Alright, Alright. It\u2019s been a few months since this album came out. I\u2019ve let it sit and marinate, I\u2019ve listened and re-listened, I\u2019ve taken breaks, and I\u2019ve watched DOZENS of reactions. I have ALOT to say, obviously, BUT we\u2019re breaking it down into pieces, so I don\u2019t go tooooo crazy. <\/p>\n\n\n\n
INTRODUCING COWBOY CARTER<\/p>\n\n\n\n
We have BOOKOOS of information, from QUEEN B herself, on the inspiration and genesis of this album. It all started in 2016 at the CMA\u2019s. The Queen performed with \u201cThe Chicks\u201d (who have already been ostracized from the country music community in the past) a duet of her song \u201cDaddy Lessons\u201d. The performance was ELECTRIC\u2014the vocals, the vibe, the band ALL OF IT\u2026.. well except one thing\u2026 the audience. Lets just leave it at \u201cdisgruntled\u201d men in country music were all on live camera. (Its givinggggg how dare she be on this stage and better than I\u2019ll ever be) <\/p>\n\n\n\n
ANYWAY<\/p>\n\n\n\n
Beyonc\u00e9 is a LOVER and STUDENT of music, and it is displayed throughout the album with the many artistic choices she made. She is also, graciously, playing musical historian to teach (but mostly REMIND) the people of a few things. <\/p>\n\n\n\n
This is not a country album this is a BEYONC\u00c9 ALBUM.<\/p>\n\n\n\n
American Requiem: INTRO<\/strong><\/p>\n\n\n\n We have learned to EXPECT an impactful opener from B. ESPECIALLY following \u201cIM THAT GIRL\u201d from Act 1. This opener meets the bar she continuously sets. THIS SONG IS A DIRECT RESPONSE TO THE CMA\u2019S. It is also a clarification and declaration by her to ALL the peoples\u2019 thoughts about her choice to release a \u201ccountry-inspired\u201d album. <\/p>\n\n\n\n AMERICAN REQUIEM: LYRICS <\/strong><\/p>\n\n\n\n [Intro]<\/p>\n\n\n\n Nothin’ really ends<\/p>\n\n\n\n For things to stay the same, they have to change again<\/p>\n\n\n\n Hello, my old friend<\/p>\n\n\n\n You change your name, but not the ways you play pretend<\/p>\n\n\n\n American Requiem<\/em><\/p>\n\n\n\n Them big ideas (Yeah), are buried here (Yeah)<\/p>\n\n\n\n Amen<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n It’s a lot of talkin’ goin’ on<\/strong><\/p>\n\n\n\n While I sing my song<\/strong><\/p>\n\n\n\n Can you hear me?<\/strong><\/p>\n\n\n\n I said, “Do you hear me?”<\/strong><\/p>\n\n\n\n [Pre-Chorus]<\/p>\n\n\n\n Looka there, looka there now<\/p>\n\n\n\n Looka there, looka there<\/p>\n\n\n\n Looka-looka, looka there, looka there<\/p>\n\n\n\n Looka-looka, looka there, looka there<\/p>\n\n\n\n Looka-looka, looka there, looka there (Oh)<\/p>\n\n\n\n Looka-looka, looka there, looka there (Yeah)<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n It’s a lotta chatter in here<\/p>\n\n\n\n But let me make myself clear (Oh)<\/p>\n\n\n\n Can you hear me? (Huh)<\/p>\n\n\n\n Or do you fear me?<\/strong> (Ow)<\/em><\/p>\n\n\n\n [Verse 1]<\/p>\n\n\n\n Can we stand for something?<\/p>\n\n\n\n Now is the time to face the wind (Ow)<\/em><\/p>\n\n\n\n Coming in peace and love, y’all<\/p>\n\n\n\n Oh, a lot of takin’ up space<\/strong><\/p>\n\n\n\n Salty tears beyond my gaze<\/p>\n\n\n\n Can you stand me?<\/p>\n\n\n\n (Can you stand me? Can you stand me? Can you stand me?)<\/p>\n\n\n\n Ooh, ah<\/p>\n\n\n\n Can we stand?<\/p>\n\n\n\n (Can you stand me? Can you stand me? Can you stand me?<\/p>\n\n\n\n Can you stand me? Can you stand me? Can you stand me?)<\/p>\n\n\n\n Can you stand with me?<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Can we stand for something?<\/strong><\/p>\n\n\n\n Now is the time to face the wind<\/strong><\/p>\n\n\n\n Now ain’t the time to pretend<\/strong><\/p>\n\n\n\n Now is the time to let love in<\/strong><\/p>\n\n\n\n [Bridge]<\/p>\n\n\n\n Thinkin’ to myself (Thinkin’ to myself)<\/p>\n\n\n\n Oh, it’s a lot of talkin’ goin’ on (Oh)<\/p>\n\n\n\n While I sing my song (Yeah)<\/p>\n\n\n\n Do you hear me when I say?<\/p>\n\n\n\n Do you hear me when I say? Ah<\/p>\n\n\n\n [Pre-Chorus]<\/p>\n\n\n\n Looka there, looka there<\/em><\/p>\n\n\n\n Looka, look<\/em><\/p>\n\n\n\n Looka-looka-looka-looka-looka<\/em><\/p>\n\n\n\n Looka-looka there, looka there<\/em><\/p>\n\n\n\n L-l-l-l-l-l-l-l-l-l-looka there<\/em><\/p>\n\n\n\n Oh, looka there, looka there<\/em><\/p>\n\n\n\n Looka there, looka there<\/em><\/p>\n\n\n\n (Can you stand me? Can you stand me? Can you stand me?)<\/p>\n\n\n\n L-L-L-L-L-L-L-L-L-L-L<\/em><\/p>\n\n\n\n (Can you stand me? Can you stand me? Can you stand me?)<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Can we stand for something?<\/p>\n\n\n\n Now is the time to face the wind (Now is the time to face the wind)<\/p>\n\n\n\n Now ain’t the time to pretend<\/p>\n\n\n\n Now is the time to let love in (To let love in)<\/p>\n\n\n\n Together, can we stand?<\/p>\n\n\n\n [Verse 2]<\/p>\n\n\n\n Looka there, looka in my hand<\/em><\/p>\n\n\n\n The grandbaby of a moonshine man<\/em><\/strong><\/p>\n\n\n\n Gadsden, Alabama<\/em><\/p>\n\n\n\n Got folk down in Galveston, rooted in Louisiana<\/em><\/p>\n\n\n\n Used to say I spoke too country<\/em><\/strong><\/p>\n\n\n\n And the rejection came, said I wasn’t country ‘nough<\/em><\/strong><\/p>\n\n\n\n Said I wouldn’t saddle up, but<\/em><\/strong><\/p>\n\n\n\n If that ain’t country, tell me what is?<\/em><\/strong><\/p>\n\n\n\n Plant my bare feet on solid ground for years<\/em><\/strong><\/p>\n\n\n\n They don’t, don’t know how hard I had to fight for this<\/em><\/strong><\/p>\n\n\n\n When I sang my song<\/em><\/strong><\/p>\n\n\n\n [Outro]<\/p>\n\n\n\n (When I sang the song of Abraham)<\/p>\n\n\n\n (When the angels guide and take my hand)<\/p>\n\n\n\n (Oh, no)<\/p>\n\n\n\n Goodbye to what has been<\/em><\/strong><\/p>\n\n\n\n A pretty house that we never settled in<\/em><\/strong><\/p>\n\n\n\n A funeral for fair-weather friends<\/em><\/strong><\/p>\n\n\n\n I am the one to cleanse me of my Father’s sins<\/em><\/strong><\/p>\n\n\n\n American Requiem<\/em><\/strong><\/p>\n\n\n\n Them big ideas (Yeah) are buried here (Yeah)<\/em><\/strong><\/p>\n\n\n\n Amen<\/em><\/strong><\/p>\n\n\n\n AMERICAN REQUIEM: VOCALS<\/strong><\/p>\n\n\n\n The song opens INSIDE THE CHURCH. Chill-inducing vocal-stacking. Soul and crashing runs into resolving AMEN\u2019s. Beyonc\u00e9 utilizes a low and crispy voice in the verse. As the song progresses the twang and soul, that her voice naturally carries, takes full shape. She dives in and out of INCREDIBLE cries, riffs, and runs. There is a SERIOUS rock edge to a lot of her choices (which I\u2019ve seen draw Prince and Tina Tuner comparisons) B dials in going into the second verse, almost \u201cmaking eye contact\u201d with the preverbal \u201caudience\u201d or \u201ccamera\u201d. She goes in harder-really emphasizing the message of the lyric with her tone and delivery. Ending the song where we started- CHURCHY! BIG! THE LAYERING.. AMEN. WOW WHAT AN OPENER.<\/p>\n\n\n\n AMERICAN REQUIEM: MUSIC<\/strong><\/p>\n\n\n\n There is SOOO much going on musically here. Multiple genres and sounds covered, with crazy instrumentation and production choices. We open with a churchy vibe\u2014 organ is ORGAN-ING. Jump then into this psychedelic sitar situation with a deep western feel as the new vibe. We get lots of lovely additions like guitars drums and A TAMBOURINE (WHAT YALL KNOW ABOUT THE TAMBOURINE) She brought the beat in and somehow made all these sounds so cohesive and perfectly placed. The tempo changes and music dropouts add flavorrr. We then end ethereally. (My heart is racing) <\/p>\n\n\n\n <\/strong>\u2b50\ufe0f\u2b50\ufe0f\u2b50\ufe0f\u2b50\ufe0f\u2b50\ufe0f<\/strong><\/p>\n\n\n\n Blackbiird: INTRO<\/strong><\/p>\n\n\n\n A Beyonc\u00e9 cover is a GIFT. A Beyonc\u00e9 cover of The Beatles\u2026. I\u2019m ascending. It has come to light that, when writing this song, Paul McCartney had something special in mind. It was the 50\u2019s and 60\u2019s, a time, in the United States, of the Civil Rights movement and integration\u2014 lead by black children in schools. Apparently, little girls were nicknamed as \u201cbirds\u201d, in England, at this time. Seeing the struggles and strength of young people like \u201cThe Little Rock 9\u201dand \u201cbirds\u201d like Ruby Bridges, he wrote the now legendary song. He was deeply inspired by them and hoped for a brighter future\u2014giving the beautiful message.<\/p>\n\n\n\n Blackbiird: LYRICS<\/strong><\/p>\n\n\n\n [Verse 1: Beyonc\u00e9]<\/p>\n\n\n\n Blackbird singing in the dead of night<\/p>\n\n\n\n Take these broken wings and learn to fly<\/strong><\/p>\n\n\n\n All your life<\/strong><\/p>\n\n\n\n You were only waiting for this moment to arise<\/strong><\/p>\n\n\n\n (You were only waiting for this moment to arise)<\/em><\/p>\n\n\n\n [Verse 2: Beyonc\u00e9]<\/p>\n\n\n\n Blackbird singing in the dead of night (Dead of night, night)<\/em><\/p>\n\n\n\n Take these sunken eyes and learn to see (Learn to see all of your life)<\/em><\/p>\n\n\n\n All your life<\/p>\n\n\n\n You were only waiting for this moment to be free<\/strong><\/p>\n\n\n\n [Chorus: Beyonc\u00e9]<\/p>\n\n\n\n Blackbird fly (Blackbird, blackbird, fly, fly, fly, fly)<\/p>\n\n\n\n Blackbird fly (Blackbird, blackbird, fly, fly, fly, fly)<\/p>\n\n\n\n Into the light of a dark, black night<\/p>\n\n\n\n [Bridge: Beyonc\u00e9]<\/p>\n\n\n\n Ooh-ooh-ooh-ooh<\/p>\n\n\n\n Ooh-ooh<\/p>\n\n\n\n [Chorus: Beyonc\u00e9]<\/p>\n\n\n\n Blackbird fly (Fly)<\/p>\n\n\n\n Blackbird fly (Fly)<\/p>\n\n\n\n Into the light of a dark, black night<\/p>\n\n\n\n [Verse 3: Brittney Spencer, Tiera Kennedy, Reyna Roberts & Tanner Adell]<\/p>\n\n\n\n Blackbird singing in the dead of night<\/em><\/p>\n\n\n\n Take these broken wings and learn to fly (Learn to fly, learn to fly)<\/em><\/p>\n\n\n\n All your life<\/em><\/p>\n\n\n\n You were only waiting for this moment to arise<\/em><\/p>\n\n\n\n [Outro: Reyna Roberts & Tanner Adell, Beyonc\u00e9, All]<\/p>\n\n\n\n You were only waiting for this moment to arise<\/p>\n\n\n\n You were only waiting for this moment to arise.<\/p>\n\n\n\n Blackbiird: VOCALS<\/strong><\/p>\n\n\n\n This song is the first of many, feature(s) of the album\u2014 and like EVERYTHING, Beyonc\u00e9 was very particular when selecting artists to appear on this project. The background vocals as well as the third verse + outro are provided by: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. Beyonc\u00e9 gives this warm vocal that is rich, yet some airiness. The additions made by the girls were so lovely and it was nice to hear them each get a moment. I ADORE Beyonc\u00e9\u2019s voice, so hearing her sing THIS song with 4 up-and-coming, black, female country artists (in a space that is constantly unwelcoming) is so beautiful and honoring to the message of the song.\u00a0<\/p>\n\n\n\n Blackbiird: MUSIC<\/strong><\/p>\n\n\n\n That all too familiar opening notes. Basic guitar strums and a beat like hitting the side of the guitar (one anyone can make) the production makes it feel like it\u2019s by a campfire. Super warm interpretation. The vocals and their arrangement are where the most differences are in this cover. The rest honors the original work, whilst also bringing in a different vibe and space. <\/p>\n\n\n\n 16 CARRIAGES: INTRO<\/strong><\/p>\n\n\n\n This was the second single to drop from this album.. happening just after \u201cTexas Hold \u2018Em\u201d on February 11. (the double drop was so generous) This is an emotional and vulnerable track from B\u2014 and it is very telling that she chose this as the second single to promote the album. The lyrics are beautiful and raw, and the music really encapsulates the theme and imagery set out.<\/p>\n\n\n\n 16 CARRIAGES: LYRICS<\/strong><\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/strong><\/p>\n\n\n\n While I watch them ride with my dreams away<\/strong><\/p>\n\n\n\n To the summer sunset on a holy night<\/strong><\/p>\n\n\n\n On a long back road, all the tears I fight<\/strong><\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long black road, all the tears I fight<\/p>\n\n\n\n [Verse 1]<\/p>\n\n\n\n At fifteen, the innocence was gone astray<\/strong><\/p>\n\n\n\n Had to leave my home at an early age<\/strong><\/p>\n\n\n\n I saw Mama prayin’, I saw Daddy grind<\/strong><\/p>\n\n\n\n All my tender problems, had to leave behind<\/strong><\/p>\n\n\n\n [Pre-Chorus]<\/p>\n\n\n\n It’s been umpteen summers, and I’m not in my bed<\/em><\/p>\n\n\n\n On the back of the bus in a bunk with the band<\/em><\/p>\n\n\n\n Goin’ so hard, gotta choose myself<\/em><\/p>\n\n\n\n Und\u0435rpaid and overwhelmed<\/em><\/p>\n\n\n\n I might cook, cl\u0435an, but still won’t fold<\/em><\/p>\n\n\n\n Still workin’ all my life, you know<\/em><\/p>\n\n\n\n Only God knows, only God knows<\/em><\/p>\n\n\n\n Only God knows<\/em><\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my fears away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long back road, all the tears I fight<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my fears <\/em>away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long back road, all the tears I fight<\/em><\/p>\n\n\n\n [Verse 2]<\/p>\n\n\n\n Sixteen dollars, workin’ all day<\/strong><\/p>\n\n\n\n Ain’t got time to waste, I got art to make<\/strong><\/p>\n\n\n\n I got love to create on this holy night<\/strong><\/p>\n\n\n\n They won’t dim my light, all these years I fight<\/strong><\/p>\n\n\n\n [Pre-Chorus]<\/p>\n\n\n\n It’s been thirty-eight summers, and I’m not in my bed<\/p>\n\n\n\n On the back of the bus in a bunk with the band<\/p>\n\n\n\n Goin’ so hard, now I miss my kids<\/p>\n\n\n\n Overworked and overwhelmed<\/p>\n\n\n\n I might cook, clean, but still won’t fold<\/p>\n\n\n\n Still workin’ all my life, you know<\/p>\n\n\n\n Only God knows, only God knows<\/p>\n\n\n\n Only God knows<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long back road, all the tears I fight<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long black road, all the tears I fight<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long back road, all the tears I fight<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n To the summer sunset on a holy night<\/p>\n\n\n\n On a long black road, all the tears I fight<\/em><\/p>\n\n\n\n [Post-Chorus]<\/p>\n\n\n\n Oh, oh<\/p>\n\n\n\n Oh<\/p>\n\n\n\n [Bridge]<\/p>\n\n\n\n At fifteen, the innocence was gone astray<\/p>\n\n\n\n Had to take care of home at an early age<\/p>\n\n\n\n I saw Mama cryin’, I saw Daddy lyin’<\/p>\n\n\n\n Had to sacrifice and leave my fears behind<\/strong><\/p>\n\n\n\n For legacy, if it’s the last thing I do<\/strong><\/p>\n\n\n\n You’ll remember me ’cause we got somethin’ to prove<\/strong><\/p>\n\n\n\n In your memory, on the highway to truth<\/strong><\/p>\n\n\n\n Still see our faces when you close your eyes<\/strong><\/p>\n\n\n\n [Outro]<\/p>\n\n\n\n Sixteen carriages drivin’ away<\/p>\n\n\n\n While I watch them ride with my dreams away<\/p>\n\n\n\n 16 CARRIAGES: VOCALS<\/strong><\/p>\n\n\n\n She opens this song with the chorus in a more stripped style. She really utilizes descending runs and switches up her vibrato choices to create \u201cchugging forward\u201d feeling that pairs with the music. Her voice fits so nicely in this genre\u2014 it\u2019s so rich and colorful and when paired with these country styles and elements. STORYTELLING. <\/p>\n\n\n\n 16 CARRIAGES: MUSIC<\/strong><\/p>\n\n\n\n Continuing the country toe-tapping, by the fire, acoustic session feeling. This song opens with some guitar strumming and what almost sounds like someone hitting a guitar case as percussion. As the music swells, we get those country whiny chords that slide with an intense whipping sound. The music transports us into a western, with the tempo and flow mimicking the carriage ride. <\/p>\n\n\n\n PROTECTOR: INTRO<\/strong><\/p>\n\n\n\n The first of two songs that are dedicated to her children and this features Beyonc\u00e9\u2019s youngest child Rumi Carter. This is a beautiful song about motherhood and her message to her baby. The lyrics bring vivid imagery, and this song really exudes that feeling sitting in your mother\u2019s lap, while she sings to you. Its warmth.<\/p>\n\n\n\n PROTECTOR: LYRICS<\/strong><\/p>\n\n\n\n [Intro: Rumi Carter]<\/p>\n\n\n\n Mom, can I hear the lullaby?<\/p>\n\n\n\n Please?<\/p>\n\n\n\n [Verse 1]<\/p>\n\n\n\n And there I was, tangled up in marigold<\/p>\n\n\n\n We were listenin’ to the reverent children singin’<\/em><\/p>\n\n\n\n (Sing, sing, sing, sing, sing, sing)<\/em> Huh, yeah<\/p>\n\n\n\n Hummin’ low as the garden river flows<\/p>\n\n\n\n While the August light becomes a golden evenin’<\/em><\/p>\n\n\n\n (Evenin’)<\/em> Yeah<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n And I will lead you down that road if you lose your way<\/strong><\/p>\n\n\n\n Born to be a protector, mm-hmm<\/strong><\/p>\n\n\n\n Even though I know, someday, you’re gonna shine on your own<\/strong><\/p>\n\n\n\n I will be your projector, mm, mm-hmm<\/strong><\/p>\n\n\n\n [Verse 2]<\/p>\n\n\n\n An apricot picked right off a givin’ tree<\/strong><\/p>\n\n\n\n I gave water to th\u0435 soil<\/strong><\/p>\n\n\n\n And now it feeds me, yeah, yeah (Y\u0435ah)<\/strong><\/p>\n\n\n\n And there you are, shaded underneath it all<\/strong><\/p>\n\n\n\n I feel proud of who I am<\/strong><\/p>\n\n\n\n Because you need me, yeah (Yeah)<\/em><\/strong><\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n And I will lead you down that road if you lose your way (Uh)<\/p>\n\n\n\n Born to be a protector (\u2014tor), mm<\/p>\n\n\n\n Even though I know, someday, you’re gonna shine on your own<\/p>\n\n\n\n I will be your projector, hm-mm<\/p>\n\n\n\n And even though I know, someday, you’re gonna shine on your own<\/p>\n\n\n\n I will be your projector, projector, projector<\/p>\n\n\n\n [Bridge]<\/p>\n\n\n\n I first saw your face in your father’s gaze<\/p>\n\n\n\n There’s a long line of hands carryin’ your name, mm<\/p>\n\n\n\n Liftin’ you up, so you will be raised<\/p>\n\n\n\n [Chorus]<\/p>\n\n\n\n Even though I know, someday, you’re gonna shine on your own<\/p>\n\n\n\n I will be your projector, hey-yeah<\/p>\n\n\n\n And even though I know, someday, you’re gonna shine on your own<\/p>\n\n\n\n I will be your protector, born to be a protector<\/p>\n\n\n\n [Outro]<\/p>\n\n\n\n Okay<\/p>\n\n\n\n PROTECTOR: VOCALS<\/strong><\/p>\n\n\n\n The song is opened by a cute audio of Rumi Carter asking for a lullaby. Because of that, this is such a delicate vocal delivery from Beyonc\u00e9. She utilizes prominent vocal slides at the end of her phrases- creating this light vibe. I love her run choices and the ad-libs. The harmonies are perfectly chosen and timed to add more color to a bright song.<\/p>\n\n\n\n PROTECTOR: MUSIC<\/strong><\/p>\n\n\n\n Fitting into the \u201ccountry-fied\u201d sound of these first few songs, the opening backing instrumentation again is simple and guitar forward. This continues to allow her space to add more production further into the song. A lot of the additions are vocal, backing swells and stacks. Sounds like, the instrumentation adding some electric elements to add a sliding sound, during the bridge. <\/p>\n\n\n\n MY ROSE: INTRO<\/strong><\/p>\n\n\n\n The second of the piece dedicated to her children, in this album. If \u201cProtector\u201d is a lullaby to Rumi, then I dub this a poem to Blu Ivy. She is delivering loving advice and reminders about self-acceptance and love using a term of endearment and an old saying as her vehicle. <\/p>\n\n\n\n MY ROSE: LYRICS<\/strong><\/p>\n\n\n\n [Verse]<\/p>\n\n\n\n How many times have you let yourself get you down?<\/p>\n\n\n\n Let yourself get you down, my dear?<\/p>\n\n\n\n So many roses but none to be picked without thorns<\/p>\n\n\n\n So be fond of your flaws, dear<\/p>\n\n\n\n La-la-la, la-la-la, love you<\/em><\/p>\n\n\n\n La-la-la, la-la-la, I love you<\/em><\/p>\n\n\n\n La-la-la, la-la-la, I just hope you love yourself like that<\/em><\/p>\n\n\n\n And I really hope the best for you<\/em><\/p>\n\n\n\n You’re my love, my sweetie pie<\/em><\/p>\n\n\n\n