TATAR #8 Bulletproof

 

by Elly Jackson and Ben Langmaid (2009)

Also known as pop-synth duo La Roux (whatever pop-synth means).

Now I generally like pared down versions of songs when I'm trying to do a bit of analysis but this cover from Pomplamoose is too much fun to ignore.

Anyways, what's the song all about? Pretty straightforward really. A girl is ditching some douchebag boyfriend and making sure she's impervious to any of more of his nonsense.

And when I say straightforward, I mean everything about the song is wonderfully straight and forward. It's a simple verse-chorus. Each verse is 8 bars and divides into two 4-bar phrases. The chorus is 8 bars and divides into two 4-bar phrases. And every one of those 4-bar harmonic sequences is the same: Cm-Fm-Ab-Cm. And the melody is basically a lot of repeated notes for the verses and a repeated 4-note phrase for the chorus.

Musically speaking it's tighter than a pair of skinny jeans. There's no give. It's sticking to its tight structure and tight harmonies and tight melody and impervious to any attempt to any monkeying around. Just like the character singing it.

So if I do have a quibble, it would be with the lyrics. They're not quite tight enough.

It does have some punchy starts to each verse to go with those repeated melody notes.

Been there, done that, messed around...

Do, do, do you dirty words...

Tick, tick, tick, tick on the watch...

And the chorus and title works fine. 

This time, baby, I'll be bulletproof

Apparently the first version didn't have the word or notes for 'baby' and it only came together when they were added. I can hear that. The word 'baby' lends a sarcastic edge and keeps up the verbal attack. Also without that additional 'baby' there would too much of a pause and the song would lose it's oomph. After all, it's a tirade and you don't pause during a tirade.

So the lyrics are good but, for me, they really need more perfect rhymes.

I won't let you turn around (A)

And tell me now, I'm much too proud (A-ish)

To walk away from something when it's dead (B)

Do, do, do you dirty words (C)

Come out to play when you are hurt? (C-ish)

There's certain things that should left unsaid (B)

It's attempting something quite hard - a really tight rhyme scheme of AABCCB. But those sort-of-ish-not-really rhymes (around/proud, words/hurt) let it down. The sentiment's there but needs to be sharper. 

I can only imagine what Ira Gershwin would have done with the lyric.

Do, do, do your dirty words

Like you done, done, done before, baby 

Alas, I don't think he ever did do pop-synth.