THE LABEL
NinthWave Records is the American indie whose enviable back catalog includes releases by, among others, synth-pop trail-blazers Heaven 17, White Town and Empire State Human. New signee Van Go Lion is already doing the roster proud, having prompted ArjanWrites.com to proclaim their sound “fresh and forward… simply irresistible.”
THE STORY
Melanie LaPatin and Charlie Mason met through a mutual friend at a performance of Shakespeare in the Park. Although — or perhaps because — the play’s plot went over both of their heads, they got along like peanut butter and jelly. Soon after, they realized that what she (and, she imagined, many other choreographers) needed — original ballroom dance music — he and his songwriter friends would have a blast providing. So, with the patience of a saint, she took it upon herself to instruct the rhythm-illiterate lyricist on the kinds of beats that were appropriate for a rumba, for a samba, for a cha-cha, and so on. In spite of the temptation to kill him during this painstaking process, she refrained from doing so. In turn, he recruited his buddies from across the pond, Richard Hymas and Ricardo Autobahn, to create melodies and productions, and before long, they were so deeply entrenched in ballroom music that they spat sequins. In fact, it was probably glitter poisoning that led the trio to dub their creative cabal Club Pollyanna instead of Le Bistro du Sylvia Plath. In any case, they then prevailed upon an enviable Who’s Who of their singer pals (and even some they’d never met but merely admired) to take part in the project. As if to prove that the optimists were right to call themselves Pollyanna, what they heard in response was a chorus of yesses. And then chorus after chorus of their songs being sung with the kind of passion that causes spirits to rise and jaws to drop. “When Charlie said they were going to write me a few songs, I didn’t in my wildest dreams expect that three months later I’d be the ‘mother’ of my own album,” Melanie marvels. “Clearly, I need to start having wilder dreams!”
OUT WITHOUT YOUR BOYFRIEND
Jerry Reid’s vocals recorded by Chuck Alkazian at Pearl Sound Studios/Canton, Mich.
Backing vocals by Richard Hymas. Piano by Ben Waters.
THE LOVERS’ RUMBA
Elouise’s vocals recorded by Steve Anderson at Universal Music Publishing/London, UK.
Backing vocals by Jaime Lovett. Sax by Clive Ashley. Guitar by Richard Hymas.
NEW STAR
Neo’s vocals recorded by Måns Ek at Globe Studios/Stockholm, Sweden.
I’M THE ONE
Tammy Jay and Kally’s vocals recorded by The Elements at Daisy Stores/Wales, UK.
Backing vocals by Rev. Diva Schematic.
THE PUPPET WHO GAVE HIMSELF STRINGS
Simon Curtis’ vocals recorded by Matthew A. Nelson at Foreword Productions, Inc./Los Angeles, CA.
Guitar by Richard Hymas.
YOU WERE NEVER REALLY MINE
Jenny McLaren’s vocals recorded by Ricardo Autobahn at Sporting Riff Raff (Studio 1)/Lancashire, UK.
Guitar by Richard Hymas.
I’M A MAN (NOT A PIECE OF MEAT)
Kyle Brylin’s vocals recorded by himself at DIY Studios/Madison, Wisc.
Backing vocals by Rev. Diva Schematic.
BODY HEAT
Linda Teodosiu’s vocals recorded by Martin Ernst at DogHouse Studios/Erfstadt, Germany.
Backing vocals by Daniel Volpe.
WHEN YOU SMILE
Lee Latchford Evans and Kerry-Lucy Taylor’s vocals
recorded by herself and Ian Brearley at I*N*K Studios/London, UK.
Backing vocals by Rev. Diva Schematic. Sax by Clive Ashley.
THE SADDEST SONG
Jaime Lovett’s vocals recorded by Richard Hymas at Bo’s House/Weymouth, UK.
FUN & GAMES
Andreas Ohrn’s vocals recorded by Henrik Smith at Fire at Will Productions/Stockholm, Sweden.
Backing vocals and guitar by Richard Hymas.
DOG
Romy Low’s vocals recorded by Xasqui Ten at Ten Productions/Barcelona, Spain.
Backing vocals by Jaime Lovett and Richard Hymas.
HOW THEY DANCE IN OUTER SPACE
Jeronimo’s vocals recorded by Patrick Renier at APR-Works/StudiOmega/Tongeren, Belgium.
Backing vocals by Richard Hymas and Jenny McLaren. Guitar by Hymas.
IT’S ALL ABOUT THE BEAT
Rev. Diva Schematic’s vocals recorded by Ricardo Autobahn at Sporting Riff Raff (Studio 1)/Lancashire, UK.
YOU COULD CHANGE A TIGER’S STRIPES
Craig Powell’s vocals recorded by himself at CPM Studios/London, UK.
Guitar by Richard Hymas.
GLAMAHOLIC
Kaya’s vocals recorded by Clarence Jey at Music Intersection/Los Angeles, CA.
Nelson Clemente’s vocals recorded by himself at The Arte/Singapore.
THE POLLYANNA SAMBA
Lucas Prata’s vocals recorded by himself at Yo Pal! Studios/New Jersey.
Backing vocals by Hollie Hymas. Sax by Clive Ashley.
WOMAN OF THE WORLD
Jill Helena’s vocals recorded by Matthijs van de Ven at Custom Sound/Eindhoven, Netherlands.
Backing vocals by Jaime Lovett and Richard Hymas. Sax by Steve Turner.
WHEN I THINK ABOUT SEX...
Jack Q’s vocals recorded by… erm… no one knows, really.
BAD AT BEING GOOD
Kerry Butler’s vocals recorded by Doug Maxwell at Media Right Productions/New York, NY.
MELANIE (DONCHA MAKE HER DANCE ALONE)
Joshua Desjardins’ vocals recorded by himself at In the Closet Studios/New York.
Melanie LaPatin’s vocals recorded by Charlie Mason at The Cathouse/New York, NY.
Backing vocals, guitar and bass by Richard Hymas. Piano by Ben Waters.
NEXT TO ME
Nathalie Archangel’s vocals recorded by Derek Rooney at Rooney’s Studio and Sound/Livermore, CA.
Backing vocals by Isabella, Wren and Olivia Montijo.
Cover design by:
Liam Curry
Webpage by:
PrettyBitter.com
Melanie’s photo by:
Daniel Kevin Melton
ACKNOWLEDGMENTS
Melanie and the guys say thank you a million times over, to all of the brillopants artists on and contributors to this album — your team spirit is matched only by your genius; also, danke schön, tack, merci and gracias to Tony Meredith, Bobs Hanlon, Jadion, Javier Guzmán, Hubert Molander, Charlee, Måns Ek, Ian Brearley, Charly Prick, Ken Davies, Pete James, Don McGann, Paul Reynolds, Aaron Moss, Peter Sahlin, Flavius Teodosiu, Gary Sipich, Julie Derwinski, Craig Brockman, Mr. Scooch, Esther Frances, Russ Weatherford and, of course, the inmate running the asylum, Dave Richards.
FREE DANCE LESSON
Okay, okay, so Melanie won’t actually teach you how to dance in this section. Keep reading, anyway: She does at least reveal for those of you (er, us) who aren’t fluent in ballroom what dances could be done to each song on the album.
OUT WITHOUT YOUR BOYFRIEND Melanie calls this lively little number “the Swiss Army knife of the album — it does it all! You could jive to it, or it could be an East Coast swing or a fast West Coast swing.” Apparently, the only thing you can’t do to it is turn it off.
THE LOVERS’ RUMBA “This is an American style rumba,” says Melanie. We do not believe she means by this that one must perform it in a Statue of Liberty position. (Although, if you do, please send video… ) “It’s very soft and romantic,” she continues, “and you can create beautiful lines to this music. It talks about what a woman wants in life and in dance.” (Or, clearly, what Melanie wants, at least. Snicker, snicker… )
NEW STAR “This one’s more fun than a private shoe sale,” Melanie suggests. “It can be a cha-cha, a hustle or a tango. Plus, since it’s so high-energy, you can create lots of fun choreography to it.” Ooh, what’s that on the floor? Is that the gauntlet, looking suspiciously like it’s been thrown?
I’M THE ONE “This sassy song would make for a great nontraditional paso doble, a sexy, dramatic tango or a powerful cha-cha,” Melanie says. So, in other words, “I’m the One” should have been titled “I’m Three in One.” Please adjust your iPods accordingly.
THE PUPPET WHO GAVE HIMSELF STRINGS “This baby is about as far left of center as a cha-cha can get,” Melanie notes. “But, underneath the electropop veneer, that’s what it is — a cha-cha.” (Note: Though it is an electropop cha-cha, you will not need batteries or an outlet to dance to it. Well, probably not, anyway.)
YOU WERE NEVER REALLY MINE “Ooh! This is a gorgeous and expressive international rumba,” says Melanie, adding, “It could also be an amazing bolero.” Anyone else think she is conditioning us to always expect her to say “But wait… there’s more!”?
I’M A MAN (NOT A PIECE OF MEAT) This PG-13 — PG-30 maybe? — bit of mischief “is a fun, upbeat hustle or cha-cha,” explains Melanie. “It’s also a scandal in a handbag! Who wrote this stuff?! Naughty, boys! Very naughty!”
BODY HEAT This ultrapersonal thermostat “is a great song for someone who is learning how to dance the cha-cha and needs a little extra help to find the correct beat,” Melanie offers. “The introduction and the chorus both tell you exactly where the cha-cha-cha/4 and 1 should be.” Why does she keep looking our way when she says that?
WHEN YOU SMILE “This is a great smooth social samba,” concludes Melanie, “or a fun electropop salsa.” Chips not included. Sorry.
THE SADDEST SONG “This one could lend itself well to an elegant and emotional waltz,” Melanie suggests. “Be careful,” we reply, “when dancing on a floor that’s slick with tears.”
FUN & GAMES “This number is very adaptable,” Melanie observes. “It can be a sexy American style box rumba or a smooth and silky East Coast swing. It can also be used as an enjoyable cha-cha.” Which is good, because so few people seem to fancy those unenjoyable cha-chas.
DOG This potential ASPCA theme song “is another great multi-purpose tune,” Melanie says. “You can be very creative and segue between paso doble, tango and cha-cha. And it has very dramatic instrumentation, so you can have lots of fun with choreography.” Not so much fun that you can turn it into a polka, mind you. But fun nonetheless.
HOW THEY DANCE IN OUTER SPACE Beam her up, Scotty! “This is another fabulous electropop cha-cha,” Melanie notes. Whether it was, as has been rumored, sent to her from a galaxy far, far away, we may never know for sure.
IT’S ALL ABOUT THE BEAT “The underlying beats to this illustrious song,” our Lady Cha-Cha tells us, “make it extremely versatile. It could be an American style box rumba, a cha-cha, a fast salsa or a hustle.” Translation: It’s a Transformer!
YOU COULD CHANGE A TIGER’S STRIPES “The swinging beats to this tune make for a great swing dance,” Melanie says. “You could do East Coast swing or West Coast. However,” she adds, perhaps for those of you who are on neither coast, “it would also make a fabulous foxtrot.”
GLAMAHOLIC “This wicked-cool song would make a spectacular cha-cha or hustle,” Melanie points out. “And if you are really looking for a challenge, it could make an extraordinary paso doble.” If you are not looking for a challenge, it will still sound very nice in your earphones.
THE POLLYANNA SAMBA This melodic pep talk, suggests Melanie, “would make a wonderful social samba or mambo.” We can’t guarantee that, as its title implies, it will also make an optimist of you. But every little bit helps, right?
WOMAN OF THE WORLD “The smooth vibe in this song makes it a perfect foxtrot,” Melanie says. “You could also dance a sexy, slinky West Coast swing to it.” You could also do cartwheels to it, we chime in helpfully. (Note: On second thought, cartwheels might look silly. Go with Melanie’s advice instead.)
WHEN I THINK ABOUT SEX… “The steady underlying beat in this song would be great for a passionate tango or a powerful cha-cha,” Melanie explains. It goes without saying that she will not be held responsible if the sort of mind it gives you is dirty.
BAD AT BEING GOOD “This is a fun, lighthearted jive,” Melanie suggests. “Or it could be a fast East Coast swing. What it is not — I repeat, not — is biographical. Stop snickering!”
MELANIE (DONCHA MAKE HER DANCE ALONE) “This swinging number is a great East or West Coast swing,” Melanie sums up. “And no, I have no idea whatsoever who could have inspired it. None.”
NEXT TO ME “This beautiful, inspiring piece is a breathtaking waltz,” Melanie says. We hope for everyone’s sake that, once your breath is taken away, it is eventually returned. Preferably before you turn blue. That is all.
LYRICS
Out Without Your Boyfriend
You’re tellin’ me you’re taken,
But you’re dancin’ all alone.
If he ever saw ya shakin’
It, he wouldn’t be at home.
You’re tellin’ me ya love ‘im
Like it’s an apology.
I don’t think you’re thinkin’ of ‘im
When you’re grindin’ up on me.
Out without your boyfriend,
Seizin’ opportunity!
Don’t give me maybe
You’ve found someone new!
Just say it, baby...
I’m who you’re into!
Comin’ out, comin’ out...
Out without your boyfriend!
You’re tellin’ me ya wouldn’t,
But, and I don’t mean to laugh,
Though it’s obvious ya shouldn’t,
Kinda you already have.
You’re tellin’ me you’re messin’
And it doesn’t mean a thing.
Probably, it will, I’m guessin’
To the guy who bought the ring.
Pre
Chorus
You went
A little too far;
Took a moment and you spiked it.
You spent
A little too long
And discovered that you liked it.
Really dig the way you liked it!
Chorus
You’re tellin’ me you’re leavin’,
But you’re stickin’ to the floor.
Groovin’ so, ya haven’t even
Made a move toward the door.
You’re tellin’ me ya wanna
Be a wife and then a mom.
Got a hunch ya aren’t gonna
’Til the storm in you is calmed.
Out without your boyfriend,
With a tick-a-tick-a-bomb!
Chorus
The Lovers’ Rumba
The second that my hand’s
In yours, I understand
I haven’t been seduced…
I just belong to you…
I give up all control...
My body, mind and soul,
Addicted to the dance
That redefines romance.
Ev’ry step you take, with ev’ry move,
Ev’ry time you spin me, boy you prove
You know exactly what I need,
And rapt, I follow… I follow where you lead…
Where you lead… oh…
The lovers’ rumba!
Lovers’ rumba!
Too little or too much,
I hunger for the touch
That makes a wish, command,
A “No, I can’t,” “I can.”
A lift and then a drop...
You start and then you stop…
You turn a sparrow’s wings
Into your puppet strings.
Chorus
La-la-lovers’ rumba… oh…
The second that I slip
Out of your fingertips,
I’m desp’rate to return,
To let you make me burn…
La-la-lovers’ rumba… oh…
Around and ‘round, you bid me, spin,
Until I end where you begin,
No fire left in me to feed,
Aflame, I follow where you lead.
New Star
I was so down on Earth, I thought,
I had to be from space.
A Martian, maybe I’d been caught,
My memories erased.
Now, now, now,
Because I’m lookin’ through your eyes…
Wow, wow, wow,
I’m seein’ someone in the skies…
You’re makin’ me, me, me…
Makin’ me a new star!
Me, me, me…
Makin’ me a new star!
New star...
I used to wonder where I fit
And if I even could.
I’d whisper, “Beam me up! I quit!”
My prospects weren’t good.
Pre
Chorus
In my orbit,
Tag! And you’re it!
Doncha know you are…
Makin’ me…
Makin’ me a new star!
Chorus
I’m The One
I’ve seen the way you stop and stare
The second Serena’s around...
Her partner throws her in the air,
You gasp as she’s tumbling down.
I’ve seen it, and to say the least,
Emphatic’ly I recommend,
Unless you wanna rest in peace,
I never be made to again.
I don’t care what she’s got,
If she’s cool or if she’s hot,
If what it takes is two,
I’m the one!
If what it takes is two,
I’m the one…
I’m the one…
I’m the one
For you!
If what this is, is jealousy,
Then what you must be is obsessed
With how Alicia moves her feet
And more so how she moves the rest.
I’ve noticed, but am I upset
And threatening you with the grave?
I am, in fact; did you forget
The reason you wanna behave?
I don’t care what she does
Or you think she might, because
If what it takes is two,
I’m the one!
If what it takes is two…
For you…
For you…
For you…
I don’t care if it’s love
Or it’s fate; enough’s enough!
If what it takes is two…
Chorus
The Puppet Who Gave Himself Strings
You’re playing London, name in lights,
Exactly how we planned...
Except you’re spending all your nights
In your Stromboli’s hands.
I wonder when you’re going to
Get the joke he’s made of you...
I wonder when you’re going to
Get that you’ve been played.
He tells you to dance, he tells you to sing,
He picks the way you say you swing,
And everyone laughs, it’s the funniest thing:
Look at the puppet who gave himself strings!
Remember when you had a friend...
A bunch of us, in fact...
Until he chose to recommend
You stab us in the back.
Pre
Chorus
You’re a possession that he’s acquired,
A toy that’s too dumb to see
He’s gonna toss you on the fire
The same as you did me.
Pre
Chorus
You Were Never Really Mine
Suppose I loved a fantasy.
Suppose it’s obvious.
You thought of us as “you and me,”
I thought of us as “us.”
Everyone expected
That in time I’d see the signs.
But even now I can’t accept it:
You were never really mine.
Funny how it hurts,
Being left behind,
Knowing that you were…
You were never really mine.
And the hardest part for me,
It isn’t all the pain,
It’s I won’t get to believe
Again.
At dusk, I walk the city streets,
My shadow, “coulda beens,”
Uneasy, for it’s incomplete,
The story that I’m in.
Pre
Chorus
I wish I coulda kissed you,
To have had you to forget…
For just a night to have been with you,
To have touched you, to have met…
I haven’t yet.
Suppose I loved a fantasy.
Suppose it’s obvious...
Pre
Chorus
I’m a Man
(Not a Piece of Meat)
You stare me down, you size me up,
As if I’m gonna strip,
As if, if you stare hard enough,
My pants’ll come unzipped.
C’mon now…
C’mon now…
I’m a man, I’m a man,
Not a piece of meat!
Doesn’t matter if I look
Good enough to eat!
I’m a man, I’m a man,
Not a piece of meat!
Doesn’t matter if I cook
When you crank the heat!
Sure, I’m hotter than July,
Eleven outta ten,
Underneath the muscles, I…
I’m an M-A-N!
At first it was an ego boost,
I thought, “Enjoy the show,”
Today, instead of feel seduced,
I’m wond’ring if you know…
Chorus
Post
I’ve got a brain, I’ve got a heart;
What are they, overdressed?
You focus on your fav’rite part
And just ignore the rest!
I have a soul, hello! And eyes!
I’m sorry it’s a shock,
You never stopped to realize
I’m more than ass and whoa!
Chorus
Post
Body Heat
The music called to me again —
It oughta be ashamed! —
Seductive as the worst of men
And harder still to blame!
You heard it, too, an echo of
“Put on your dancing shoes,
“I’ll lead you by your feet to love,”
So how could you refuse?
Who’s strong enough to stop and say
“I won’t” instead of start to sway,
Resolved enough to tell it no
Instead of yes, instead of go, go, go!
I’m a victim of the rhythm,
Hostage to the beat!
Even when we’re fighting with ‘em,
We’re creating body heat!
Body heat — cha cha cha! Body heat!
Body heat — cha cha cha! Body heat!
I used to hide beneath the sheets,
Determined to resist
The club erupting from the streets,
My name atop its list!
You tried as well; of course you did...
You tried in vain and failed.
You shut your door, your ears, and hid,
And all to no avail.
Pre
Chorus
No tuning out what’s in your soul,
In ev’ry inch of you...
It isn’t us, it’s in control,
So what are we to do?
Pre
Chorus
When You Smile
Two a.m., of course you’re in a club,
Dancing on a tabletop,
Crowd of strangers itching to erupt,
Pleading with you not to stop.
You’re the definition of
Uninhibited…
When you smile…
When you smile…
I know the trouble that I’m in.
When you smile…
I see instead a dirty grin,
Saying “I’ll
“Show ya how to really sin.”
Girl, I die…
I’m learnin’ — when you smile…
I’m burnin’ — when you smile…
I’m learnin’ — when you smile…
I’m burnin’ — when you smile…
We don’t need to talk, I understand
That I’m diff’rent from the rest…
Though you spend a night in all their hands,
I’m the one you like the best.
Ev’ry move you make is so…
It’s so personal…
The Saddest Song
When I rewind the tape
By the blur of a year,
All I find in the hiss
Is a sigh, but an echo of tears.
For me, there’s no escape
From the music I hear…
Though I fight to forget,
How could I? It’s a cruel souvenir.
I’ve got the saddest song in the back of my head
That’s becoming the theme to my life.
I put another in, something happy, yet
It’s stuck into me like a knife.
It’s the saddest song…
I try the other side,
And it just starts again,
Taunting me, on a loop,
My duet with a ghost of a friend.
Chorus
You don’t even care that I’m still in your hands,
Still in the grip of our heartbreaking dance.
Chorus
Fun & Games
We’re not in love.
We couldn’t be.
We’ve got enough.
We both agreed.
And still...
We’re serious
As soda pop.
It’s obvious
That we could stop.
And still...
We made a promise to each other
That it wouldn’t get intense
That, even after we were lovers,
Even now is making sense...
But it’s a shame
If we secretly feel the same
And keep on pretending
We’re fine with it ending
As just fun and games.
We strategize.
We hedge our bets.
We take the lies
That we can get.
And still...
Pre
But it’s a shame
If we secretly feel the same
And keep on pretending
We’re fine with it ending
As just fun and games.
Are we pretending
We’re fine with it ending
As just fun and games?
Fun… fun…
Fun… and games.
Fun… fun…
Fun… and games.
We’re deep as skin,
A passing phase,
A “Where ya been?”
For future days.
And still...
Pre
But it’s a shame
If we secretly feel the same
And keep on pretending
We’re fine with it ending
As just fun and games.
Are we pretending
We’re fine with it ending
As just fun and games?
Are we pretending
We’re fine with it ending
As just fun and games?
Post
Dog
I appreciate your interest in me, to say the least,
But I won’t be taking on the role of Beauty to your Beast.
‘Cause the lot of you are animals, and girls your petting zoos,
Though you’ve got a magnetism, to resist it’s what I choose.
I don’t want an alley cat
Whose attention I’ll struggle to hog!
Been there, honey, I’ve done that!
Now I’m getting a dog!
Now I’m getting…
Getting a dog!
Now I’m getting…
Getting a dog!
While I’m flattered by your compliments, I’ve heard ’em all before,
So I’m more than happy giving you directions to the door.
You can spread your feathers for me, strut around and shake your tail,
Isn’t gonna matter in the end, you’re gonna fail.
I don’t want an alley cat
Whose attention I’ll struggle to hog!
Been there, honey, I’ve done that!
Now I’m getting a dog!
I don’t want another snake,
Coming at me from under a log!
Holy yeah, made that mistake!
Now I’m getting a dog!
Now I’m getting…
Getting a dog!
Now I’m getting…
Getting a dog!
He’ll be loyal and true to me…
He’ll listen when I talk…
He’ll act as if it’s such a treat
When we go for a walk!
How They Dance in Outer Space
Now I know, because of you,
Aliens are real...
Know their skin’s a brilliant blue
And cold as stainless steel.
Now I know, because of you,
A buncha them are girls
And the stuff they’re most into
Completely rocks my world.
What I don’t know is...
... how they dance in outer space!
Cheek to cheek or face to face?
Do they tango? Do they jive?
Would a boy from earth survive?
Show me, won’t you show me
How they dance in outer space!
Show me, won’t you show me
How they dance in outer space!
Now I know that ESP’s
Common in your kind...
Know in distant galaxies,
They read each other’s minds.
Now I know that ESP’s
Connecting me to you,
But the answer that I need...
It isn’t coming through.
Pre
Chorus
Wanna learn the moves
The kids all make on Mars,
So I can improve
And get you seeing stars…
Seeing stars…
Seeing stars…
Chorus
It’s All About the Beat
It isn't about the Monopoly cash
Your wallet's apparently fashioned to flash.
It isn't about the Armani you wear
As if on the floor anybody'll care.
It's all about, about the beat…
It isn't about the celebrity friends
You've got, then you don't; day and night, it depends.
It isn't about the impression of fame
That gives you the credit and spares you the blame.
Chorus
Darling, you're a portrait of
Delusion and conceit.
When we dance, it isn't love,
It's all about, all about the beat.
Chorus
You Could Change a Tiger’s Stripes
When I heard the story
Of the sirens and their song,
I laughed until I cried, I
Mean, they’re pretty, but c’mon.
Then I got a look at —
Holy cow! — the likes of you,
’N’ lightbulb on, I got it:
Ev’ry syllable was true!
Completely on a whim,
You could tell a fish to fly,
Tell a bird it oughta swim,
And I betcha they would try!
With the way ya stretch a dress
Baby, I believe the hype!
Though he’ll probably protest,
You could change a tiger’s stripes!
Sure, at first I fought it...
Any guy would do the same.
Still in the end, you got me
Getting tattooed with your name.
You’re a Cleopatra...
You’re a Helen to my Troy.
That smile of yours could even
Turn a man into a boy.
Chorus
Glamaholic
I got a problem, I...
I’m addicted to...
I get a shopper’s high
Off a pair o’ shoes.
I wanna lick it, though
Even if I could...
You look amazing! No...
I look too damn good!
My name is Kaya, and I’m a...
What?
My name is Kaya, and I’m a...
What?
My name is Kaya, and I’m a...
What?
My name is Kaya, and I’m a...
Say it!
Glamaholic!
I just can’t get enough!
Glamaholic!
I love designer stuff!
And it’s so messed up…
And it’s so messed up…
I don’t feel myself unless I’m dressed up!
And it’s so messed up…
And it’s so messed up…
I don’t feel myself unless I’m dressed up!
When I was little, I...
Used to hate to shop.
Today I wonder why,
‘Cause I never stop.
I pass a fancy store...
Try, but it’s a fight.
We’ve got the spring Diors!
You take plastic, right?
Pre
Chorus
I’m ready now!
I wanna shout:
I’m a glama- glamaholic!
I’m ready now!
I’m comin’ out:
I’m a glama- glamaholic!
Pre
Chorus
The Pollyanna Samba
I sulked about, a pessimist;
No manic, all depressed.
Imagine you, but at your worst —
That was me at my best!
Today, however, check my neck —
There isn’t any noose.
I wear a smile instead because
You knocked my happy loose.
New, new, new...
I’m new and I’m improved,
On account of you...
You taught me how to move,
And so…
… if I’m the Pollyanna
I think I’ve turned into,
The reason is the samba
You taught me how to do!
Pollyanna samba…
And off I go!
And off I go!
Incredible, I know, and strange --
I bump into myself,
And looking at the way I’ve changed,
It’s like I’m someone else!
Pre
Chorus
Post x2
If I’m the Pollyanna
I think I’ve turned into,
The reason is the samba
You taught me how to do!
It takes my tale and shakes it
Until a woe’s a wow,
Until I’m, plain and simple,
A Pollyanna now!
Post x2
Woman of the World
Why…
Why ya want a child of seventeen
When I…
I can show ya things she’s never seen...
Try…
Just imagine my experience
You’ll die…
The experience is that intense.
You — you’re not a little boy,
So put away your toy,
Forget your little girl
And get yourself a woman…
A woman of the world!
She’s…
What? Eleven shades of beautiful?
But geez,
Sugar, doncha find ’er kinda dull?
Me…
I’m Vesuvius when I erupt…
I’d be
Guaranteed to keep your int’rest up.
Chorus
When I Think About Sex…
If I wanted conversation,
Mental stimulation,
I wouldn’t be at your door…
Wouldn’t be at your door.
If I wanted someone prying,
Psychoanalyzing,
I wouldn’t come anymore…
Wouldn’t come anymore.
But I did…
Here I am…
And seeing you in clothes is like a body slam!
“Why?” you ask.
Baby, damn!
The girl I think of is you
When I think about sex!
If to me a depth of feeling
Was the least appealing,
I wouldn’t have turned to you…
Wouldn’t have turned to you.
Pre
Chorus
Bad at Being Good
I wake and pin my halo on
Before I’m outta bed;
An hour later, “Hey, it’s gone!”
Or oops! I’ve lost my head.
I try to be an angel, no!
I swear to God I do!
The trouble is that trouble’s so
Much fun to get into!
You understand, right?
If I shouldn’t, but I could,
I either have or else I would.
I never mean to do it,
I’m just bad at being good!
Oooh… I’m a baaad girl!
Bad girl, bad girl, bad girl…
I tell the boys I’m staying in,
They cock a brow and smirk:
They’ve figured out a sexy grin
Is always gonna work.
Besides, I’ve got a party dress
So eager to be worn,
I almost hear it answer yes,
Don’t bother acting torn.
It’s pathological, really.
Chorus
They say there's good in all of us,
And I say, “Are you sure?”
Because I drink and smoke and cuss,
I think I'm all impure!
Chorus
Melanie
(Doncha Make Her Dance Alone)
She’s got a smile,
A thousand watts.
She’s got a style
Nobody gots...
Yet she’s on her own!
Doncha make her dance alone!
She’s got a move
So dazzle-ing,
You can’t improve
Upon a thing...
Yet she’s on her own!
Doncha make her dance alone!
Get up, up, up off of your butt!
Get up and take her hand!
Get up because, I tell ya what:
The dame deserves a man!
Can ya dig it?
Sure you can!
She’s got a head
Of curly hair,
A shade of red
That isn’t fair...
Yet she’s on her own!
Doncha make her dance alone!
Chorus
Don’t, don’t...
Doncha make her dance alone!
Doncha make her dance alone!
Don’t, don’t...
Doncha make her dance alone!
Can ya dig it?
Sure you can!
It isn’t me to make a scene.
Oh, fine, alright, it is.
But I’m entitled. Jeez, I mean,
I just want to be his. Or his. Or... are you single? I digress.
I’m not a girl who needs a guy.
I’m not! It’s more a want.
The kinda want that day and night,
It leaves me on the hunt.
Who do ya have to around here to get a boyfriend?!
She’s got a ring
She gave herself
Instead of bling
From someone else,
Yet she’s on her own!
Doncha make her dance alone!
Chorus
Next to Me
When my fingers creak,
I’ll ignore it...
When my legs are weak,
I’ll endure it...
... if you promise when I stumble,
When I trip and take a tumble,
Same as now, you’ll be
The fuddy duddy next to me.
When a wrinkle shows,
I’ll just let it...
When my figure goes,
I’ll forget it...
... if you promise when I fumble
For the words I wanna grumble,
Same as now you’ll be
The fuddy duddy next to me…
Same as now you’ll be
The fuddy duddy next to me.
When my yesterdays
And tomorrows
Take each other’s place
Will I follow...
... if you promise when I stumble,
When I trip and take a tumble,
Same as now, you’ll be
The fuddy duddy next to me…
Chorus
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