Take on Me

"Take on Me" is most widely interpreted as a plea for love amidst uncertainty and the fear of a relationship slipping away. The lyrics depict a narrator trying to connect with a partner who is becoming distant or "shying away." The central phrase, "Take on me," is a desperate invitation for the other person to take a chance, to accept him, and to fully engage in the romance before it's too late. This urgency is highlighted by the line, "I'll be gone in a day or two," which can be seen as either a literal statement of departure or a metaphor for the fleeting nature of the opportunity for them to be together.

A deeper linguistic interpretation suggests that "Take on me" is a direct, somewhat literal translation of the Norwegian phrase "Ta på meg," which means "Touch me" or "Hold me." This adds a layer of physical longing and a desire for closeness to the song's emotional plea. The singer is asking for a tangible connection before the relationship fades completely.

The song also explores themes of vulnerability and the courage to take emotional risks. The line, "It's no better to be safe than sorry," directly challenges the conventional wisdom, advocating for embracing uncertainty for the chance at love rather than playing it safe and regretting it later. The narrator is aware of his own awkwardness ("I don't know what I'm to say") but chooses to speak and act anyway, embodying the idea that it's better to try and fail than to never try at all.

The song begins with a sense of conversational awkwardness and hesitation. The narrator finds himself talking with someone he is interested in, but he's at a loss for words, admitting, "I don't know what I'm to say, I'll say it anyway." This sets up a theme of vulnerability and the struggle to communicate genuine feelings. He observes that the object of his affection seems to be distant and "shying away." Despite this, he is determined and declares his intention to pursue their love, stating with a hopeful tone, "I'll be coming for your love, okay?"

The chorus is a direct and powerful plea: "Take on me, take me on." This repeated phrase acts as an invitation and a challenge. It's a request for the other person to accept him, to engage with him, and to take a chance on a relationship. However, this plea is tinged with a sense of urgency and impermanence, as he follows it with the line, "I'll be gone in a day or two." This suggests that the opportunity is fleeting, and if she doesn't act now, the moment will be lost forever. It creates a tension between the desire for connection and the reality of its potential brevity.

In the second verse, the narrator describes his own state of disarray and confusion, feeling like he's "odds and ends." He's stumbling through the situation, trying to understand that life and love involve risks. He finds himself "slowly learning that life is okay" and voices a key realization: "It's no better to be safe than sorry." This line is a direct contradiction to the common idiom, repositioning risk-taking as not just acceptable, but necessary for a fulfilling life, especially in matters of the heart. He is encouraging both himself and his love interest to embrace the uncertainty for the possibility of a reward.

The bridge introduces a moment of doubt and questioning. The narrator wonders about the sincerity of the other person's words, asking, "Oh the things that you say, is it live or just to play my worries away?" He is unsure if her flirtatious or kind words are genuine or simply a way to placate him without any real commitment. He acknowledges that she is constantly on his mind—"You're all the things I've got to remember"—yet he still perceives her as "shying away." Despite this uncertainty and her perceived hesitation, his resolve doesn't waver. He emphatically repeats his intention: "I'll be coming for you anyway." The song concludes with a final, layered repetition of the chorus, driving home the central theme of a desperate, hopeful, and time-sensitive appeal for love.

The journey of "Take on Me" to global stardom was long and involved multiple versions. The song's origins trace back to a synth riff written by Magne Furuholmen when he was just 15 for his and Pål Waaktaar's previous band, Bridges. The song was initially titled 'Miss Eerie' and later 'Lesson One'.

After Morten Harket joined Furuholmen and Waaktaar to form a-ha, they recorded a demo that secured them a deal with Warner Bros. The first version of "Take on Me" was produced by Tony Mansfield and released in October 1984. This version, featuring a different mix and a simple performance video, was a commercial failure, selling only 300 copies and failing to chart in the UK.

The band was given another chance and re-recorded the song with producer Alan Tarney, who helped refine its synth-pop sound, giving it the classic, charming quality it's known for. This new version was released in 1985 but still initially struggled. It was the creation of a second, groundbreaking music video that finally propelled the song to success. Warner Bros. executive Jeff Ayeroff was instrumental in this push, believing in the band's potential and investing in an innovative video concept. The final version of the song, paired with its iconic video, was released for a third time in the UK in September 1985, where it soared to number two on the charts. It subsequently topped the Billboard Hot 100 in the United States, cementing its status as a worldwide hit.

"Take on Me" is characterized by a simple, effective rhyme scheme and a driving, danceable rhythm that define its energetic feel.

• Rhyme Scheme: The song's verses largely follow an AABB rhyme scheme, such as "away" with "okay" and "say" with "anyway." This straightforward structure makes the lyrics catchy and easy to follow, contributing to the song's pop accessibility.
• Rhythm and Tempo: The song is set to an upbeat, fast tempo (approximately 169 BPM) that creates a sense of urgency and excitement, mirroring the lyrical plea. The rhythm is propelled by a classic synth-pop drum machine beat, a pulsing bassline, and the continuous, staccato synth riff. This rhythmic foundation gives the song its distinctly danceable quality, a hallmark of the 80s era. The vocal melody often employs a syncopated rhythm that plays against the steady instrumental pulse, adding to the track's dynamic energy. The interplay between the driving musical rhythm and the soaring, emotional vocal rhythm is a key component of the song's enduring appeal.

"Take on Me" is a hallmark of 1980s synth-pop, defined by a combination of distinctive musical and literary techniques.

• Musical Techniques: The song's most recognizable feature is its driving, catchy synthesizer riff, played on a Roland JUNO-60, which forms the core melodic hook. The track combines this electronic element with acoustic instruments, a fast tempo, and a dynamic arrangement that builds excitement. Morten Harket's vocal performance is a standout stylistic element; his delivery ranges from a smooth tenor in the verses to an incredible, soaring falsetto in the chorus, showcasing a wide three-octave range that was intentionally highlighted in the song's composition.
• Literary Techniques: The lyrics utilize a direct, conversational narrative voice that conveys vulnerability and earnestness. The use of rhetorical questions like "Is it live or just to play my worries away?" reveals the singer's internal conflict and uncertainty. Repetition is a key device, with the recurring refrain "Take on me, take me on" acting as a powerful and memorable hook that reinforces the song's central plea. The line "It's no better to be safe than sorry" is an example of aphorism reversal, twisting a common saying to emphasize the song's theme of embracing risk.
• Video Technique (Rotoscoping): The music video's pioneering use of rotoscoping—a technique where live-action footage is traced over frame-by-frame to create realistic animation—was a revolutionary stylistic choice. This blending of live-action and pencil-sketch animation created a unique visual narrative that was unlike anything seen in mainstream music videos at the time and was crucial to the song's success.

"Take on Me" is a cultural touchstone of the 1980s with a massive and enduring legacy. Its success was propelled by its groundbreaking music video, directed by Steve Barron. The video's innovative use of rotoscoping, blending pencil-sketch animation with live-action, was revolutionary and set a new standard for music videos on the burgeoning MTV. It won six MTV Video Music Awards in 1986 and has since surpassed two billion views on YouTube, a rare feat for a video from its era.

The song was a global commercial success, reaching #1 on the Billboard Hot 100 in the U.S. and #2 in the UK, along with topping charts in numerous other countries. It has become one of the most defining songs of the synth-pop genre and the 80s decade.

Its influence extends through its frequent use in pop culture, including films like Deadpool 2, TV shows like Family Guy, and commercials. The song has been covered by countless artists across various genres, from ska-punk band Reel Big Fish to stripped-down acoustic versions, showcasing its versatile and timeless appeal. A-ha's success with "Take on Me" paved the way for other synth-pop artists and solidified the music video as an essential artistic and promotional tool.

The most significant symbolism associated with "Take on Me" comes from its revolutionary music video. The video uses the metaphor of a comic book world to explore themes of fantasy, reality, and connection.

• The Comic Book World vs. Reality: The video masterfully contrasts the mundane, real-life setting of a café with the exciting, black-and-white, hand-drawn world of the comic book. This symbolizes the escape that love and fantasy can offer from everyday life. The heroine being literally pulled into the comic book represents taking a leap of faith into a new, unknown, and more thrilling reality with a romantic partner.
• The Reaching Hand: The iconic image of Morten Harket's animated hand reaching out from the comic book page is a powerful symbol of connection breaking through barriers. It represents the singer's plea in the lyrics to be seen and for his love interest to join him, bridging the gap between their two separate worlds.
• Fleeting Existence: The lyric "I'll be gone in a day or two" is a central metaphor for the temporary nature of life and opportunities. In the context of the video, where the hero is a drawing, it can also symbolize his fragile existence; he is ephemeral, made of pencil lines that could be erased, and his time with the real-life girl is inherently limited and precious.

The most prominent recurring element in "Take on Me" is its central synth riff, which is one of the most iconic musical motifs of the 1980s. This catchy, instantly recognizable keyboard line opens the song, runs throughout the verses, and serves as the primary instrumental hook, making the song unforgettable from its first few seconds.

Lyrically, the titular phrase "Take on me" and its variation "Take me on" are the core recurring motifs. Repeated throughout the chorus, this phrase functions as the song's central plea and its emotional anchor. Its repetition hammers home the narrator's desperation and desire for connection, making it the most memorable part of the lyrics.

Another significant recurring lyrical phrase is "I'll be gone in a day or two." This line, appearing at the end of each chorus, provides a crucial counterbalance to the hopeful plea. Its repetition creates a sense of urgency and high stakes, reminding the listener that the opportunity for love is fleeting.