| Adam Ant – Press Darlings Lyrics | 10 years ago |
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Even should he deny it today, the words "Vaseline gang" made it quite clear to whom he was referring. That, and the lisp he affects on the first 4 of the last 10 times he says "Press Darlings" coming at the very end of the song. Deny it if you will, Adam, but you know full well what you were saying, and you were astutely correct. Prick up your ears. |
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| Adam Ant – Press Darlings Lyrics | 10 years ago |
| Good find on Kent and Bushell. I've always considered this song scandalous in that Ant managed to successfully get it on vinyl, on radio, and in ears, because to me, it's a scathing commentary on gay control over what was then the London media. "We are the Vaseline gang" reminds me quite a bit of 2013 American media. They ARE the Vaseline gang and should be lampooned without mercy until they return to their roots here at the edge with the rest of us, where they came from. Gays have become bourgie, and until they quit their alliance with TPTB, may all punks pillory and throw eggs at them for their hypocrisy. | |
| Kajagoogoo – Too Shy Lyrics | 11 years ago |
| Nick Beggs wrote the majority of the song. Chris "Limahl" Hamill is gay, but Nick is straight as it comes. Straight male love song about straight men's favorite activity. Sorry luv. | |
| Kajagoogoo – Too Shy Lyrics | 11 years ago |
| It's about oral sex on a woman. | |
| Steely Dan – Here At The Western World Lyrics | 11 years ago |
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I would vote Villa Baviera in particular! Did you know "Home at Last" is about Homer and the freakin' Odyssey? Good ol' Steely Dan! |
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| Atlanta Rhythm Section – Do It or Die Lyrics | 11 years ago |
| One of the best songs ever written, and its message is simple. If a person needs these lyrics explained... I don't know what to say to them. | |
| Anne Murray – Talk It Over in the Morning Lyrics | 11 years ago |
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Although I am pretty sure a man wrote this song, Anne Murray wears it well. It's a classic "don't leave me baby, I'm sorry" tune, written post-argument, pre-bed, where the man (Anne's narrator) has realized he pushed the woman too far and now the woman wants out of the relationship. The male narrator disingenuously begins using nature as an allegory, pleading the woman to stay, warning her that if she leaves him, the world will spin awry. Funny, seems he should have thought about that before saying the words that hurt her. Also, notice how he is the one who initially said the cruel words ending this relationship - but once he starts pleading for the woman to stay, they "both" apparently said some. If you've ever been in an abusive relationship, you'll recognize these lyrics. Stay away from anyone who tells you them in prose. I just dumped a guy who tried these lyrics on me. |
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| Chicago – If You Leave Me Now Lyrics | 11 years ago |
| Same here... I'm a Lamm-era Chicago fan who vastly prefers "Does Anybody Really Know" and "Saturday In The Park", and as a young thing I always considered this song (a) played way too often on the radio and (b) an eerie foreboding of the excesses of the approaching Cetera era. Good to be reminded it was a good song after all. No Lamm composition, of course... but good. | |
| Talk Talk – It's My Life Lyrics | 11 years ago |
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Others may disagree with me, but as a songwriter who was also on Capitol EMI for a while, I love this song and always have, and this is my take on what it means: The verses are where the true meaning of the song lies. The chorus is "what suddenly occurred perfectly to Mark Hollis, which came out of his mouth as he and the band were rehearsing it, and the words fit perfectly, whatever their then meaning wasn't. And that may have been it." The verses are the thoughts or speech of an ambivalent man realizing at last he is in love with a woman or man he saw just as a friend. They've been round each other a long time. This realization is a discovery to him. It's also threatening. How much should he commit himself? Because one half won't do. Once this fellow commits to a woman or man, he's there completely. The lyrics are a wrestling match between his heart and his freedom, because he has ethics, and his personal code tells him once you commit to a person, THAT'S IT. Measure this against Mark Hollis later completely leaving Talk Talk and stopping touring in order to commit to his marriage and raise his sons. Rather extreme. Simon LeBon and everyone else Colin Thurston produced felt they could be musicians and commit to love and a family at the same time, and at least in Simon's case, they completely succeeded. Hollis on the other hand was unsure he could do this and chose in favor of love over music. That's tough to do. But the clouds were already rolling in ominously in this song. That's my take. It's just: "Okay, this is serious. I realize I do love you. But if I go with this feeling, I will need to be with you completely, body and soul, and because I am that way, that decision will end my life as I know it." Hollis then probably felt about for lyrics for the chorus that would sum up or echo that feeling. "My life... er... hm... something about my life... this being my life... wait, HOLD ON, I'VE GOT IT -- IT'S MY LIFE!" And when he sang it up into the mic, that struck gold, and there you have it: finished song. As a songwriter, sometimes a chorus comes to you that has nothing intentional to do with the song, it's just this perfect sudden brainwave that surges up out of you and that's what you sing into the mic and then write down in your notebook to be sent to BMI or ASCAP. Such is the case with "It's My Life" and I am willing to bet on it. |
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| Donald Fagen – Out Of The Ghetto Lyrics | 11 years ago |
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Heh: I'll tell you what it means. The famous composer of Steely Dan's most blatant song about interracial sex, "Babylon Sisters", has finally come out of the closet with these lyrics as a lover of black women. Here, Donald Fagen is addressing an African-American woman he's given money to, and lusts after, and is presumably doing, and dates, but notices she becomes "uncomfortably black" after having a drink. Told ya Fagen was into sistas :) |
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| Steely Dan – Rikki Don't Lose That Number Lyrics | 11 years ago |
| As I know two people who know Donald Fagen personally, and know he is heterosexual and in fact into very, very young teenage females, basically, you're mistaken. | |
| Steely Dan – Kid Charlemagne Lyrics | 11 years ago |
| Agreed | |
| Steely Dan – Here At The Western World Lyrics | 11 years ago |
| Ratfink is right. This is about Nazis hiding in post-WWII Argentina. Come on folks, listen to the lyrics - they're some of the Dan's few clear ones. | |
| Steely Dan – Here At The Western World Lyrics | 11 years ago |
| Agreed | |
| Steely Dan – Chain Lightning Lyrics | 11 years ago |
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Wow... between the daisy chain rape allusion and Hitler references, y'all some dark m*therf*ckers, lol. I always thought it was a description of Fagen, Becker and their musicians passing a marijuana joint amongst each other in deep satisfaction after a massive, 100,000+ turnout live show, and that chain lightning was a visual meditation on what the haze of smoke in the room looked like. "We're standing just where he stood", to me, was always a reference to someplace Charlie Parker or one of their heroes who influenced them, once stood. Whereas Fagen and Becker, writing the tune, had once been in the audience worshiping and in awe of older jazz and rock gods, now THEY are the rock gods being worshiped and viewed with awe by hundreds of thousands. Becker, to Fagen: "Man. Awesome, can you believe it? And now it's us!" Fagen, to Becker: "Right on. (Grin) Pass the dutchie." Just kind of a smug, leaned-back "ain't life awesome?" realizing that they are now living the dream, enjoying the life of rock gods. If you're looking for Steely Dan Nazi references, listen no further than "Western World": THAT is where they are. |
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| Steely Dan – Third World Man Lyrics | 11 years ago |
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The older I get, the sadder this song makes me. I have always thought "Third World Man" was about the kind of lone gunman nutcase who confuses his delusions for the world around him and eventually opens fire upon it, and with every passing day in America in the 21st century, I find myself thinking about this song and its lyrics more and more often. They're an eerie, frustratingly accurate prediction of the kind of disturbed gun-wielding misfit Martin Scorsese predicted in Taxi Driver, and more and more of whom seem to be coming off of a conveyor belt in this difficult age. |
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| Steely Dan – Gaucho Lyrics | 11 years ago |
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I actually work in the entertainment industry. I agree with commenters Jason and Kellyal "Gaucho" is a nervous narrator's dismay at his colleague bringing an openly gay (and on top of it aggressive and flamboyant) partner to an important business meeting. Where I disagree with both commenters however is where I agree with Nomad: this is a drug transaction. The song's "heavy rollers" and Mexican lingo point typically in Steely Danese to the underworld, and my vote would be we're talking some pretty bad, heavy stuff - because Fagen and Becker usually describe pot or cocaine in faintly benign and usually white, upscale, "Glamour Profession" settings, while more illicit substances and activities often invite in a black or Latino element (think implied dangerous characters "Chino and Daddy G" in "My Old School"). So my thought is Donald laid the Latino slang on pretty thick in "Gaucho", and the gay boy is wearing a poncho to try to strike an exotic Mexican pose while visiting, so the "heavy rollers" who say "eh... try again tomorrow" are likely shady Latino go-betweens for a very serious level Mexican drug supplier. If you were trying to score a massive amount of something illicit from a person like that, and taking along what you thought was a trusted friend - and then that trusted friend unexpectedly brought along one of those loud and flamboyant "what - OMG ooh LOOK at that BOX" types, what would you say in a very low voice to that friend after quickly leading him out and sitting him inside your car? That conversation is the entire lyrics content of "Gaucho". Just my humble o. |
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| Michael Martin Murphey – Wildfire Lyrics | 11 years ago |
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Oh how we loved this one growing up! For me, "Wildfire" was about exactly what Michael Martin Murphey is singing it is: it's the story of a young girl, the crush of the young boy protagonist, whose only love is her beloved pony Wildfire. One night during an early, hard winter, Wildfire breaks free from his stall and runs away. The child steals out after it into the night, and an unexpected heavy blizzard rolls into the valley, covering everything under several feet of snow. She is never found, nor is the pony. The young boy has grown into a young man and still remembers his lost love, most often when autumn comes and the owl calls outside his window, reminding him winter is soon to come. He has never forgotten the young girl he loved, and still hold a torch for her: "She's coming for me, I know. And on Wildfire, we're both gonna go." It's a song of desperate longing for a childhood love long dead... about how love never dies and burns forever, eternal, with the memory of the one we cherished. Without doubt this was one of the most beautiful, just plain emotionally affecting songs of the 1970's. Between this, the Charlie Brown series and Dan Fogelberg's "Another Auld Lang Syne", my childhood was pretty damned moody. How about yours. |
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| Bobbie Gentry – Ode To Billie Joe Lyrics | 11 years ago |
| That's what I always thought: I always perceived what I strongly felt was a race angle to the story. Context, year of composition, year of first broadcast, folks. | |
| Boz Scaggs – Lido Shuffle Lyrics | 11 years ago |
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When I was a kid, I thought this song was about a drug deal gone wrong. I agree today with everybody else. This is a three-act story, not unlike Bad Bad Leroy Brown, about a hustler who just can't put it down and has just got to try that one last heist. Ocean's Eleven kind of. Like Steely Dan's "Don't Take Me Alive", "Lido Shuffle" seems to be one of those classic 1970's songs that cruelly missed becoming a movie. |
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| Zapp – More Bounce to the Ounce Lyrics | 11 years ago |
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Yes, as the commenter below has stated, it's the eternal question of which two objects the singer is watching bounce: are they upper ones or the lower ones?? At any rate this may be the single greatest sweat-it-out-on-the-floor soul funk jam of all time. I work out to it every day at the gym and it's like 7 or 8 minutes straight of pure awesomeness. I hate hearing those faders come in and knowing it's about to end. |
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| Boz Scaggs – Hollywood Lyrics | 11 years ago |
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I work in Hollywood and fucking LOVE this song. Between this and Steely Dan's: "Haitian Divorce" ("Now we dolly back, now we fade to black"), "Glamour Profession" ("Hollywood, I know your middle name / who inspires your fabled fools? That's MY claim to fame"), "Showbiz Kids" ("Show business kids making movies of themselves, you know they don't give a fuck about anybody else") and "Everyone's Gone To The Movies" ("I know you're here for 16 [millimeter] or more / sorry, we only have [Super] 8"), Man, the songs of the Seventies are prime drive-fast listening for those of us in the game... :D There are those who might ask, well, what about Kool & The Gang's "Hollywood Swingin'"? It's a swell jam, but if you listen to the lyrics, they're about being a musician in Los Angeles -- not someone working in the movie industry. I just can't connect that vibe. For me, as a director, it's those songs that talk industry lingo AND GET IT RIGHT. Hot damn. And with a jam beneath it, no better listenin'. :) |
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| David Bowie – I'm Afraid of Americans Lyrics | 11 years ago |
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I'm American. The song means what it says. Bowie, a thinking man in Europe, is afraid of us. He's absolutely right to be afraid of us. The only thing more frightening than being outside America and aware what she really is, is being an American aware what she really is, and trapped inside her. Bowie = frankly was being too nice with his lyrics. |
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| David Bowie – I'm Afraid of Americans Lyrics | 11 years ago |
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As an American who knows and agrees with what this song is about, I loathe the phrase "God Bless America". WTF. Do you know how Nazi you make us all sound? "Gott mit Uns" wasn't that long ago, you know... and "God Bless America" means exactly the same terrible thing. |
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| Blow Monkeys – Digging Your Scene Lyrics | 11 years ago |
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I had to come revisit this single. It's that good. It's a truly excellent song guaranteed to take you back to the Greighties the minute you hear it. The moment it starts, I'm back in Sherman Oaks again, a Valley Girl teenager in fingerless lace gloves, Goth clothes, mousse gel, and pale makeup. A closer look at why this song is about HIV, consequences, denial, and shame... "I just got your message, baby So sad to see you fade away" If you grew up during the 1980s, and had gay male friends, this lyric is infamous and instantly clear, and hits you squarely in the face. Back in the 1980s, AIDS arrived seemingly suddenly out of nowhere, and your gay guy friends started falling extremely sick, very quickly. When HIV struck, back then, it was a death sentence. Everybody dreaded receiving (a) the terrible diagnosis of this mystery "cancer" causing sores, lesions, and the total crash of the immune system, or (b) that horrible phone call from your friend learning he "had it". Word of this mystery cancer swept through the nightclubs like a cyclone and immense fear hit right behind it. It was like a new Katrina every week. The Blowmonkeys allude to it: "What in the world is this feeling? To catch a breath and leave me reeling?" And then the most chilling line of the song: "It'll get you in the end. It's God's Revenge." Like now, homophobes in the Eighties liked to call AIDS "God's revenge" and quoted Leviticus and Romans freely to back it up. Gay men everywhere who were religious or once had been wondered openly out loud if indeed the Christians were correct, and this dreadful "superbug from the gay clubs that nothing can kill" - as William Burroughs called it, predicting the arise of AIDS decades before it arrived or had even been heard of, in his book "Naked Lunch" - was some terrible divine instrument of justice. "Oh I know I should come clean But I prefer to deceive" This is our lead singer shamefully admitting his conscience is driving him to come out in the open, instead of sleep bareback with men without telling them he, too, may have the virus, to come out openly as a gay man instead of pretending to be straight, and to at least go get tested. Instead, out of fear, he "prefers to deceive". This lyric requires no explanation. In the lead-up to the chorus, he cries, "I know it's wrong. I KNOW it's wrong." Then the chorus arrives, and he asks Gayness itself "why" he is "digging" its "scene". Classiest, most soulful musical way of asking oneself why they are gay I think there has ever been. "Why am I digging your scene?" he asks his orientation aloud. Because, as being gay and male in the 80s promised for a while, he knows the end result may be "I know I'll die." With this fatalist shrug, the song goes on. The singer then resumes his conversation with his dying friend (or, I suspect, doomed former lover): "They put you in a home to fill in..." This is a description of the AIDS hospices beginning to pop up around Britain in the early to late Eighties. The singer's poor former partner is so close to death - as happened quickly from AIDS in that decade - he has been placed in a home to wait for death, which the Brits called "filling in". However, the defiant young man of our song notes, "Oh, but I wouldn't call that living..." Because it's not. To lie in a bed hooked to machines, your skin patterning with mottled sores and wounds, catching every form of pneumonia that passes, unable to rally any strength to fight off even the common cold? For a vibrant young gay man, that is CERTAINLY not "living". The vocalist considers his life: "I'm like a boy among men I'd like a permanent friend" Which is kind of the unspoken motto of many gay men who frequented the clubs and dating services of that era (and arguably today): many view themselves, even to advanced age, as still "a boy", and desirous of being around "men" -- and like all of us, the search for love is only the innocent hope to find "a permanent friend". So here, he's citing his loneliness - and that's what drives him to stay downlow, as the first verse of this song found him - and not report who he is and how he loves... or love more carefully, getting tested and using protection. Then, finally, in probably the saddest lyric of the song, he says, "I'd like to think I was just 'myself' again." If you insert the quotation marks around "myself", the lyric becomes poignantly haunting. It's a wish to be the boy he was before his sexuality emerged, to be straight and, therefore (falsely), perceived "safe" from this terrible disease tearing holes in the fabric of gay civilization and threatening to kill everyone in its wake simply for wanting to be loved. The song repeats the first verse and chorus, then fades. We're left at the end with the haunting line, "I KNOW I'll die." Such a sad, sad song for such an uptempo, bright setting. With its Marvin Gaye instrumentation and gorgeous "sunset at the end of the perfect day" sevenths, "Digging Your Scene" poses on surface as a kicked-back, sultry, devil may care slice of Northern Soul. But a closer look betrays darkness, mortality and epic fear at the core. One of the best, most underrated singles, of the Eighties IMHO. Classic British new wave soul. |
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| Siouxsie and the Banshees – Peek-A-Boo Lyrics | 11 years ago |
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Best and most righteously angry feminist song written, period. Hands down. Well done Siouxsie! (APPLAUSE!) |
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| Blow Monkeys – Digging Your Scene Lyrics | 11 years ago |
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In my opinion, this song is rather shockingly about a young man who does not want to come to terms with his homosexuality, is self-loathing, and thinks being gay will result in contracting HIV. There's numerous places in the lyrics pointing to it. "God's revenge", anyone? The thing is, though, this is an incredibly f-ing awesome song, and in fact I'm going over to Amazon to buy the mp3 as in right now. |
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| Duran Duran – American Science Lyrics | 11 years ago |
| Agreed. Yes. This too. | |
| Duran Duran – American Science Lyrics | 11 years ago |
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I've always thought this was Simon LeBon's somewhat porny, appreciative English paean to the airbrushed, often artificial visual appeal of us American women. I've known a lot of foreign guys, and before they move to the US, or have lived long in this country, it seems a lot of them hold very distorted opinions about American women. I remember being on the M train here in NYC one night when an Egyptian Muslim tourist guy would not stop hitting on me and stalked me from car to car of the train. When I told him no, I would not sleep with him, he looked genuinely puzzled. His reply: "But you are American." The surplus of American porn that reaches foreign shores was a lot of the problem during the 1970s and 1980s when Simon LeBon was an impressionable red-blooded lad reading it. He's obviously fond of skin mags: "Girls on Film", "Skin Trade", "Electric Barbarella", anyone? :) And today the internet has made US porn even more available, so there's hardly a young man anywhere who hasn't been hit by it and made to think - impressionably - that all American women are shiny glossy suntanned stick figures with balloon breasts, inflated pink lips and butter-colored, frosted hair, ready to serve any kink on call. And that's what I've always thought, even as a teen in the Eighties listening to this fantastically chill, seductive song on the top of Side B of "Notorious": My American female opinion: "American Science" is another appreciative song by Simon LeBon about a sexual icon he really, really likes -- the fake, blonde, silicone-injected, 110-pound, heavy-breasted, narrow-waisted, long-legged, stiletto-heeled electric barbarella doll American pornography has made millions of men around the world come to our shores hoping to instantly see, and subtly expecting all American women to be and conform to. I'm not against porn, but I wish men overseas would recognize that it is fiction and produced as entertainment - and that American women are not all whores the way they often think and hope we'll be. |
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| America – A Horse With No Name Lyrics | 11 years ago |
| My vote is he was. | |
| Gerry Rafferty – Baker Street Lyrics | 11 years ago |
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I've always thought "Baker Street" was about two things: Gerry Rafferty, a British singer-songwriter caught up in the misery of the American pop-rock music industry, looking sadly out across his life and career and realizing his earlier illusions of it, and what a rock star's life should be, are just that - fleeting, sad, misery-causing illusions - and his thoughts about America in general. I always felt the "desert city" he spoke of was Los Angeles - at the time he wrote the song, the absolute center of the American recording industry. In a larger sense I feel the song is about midlife crisis, the moment your youth confronts the fact there is no immortality, that dreams do not all come true, one is not invincible, the world is sad, life is sadder, and age and death are coming. I think that deeper meaning is what has made "Baker Street" one of the most haunting AOR songs ever recorded and broadcast on radio, and made it perhaps the most-cited anthem of at least, so far, two generations. Yuppies cherished the song as their own dark anthem during its release era: the brief instant before the Eighties when the yachts and cocaine and disco clubs began catching up to Baby Boomers, and age and mortality began staring them in the face. Generation X grew up overhearing it on the radio, and in a bleak economic era coinciding with our own growing perception our youth is over and our dreams unattainable, Rafferty's elegiac anthem of inevitable mortality has weirdly achieved a second immortality. As long as it retains its sense of failure and impending loss of youthful optimism, Gerry Rafferty's "Baker Street" will likely continue to be celebrated as the ultimate anthem of despair for every generation ever after. PS, for those interested, that iconic saxophone solo was performed by English session sax musician Raphael Ravenscroft. He's still around and still recording. The original solo was meant to be performed on guitar, but when the scheduled session guitarist didn't show, the decision was quickly made to make it saxophone. Ravenscroft hit it in one take and the rest is history. You can read about Ravenscroft here: http://en.wikipedia.org/wiki/Raphael_Ravenscroft Further trivia: "Baker Street" is one of the only rock songs ever recorded that does not have a chorus. |
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| Gerry Rafferty – Baker Street Lyrics | 11 years ago |
| As someone who works in the movie industry (not music, but similar bs to it), I applaud this interpretation, and it depresses me even more. Thank you. :) | |
| Gerry Rafferty – Baker Street Lyrics | 11 years ago |
| That is actually a pretty awesome interpretation. | |
| Steely Dan – Babylon Sisters Lyrics | 11 years ago |
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Fagen and Becker's tale of a young white guy who crosses from San Francisco to Oakland at sunset to pay for a sex encounter with African-American hookers. That's all it's about. Period. Trust me: once you analyze the lyrics again, the phrase "cotton candy" will never sound or look the same. |
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| Starbuck – Moonlight Feels Right Lyrics | 11 years ago |
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A cool, relaxing evening beach breeze of a song, one guaranteed to make us kids smile and kick back when it came on the radio. While our parents drove in the front seat, my brother, sister and I loved hearing this tune's trademark seesawing bass intro start on WQXI-FM. It was a fave of ours on road trip radio, too. As a kid, I had no idea what the lyrics were about, except that they involved the moon. I was far too entranced with that marimba middle eight: surely the best vibraphone solo performance in pop music history! Listening to "Moonlight Feels Right" as an adult, I'm both charmed and skeeved by the fact the song is clearly about a booty call - and its protagonist is sleazy. His comeon wouldn't get far with me, a woman. The lead singer is hard at work trying to seduce a young college girl he met (in a bar likely), and charms her by sounding like he knows about and likes her football team - because yeah, most of us girls are huuuuge football fans - then segues her into his car, drives down chilly-even-in-summer Chesapeake Bay to try to get her panties off on the beach, under the moon. But she's hip: he says she "winked and gave" him her "okay". Basically the same skeevy pedophilic yacht pop Steely Dan's been so good at recently (witness how 9/10 of their tracks on "Two Against Nature" are about being old guys chasing young - VERY young, as in teen - tail). It's funny though how if these gruesome lechs cloud it in an awesome groove, that makes it alright. And this song, despite its off-putting, sleaze-factor subject matter, feels right. Just like the moon, eh? |
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| Glen Campbell – Southern Nights Lyrics | 11 years ago |
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Very popular song during 1977. The lyrics however are ADHD: the song starts out asking the listener to imagine sultry Deep South nights, but then detours to a strange story about a magical old man, and then pleads for world peace. As a preteen listening to this song on the radio, I didn't get what Glenn Campbell was getting at, and today, as an adult, I still don't. Scatman Crothers and world peace? To do with the South? Er, what? OK... |
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| The Babys – Isn't It Time Lyrics | 11 years ago |
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One of the most magnificent love songs of the Seventies. As stated, it's gorgeously produced and incredibly moving. Underneath its shimmering horn and string arrangements, though, it's at its basis a clear, strong, and prettily-written composition with a can't-miss chord progression full of triumph. To me, the meaning of this song's always been simple: a man afraid of commitment realizes his girlfriend's the one, and overcomes his fears to reach out, to tell her, and be her man. Lol, too: Today, while waiting for the bus here in New York City, I was listening to my iPod on shuffle. An R&B song I liked was playing. A sudden strong feeling came over me, and a voice within me said, "The next song is how X (guy I like) feels about you." The very next song was this one, by The Babys. It matches my suspicions and I hope he and I reconcile from our fight and come together soon. It's what he wants and what I want. I hope he's as strong as Jack Conrad was while writing this song, and defeats his fear, and crosses the line of anger between us to do the right thing. I do care about him. Great song. |
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| Thomas Dolby – Weightless Lyrics | 11 years ago |
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One of Dolby's classiest songs. Very influenced IMHO by Donald Fagen's "Nightfly" album. It would easily fit on "Nightfly" and as an experienced session player Thomas Dolby was without doubt familiar with Fagen and had probably even performed in studio with Fagen by the time he wrote this single. My thoughts about this song are pretty simple: it sounds to me like it's about the loneliness of being a male musician on the road, and could be a fantasy vignette about an equally lonely woman who - if destiny just struck - might be brought together with him to become his soulmate, ending his and her loneliness simultaneously. It's the common "where is my soulmate" question we all ask ourselves in moments of extreme loneliness. I realize he refers to Lizzy taking "a fistful of Coldrex" - but I disagree that's a suicide allusion. Instead, I always thought he was listing in a humorous way what his poor lonely American fantasy girl, somewhere in New Jersey - that most prosaic and American of states - stuffed in her mouth to distract her from her own loneliness while unaware that somewhere, a lonely English musician is on the road, wishing for someone as ordinary and wonderful as she is. It's a list of the comical prosaic "housewife" things we women consume while lonely and watching TV at home wishing for a boyfriend: note the calories. Milkshake and dessert, topped off by cold medicine. The poor thing's stuffy and alone at home. Dolby wishes he were there, holding her. By the way, not too long after penning this song, Thomas Dolby's musical wish came true. He met a beautiful American brunette, I think named Katherine (?), and they fell in love and married. They have been together, still married, since. So in many ways this song is an example of the Law of Attraction, and a happy and successful one. Good job, Dolby :) |
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