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{{popsong|Call Me|Blondie|5402437}} | {{a|popsong|{{popsong|Call Me|Blondie|5402437}}}}Unusually for a pop song this uses the same legal concept into quite different contexts. The first is neatly metaphorical, personifying Love itself, as some kind of furtive criminal, stealing around in the shadows, perpetrating its nefarious designs on innocent, law-abiding goddesses of rock. | ||
{{Quote| | |||
Emotions come, I don’t know why <br> | |||
Cover up Love’s [[alibi]] <br> | |||
Call me (call me) on the line <br> | |||
Call me, call me any, anytime <br> | |||
Call me (call me) I’ll arrive <br> | |||
When you’re ready we can share the wine — <br> | |||
Call me. <br>}} | |||
By the refrain we see that Love has had its disreputable way, and our heroic Rock Goddess has caved in, submitted to the scheme, and is now utterly complicit. It is not Love, now, but the singer herself who is offering an [[alibi]], tempting the world at large, through the [[agency]] of we, the listener, into this sordid ''conspiration d’amour'': | |||
{{Quote| | |||
Call me, call me in a sweet design <br> | |||
Call me (call me), call me for your lover’s [[alibi]] <br> | |||
Call me (call me) on the line <br> | |||
Call me, call me any, anytime. <br>}} | |||
{{Sa}} | |||
*The one thing, very vital, lacking from [[Mrs. Pinterman]]’s account thus far, and that is the [[aleebee]]. | |||