15 Marvelous ME Songs

Reading Time: 22 min read

15 Marvelous ME Songs features songs by Artemas, Céline Dion, Corbyn Besson, Def Leppard, Joan Armatrading, and Robyn.

Me, me, me, me, MEEEEE! Prepare for ANOTHER epic, self-centered playlist! That’s right, the focus is on… ME… again! 15 Marvelous ME Songs is the latest entry in the ME songs playlist series. It follows the me-centric 15 Songs Focused Only on Me, Vol. 3 (2025). Like previous volumes, 15 Marvelous ME Songs features the pronoun in its respective song title. Other than requiring me, there are no other notable criteria for this musical compendium. 15 Marvelous ME Songs features songs by Artemas, Céline Dion, Corbyn Besson, Def Leppard, Joan Armatrading, and Robyn. So, without further ado, before things become too selfless, let’s return to being totally selfish – IT’S ALL ABOUT ME, AFTER ALL!

~ Table of Contents ~

1. Robyn, “Talk to Me”	2. Corbyn Besson, “Ruin Me”	3. Joan Armatrading, “The Weakness In Me”
4. Artemas, “baby give me more” (Ft. Mareux)	5. GloRilla, “RAIN DOWN ON ME”	6. Peter Brown, “Dance With Me”
7. Ethel Cain, “Fuck Me Eyes”	8. Luca George, “Before You Hold Me”	9. DeathbyRomy & Palaye Royale, “PRAY TO ME”
10. Bentley Robles & ZEE MACHINE, “LOCK ME UP!”	11. Céline Dion, “It’s All Coming Back to Me Now”	12. JC Chasez, “Blowin’ Me Up (With Her Love)”
13. Rufus & Chaka Khan, “Live In Me”	14. Mtume, “You, Me And He”	15. Def Leppard, “Pour Some Sugar On Me”
ME songs playlist series

1. Robyn, “Talk to Me”

Sexistential » Konichiwa / Young » 2026

“Yeah, I’m so close, I’m almost there / Want you to tell me how to do it.”

Well, holy fucking moly, Robyn (Robin Carlsson)! The Swedish pop singer keeps it honest and sex-positive on “Talk to Me”. She continues singing in the first verse, “It’s not as good by myself / So, baby, will you talk me through it?” So, there is self-pleasure, but she needs a lift via dirty talk. “Talk to Me” is the sixth track on her ninth studio album, Sexistential. Robyn penned “Talk to Me” alongside Klas Åhlund, Max Martin, and Oscar Holter. Åhlund and Holter produced it.

“Talk” is filled with sexual innuendo, fitting the concept of Sexistential. In the chorus, Robyn asserts, “I’m coming fast so guide me in (So guide me in),” and adds, “Sometimes I get so lonely… / So, baby, won’t you talk to me till I’ve arrived.” The second verse is more refined but pushes towards the climax, if you will. The second pre-chorus even shouts out the album: “Damn, I’m feeling so sexistential.” Beyond the lyrics, Robyn gives an energetic, fun, and respectable performance. She owns the sex, that’s for sure. Furthermore, the production and sound of the record are appealing, with all the musical makings of a pop bop. Is “Talk to Me” too much? Too sexual? Nah!

~ Table of Contents ~

2. Corbyn Besson, “Ruin Me”

HEAD FIRST (EP) » Zaronix LLC / BMG Rights Management (US) LLC » 2026

“We say that we done, and then we start a trend, oh.”

Oh, you and this girl have been there before, huh, Corbyn Besson? The former Why Don’t We pop singer-songwriter clearly IS NOT done with her on “Ruin Me”, the fifth track on his 2026 EP, HEAD FIRST. Besson penned “Ruin Me” with Trevor Muzzy, James Essien, Tenroc (Jason Cornet), Hit-Boy (Chauncey Hollis), Douglas Ford, and Peter Lee Johnson. Tenroc, Hit-Boy, and Trevor Muzzy produced it.

“Ruin Me” is striking from the get-go. It features lush, warm musical accompaniment. I love the contrast within the backdrop when the harder, rhythmic drum programming enters. Simply put, that shyt knocks! Of course, the straw that stirs the drink is Corbyn Besson, who delivers buttery smooth vocals. He’s cool, calm, and collected during the verses, which revolve around L-O-V-E… rekindled, it appears. A prime example: “On this California king with my twin, she a queen, oh yeah.” OH, YEAH! Corbyn ups the ante during the crème de la crème chorus, including grittier, more overt vocals and a delightful falsetto. The chorus features a tuneful melody and the most memorable lyrics of the song.

“I want you to mess it up for everyone else

Put me through the fire, baby, make my heart melt

I want you to ruin me, baby

This the type of love that make me lie to myself

‘Til we get to Heaven, baby, put me through hell

I want you to ruin me, baby, yeah.”

The rhythmic post-chorus is another high-flying moment from “Ruin Me” where, “I want you to keep me on like the porch light / No, the bill ain’t cheap / Turn the boys night to your night.” Word. The song ends beautifully with the entrance of acoustic guitar strums. Does Mr. Besson do his big one on “Ruin Me”? You bet he does!

Appears in:

~ Table of Contents ~

3. Joan Armatrading, “The Weakness In Me”

Walk Under Ladders » UMG Recordings, Inc. » 1981

“I’m not the sort of person who falls / In and quickly out of love / But to you I gave my affection / Right from the start.”

Matters of the heart had English singer/songwriter Joan Armatrading (b. 1950) feeling some way on “The Weakness In Me”. It prompted the question, “Are you so strong, or is all the weakness in me?” Thought-provoking! “The Weakness In Me” is the fifth track from the Grammy-nominated musician’s 1981 album, Walk Under Ladders. Armatrading penned this not-at-all weak musical gem while Steve Lillywhite (b. 1955) produced it.

From the start, “The Weakness In Me” is fantastic. Accompanying this ballad is warm piano, an active, robust bass line, and steady drums. As the track progresses, more colorful music touches accentuate it, including keyboard and the grittier strums of guitar. As awesome as the backdrop is, Joan Armatrading is the star of the show, wowing with her expressive, nuanced vocals. Her tone is beautiful and pure. Even though she’s commanding, Armatrading never under- nor over-sings. She provides just the right amount of oomph and punch. The melodies she sings are tuneful, while the lyrics are incredibly memorable and relatable. “This old love has me bound,” Armatrading sings in the second verse, and adds, “But the new love cuts deep.” Poetic and incredibly sincere. She concludes, within the same verse, “One of you has to fall / And I need you, and you.” The chorus is the section to beat, in all of its heartfelt glory:

“Why do you come here

When you know I’ve got troubles enough?

Why do you call me

When you know I can’t answer the phone

Make me like when I don’t want to

And make someone else some kind of an unknowin’ fool

You make me stay when I should not

Are you so strong or is all the weakness in me?”

All told, “The Weakness In Me” is a stellar ‘80s pop/rock ballad.

Appears in:

Joan Armatrading, The Weakness In Me: Throwback Vibez No. 6 (2026)

~ Table of Contents ~

4. Artemas, “baby give me more” (Ft. Mareux)

LOVERCORE » Artemas » 2025

“Take me out tonight / Emily, you rule my mind,”

Artemas (Artemas Diamandis, b. 1999) asserts in the intro and eventual bridge of “baby give me more”. He continues, “Release your sweet divine / And if you’re not religious / I want you to euthanize me.” Euthanize? Wow 😮! Gen-Z musicians just hit differently, don’t they? “Baby give me more” is the seventh track from Diamandis’ third mixtape, LOVERCORE. Artemas, featured guest Mareux (Aryan Ashtiani, b. 1992), and Daintree penned “baby” while Artemas and Daintree produced it. Like many an Artemas track, desire is potent to the nth degree.

Mareux assists with the sexiness of this LOVERCORE highlight. In the memorable chorus, twice he sings, “Baby, give me more,” and adds, “If your heart is in your hips / Baby, give me more.” Heart in your hips, huh? Now that’s a line! Artemas is dramatic and indulgent in the first verse, consumed by her: “I can’t relieve myself / Only you can touch me right / You don’t even have to try.” Hmm, by relieving yourself, dude, are you… You know… Moving on. Mareux brings the spice to the pre-chorus, once again, mentioning heart in hips, as well as “Stroke your body from the floor, biting on your lips.” 😈 Of course, you knew Artemas wasn’t going to allow Mareux all of the naughty lines. Also, you knew he wasn’t going without dropping a few f-bombs, either. “I want you on top, in my face / Now we’re living babe, now we’re fucking living, babe,” he sings in the second verse. Added to the mix are pills, tripping, and an unrecognizable Artemas, who informs us, “My heart can’t take rejection anymore, anymore.” “Baby give me more” is not only dark lyrically, but it also features a dark musical backdrop. It is set in a minor key, the synths are enigmatic, hypnotic, and mesmerizing, while the beat provides a firm anchor. All said and done, the intriguing and talented Artemas and Mareux do the damn thing on “baby give me more”. It’s a surefire vibe.

Appears in:

Artemas, baby give me more: Midnight Heat No. 95 (2025)

~ Table of Contents ~

5. GloRilla, “RAIN DOWN ON ME”

GLORIOUS » CMG / Interscope » 2024

Grammy-nominated, “Queen of Memphis”, GloRilla, raised eyebrows for a different reason than her profanity-laced, unapologetic rhymes: she won the Best Inspirational Award at the 2025 BET Awards 😳 😮! The gospel purists had their panties in a wad a lot to say, creating some captivating conversation. GloRilla collaborates with gospel musicians on “RAIN DOWN ON ME”, the eighth track from her mostly 🤭 secular album, GLORIOUS. “RAIN DOWN ON ME” features Kirk Franklin, Maverick City Music, Kierra Sheard, and Chandler Moore. Unsurprisingly, there are many songwriters, while NVRMIND, Major Seven, Muzikman, and Kingbnjmn are among the producers.

“RAIN DOWN ON ME” is inspirational. Lyrically and thematically, it is uplifting. GloRilla gives praise to God in the way she knows how, you might say. That includes maintaining her distinct cadence and flow. “Feelin’ like I’m God’s favorite, and that’s the best feeling ever / Rain down on me, Father God, I won’t use an umbrella,” she raps in the first verse, adding, “Forgive the ones who play with me, apparently, they don’t know no better / At times, I don’t know who to trust, I randomly rebuke the devil.” Near the end of the verse, she adds, “You ain’t have to do it, but You did, that’s why I thank You, Lord.” In the first chorus, the choir, with Franklin and Chandler Moore, gospelize, petitioning the Lord to “Let the blessings /… Rain down on me.” In the bridge, a humble GloRilla characterizes herself as a sinner, but seeks God’s mercy (“And if any blessing-blockers ‘round me, help me cut them / In Jesus name”). Kierra Sheard takes the reins in the second verse. Sheard, of course, is a contemporary gospel artist through and through. No controversy here, right? “Mama ain’t call you Glo for no reason (Reason) / Go on and Glo it up, girl, it’s ya season.” Well… There is a vamp, focused on the showering of blessings, a final chorus, and unsurprisingly, an outro by you-know-who, Kirk Franklin! “Oh, you don’t have to be perfect, no / You can come with your mistakes… / That don’t disqualify you from getting a blessing / Hallelujah.” So, what are the last words that GloRilla leaves us with in the outro? An “On the gang,” mixed in the background, affirms Franklin’s sermon. “RAIN DOWN ON ME” is inspirational, but not a gospel or inspirational performance of old. Still, it goes out of the rapper’s bold, secular comfort zone… There isn’t a swear word in sight!

Appears in:

~ Table of Contents ~

6. Peter Brown, “Dance With Me”

A Fantasy Love Affair » Parlophone » 1977

“Say the word and I’ll summon the band / With my hand / Let your mind and your body be free / Dance with me.”

I do not doubt that Peter Brown (b. 1953) not only had folks lining up to dance, but plenty who wanted to dance with him. It wouldn’t be a stretch to say Mr. Brown was easy on the eyes. But this isn’t about looks. You came because Brown was renowned for his big-time pop hit, “Dance With Me”. The top 10 hit (number eight on the Billboard Hot 100) is the sixth track from his 1977 album, A Fantasy Love Affair. Brown co-wrote it with Robert Rans, while Cory Wade produced. Not only did Brown sing, he played multiple instruments (drums and keys). Among the background vocalists is the late, great Betty Wright (1953 – 2020).

From the beginning, “Dance With Me” thrives on its energy. The musical accompaniment is on fire, period! The groove grooves hard. The riffs are riffin’. The rhythm section is tight. This is disco, funk, and pop at its best in the late 1970s. Peter Brown delivers an expressive, exuberant, and impressive vocal. You buy what he’s selling, and he woos you to dance, especially with him! “Ladies, get off your seats / Come on and dance with me,” he sings, continuing, addressing the fellas, “Gentlemen, get on your feet / Come on and dance with me.” Gladly, Peter! The chorus, excerpted earlier, is the centerpiece. You might say, it’s dance-tastic! Other moments that tickle one’s fancy include the recurrent, “You gotta keep on makin’ me high,” which are the first lyrics sung. “Dance With Me” is not a deep song, and it doesn’t need to be. This is an enduring, fun disco cut that serves as the perfect catalyst for dance. The Grammy nomination at the 21^st Annual Grammy Awards (Best R&B Vocal Performance, Male) was well deserved!

Appears in:

Peter Brown, Dance With Me: Throwback Vibez No. 107 (2025)

~ Table of Contents ~

7. Ethel Cain, “Fuck Me Eyes”

Willoughby Tucker, I’ll Always Love You » Daughters of Cain » 2025

“They all wanna take her out / But no one wants to take her home.”

Ethel Cain (Hayden Silas Anhedönia) is a gifted singer-songwriter. In 2025, she released her sophomore album, Willoughby Tucker, I’ll Always Love You, which featured the boldly-titled single, “Fuck Me Eyes”. Urban Dictionary describes fuck me eyes as ‘when someone looks at you like they want to fuck.’ Cain pays homage to the 1981 Kim Carnes pop classic, “Bette Davis Eyes”, on this six-minute-plus track. Cain wrote and produced “Fuck Me Eyes.” As the narrator, she examines a popular girl who earns all the attention from boys.

“Fuck Me Eyes” is accomplished is so many ways. The production and sound of the record are sublime. It begins with lighthearted synths and warm production – a pop-oriented vibe. As the song progresses, the sound grows better. Cain’s performance matches the dynamic, expanded sound palette. Early on, her vocals are smooth. Not only is her tone lovely, but the vocal production is top-notch. Adding to the beauty are select, harmonized vocal moments. The chorus is memorable – one of the best moments of “Fuck Me Eyes.”

“Nowhere to go, she’s just along for the ride (She’s just along)

She’s scared of nothing but the passenger’s side

Of some old man’s truck in the dark parking lot (Parking lot)

She’s just tryna feel good right now

They all wanna take her out

But no one ever wants to take her home.”

Backtracking, all of the songwriting is captivating. A perfect example of characterization, Cain puts in the work to describe this complex, polarizing girl. “She’s got hair up to God, she’s gonna get what she wants,” she sings in the first verse, continuing, “Her nails are heartbreak red ‘cause she’s a bad motherfucker.” In the second verse, she’s a contradiction, going to church after going to the club… But, despite being confident and fearless (“Boy, if you’re not scared of Jesus, fuck around and come find out”), it’s ultimately a façade (“And when she leaves, they never see her wiping her fuck me eyes”). In the bridge, Ethel has mixed views about her, asserting, “I’ll never blame her, I kinda hate her / I’ll never be that kind of angel / I’ll never be kind enough to me.” Ultimately, “Fuck Me Eyes” is a brilliant, thought-provoking song by Ethel Cain. There is plenty to unpack, yet the poppier vibes, including the chorus, make this alternative singer-songwriter record accessible.

~ Table of Contents ~

8. Luca George, “Before You Hold Me”

Before You Hold Me” » Universal Music Australia Pty Ltd. » 2024

“I just remembered that I’m lonely / Every two months / I need someone to hold me / Is that too much?”

Loneliness is a ‘bear,’ and not the cute, cuddly kind… or the hairy dominant kind 😝. Luca George does a marvelous job of expressing his feelings and showcasing vulnerability in his moving single, “Before You Hold Me”. George’s voice is stunning. The Australian musician often sings cool, calm, and collected. He does bring more oomph by the end. Beyond singing about loneliness, he questions his adequacy and how much he deserves to be loved. He is flawed, plagued by ‘faux prettiness,’ and suffering from body dysmorphia. Ah, the relatable feeling of inadequacy. It strikes a chord when George sings, “If there was a pill I could take right now / To change everything I hate about myself.” George’s attitude changes by the end of the song. He’s more positive, opening himself up for love:

“Before you hold me

I need to like my body

I need to start believe that I’m pretty ‘cause I am

If I change the things I hate

It’s a never-ending fate

I’ve gotta know me

Before you hold me.”

“Before You Hold Me” is about the importance of believing in yourself and not cheating yourself of the opportunity for love. George, Gabrielle Aplin, and producer Joseph Wander composed a gorgeous, meaningful, and must-hear song.

Appears in:

~ Table of Contents ~

9. DeathbyRomy & Palaye Royale, “PRAY TO ME”

HOLLYWOOD FOREVER » DeathbyRomy » 2025

“Pray to me like Jesus / Worship me forever / When you’re at your weakest / I can be your savior.”

Ooh-wee, it’s giving heresy, DeathbyRomy (Romy Flores), and Palaye Royale! The singer and rock band collaborate on “PRAY TO ME”, the religious imagery-laden single and penultimate track from Romy’s 2025 album, HOLLYWOOD FOREVER. Flores co-wrote the heavy, minor-key cut with Ally Duesbury and AWAY (Dan Alm). AWAY, Midoca, and Omri are credited as producers. The sound of “PRAY TO ME” is one of its best attributes, blending traditional rock sounds with a sleek electronic palette. The love is dark in the hands of Romy and Palaye Royale vocalist Remington Leith.

DeathbyRomy performs the initial chorus (excerpted above), first verse, pre-chorus, and following chorus. With her powerful and expressive vocals and bold lyrics, she is unapologetic, setting the blasphemous tone. “Crucifix, three six, I’m a misfit / Blasphemous, plagued bitch with the sickness,” she sings in the first verse, adding, “Heaven’s Gate Kool-Aid when I’m mixin’.” In the pre-chorus, she asserts, “I’m your pain and I’m your pleasure / I’m the ode to your disaster.” Oh, snap! Palaye Royale (Remington) performs the second verse, continuing the blasphemy: “I bow down like a good disciple / Repent before me, I’ll show you the Bible.” They join forces in the pre-chorus, later singing collaboratively in the bridge (“Take my wings and tear them off / Tie my hands to the edge of the cross…”) and the epic final chorus, the first not sung exclusively by DeathbyRomy. An undisputed, hard-rocking bop, “PRAY TO ME” thrives thanks to strong vocal performances, hellish songwriting, tuneful melodies, and stellar production. Does repenting mean anything if you can’t resist listening to something blasphemous over and over? Haha.

Appears in:

~ Table of Contents ~

10. Bentley Robles & ZEE MACHINE, “LOCK ME UP!”

“LOCK ME UP!” » Bentley Robles Music » 2025

So, what happens when Bentley Robles (Bruno Pazzi Robles, he/him pronouns) and ZEE MACHINE (Joe Bissell, he/they pronouns) collaborate? Why, TEARS & GEARZ, of course! Also, sheer queer 🌈 musical excellence! TEARS & GEARZ presents a short but sweet ditty entitled “LOCK ME UP!” that’s locked in from the beginning. Robles, Joe Bissell, and producer FLORIO (Dominic Florio) penned “LOCK ME UP!” From a sound perspective, the music backdrop is bright. The keyboards and synths are scintillating, while the groove ‘kicks ass and takes names.’ “LOCK ME UP!” ‘locks up’ the fact you’ll be moving your body and grooving hard to it. Robles kicks things off with fabulous singing, including ripe falsetto. He shows off the rhythmic, tuneful nature of the melody, which is constructed with great contour. “Gonna light a match in your apartment,” he sings, adding, “And then smile at the flames.” Whoa! During the pre-chorus, the melody remains tuneful, growing more rhythmic (“‘Cause I can’t even look up at the city / Knowing it won’t have us”). As for ZEE MACHINE, he ‘brings the heat’ in the second verse. Here, Bissell provides contrast while (1) upping the ante and (2) also impressing with some sickening falsetto (“It doesn’t feel like no coincidence / I’ve been in heaven every day that you’ve been gone”). The section to beat is the chorus:

“Someone lock me up

This heartbreak has got me drunk

Don’t know how to get unstuck

Erasing where it was, giving me some kind of rush

I won’t get enough, ‘til there’s nothing left but dust

Nothing left of us.”

Oh, snap! All said and done, ‘TEARS & GEARZ’ entices our ears with the brief but entertaining and potent “LOCK ME UP!”. Can you say #SLAY?!

Appears in:

~ Table of Contents ~

11. Céline Dion, “It’s All Coming Back to Me Now”

Falling Into You » Sony Music Entertainment Canada Inc. » 1996

“But when you touch me like this / And you hold me like that / I just have to admit / That it’s all coming back to me.”

Céline Dion (b. 1968) is one of the best to ever do it. Her voice is utterly sublime. Among her best vocal performances appears in on her 1996 tour de force, “It’s All Coming Back to Me Now”. “It’s All Coming Back to Me Now” was originally released by Pandora’s Box in 1989 and written by Jim Steinman (1947 – 2021). The definitive version of the song belongs to Dion, who outperformed Pandora’s Box, as well as a later cover by Meat Loaf (1947 – 2022). “It’s All Coming Back to Me Now” was a huge hit, peaking at number two on the Billboard Hot 100. In 2021, the Recording Industry Association of America certified the single as double platinum. Her parent album, Falling Into You, is a rare diamond album (12-times platinum and counting), and earned Dion Grammys for Album of the Year and Best Pop Album at the 39^th Annual Grammy Awards. Listening to “It’s All Coming Back to Me Now,” it is hard to imagine anybody else singing it.

What makes “It’s All Coming Back to Me Now” the sugar, honey, iced tea in Céline Dion’s hands? It’s the voice, PERIOD. Céline is the queen of power ballads, and this power ballad has her name written on it! Dion exhibits the versatility of her instrument. She knows when to pull back (occurs more often in the verses) and when to up the ante (the chorus). “And I just knew my eyes were drying up forever / I finished crying in the instant that you left,” she sings, sincerely, in the first verse, and continues, “And I can’t remember where or when or how / And I banished every memory you and I had ever made.” Ah, those matters of the heart! In the second verse, Dion memorably asserts, “There were nights of endless pleasure / It was more than any laws allow / Baby, Baby.” In the chorus, excerpted earlier, she ‘lets it rip,’ signaled in the second and fourth verses by the repeated, “Baby(s).” The chorus features variations, all of which deal with L-O-V-E.

“If you want me like this

And if you need me like that

It was dead long ago

But it’s all coming back to me

It’s so hard to resist

And it’s all coming back to me…”

Beyond her celestial, powerhouse vocals, the tuneful melodies, and compelling lyrics she brings to life, the musical accompaniment is striking. Instruments that stand out are the bright, percussive piano, the ripe rock guitar, and the strings. This pop record has some oomph and punch about it. It has enough rock that it fits into the pop/rock realm. Also, compositionally, “It’s All Coming Back to Me Now” is distinct and unique. It is more progressive compared to many pop records, which are less complicated (no shade). Approaching eight minutes in duration in its album version, “It’s All Coming Back to Me Now” is ambitious. But, given the once-in-a-lifetime singer at the helm, mixed with elite songwriting, there was NO way that this song wouldn’t be a hit. Three decades after its release, my takeaway is, they don’t make pop songs like this anymore!

Appears in:

~ Table of Contents ~

12. JC Chasez, “Blowin’ Me Up (With Her Love)”

Schizophrenic » Zomba Recording LLC » 2004

Post-NSYNC, the ‘best singer’ from the group, the handsome and talented JC Chasez, was unable to craft a lucrative solo career. Schizophrenic, his sole studio album, debuted at no. 17 on the Billboard 200, charting for only four weeks. Ouch! Chasez only charted two singles on the pop charts, with “Blowin’ Me Up (With Her Love)” landing in the top 40 (number 35 on the Billboard Hot 100). Mr. Chasez, hence, is a one-hit wonder. He penned “Blowin’ Me Up (With Her Love)” alongside producer Dallas Austin.

“Blowin’ Me Up (With Her Love)” is a fun pop/contemporary R&B song. JC Chasez brings plenty of energy and personality to the track. His ad-libs are fierce – soulful. The single arrived long before Schizophrenic as part of the Drumline soundtrack. “Girl, it’s just the sexy way / You back yourself into me,” he sings in the second verse, adding, “You’ve got me all bent out of shape / Thinking ‘bout you all day.” Oh, snap! In the pre-chorus, Mr. Chasez states, “I-I-I / I can’t lose you, babe.” The best part of “Blowin’ Me Up (With Her Love)” is – drumroll, please – the chorus:

“She was disco lights on a Friday night

She moves across the floor (sugar)

She was, oh so tight, like dynamite

Blowin’ me up with her love.”

The quicker breakdown section marks another bright spot. JC brings the heat as he asserts, “Look at shorty / She was leaning on me / Getting horny / Maybe we’ll get naughty.” Ooh-wee! Beyond the electrifying lyrics, the musical accompaniment is lit. The beat, the keys, and the synths are scintillating. It’s a shame that “Blowin’ Me Up (With Her Love)” wasn’t a bigger hit for Chasez.

Appears in:

~ Table of Contents ~

13. Rufus & Chaka Khan, “Live In Me”

Masterjam » MCA » 1979

“Groove with the motion, let’s take it to the top / Ride with the feeling, there’s no way I’m gonna stop!” Rufus and Chaka Khan made a magical musical tandem. Among their best and most electrifying records is “Live In Me”, the fifth track from their gold-certified 1979 album, Masterjam. English musician, songwriter, and producer Rod Temperton (1949 – 2016) composed “Live,” while extraordinary musician, producer, composer, and icon Quincy Jones (1933 – 2024) produced it.

“Live In Me” begins with a lush, smooth instrumental introduction. After the tone is set, the band digs in more, setting a funkier vibe. Instrumentally, there is a stellar rhythm guitar riff, a robust anchor provided by the bass, and a sick drum groove. Later, mean-sounding horns add punch. Chaka Khan is the star of the show with her elite vocals. She sounds sultry during the first verse. “Gonna soothe you, put you in a trance, and get your senses aroused,” she asserts, continuing, “So there ain’t no use in holdin’ back, gotta let that feelin’ out.” She impresses with her upper register during the second verse, showcasing power (“And action speaks more tenderness than words could ever show, so…”). The chorus is marvelous – tuneful and unforgettable!

“Live in me, come in my life
Fill me with all that sweet delight
I’m burnin’ up, steamin’ inside
So give me the love I need tonight.”

Some other notes regarding this fabulous cut. The harmonic progression shines, particularly during the chorus, and during a temporary but dramatic key modulation (following the third verse). Background vocals arrive during the outgoing chorus, adding to the excellence. Ultimately, “Live In Me” marks another masterpiece by the force that is Rufus and Chaka Khan. Funky, memorable, and filled with top-notch musicianship, this is one of those once-in-a-lifetime songs.

Appears in:

~ Table of Contents ~

14. Mtume, “You, Me And He”

You, Me And He » Sony Music Entertainment Inc. » 1984

“So much tension / ‘Cause we’re livin’ a lie by and by / Woah, woah, woah, not to mention / Can we give it a try?” R&B group Mtume is most renowned for two songs: “Juicy Fruit” and “You, Me And He”. Both songs marked the only pop entries by the late James Mtume (1946 – 2022) and company. The latter was a modest hit, peaking at number 83 on the Billboard Hot 100. “You, Me And He” is the third track from the collective’s 1984 album, also titled You, Me And He. James Mtume wrote and produced it. Notably, he and Tawatha Agee (b. 1954) split vocal duties.

“You, Me And He” features polished R&B sounds with a sleek, warm production. The melodies are tuneful. The memorable chorus stands out:

“You, me and he

What we gonna do, baby?

You, me and he

What we gonna do, baby?”

James and Tawatha sing the chorus together. Backtracking, Tawatha is the first voice heard, wowing with her lovely vocals in the first verse: “There’s another in my life / He’s my lover, and I’m your wife.” Oh, snap! While James’s naivety gets the best of him initially, he informs us in the second verse, “Then I knew things had changed / ‘Cause when we made love, you called out his name.” Oh, hell no! Following the revealing verse is the bridge, sung by both, excerpted earlier. They split the third verse where the truth is arduous, and the pain grows. Following another iteration of the bridge and the final chorus, there is no resolution. Nothing but questions! What is unquestionable is the excellence of “You, Me And He” which deserved far more airplay and recognition. Mtume puts their feet into this gem!

Appears in:

Mtume, You, Me And He: Throwback Vibez No. 128 (2025)

~ Table of Contents ~

15. Def Leppard, “Pour Some Sugar On Me”

Hysteria » Bludgeon Riffola Limited / Mercury » 1987

“Step inside / Walk this way / You and me, babe / Hey, hey!”

English rock band Def Leppard dropped a surefire rock juggernaut with “Pour Some Sugar On Me”. “Pour Some Sugar On Me” is the fifth track from the band’s massively popular, diamond-certified, fourth studio album, Hysteria (1987). “Sugar,” of course, ranks among Def Leppard’s most beloved and renowned songs. It peaked at number two on the Billboard Hot 100. In 2025, the single was certified gold by the Recording Industry Association of America. Hell yeah, rock on 🤘! Def Leppard (Joe Elliott, Phil Collen, Steve Clark, Richard Savage, and Rick Allen) wrote “Sugar” with producer Robert John Lange.

“Pour Some Sugar on Me” features a distinct, personality-laden spoken introduction, excerpted earlier. The tone is set! Beyond the stirring intro, Joe Elliott delivers plenty of assertive, playful lead vocals. “Love is like a bomb, baby, come, get it on,” he sings in the first verse, adding the likes of, “Livin’ like a lover with a radar phone,” “Demolition woman, can I be your man?”, and “Sometime, anytime, sugar me sweet / Little miss innocent sugar me, yeah.” Oh, snap! The vibes are similar in the second verse, too! “Sweet dream, saccharine, loosen up.” Word. The centerpiece is the big, anthemic, stadium chorus:

“Pour some sugar on me

Ooh, in the name of love

Pour some sugar on me

Come on, fire me up

Pour your sugar on me

Oh, I can’t get enough.”

Joe doesn’t stop there, either. In the post-chorus, he’s “hot, stick sweet,” while in the bridge, he naughtily states, “You got the peaches, I got the cream,” later asking, “Do you take sugar? / One lump or two.” Woo!

Interestingly, the verses are in C# major. The chorus is based on E. There is a relationship between the two keys. C# is the relative minor in the key of E. Def Leppard plays with C# major, which makes the switch to E major in the chorus feel unexpected. Beyond the powerful singing, unforgettable lyrics, and thought-provoking harmonic scheme, “Pour Some Sugar On Me” shines instrumentally. Rick Allen serves up mammoth-like drums that hit you right in the chest. Phil Collen and Steve Clark bring it with their mean-sounding, souped-up guitars. The riffs kick ass and take names. “Pour Some Sugar On Me” is a classic through and through. It’s a crowd-pleasing rock joint that never grows old or stale. Hard to believe that a band as iconic as Def Leppard has never received a Grammy nomination 👀. Let that sink in…

Appears in:

~ Table of Contents ~

ME songs playlist series
15 Songs Focused Only on ME (2024)	15 More Songs Focused Only on Me (2024)	15 Songs Focused Only on Me, Vol. 3 (2025)
15 Marvelous ME Songs (2026)

~ Table of Contents ~ » ~ intro ~

15 Marvelous ME Songs (2026) [📷: Brent Faulkner / The Musical Hype; Artemas, Bentley Robles Music, Bludgeon Riffola Limited, BMG Rights Management (US) LLC, CMG, Daughters of Cain, DeathbyRomy, Interscope, Konichiwa, MCA, Mercury, Parlophone, Sony Music Entertainment Canada Inc., Sony Music Entertainment Inc., UMG Recordings, Inc., Universal Music Australia Pty Ltd., Young, Zaronix LLC, Zomba Recording LLC; Gordon Johnson from Pixabay]

15 Marvelous ME Songs | Playlist

Published by the musical hype on March 20, 2026March 20, 2026