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Dual-Meaning Chorus
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This is a Music Trope where the chorus is intentionally written to have two or more interpretations, frequently a literal one and a metaphorical or spiritual one. Each verse sets up a new and different interpretation for the chorus. Done well, it makes the audience say, "Ohh, that puts it in a whole new light." A staple of country music, but not exclusive to it. Can also show up in poems that have a repeating refrain. Here we're just including cases where the chorus remains mostly identical, with maybe a few small changes. In some cases the lyrics don't clearly have multiple meanings by themselves, but the meanings are suggested by the accompanying video. Compare Dark Reprise. Compare and contrast with Lyric Swap, where the different meaning isn't from context, but from noticeably different words. Often overlaps with Age-Progression Song. Subtrope of Double Meaning. |
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Kathy Mattea's "Where've You Been" focuses on the relationship between the song's two characters Edwin and Claire. The first time the chorus is sung, it's as Claire and Edwin fall in love. The second time the chorus is sung, it's as Edwin comes home after being late enough to scare Claire half to death. The final time the chorus is sung is a Tear Jerker as the doctors wheel Edwin in after the much older Claire has lost her memory and hasn't spoken for who knows how long. | |
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The Aristocats has this with the film’s main song, “Everybody Wants to Be a Cat”. The first verse and chorus are referring both to them being actual cats and to the jazz slang of someone who was cool and in the know being a “cool cat” or “hep cat” that was popular when the movie came out. | |
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The chorus of Mark Wills' "Wish You Were Here" is the words a man writes on a postcard that he sends to his wife before going a trip. The words ("The weather's nice, it's paradise, it's summertime all year, and there's some folks we know, they say hello?") take on a different meaning after his plane crashes. Set up and then subverted, though not clear if intentionally or not, in “Jacob’s Ladder” where the song tells of Jacob who, in the first chorus, loves Rachel and climbs up a ladder to see her in her room. When the chorus comes around the second time, it’s Rachel’s father recounting to Jacob and Rachel’s daughter how her parents fell in love when Jacob climbed the ladder to Rachel’s room. At this point the listener expects a third verse and chorus where Rachel has passed on to heaven and Jacob follows her by climbing the ladder but instead the song just ends. |
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Patty Loveless' "How Can I Help You Say Goodbye": Sung by the narrator's mother to her: first helping her young daughter adjust to moving and leaving her friend behind. Second to the narrator, now grown, about her impending divorce. Third, helping the narrator accept that her mother is dying. | |
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The Pogues' "Sally Maclennane": the first time the chorus comes up, it's about having a celebratory goodbye party for a friend who's leaving town to start a new life and walking him to the train station "though we knew that we'd be seeing him again". The last verse ends with the same person's death, and the chorus is now metaphorically about his wake. | |
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Luke Combs: "Even Though I'm Leaving". The title line "Even though I'm leavin', I ain't goin' nowhere" refers to interactions between a father and son. In the first verse, the son is scared by monsters under his bed; the second has the son being nervous about going off to war; and the third refers to the father on his deathbed. | |
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Steve Wariner loves this trope: "Some Fools Never Learn." The first chorus refers to him trying to get with a girl his friends say is bad news. The second refers to him finding out she's cheating. And the third flips the script, with him on the prowl again, and the "fool" in question being whatever girl picks him up. "Holes in the Floor of Heaven." In the first chorus, the singer's mother uses this metaphor as a way to help 8-year-old him cope with the loss of his grandmother. In the second, the now-adult singer uses the same metaphor to cope with the loss of his young wife. In the third, the singer is saddened by the fact his wife won't see their daughter marry, and his daughter uses the metaphor to comfort him and assure him she is with them. "I'm Already Taken." The singer tries twice to win the affection of the girl he likes, only to be told she's with someone else and will have to wait. They eventually marry, and he overhears their son ask innocently ask if she'll marry him. She tells him she's already taken (by his father), and he'll have to wait (presumably for someone else.) "Two Teardrops." In the first chorus, the two teardrops—one of joy, and one of sorrow—are referring to a woman in love on her wedding day, and the old flame who attended but Did Not Get the Girl. In the second, it's for a Birth-Death Juxtaposition, with the singer at the hospital celebrating the birth of his child and crying tears of joy, while the old man next to him has just lost his wife and is crying tears of sorrow. |
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"You Can Sleep While I Drive" by Trisha Yearwood (originally by Melissa Etheridge) has the title as a dual-meaning hook. The narrator senses her partner is thinking of Leaving You to Find Myself. She suggests they leave together, so at first, the hook refers to her partner sleeping in the car. Finally, she says that if the partner insists on going alone, she'll leave first, so the hook refers to her partner sleeping in their bed while she drives away. | |
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Diamond Rio's "Meet in the Middle." The first chorus is about literally meeting in the middle of their two houses when the singer and his partner were childhood friends, the second about metaphorically meeting in the middle and making compromises in their marriage. | |
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Ty Herndon's "A Man Holdin' On (To a Woman Lettin' Go)" is more of a dual-meaning hook. The song has no chorus, instead using the title phrase throughout the verses. It sets up various scenes (a young couple skinny-dipping, a man drowning his sorrows, a father watching his daughter get married, an elderly man dealing with a wife who's about to die), all of which are variations of "a man holdin' on to a woman lettin' go". | |
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"And They're Off" from the Off-Broadway musical A New Brain. The first verse is about a horse race, the second is about the narrator's parents arguing, and the third repurposes it to "and he's off," referring to the narrator's Disappeared Dad. | |
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Sammy Kershaw's "Me and Maxine". In the first two verses, "There's something between me and Maxine" refers to forces that keep them apart from each other. In the third, it refers to the chemistry they have now that they're together. | |
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John Michael Montgomery's "It Rocked" refers to the narrator being lulled to sleep by his mother in a rocking chair, receiving his first kiss, and joining a rock band. | |
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The first half of Rush's "Kid Gloves" is about how the callousness of society teaches children "that it's cool to be so tough," while the second half is about the toll this takes on everyone - "that it's tough to be so cool." The second chorus is inverted, and some of the lines are changed to fit the rhyme scheme, but most of the lines stay the same, and the structure remains intact. | |
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Shadowlands from The Lion King has as the last line of its chorus “though it may take you so far away, always remember your pride” and when Nala is singing it “I will remember my pride”. It’s referring both to the Lion pride she’s part of and as a plea to remember her dignity and courage as she leaves to find help to fight Scar. It fits even better when you learn the song was inspired by a deleted scene from the animated film where Scar banished her for refusing to be his queen. | |
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Fire Emblem Fates: The chorus of "Lost in Thoughts All Alone" at first seems to be about Corrin's choice and how that will affect the world. Once you get to the Revelation route, where it's revealed the song was written by the dragon Anankos, who was slowly losing his sanity and knew he would one day lose control of his own actions, the chorus takes on a new meaning being just as much about Anankos' lack of the ability to choose, in addition to the entire song being a father's final message to their child. | |
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Steven Universe: In "Sworn to the Sword", Pearl's song "Do It For Him" is supposedly her talking Connie through sword training and the mindset of body-guarding Steven that she wants Connie to learn. She unintentionally makes it also a song about her own feelings towards Rose Quartz and projecting her martyr complex onto Connie, as shown by her often substituting 'her' for 'him'. The title line of "What's the Use of Feeling (Blue)". It can either be interpreted as 'What's the use of feeling blue?' or 'What's the use of feeling, Blue?' due to Yellow Diamond referring to Blue Diamond by her first name exclusively. Given the situation, both meanings resonate: the first as Yellow asking Blue what's the point in still being sad, the second asking Blue what's the point of feeling in general, fitting Yellow's desire to forget Pink Diamond so she'll stop hurting. |
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Sara Evans' "You'll Always Be My Baby" is similar to "Love Without End, Amen" (see below), with the God and mother-to-daughter verses reversed. | |
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This is the writer-confirmed intent behind the song Wildfire by Marianas Trench, where the first chorus says that he'd thought this love would always burn like the titular wildfire, the second saying that 'if you change your mind again, I'll burn like a wildfire', and the third (and last one with a lead-in attached) saying maybe the couple's future is so bright it 'burns like a wildfire.' | |
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The song "Nothing Left to Lose" from the Tangled: The Series episode "Cassandra's Revenge" starts with Varian warning Cassandra not to succumb to the dark side, as it'll end with her losing everything and being left with nothing. After he accidentally angers her with some poorly chosen words, she turns it around to say that she's already severed ties with everyone, so she might as well follow the road she's on to the end. | |
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Sparks' "Without Using Hands" has a Title-Only Chorus that the verses give different contexts to. The first verse describes men and women meeting up under the shelter of the canopy of the Paris Ritz Hotel in the rain, planning to "love tonight, without using hands". In the second verse, a couple is showing off slides of their vacation at the same hotel to their kids; the children start misbehaving, and the father laments that "the only way children are punished, unlike old times, is without using hands". Finally, it turns out that during this vacation there was an explosion at the hotel - only the hotel manager had any serious injuries, and everyone else seems pretty unconcerned that he's "going to live his entire life... without using hands" (implying he either suffered paralysis or loss of limbs). | |
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"The Kids are Alright" by The Who. Mastery of this trope. First a chorus, a two-line bridge, then the chorus takes on a completely new meaning. | |
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Disgaea: Hour of Darkness: The lyrics to "Red Moon" in chapter 8 first refer to the Prinnies being literally reborn... and then, repeated at the end, refer to Laharl being figuratively reborn by rediscovering love. | |
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The X Japan song "Week End." The song's chorus is about the suicidal/homicidal narrator being at "his wit's end" and "at the world's end" due to Yoshiki's odd wordplay. It makes sense, though: the idea being, "the end of a life" is indeed the "end of the world." For who's dying, anyway... | |
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Sonata Arctica does this in the song "Letter to Dana". The beginning of the song is about a man whose crush has decided to leave him and go away. The chorus ends with: "Little Dana O'Hara decided one day to travel away, far away..." Second verse ends with "I won't write again 'till the sun sets behind your grave..." Knowing there is another chorus afterward, I think you can guess the second meaning... | |
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The repeating refrain version is used over the course of Hamilton: one of the titular character's signature lines is "I am not throwing away my shot!" in reference to his determination to take advantage of every opportunity that comes his way. However, when he says the line in The World Was Wide Enough, it has a very different meaning: here, he's referring to the literal shot in his gun, as he wonders whether or not to shoot at Burr in their famous duel. | |
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Dierks Bentley, "I Hold On": The title applies to both material objects that he never gives up on (his truck and guitar) and a woman whom he vows to stay true to forever. | |
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In the musical When Midnight Strikes, Christopher West sings "Like Father, Like Son" wherein the same chorus occurs three times (including the title words) with three different meanings - an affectionate observation from a loving mother, a vow from a bereaved son that he will follow in his father's footsteps, and finally a disgusted realisation that he has done so in ways that he never intended. | |
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"Wrong Again" by Martina McBride does a variant. The song has no chorus but has three verses all ending in the title phrase. The first two have her expressing that she is "wrong again" about a failed relationship turning around for the better. The third verse then turns it around for a more uplifting note, saying that she is "wrong again" about how "the pain had last" and her "chance for happiness had passed". In "Independence Day," the first chorus refers to the actual holiday, the second to the independence the singer's mother receives from burning down the family home with her and her abusive husband inside. |
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The theme of Bugsnax, "It's Bugsnax!" (by Kero Kero Bonito), has the chorus line, "Come to Snaktooth Island and discover: it's Bugsnax!". This seems to be an innocuous statement referring to the island where the game is set, which is indeed populated by the eponymous creatures, but it actually refers to the fact that the island is a Turtle Island made out of Bugsnax. | |
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Genesis – "Misunderstanding". The verses describe the singer's attempt to find his partner, whom he had apparently agreed to meet for a date, leading to the chorus "there must be some misunderstanding; there must be some kind of mistake". It references their communications in setting the occasion up ... until the singer finds her in the last verse and realizes she's been having an affair. The chorus repeats; now it's clear that it's a deeper critique of their relationship. | |
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Tanya Tucker's "Two Sparrows in a Hurricane" takes this to the extreme. The entire first and third verses are the same, with only a single word changed at the beginning ("She's (sixteen/eighty-three), and he's barely driving a car," etc.) In the beginning, they're about to leave home to start a new life together, and at the end, they're about to die of old age. | |
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"Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra, and later covered by Cher. The first verse is about her remembering playing cowboys with a boy as an infant, and he would always win so the chorus literally means "he shot me down". The third verse is about the same boy dumping her as an adult, so the chorus is about "shooting her down" that way. The second verse is about her claiming him as a boyfriend and him reminiscing about the game, so the chorus (which at this point is from his perspective) could mean either or both. | |
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Collin Raye: "Love, Me". The chorus switches from literal to spiritual. Raye did it again in "One Boy, One Girl": in the first two choruses, it's talking about two lovers; in the last chorus it's talking about newborn fraternal twins. |
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In the sequel, Frozen II, during "Show Yourself" the titular phrase at first is Elsa calling out to the mysterious force to show itself; but later in the song the phrase is Elsa's mother (and Elsa herself) calling for Elsa to show her own, true self. | |
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Rammstein's song "Du Hast": the conjugated German verbs "[du] hast" ("[you] have") and "[du] hasst" ("[you] hate") are pronounced the same, so the chorus line "Du hast mich," when listened to, could either mean "You have me" or "You hate me". Although the word "hast" is used in the song's German title and written lyrics, on the special editions of the Sehnsucht album, the partially translated version of the song uses the English line "You hate me" instead of "You have me," indicating that this ambiguity is intended. | |
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