Top 5 Songs That Feature Sexy Female Vocals

There are some songs that send chills up your spine due to the intense, passionate or emotional vocals contained within the track. Here are five songs which feature sexy female vocals that will hopefully achieve this exact effect (with hopefully more to come).

Number Five: “What You Are” by Drill. “What You Are” is a song by alt-rock band Drill, off of their 1996 self-titled album. Drill consisted of members Marcus Farny (drums), Dan Harnett (guitar), John DeServio (bass), and Lucia Cifarelli (vocals). However, the band was short-lived, as they broke up shortly after their debut release. The lyrics are quite simple, beginning with, “somewhere searching to figure it out / you take me back again / somewhere drifting above and beyond / the sky and everyone.” The second verse goes, “searching for you there / sleeping quiet I float in the air / miles and miles away from your touch / aching everywhere.” And the chorus: “what you are / is the voice behind that dream.”

So this song could be about the narrator having a wet dream, or even something more spiritual; yet by the sound of Lucia’s vocals, this spiritual experience verges on the demonic, bringing to mind an encounter with an incubus. Even creepier is when Lucia sings “tick-tock” in the background, as if echoing that when you’re having a dream or nightmare, time doesn’t seem to exist. At about 3:30 in the song, the vocals turn from a sexy purr to an orgiastic frenzy; this is the perfect song to knock the boots or masturbate to, as all the “oohs and ahhs” provided by Lucia would make even the tamest of animals start to gyrate.

Number Four: “Rub Til’ It Bleeds” by PJ Harvey. “Rub Til’ It Bleeds” is a song by alt-rocker PJ Harvey, off of her 1993 album Rid of Me. This is a very sexual song, with lyrics like, “I lie steady / rest your head on me / I’ll smooth it nicely / rub it better till it bleeds / … sweet babe, let me stroke it / Take, I’m giving.” Throughout the whole song she’s telling her lover to believe her when it comes to sexual matters, but in the middle of the song she says, “and you’ll believe me / caught out again / I’m calling you weak / getting even”; then she says, “I was joking.”

Whatever your interpretation of this song is, it seems to me that she’s calling her lover out on not being able to get a hard-on, as she teases his “head” till it “bleeds”; this could translate to her playing with his junk till it swells and the blood rushes to his penis. This entire album is aggressive and acerbic, yet coming from a female makes it even more awesome- Polly Jean can rock out as hard or harder than many of her male counterparts (which made it hard to pick just one song from this album for this list). The song begins with a tame guitar and teasing lyrics, then crescendos into loud guitar and drums as she howls, “and you’ll believe me…”

Number Three: “Paradise Circus” by Massive Attack featuring Hope Sandoval. “Paradise Circus” is a song by Massive Attack featuring the vocals of Hope Sandoval (Mazzy Star). It was featured on their 2010 album Heligoland. There are two sets of lyrics repeated in the song: “it’s unfortunate that when we feel a storm / we can roll ourselves over cause we’re uncomfortable / oh well, the devil makes us sin / but we like it when we’re spinning in his grip” and “love is like a sin, my love / for the ones that feel it the most / look at her with her eyes like a flame / she will love you like a fly will never love you again.”

The word “sin” is mentioned twice in this song, and that’s exactly the vibe we get from this track; that some transgression has occurred (probably of a sexual nature). The piano and hand-claps in the song go perfectly with Sandoval’s sensual yet ominous vocals. This song is erotic and carnal, and when she sings the riddle, “she will love you like a fly will never love you again,” my mind can’t help but go to images of being consumed by someone sexually, then regretting it once it’s over and the “flame” goes out.

Number Two: “Eyes on Fire” by Blue Foundation. “Eyes on Fire” is a song by Danish band, Blue Foundation, off of their 2007 album, Life of a Ghost (the song was also featured on the 2008 Twilight soundtrack). The song features the sultry vocals of Kirstine Stubbe Teglbjaerg. The lyrics begin by saying, “I’ll seek you out / flay you alive / one more word and you won’t survive / and I’m not scared / of your stolen power / I see right through you any hour,” continuing with, “I won’t soothe your pain / I won’t ease your strain / you’ve been waiting in vain / I’ve got nothing for you to gain.”

Many have speculated this song to be about assassination or drug addiction; the latter makes sense if you look at the song as the drug talking to the user. However, group member Tobias Wilner has stated that he wrote the song when struggling with relationship issues and suicidal thoughts, and essentially the song is about fighting back against your demons. This allows the last line of the song to make more sense in this context (“steadily emerging with grace”). Kirstine’s vocals are in the same vein as Hope Sandoval or Karen Peris (The Innocence Mission), in that they are stimulating, seductive and hauntingly beautiful.

Number One: “Dancing Barefoot” by Patti Smith Group. “Dancing Barefoot” is a song by the Patti Smith Group, off of their 1979 album, Wave. The song has since been covered by Shakespears Sister, U2, Simple Minds, Pearl Jam and Johnette Napolitano. Supposedly Smith wrote this song for Jeanne Hébuterne, a mistress of the artist Amedeo Modigliani, who committed suicide. One can see how by the lyrics are about falling hard in love with someone: “here I go when I don’t know why / I spin so ceaselessly / could it be he’s taking over me / I’m dancing barefoot / headin’ for a spin / some strange music drags me in / makes me come up like some heroine.”

In the song, Smith is praising this woman, describing her mystically as “benediction,” “the root connection,” “sublimation” and “the essence of thee.” This makes sense, as Hébuterne’s epitaph reads, “Devoted companion to the extreme sacrifice.” This song is alchemistic and transforming, with Smith’s vocals soaring and crooning in all the right nooks, then elevating to a higher yowl when she sings words like “why,” “gravity” and the concluding “you.” What makes this song even sexier is her spoken-words at the end, asking questions like, “why must we pray screaming?” and “why must not death be redefined?”