Barbelith Underground > Radio & Music > The Science of Girls Aloud

These are the full lyrics to ‘Biology’, taken from (oh yes!) the karaoke video on the cd single (since there’s no lyrics in the album booklet, and I can’t get into the official web site anymore). While there’s no absolute guarantee that they’re totally accurate - I mean, I’ve seen obviously incorrect lyrics printed on album covers before - there’s some interesting stuff there: specifics that aren’t what I’d initially assumed, which make me think they are genuine (“He still creeps closer”, frexample).

Why don’t you fool me, feed me, say you need me
Without wicked games
C’mon and hold me, hug me, say you love me
And not my dirty brain

I got one Alabama return
That’ll take me far away from you
Cos when you take me in your arms
I turn to slave, I can’t be saved
So I got my cappuccino to go
And I’m heading for the hills again
Cos if we party any more we’ll start a fire
Of pure desire

Closer
Your mind’s flying blind with your head and your face getting red
And your heart beats closer
You fall on your knees and the geek at your feet says you’re neat
And the beat gets closer
You die for the thrill at the kill and your heart’s had its fill
But he still creeps closer
You want it to freeze but you’re weak, in too deep, and the beat,
and the beat gets closer
closer

We give it up
And then they take it away
A girl’s got to zip it up
And get her head in the shade
Baby if we give it up
It’s just a matter of time
Before all the heavy stuff
Comes back to bite your behind

You can’t mistake my biology
The way that we talk, the way that we walk, it’s there in our thoughts
The magic number’s in front of me
The way that we talk, the way that we walk, so easily caught
You can’t mistake my biology
The way that we talk, the way that we walk, it’s there in our thoughts
We’re gonna cause a controversy
The way that we talk, the way that we walk, so easily caught

I agree with Miss Wonderstarr’s analysis: it’s dangerous to rely on a relationship based entirely on physical computability, however strong that may be. In terms of specifics, the Alabama return bit is the most difficult - Google seems to suggest that it’s the official name for some sort of tax paperwork, which I don’t think helps, particularly. I guess, rather than a return ticket, it could just be ‘I have one opportunity to return’, although it’s still not completely satisfactory. The magic number/cause a controversy lines seem a bit like filler. It’s interesting that the power dynamic in the relationship isn’t all one way: yes, I turn to slave, but this contrasts with “the geek at your feet”. In which case presumably the ‘they’ in “We give it up*/And then they take it away” isn’t necessarily the boys in question, but possibly society in general. Which in turn suggests that the constantly shifting ‘you/he’s and ‘we/i’s are more carefully deployed than I’d initially assumed.

(A disclaimer: I don’t know if there is actually a coherent reading available, and I’m not upset or disappointed if it turns out that there isn’t. But I think it’s worth looking, because if there is, and I only miss it because I’m not concentrating hard enough, well then more fool me).

On band hierarchy, I’d disagree, to an extent, with the notion that Cheryl’s the frontwoman. I guess it depends on how these things are defined: she’s obviously the most famous, but Nadine certainly sings more (and, while I’d struggle to back this up, I’d also suggest she wins hands down on the patented Knowles standing-in-the-middle-ometer).

I’m not sure I’d draw any particular conclusions from solo ballad vocals, myself. Are you saying that that’s where a singer properly proves their worth? I can see your point, to an extent, although for me, Nadine is actually at her worst on the ballads - all unnecessary Mariah ‘virtuosity’ - and far better when she’s more restrained (cf “Watch Me Go”).

And finally, “It’s Magic” is currently my favourite track on ‘Chemistry’ - it takes “Whole Lotta History”s structurally-innovative-without-sounding-like-it thing to a whole ‘nother level; although I know from various comments online that it’s a lot of peoples’ least favourite. I think Nicola’s vocal’s great. Yes, she still sounds like she’s about twelve - if that’s what you mean by ‘feeble’, I can kind of see your point - but I think it works for the song in question.

Much more to say, as ever on this topic, but the Real World looms. (Not MTV’s The Real World. That would be bizarre. Just the washing up & stuff...)

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* Assuming that "We give it up" is actually '(Despite our best intentions) we have The Sex', rather than 'We abandon the relationship'.