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vivid
(electronic)



my imagination wants to see

the vivid colours of reality

there’s a place out there beyond my grasp

a revolution in a looking glass



i’ve got to get this problem off my chest

i’m sick and tired of being second best

i’ll rearrange my credibility

a fundraiser for a restless sea



don’t ever doubt me, what’s come over you

won’t you forgive me, what are you gonna do

don’t ever doubt me, what’s come over you

won’t you forgive, what are you gonna do



what will you do



i can’t contain what’s inside my head

i’m losing words that i must have read

do you remember the time we spent

it seems that we were the main event



have you a reason to behave like this

maybe you need a psychoanalyst

if you keep pushing me out of the door

for sure, you’ll never see me again



no one to talk to, what am i gonna do

you’re never there right when i need you

give me a cause, give me a reason

for your applause i’ll commit treason



and in my mind i know i’m right

it’s the same thing every night

you’re not to blame, so don’t you cry

you don’t need me, so hurt my pride



all that time, i know we tried

line by line and side by side

and still i pray that we’ll get by

but it don’t seem real and i don’t know why



and in my mind i know i’m right

it’s the same thing every night

you’re not to blame, so don’t you cry

you don’t need me, so hurt my pride



but in my mind i know i’m right

it’s the same thing every night

why do you cry, you’re not to blame

when will you change this sad refrain



sad refrain

oh when will you change

this sad refrain

when will you change this sad refrain

versions
album version (5:36)

radio edit (3:49)

unfinished promo mix (5:31)

releases
vivid
twisted tenderness
twisted tenderness::deluxe
get the message: the best of

comment
the momentum started by the first two tracks on twisted tenderness is sustained by its third track and lead single vivid. johnny wrote the music and sang on the demo, before bernard bolstered the lyrics with some words of his own and strengthened the melody. the distinctive intro was achieved by programmer merv de peyer, who mixed some tinkling bell sounds with a reversed snatch of marr’s harmonica.



it’s a substantial and well constructed rock song, although its length goes against its pop potential; the radio edit is just about right though inevitably it has a somewhat clipped feel. like forbidden city, it was followed by another guitar-led track, late at night, and while electronic’s third album does of course lean in that direction, the dance-oriented twist should have been equally represented by its title track.

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