| The Corrs – Only When I Sleep Lyrics | 11 years ago |
|
Actually right now I can relate to the feeling of the song, so maybe it is biased, but here it comes. I think it might be a fantasy, a vivid dream, unrequited love--the only thing that is for certain is, the person is unattainable in the reality. Maybe the main character longs for her dreams in which she can release her adoration without inhibitions. Maybe in reality, it is impossible for her to come forward for any reason: fantasy, shyness, actual obstacles, fear--you name it. Regardless she concentrates in narrating how everything is a dream in the end and how she works at daytime and goes on with her life. So I speculate there is also an ingredient of not wanting to make those dreams a reality, for they are more intense like that, ethereal. This particular verse could support the theory: n bed I lie) (No need to cry) (My sleeping cry) (Hawaiian high) (Up to the sky) (Where angles fly) (I'll never die) (Hawaiian high) Up in the sky, a sublime experience, no need to cry for what is not in reality. Maybe she is not ready to have an actual carnal love, so she enjoys her dreams to her utmost. There is no description of sadness or emptiness when she awakes, rather how she can feel him while knowing he is not real. |
|
| Vienna Teng – Recessional Lyrics | 12 years ago |
|
This is just my take on this, the song is amazing because it gives room to many interpretations, unique to each listener. Anyway, the prevalent feelings on this are the feeling of a beautiful love in just a moment and the ending of it; the ephemeral quality of a love that could make a single moment last forever. My interpretation came with personal experience: Two people meet by mere chance and experience a subtle and yet spontaneous and inmediate connection, in a world that has already adapted to their routine, alone. Actually, neither of them was looking for anyone, each of them having experienced heartache in the past which is why they never "thought to find the other one there". But "she" is mainly just enjoying the moment without thinking of tomorrow or what it is supposed to mean("It's so beautiful here," she says,"This moment now and this moment, now.") fact that gives her a candor that allows her to see the narrator straight to the center. While the narrator feels deeply touched, with a gentle hand of naturality and their gray world suddenly transformed: "Flannel and satin, my four walls transformed" actually feeling like, if they get to know her better, they could fall head over heels for her (No room at all for any other thought), despite their evident reluctance in engaging with someone at the moment (And I know I don't want this, oh, I swear I don't want this. There's a reason not to want this but I forgot.) The soft, tender but hesitating chords of the piano reinforced this interpretation on my inner theatre (lol). (In the terminal she sleeps on my shoulder,) I found this whole verse as a metaphor. Here the narrator aludes that she is not cognizant of the effect she's had on him, they are sitting close in a bus/airplane "terminal" which means they have the possibility to move on together and yet she sleeps while he is bearing her weight. (Hair falling forward, mouth all askew.) The aforementioned candor of her is given by her spontaneity; that gives her a childlike quality, her overwhelming power is just being herself, allowing herself to be vulnerable and even ludicrous in front of the narrator, rendering them powerless to her raw charm. (Fluorescent announcements beat their wings overhead: "Passengers missing, we're looking for you.") He's been missing this sensation for a long time, the narrator knows this moment could flourish into something more, move on the past together, become passengers of the same new exciting travel; but they want to ignore the signs. (And she dreams through the noise, her weight against me, Face pressed into the corduroy grooves.) She is oblivious of the narrator's predicament, of the "noise" that surrounds them, feeling safe pressed just against them and the warmth of their momentary closeness, of the impromptu intimacy that has sprung with such a simple act; without thinking of anything else, hence she can't feel the "corduroy grooves", the harshness inside the narrator, the rocky path they'd traveled. (Maybe it means nothing, maybe it means nothing, Maybe it means nothing, but I'm afraid to move.) He thinks and thinks: maybe this moment will fade into nothingness, maybe she is like that with everyone, maybe it will all be over and each one will go back to the routine and never see each other again--but the narrator already feels scared of leaving this place to find themselves alone or of taking a step forward that will ruin the bubble of purity of the moment with an ounce of heavy desire. |
|
| Vienna Teng – Recessional Lyrics | 12 years ago |
|
This is just my take on this, the song is amazing because it gives room to many interpretations, unique to each listener. Anyway, the prevalent feelings on this are the feeling of a beautiful love in just a moment and the ending of it; the ephemeral quality of a love that could make a single moment last forever. My interpretation came with personal experience: Two people meet by mere chance and experience a subtle and yet spontaneous and inmediate connection, in a world that has already adapted to their routine, alone. Actually, neither of them was looking for anyone, each of them having experienced heartache in the past which is why they never "thought to find the other one there". But "she" is mainly just enjoying the moment without thinking of tomorrow or what it is supposed to mean("It's so beautiful here," she says,"This moment now and this moment, now.") fact that gives her a candor that allows her to see the narrator straight to the center. While the narrator feels deeply touched, with a gentle hand of naturality and their gray world suddenly transformed: "Flannel and satin, my four walls transformed" actually feeling like, if they get to know her better, they could fall head over heels for her (No room at all for any other thought), despite their evident reluctance in engaging with someone at the moment (And I know I don't want this, oh, I swear I don't want this. There's a reason not to want this but I forgot.) The soft, tender but hesitating chords of the piano reinforced this interpretation on my inner theatre (lol). (In the terminal she sleeps on my shoulder,) I found this whole verse as a metaphor. Here the narrator aludes that she is not cognizant of the effect she's had on him, they are sitting close in a bus/airplane "terminal" which means they have the possibility to move on together and yet she sleeps while he is bearing her weight. (Hair falling forward, mouth all askew.) The aforementioned candor of her is given by her spontaneity; that gives her a childlike quality, her overwhelming power is just being herself, allowing herself to be vulnerable and even ludicrous in front of the narrator, rendering them powerless to her raw charm. (Fluorescent announcements beat their wings overhead: "Passengers missing, we're looking for you.") He's been missing this sensation for a long time, the narrator knows this moment could flourish into something more, move on the past together, become passengers of the same new exciting travel; but they want to ignore the signs. (And she dreams through the noise, her weight against me, Face pressed into the corduroy grooves.) She is oblivious of the narrator's predicament, of the "noise" that surrounds them, feeling safe pressed just against them and the warmth of their momentary closeness, of the impromptu intimacy that has sprung with such a simple act; without thinking of anything else, hence she can't feel the "corduroy grooves", the harshness inside the narrator, the rocky path they'd traveled. (Maybe it means nothing, maybe it means nothing, Maybe it means nothing, but I'm afraid to move.) He thinks and thinks: maybe this moment will fade into nothingness, maybe she is like that with everyone, maybe it will all be over and each one will go back to the routine and never see each other again--but the narrator already feels scared of leaving this place to find themselves alone or of taking a step forward that will ruin the bubble of purity of the moment with an ounce of heavy desire. |
|
| Michael Jackson – Give In To Me Lyrics | 12 years ago |
|
Excellent, excellent song. Filled with so much intensity it is overwhelming! Pure genius! I think it is about an attraction that started as a deep desire. It could or it couldn't have been consummated by then, it is really irrelevant. But actually at this point what we can have for certain is there is insatisfaction; because he developed strong feelings for her ("I've spend a lifetime looking for someone"), he realizes his feelings had gotten so intense that by now it is HER the person he is thinking can be The One but instead, she has been holding back "all she does is throw it back at me". Even if it is implied she does feel something for him, however twisted, she is acting coldly because she needs to be in control to reassure herself. Her insecurity is the reason why he is probably telling her: "Love as a woman" "Act like a lady". Probably everything started as a misunderstanding, to finally become a power game in which BOTH of them are getting hurt, because it has reached a point in which they both became too selfish to handle it; but he's seen it clearly now. Why do I say so? He says: You always knew just how to make me cry And never did I answer to your questions why It seems you get your kicks from hurting me Don't try to understand me Because your words just aren't enough She HAS tried to understand him, but not in the way he needs to. She keeps on talking, she wants to know how he feels, which is why she asks and drowns herself in reasons; to him it all just feels like endless, empty babbling. She doesn't trust him; he senses that, so besides of her holding back that is why he cries, that is why "she always takes it with a heart of stone". She won't understand he doesn't need her anguish, her probing, her mistrust, her hurt... he wants her to SHOW it all, he wants her to shut up and "quench my desire, taking me higher" to find the answer they both have been looking for in an act of raw intimacy, hence: "love is a feeling, give in to the fire". It is indeed tainted with pain and anguish, but the plea within the melody of the guitar is also feral, passionate, intense; "just simply do the things I say" and "Give it when I want it" is mainly a challenge, not an imposition. The feeling has gotten so complex, he doesn't want to be understood by her anymore, because it caused all of this hullaboo including "that she and her friends laugh at him". In a way, that is how he is giving in to her first, acknowledging his deep need of her, his vulnerability (it's ok); despite of how much misunderstood, angry, strung on and hurt he feels. He wants to end this top-dog and under-dog game once and for all, so he challenges her whether to give in to the feeling, so both of them can finally learn to love each other or to warn her he is leaving. Also after giving in, it doesn't really mean they will stick around together, it means it is the final test to see if all of this is really worth it or if they should, after all just walk away. She is also scared of that possible outcome, which is why she flung her crap and anguish at him, as an excuse to keep holding back herself and keep holding the feeling back for fear if she releases it, she will lose him (You won't be laughing when I'm not around, I'll be okay). In desperation for being tied up by her and misunderstood, he beckons her to tell her anguishes and fears "to the preacher, satisfy the feeling". |
|
* This information can be up to 15 minutes delayed.