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The Temptations' Just My Imagination (Running Away With Me) evokes this trope as the narrator (the late Eddie Kendricks, singing what would be his last song with the group before he and his longtime friend and fellow founder Paul Williams left the group) goes on about how he can't stop thinking and imagining the life he wants with the girl he likes, but must resign himself to the fact that the person of his desires doesn't know him and most likely never will (while implying that he at least knows he should leave her alone).
Lionel Richie's "Hello" takes on some creepy vibes in the video, where a college professor is obsessed with his blind student. Then again, she sculpts his face in class—despite never having seen it—just because she loves him as well, so there is that.
The narrator in "Every Breath You Take" by The Police.
Yet people consider it a love song. Worth mentioning as part of this article. Sting himself was disturbed by this. Just listen to P. Diddy's cover.
I'll always be checking up on you Hey boy, who you talking to? If I was your girlfriend I'd never let you leave Without a small recording device Taped under your sleeve And you'll always look your best Shave your face for me Don't hide secrets in your house 'Cause, boy, I stole the key.
"On the Street Where You Live" from My Fair Lady is a really pretty song about being happy just being on the street where your loved one lives. Which is sweet. Except it's also about camping out in front of said loved one's house in hopes of catching a glimpse of them, to the point that "people stop and stare".
"Weird Al" Yankovic has written a few songs about these. "Melanie" and "Do I Creep You Out" are two of them.
You can reduce me to tears With a single sigh (Please don't cry) Every breath that you take - Any sound that you make Is a whisper in my ear I could give up all my life for just one kiss I would surely die If you dismissed me from your love
So please don't go Don't leave me here all by myself I get ever so lonely from time to time I will find you Anywhere you go, I'll be right behind you Right until the ends of the earth I'll get no sleep till I find you to tell you That you just take my breath away
Nickelback's "Follow You Home" comes across this way:
You can steal me the keys to your daddy's Cadillac You can tamper with the brakes and call it a mistake and pray I'm never coming back And I'll stay alive just to follow you home.
Some people have apparently interpreted "Hey There, Delilah" by the Plain White T's (which was actually about the songwriter's unrequited crush) this way. At least one filksinger even wrote a parody in that vein.
Terry Gibbs' 1981 song "Somebody's Knocking" tells the story of a young woman and a man who is a little more than interested in hernote Originally addressing a sense of panic between single women regarding stalkers at the time, it became a chart-topping hit when it was released after the attempted assassination of President Reagan turned the panic into a near-paranoid state after it was known the assailant was just doing it to impress Jodie Foster.
Clay Aiken's "Invisible" is a definite stalker song. Lines from the chorus and second verse include:
Whatcha doing tonight I wish I could be A fly on your wall If I was invisible Then I could just watch you in your room If I was invincible I'd make you mine tonight
AND I keep tracing your steps Each move that you make Wish I could read what goes through your mind
The narrator from the song "I Who Have Nothing". Some parts of the lyrics include: "You can go any place you want, to fancy clubs and restaurants, but I can only watch you with him... my nose pressed up against the window-pane," and "I who have no one, must watch you (I will watch you baby) passing by."
The song, "Snow White Queen" by Evanescence comes from Amy Lee's personal experience with a stalker. She never says the song is about a rape attempt, but the lyrics STRONGLY suggest it, particularly this part:
All your hands on me I can't scream
There's also "Haunted", "Surrender", and "Give Unto Me", each displaying varying degrees of obsession. The latter has this as its first lyrics:
It was almost like a dream come true, When I moved in next door to you. I didn't think you'd notice at all, When I drilled those holes in the bathroom wall. I'd watch you growing, never knowing, Where your underwear kept going. And as you checked the washing line, I would sit and imagine you were mine.
"You Were Meant For Me" by Ute Lemper qualifies. See the page quote for an example of the lyrics, and then there's the fact that the music itself has a disturbing James-Bond-villain-theme-song quality to it...
The narrator in "Niki FM" by Hawthorne Heights is this...
RIGHT NOW, I'm outside of your window with my radio RIGHT NOW, I'm outside of your window with my radio
I'm your biggest fan, I'll follow you until you love me. Papa, paparazzi.
Rob Dougan's "There's Only Me" from his Furious Angels album falls into this category for sure, but "Furious Angels" could qualify too, and "Left Me For Dead" could easily be "Stalker With A Crush Scorned".
One way or another, I'm gonna lose ya I'm gonna give you the slip I'll walk down the mall, stand over by the wall Where I can see it all, find out who ya call
Also "Accidents Never Happen":
I saw you walking in the dark So I slipped behind your footsteps for a while. Caught you turning 'round the block Fancy meeting in a smaller world, after all Accidents never happen Could have planned it all
And, for that matter, "Hanging on the Telephone":
I'm in the phone booth, it's the one across the hall If you don't answer, I'll just ring it off the wall I know he's there, but I just had to call Don't leave me hanging on the telephone Don't leave me hanging on the telephone
Ray Stevens' "It's Me Again, Margaret" tells the story of a man who would always call and harass a woman he loved. He's eventually arrested and allowed one phone call... which he uses to call Margret.
The 1981 song "Art Lover" by The Kinks combines the implied loss of a child with creepy stalker behaviour:
Little girl don't notice me Watching as she innocently plays. She can't see me staring at her Because I'm always wearing shades. She feeds the ducks, looks at the flowers. I follow her around for hours and hours. I'd take her home, but that could never be, She's just a substitute For what's been taken from me.
I broke into your room - I broke down in my room Touched your belongings there - and left a lock of my hair Another sign for you You screamed into my face "Get the hell out of my place" Another sign for me? can you forgive me? For not understanding your ways You know sometimes you take it all too far Then I remember it's a game between you and me A divine test for us two It's all in my imagination Yes they even say that our mission ...is only My obsession
"Special Delivery" by The Offspring, though the lyrics also strongly suggests he wants to kill the object of his affections:
And I'll blow you away You're gonna fall for me, you're gonna fall for me And the voices tell me to blow you away You're gonna fall for me, you're gonna fall for me
Have you ever felt like you're being followed? Or watched the ones that held your stare? Turned around to see who's behind you to find there's no-one there? Lurking in the dark, there's someone who breathes you night and day There's a friend who wants so much more And if they can't have you, they'll never let you walk away...
"Creepin' Up on You" by Darren Hayes, obviously.
No one else can love you like I do Feel it when I'm creepin' up on you And I know that it wouldn't be right If I stayed all night Just to peep in on you Creepin' up on you.
"It's Warmer in the Basement" by Cobra Starship. The song is largely responsible for Gabe Saporta's status as a Memetic Molester. In his own words, "This song is about when you love someone so much that you just have to tie them up in your basement so no one else can have them." D'awww.
You can't escape now I've got you locked inside this room You know I tip good and soon, you will love me too\
It goes on with the narrator saying "don't make me hurt you," offering food, "just promise me you'll never make me believe you." And then the chorus:
This is what you get When you're talking back baby I never bounce a check So give it up, baby Open up your eyes I want to watch you cry Come on, come on The camera's on!\
Romance of the Damned, by Regurgitator. A sample:
Your hand brushed my sleeve as we passed in the street That means you're in love with me.\
"Tear You Apart" by She Wants Revenge.
Either way he wanted her and this was bad He wanted to do things to her it was making him crazy Now a little crush turned into a like And now he wants to grab her by the hair and tell her I want to hold you close Skin pressed against me tight Lie still, and close your eyes girl So lovely, it feels so right I want to hold you close Soft breath, beating heart As I whisper in your ear I want to fucking tear you apart
I don't ever make up stuff about you and me Because that is insanity I don't ever drive by your house to see if you're in I don't even have an opinion on that tramp that you're still seeing I don't know your timetable I don't know your face off by heart But I must admit that there is still a part of me that still thinks That we might get on
While the specific storyline is under debate among fans, Sonata Arctica has four songs spread across its albums which are often referred to as the "stalker saga." The chronological order (in terms of the stalker's life) is "Caleb," "End Of This Chapter," "Don't Say A Word," and "Juliet."
Not to mention the UTAU Sukone Tei and her yandere tendencies towards Kagamine Len
The Sugarland song Steve Earle is all about a woman who wants to marry Steve Earle.
While the lyrics of Sugarland's latest song "Stuck Like Glue" are bubbly and sweet, the music video has the lead singer take on an exaggerated version of this trope. Played for Laughs until the end.
The song "I Drove All Night" by Cyndi Lauper (later covered by Celine Dion) definitely invokes this trope.
I drove all night to get to you Is that alright? I drove all night and crept in your room Woke you from your sleep to make love to you.
The song "Wasting Time" by Thirsty Merc is about this; the second line is "I'm trying to make you notice me but you don't care"
Nerf Herder's Golfshirt, Part 2 is a great exemple of this trope, with all the parked at the dark end of your street thing.
Nine Inch Nails' Closer/Closer to God. Both songs are part this trope and part Obsession Song. Closer is seductive and subdued with barely-held back insanity, while Closer to God is more violent, commanding and creepy.
The chorus from Line of Fire by Tom McRae really speaks for itself.
The narrator of "Taylor the Latte Boy," as elaborated in "Taylor's Response"
"When I walked in friday evening To our gig in Arthurs basement I saw Carol in the front row And I heard her scream my name Then my friend said 'Man, she's crazy She's been here since 7:30 And she told me she's your girlfriend And she's really glad she came' And then when our gig was over She followed me the whole way home..."
The music video for Smashmouth's "I'm A Believer" is a brilliant subversion. The singer sees a girl at a party and pursues her throughout the video. Finally, he corners her at the dock... And pulls out a pair of keys. Turns out she dropped them at the party and he's been trying to give them back. In a Double Subversion, the girl recognizes him and appears to be on the way to becoming one for him.
Now I can't keep you mama But I know you're always there You listen, you teach, me mama And I know inside you care So get down, down here, beside me Oh you aint going nowhere No I won't hurt you mama But it's getting so hard, ooh
People say there are plenty of fish In the sea, baby, all I do is wish. I wish you were a little slower, Not just slow but paralyzed, Then I could plug you into a socket, So you could never run away. I really wish that you were smaller, Not just small but really really short, So I could put you in my pocket, And carry you around all day.
Donít you know I think youíre the catís meow? Whereís the tiger now? Whereís the tiger now? Bill Watterson, canít you hear me? Bill Watterson, please donít fear me. Donít treat me like I have rabies, I only wanna have your babies.''
"Goodnight and Go" by Imogen Heap.
Follow you home, You've got your headphones on And you're dancing. Got lucky, beautiful shot: You're taking everything off Watch the curtains wide open And you're following the same routine; Flicking through the TV, relaxed and reclining And you think you're alone...
... I wish my heart was always on her mind 'Cause she's on mine like all day, all the time Forget me not, forget me now I've come too far to turn around I'm here tonight 'Cause I'm never going down I'm never giving up I'm never gonna leave So put your hands up
... It's time to fall into my arms Cause I've been waiting for too long
All of which he says before she even acknowledges his existence.
The Country Music song "What'll You Do About Me", written by Dennis Linde and recorded by several artists (including Randy Travis):
What in the world are you planniní to do When a man comes over just to visit with you And Iím on the porch with a 2' ◊ 2' Tell me what'Il you do about me You can call your lawyer, you can call the fuzz You can sound the alarm, wake the neighbors up Ain't no way to stop a man in love What'Il you do about me
Alexander Rybak's single, "Oah," is a perfectly innocent tune about a boy who's in love. The music video,however...
Secret: A guy pretending to be gay and once discovered starts stalking them
This is How it Feels: deals with a guy who starts stalking one of them after their break up.
The Blue Oyster Cult experiment with this trope in Monsters. Here, after some unspecified disaster on Earth, only three humans are known to have got into space and relative safety. Two men and one woman. The man who is unfavoured by the woman crew member harbours fantasies and desires akin to stalking. Then he makes a pass at her. Her lover gets the wrong end of the stick and shoots her in a fit of rage. So the last two survivors of all humanity are two men... the ability of the human race to take a bad situation and make t worse is legendary....
There's another version of that music video which features Jieun and Yongguk as the main 'characters', in which Yongguk plays the typical stalker to Jieun (taking pictures of her, sending her bits of her hair, breaking into her apartment, etc.).
Buckethead's Post Office Buddy is mostly an instrumental, being interrupted by a guy leaving messages on a woman's phone and growing increasingly frustrated with her not calling him back: "Well, you think you're gonna get away with it? You think one dark night that I can't go in anywhere I want? So when you go to sleep, when you try to go to sleep, I want you to think about that nice, regular guy that you coulda met and had a really nice life with at the post office, but you went the wrong way..."
David Bowie's "Love You Till Tuesday", a pre-Space Oddity number from The Sixties, is sung by one. There is a twist, though — he admits that once the object of his affections returns them, the relationship will only last a few days before he falls out of love/obsession.
"Awkward" by San Cisco is about a stalker who won't stop calling/texting/following the object of his affection, even when she demands that he leave her alone.
In Little Boot's "Remedy", LB is being stalked by her ex-boyfriend and she goes out dancing "with (his) enemy" to get away from him.
Tom Smith's Worth the Wait is a borderline case in that the singer merely plays the Dogged Nice Guy, waiting for her to come to her senses. The line of "much I've needed what I've earned" reveals the case of entitlement he feels.
"I Put A Spell On You" by Screaming Jay Hawkins has heavy undertones of this trope.
I can't stand it, I can't
I can't stand the way you're running home!
And I don't care if you don't want me
'Cause I'm yours anyhow!
I put a spell on you, because you're mine!
'Watchin' You Sleep' by indie band Bleu is a pretty straightforward example. The song has the narrator following the girl to work, and of course, watching her sleep.
( 'Kinda Kute' by Joe Jackson. Jackson sits and watches a woman from afar, and even buys a drink for her in the hope that she will come and talk to him.
Pretty much all of Masked Intruder's self-titled album is a tongue-in-cheek description of a Stalker with a Crush. For example:
Every night in my sweetest dreams I get to hold you in my arms
I tried to get some in real life, honey, but just set off your burglar alarm
Why are you calling the cops, baby? I don't mean you any harm
Why don't you love me in real life?
Is it because of my mask, or just because I'm brandishing a knife?
Why don't you love me in real life?
'Gimme Gimme' by the Lords Of Acid. Subverted in that the song is from the perspective of the stalker's obsession, who has gotten a crush on her own stalker with a crush (or at least is very much turned on by the idea!).
The Jesus Lizard's "Mailman", dealing with a woman who is constantly receiving disturbing, sexual notes from an anonymous stranger. Somewhat unusually, it's from the point of view of the woman in question, and thus it's much more about her terrified state of mind than it is about her actual stalker.
"Stalker" by Thrash Metal band Warbeast is a song told from the post of view of a deranged stalker. He describes in disturbing detail how he plans to murder the woman he's stalking if she rejects his advances.
The 1971 country song "Tomorrow Night in Baltimore" (written by Kenny Price, a hit for Roger Miller, also covered by Waylon Jennings). The narrator is obsessed with a burlesque dancer. He goes backstage after the show ("tonight I'm gonna take her") but her troupe is busy packing up for their next gig (tomorrow night in Baltimore). He vows to follow them.
'Sweet Tangerine' by the Hush Sound. Throughout most of the song, the narrator seems to be begging the object of his affections for forgiveness, until near the end when he sneaks into her room.
Surprised no one's mentioned it yet, but maybe most tropers are too young to remember George Michael's 'Father Figure' which is totally this, and the "taxi driver" music video plays this trope Up to Eleven.
Sometimes love can be mistaken
For a crime...
"Ich laŖ dich nicht los" ("I won't let you go") by Fettes Brot mit Finkenauer.
Though the narrator and her object of affection are friends, "Jenny" by Studio Killers has elements of this.
Jenny, darling, you're my best friend But there's a few things that you don't know of Why I borrow your lipstick so often I'm using your shirt as a pillow case [...] Jenny, darling, you're my best friend I've been doing bad things that you don't know about Stealing your stuff now and then Nothing you'd miss but it means the world to me