This song is replete melancholy; it transitions through the stages of intense morose as Paul pleads for the woman he so dearly loves to remain with him. In the first verse, his inflection and tone remain somber, and imploring; he simply asks for her to stay (albeit he begs, lightly.) The chorus provides the supplementing mood; it accentuates a "bluesy" feeling. But once Paul is fraught with her leaving him, the levity of the song suddenly becomes erratic and heavy, with a sharp piano roll to provide emotional flavor. The second verse runs congruent to the first, save Paul appends with his own effusions by ululating, so to speak, in a howling fashion how much he indeed doesn't want to be confronted with reality. (The second heavy session of the song now becomes much more saliently desperate; urgent. And notice (same applies with opening "heavy" verse) the piano roll's attenuation to a "sad" three roll right as he said, "and di-ii-ii -ed (died stretched.) And finally, the final verse follows the theme of the first three, except for now reality has asserted itself as "likely" she will be leaving. (Paul makes it perspicuously clear, in all verses, how he seeks solace by leaving this world, because he won't be able to be alone; this illustrates and encompasses the common feeling depression imposes when you are deplete hope.) Continuing with the conclusion of this masterpiece: Paul, who once kept a calm demeanor as he reassured the woman behind unrequited love he wouldn't do her "any harm," now lashes it out; he understands (and this is common with most of us) despair has ingressed an uber-urgent mode of "JUST SAY SOMETHING!!!" Fittingly, emphatically screaming he won't do her any harm, along with his ululating pleas, appropriately touches the pinnacle of complete heartbreak. (The hollow guitar sounds and companion side effects enraptured the climatic end to this song.
This song is replete melancholy; it transitions through the stages of intense morose as Paul pleads for the woman he so dearly loves to remain with him. In the first verse, his inflection and tone remain somber, and imploring; he simply asks for her to stay (albeit he begs, lightly.) The chorus provides the supplementing mood; it accentuates a "bluesy" feeling. But once Paul is fraught with her leaving him, the levity of the song suddenly becomes erratic and heavy, with a sharp piano roll to provide emotional flavor. The second verse runs congruent to the first, save Paul appends with his own effusions by ululating, so to speak, in a howling fashion how much he indeed doesn't want to be confronted with reality. (The second heavy session of the song now becomes much more saliently desperate; urgent. And notice (same applies with opening "heavy" verse) the piano roll's attenuation to a "sad" three roll right as he said, "and di-ii-ii -ed (died stretched.) And finally, the final verse follows the theme of the first three, except for now reality has asserted itself as "likely" she will be leaving. (Paul makes it perspicuously clear, in all verses, how he seeks solace by leaving this world, because he won't be able to be alone; this illustrates and encompasses the common feeling depression imposes when you are deplete hope.) Continuing with the conclusion of this masterpiece: Paul, who once kept a calm demeanor as he reassured the woman behind unrequited love he wouldn't do her "any harm," now lashes it out; he understands (and this is common with most of us) despair has ingressed an uber-urgent mode of "JUST SAY SOMETHING!!!" Fittingly, emphatically screaming he won't do her any harm, along with his ululating pleas, appropriately touches the pinnacle of complete heartbreak. (The hollow guitar sounds and companion side effects enraptured the climatic end to this song.