Since today is my birthday, I’m interrupting your regularly scheduled Webcomics Wednesday review to provide a detailed explication of a contemporary musical masterpiece.  When critics look back to the late ’00s / early ’10s, I strongly believe that “Birthday Sex” by Jeremih will be considered one of the defining songs of this generation.  The lyrics tell a moving story about reconciling a misunderstanding in a relationship by engaging in an intense and lengthy session of sexual intercourse.  I felt that it was important to not only preemptively acknowledge the future importance of this soon-to-be influential song, but to provide some valuable interpretation and critique of Jeremih’s magnum opus.

It’s yo birthday, so I know you want to ride out
Even if we only go to my house

These lines are fairly straightforward: it’s Jeremih’s lover’s birthday, and he recognizes that she doesn’t want to stay at her place of residence, even if that just means that they go to his house.  The word “only” in the second line seems to indicate that going to the poet’s house is not his lover’s ideal choice – perhaps she is anticipating that he planned an elegant night on the town in celebration of her birthday.

Sip mo-eezy as we sit upon my couch
Feels good, but I know you want to cry out

According to Urban Dictionary, mo-eezy is urban slang for Moet Champagne.  It could also be a reference to the idea that alcohol makes girls “more easy” – i.e. more interested in sexual intercourse.  Both of these interpretations seem feasible as the poet could be using the champagne to set the mood for lovemaking.  Jeremih states that sitting in his apartment drinking champagne with his lover feels good, but he also acknowledges that she is on the verge of tears.  Her sadness could be due to birthday depression, or she may be disappointed that he is not taking her out to celebrate.

You say u want passion, I think you found it
Get ready for action, don’t be astounded
We switching positions, you feel surrounded
Tell me where you want your gift, girl

Jeremih believes that his lover’s sadness stems from her desire for passionate lovemaking.  He recommends that she prepare herself for the act of love, because he doesn’t want her to be overly surprised.  He states that they will attempt so many sexual positions that it will seem like he is in many places at once – “surrounding” his lover.  He ends the stanza by asking her where she wants him to put her “gift,” which is actually a sly metaphor for his penis.

Girl you know I-I-I, Girl you know I-I-I
I been feenin
Wake up in the late night
Been dreamin about your loving, girl

As the chorus begins, Jeremih explains how desperately he wants to make love to his mistress.  He explains that he has been “fiending” for her love like a drug user and suffering from mild insomnia due to his desire for her.  The intensity of his sexual desire could be the reason he did not plan a birthday party for her.

Girl you know I-I-I, Girl you know I-I-I
Don’t need candles and cake
Just need your body to make…
Birthday sex… Birthday sex oohoohoohooh

The repetition here seems to indicate that Jeremih wants to emphasize to his lover that she already knows what he is telling her.  He finally explains that he didn’t plan a party or get her the standard birthday accoutrements (“candles and cake”) because they would only serve to distract from their sexual relations.

(It’s the best day of the year girl)
Birthday sex… Birthday sex oohoohoohooh
(G-spot g-spot let me hit that g-spot g-spot girl)

Jeremih concludes the chorus by acknowledging to his lover that he understands how important this day is to her and by repeating the eponymous line: “Birthday sex.”  He also requests that his lover allow him to stimulate her g-spot, which seems to indicate that his primary goal is to help her achieve orgasm.

See you sexy in them jeans got me on 10
1-2-3… Think I got you pinned
Don’t tap out, fight until the end
Ring that bell, and we gon start over again

The poet begins the second verse by remarking on his arousal at seeing his lover’s denim pants.  Apparently his arousal causes him to pounce on her, as he immediately launches into a wrestling metaphor.  This seems to indicate that their lovemaking is not tame or sensitive, but extremely vigorous.  He concludes the metaphor by stating that even after she “rings that bell” (achieves orgasm), they will continue to engage in intercourse.

We grindin with passion, ’cause it’s your birthday
Been at it for hours, I know you thirsty

Here we see another reference to the physical intensity of their lovemaking.  Jeremih exclaims that they have now been making love for an extremely long time, and he recognizes that his lover has become mildly dehydrated from the constant action.

You kiss me so sweetly, taste just like Hershey’s
Just tell me how you want you gift, girl

His lover seems to be ignoring her thirst, as she instead kisses Jeremih, indicating that whatever had distressed her earlier in the song has been forgiven and/or forgotten.  He remarks that her kiss tastes like Hershey’s chocolate, which could be interpreted multiple ways: it could be a racial signifier in recognition of his lover’s African American ancestry, or it could be interpreted literally as she may have recently eaten a Hershey’s chocolate bar.  Jeremih wraps up the second verse in the same way as the first but with a minor change by asking his lover “how” she would like him to use his penis instead of “where” to put it.

Girl you know I-I-I, Girl you know I-I-I
I been feenin,
Wake up in the late night
Been dreamin bout your loving, girl
Girl you know I-I-I, Girl you know I-I-I
Don’t need candles and cake
Just need your body to make
Birthday sex… Birthday sex oohoohoohooh
(It’s the best day of the year girl)
Birthday sex… Birthday sex oohoohoohooh
(G-spot g-spot let me hit that g-spot g-spot girl)

The chorus repeats itself, once again emphasizing the fact that today is his lover’s birthday and that they will continue celebrating by engaging in sexual intercourse.

First, I’m gonna take a dive into the water deep
Until I know I pleased that body (body)

The final verse begins with an apparent reference to oral sex.  Jeremih states that he will “dive” into his lover as if she were a body of water, indicating that his face and hands will be the first things making contact with her body.

Or girl without a broom I might just sweep you off yo feet
And make you wanna tell somebody (body) how I do

The poet makes a reference to his sexual prowess, claiming that his lover will be so impressed with his skill in bed that she will feel compelled to tell others about it.

Or maybe we can float on top my waterbed (bed)
You close your eyes as I improv between your legs

Jeremih mentions water again – this time in reference to the movement of his waterbed – and continues with his references to cunnilingus.  The allusions to water in this verse could be read as a metaphor for his lover’s sexual arousal.

We work our way from kitchens, stoves and tables
Girl, you know I’m more than able to please yeah

At this point the poet indicates that he and his lover have engaged in sexual intercourse in every part of the kitchen and may be moving on to other parts of the house to continue their congress.  Once again, he makes reference to his skill in pleasing his lover.

You say you wanted flowers on the bed (on the bed)
But you got me in hours on the bed

The final verse ends with Jeremih reaffirming his reason for not planning an extravagant birthday party for his lover.  He states that, even though she requested conventionally romantic gestures, he felt that she would be more satisfied if he just made love to her for several hours.  He seems to be emphasizing that the absence of a party was not due to laziness or lack of planning on his part, but was rather due to the fact that he knew what his lover wanted better than she did – i.e. hours of vigorous sex.  This sheds some light on the first verse of the song, in which Jeremih acknowledges his lover’s sadness: it could be that she was distressed upon realizing that he had not planned the birthday party she had requested.  By this point in the song, however, Jeremih seems confident that he has redeemed himself with his display of erotic skill.

Girl you know I-I-I, Girl you know I-I-I
I been feenin,
Wake up in the late night
Been dreamin bout your loving, girl
Girl you know I-I-I, Girl you know I-I-I
Don’t need candles and cake
Just need your body to make…
Birthday sex… Birthday sex oohoohoohooh
(It’s the best day of the year girl)
Birthday sex… Birthday sex oohoohoohooh

Jeremih concludes with the repetition of the chorus, hinting at the possibility that the couple’s sexual exploits will continue beyond the end of the song.  If the poet’s lover was at all disappointed by the lack of a conventional birthday party at the beginning of the song, that disappointment seems to have been forgotten.  It could therefore be concluded that, if you are as concerned about the sexual gratification of your lover as Jeremih is, then you will never need to organize an elaborate party in celebration of his or her birthday – all you need is birthday sex!

(lyrics borrowed from 6lyrics.com)