“Nothing is sure, nothing’s durable, nothing is definitive, nothing fixed,” she says. “Everything is movement.”
Movement: the word sticks literally to the biography of this woman burning with life and saturated with energy, a “yearning soul” brimming over with desire and humour. Of Dominican origin, she was born in 1969 in Brooklyn’s Latino-American district. We can imagine her childhood was filled with suffering. Her relationship with her mother (who raised Natalia and her brother alone) was passionate and conflicting: “I owe her what I am. And my anger, too.” When she was an adolescent she left the “barrio” to settle with her family in Rochester, N.Y.
At University, Natalia studied sociology for a time, also History and the work of the English Humanist poet of the Middle Ages, John de Salsbury (“Out of a taste for the exotic,” she explains, “and to plunge into a world thousands of miles from my previous universe.”) Then, at a time when the majority of her contemporaries chose material comforts and profit, she dropped all ideas of social success and, in the great Beat tradition, like Jack Kerouac, William Burroughs, Robert Johnson or Woody Guthrie, she hit the road. “The call of the wild! When it starts to get at you, you can’t resist for long.” With her notebook in her pocket, the explorer began to roam the United States from East to West, stopping here and there (the Grand Canyon, Oregon, Seattle, Alaska), wherever her desires and opportunities took her, trying the whole range of menial jobs available before finally settling in Los Angeles.
It was in the Californian Babylon that her musician’s career began. Armed with a Fender “Stratocaster”, Natalia appeared with the “Mojo Monks”, a muscled combo practising a harsh, very unorthodox blues.
It was also in L.A. that she discovered the music of Jimi Hendrix, The Doors, Janis Joplin, Tom Waits, Rickie Lee Jones, CSN&Y, Grateful Dead, Aretha Franklin, Otis Redding and Marvin Gaye… “I forged my own style listening to them.” In an age of R’n’B/Hip Hop hegemony, this young Black American clearly displays her difference, one which completely escapes the canons and tastes traditionally associated with her age and the colour of her skin. The majority of those who inspired her to compose and sing came out of the Rock scene (in the broadest sense) and had their hour of glory almost before Natalia saw the light of day. “I don’t believe in the genre conflict, or even the generation conflict, and I have absolutely no faith in the so-called social-ethnic traditions. What I do know is, Hendrix’ choruses are universal and immortal! And the voice of Janis Joplin, too!”
After five years, Natalia began to feel hemmed in by the City of Angels, where the music scene, tied into a format and shut off from anything that didn’t seem implacably commercial, weighed increasingly on her with every passing day. In June 1998, questioning her life once again, she took a great leap into the unknown: a flight to Paris. Miles Davis, James Baldwin and Chester Himes (amongst others) had vaunted the merits of the French capital and the “warm welcome” it reserved for Black American artists. “That’s partly why I chose that destination. And also because I thought it was where I’d meet musicians from the whole world.”
What Natalia didn’t think, however, was that she’d find success so rapidly. In less than two years, with her guitar slung over her shoulder, she formed a group (Babasaï), moved from the corridors of the Métro to the bars at La Bastille (where they paid her with beers), from the tiny stage of “La Flèche d’Or” to the cameras of TV channel Canal+ (she was the subject of three documentaries they made), and from opening for Diana Krall (at The Olympia in October & November 1999) to the offices of Universal Jazz.
With her ears wide open, the young woman wearing dreadlocks like a mane is now exploring more than ever, and she says she’s been captivated by the creative freedoms of Miles Davis, Eric Dolphy, Ornette Coleman or John Coltrane, overwhelmed by the “tearing, terribly joyful lament” of Albert Ayler and hypnotised by the “vocal whirlwinds” of Nusrat Fateh Ali Khan, the maestro of the gawwali (the Indo-Pakistani variant of Sufi song): “Those ascending, descending scales, those dizzy climbs up to Heaven and the ecstatic rhythms have the power to make my soul take off.”
After over a hundred concerts in Europe and The United States, Natalia went back into the studios in the summer of 2002 to record Fury and Sound. She had a new crew: Pierre Crosnier (guitar) and David Granier (drums); a new instrumental format – the quartet – with the addition of the cello played by Solange Minali-Bella, and a silken, wrapping tone that brought an extra fullness and roundness to the sound of the ensemble. Ten new songs with tight, clear texts, half-tender, half-despairing. Ten titles with an orientation that was more Rock than those in Milagro, more arranged and salient, too, folding into each other without a break like a long, carnal, heady suite where moments of tension follow the more reflective tracks, acidity following softness, contained violence following melancholy wanderings. The production is by Natalia and Andy Lyden.
The album’s theme is… Death, considered from a clearly Existentialist angle – Before it’s too late, before they put you in the ground, What can we do but be, Can’t win, can’t lose, can’t quit, got to carry on…
“What’s been lived has been lived,” says Natalia. “And rather than talk about death with a big D, that incoherent thing they say is inevitable, I wanted to take an interest in all the little deaths followed by little resurrections which constitute existence; if you put them all end to end, they build what we are.
This record is also the fruit of my experience and an appeal to life, here, now, immediately, without drowning in the tears of the past or throwing oneself into an assault on a future that’s fictional by nature.”
It’s her own way of “inscribing myself more than ever in the movement”, turning a new leaf and finally, once and for all, ridding herself of the demons of the past.
And for us, it’s the subjugated confirmation of a hard fact: Natalia M. King, an authentic artist of Herculean charisma, the creator of a half-Rock, half-Blues universe which is unlike any other, and which carries a genuine message, has rebounded directly with Fury and Sound into the category of Greatness. To which belong all those men and women whose strength renews and invigorates our day to day musical landscape
Bliss
Natalia M. King Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She said she want me
Tryna live a way tonight
I’m aware, imma stay in sight
My girl she got me feeling right
Take it to the room we gon spend the night
We keeping it so sensual
Baby girl you incredible
And everytime we fuck we gone save the world
You know how it goes when you take your time
Say it with your chest baby girl don’t you just waste my time
Imma get it right
Don’t you worry, just you keep it tight
Cause I’m about to work on that kitty, while we spend the night
Remember last night, when we got to sipping
You made it obvious that you couldn’t even keep your distance
I held your hand and got you water so you got to thinking
I’m laughing hard, because I know what you just got intended
I’m in your conscience, don’t you worry baby we gone get it
That’s why we here tonight, we working on that research paper
I’m in your space, I’m in the zone, I’m touching on your body
You laughing hard
You looking at me like I’m Ricky Bobby
Riding in a fast car, baby let’s get naughty
I’m ready to explore the treasures that’s within your body
Show me what’s within your world so we can get to work
We gotta play it as a team so let me try to serve
Tryna live a way tonight
I’m aware, imma stay in sight
My girl she got me feeling right
Take it to the room we gon spend the night
We keeping it so sensual
Baby girl you incredible
You bouncing on my loins like I own the world
And everytime we fuck we gone change the world
Like the way you touching me
Like the way you look at me
Girl I’m flying high for the record, imma keep it g
Ain’t nothing nobody take your place
Ain’t nobody come between us
And the way that we are loving is just like a dream
Girl you make me so in tune
Mutual spirits in the room
We just gotta keep it cool, we ain’t gotta rush the mood
Anytime you sad, make me broke in the heart
Imma let you know, imma keep it dollar with a buck
Imma fight any demon that be tryna set apart
What we got, what we share
Is a beauty with a spark
I thank God, Every time I’m down you keep me up
When I look into your eyes, you make a nigga wanna blush
I’ll say less
Cause I’m down for your love
Let me take you to the bed, so I’ll get a lil love
I’ve been fiending for your touch, I’ve been tryna get a rush
When we done though, make sure that we keep it in a hush
Tryna live a way tonight
I’m aware, imma stay in sight
My girl she got me feeling right
Take it to the room we gon spend the night
We keeping it so sensual
Baby girl you incredible
You bouncing on my loins like I own the world
And everytime we fuck we gone save the world
We gone change the world
(We gone change the world)
Mane we gone save the world (Yeah)
Bouncing on my loins, we gone save the world
(Yeah)
She said she loves me
Oh I want you for me (Ohh ohhh)
Yes I want you for me (Ohh ohhh)
Oh I want you for me (Ohh ohhh)
Yes I want you for me (Ohh ohhh)
The song "Bliss" by Natalia M. King is a love song that talks about a passionate night spent with a lover. The lyrics of the song highlight the physical attraction between the singer and her partner. The singer talks about how her lover makes her feel incredible, and how they both share a mutual, sensual attraction towards each other. Throughout the song, the singer expresses her enjoyment of the moment and how her lover is creating a perfect night for the two of them. There is also a reference to how the couple is saving the world through their love-making, as though their love is so powerful that it could positively improve the state of the world.
The lyrics of "Bliss" reflect a typical R&B song theme that accentuates physical attraction and romance. Natalia M. King's approach to the subject is fairly straightforward, and her sultry, soulful voice helps to create a mood that matches the content of the song. The lyrics denote that the singer and her partner are comfortable with one another and exploring each other's bodies positively. Overall, "Bliss" is a song that celebrates two people's love and passion for each other with its thoughtful lyrics.
Line by Line Meaning
She said she loves me
The singer’s partner has expressed her love for him.
She said she want me
The singer’s partner has expressed her desire to be with him.
Tryna live a way tonight
The singer is trying to live life to the fullest tonight.
I’m aware, imma stay in sight
The artist is cognizant of their surroundings and will remain visible to their partner.
My girl she got me feeling right
The artist’s partner is making him feel good.
Take it to the room we gon spend the night
The singer and his partner will be spending the night together in the bedroom.
We keeping it so sensual
The tone of the night is romantic and sexual.
Baby girl you incredible
The artist’s partner is amazing in his eyes.
You bouncing on my loins like I own the world
The artist feels powerful and confident with his partner, who is bouncing on top of him.
And everytime we fuck we gone save the world
The pleasure the artist and his partner experience is saving the world in their eyes.
You know how it goes when you take your time
Taking time when being intimate can lead to a greater level of pleasure.
Say it with your chest baby girl don’t you just waste my time
The artist is asking his partner to be honest with her feelings so that they don't waste time.
Imma get it right
The singer is committed to making sure that his partner is pleasured correctly.
Don’t you worry, just you keep it tight
The singer is reassuring his partner to not worry and just relax.
Cause I’m about to work on that kitty, while we spend the night
The singer is referring to performing oral sex on his partner in a playful, teasing way.
Remember last night, when we got to sipping
The artist is reminiscing about a previous night when they were drinking together.
You made it obvious that you couldn’t even keep your distance
The artist’s partner was showing a lot of affection and closeness to him while they were drinking.
I held your hand and got you water so you got to thinking
The singer took care of his partner while she was drinking, leading her to think about his kindness towards her.
I’m laughing hard, because I know what you just got intended
The singer is amused by his partner's thoughts about him and finds them amusing.
I’m in your conscience, don’t you worry baby we gone get it
The artist is implying that he is in his partner's thoughts, assuring her that they will have a good time.
That’s why we here tonight, we working on that research paper
The artist is using a metaphor to describe the intimate connection he shares with his partner.
I’m in your space, I’m in the zone, I’m touching on your body
The artist is in the moment and focused while being intimate with his partner.
You looking at me like I’m Ricky Bobby
The singer's partner is looking at him with admiration and intense desire.
Riding in a fast car, baby let’s get naughty
The artist is using a metaphor of being in a fast car to describe how passionate and wild they should be in the bedroom.
I’m ready to explore the treasures that’s within your body
The singer is eager to explore and appreciate his partner's body during their intimate moment.
Show me what’s within your world so we can get to work
The singer is asking his partner to show him what she desires, so they can get intimate and pleasure each other correctly.
We gotta play it as a team so let me try to serve
The singer wants to pleasure his partner as part of a team, rather than purely for personal satisfaction.
Like the way you touching me
The artist enjoys the touch of his partner.
Like the way you look at me
The artist enjoys the way his partner looks at him.
Girl I’m flying high for the record, imma keep it g
The singer is feeling positive and honest about their experiences so far.
Ain’t nothing nobody take your place
The singer values and cherishes his partner's presence and relationship with him.
Ain’t nobody come between us
The artist is committed to their relationship and won't let anyone interfere.
And the way that we are loving is just like a dream
The artist sees their relationship and intimacy as being surreal and amazing.
Girl you make me so in tune
The artist feels a strong connection and synchronization with his partner.
Mutual spirits in the room
The singer feels that they are on the same wavelength with his partner while being intimate.
We just gotta keep it cool, we ain’t gotta rush the mood
The artist is trying to maintain a relaxed and comfortable atmosphere, and does not want to rush through their experience.
Anytime you sad, make me broke in the heart
The singer is deeply affected when his partner is sad.
Imma let you know, imma keep it dollar with a buck
The singer is promising to be honest and truthful with his partner at all times.
Imma fight any demon that be tryna set apart
The singer will do whatever it takes to ensure that their relationship stays strong and pure.
What we got, what we share is a beauty with a spark
The artist sees their relationship as something special and sparkly.
I thank God, Every time I’m down you keep me up
The artist is grateful for his partner and feels supported by her during times of hardship.
When I look into your eyes, you make a nigga wanna blush
The singer is bashful and appreciative when he sees how his partner looks at him.
Let me take you to the bed, so I’ll get a lil love
The singer is asking his partner to move to the bed so they can be more intimate.
I’ve been fiending for your touch, I’ve been tryna get a rush
The artist has been craving his partner's touch and wants to feel the rush of pleasure and intimacy.
When we done though, make sure that we keep it in a hush
The artist wants to maintain privacy and keep their relationship discreet after having an intimate moment.
We gone change the world
The artist and his partner feel that their intimacy has the power to change the world.
Mane we gone save the world (Yeah)
The singer and his partner feel that their intimacy has the power to save the world.
Bouncing on my loins, we gone save the world (Yeah)
The sensation of his partner bouncing on him contributes to the artist and his partner feeling like their intimacy is powerful and world-changing.
She said she loves me
The singer’s partner has expressed her love for him.
Oh I want you for me (Ohh ohhh)
The singer is expressing their desire to be with their partner.
Yes I want you for me (Ohh ohhh)
The singer is doubly expressing their desire to be with their partner.
Oh I want you for me (Ohh ohhh)
The artist is triply expressing their desire to be with their partner.
Yes I want you for me (Ohh ohhh)
The artist is quadruply expressing their desire to be with their partner.
Lyrics © DistroKid
Written by: nelson uzonwa
Lyrics Licensed & Provided by LyricFind
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