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It is astonishing just how massive this was at the time. « UB40 – “Red Red Wine” BILLY JOEL – “Uptown Girl” » Comments 1 2 » All
But in general when you have a façade as lovely as this it’s only right to let yourself be seduced and not go poking around too much behind it.
The rest of the band play a calypso-tinted pop soufflé: only the march-time part at the end falls flat – yes, yes, you’ve written a killer chorus, have the grace not to fuss about it. George himself never sounded better than here – flirting, sighing, now pleading now diffident. Hear it as being about Jon Moss (or as a moment of self-analysis on George’s part) and you can turn “Karma Chameleon” into “Knowing Me Knowing You”.īut that would feel like a massive disservice to the song’s glorious blitheness.
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It’s tempting to relate that to what we now know about Culture Club – a band built around love and fracture that had to conceal and code those facts, turn its private dramas and traumas into a public game of hide and seek. George is hiding lines like that – such an accurate jab at relationship paranoia – in the plain sight of his song’s bubbly joy, there to ambush you if they need to. And I think on “Karma Chameleon” you’re meant not to notice them. A lot of the time on Popular when I talk about the lyrics to songs people reply, well, I never noticed them. And such hooks! Though true to the song the very best ones dance around the tune’s edges – those little harmonica licks in the chorus, for instance, or the gorgeous middle eight: “Every day is like survival / You’re my lover and I’m my rival.”
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How to sell a contradiction: “Karma Chameleon” is a song about frustration and confusion that consciously transforms itself into colourful frippery, and by doing this it gets its hooks into you even deeper.
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