| Sara Bareilles – Cassiopeia Lyrics | 10 years ago |
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The line "just like heaven" reminds me of the reason why I was turned onto this song so quickly. It was because, heaven being such an elevated and lofty concept, any comparison to it has to be that much divine--almost to the point of being self-sacrificial. It made me sympathetic to the speaker. From an analytical standpoint: heaven might not make sense since the stars are, in a matter of speaking, "the heavens." But this song would go to show you that heaven is a term based on point-of-view. If you are indeed in what is considered heaven, how would perfection be able to be perfect when life, by definition, includes the possibility of failure (and hence, a sense of danger and "the slings and arrows of outrageous fortune" (Shakespeare, Hamlet, Act3Sc1Ln58)? Sara is instead asserting heaven's mentality, that it is a way of contrasting with imperfect life, wherever you stand. After she makes this comparison, she questions it. Perhaps I'm sadistic, but her confusion made the song meaningful and important. It gave the attraction a depth, because the pleasure taken from the bright star was an object to be studied. Also, this need for justification is an appropriate antithesis (opponent) for her perfect heaven, like a guilt for the feeling. For me, it made the song, with its universal battle between dream and realization, just like heaven. |
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| Sara Bareilles – December Lyrics | 10 years ago |
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Who is December? We should look at the rest of the lyrics to get an idea. Sara begins with describing the “long and heady” afternoon on her shoulders, often a symptom of overexposure to sun. But this headiness she feels seems to be numbing her beyond senses of light or cold–even cold artificially created (which means, realistically, imagined). It is the darkness she notices building up inside and around her. It is the darkness of insensitivity, cutting one off from a truly colorful world. She also chastises reckless conclusions and irresponsibility, whereupon she discards the pertinent pieces of something that had to “change.” So then: December. She/he has “always been a problem child,” running Sara “down restless and wild,” and, importantly, “used to be [hers].” December might be a desired person and all, but is called to “break the chain,” for she/he “can’t turn around now” or “live in circles again.” Sara herself has done her part and now is either asking the person, December, to change lifestyles, or her own December (Destiny) to drift back under her control. These wishes multiply and shower down upon the listener, building up into (breaking, even?) the final chain of the C note. |
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| Sara Bareilles – Islands Lyrics | 10 years ago |
| ADDENDUM OF PREVIOUS POST: the horizon is all that is between now and the end, horizon being the farthest that can be seen. | |
| Sara Bareilles – Islands Lyrics | 10 years ago |
| This song has quite the landscape, the wide seas of its rolling chords and the dropped stones of its rhythmic piano. This is reflected in the lyrics, where Sara is in the midst of a trip, waiting for the road’s “concrete black top” to become something to step down on. She is anguished because she cares for what she will soon lose, something she felt “coming from a mile away.” It seems to reference life’s ethereal flow. The sentence, “’Cause I still count on one hand / the number of good men I know,” refers either to a hyperbole to make light of the situation, her despair at the paucity of good men in her life and her general preference for females, or even recognition of her own hand’s power — her good man. It depends on the definition of ‘good man.’ This impending loss is why she promotes being an i(emphasis on ‘I’)sland against the rising water, that is, being an individual, self-satisfied, self-assured. She comments that “you always dirty up the windows,” a tactic to prevent disclosure of what is inside. Except she is inside with ‘you’ because ‘you’ are listening to the song’s message of individuality. She is providing advice while still there. Meanwhile, the repeated vocalization of “ha ha haaa” symbolize the division that is promoted. | |
| Sara Bareilles – Eden Lyrics | 10 years ago |
| Sara’s first words are a statement of intent: she will retell an epiphany she had. She had spent some time in a place called Eden, which represents a suspended state of “eternal happiness” and contains attractive angels. One day, she “landed on a snake’s eyes” and “took a bite,” obviously leading to it “[ending] up bleeding.” But linked to the detail that she met and spoke with a serpent-shaped heart in the garden, the possibility rises that she figuratively took in the perspective of the snake. The snake is wise about the ways of deception, which drives business and pretty much the entire universe. She is grateful for his advice and begins to resent the supposed jolliness of Eden’s pretty, predictable people. The snake’s teachings against the ignorant existence that is happy-go-lucky innocence is appositely phrased his theft of hers, as crime is not the simple evil that it used to be. Nothing is simple anymore, not peace, not wounds. After these conclusions, Eden’s air, with its lethargy and “eternity,” is figuratively asphyxiating and poisoning. She left its “paradise,” as if riding the momentum of the machine-like and steady melody of the song. | |
| Sara Bareilles – I Choose You Lyrics | 10 years ago |
| This is a tree’s self-reflection, as she expounds upon the true sun she needs and wants. She is told that she is standing in a forest. But she has discovered that this is “not all right,” deceived by those whose boughs shield her from “breaking” and by the sun by whose light she is “fed.” She is aware of her own inexperience away from her previous protectors, but she is impatient to be free to be true to herself. She cherishes the upcoming journey toward what she sees is her destiny, admittedly a messy process but part of her informed choice. It would demonstrate her incontrovertible partnership with her true source of nourishment, a relationship where the two are the figures in the equation of her life — her truth. | |
| Sara Bareilles – 1000 Times Lyrics | 10 years ago |
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This is a haunting song about self-inflicted depression and the ensuing desperation. Here, Sara is the shy character who “feels” the room rather than sees it, shown by the description, “A hundred and five / little blades in a line / between your skin and mine.” Inside that shy mindset of secret fantasy and vague association, death and malnutrition are secondary factors to the venerated act of returning. She doesn’t know why she is in the “love [that] is a cage” or weighed by its destructive pain, as the listener is privy to its tragic details being cried out. It floats before her, a cloud of visions portraying the distance between this life and another life. I focus on her revelation that in another life, she “wouldn’t need to console [herself] as [she] resigns to release” the object of return. But because her death-ridden promises do not suggest release, it would seem that she is just showing how similar her own life is to the other, more violently passionate and uninhibited one. There’s hope yet that she will come fully to terms with her capacities to pull them together: her precious hands. |
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| Sara Bareilles – Cassiopeia Lyrics | 10 years ago |
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“Cassiopeia” is my favorite song on this album. Sara the story-teller is clearer here than ever, and the delivery she has used is spot on. Her story of a girl named Cassiopeia begins, in the manner of Star Wars, “a long, long time ago.” And, not surprisingly, it is “in a galaxy far, far away”–only if the reader interjects with the knowledge of real-life constellation, Cassiopeia (which may also explain the light-years-ago age of the story). Cassiopeia, of a starlight with potential to create supernovas (whether in a literal or abstract sense is joyfully ambiguous), has noticed another bright star far, far away. She wishes heartfully that they would meet and start something (note: violence and destruction, the stuff of supernovas, are intriguingly rich with figures about progress). Her fantasies please her, so the accompanying desperation and tragedies of reality lead to inner turmoil. And then, she meets someone. Who, you ask? It’s not revealed, and this allows for several interpretations. Is it the heartbreaker or someone new? Is it real or part of her imagination? The truth is up in the air–or if you will, up in space. My most perceived part of her story is the journey from audio to visual, which is given the apposite atmospheres (e.g. light stream to heavy cream). There is also the context to be identified, which I’d say is a series of tracks about self-discovery of “the blessed unrest” Sara speaks of. It seems to be what Sara fantasizes about, partly because of the attention of the end of the lines in the chorus to the ‘I’ syllable and partly because the idea is a happy ending for people aiming to break apart one day, like a supernova growing up (or blowing up) to be stardust. This falls in line with the greater reality of human biology. It’s art. |
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| Sara Bareilles – Little Black Dress Lyrics | 10 years ago |
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“Little Black Dress” must be the song that came from Sara’s heart when she “stood on her heart and stomped.” This is a song of empowerment, emphasizing the invincibility behind wearing a little black dress, a metaphor for a personalization of the universe. What I mean by this is that, in putting on the little black dress, she is requestioning values, replacing a surrounding world’s facts with her personal truth, and deciding to enjoy the music she hears. In other words, she is writing her own destiny as one who chose to be wrapped in a little black dress, a color commonly connotated negatively. She’s daring to be different. The stompiness of the lyrics (think stubborn refusal to do something) comes out in the song’s rhythmical divisions, as if the message were like blood veins pulsing with what goes on inside them. |
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| Sara Bareilles – Hercules Lyrics | 10 years ago |
| CLARIFICATION OF EARLIER POST: Hercules is an umbrella describing many people that are warriors and Sara is "on [her] knees" wanting this strength, but only by her updated ideas of what a Hercules is. | |
| Sara Bareilles – Satellite Call Lyrics | 10 years ago |
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This one drives me wild. The effects and the otherworldly tone stretch open the bounds one has of the song, forcing recall of the vast reaches of space. Inside that mindset, one pictures “perfect little satellites” gathered round a misshapen globe called Earth. Inside that mindset, there runs a crooning “satellite call.” What else? Here’s where it gets interesting. It has struck me in the past that sometimes, Sara’s songs seem directed at herself, like the songs are reenactments of thoughts that pass through her mind. Besides a message sent out to fans who would like to hear that she loves them, what else can it mean that she wants “you [to] know the sound / Of someone who loves you from the ground?” I propose that she is attempting a metaphysical reshaping of the space between singer and song, where a song possesses a life of its own as a ‘someone.’ The song is the act of her calling out; it is her love. She is interacting with the entity that is her own love, giving herself comfort “in the dead of night.” The idea of creating life through thought is, through the motions made inside space, brought closer to reality, be it surreal or ethereal. |
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| Sara Bareilles – Manhattan Lyrics | 10 years ago |
| Manhattan. There being past and future in the song, the past where bustle and laughter were how Manhattan was defined, the future where she abandons all of this for the sake that is the prized relationship, the lyrics form a plot that separates her style of life from this other person’s. She associates this other lifestyle with MANhattan and criticizes it because it is too sad and hurried. It used to be comfortable and dreamy to maintain, but she aims to forget this and become her own person. She partners the other person with Manhattan and chooses to veer away from the two that are meant for each other. | |
| Sara Bareilles – Hercules Lyrics | 10 years ago |
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This is a fun song to imagine. There are essentially two spaces Sara creates in which events take place: days of old where her “imagination hadn’t turned on” yet and the darkest hour she is in. The days of old are when, because of simplified objectives that are seen by an as-yet-ignorant set of eyes, happiness and what felt like skillful poetry were easy to achieve. She mentions the brashness of that time, because there was no reason not to be. If there was breath, why would she question that? And then there is the current dilemma, where regret is expressed for letting problems grow unchecked. Previously poetic ponderings have become regurgitations and happiness has given way to bitter battles. The two spaces I speak of are served by a powerful bridge, which is this symbolic warrior, Hercules. There is very little elaboration of what character this Hercules is, but even if anyone is not well versed in Greek mythology and is familiar with the strongman with a human mother and Zeus as father, examination of the lyrics point to his strength as a fighter. This fantastical strength was desired in those old days where what you saw was what you got, and it is now portrayed here as the light to which she would need to look at before deciding flight or fight. This is why she says, “I want to disappear and just start over, / So here we are”–she is singing “Hercules.” Remember that “[t]his is not the end though.” She talks about a strength that will persistently guide her through her tribulations as she fights to find who she’s not yet become and then can breathe again. |
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| Sara Bareilles – Chasing the Sun Lyrics | 10 years ago |
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There is more than one way to interpret this song. For example, you can say that this song is about a musician standing in one of New York City's cemeteries — bordering the dead and the living - remembering someone that died. The memory of what this person said is how the musician will defeat the existential angst working inside her, because the infinite supply of hope in humans will provide for her the real-life movement toward an improved future. In the lines “All we can do is try, / And live like we’re still alive,” she is blurring reality and fantasy by giving that deceased person life again. You can also say that this song has nothing to do with New York City. The “really old city” she speaks about is just the idea of dying, obviously a state of being that’s really old. Where she is then is an abstract space where the very planet she walks on is “a graveyard shelf.” No wonder the cemetery is being filled with the echo of heartbeats. But she is not crazy and knows that it is silent. But get this: this state of dying is intertwined with the life/death continuum, which is the essence of a living creature. One has to remember that if you are not dead, you are dying. And because you’re not a silent dead yet, you can be loud and hopeful. You can be alive, which, thanks to biology, is a state of being always run through MOTHERS, the royal “queens” of life. |
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| Sara Bareilles – Brave Lyrics | 10 years ago |
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With respect to The Blessed Unrest album this song opens for, the subject chosen (i.e. living courageously) applies as well to the artistic drive to create. Sara mentioned that the album's title was lifted from a quote by dancer/choreographer Martha Graham, who was describing that impulse, that "divine dissatisfaction," to find the will to execute one's plan. Sara is associating personal bravery in hostile situations with artistic indulgence in spite of unfamiliar territory. After all, both situations involve people finding the world unsatisfactory as he/she opts to change it. "Brave" is how the Blessed Unrest will spring from silence and wrestle with injustice. |
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| Sara Bareilles – Sweet As Whole Lyrics | 12 years ago |
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Change is the word. She the creature revels in the sugariness creatures can have, but as creature she also has bitchiness, what she calls shiftiness. And behold that her song is itself a creature! It veers from cursing listeners to crooning to them worldly advice, setting an example for them by not taking criticism to heart. And upon perusal of what is being said, she is a sweet creature after all, acting bitter only when provoked enough to do so. One does well to look at the line echoing “asshole,” which may or may not be “as whole.” Though change is the word, we still ought to let musicians be musical (and echo sounds). So since it can be both and since “Sweet As Whole” is the title, something incredible has been accomplished with that line. She has addressed assholes and assholes who are wholly assholes while also praying to the audience to be sweet creatures, letting the world go when it naturally distances itself from them. This line also marks another mind-bending shift: from individual to group (or to everything “as whole”). Until now, who “you” are has been the audience. Now, “you” is a changing character, one where different people fit in before leaving again. A state of chaos reigns! In a way, she embodies that populous world as the song concludes. As she repeats “asshole” (or that delicious “as whole”), the “fuck the world but not really” chorus stresses the human voices of male and female, an anthem sung by many “as whole” and led by someone “sweet as whole.” |
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| Sara Bareilles – Lie To Me Lyrics | 12 years ago |
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This song is about sight. It begins by her proclamation that whatever the truth is, she will accept it. But alas, she is speaking to “you,” a lying son of a bitch who wants to bring her down. Her criticism is something more than whimsical angst, for from the beginning one is shown her visual idealization of life, with mouths breathing in lines pointed toward their honesty (or lack thereof) and being able to be captured. Additionally, she envisions air turning red after you breathe it in so that she will know you are lying. But after the song’s interlude, in which strings begin and continue until the end of the second chorus to cut lines across the percussion-filled atmosphere, she admits that she desires you as a bloodhound chases after its prey. Instead of self-pitying with eyes closed (poor praying), she sees you, you who stand like her in a fiery landscape, plagued with (possibly hers as well) bleeding eardrums from “air tides” (generalized shifts in atmospheric pressure). The possibility that she likes all this burning and reddening and chasing arises and explains the synthetic bass notes that travel about stirring the musical atmosphere more and more like the drumming growing more urgent until nothing but one defiant piano chord remains. |
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| Sara Bareilles – Bright Lights and Cityscapes Lyrics | 12 years ago |
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First question: characters. Who are they? There is the narrator, who I’ll call “Sara” just for the hell of it. There is also the listener who I’ll call “you” and the other female who I’ll call “Shiny.” The first four lines detail a servile relationship between you and Sara. Sara accepts that her breathing is under your control and that your words are permanently written on her, even to the point that she becomes just a tool to be hung up to dry after use. The next four lines differentiate between Sara and Shiny as writer and muse, seemingly contradictory to the previous lines. It’s as if Sara is affirming that indeed, she has a voice, a writer’s voice, as opposed to Shiny’s lack of it. But in predicting Shiny’s behaviors and destiny, the lines blur themselves with wishfulness and blunt criticism. This mentality is prolonged through the chorus as Shiny is denounced as selfish and fickle, ultimately a lost cause. But at the lines, “Til you start looking back, / I’m gonna love you so right, / I wouldn’t need a second chance,” Sara becomes self-critical. To rephrase, the idea is: Because I loved you so right, you would not be able to look back and find anything that can incriminate me. Then “Shield your eyes from the truth at end, / Tell me why it’ll be good again,” a concession that everything is going to the shits someday. Sara would prefer that instead of being realistic and depressed, you have hope, no matter how small or irrational it is. When she proclaims herself rising “flame” to your remaining “carbon” self, it is part of her (poetic) writer’s voice and in spite of previous servility. Thus, Sara admits that both you and she write and are written on, being the powers that make up the relationship. As the chorus runs again, who Shiny is appears clearer. It seems that she and her attributes, although garish and unpleasant at times and what will in the end pull you apart, are what allow you and Sara to be thought of as a couple. So it seems to me that Sara would like you to love her as well and write on her as she does to you (because that’s what songs do). In conclusion, Ghost Sara expresses the “missing” “I’m gonna love you” line in wordless voice and emphasizes Sara’s “I wouldn’t need a second chance,” emphasizing also how erroneous human ways are. Ghost Sara reflects the shiny cityscape on the song’s outer gossamer. |
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| Sara Bareilles – Bright Lights and Cityscapes Lyrics | 12 years ago |
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More argument for the section of wishes: it starts right after she says, "I'm a writer," signaling that the reader should reflect on the consequences of that. Before the writer sequence ends with the command, "Shield your eyes from the truth," the chorus identifies this ex with "She is bright lights and cityscapes, and white lies and cavalcades," and seen through the scope of the criticizing writer seems rather shallow. To me, this is different from the second repetition, "For bright lights and cityscapes, and landslides and masquerades," because these are objectively described and seem more like natural phenomena. Good find. |
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| Sara Bareilles – Once Upon Another Time Lyrics | 12 years ago |
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Sara is growing as a lyricist, among other things of course. In this song, she conjures up a unique universe simply called “another time” where somebody’s hands that felt like hers were driving. In fact, she even personifies them with “who felt.” Going a step further, she makes vague whoever was free for having taken a drive by using a singular mode for the verb (was). Thus is accomplished the sense that ‘hands’ are that thing that was free at this other time. The theme of ‘hands’ makes appearances throughout, with, my favorite, the sun signing a glow much like the cigarette that was burning slow or handlebars (another vague term related with hands in use) or lights that pull you home. The connection between the hands and the speaker is strengthened when she refers to “the child left behind” as “me” (with vocal emphasis!), otherwise a repetition because of the previous “before my future did this.” The hands are crushed into an appropriate subject, something that’s been hinted at. Next, a difference is noted between making wishes and believing, something like thinking about something versus working to achieve it, like hands coming to the realization that they move. At the end, she mentions a decision to keep driving because she felt free doing so. What has changed that now? Hands drive a free woman, now and forever. |
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| Sara Bareilles – Stay Lyrics | 12 years ago |
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Two frames I see structure-wise: 1) realistic Sara 2) romantic Sara 1) realistic Sara starts by setting the stage at a room for a Saturday get-together. It appears that her significant other went off to go use the restroom, whereby she commences to focus on what they mean to each other, being as they are only two lovers intermingled before the glaring daylight that is day-to-day business comes sweeping them apart. 'Who needs that shit?' she thinks resignedly. She decides to enjoy the things for which the skies overhead foretell doom. 2) romantic Sara starts by setting the stage with her sitting cross-legged in an empty dark room in the middle of the night. Then, the meditative story begins, filling the room with people of all shapes and sizes. Once upon a time (another time), there were two spirits named Reality and Idea. Reality is a murderous motherfucker responsible for every crime that's happened under the sun for all of time because Reality is anything being hit by the sun, on its way to eventually rotting away to expiration. Idea is none of that, but is very weird, weird enough to confuse her. But Idea has her heart, and that is the ringer. Seeing this, she begs this beloved spirit to stay with her, holding her hand, huddled together against morning and light who might not be what they say they are (as happens when anything truly steps into the sun), as they wait for the murderous motherfucker Reality to strike again. But here: Keep your eyes closed You've seen it baby You've seen where this goes , there's an insinuation that she is talking to herself. That would mean that she's broken free from the meditation and that she's become a spirit herself. In elevating herself thus, her self-command to stay is an affirmation to feel life and not let it make her cry before she says goodbye to it. So she tells herself she'll be alright before everything is fucked by Reality. Just like my final examination tomorrow will fuck me, now that I've played so long with Idea. |
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| Sara Bareilles – Beautiful Girl Lyrics | 12 years ago |
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There are differences between what someone says, what she means, and what someone else understands. Under that belief, I had to accommodate this song and the fact that I'm a guy. What does it have to do with me? Surely, like an older sister to a younger one, Sara sings explicitly that a girl, wanting to beautify herself, should be confident. This looked to be a song of commonality, what she facetiously identified once as “chick music.” And so, what I had to do was to find commonalities between us. We’re human, and we want to be good to that which we care about (in this song, a girl wants to “make him want to be with [her]”). Commonalities found. If we are ugly (“the whole world has made you the ugly girl”) and isolated, we find it hard to be good to anyone. Sara is telling us that we are not ugly, but hidden for the time being. She knows what it feels like to be shoved aside as someone else with more reputation basks in the spotlight. She sees that beauty has more to do with others seeing you than you seeing yourself and that losing opportunities and blaming people aren’t very important. We still stand as chances to be taken by the world because we are all beautiful girls. Beautiful song, by the way. |
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| Sara Bareilles – Send Me the Moon Lyrics | 12 years ago |
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"Of view" makes literal sense, especially with the temporality of the moon. But "of you" can work if "come in" is its own sentence as in "come in to my space." "Come out of you" can be if she is referring to the moon as messenger of the sun. This way, she can gain "one step closer to [it]" (because moon can be stared at, sun can't be.. unless she's into one day relationships). Plus, the 'I' that is her cannot be too involved if the 'you' refuses to leave 'you.' "Watch from the ground as the gold flutters down from the sky" |
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| Warpaint – Undertow Lyrics | 12 years ago |
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I saw them play live yesterday in Switzerland much to my joy, and decided to look closer at the lyrics after hearing it. Before, I had assumed a general, "Curiosity killed the cat, bitch" message, but I found very beautiful metaphors along with . Starting with birds flying in bright blue skies over deep rivers associated with a pair of brown eyes, one soon encounters the sardonic, "Now I've got you in the undertow." This comment is not expected to be given after praise about eyes eliciting peaceful nature scenery, but it does go well with the proceeding details ("Why you wanna blame me for your troubles? Ah ah ah you better learn your lesson yourself"). This change in tone would probably be said in a teasing tone, and it's fitting with the repeated stanza, "Nobody has to find out what's on my mind tonight." With regard to the lesson aforementioned, it seems to be related to an inability to deal with some transformation, perhaps one by the narrator who, unable to be accepted while with the transformation, seems to be another person. This acceptance, or if you will, this lesson, keeps the narrator in anguish ("I lay on the floor, pressing in my eyes, seeing little lights, / Please light these decisions that only one could make"). But she found a solution. She says that she wanted to stay home, which most of everyone finds pleasant and comfortable. But in this case, the lack of acceptance found there was too much to bear and caused her to "[go] running from the troubles." It was a decision with "Nobody in [her] mind. / [She felt] it in [her] heart tonight." Coming back to the subject of the paeans and remonstrations, this person has a choice: grow up or pack up. I guess it's like saying, "Learn how to be curious, bitch." Jenny Lee Lindberg = <3 |
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| Sara Bareilles – Morningside Lyrics | 13 years ago |
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The lyrics are thoughts of someone in a relationship, who is in love with someone else and can't really specify what it is that instigates this love. The song consistently references this uncertainty and the joys provided by this other, but its bridge ("look back, don't you dare let me start to do / …') is where the narrator opens up and admits that she and this other both have responsibilities in order to further the progress of the inexplicable, joyous relationship, such as her letting go of insecurity and pride. In the end, she knows that she is a flighty person and probably doesn't deserve this other. But shit, the relationship is happening. |
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| Sara Bareilles – Send Me the Moon Lyrics | 13 years ago |
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I thought I could not be more in love with the song's poetic essence, but the musical sweetness makes me giddy enough to question that. The central image deals with a concrete "fact" (that being the powerful, mammoth 'sun') projecting an interaction (such as the moon) to an observer on the ground. Amid this ethereality, the observer focuses on the state of waiting, where patience and artistry is vital for survival. The pivotal moment for the poem is brought by the realization that the sun already projects into the observer's life. Thus the next lines: "Never you mind whether evening should find us together, / Distance can't take what is hidden here safe in my chest." Love. |
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| Erin Mccarley – HelloGoodbye Lyrics | 14 years ago |
| "On the age I hope / Inside I choke" = "On the edge I hope / Inside I choke" | |
| Erin Mccarley – Bobblehead Lyrics | 14 years ago |
| I love how songs can mean different things. For example, I see that one can see this song as a soldier's letter to his city. He's remembering all the good that has been experienced there, while sitting in front of burning buildings in a desert war. He spies a child's toy soldier sitting on the ground near him with the neck frayed severely, thus resembling a bobblehead in the wind. It's a happy memory, and Erin laughs in the background. Now there are new memories, the gristly memories of war, caused by the inane implications of pride. He sees that there must be a policy change that will "blow the world away," this square world of straight and quick roads. There's nothing to do but "hold on tight." :) | |
| Sara Bareilles – Any Way The Wind Blows Lyrics | 15 years ago |
| To me, this song elicits imagery of two lovers addressing each other in a chaotic dust storm. They know that they lie to each other, and that who they define as themselves to the other is worth as much as a myth. In such a fashion, they know not what to rely upon except the stories and 'love songs' they give to each other. After all, reality requires 'such a strange point of view' that it reduces the individual! Where is the fun in that? | |
| Sara Bareilles – One Sweet Love Lyrics | 15 years ago |
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Wow, what a steamy song! It found me that narrator (Sara?) is questioning whether she has found this 'one sweet love' in whose name she'd rather make 'an honest mistake.' Now, according to the principal of law and justice, [Innocent until proven guilty!] That requires an unknowing bystander, such as the person in a masturbation session. Who is this "you," you ask? We should give Sara a little artistic freedom, nay? Furthermore, "only close my eyes and you are here with me." = FANTASY?! "To sit and watch the waves with me, til they're gone." = come on, WAVES OF PLEASURE? "The time that I've taken, I pray it's not wasted." = Do I have to explain this? "sip on the southern rain, as I do," = Hm, 'southern rain.' RAIN from the SOUTH? Can anyone say, "naughty?" "I don't look, don't touch, don't do anything, but hope that there is a you." = Fantasizing for SURE. Nice work, Sara :). |
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| Fiona Apple – Extraordinary Machine Lyrics | 15 years ago |
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Music never belongs to anyone except whoever hears it. Whatever anyone says about it (be it some scholar or the very singer), the only thing that matters is what you feel about it. That's what any performers sign themselves into, but this world with its many misconceptions does not agree. IT CAN'T AGREE! What about democracy, science, history, they say? All in all, we are simply machines incidentally in our bodies. Isn't the better way just the only way, why Fiona would always leave it behind? Furthermore, pain is simply an added state of mind (which is how we understand it), but our bodies send us those messages - as a machine would. In such a machine-world, how miraculous is it that we can create differences between pain and pleasure, between loved ones and hated ones! But between skin colors? There are smart differences and stupid ones. There are times to change and not opt for the quicker way. |
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| Mieka Pauley – Devil's Got My Secret Lyrics | 15 years ago |
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I'm shocked that I have the privilege of being the first commenter for Mieka Pauley on here! Oh well, "first, bitches!" This is such a romantic song... You are the devil and I'll see you in hell, which beckons me despite the torment that may wait for me there. You are worth that much, because I care about you more than a one-time infatuation - which is but one struck match. Art is ambiguous though :). |
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