The toughest proposition(ing): addressing the Black female social/sexual climber. Escaping "crosstown," addressee is warned that getting over quashes the visualization of shared poverty. Everyone's under the same sun, but righteous admonishment can't disentangle itself from the "don't mind," otherwise there wouldn't be the admission that "higher ground" would be nice. Appeal to diurnal ordinariness--and salvation--is impossible when the city (all of it, in the case of New Orleans) can only stave off flooding while it continually sinks. Degenerative ascetisism, and digs/digging/ risks possibility for a confrontation (while drowning).
Bald, conciliatory gesture to the crossover, topping the R&B and Pop charts in 1961. The in- common: beset manhood. Since embodiment of true social power (via race and patriarchy) are impossible to sustain for singer, this is a self-invitation to the old boy's club; the legal relationship can only interfere with the "happy home" and lead to others taking over the "mouth[s]" of men. The legend of K-Doe rescuing this track from Alan Toussaint's garbage can couldn't be more apt: never work for peace in diminution.