Won’t You Come Over by Devendra Banhart Lyrics Meaning – Unraveling the Lyrical Tapestry of Desire and Devotion
Lyrics
I’m yours to take
Now I can’t wait for all the mistakes
We’ve yet to make
Now shake it up, baby, twist and shout
We’re war-torn buildings, all bombed out
Love, not unlike
I got drunk, pissin’ the night away
Love, not unlike
Won’t you come over and love me?
Won’t you come over again?
Can you overcome the unnerving
Ossifying body you’re in?
I used to live alone just counting the pretty little flowers on my dress
I can’t wait to consecrate this wondrous mess
Words unforgotten ’til we sing again
Start at the bottom, and then we descend
Love, not unlike
Little joy in/around no more
Love, not unlike
I am woman, hear me roar
Love, not unlike
Larry Lemon, sanctified
Love, not unlike
Won’t you come over and love me?
Won’t you come over again?
Help me overcome the unnerving
Ossifying body I’m in
I ask all the time
But you never tell me
What have I got to do, to make that man want me?
What have I got to do (Lovin’ you is makin’ it easy)
To make that man love me (Lovin’ you is makin’ it up)
What have I got to do (Lovin’ you is makin’ it easy)
To make that man want me? (Lovin’ you is makin’ it up)
What have I got to do (Lovin’ you is makin’ it easy)
To make that man love me (Lovin’ you is makin’ it up)
What have I got to do?
In the spellbinding universe of Devendra Banhart’s music, each song is a rich, intricate weave of emotions, a testament to his uncanny ability to blend poetic lyricism with the eclectic timbres of his sound. ‘Won’t You Come Over’ encapsulates this blend perfectly—an undulating anthem that subtly tugs at the heartstrings, beckoning for a closer look into its core.
Banhart’s mastery lies not just in his musical prowess, but in his lyrical depth. As we sift through the verses of ‘Won’t You Come Over,’ we find a labyrinth of meanings, a narrative shaped by love’s complexities and the yearning for connection. This exploration is not just for the musically inclined, but for anyone drawn to the universal human experience of seeking closeness amidst life’s relentless march.
The Siren Call of Connection in a Fragmented World
The opening lines of ‘Won’t You Come Over’ present an individual who has found solace in companionship—the ‘you’ that has turned solitary existence into an ‘ours.’ This isn’t just a request for presence; it’s an invitation to delve into future ‘mistakes,’ an admission that imperfection is part and parcel of what makes human bonds so fascinating.
Here, Banhart isn’t merely singing about romantic love. He’s pointing to the essential human condition of togetherness. The ‘mistakes we’ve yet to make’ are ripples on the surface of life’s deeper waters, the shared experiences that knit us closer together, despite—or perhaps because of—their inherent flaws.
Dancing Through Ruins: The Euphoria of Imperfect Love
In structuring the chorus to evoke the dancefloor classics with a twist of post-war imagery, ‘shake it up, baby, twist and shout,’ Banhart captures the euphoria and resilience of love. Love, just like dance, is a spiritual defiance against the ruins, a celebration of life amid desolation.
His lines speak to lovers as ‘war-torn buildings, all bombed out,’ yet still standing, still dancing. This juxtaposition highlights the durability of love, even when it is shaken to its core. Amid the entropy of life and relationships, Banhart urges us to find solace in the dance, in embracing the fissures of our shared experiences.
Of Flowers and Messes: The Hidden Meaning Beneath the Blooms
There’s a stark transformation depicted in the move from an isolated existence of ‘counting the pretty little flowers on my dress’ to ‘consecrate this wondrous mess.’ Banhart articulates the shift from solitary introspection to the chaotic beauty found within a partnership. This isn’t merely romantic—it’s about diving headfirst into the beautiful chaos that life with another person demands.
The hidden meaning unfurls as Banhart exposes the inner sanctum of human closeness, offering a testimony that partnership is not just about the decorative aspects of life—it’s as much about embracing the mess as it is about counting the flowers.
An Ossifying Body: The Memorial Lines Depicting Existential Woes
‘Can you overcome the unnerving / Ossifying body you’re in?’ These lines stand as a striking metaphor for the existential dread and inertia that can grip us all. Banhart reaches out through his lyrics, extending a hand to those who feel trapped within their own skin, within the bones that threaten to turn to stone without the warmth of human touch.
This is a plea for rejuvenation, a request to overcome the paralyzing effect of loneliness that can harden our very being. It’s a reminder of love’s ability to transform and mobilize us, to keep the tenderness in our limbs and spirits through the warmth of connection.
The Eternal Quest for Fulfillment: Echoes of a Soul’s Inner Dialogue
The persistent refrain, ‘What have I got to do, to make that man want me?’ runs through the song not as a simple question, but as an aria of longing, echoing the inner dialogues of countless souls. This question isn’t one of despair; it’s an assertion of self, a declaration of the need to be seen, to be wanted, and to be loved for who one truly is.
With its evocative repetitive structure, Banhart embraces emotional vulnerability, while advocating for the enduring nature of affection and its power to transform the self and relationships. It is a mantra that resonates deeply within the human psyche—both a question and an answer, encapsulating the journey towards mutual acknowledgment and affection.
