Keisha Buchanan dismisses an ex-boyfriend in the slinky “Hole In The Head.”
It’s been less than a day after the breakup. Buchanan been at home all day, drinking coffee and watching talk shows to help herself feel better. At least seeing people more screwed up on television would provide some comfort. However, she knows from past experiences she will be awake at night, wondering what she did wrong and crying. But not this time. She’s would rather prositute herself than ever bother with him again.
“Seven hours since you went away/Eleven coffees, Ricki Lake on play/But late at night when I’m feeling blue/I’d sell my ass before I think of you.”
It’s motivated her for to improve her appearance. She began a healthy diet and got her nails done. She took his number off her phone. If he tries to call her, she will ignore him as she’s partying. A close male friend of hers cheered her up and gave her some persceptive.
“Seven hours since you closed the door/Started a diet, got a manicure/Erased your number from my telephone/And if you call me I won’t be at home/He said.”
In the bridge, he asked her why she’s sobbing over a guy who doesn’t deserve her. She has to move on and forget him. His advice made sense to her.
“Why d’you cry/For the guy/
Say goodbye/Runaway/Why d’you cry/For the guy/Say goodbye/I said ok, ’cause.”
In the chorus, she smirks if he wants her back. He’s irrelevant to her and it’s fine. Her ex is probably thinking she’s torn up and can’t face life again.
“Ooh, boy d’you miss me like a hole in the head/Because I do boy/And it’s cool boy/And ooh, bet you never thought I’d get out of bed/Because of you boy/Such a fool boy.”
The word “boy” is repeated a couple times over a jerky guitar.
It’s 11 p.m. and she’s searching in her closet for the most glamorous outfit to wear. At 2 a.m., she’s dancing to her favorite song and having the time of her life. She notes she’s like to bend over and kiss her butt than weep.
“Eleven hours on a brand new day/I’m getting ready to go out and play/It’s late at night, I’m caught in a groove/I’d kiss my ass before I’m feeling blue.”
She’s sleeping and is interrupted her ringing cellphone. She answers it, asking him why he wants to talk to her. He says he wants to apologize and for her to open her door. She does so. He’s standing on her porch with a dozen roses. She tells him to leave her alone and pretends not to know him. As she shuts the door, she hears him saying “I’m sorry. Please listen to me.”
“Seven hours, what you calling for?/A bunch of flowers and I slam the door/You’re in my face, sorry what’s your name?/Takes more than begging to reverse my brain/’Cause.”
After the chorus, the beats spread out and float for the second bridge.
In the second bridge, she’s says she’s not dealing with him anymore. It’s done. It was a dramatic relationship she doesn’t want to return to.
“I’m through with it/Over it/Not having it/Crazy sh*t/Not feeling this/Can’t deal, I quit/No more, No more/I’m through with it/Not having it/This crazy sh*t/
Not feeling it/Can’t deal with it/No more of it/No more, no more.”
She’s going to reengerize. He turned her on but not enough for her to deal with his issues. She warns him to come by her house again. She doesn’t want anything to do with him. It’s best for her to get over him.
“Breaking off the bun/A brand new day has just begun/Just because you made me go “ooh”/Doesn’t mean I’ll put up with you/Don’t you dare turn back/Can’t you see I won’t take that?/I ain’t crying, not over you/Better for your head up like I told you.”
The bridge is sung again.
The chorus is repeated twice.
At the end, Buchanan adlibs some “ahhh-huh” adds that she’s all right.
“Ah-huh, no way/Ah, huh, I’m ok/Ah-huh, no way/Ah, huh, I’m ok.”
“Hole In The Head” has fun with the cliches. The single has a conversational flow to it, which makes the use of the constant use of cliches natural. Buchanans’ unwavering, sassy vocals give the single a rakish attitude. The vulgar phrases are sung with cool and nerve. Buchanan doesn’t care if anyone offended or not. However, by the second bridge, the single is defanged by editing out the PG words.
The garage dance beats bubble over the melody and stretch. It’s R&B with an elegant touch.Powered by Sidelines