Anyway, his song Some Girls (Dance With Women) is fantastic. It really works its way into your head, and it's not like the lyrics are particularly subtle (he has some similarly restrained titles for songs on his album). No, in fact, the key theme to the song is that, as the title indicates, "some girls dance with women knowing that it gives them attention", presumably from such chancers as Mr Chasez, who "want(s) to get in with them". Yes, indeed.
What I find fascinating is the strange understatement in Chasez's delivery of the song. After almost subliminally reciting the first few verses describing the scene in the club, the tempo suddenly changes as Chasez notices one particular women and addresses her in the second person (though it's not clear that he's directly addressing her; it seems more like he's talking to himself). "[You] move your body, so sexy, nice and slow ... You know how I like it". As he says the words of this verse, the musical accompaniment introduces a few lengthy organ notes, moving down the scale. I don't really have the musical knowledge to describe what happens here, but it's the point you'd expect a chorus to really break free into the upper registers, but instead it somehow seems to reinforce the dream-like quality of Chasez's narrative. It all stays a little bit subliminal.
Maybe that's the insidious secret. About halfway through the song, a second voice (the same singer but at a higher, more urgent pitch) starts to interrupt the chant-like recitative verses with imperatives -- no mere wishes, but demands now. At first he just quietly -- barely noticeable in the background -- repeats or emphasises certain words in the chorus ("come here girl" and "let's go"), but soon the voice gets more insistent and finally gets a whole verse of his own and sings it twice:
"Step right up and spin the wheel / All charged up on what you feel / Make an approach, tryin' to keep it real / What's your name, girl?"
Do you see what he does there with that final line? What was all potential energy is actualised. He has been psyching himself up, watching the girls, and now suddenly he's over there talking to the cynosure of his affection.
The original voice has set up a narrative which is a bit restrained and trades heavily on wishes -- viewing from afar but not making any approaches. However, by introducing this new voice Chasez has created an alter ego who makes demands and acts on them. Eventually, it's this voice which comes to dominate the song, upping its tempo, and finally limning the divide between what the narrator wants to do and what he actually does.
"Pass me a drink and let's go."