from me to you

Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh

This is another New Year's Eve
And I am happy with myself
I like to disco on the floor
I probably won't see you no more

If what I take from this ordeal
Is to sit down with you and me
I'd tell you that I love you so
I probably won't see you no more

Ooh ooh ooh
Ooh ooh ooh
Ooh ooh ooh

Don't go, I want you to stay
I need you to stay and hold me
Don't go, I want you to stay
Need you to stay and hold me

I want to take you home tonight
And lay you down beside the fire
I've never seen your face before
I probably won't see you no more

I want to take you home tonight
I want to take you home tonight
I've never seen your face before
I probably won't see you no more

Ooh ooh ooh

See also