Hurricane
Possessed By Paul James Lyrics

O o o ho ho ho hey
The singer starts the song with a nonsensical, playful expression to draw the listener's attention.

Hey hey hey hey hey
The singer continues with another meaningless call to attract the listener's curiosity.

Hey little girl
The singer addresses a young girl in a friendly manner to engage with her.

What you gonna do
The artist asks the girl about her plans or intentions, showing interest in her life.

You don't even try
The artist remarks on the girl's apparent lack of effort or initiative, suggesting she could do better.

No you dont even try
The singer repeats the previous line for emphasis and encouragement, urging the girl to take action.

You too scared to ride
The singer recognizes the girl's fear of taking risks or exploring new things, empathizing with her apprehension.

You too scared to fall
The artist further acknowledges the girl's fear of failure or getting hurt, validating her concerns.

Oh baby oh your too scared to cry
The artist extends the metaphor of fear to emotional vulnerability, suggesting the girl is afraid to express her feelings.

Yes your too scared to cry
The artist repeats the previous line to highlight the girl's emotional blockage, implying it limits her growth.

Come on
The singer uses a colloquial phrase to invite and urge the girl to open up and try new things.

Little darling let me hear your some
The artist affectionately calls the girl 'darling' and asks her to share her voice or talent, showing support and interest.

Oh let us hear your song
The singer encourages the girl to express herself creatively and share her inner world with others.

Dont you know
The singer uses a rhetorical question to convey a message without expecting an answer, suggesting the girl has potential.

You little sweet thing
The singer compliments the girl on her innocence, kindness, or beauty, acknowledging her positive qualities.

My little darling
The artist expresses fondness and affection for the girl, establishing a connection and rapport with her.

Hell ya baby you belong
The artist affirms the girl's sense of belonging and validation, celebrating her uniqueness and worth.

Oh baby you belong
The singer reiterates the previous line, emphasizing the girl's value and importance in the singer's eyes.

Oh you hit me like a hurricane
The singer shifts to the chorus, using a simile to describe the girl's impact and intensity on the singer's life.

Hey little boy
The artist turns to address a young boy in the same friendly and engaging manner as the girl.

Oh left along
The artist recognizes the boy's loneliness or solitude, empathizing with his situation.

Left alone in the dark in the wild
The artist extends the metaphor of being alone to a dark, wild environment, emphasizing the boy's vulnerability and isolation.

Your angry as hell
The singer points out the boy's intense and negative emotion, acknowledging his pain or frustration.

Your ready to fight
The artist implies the boy's anger has a defensive function, preparing him for a potential conflict or challenge.

Oh man your an only child
The singer identifies the boy as an only child, suggesting he may lack social skills or support from siblings.

Oh such a lonly child
The singer repeats the previous line for emphasis and empathy, recognizing the boy's feeling of loneliness.

Little man let me hear your song
The singer uses a similar phrase to encourage and empower the boy to express himself, validating his voice and creativity.

Oh let me hear your song
The artist reiterates the previous line, emphasizing the importance of listening to the boy's perspective and experience.

Oh they hit you like a hurricane
The artist shifts to the second person perspective, using a simile to describe the impact and intensity of external factors on the boy's life.

Ya ya ya
The singer adds a playful, rhythmic expression to the end of the verse, creating a sense of cohesion and repetition.

Oh you mothers and you fathers
The chorus now addresses the parents of the girl and boy, raising societal and cultural issues about parental responsibility and influence.

You going run
The artist poses a rhetorical question to the parents, asking if they would run away from their responsibilities or challenges.

You going run oh run for your lives
The artist heightens the urgency and drama of the previous line, using repetition and alliteration to create a feeling of chaos.

You better run for your lives
The artist warns the parents about the consequences of neglecting their duties or fleeing from adversity, implying they should face their problems courageously.

Here come the gun
The singer uses a violent image to refer to the impact of negative influences or settings on the girl and boy, implicating the parents in their well-being.

Here come the cannon
The artist continues with the metaphor of violence and destruction, suggesting the magnitude of the parents' responsibility in shaping or protecting their children.

Here come the church
The singer shifts to another source of authority or tradition, criticizing the role of religion or conformity in limiting individual freedom and expression.

And oh here come the night
The singer ends the chorus with a metaphorical reference to darkness and uncertainty, suggesting the difficult and challenging aspects of life.

Oh you hit me like a hurricane
The singer repeats the chorus for emphasis and rhythm, connecting the two verses and experiences together.

Oh you hit me like a hurricane
The artist reiterates the simile to emphasize the intensity and significance of the emotional impact on the artist's life.

Oh you hit me like a hurricane
The artist repeats the previous line for emphasis and closure, ending the song on a powerful and memorable note.