Swear to fukk
Im on my way back from somewhere just now. I'm passing a park. Bout to cross the street. And what do I see on the otherside literally parallel to me in the very direction I'm about to cross over on.
One of these vans.
Now my idea of MK6 is changed. Instead of thinking about weather. I'm now imagining a whole storyline / arc. And now the ordering of tunes makes new sense se when I think in this particular interpretation.
If this vehicle is parked in sunlight within shadows. Implies it's hiding. Or somewhere where it won't be easily spotted. - makes me think of espionage. Or even Cruise Mission Impossible. Or hide and escape the antagonist on the hunt. And in the movies if the protagonist is hiding it's because he's knows something, is something, has crossed paths with someone or wgatver that the antagonist is hunting down and trying to find and eradicate whatever it is. So the protagonist usually hides to protect and keep safe because life usually depends on it.
Coming down the road - driving the RV
Blue skies - only seeing them when driving on the road. 365 - for a full year.
Sing a song to love- I'm thinking camp fire or firepit foldable chair and the narrator singing a tune or a sea shanty or whatever.
Slow Death -
I Pray - maybe to stop being on the run. From whatever the danger is.
Walk On The Ocean - wanting to maybe be free stop hiding and maybe wanting to see other comrads or allies or folks in similar position from the same antagonist.
Love is Cruel - someone not the protagonist. A comrad. Passing by the RV on a scootie at teh start. Wanting to maybe be near. But there's a sense of danger. There's a no in place but someone is exceptional. Willing to break the rules for them. At the start.
Electric Flower - know in Arrhurian Legend and movies there's usually a very valuable item. Like an elixir or the sword in stone. And when the protagonist has it there's enchanting properties to it and the protagonist sees to much value in it to leave it be in the wrong hands. This. But if that thing of value. Was a comrad. And going go on get in if ya want I'll drive ya to where you're heading comrad.
Back to SITS - with this particular interpretation in place. It's like okay say the comrad got in like most sidekicks would in the action thriller things. Now it's like sheeeeet. Be careful now their both after. Makes me think of the book "This Is How You Lose The Time War" now too.
Always in over my head - over someone you just met? And went on the run with? (If in this particular interpretation) yeah yeah. Definitely just met them. Why keep them in the rv with ya?. Why give them sanctuary?.
My Love - being on the run still. And being like come on antagonist have a heart. Also no more love because of the antagonist perhaps. And then maybe coming to ter.s with reality. And saying its not a thing. Has taken too much from two protagonists. And maybe giving up a bit yet not too. For the sake of wanting dignity and humanity and not having to constantly tiptoe around from the antagonist.
Without You - being without the comrad. And being like damn get back here. Too on my own here. Miss ya.
Sing A Song To Love - going back to them doing anything ya can to be like come back here.
Slow Death - wanting answers for unanswered questions about love. There's a beautiful song called: "Comin' Down" by Jackie Shane makes me thing of this and Shane's being very similar imo.
So with this particular just invented interpretation it becomes a whole story / movie plot but in tune form at least from my perspective / opinion. And now see how it gives the ordering of tunes a whole ah ha they would all fit perfectly into this sort of narrative. Like a whole movie.
I could be so wrong. Just a fun plot made out of it tis all









