a review of the lyrics of Cobra Starship / Sabi's You Make Me Feel...
Girl, I've been all over the world
Looking for you
I'm known for taking what I think I deserve
And you're overdue
clear telling instead of showing. rhyming 'you' with 'overdue' is pretty snazzy at least but a character of this description should not need to TELL you they take what they think they deserve - optimally, for the 'known' part, this could be from even a third character's perspective. or, to translate that in this context, he should be SAYING that others know this, and then use the fourth line to confirm it. at least it establishes the main idea pretty quickly though, and the lines work both literally and thematically (it doesn't matter per se whether he has actually been all over the world)
And if you listen you can hear me through the radio
In that bright white noise
What I been missin' in my life, what I been dreamin' of
You'll be that girl, you'll be that girl, you'll be...
i think this is quite good poetic imagery actually. the idea of 'tuning in' to him is clever and coheres with the fact that we are listening to a song, and the 'bright white noise' line is, i think, emotionally resonant in context. the idea of being a voice on the radio implies emotional connection and unity (just you and the radio and all that), while tying into the character of the first verse. also side note - the idea that this character is assuming ownership of this woman is not merely an accidental allusion in the first verse but repeated here. i can't answer to whether mister starship here is convincingly able to play the lovably misogynist dominant man, but it's certainly an assured choice
... Everything you want, so let me get up there
I'm the baddest baby in the atmosphere
Tell me what you want so we can do just what you'll like
fine. she continues the submissive role in any case, while still inhabiting and continuing the 'everything I've been looking for' idea. the 'get up there' imagery is I think vague in a good way, and continued with the atmosphere thing. i am conflicted on the second line - adding 'in the atmosphere' is one of those annoying conditionals I hate (what does it add that there are, as you put it, badder babies outside of the atmosphere), but it works as good imagery for floating and breathing (a think you need) and all that. maybe a little rewording
You make me feel that
La-la-la-la-la
You make me feel so
La-la-la-la-la
You make me feel that
La-la-la-la-la
You make me feel so
La-la-la-la-la
You, you make me feel, oh
not much to say here. i think it's good - the emotion can't be contained in words, which is the point of non-lyrical vocalisations. i don't like how much they're drilling this hook into me though, of course i get it but I don't really like to be manipulated, no less by a company in disguise as a band who cares
Get a little closer to me, girl
And you'll understand
'Cause if you want a guy that knows what you need
Well, then I'm your man
fine, sufficient. the mythos is continued and not contradicted. i might suggest that, since you already have the imagery of 'coming through the radio', the closer thing doesn't totally match and instead could be replaced with a similar but more resonant line that fits. something about 'turning me up / on' is well-trodden. as always fall out boy did it better
and here's kim petras / frost children who know how the game works
Put your hands up, put your hands up
Let the lights drop, let the lights drop
Make my world stop, make my world stop
i will choose to read the 'lights' mention as indirectly connected to the 'bright white noise' which is fun. otherwise not much to remark upon here. the bridge marks the point where the woman textually accepts the man (responding to verse two) (also note how the acceptance isn't physical, like coming closer, but emotional, which is smart), creating a sense of narrative
uh that's the song. i'll sign off with this
