THE COPS WAS ALL LIKE ‘WE’RE GUNNA GIT YOU, BOY!’ BUT I WAS LIKE ‘NO WAY!’ AND I WAS LIKE ‘THAT MAN NEEDED DYIN’!’ AND THERE WAS LIKE SIRENS AND SHIT AND THEN A STRING SECTION, AND I WAS LIKE ‘AW SNAP, INDIANA WANTS ME, I’M IN SOME DEEP SHIT NOW–INDIANA!!’ AND THEN THERE WAS THIS LIKE GUN SHOOTOUT AND OH MAN IT WAS ROUGH. AND FOR SOME REASON I WENT BACK TO INDIANA AFTERALL AND YOU WERE THERE AND I WAS LIKE ‘GET DOWN–IT’S INDIANA! IT FOUND ME!’ PEW PEW PEW! ARGH!!
AND THEY WAS LIKE ‘THIS IS THE POLICE. YOU ARE SURROUNDED’ AND I WAS LIKE ‘DIDN’T YOUR MOM EVER TEACH YOU CONTRACTIONS?’ AND THEN IT WAS ALL BANG BANG GUN SHOOTING SOUNDS AND I STARTED TO SERIOUSLY RECONSIDER DYIN’ THAT MAN JUST ‘CAUSE HE SAID SOMETHING AND I GOT ALL FUSSY ABOUT IT. INDIANA!!
I do like R. Dean Taylor’s “Indiana Wants Me”, but for the life of me I just can’t take it seriously. It’s so overwrought. And…Indiana? Why not Oklahoma or Pennsyltucky? Or West Virginia? Or any state with four syllables in its name?
Taylor was a producer and songwriter for Berry Gordy’s Motown. Most of his work was great, if largely unnoticed, though his “All I Need” was given a sensational turn by the Temptations. (Such a wonderful song.) In the late ’60s he stood behind the mic for Motown’s Rare Earth subsidiary, a label dedicated to white artists. 1970’s “Indiana Wants Me” was a modest hit, among the biggest and best the label had to offer, but lasting fame eluded Taylor, except in Canada, which was more receptive because Taylor was Canadian…?
Anyway. What a strangely cinematic piece of melodrama.