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I Want You" is a 1996 song by the Australian pop group Savage GardenW from their 1997 self-titled debut albumW. It is used as the ending theme for JoJo's Bizarre Adventure: Diamond is Unbreakable.

Taken from the album "The Sign"/"Happy Nation".

Listen online to Yull - I Want You and see which albums it appears on. Scrobble songs and get recommendations on other tracks and artists. Showing albums featuring I Want You. Rave Style (Base Home Mixes). 20 Nov 2006 · 7 tracks.

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Anytime I need to see your face I just close my eyes And I am taken to a place Where your crystal mind And magenta feelings take up shelter In the base of my spine Sweet like a chic-a-cherry cola I don't even try to explain I just hold on tight And if it happens again I might Come stand a little bit closer Breathe in and get a bit higher You'll never know what hit you When I get to yo. I Want You was released in North America in February of 1997, where it peaked at No. 4 on the United States Billboard Hot 100 and by April had achieved gold status according to the Recording Industry Association of America (RIAA). It would also become a single in Canada in June 1997, the first of three Savage Garden songs to top the Canadian charts. Twenty years ago last March, Savage Garden released their self-titled debut album. The band, made up of Australian duo Darren Hayes and Daniel Jones, saw six tracks hit the top 40 of the Billboard Hot 100 - including two trips to the No. 1 spot.

I Want You is the fourteenth studio album by American soul singer and songwriter Marvin Gaye. It was released on March 16, 1976, by the Motown Records-subsidiary label Tamla. Gaye recorded the album during 1975 and 1976 at his studio Marvin's Room in Los Angeles and at Motown's Detroit-based Hitsville West studio. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting.

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I Want You, while it a Top Ten smash for Marvin Gaye in 1976, is not as generally as well-known as its predecessors for several reasons. First, it marked a sharp change in direction, leaving his trademark Motown soul for lush, funky, breezy disco. Secondly, its subject matter is as close to explicit as pop records got in 1976. Third, Gaye hadn't recorded in nearly three years and critics were onto something else - exactly what, in retrospect is anybody's guess

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