Music Review: Tina Turner "Better Be Good To Me"
Tina Turner
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Better Be Good To Me
Album: Private Dancer
Year: 1984
Tina Turner tries to take control of her relationship with her boyfriend in the livid “Better Be Good To Me.”
Blistering synths open the single, setting a foreboding tone. In the first verse, she says he’s her weakness. She’s trapped by his quiet smile and declarations of love when they have sex. For about a half hour or so, she’s secure with him. However, his attention is given to work and not to her. On the occasion, he decides to hold her hand or acknowledge her, she’s pleased. She spits that he’s trampling on her heart each time he calls her to say he’s staying late.
In the chorus, she bosses him to be kind to her and what she says is final. She says he doesn’t believe him when he says he’s at a meeting. He should be focused on her, not his job.
In the second verse, she approves of their calm way of figuring out their problems. They don’t yell and she lets him talk. He says he cares for her and his meetings are to ensure their future. She blows off his explanation, saying she can’t trust him. She resents not having him home or changing her plans to fit his so-called busy schedule.
In the second chorus, she tells him she’s done hearing his excuses.
In the final section, she doesn’t understand why he can’t remember the little things she likes. She isn’t certain where she stands in the relationship. She says he’s cold towards her. She adds that even though he may not love her, she still needs to be treated like a human.
When they first met at their part-time job, Turner and her boyfriend were both starting out. They both graduated college and were looking to make some extra money. But then, he found a job in his field first, leaving her at the mall. Since then, there’s been trouble. He says he spends time at work, but she thinks he’s cheating and sleeping with a pretty young thing. She wants to be the center of his universe again.
Turner’s snarling, monocratic vocals are callous and shrewd. Her passive aggressiveness has her hissing in the first verse and pleading by the final section. In her opinon, the relationship must be about her to succeed.
The snaking synth arrangement writhes and pounces with a conspicuous thump. It then chomps on the rhythm, hacking up little bits cowbell.
The unreasonable “Better Be Good To Me” argues for the sake it and should be avoided.
Album: Private Dancer
Year: 1984
Tina Turner tries to take control of her relationship with her boyfriend in the livid “Better Be Good To Me.”
Blistering synths open the single, setting a foreboding tone. In the first verse, she says he’s her weakness. She’s trapped by his quiet smile and declarations of love when they have sex. For about a half hour or so, she’s secure with him. However, his attention is given to work and not to her. On the occasion, he decides to hold her hand or acknowledge her, she’s pleased. She spits that he’s trampling on her heart each time he calls her to say he’s staying late.
“A prisoner of your love/Entangled in your web/Hot whispers in the night/I'm captured by your spell (captured)/Oh yes I'm touched by this show of emotion/Should I be fractured by your lack of devotion/Should I, should I?”
In the chorus, she bosses him to be kind to her and what she says is final. She says he doesn’t believe him when he says he’s at a meeting. He should be focused on her, not his job.
“You better be good to me/That's how it's gotta be now/Cause I don't have no use/For what you loosely call the truth/Oh, you better be good to me/Come on, be good to me.”
In the second verse, she approves of their calm way of figuring out their problems. They don’t yell and she lets him talk. He says he cares for her and his meetings are to ensure their future. She blows off his explanation, saying she can’t trust him. She resents not having him home or changing her plans to fit his so-called busy schedule.
“I think it's also right/That we don't need to fight/We stand face to face/And you present your case/And I know you keep telling me that you love me/And I really do wanna believe/But did you think I'd just accept you in blind faith/Oh sure babe, anything to please you.”
In the second chorus, she tells him she’s done hearing his excuses.
“You better be good to me/That's how it's gotta be now/Cause I don't have the time/For your overloaded lines/You better be good to me.”
In the final section, she doesn’t understand why he can’t remember the little things she likes. She isn’t certain where she stands in the relationship. She says he’s cold towards her. She adds that even though he may not love her, she still needs to be treated like a human.
“And I really don't see/Why it's so hard to be/Good to me/And I don't understand/What's your plan/That you can't be/Good to me/
What I can't feel I surely cannot see/Why can't you be/Good to me/And if it's not real/I do not wish to see/Why can't you be/Good to me.”
When they first met at their part-time job, Turner and her boyfriend were both starting out. They both graduated college and were looking to make some extra money. But then, he found a job in his field first, leaving her at the mall. Since then, there’s been trouble. He says he spends time at work, but she thinks he’s cheating and sleeping with a pretty young thing. She wants to be the center of his universe again.
Turner’s snarling, monocratic vocals are callous and shrewd. Her passive aggressiveness has her hissing in the first verse and pleading by the final section. In her opinon, the relationship must be about her to succeed.
The snaking synth arrangement writhes and pounces with a conspicuous thump. It then chomps on the rhythm, hacking up little bits cowbell.
The unreasonable “Better Be Good To Me” argues for the sake it and should be avoided.