San Francisco (Be Sure to Wear Flowers in Your Hair) – Scott McKenzie

Posted on July 25, 2024 by observationblogger — 8 Comments

San Francisco is the quintessential zeitgeist song for the Summer of Love movement in the 1960’s. It is so palpable upon listen you can almost smell the ‘flowers in their hair’. The song emerged in 1967, written by John Phillips of The Mamas & the Papas, and performed by Scott McKenzie. Phillips penned the lyrics as an invitation to the Monterey Pop Festival festival, trying to capture the essence of the burgeoning counterculture movement. It embodies the spirit of peace, love, and communal harmony that characterized the Summer of Love. The simplicity of the arrangement, with its gentle guitar strumming and orchestral flourishes, allowed the poignant message to resonate clearly.

The song’s live debut at the Monterey Pop Festival in June 1967 was a pivotal moment. This festival was one of the first major rock festivals and featured iconic performances from artists like Jimi Hendrix, Janis Joplin, and The Who. McKenzie’s performance of San Francisco became an anthem for the event, encapsulating the festival’s ethos of peace and music.

Upon its release, San Francisco quickly soared to the top of the charts, reaching number four on the Billboard Hot 100 and number one in the UK and several other countries.

[Verse 1]
If you’re going to San Francisco
Be sure to wear some flowers in your hair
If you’re going to San Francisco
You’re gonna meet some gentle people there

[Verse 2]
For those who come to San Francisco
Summertime will be a love-in there
In the streets of San Francisco
Gentle people with flowers in their hair

[Bridge]
All across the nation such a strange vibration
People in motion
There’s a whole generation with a new explanation
People in motion, people in motion

[Verse 3]
For those who come to San Francisco
Be sure to wear some flowers in your hair
If you come to San Francisco
Summertime will be a love-in there

[Outro]
If you come to San Francisco
Summertime will be a love-in there

References:
1. San Francisco (Be Sure to Wear Flowers in Your Hair) – Wikipedia

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5 Year Anniversary Edition of the Music Library Project

Posted on July 25, 2024 by observationblogger — 7 Comments

On July 25th, 2019 – 5 years ago to this day, I began my initiative called the Music Library Project. I wrote on that day the following:

This project is literally all my life in the making; in the sense I have always felt compelled to safe-keep songs that made an impact on me. I imagine given my music library currently houses 1222 songs this project of writing three song articles per week (in alphabetical order) may take in the vicinity of 10 years to complete not including new songs which come to my attention.

Given that the list has now grown to 1587 songs (thanks mainly to your posts and recommendations) and we recently inaugurated songs starting with ‘S’ in the alphabetical order of listing, not to mention the large quantity of ‘added’ songs to backtrack; I think my estimated duration of 10 years is still on schedule. So just as our yellow sun is in the middle of it’s predicted life span of 10 billion years before it converts into a white dwarf star, this project is also likely to be somewhere in the middle cycle.

Today is a bit of a solemn occasion since it marks the last day that new songs will be added to my list of music to discuss. I will add new songs by their ‘title only’ to the relevant menu after today’s date, but they won’t be afforded their ‘own article’ otherwise I would be embarking on a ‘Never Ending Tour‘ ala Bob Dylan, which was not my plan upon the inception of this project. I don’t have his discipline.

I can attest since engaging in this hobby / passion, I have learn’t to appreciate so much of the following:

  1. That music is indeed a source of nourishment and healing for the soul and helps us to navigate life’s complicated journey and connect us with our fellow human. I also learnt if I’m in a bit of emotional rut or quandary I have this list of music ‘on random’ at my fingertips to inspire and avoid the inner demons taking hold. It has and continues to be such an indispensable daily companion.
  2. If I hadn’t had this early morning ritual of writing song articles amongst other posts including ‘News’, ‘Movies’ and ‘Reading’ to occupy my time and look forward to, I’m hesitant to think how my life turned out.
  3. Apart from my interactions with family and friends, my dealings with all you good folk over the course of this project has given me such sustenance and drive to just keep on going. I know my ‘followship’ is meagre by comparison to other blogs, but I feel blessed to be accompanied on this journey with other people similarly animated and enthusiastic towards this immense life force which is music. If I hadn’t got your feedback, interactions and recommendations there is no way I would have forged ahead. So thank you, from the bottom of my heart!
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Samson (2001) – Regina Spektor

Posted on July 24, 2024 by observationblogger — Leave a comment

Samson is an enchanting indie ballad by the American singer-songwriter Regina Spektor. It was recorded in just one take on Christmas Day, 2001. Although Samson was never released as a single it is considered one of Spektor’s greatest songs. It was initially recorded as the first track for Spektor’s second album Songs. In 2006, Spektor re-recorded the song for her album Begin to Hope, which, unlike Songs, had a major label backing. Despite not being released as a single, the Begin to Hope version of Samson charted in four countries (inc. Australia No 52, UK 174), being Spektor’s most charted single to date. 

So we have two songs in succession after Leonard Cohen’s Samson in New Orleans yesterday referring to “Samson” from the book of Judges. Today’s song deals with the episode of Samson and Delilah, found in Judges 16:

Samson was granted extraordinary physical strength by God, though his strength was held in his hair, without which he was powerless. He fell in love with Delilah, who, because of his lust for women, discovered his vulnerability, and used it against him.

[Chorus]
You are my sweetest downfall
I loved you first, I loved you first
Beneath the sheets of paper lies my truth
I have to go, I have to go
Your hair was long when we first met

[Verse 1]
Samson went back to bed
Not much hair left on his head
He ate a slice of Wonder bread
And went right back to bed
And history books forgot about us
And the Bible didn’t mention us
And the Bible didn’t mention us, not even once

[Chorus]

[Verse 2]
Samson came to my bed
Told me that my hair was red
Told me I was beautiful
And came into my bed
Oh, I cut his hair myself one night
A pair of dull scissors in the yellow light
And he told me that I’d done alright
And kissed me ’til the morning light, the morning light
And he kissed me ’til the morning light

[Verse 3]
Samson went back to bed
Not much hair left on his head
He ate a slice of Wonder bread
And went right back to bed
Oh, we couldn’t bring the columns down
Yeah, we couldn’t destroy a single one
And history books forgot about us
And the Bible didn’t mention us, not even once

[Outro]
You are my sweetest downfall
I loved you first

Below are some extracts from the Wikipedia article below:
Regina Ilyinichna Spektor (born February 18, 1980) is a Russian-born American singer, songwriter, and pianist. Her mother Bella Spektor, was a music professor in a Soviet college of music and taught at public elementary schools in Mount Vernon, New York, now retired. Regina started taking piano lessons when she was seven. She grew up listening to classical music and Russian bards. Her father, who obtained recordings in Eastern Europe and traded cassettes with friends in the Soviet Union, also exposed her to rock and roll bands such as the Beatles, Queen, and the Moody Blues.
The family left the Soviet Union for the Bronx in 1989, when Spektor was nine and a half, during the period of Perestroika, when Soviet citizens were permitted to emigrate. She had to leave her piano behind.
After self-releasing her first three records and gaining popularity in New York City’s independent music scenes, particularly the anti-folk scene centered on New York City’s East Village. Spektor signed with Sire Records in 2004 resulting in greater mainstream recognition. After giving her third album Soviet Kitsch a major label re-release, Sire released Spektor’s fourth album, Begin to Hope, which achieved a Gold certification by the RIAA. Her following two albums, Far and What We Saw from the Cheap Seats, each debuted at number 3 on the Billboard 200.

Mayor Bill de Blasio proclaimed June 11, 2019, Regina Spektor Day in New York City.

References:
1. Samson (Regina Spektor song) – Wikipedia
2. Regina Spektor – Wikipedia

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Samson In New Orleans (2014) – Leonard Cohen

Posted on July 23, 2024 by observationblogger — 2 Comments

Samson In New Orleans is the third song to be presented here so far from Leonard Cohen’s 2014 album Popular Problems. It stands as a poignant, elegiac piece, embodying both personal and collective grief and is peppered with arcane religious reference and the cryptic playfulness that so characterises Leonard Cohen’s work. It is heartbreaking to hear how solemn his voice is here around this sombre, but beautiful melody.

Although debate surrounds its meaning, it seems inspired by the devastation of Hurricane Katrina in 2005. The title itself invokes the Biblical figure of Samson, known for his extraordinary strength and tragic downfall. In the Book of Judges, Samson is a flawed hero whose physical might is ultimately his undoing. Cohen’s choice of Samson as a symbol is poignant; it suggests both the grandeur and vulnerability of New Orleans. The city, like Samson, was strong and vibrant but was brought to its knees by the forces of nature and perhaps human negligence.

Others like the author of the Song Meanings article below suggest it evokes imagery and themes reminiscent of the 9/11 attacks on the World Trade Center in 2001 making the song a multi-layered piece of art that speaks to different historical moments of suffering and recovery:

The song refers to falls of the temple (‘take this temple down’) and the crumbling pillars in the story of Samson (‘stand me by those pillars’). It is no coincidence there are two pillars in the biblical story of Samson. And two world trade towers that were destroyed in acts of terrorism.

[Intro]

You said that you were with me
You said you were my friend
Did you really love the city
Or did you just pretend?
You said you loved her secrets
And her freedoms hid away
“She was better than America,”
That’s what I heard you say

You said, “How could this happen?”
You said, “How can this be?”
The remnant of dishonor
On the bridge of misery?
And we who cried for mercy
From the bottom of the pit
Was our prayer so damn unworthy
The sun rejected it?

So gather up the killer
Get everyone in town
Stand me by those pillars
Let me take this temple down
The king so kind and solemn
He wears a bloody crown
So stand me by that column
Let me take this temple down

[Bridge]

You said, “How could this happen?”
You said, “How can this be?
The chains are gone from heaven
The storms are wild and free.”
There’s other ways to answer
That certainly is true
Me I’m blind with death and anger
And that’s no place for you

There’s a woman in the window
There’s a bed in Tinseltown
I’ll write you when it’s over
Let me take this temple down
You said you loved her secrets
Her freedoms hid away
She was better than America
That’s what I heard her say

Popular Problems is the thirteenth studio album from Cohen and received uniformly positive reviews from critics. The album peaked at number one on the Canadian Albums Chart, selling 20,000 copies in its first week.

References:
1. Samson in New Orleans – Song Meanings
2. Theology of Leonard Cohen – Leonard Cohen Forum
3. Popular Problems – Wikipedia

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Sailing By (1995) – Sinéad Lohan

Posted on July 20, 2024 by observationblogger — 7 Comments

I have no idea how I learn’t of this song, but it’s a nice, warm and breezy tune for this rather frigid Saturday morning here in Bogota. Sailing By is a sweet dreamscape lullaby that resonates like whispers of the soul, transcending time and space. “And the trees are laden / As I sail on by,” evokes imagery of nature creating a serene yet introspective mood. The production is minimalistic, allowing Lohan’s voice and acoustic guitar to shine. Subtle touches of ambient sounds and gentle percussion enhance the song’s atmospheric feel.

Sinéad Lohan (born 1971) is an Irish singer and songwriter. A native of Cork, her song Sailing By appeared on the compilation A Woman’s Heart 2. If you remember the adorable track Only A Woman’s Heart by fellow Irish balladeer Eleanor McEvoy featured here in November last year. In 1991 Lohan began playing regular gigs at The Lobby, a music venue in Cork, and soon thereafter began recording her first album, Who Do You Think I Am, which features today’s title track.

Two by two and it’s me and you
Falling from a yellow sky
It doesn’t really matter if the coast is clear
Just as long as you’re not telling me lies

Chorus

Dreams are a kite on a windy day
Free as a boat by the pier
And I can see it’s always me
Holding her here
Holding her here

By the law of the ground my feet were bound
Made to levitate towards the core
And try as you might you just can’t fly
But the secret is to separate your mind

(Chorus)

Sitting in my chair I could be anywhere
When you turn for my reply
Did you know I could go as you watch out
From your window I’ll be sailing by

(Chorus)

Sinéad Lohan has been described as having a “folky feel” and her persona “by turns reflective, poetic and wistful.” Despite having released just albums, according to the article below ‘She was one of the “most commercially successful artists” in Ireland in the 1990s. Lohan did a tour of Ireland with Joan Baez who later recorded Lohan’s songs “No Mermaid” and “Who Do You Think I Am“. Her lyrics have been inspired by Shakespeare and Lewis Carroll and have “intense, colorful imagery“.

References:
1. Sinéad Lohan – Wikipedia

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Vivarium (2019) – Lorcan Finnegan (Friday’s Finest)

Posted on July 19, 2024 by observationblogger — 25 Comments

Just yesterday my cinefile friend Bernie at Reely Bernie and I were discussing today’s featured movie Vivarium. Like him I only ‘quasi-liked’ it after first viewing, although the premise intrigued me and lingered somewhere in the recesses. Upon subsequent viewings of Vivarium with my precocious 8 year-old daughter Katherine Rose, my opinion changed where I found it unabashedly relatable to my life and bizarrely omnipresent somehow; which is not to discount the plethora of its detractors’, hence it’s IMDB score of 5.9.

There is something in this movie which will remain with me forever like I’m stuck in it somehow and remains part of me. I hope somehow someone can rescue me from it. I will be waiting.

Vivarium is similar to other peculiar movies which create their own universe and meaning (or lack there of) à la Being John Malkovich (reviewed here in 2021) and the Norwegian movie Den Brysomme Mannen (The Bothersome Man). There will be some spoilers in my article below, so you have been forewarned in case you wanted to see Vivarium.

IMDB Storyline:
A young couple is thinking about buying their starter home. And to this end, they visit a real estate agency where they are received by a strange sales agent, who accompanies them to a new, mysterious, peculiar housing development to show them a single-family home. There they get trapped in a surreal, maze-like nightmare.

As a viewer I too could sense the claustrophobia and lack of purpose which encapsulates the protagonists’ plight and pervades their consciousness. This is a horror film, but unlike any stereotypical horror film one might be accustomed. Despite being spat into the dark recesses of a macabre labyrinth designed to subject the victims to ‘slow-burning’ psychological trauma and decay; paradoxically there is an unnerving sense of a ‘futile’ freedom in their abandonment, isolation and illusion that they can do anything they want since there is apparently no direct oversight or retributions for actions including the following:

  • burning a house down, but only to find it reemerge from the ashes the day after,
  • driving around in circles to find they always end up from where they begin, and
  • excavating their front lawn; to find this perverse (and unique) purpose fulfils the end goal of the ‘maker’ of having them dig their own grave for their impending demise. Happy days!

I found the actors, with the exception of Jessenberg (who I felt was miscast – did they require a big name?) gave very credible performances. The young boy and his adult-self felt obscenely real as ‘android’ nightmare facilitators. There are frequent scenes where Jessenberg’s character lights the tail-end of cigarettes in order to combat his stress which seems to associate the world of addiction to the harrowing confines of their maze. Also the relentless deluge of suffering through lack of purpose and meaning is so horrifyingly captured that I felt compelled to reflect on my own existence and examine whether what I am doing is aimed at indulging in self gratification and expedient dopamine hits (for however long that will last) in lieu of pursuing the ‘whole meaningful’ thing. See more here.

The universe presented in Vivarium is a ‘Hell’; one vastly distinct from the ‘Hell’ which emanates from the classic Bible telling: Gehenna is ‘Hell’ as it is translated in the new testament – Gehenna is a valley in the south – east of Jerusalem that symbolised death and destruction. It was here that child sacrifices to Moloch were performed. See the book of Kings in the old testament (2 Kings 16:3 and 21:6).
The ‘Hell’ in Vivarium seems more relatable to our current predicament living in a secular (rationalist – materialist) society largely void of classical moral and virtue teachings passed down from ancient times. This ‘Hell’ of a ghastly insignificant daily routine nestled in an existence lacking in any moral governance / guidance is as scary as anything put to us previously.

What I learnt from Vivarium besides the above, is if I found myself compelled to live with just one other person in such a ‘hell-hole’ as this movie portrays and their choice had also been stripped from them, I would be comforted in knowing it was either my daughter Katherine or my son Jesus Mateo to share it with. They have always been the angels on my shoulder, the apples of my eye and my shelter from the storm. They give me the most meaning, you see.
For further information, see ‘I Won’t Forget‘.
Thanks for reading.

References:
1. Vivarium (film) – Wikipedia
2. Vivarium (2019) – IMDB

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Limón y Sal (2006) – Julieta Venegas

Posted on July 18, 2024 by observationblogger — 2 Comments

I love you with lemon and salt
I love you just the way you are
There’s no need to change anything about you
I love you whether you are coming or going
If you’re up and down, and you’re not
Sure how you feel

The Limón y Sal (Lemon and Salt) is the refreshing but bitter twist used for a classic margarita. It is the metaphor for today’s featured track about the acceptance of a loved one; their strengths and weaknesses – “The sweet is never as sweet without the sour.“
I first heard it yesterday morning when I was browsing a local variety store (stationery, second hand CD, DVDs, books, games etc) called ‘La Gran Manzana‘ (The Big Apple). I was captivated from first-listen and I noticed the store clerks singing in unison. Naturally I asked what it was called. Limón y Sal is a marvellously whimsical and upbeat song despite the depth and sincerity of its subject matter. More over it capped off a lovely morning really, just gallivanting around without a care in the world.

Limón y sal is Julieta Venegas’ second single release from her fourth studio album with the same name. Released in Mexico and USA on August 30, 2006, it did not chart on the billboard hot Latin songs chart. Julieta Venegas is an American-born Mexican singer, songwriter, instrumentalist, and producer who specializes in pop-rock-indie music in Spanish. She took about a year to develop her album, Limón y Sal. When the first single “Me Voy,” (I’m going) a Ranchera/Pop song, was released in March 2006, it quickly rose in popularity, transcending distance and language barriers as it was performed in English, Italian and Spanish.

After a single week, Limón y Sal received a platinum for 100 thousand records in Mexico and more golds for selling 50 thousand copies in both Spain and the United States. A few days later, the album received another gold record for more than 50 thousand copies in Italy.
A total of 4 singles were released. At the same time, she paid tribute to Andrés Calamaro, one of my favourite Latin American music artists, with “Sin Documentos.”

More music will feature here from Julieta Venegas including the aforementioned song Me Voy. Below you can find the official music video of Limón y Sal where Julieta meets a werewolf, and both fall for each other. The video below that is the version translated into English.

An English translation follows:

[Verse 1]
I have to confess that sometimes
I don’t like your way of being
Then you disappear from me
And I don’t really understand why

[Verse 2]
You don’t say anything romantic
When the sunset arrives
You act strangely
With each full moon every month

[Pre-Chorus]
But apart from that
The good that you give me wins me over
Just to have you close
I feel like I’m starting over

[Chorus]
I love you with lemon and salt
I love you just the way you are
There’s no need to change anything about you
I love you whether you are coming or going
If you’re up and down, and you’re not
Sure how you feel

[Verse 3]
I have to confess to you now
I never believed in happiness
Sometimes it looks a bit like it
But it’s pure coincidence

[Pre-Chorus]
Then I come to find myself
With your eyes they give me something else
Just having you close
I feel like I’m starting over

[Chorus] x 2

[Outro]
Just having you close
I feel like I’m starting over

References:
1. Limón y Sal – Wikipedia
2. Limón y sal (song) – Wikipedia

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Safety Haven (2003) – David Bridie

Posted on July 16, 2024 by observationblogger — 5 Comments

The shock of the new seeking asylum
Safety haven some place with you

Safety Haven appears a ‘mellower’ and more reflective sister-song to David Bridie’s audacious protest song Nation (Of the Heartless Kind). They refer to the plights of undocumented refugees seeking asylum in Australia which culminated in the Tampa Affair 20 years ago. This is the sixth song to appear from Bridie’s obscenely underrated Hotel Radio record. It’s almost certain you haven’t heard of this 2003 record unless you had read my previous song articles. There isn’t even a wiki page about Hotel Radio, but it remains one of my most cherished Australian records by my favourite Australian singer – songwriter.
David Bridie as both a solo act; and founder, composer and front man of the group My Friend the Chocolate Cake is one of the prevalent artists to appear in my blog. I saw him Live on numerous occasions and spoke to him in person in between sets.

According to Bridie’s own web site – the album (Hotel Radio) radiates a sensual summer’s warmth with an expansive sense of mystery that delved even further into the art form of sonic texture.
Safety Haven also emits this breezy atmospheric sound which pervades most of the record. Bridie is a distiller of profound mood and ambience having worked on soundtracks for Australian films and television. According to his wiki-page: Bridie lived in the inner North suburbs of Melbourne including Northcote where I also lived from 2005 – 2009. In 2021 he moved to an off-grid property close to the Otway National Park on Victoria’s Shipwreck Coast.

While my ‘politics’ now may not be so compatible with Bridie’s here or in other messages he has asserted, I sure as heck can’t help but feel swayed and moved by his music and the contextual moods and images which penetrate my senses. I do not consider today’s featured track Safety Haven one of the hallmarks from his record such as the title track, On a Day Like This or Tender Trap but I still find it very pleasing on the ear and how it feels around me. I hope you like it.

Lose the comfort, falling backwards
That’s so easy, it just leads me to the place I know
My asylum, safety haven, it’s a cushion
It cushions me from feeling this way
Let’s go travelling, every nation
Fill our heads up… with all these hits and memories
I’ve been looking only for the good in people
Every reason, for every reason for the things they do

(Chorus)
The shock of the new seeking asylum
Safety haven some place with you

I’ve been searching
Some place dripping with great beauty
You can find it with me that’s all I ask

(Chorus)

Reference:
1. David Bridie – Wikipedia

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Saddened Sick (2023) – Chief Springs

Posted on July 15, 2024 by observationblogger — 4 Comments

Almost a year ago I presented a sublime song from UK group Chief Springs called Elastic which remains one of my favourite tracks released last year. I was turned onto this group from my blogger friend Jeff at Eclectic Music Lover. I am drawn to Josh Coyne’s deeply rich and alluring vocals in these EP released tracks. Another song from their 2023 EP I like is today’s featured track Saddened Sick.

Below are some extracts from Jeff’s article: CHIEF SPRINGS – EP Review: “Time to Take Time”:

Today I bring you a fourth – Chief Springs, a fine indie rock band based in Leicester and London. Originally formed in 2018 as a two-piece by Josh Coyne and Scott Dillon, they eventually grew to become a five-piece with the addition of Sam Crosby-Browne, Dale Bradfield and Tommy Jordan. Together, they make a pleasing style of melodic rock fashioned with elements of alternative, post-rock, and dream pop, and featuring lush guitars, beautiful arrangements, intelligent lyrics and Josh’s vibrant baritone vocals….

The topically relevant “Saddened Sick” calls out those who aim to control or interfere with our bodily autonomy, telling us what we can or cannot do with our lives: “Who makes the call for someone else? Now how am I supposed to believe that these are your decisions to make? And where do we begin, the hope is where it lives. Original sin, but you couldn’t write it if you tried.” The crisp percussion and jangly guitars are simply wonderful, and Josh and Courtney’s harmonies sublime.

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Sad Song (2011) – Christina Perri

Posted on July 14, 2024 by observationblogger — 4 Comments

My 14 year-old eldest Jesus Mateo had his first night out alone last week celebrating the 15 year old birthday of a female colleague of his class. This ‘fiesta de quince años‘ has Catholic religious orientation in countries such as Mexico and Colombia. It is a custom where a teenager is introduced to society in Latin American countries and originates from the great pre-Columbian cultures of Mexico (Aztecs and Mayans) who performed puberty rites to indicate the entrance to adult life.
My son had a stupendous time dancing to Salsa, Bachata, & Merengue music, eating ice cream and drinking ritzy cocktails (kid friendly). Jesus said he had thought of me (knowing what a huge fan I am of her music) when they played Christina Perri’s A Thousand Years during the father’s birthday speech to his daughter.

To me Christina Perri is the gift that keeps on giving. Her music seems to pop up everywhere and in the most unlikely of places. Only a few days ago I uncovered a Perri trilogy singing A Thousand Years, Jar of Hearts and Human in front of the PS22 school choir. That gave me chills all over my body.

Christina Perri needs no introduction here since she is my favourite contemporary female singer-songwriter and has featured here more times than I have had hot dinners. So she is back yet again with today’s featured track – a lovely little ballad from her 2011 debut album Lovestrong called Sad Song. While Sad Song may not reach the lyrical preeminence and melodic heights of Jar of Hearts or Evergone, it is still Perri – the queen of emotional ballads creating a symphony of sorrow and turning me into a blubbering mess.

Today I’m gonna write a sad song
Gonna make it really long
So that everyone can see, that I’m very unhappy

I wish I wasn’t always wrong
I wish it wasn’t always my fault
The finger that you’re pointing has knocked me on my knees
And all you need to know is…

“I’m so sorry”
It’s not like me
It’s maturity that I’m lacking
So don’t, don’t let me go
Just let me know
That growing up goes slow

I wonder what my mom and dad would say
If I told them that I cry each day
And it’s hard enough to live so far away

I wish I wasn’t always cold
I wish I wasn’t always alone
When the party is over, how will I get home?
And all you need to know is…

Chorus

If all the rules were meant to bend
And you swore you were my friend
Now I have to start all over again
Cause no one’s going to take your place
And I’m scared I’ll never save all the pieces of love we made

Chorus

Sad Song delves into the raw, unfiltered emotions that accompany the end of a significant relationship. It’s a lament, a tribute to love lost, and a cathartic release for anyone who has had to say goodbye to someone they once held dear.

References:
1. Lovestrong – Wikipedia

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