Bluebell Wood (2023) – Frank Joshua

Frank Joshua

I first heard Bluebell Wood by UK artist Frank Joshua when it featured at Eclectic Music Lover. According to various interviews on his personal web site this intriguing singer songwriter doesn’t use his face or image, for promotion which is unusual in the social media age. He prefers to let the music create the buzz and not the face.

I think I realised a few years ago that social media took over everything that we became so hyper aware of characters and personalities more than the content they were creating. I think it was Beyonce who said a little while ago. You really didn’t know what Nina Simone looked like, but now you know what an artist had for breakfast and what they feel about abortion. Things like that, before you get to listen to their music…

Frank Joshua started playing in bands and writing songs at school when he was 16 in Reading. He stated that he didn’t mean for it become a career but it kept coming back to him whenever he tried to leave it alone. At 18 he moved to London to do the whole music scene. He was influenced by the likes of Stevie Wonder, Prince, The Beatles and David Bowie.

‘I’m not afraid to jump genres and work in a counter-intuitive way with remixers and collaborators.  I work up from the song each time, which feels like an old-fashioned way of doing things, but it works for me.

When you are doing the actual writing part, the real trick is to get out of your own way’.

I consider Bluebell Wood a fantastic piece of Pop. I especially love how a warm, breezy state envelopes me when Frank sings the following:

Kipinging on a mountain top,
Skipping down to Bluebell Wood
I saw you,

Flowers in your hair
Laid open to a clear blue sky
and
Holding close as clouds go by
I wonder,

Is Bluebell Wood really there?

Regarding Bluebell Wood, Frank Joshua said:

I’m such a fan of the pop song. It’s the thing I’m drawn to whatever I’m listening to. The lyric comes from the uncertainty of new love and the anxiety of not knowing quite where the other person is at and the concern that what you feel might not be reciprocated.

So if I asked and really really meant it
Not that I wouldn’t but not that I do
And if I said it like I wasn’t joking
Jokes apart,

what would you do?

Just suppose you do the asking
Just for a laugh but not just for fun
And if you said it like you really meant it
What would I do,

not that I’m jumping the gun

We could talk about the weather
Pretend we hadn’t heard
Talk about the nicest things
The nicest things

that might not get us hurt

Kipinging on a mountain top,
Skipping down to Bluebell Wood
I saw you,

Flowers in your hair
Laid open to a clear blue sky
and
Holding close as clouds go by
I wonder,

Is Bluebell Wood really there?

Guess we got most of what we asked for
Guess we got more than most
More than enough might be too greedy
So maybe not to ask is best

For more information from Frank Joshua I point you to the insightful interview in the third reference below. Here are some of the Press’ feedback to his music:
A timeless universe of melodic pop” – Rock Era Magazine
So hooky and addictive it’s crazy” – Sound Won’t Stop
Beautiful and timeless” – Pop Magazine
Sophisticated, opinionated, and authentic” – Making a Scene

Frank Joshua also remarked, ‘We spend a lot of time producing music videos that I think are also quite interesting and challenging. We try and use imagery that both represent the song and provokes people to think..‘ The music video below was directed by Diego Monfredini and inspired by the animations of Wladyslaw Starewicz from the 1930s.

References:
1. Fresh New Tracks, Vol. 23 – Frank Joshua, Ryan Redwood, Scoopski – Eclectic Music Lover
2. Frank Joshua
3. The Music Series: Frank Joshua audio interview – The Sunday Night Army

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Precious Angel (1979) – Bob Dylan

Today’s song Precious Angel along with Gotta Serve Somebody and my previous entry I Believe in You are my favourite songs from the album which marked Dylan’s conversion to Christianity called Slow Train Coming. I remember in my second year on Exped at Sea listening to these songs ad nauseam. You might think I had grown tired of them over the years after the hundreds of listens. I even tried Dylanholics Anonymous. Nope, didn’t work. The music somehow seems ‘reborn’ upon each listen and lyrically it does as well, but I think a large part for why ‘musically’ it resonates so profoundly is in large part due Mark Knopfler’s wonderful contribution as lead guitarist on this record. I’m not alone in that view: Authors Oliver Keys and John Nogowski particularly praise the guitar playing of Mark Knopfler on the song.

The single from the record Gotta Serve Somebody became his first hit in three years, winning Dylan the inaugural Grammy Award for Best Male Rock Vocal Performance. I remember Nick Cave professing he got into music because of that song.

On November 17, 1978, while playing a gig in San Diego, an audience member apparently threw a small silver cross onto the stage, and [Bob] Dylan felt impelled to pick it up and put it into his pocket. The following night, in Tucson, Arizona, he was feeling even worse and reached into his pocket, pulled out the cross, and put it on. That night, while stuck inside his hotel room, he apparently experienced the overwhelming presence of Jesus whose power and majesty he’d heard about through his girlfriends Helena Springs and Mary Alice Artes, in addition to his recently converted band mates Steven Soles, David Mansfield, and T- Bone Burrnett. It was Artes, though, who seems to have influenced him the most. She had recommitted herself to the Christianity of her youth through a Church in Tarzana, California, called the Vineyard Christian Fellowship, which Dylan soon joined

The year Bob Dylan was born again: a timeline – Oxford University Press

After Dylan made the sudden religious conversation to a Christian believer despite his Jewish hereditary, he poured out lyrics which expressed his new found devotion. He then went on to do a trilogy of records to ratify and prophetize ‘the word’ based on his newly held beliefs, namely Slow Training Coming, Saved and Shot of Love. Many songs have already appeared here from these three records, but my stand-out from the three was the bootleg Every Grain of Sand which featured on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. Not unlike what occurred when he went electric on his 66′ world tour with The Band, Dylan was often booed and derided by audiences in concerts when he went all ‘preachy’ with monologues before and during the sets.

I have always found today’s featured track Precious Angel a companion piece of his scantily known Covenant Women song from the follow up record Saved. Both seem dedicated to a woman who he was indebted and devoted to for helping him forge an unrequited love and faith in Christ. At a concert in Seattle on January 14, 1980, Dylan claimed that the song is addressed to the woman who brought him to Christianity.

The covenant is a bond, a promise, a link of overwhelming significance. Put into the context of this song a covenant between a man and a woman is a bond between a couple who not only love each other but also share a belief that there is a God, and the Bible represents His teachings. So it is a triangle – the man, the woman, the teaching of Christ.

[Verse 1]
Precious angel
Under the sun
How was I to know
You’d be the one
To show me I was blinded
To show me I was gone
How weak was the foundation
I was standing upon?

Now there’s spiritual warfare
And flesh and blood breaking down
You either got faith or you got unbelief
And there is no neutral ground
The enemy is subtle
How be it we are so deceived
When the truth’s in our hearts
And we still don’t believe?

[Chorus]
Shine your light, shine your light on me
Shine your light, shine your light on me
Shine your light, shine your light on me
You know I just couldn’t make it by myself
I’m a little too blind to see
(read the remainder here)

According to the Wikipedia article below: The lyrics contain many biblical references. The theme of the song seems to be taken from 2 Corinthians 4:4 to 4:6, in which the light of Christ is contrasted with the darkness faced by those deluded by the devil. The line “Now there’s spiritual warfare, flesh and blood breaking down” appears to be a reflection of another verse from 2 Corinthians (10:3) which states “For though we walk in the flesh, we do not war after the flesh“. The line in the chorus about blindness appears to be influenced by a passage from the Gospel of John in which the blind man healed by Jesus proclaims that “Whereas I was blind, now I can see“.

References:
1. Slow Train Coming – wikipedia
2. Precious Angel – Wikipedia
3. Precious Angel: an enigma inside a seemingly straightforward Bob Dylan song – Untold Dylan

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None But the Brave (1983) – Bruce Springsteen

For most other artists, today’s featured track None But the Brave would be their best song. For Bruce Springsteen it’s an outtake, kept in the vault for years. I was surprised to read how early this was recorded. I assumed it was a 90’s or 2000’s track. It just plain sounds like modern Bruce. His voice clearly carries his age and a certain world-weariness that characterized the heavy subject matter of Rising-era recordings.

This song is fantastic, and for that reason many fans feel it should have been on Born in the USA. But does it thematically/musically fit that record? None But the Brave is heartfelt and heartbreaking, and it captures the E Street Band sound at perhaps the peak of its powers. None But the Brave is the second bonus outtake to appear here from The Essential Bruce Springsteen record released in 2003 after the previous entry County Fair.

Tonight down on Union Street
I’m thinking back baby to you and me
The way you used to be
Your words come back to me
From passing cars
Voices sing out
And empty bars
Where guitars ring out
We’d walk and talk about
Who’d be the ones to get out

You said
None but the brave
No one baby but the brave
Those strong enough to save
Something from what they gave

None but the brave
No one baby but the brave

In my dreams these nights I see you my friend
The way you looked back then
On a night like this
I know that girl no longer exists
Except for a moment in some stranger’s eyes
Or in the nameless girls in cars rushing by
That’s where I find you tonight
And in my heart you still survive
(read the remainder here)

None But the Brave made its live debut shortly after its album releases, at Bruce’s Asbury Park holiday shows in December 2003. The first E Street Band performance was more than four years later, in Vancouver on the Magic tour. Apart from today’s track, there are some seriously good songs left off the Born in the USA album including: Pink Cadillac, Johnny Bye & Shut out the Light.
None But the Brave finds Bruce nostalgically looking back on days spent with a lost love. This makes it something of a companion piece to “Point Blank” from The River, and in the July 1983 Born in the U.S.A. sequence, it was slotted as the third song on Side One. Ultimately, it wouldn’t see an official release until 2003, and it’s been played live a scant six times.

References:
1. Roll of the Dice: None But the Brave – E Street Shuffle
2. 10 Amazing Songs Bruce Springsteen Cut From ‘Born in the U.S.A.’ – Rolling Stone

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Riley Gaines – Female Competitive Swimmer Talking About the Inclusion of Biological Male (born) Competitors in her Sport (Joe Rogan Podcast)

Below is a caption from about 15 minutes where Riley talks about seeing what appears a 6,4 tall swimmer with a bulge in his pants in the 100 meter sprint:

Before we get to that I just want to say the following (I may have the trans-correct term incorrect):

What amazes me above anything else is how a Transgender person can compete against athletes who they know are not biological men which they themselves were born as, and somehow do it as though it were fair ball. That cowardliness and ignorance in their belief that they transcend the rights of athletes born into the sport based on their biological marker is unfathomable. What gives someone with that irreconcilable mindset to think that’s ok ? That’s sick. We have to call it out for what it is.

Riley said, ‘As female athletes, we are applauding our own erasure, our own demolition….I thought a coach would say something. I thought some other swimmer. Someone with political power, someone within the NCAA. Quite honestly I thought someone’s Dad would come down there and yank this man out of our locker rooms’.

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Fire and Rain (1970) – James Taylor

In September, 2019, for Friday’s Finest I presented an article about a Sidney Lumet’s film called Running on Empty which showcases a stellar performance by River Phoenix in the prime of his youth. One of my favourite scenes in the movie is where Phoenix’s character and his family launch into their homespun version of James Taylor ‘Fire and Rain‘ (see the end of this post). To me today’s featured song feels more akin to a spiritual hymn; or a music sanctuary that draws me back down the road from whence I came. The duality in the feelings it elicits between ‘somber’ and ‘joyful’ has always resonated in me. Songs like Fire and Rain ordinarily don’t just appear out of thin air, but this one feels like it did in its tranquil, timeless and seamless condition. As a listener I’m grateful for that.

[Verse 1]
Just yesterday morning, they let me know you were gone
Suzanne, the plans they made put an end to you
I walked out this morning and I wrote down this song
I just can’t remember who to send it to

[Chorus]
I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you again

[Verse 2]
Won’t you look down upon me, Jesus
You’ve got to help me make a stand
You’ve just got to see me through another day
My body’s aching and my time is at hand
And I won’t make it any other way

James Taylor explained the song in an interview with David Mikkelson this way:

Fire and Rain has three verses. The first verse is about my reactions to the death of a friend. The second verse is about my arrival in this country with a monkey on my back, and [Won’t you look down upon me,] Jesus is an expression of my desperation in trying to get through the time when my body was aching and the time was at hand when I had to do it. The third verse of that song refers to my recuperation [beating the heroin addiction] in Austen Riggs which lasted about five months.”

The “Flying Machine in pieces on the ground” is a reference to the depression he’d been in about the demise of his band, The Flying Machine.

Fire and Rain was released in August 1970 as the second single from Taylor’s second studio album, Sweet Baby James. As expressed above the song follows Taylor’s reaction to the suicide of Suzanne Schnerr, a childhood friend, and his experiences with drug addiction and fame. After its release, Fire and Rain peaked at number two on Canada Top Singles chart and at number three on the Billboard Hot 100.

References:
1. Fire and Rain (song) – Wikipedia

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Flight of the Bumble Bee (1900) – Rymsky Korsakov

I presented Flight of the Bumble Bee (possibly the most recognisable classical piece in popular culture) in my post about the Australian movie Shine. That movie is based on the life of piano genius David Helfgott, a child prodigy whose schizo-affective disorder manifested in young adulthood, which eventually caused a mental breakdown. He spent years in an institution before making an unlikely recovery. His re-emergence below as a much older man (played by Geoffrey Rush who won the gong) playing Flight of the Bumblebee in a local restaurant will forever be etched in my memory.

At the Academy Awards ceremony, the real-life Helfgott received a standing ovation for a fevered rendition of the same famous piece.

Flight of the Bumblebee is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900.

All I see is a row of violinists playing this and one by one they keep falling down out of exhaustion, and the other violinists still playing start to sweat and watch their dying friends with the corner of their eyes. All this while the conductor is shaking his arms violently and is completely dissociative.

– Shamsher1171

Nikolai Andreyevich Rimsky-Korsakov was a Russian composer, a member of the group of composers known as The Five. He was a master of orchestration. He is thought of as developing a nationalistic style of classical music. Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods and further enriched by his exposure to the works of Richard Wagner.

References:
1. Shine (film) – Wikipedia
2. Flight of the Bumblebee – Wikipedia

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The AnkiDroid Collection (Part 55) – Psilocybin, Impiety & Dyadic

Ankidroid additions related to Science, History and Philosophy. More information about Anki can be found in this article.

Psilocybin

Psilocybin is the active hallucinogenic compound in magic mushrooms. It has a long history of use in Mesomerica in religious and spiritual rituals (Mayan and Aztec cultures).
Just 15 hours ago appeared this news story – A Missouri House committee has unanimously approved a bill to legalize the medical use of psilocybin by military veterans.

Impiety

Impiety refers to disrespect for the sacred, lacking in reverence or proper respect toward the supreme being, wickedness. For example, visitors are advised not to wear shorts or tank tops when touring certain churches and cathedrals in Europe, because doing so is viewed as impiety by those who worship there.
From an Old French impieté “impiety, wickedness” (12c.) or directly from Latin impietatem.

Dyadic

Dyadic in sociology is a term which represents the group of two people. For example Dyadic communication refers to two people engaged in conversation. Or the counterpoint of the voice against voice conception of polyphony – which is a style of music composition employing two or more simultaneous, but relatively independent melodic sounds. 
“The number two, two units treated as one,”. Origen: 1670s, from Latin dyad-, stem of dyas, from Greek dyas “the number two, a group of two,”.

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Gracias Amor – Matecaña Orquesta (written by Fernando Tigreros)

The farewell of a gentleman; for a lady, without resentment or malice, as it should be, ending in the best way with gratitude and affectionate memories of a love that’s passed; this is poetry, because this is how it is…… Salsa, from Colombia’s Salsa capital Cali (see image inset). Today’s featured track ‘Gracias Amor‘ (Thank you Love) won’t disappoint listeners who enjoy ‘Salsa Romántica’. When I listen to this song it transports me to nostalgic moments and reflections on past relationships. Colombian Fernando Tigreros, the voice below of Orquesta Matecaña expresses a profound attachment and desire that his past love will attain personal and relational growth and well-being moving forward.

Fernando Tigreros founded the salsa band in the company of Harold Herrera and Neiver Calero in 1990. The group shone with works such as ‘Con sabor a Matecaña’, ‘Se morirá el amor’, ‘Gracias amor’, ‘Quisiera callar’, ‘Cali calor’ y ‘Vientico Grosero’. Fernando Tigreros said in a 2019 interview here: “We started singing romantic salsa in Cali, but the phenomenon of renovation arose with many artists, so at that time our record company proposed to us to make a leap to ‘tropical‘ (music), and we took the risk and obtained better results.”

A raw English translation of a large segment of Gracias Amor follows:

Thank you very much heart
For what you once were
For all the time enjoyed
And for your sincerity

You knew how to understand me
and you filled me with love
That’s why I will always love you
Although ours is over
I pray to God that you do not suffer torment
And may happiness always reign in you

Thank you love for the beautiful moments
May God make your dreams come true
And although I know that ours is past
I will never forget you
Because I was so happy

Thank you love and even if time passes
The memory will live forever
Thank you love for your immense affection
All that was so beautiful
I’ll never forget

May you find someone on your path
May that you know how to love
May he never play or do you harm
to your good heart
And you will always have a good friend in me
And forever you can
Count on me

Tigreros mentioned in a 2022 interview that in the year previous he had to say goodbye to Matecaña, the group he was a part for 30 years due to the Quarantine restrictions of the Pandemia. He looked for new options abroad and decided to travel to the United States, where he faced an unexpected reality far from what I had in mind. “The money wasn’t coming in, you’re starting to run out of your savings. Now you start selling one thing, the other, the car, that’s when I started to feel a little perturbed“. According to the salsa artist, he worked as a house cleaner and held various jobs to receive an income. ‘For me music is my life, my passion‘.

References:
1. La historia detrás de la orquesta de salsa Matecaña – Wradio
2. Fernando Tigreros, voz de Orquesta Matecaña, pasó difícil momento y trabajó en oficios varios en Estados Unidos – Semana

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Honky Tonk Women (1969)- The Rolling Stones

There are familiar electric, riff-based hit singles, then there is This ONE. Honky Tonk Women was described by Rolling Stone magazine as ‘likely the strongest three minutes of rock and roll yet released in 1969‘. It is distinctive as it opens not with a guitar riff but with a beat played on a cowbell. This is the third song by The Rolling Stones to be presented here and their second from 1969 after Gimme Shelter. Most of the information in this article is cherry-picked from the Wikipedia reference below since I know diddly squat about the goings-on of The Rolling Stones, but if you would like to read a more astute and ‘fly on the wall’ interpretation by a passionate connoisseur of their music, then I point you to Max’s article at his PowerPop blog that includes this bitty:

When the Stones finished this recording on June 8, 1969…they drove to Brian Jones’s house to fire him. By this time he was trying to get himself clean of drugs and actually was getting better. He also had an arrest on his record that would stop the Stones from touring at the time. He started to record demos on his own and other people have said that it sounded like Creedence Clearwater Revival and that style. He would die on July 3, 1969, from drowning in his pool under a lot of controversy that still is questioned to this day.

There are two versions of the song recorded by the band. The most commonly known version Honky Tonk Women is an electric, blues-rock version (recorded in June 1969) of Country Honk, a country version (recorded in March 1969). The latter was released on their album Let it Bleed. It was written by the Mick Jagger and Keith Richards during their December 1968 jaunt to Brazil to charge their batteries after months of intense work.  The song topped the charts in both nations in both the UK and the US and was inducted into the Grammy Hall of Fame.

[Verse 1]
I met a gin-soaked barroom queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across her shoulder
‘Cause I just can’t seem to drink you off my mind

[Chorus]
It’s the honky tonk women
That gimme, gimme, gimme the honky tonk blues

[Verse 2]
I laid a divorcee in New York City
I had to put up some kind of a fight
The lady then she covered me in roses
She blew my nose and then she blew my mind

[Verse 3]
Strollin’ on the boulevards of Paris
Naked as the day that I will die
The sailors, they’re so charming there in Paris
But I just don’t seem to sail you off my mind

Honky Tonk Women was inspired by Brazilian caipiras (inhabitants of rural, remote areas of parts of Brazil) at the ranch where Jagger and Richards were staying in Matão, São Paulo – so it’s said. However, thematically, a “honky tonk woman” refers to a dancing girl in a western bar; the setting for the narrative in the first verse of the rock-and-roll version is Memphis, Tennessee: “I met a gin soaked bar-room queen in Memphis“, while “Country Honk” sets the first verse in Jackson, Mississippi: “I’m sittin’ in a bar, tipplin’ a jar in Jackson“.

Keith Richards credits new arrival Mick Taylor (English guitarist) for influencing the track: “… the song was originally written as a real Hank Williams/Jimmie Rodgers/1930s country song. And it got turned around to this other thing by Mick Taylor, who got into a completely different feel, throwing it off the wall another way.” However, in 1979 Taylor recalled it this way: “I definitely added something to Honky Tonk Women, but it was more or less complete by the time I arrived and did my overdubs.”

Reference:
1. Honky Tonk Women – Wikipedia

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I Can’t Forget (1988) – Leonard Cohen

I can’t forget that I miss you Leonard…

Leonard Cohen’s 1988 album I’m Your Man is a magnificent album. I would highly recommend anyone unfamiliar with Leonard’s music to try it on for size because it bottles everything he is so damn good at: like romance, poetry and devotional music – It’s is all here, and he’s at the peak of his powers doing it. I’m Your Man was hailed by critics as a return to form and went silver in the UK and gold in Canada. In the original Rolling Stone review, David Browne called it “the first Cohen album that can be listened to during the daylight hours.” Tom Waits named it one of his favourite albums.

Today’s featured track I Can’t Forget is the third song to be presented here from the album after the previous entry – Everybody Knows. This song would make it into my music library project based on its Chorus alone:

And I can’t forget (I can’t forget)
I can’t forget (I can’t forget)
I can’t forget but I don’t remember what


In contrast to nearly all other artists who I present here, when I present a Leonard Cohen song, I typically relay all of his lyrics or rather ‘poetry’ because it would feel like sacrilege to not present it in its entirety. Unlike Bob Dylan who I would class first and foremost a singer-songwriter I would label Leonard Cohen as principally a ‘Poet’. He could recite these lyrics without music and I would still read or listen to them.

I Can’t Forget draws upon a a relationship; an echo of someone, a memory which drew Leonard here. He prefers to revisit the feelings which memories of love, sex and emotion elicit. This act of remembering, not so much a specific relationship, but of memories more generally, even if he’s unsure of what they exactly are. Time has taken its toll and as Cohen looks at his older unfit-for-the-“struggle” self, he realizes he is no longer what he sees in the mirror. He has been left behind, somewhere. All he is now are the memories. He can’t point to any one of them (“I can’t remember what”) but at the same time he could never “forget”.

[Verse 1]
I stumbled out of bed
I got ready for the struggle
I smoked a cigarette
And I tightened up my gut
I said this can’t be me
Must be my double

[Chorus]
And I can’t forget (I can’t forget)
I can’t forget (I can’t forget)
I can’t forget but I don’t remember what

[Verse 2]
I’m burning up the road
I’m heading down to Phoenix
I got this old address
Of someone that I knew
It was high and fine and free
Ah, you should have seen us

[Chorus]
And I can’t forget (I can’t forget)
I can’t forget (I can’t forget)
I can’t forget but I don’t remember who

[Bridge]
I’ll be there today
With a big bouquet of cactus
I got this rig that runs on memories
And I promise, cross my heart
They’ll never catch us
But if they do, just tell them it was me

[Verse 3]
Yeah I loved you all my life
And that’s how I want to end it
The summer’s almost gone
The winter’s tuning up
Yeah, the summer’s gone
But a lot goes on forever

[Chorus]
And I can’t forget (I can’t forget)
I can’t forget (I can’t forget)
I can’t forget but I don’t remember what

References:
1. I’m Your Man (Leonard Cohen album) – Wikipedia

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