No, it’s about punching a guy in the jingle-jangles.
That’s way too blankety a statement, crowned by the “any”.
Uh…? Anybody/Everybody that’s ever done coke???
I’ve always heard the best is sex on coke, but what does a mere stoner like me know?
If you think sex on coke is the best you really need to try it on Pepsi…
RC for BJ!
Robert Lamm says that Chicago’s 25 or 6 to 4 is about trying to write a song in the middle of the night. That is bullshit; the song is obviously about drugs. And I’m the guy who always argues against songs being about drugs. But come on: “wondering how much I can take”, “should I try to do some more”, “staring blindly into space”, “spinning room is sinking deep”. These are at least intentional double entendres.
Actually it describes the writing process pretty well.
I’ve never done drugs and I find all of that relatable.
Especially if you’re writing while also holding down a full-time job.
…and doing drugs.
(At 3:34 am, so you can stay awake to finish writing before you have go to your day job.)
The story I heard on Siruis/XM was that he had a guitar riff that he liked, but he couldn’t think of any words for it, so he just started doing a stream of consciousness of what was going on at that time of the. . . (*day? night?) as filler. He never did come us with any ‘real’ lyrics, so they just recorded the filler lyrics.
*Ray Bradbury in “Something Wicked This Way Comes,” I believe, referred to 3 AM as “too late to be called night and too early to be called day.”
I for one can’t figure out how a song with the line “I’ll stay with you till my seeds are dried up” (NO, it is not “I’ll stay with you till the seas are dried up”) got on the radio in 1967!
I’ve long heard that Sammy Davis’ “Candy Man” is about drugs. It could be, I guess.
It’s about Willy Wonka.
I think there’s this thing where an artist writes a song, it becomes successful, and then the artist tries to pretend the song isn’t about what everyone thinks it’s about. Maybe they believe the audience isn’t allowed to be on their level. Maybe they just like playing a joke at the audience’s expense. Regardless, pop culture is filled with songs that are about [this or that], for realzies, even as the writer steadfastly insists that it isn’t.
Tony Basil has been pretty coy about it for decades, but let’s not kid ourselves: “Hey Mickey” is about anal sex.
“Come on and give it to me any way you can. Any way you wanna do it I’ll take you like a man.”
And “Hotel California” is absolutely about drug addiction. “You can check out any time you like but you can never leave” so succinctly and so poetically describes drug addiction.
Hmmmm…how about “Any Way You Want It”?
Annnnd let’s NOT get started on “Brown-Eyed Girl”…
I always thought the last verse was about the JFK assassination.
Mistral Wind is not actually about sex.
Yes, yes it is. It uses intimate-sounding language to try to convince you that it is not really about sex but is alluding to something else. But it fails miserably. It is about sex.
Toni Basil didn’t write Mickey. She changed a few of the words and the gender, but it was originally Kitty by the UK pop band Racey.
I’d say Toni improved the song, but she didn’t write it and she doesn’t get a writing credit for her additions. The line “Any time you want to do it I’ll take it like a man” is in the original, sung by a man to a woman, and highly unlikely to be a reference to anal sex.
I’m not saying it’s the case with “Mickey” and Toni Basil, but I think gender swapping in lyrics was often done with the intention of creating sexual innuendo where it might not have existed before. “My Boy, Lollipop” was originally titled, “My Girl, Lollipop”. It was never recorded under that title though. But two older male producers independently swapped the lyrics and scored huge hits by finding adolescent girls to record the song. (Trivia: The second of these is recognized as the first International hit for a Ska recording.)