In other words, it was the most fun paper that I've ever done.
The Role of Pop Music in Society
A number of years ago, the rise in popularity of a musical
style called "gangsta rap" gave lawmakers cause for concern.
Rapper Ice-T's gangsta rap song called "Cop Killer" was
implicated in an increase in the killings of police officers at
the hands of young gangmembers. In the ensuing outcry against the
song, a police official warned that Ice-T would be arrested for
inciting violence should a police officer be killed after the
song's release. Eventually the song was protected under the First
Amendment, but the incident gave rise to the question of music
artistes' accountability to the public for the content of their
songs: Could the words of a song influence a person to take
certain actions, actions that include killing?
In today's society, the average individual cannot avoid
popular music. It is played in department stores, in government
buildings, and anywhere that a radio can be taken - which, today,
is everywhere. The most popular tunes are played over and over
again, so that even small children can recall the words.
The main purpose of popular music is to entertain. However,
it also serves as an effective - and pervasive - medium for the
dissemination of values, attitudes, and messages. As is evident
by the reaction to "Cop Killer", many believe that popular music
can have a real effect on shaping and guiding people's opinions
and actions.
The question I will attempt to answer in this paper, then,
is: What role does popular music play, if any, in shaping and
reflecting the changes and prevailing situation of society?
In an attempt to produce an answer to this question, I have
decided to compare a list of Top Ten pop songs from a week in
1985 to one from 1995. Today, the Eighties are considered to be a
time of decadent excess. However, the Eighties was also a time of
social upheaval, coming as it did on the heels of the tempestous
60s and 70s and the Sexual Revolution that redefined the roles of
men and women. At the same time, however, the Eighties was a
decade of innocents, whereas the 1990s attitude is tinged with
cynicism. The 1990s so far have been a turbulent era, with no
definite value system coming to the fore thus far, besides a mild
rebellion against the excesses of the 80s. It is my intention to
find out if there is a correlation between the values and the
songs of both eras.
METHODS OF ANALYSIS
For this paper, I extracted my Top Ten charts from Billboard
Magazine's Hot 100 Singles lists. According to the explanatory
note at the top of the 1995 list, this weekly list is "compiled
from a national sample of Top 40 radio airplay monitored by
broadcast data systems, top 40 radio playlists, and retail and
rack singles sales collected, compiled and provided by
Soundscan". Billboard is the foremost authority on the ratings of
popular music today, and the most accurate. Most record stores
and many of their patrons depend on Billboard charts to select
their purchases, and radio disc jockeys refer to the charts
extensively while preparing their playlists.
The time period I chose for both lists was the week ending
March 9 in 1985 and the week ending March 11, 1995. I selected
the 1995 date arbitrarily, and using this as the basis for
selction, I chose the chart of the corresponding date in 1985.
Collecting the lyrics of the songs (reproduced in the
Appendix) proved to be a challenging task. While I was able to
easily find the lyrics of the 1995 songs, I experienced
considerable difficulty in finding the lyrics to more than half
of the songs on the 1985 chart, but eventually succeeded.
However, due to the unavailability of sheet music for some of the
songs, these had to be transcribed from listening to the songs,
resulting in incomplete lyrics in some cases. Fortunately, the
gist of the songs is not affected by this.
The lyrics of a song can and do play a significant role in
its resulting popularity. Listeners do pay attention to the
words, not just the melody, as is evident from the popularity of
"request and dedication" programs over the radio.
The use of statistical methods, such as counting the
recurrences of certain words, would have been unreliable in
judging the potential impact of the songs on the average
listener. I have decided to analyze each song as a whole, as one
would analyze poetry or prose, because that is how popular music
is perceived and interpreted by most people, including myself.
THE CHARTS
March 9, 1985
1. Can't Fight This Feeling - REO Speedwagon
2. Careless Whisper - WHAM! featuring George Michael
3. The Heat Is On - Glenn Frey
4. California Girls - David Lee Roth
5. Material Girl - Madonna
6. Too Late For Goodbyes - Julian Lennon
7. Neutron Dance - The Pointer Sisters
8. I Want To Know What Love Is - Foreigner
9. Sugar Walls - Sheena Easton
10. Misled - Kool and the Gang
March 11, 1995
1. Take A Bow - Madonna
2. Creep - TLC
3. Candy Rain - Soul for Real
4. Baby - Brandy
5. You Gotta Be - Des'ree
6. Another Night - Real McCoy
7. On Bended Knee - Boyz II Men
8. If You Love Me - Brownstone
9. Strong Enough - Sheryl Crow
10. Hold My Hand - Hootie and the Blowfish
Top Ten Songs for the week ending March 9, 1985 - Analyses
"Can't Fight This Feeling", the number one song in the 1985
chart, is indicative of new attitudes in courtship and romance.
The traditional view of courtship is a "love at first sight"
scenario (as in, for example, "Some Enchanted Evening"), whereas
this song alludes to the existence of a platonic friendship that
changes to a romantic attraction, as demonstrated in the first
verse of the song:
I can't fight this feeling any longer
And yet I'm still afraid to let it flow
What started out as friendship has grown stronger
I only wish I had the strength to let it show...
The song also reflects the emergence of what I call the
"Eighties Man" - a man who, unlike those of his father's
generation, is allowed to be sensitive, romantic and emotional,
as is evident in the first second and fourth lines of the first
verse ("I'm still afraid to let it flow...I only wish I had the
strength to let it show") and the first two lines of the second
verse:
I tell myself that I can't hold out forever
I said there is no reason for my fear...
At the same time, the Eighties Man no longer has to be
completely independent and can openly declare that he needs a
woman to keep him in line:
...I've been running round in circles in my mind
And it always seems that I'm following you, girl
'Cause you take me to the places
That I know I'd never find
And even as I wander
I'm keeping you in sight
You're a candle in the window
On a cold, dark winter's night...
The song is a favorite in the adult contemporary category today,
and is frequently featured in request programs.
"Careless Whisper" is another such "Eighties Man" song,
detailing a somber reaction to a breakup. The song also rejects
the accepted image of young men as sowers of wild oats; the
protagonist regrets such behavior, saying
...Should've known better than to cheat a friend,
and waste the chance that I've been given...
The rest of the lyrics suggest that, unlike the traditional
"macho" man, the protagonist will be deeply affected by the wrong
he has done to his significant other:
I'm never gonna dance again
Guilty feet have got no rhythm...
The success of Julian Lennon's "Too Late For Goodbyes", at
number 5 in this chart, is no doubt partly due to the immense
renown of Lennon's father, John Lennon, co-founder of The Beatles
and writer of such songs as "Imagine". This indicates the
influence of the previous generation on the tastes of the present
generation. Julian Lennon's virtual disappearance from the charts
shortly afterwards shows that a famous last name is ineffective
if the music itself is lacking. "Too Late For Goodbyes" is also
an Eighties Man song with melancholy, but unremarkable, lyrics.
Another song featuring the Eighties Man's viewpoint is at
number 8 - "I Want To Know What Love Is", by Foreigner. The
Eighties Man is willing to take chances to explore new emotions:
I'm gonna take a little time,
a little time to look around me...
In my life there's been heartache and pain
I don't know if I can face it again
Can't stop now, I've travelled so far,
To change this lonely life...
"Misled", performed by Kool and the Gang, rounds off the
list with more allusions to the character of the Eighties Man,
who are content to take the secondary role in a relationship:
I'm a puppet which she's playing with
She's outgoing, but I love her so...
David Lee Roth's nostalgic remake of the timeless classic
"California Girls" by The Beach Boys hearkens back to the breezy
innocence of the 60s. As the title suggests, the song celebrates
girls from California in comparison to girls from "all around the
great big world", who, although possessing merit of their own,
are no match for "the cutest girls in the world". Although
inherently sexist in tone, the tune has become so associated with
the Beach Boys image of sun, surf, and sand that it is widely
accepted as one of the anthems of summer.
"The Heat Is On", performed by Glenn Frey, and "Neutron
Dance", performed by the Pointer Sisters, are both songs from the
soundtrack of the movie "Beverly Hills Cop". Generally, the more
successful a movie, the more popular its soundtrack album, which
is then reflected in the popularity of the resulting singles.
Both songs also possess a catchy rhythm that is easy to dance to,
which probably contributes to the success of the songs. The
lyrics are not without meaning, however. Both "The Heat Is On"
and "Neutron Dance", which can best be described as a blues song
with soul, refer to the various difficulties suffered by a
typical city-dweller:
The shadows are on the darker side
Behind those doors, it's a wilder side
You can make or break, you can win or lose
That's a chance you take, when the heat's on you
When the heat is on
("The Heat Is On")
I don't wanna take it anymore
I'll just stay here locked behind the door
There's no time to stop and get away
Cause I work so hard to make it every day...
There's no money falling from the sky
'cause the man took my heart and robbed me dry
Someone stole my brand new Chevrolet
And the rent is due, I've got no place to stay...
("Neutron Dance")
The chorus of "Neutron Dance" addresses the soul-searching
that many Eighties denizens have to cope with in the fast-paced
life that is the "Neutron Dance":
And it's hard to say
Just how some things never change
And it's hard to find
Any strength to draw the line...
Nevertheless, the hopes of the urban-dweller remain alive,
as the protagonist of "The Heat Is On" promises that even
Caught up in the action,
I'll be looking out for you..
and the player in the "Neutron Dance" remains steadfast in the
belief that
I know there's a particle for me,
All I got to do is just believe.
Madonna's song "Material Girl" wastes no words in summing up
the materialistic attitude of the Eighties, as is already evident
in the title. The music video pays tribute to the late Marilyn
Monroe's big dance scene in the movie "Diamonds Are A Girl's Best
Friend", reinforcing the words:
...the boy with the cold hard cash
Is always Mister Right, 'cause we are
Living in a material world
And I am a material girl...
Small wonder that Madonna became synonymous with the notion
of Eighties excess. The celebration of selfishness and greed in
the song's lyrics was something new to popular music listeners.
Young girls, especially, were impressed by this brazen admission
of hedonistic preferences. Paradoxically, though, this song also
promotes the traditional values of materialism.
Sheena Easton's song "Sugar Walls" offers a revealing look
at the flourishing sexual freedom of the Eighties, compared to
the conservativism of previous generations, as shown in the first
verse:
Where I came from there's a place called heaven
That's the place where all the good children go
The houses are of silver, the streets are gold
But there's more where you come from, my sugar walls...
The song goes on to issue an invitation promising carnal
pleasures, while implicitly describing female anatomy with the
reference to "Sugar Walls." The song taken as a whole indicates a
rejection of traditional, Puritanical values in favor of emergent
relativistic morality. The song was written by (the artist
formerly known as) Prince, who himself was a popular and
controversial figure in the Eighties.
Top Ten Songs for the week ending March 11, 1995 - Analyses
The 1995 chart is remarkable in that it features women
taking the lead in relationships, whereas the songs in the 1985
chart were mainly about men initiating relationships. Sheryl
Crow, a relative newcomer to the pop charts and famed for her
lighter pieces "All I Wanna Do (Is Have Some Fun)" and "Leaving
Las Vegas", takes a turn into more serious territory in her new
Top Ten song, "Strong Enough". In it, she presents a challenge:
I have a face I cannot show
Make the rules up as I go
Just try to love me if you can
Are you strong enough to be my man
When I've shown you that I just don't care
When I'm throwing punches in the air
When I'm broken down and I can't stand
Would you be man enough to be my man
Brownstone, an all-female R&B vocal group, delivers a
similarly-toned ultimatum in "If You Love Me", number 8 on the
1995 chart.
I'm not looking for just an affair
Want a love that is based on truth
Not just dare
If you love me, say it
If you trust me, do it
If you want me, show it
If you need me, prove it
Madonna again appears on the 1995 chart with "Take A Bow".
The song is quite conventional in its content, without stating
any new ideas or asserting attitudes as 1985's "Material Girl"
did. The theatre references in the lyrics - "Take a bow...The
curtain's down...Say your lines ...You deserve an award, For the
role that you play..." describe a failed romance that did not
really exist to begin with. The song does, however, allude to a
need for true affection that is not merely for show. This is a
'90s attitude that rejects the superficiality of the Eighties.
The lyrics of "Creep", by TLC, describe an obviously
dysfunctional romance where both partners are cheating on each
other, as is evident by the lyrics:
I love my man with all honesty
But I know he's cheating on me...
...all he tells me is lies...
I'll never leave him down
Though I might mess around...
"Candy Rain" by Soul for Real and "Baby" by Brandy are both
songs typical of young lovers. The lyrics to "Candy Rain" speak
of complete and total submission, which reflect the emergent
value of concern for others over the individual that is prevalent
in most teen relationships today:
Have you ever loved someone so much
You thought you'd die?
Giving so much of yourself
It seems the only way
Tell me what you want and I
And I will give it to you...
The gist of "Baby" follows much the same theme as "Candy
Rain", although in this the protagonist is not so much pledging
her submission to her mate than she is attempting to establish
the courtship -
Nothing ventured, nothing gained
So I'm telling you
Words just ain't enough, baby baby
But that's all I can use to state my intentions
Hope it gets to love, baby baby...
- another example that demonstrates the 90s woman taking the
initiative in beginning relationships.
Des'ree's song "You Gotta Be" conveys future-oriented
concepts from the first verse:
Listen as your day unfolds
Challenge what the future holds
Try and keep your head up to the sky...
The lyrics advise drawing on one's own initiative and
defying convention, while espousing traditional values, which is
especially clear in the second verse:
Herald what your mother said
Read the books your father read,
Try to solve the puzzles in your own sweet time...
Here, the emphasis is on observing the accomplishments of past
generations - "Read the books your father read" indicates a
reliance on classic works and "old" knowledge passed on through
the generations. Above all this, however, individuality is
encouraged.
The chorus, which is repeated at least three times and which
serves to emphasize the basic tenet of the song, tells how one
should act and react to survive in the modern world:
You gotta be bad, you gotta be bold, you gotta be wiser
You gotta be hard, you gotta be tough, you gotta be stronger
You gotta be cool, you gotta be calm, you gotta stay together...
And the same message is summed up in the bridge:
Got to be bold,
Got to be bad,
Got to be wise,
Don't ever sad
Got to be hard
Not too too hard
All I know is love will save the day
The main message of the song is in the last line, "...love
will save the day". In this case, self-love, an interpretation
that fits in with the individualistic attitude, which is
consistent with the traditional value system. Simultaneously
there is a reminder that one has "Got to be hard, [but] not too
too hard...", incorporating the emergent value of caring for
others.
"Another Night", by the German trio Real McCoy, is a very
popular selection at dances and discotheques. The song's tune is
catchy, the rhythm driving, and the lyrics monotonously
repetitive and carry little significance, were one actually able
to pay any attention to them or even hear them over the pounding
bass drum that dominates the tune. The fact that the lyrics are
for the most part devoid of meaning and that the song is a dance
favorite seems to indicate a reversion to one of music's earliest
uses - to provide a beat for dancers to follow. What this might
portend for civilized society as a whole is unknown.
"On Bended Knee", performed by the immensely popular vocal
harmony group Boyz II Men, refers to a romance that has gone
awry. As in the 1985 songs, the image of the male partner as a
sensitive creature is evident in the highly emotional lyrics of
the song, wherein the protagonist is willing to humble himself
before his lost love to win her back:
I'm down on bended knee
I'll never walk again
Until you come back to me
I'm down on bended knee...
I'm begging you, begging you,
Come back to me...
I'm gonna swallow my pride
Say I'm sorry
Stop pointing fingers,
The blame is on me...
Hootie and the Blowfish round out the 1995 list with a song
entitled "Hold My Hand", which indicates a reliance on emergent
values. "Hold my hand, I'll take you to the Promised Land", goes
one of the lines, demonstrating a concern for others that is
consistent with the emergent value system. Also in keeping with
this value are the verses that preaches fraternity and the
offering of oneself to help others:
With a little love, and some tenderness
We'll walk upon the water
We'll rise above the mist
With a little peace, and some harmony
We'll take the world together
We'll take 'em by the hand...
See I was wasted, and I was wasting time
'Till I thought about your problems,
I thought about your crimes
Then I stood up, and then I screamed aloud
I don't wanna be part of your problems
Don't wanna be part of your crowd, no...
The overall message of this song appears to be to inspire
fellowship by extending a hand to one person at a time:
Maybe we can't change the world but
I wanna love you the best that, the best that I can.
THE MADONNA FACTOR
An extremely unusual situation exists in the case of
Madonna's appearance on both charts. Very few artistes and groups
are able to sustain their popularity for longer than an average
of five years, let alone ten. Therefore, I decided that a brief
exposition of Madonna's rise to fame, fall from grace, and
subsequent return, was necessary to explain this curious anomaly.
Madonna served as a role model of sorts for young girls and
women in the 1980s. Her sassy attitude, defiance of convention,
and to some extent her obnoxious behavior, drew the attention and
admiration of young girls and women who were looking for someone
to emulate when they found their mothers lacking in the
experience and knowledge needed for life in the Eighties. Such
songs as "Like A Virgin", "Material Girl", and "Papa Don't
Preach" communicated primarily emergent values, particularly
those of relativistic morality that titillated the "teenybopper"
set and horrified their parents.
Barely a year ago, however, music critics were unanimous in
their agreement that Madonna was well on her way down; her only
claims to fame were a couple of lackluster albums, her role in
the movie "A League Of Their Own", a controversial book of erotic
photographs called "Sex", and her off-stage raucous behavior. It
appeared that she was relying on her ability to shock to remain
in the public eye, and that shock value was waning. Madonna's
musical career has only just recently been revived with the
release of her new album, "Bedtime Stories", of which "Take A
Bow" is a track. The fact that her popularity does not appear to
have diminished is undoubtedly due to the first generation of
Madonna fans, now adults, and a new generation curious about the
continuing aura of controversy spawned by this one woman.
SUMMARY
A significant difference between the charts in 1985 and 1995
is the increase in the number of R&B (rhythm and blues) singles
in the 1995 Top Ten, where there were none in the 1985 Top Ten.
This may be due to the recent rise in the popularity of "black
music". This is consistent with the change in the ages and
ethnic and gender makeup of the chart-toppers. Nine out of the
ten performers on the 1985 chart are white, with the sole
exception being Kool and the Gang. Most of the performers were,
at the time, in their mid-to-late 20s, and early 30s in some
cases. The performers are also mostly men, with the exception of
Madonna, The Pointer Sisters, and Sheena Easton.
In contrast, the majority of the performers in the 1995
group are young black singers, with the exception of Madonna and
Sheryl Crow. (Hootie and the Blowfish consists of black and white
musicians, with a black lead singer.) Most of the performers are
in their early 20s, some in their teens. Women also dominate the
1995 chart, with men being represented by Boyz II Men, the lead
singer in Real McCoy, and Hootie and the Blowfish.
One thing that has not changed in the ten years is the
emphasis on songs about relationships, most notably romantic
ones. Of the twenty songs studied, fourteen allude in some way to
romantic relationships in their various stages - beginning,
ongoing, winding down, or ended. This indicates a continuous
preference on the part of the public for music that speaks to
their most basic instincts.
CONCLUSION
Based on my analysis of the charts of 1985 and 1995, it is
quite obvious that the lyrics of popular songs do refer the
values of the era in which they are first released. As was noted
in the summary, the 1995 Top Ten shows far more diversity in its
makeup than does the 1985 Top Ten, resulting in a far wider range
of values displayed there than there were in the 1985 songs -
which is quite consistent with the present societal situation.
The emergent values - relativistic morality, sociability,
and hedonism - are all evident in some degree in the songs on the
1985 chart. Also, the prevalence of "Eighties Man" songs in the
1985 list reflects, fairly accurately, the change in perceived
roles of men and women during the Eighties. The replacement of
traditional values with emergent values in the Eighties is quite
evident in the songs by Madonna and Sheena Easton. Ten years
afterwards, the 1995 song "You Gotta Be", with its advocation of
traditional individualistic values, seems to be a rejection of
the emergent conformist values of the 1985 song "Material Girl."
There is also some substantiation to the suggestion that
popular music can, at least indirectly, influence behavior, in
the case of Madonna's song "Material Girl". The song helped to
establish materialism, although it was already an established
practice, as something that was acceptable for the impressionable
younger generation to emulate.
I submit, therefore, that popular music does play a
significant role in reflecting society's changes. Also, in cases
where extenuating circumstances (such as a pre-existing
disposition towards a shift in moral and ethical values) exist,
popular music may possibly affect the rate of social change.
APPENDIX
1985 Chart Song Lyrics
1.CAN'T FIGHT THIS FEELING
REO Speedwagon
I can't fight this feeling any longer
And yet I'm still afraid to let it flow
What started out as friendship has grown stronger
I only wish I had the strength to let it show
I tell myself that I can't hold out forever
I said there is no reason for my fear
Cause I feel so secure when we're together
You give my life direction
You make everything so clear
And even as I wander
I'm keeping you in sight
You're a candle in the window
On a cold, dark winter's night
And I'm getting closer than I ever thought I might
And I can't fight this feeling anymore
I've forgotten what I started fighting for
It's time to bring this ship into the shore
And throw away the oars, forever
Cause I can't fight this feeling anymore
I've forgotten what I started fighting for
And if I have to crawl upon the floor
Come crashing through your door
Baby, I can't fight this feeling anymore
My life has been such a whirlwind since I saw you
I've been running round in circles in my mind
And it always seems that I'm following you, girl
Cause you take me to the places
That I'd known I'd never find
And even as I wander
I'm keeping you in sight
You're a candle in the window
On a cold, dark winter's night
And I'm getting closer than I ever thought I might
And I can't fight this feeling anymore
I've forgotten what I started fighting for
It's time to bring this ship into the shore
And throw away the oars, forever
Cause I can't fight this feeling anymore
I've forgotten what I started fighting for
And if I have to crawl upon the floor
Come crashing through your door
Baby, I can't fight this feeling anymore
2.CARELESS WHISPER
WHAM! featuring George Michael
Time can never mend
The careless whispers of a good friend
To the heart and mind, ignorance is kind
there's no comfort in the truth
pain is all you'll find
Should've known better
I feel so unsure
as I take your hand and lead you to the dance floor
as the music dies, something in your eyes
calls to mind the silver screen
and all its sad good-byes
I'm never gonna dance again
guilty feet have got no rhythm
though it's easy to pretend
I know you're not a fool
Should've known better than to cheat a friend
and waste the chance that I've been given
so I'm never gonna dance again
the way I danced with you
Time can never mend
the careless whispers of a good friend
to the heart and mind
ignorance is kind
there's no comfort in the truth
pain is all you'll find
I'm never gonna dance again
Guilty feet have got no rhythm
though it's easy to pretend
I know you're not a fool
Never without your love
Tonight the music seems so loud
I wish that we could lose this crowd
Maybe it's better this way
We'd hurt each other with the things we'd want to say
We could have been so good together
We could have lived this dance forever
But noone's gonna dance with me
Please stay
I'm never gonna dance again
guilty feet have got no rhythm
though it's easy to pretend
I know you're not a fool
(Now that you're gone) Now that you're gone
(Now that you're gone) What I did's so wrong
that you had to leave me alone
3.THE HEAT IS ON
Glenn Frey
The heat is on, on the street
Inside your head, on every beat
And the beat's so loud, deep inside
The pressure's high, just to stay alive
'Cause the heat is on
Oh-wo-ho, oh-wo-ho
Caught up in the action I've been looking out for you
Oh-wo-ho, oh-wo-ho
Tell me can you feel it
Tell me can you feel it
Tell me can you feel it
The heat is on, the heat is on, the heat is on
Oh it's on the street , the heat is - on
Oh-wo-ho, oh-wo-ho
Caught up in the action I've been looking out for you
Oh-wo-ho, oh-wo-ho
Tell me can you feel it
Tell me can you feel it
Tell me can you feel it
The heat is on, the heat is on, the heat is on
Oh it's on the street , the heat is - on
The shadows are on the darker side
Behind those doors, it's a wilder side
You can make or break, you can win or lose
That's a chance you take, when the heat's on you
When the heat is on
Oh-wo-ho, oh-wo-ho
Caught up in the action I've been looking out for you
Oh-wo-ho, oh-wo-ho
Tell me can you feel it
Tell me can you feel it
Tell me can you feel it
The heat is on, the heat is on, the heat is on
It's on the street
The heat is on, the heat is on, the heat is on
Yeah it's on the street
The heat is on
4.CALIFORNIA GIRLS
David Lee Roth
Well, east coast girls are hip,
I really dig those styles they wear,
And the southern girls, with the way they talk,
They knock me out when I'm down there.
The midwest farmer's daughters
Really make you feel all right,
And the northern girls, with the way they kiss,
They keep their boyfriends warm at night.
I wish they all could be California girls.
(Wish they all could be California)
I wish they all could be California girls.
The west coast has the sunshine
And the girls all get so tan.
I dig a French bikini on the wild island girls
By a palm tree in the sand.
I been all around this great big world
And I seen all kind of girls,
Yeah, but I couldn't wait to get back in the states,
Back to the cutest girls in the world.
I wish they all could be California girls.
(Wish they all could be California)
I wish they all could be California girls.
5.MATERIAL GIRL
Madonna
Some boys kiss me, some boys hug me
I think they're O.K.
If they don't give me proper credit
I just walk away
They can beg and they can plead
But they can't see the light, that's right
'Cause the boy with the cold hard cash
Is always Mister Right, 'cause we are
Chorus:
Living in a material world
And I am a material girl
You know that we are living in a material world
And I am a material girl
Some boys romance, some boys slow dance
That's all right with me
If they can't raise my interest then I
Have to let them be
Some boys try and some boys lie but
I don't let them play
Only boys who save their pennies
Make my rainy day, 'cause they are
(chorus)
Living in a material world [material]
Living in a material world
(repeat)
Boys may come and boys may go
And that's all right you see
Experience has made me rich
And now they're after me, 'cause everybody's
(chorus)
A material, a material, a material, a material world
Living in a material world [material]
Living in a material world
(repeat and fade)
6.TOO LATE FOR GOODBYES
Julian Lennon
Ever since you've been leaving me
I've been wanting to cry
Now i know how it feels for you
I've been wanting to die
CHORUS:
But it's much too late for goodbyes
Yes it's much too late for goodbyes
Time has gone since i've been with you
And we've been starting to die
Now it seems you don't care for me
And I don't understand why
Ever since you've been far away
I've been wanting to fly
Now I know what you meant to me
I'm the one who should cry
7.NEUTRON DANCE
The Pointer Sisters
I don't wanna take it anymore
I'll just stay here locked behind the door
There's no time to stop and get away
Cause I work so hard to make it every day
Ooh-hoo
Ooh-hoo
There's no money falling from the sky
'cause the man took my heart and robbed me dry
Someone stole my brand new Chevrolet
And the rent is due, I've got no place to stay
Woo-hoo
Ooh-hoo
CHORUS: And it's hard to say
Just how some things never change
And it's hard to find
Any strength to draw the line
Oh, I'm just burning doing the Neutron Dance
I'm just burning doing the Neutron Dance
Fingers free don't pay a price that's fair
All the common people breathing filthy air (Lord have mercy)
Fools step in on all the simple dreams
And to get ahead your heart starts pumping schemes
Ooh-hoo
Ooh-hoo
I'm on fire, yeah
I'm on fire, yeah!
I know there's a particle for me
All I got to do is just believe
Oh, I'm so happy doing the Neutron Dance
And I'm just burning doing the Neutron Dance
8.I WANT TO KNOW WHAT LOVE IS
Foreigner
I gotta take a little time, a little time to think things over
I better read between the lines, in case I need it when I'm older
Now this mountain I must climb, feels like the world upon my
shoulders
Through the clouds I see love shine, it keeps me warm as life
grows colder
In my life there's been heartache and pain
I don't know if I can face it again
Can't stop now, I've travelled so far, to change this lonely life
I want to know what love is, I want you to show me
I want to feel what love is, I know you can show me
I'm gonna take a little time, a little time to look around me
I've got nowhere left to hide, it looks like love has finally
found me
In my life there's been heartache and pain
I don't know if I can face it again
Can't stop now, I've travelled so far, to change this lonely life
I want to know what love is, I want you to show me
I want to feel what love is, I know you can show me
I want to know what love is, I want you to show me
(And I wanna feel) I want to feel what love is
(And I know) I know you can show me
Let's talk about love - I want to know what love is
The love that you feel inside - I want you to show me
And I'm feeling so much love - I want to feel what love is
No, you just can't hide - I know you can show me
I want to know what love is (let's talk about love), I know you
can show me
I wanna feel it too - I want to feel what love is
I wanna feel it too, and I know and I know - I know you can show
me
Show me love is real, yeah - I want to know what love is...
(to fade)
9.SUGAR WALLS
Sheena Easton
Where I came from there's a place called heaven
That's the place where all the good children go
The houses are of silver, the streets are gold
But there's more where you come from, my sugar walls
Blood races to your private spots, that lets me know there's a
fire
You can't fight passion when passion is hot
Temperatures rise inside my sugar walls
Chorus:
Lemme take you somewhere you've never been
I could show you things you've never seen
I could make you never wanna fall in love again
Come spend the night inside my sugar walls
Take advantage, it's alright
I feel so alive when I'm with you
Come and feel my presence, it's reigning tonight
Heaven on earth inside my sugar walls
I can tell you want me, it's impossible to hide
Your body's on fire, admit it! Come inside
Come inside my sugar walls
Come spend the night inside my sugar walls
10. MISLED
Kool and the Gang
Late at night, mine is yearning
Restless nights; wanna be with you
Someone's playing in the garden
So enticing; should I take a bite?
I don't know what's come over me, yeah.
She's as heavy as a Chevy
Pure excitement; misled
When she touches, can't resist her
I'm a puppet which she's playing with
She's outgoing, but I love her so; misled
CHORUS: So I'll say now
Baby, baby, what's your claim to fame?
Get me out of bed; why'd you call my name
What's this crazy place you wanna take me to?
Tell me what's the prize if I go with you?
In my heart, in my soul
My love; is that the goal?
My thrill; then I will
Be misled
Be for real
Won't you be for real?
I've got this feeling that it's rocking my way
but I love her just the same, just the same
Ah, yes I do
Misled; heard you call my name
Misled; what's your claim to fame
Misled; took me by the hand
Misled; said I would understand
Thought I knew her, this lady
Opportunist; misled
Always searching for adventure
Why Pandora's box? Misled
And I don't know what I'm gonna do
Without love, woo woo.
Misled; been a lot of broken things
Misled; now the world is seen
Misled; baby, that's your name
Misled; what's your claim to fame?
Won't you be for real?
Misled; mm, misled.
Misled; mm, misled.
1995 Chart Song Lyrics
1.TAKE A BOW
Madonna
Take a bow
The night is over
This masquerade is getting older
Lights are low
The curtain's down
There's no one here
Say your lines
But do you feel that
Do you mean what you say
When there's no one around
Watching you watching me
One lonely star
CHORUS
I've always been in love with you
I guess you've always known it's true
You took my love for granted why oh why
The show is over say goodbye
Say goodbye
Say goodbye
Make them laugh
It comes so easy
When we get to the part
Where you're breaking my heart
Hide behind your smile
All the world loves a clown
Wish you well
I cannot stay
You deserve an award
For the role that you play
No more masquerade
You lonely star
(lonely star you don't know who you are)
All the world is a stage
And everyone has their part
But how was I to know which way the story goes
How was I to know you'd break my heart
2.CREEP
TLC
It's me again
And I'm back
Creep, creep, creep
The 22nd of loneliness and
We've been through so many things
I love my man with all honesty
But I know he's cheating on me
I look him in his eyes
But all he tells me is lies
To keep me near
I'll never leave him down
Though I might mess around
It's only 'cause I need some affection
So I creep, yeah
Just creep it on
Nobody else is supposed to know
So I creep
Cause he doesn't know what I do
And no attention goes to show
Oh, so I creep
The 23rd of loneliness and
We don't talk like we used to do
Now it seems pretty strange
But I'm not bugging
Cause I still feel the same, yeah yeah
I'll keep giving him love until the day he pushes me away
Never go astray
If he knew the things I did
He couldn't handle it
And I choose to keep him protected
So I creep
Don't mess around with my affection
So I creep
3. CANDY RAIN
Soul for Real
My love, do you ever dream of
Candy coated rain drops?
You're the same, my candy rain
Have you ever loved someone so much
You thought you'd die?
Giving so much of yourself
It seems the only way
Tell me what you want and I
And I will give it to you
My love, did you ever dream
That it could be so right
I never thought that I would
Find all that I need in life
All I want, all I need, now I know
I know I found it in you
Cause you are
4. BABY
Brandy
Baby, baby, baby, baby,
Don't you know that you're so fine
I want you/I think about you/all the time
Guess it's time to say, baby baby
How you make me feel when you come to mind
I can't keep my cool, baby baby
I can't hold it inside
I can't wait each day just to see you walk
Trying to move in close to get to where you are
Not trying to be rude, baby baby
Nothing ventured, nothing gained
So I'm telling you
Words just ain't enough, baby baby
But that's all I can use to state my intentions
Hope it gets to love, baby baby,
It's a perfect situation
Cause we fit together like a hand in glove
Just to be with you is all I'm thinking of
What else can I say baby oh baby?
We are all alone and I'm singing this song to you
You're all I'm thinking of
5.YOU GOTTA BE
Des'ree
Listen as your day unfolds
Challenge what the future holds
Try and keep your head up to the sky
Lovers they may cause you tears
Go ahead release your fears
Stand up and be counted, don't be ashamed to cry
You gotta be
CHORUS
You gotta be bad, you gotta be bold, you gotta be wiser
You gotta be hard, you gotta be tough, you gotta be stronger
You gotta be cool, you gotta be calm, you gotta stay together
All I know all I know love will save the day
Herald what your mother said
Read the books your father read
Try to solve the puzzles in your own sweet time
Some may have more cash than you
Others take a different view
My oh my hey-hey-hey
Don't ask no questions, it goes on without you
Leaving you behind if you can't stand the pace
World keeps on spinning, can't stop it if you try to
Best part is there still staring you in the face
oh...
remember
Listen as your day unfolds
Challenge what the future holds
Try and keep your head up to the sky
Lovers they may cause you tears
Go ahead release your fears
My oh my hey-hey-hey
2X
Got to be bold,
Got to be bad,
Got to be wise,
Don't ever sad
Got to be hard
Not too too hard
All I know is love will save the day
6.ANOTHER NIGHT
Real McCoy
CHORUS: Another night, another dream, but always you
It's like a vision of love that seems to be true
Another night, another dream, but always you
In the night I dream of love so true
(Spoken)
Just another night, another vision of love
You feel joy, you feel pain, 'cause nothing will be the same
Just another night is all that it takes
To understand the difference between lovers and fakes
Oh baby I talk talk, I talk to you
In the night in your dream of love so true
I talk talk, I talk to you
In the night in your dream of love so true
In the night in my dreams I'm in love with you
Cause you talk to me like lovers do
I feel joy, I feel pain, 'cause it's still the same
When the night is gone I'll be alone
(Spoken)
Just another night another dream another vision
Of love that we are made to such a degree
I am your lover, your brother, hey sister love me
Cover your body with my love is with my love is just a lover
A vision of love that seems to be true
I will do all the things that only lovers do
Vision of love that seems to be true
I will do all the things that only lovers do
In the night in my dreams I'm in love with you
Cause you talk to me like lovers do
I feel joy I feel pain cause it's still the same
When the night is gone I'll be alone
I talk talk I talk to you
In the night in your dream of love so true
I talk talk I talk to you
In the night in your dream of love so true
In the night in my dreams I'm in love with you
Cause you talk to me like lovers do
I feel joy I feel pain cause it's still the same
When the night is gone I'll be alone
7.ON BENDED KNEE
Boyz II Men
Darling I, I can't explain
Where did we lose our way
Girl it's driving me insane
And I know I just need one more chance
To prove my love to you
If you come back to me I'll guarantee
That I'll never let you go
CHORUS
Can we go back to the day our love was strong
Cna you tell me how a perfect love goes wrong
Can somebody tell me how to get things back
the way they used to be
Oh God give me a reason
I'm down on bended knee
I'll never walk again
Until you come back to me
I'm down on bended knee
So many nights I dream of you
Holding my pillow tight I know
That I don't want to be alone
But I open up my eyes to face reality
Every moment without you it seems like eternity
I'm begging you, begging you
Come back to me
Baby, I'm sorry
Please forgive me for all the wrong I've done
Please come back home girl
I know you put all your trust in me
I'm sorry I let you down
Please forgive me
I'm gonna swallow my pride
Say I'm sorry
Stop pointing fingers
The blame is on me
I want a new life
And I want it with you
It will be the same
Don't ever let it go
You gotta believe
In the spirit of love
It'll heal all things
It won't hurt any more
Don't want to believe our love's terminal
I'm down on my knees
Begging you please
8.IF YOU LOVE ME
Brownstone
Don't wanna rain on this parade
But I'm starting to question
The hope that was made
I'm not looking for just an affair
Want a love that is based on truth
Not just dare
CHORUS
It would not hurt my pride if
Right now you decide
That you are not ready to settle down
But if you want my heart
Then it's time that you start
To act like you're mine in the light and the dark
If you love me, say it
If you trust me, do it
If you want me, show it
If you need me, prove it
You see now, actions speak louder than words
So don't just say things that I've already heard
I don't want your body without your soul
I don't want a love who will come here and go
Oh I, Oh I wanna touch you baby
And spread our love
All around you honey
If you care you gotta show it baby
True love to share
9.STRONG ENOUGH
Sheryl Crow
God I feel like hell tonight
Tears of rage I cannot fight
Be the last to help you understand
Are you strong enough to be my man
Nothing's true and nothing's right
So let me be alone tonight
Cause you can't change the way I am
Are you strong enough to be my man
CHORUS:
Lie to me
I promise I'll believe
Lie to me
But please don't leave
I have a face I cannot show
Make the rules up as I go
Just try to love me if you can
Are you strong enough to be my man
When I've shown you that I just don't care
When I'm throwing punches in the air
When I'm broken down and I can't stand
Would you be man enough to be my man
10.HOLD MY HAND
Hootie and the Blowfish
With a little love, and some tenderness
We'll walk upon the water
We'll rise above the mist
With a little peace, and some harmony
We'll take the world together
We'll take 'em by the hand
'Cause I've got a hand for you
'Cause I wanna run with you
Yes indeed
I saw you standing there
Your hair was down, your eyes were red
No comb had touched your hair
I said get up, and let me see you smile
We'll take a walk together
Walk the road awhile
'Cause I've got a hand for you
'Cause I wanna run with you
Hold my Hand
Want you to hold my hand
Hold my Hand
I'll take you to a place where you can be
Hold my Hand
Anything you wanna be because
I wanna love you the best that, the best that I can
See I was wasted, and I was wasting time
'Till I thought about your problems,
I thought about your crimes
Then I stood up, and then I screamed aloud
I don't wanna be part of your problems
Don't wanna be part of your crowd, no
'Cause I've got a hand for you
'Cause I wanna run with you
Hold my hand
Want you to hold my hand
Hold my hand
I'll take you to the promised land
Hold my hand
Maybe we can't change the world but
I wanna love you the best that, the best that I can
Hold my hand
Want you to hold my hand
Hold my hand
I'll take you to a place where you can be
Hold my hand
Anything you wanna be because
I...wanna love you the best that, the best that I can
Hold my hand
Want you to hold my hand
Hold my hand
I'll take you to the promised land
Hold my hand
Maybe we can't change the world but
I wanna love you the best that, best that I can
The best that I can
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