So I'll do the best I can to
Follow you into the dark every day
We're not dumb, we'll leave crumbs
All along the way
We'll take care of the things we share
And we'll find our way
You chose an unknown road
And it made us who we are in a way
How well do you know me?
(Got you surrounded, got you surrounded, boy)
How well do you know? How well do you know?
We need to find a place that's neutral
And get it in our minds now that the feeling's mutual
You've got love all around, all around you
You've got love all around, all around you
(Yes, you do)
Well, there's a story I would like to tell
But I don't know where to begin
Well, it's pretty on the surface
But it doesn't have an end
Like a tree on fire from within
I called up Mary to see how she's been
She said she's never really had a friend
Sure there's many folks around me
But nobody truly found me
Like a tree on fire from within
And Holy Moses can ring a bell
Doesn't matter if it's gold or tin
The news inside it means so much
Even if it turns to dust
Like a tree on firе from within
And violet roses give such a scеnt
And it doesn't matter how long it's been
Even a dead rose is a good rose
You only have to see one to know
Like a tree on fire from within
This reminds me of Sananda Maitreya's "Vibrator" where the same imagery was used: "the birds of prey have swallowed the bread crumbs you left behind, find your way back from the soul mines". The bread crumbs trail (the way out) was lost there (1993). Apart from love, what this song captures is the foray into the unknown darkness, the risk of the unknown undertaken for sake of discovery, -and the trail is made to avert the risk of the unknown and find a way back. Then in the third verse we find that the unknown road was deliberately chosen by the love object of the song at the outset, and that has created the circumstances to date.
To me this is about the nature of universal inspiration through the array of musician lyricists in the universal feedback loop. If you recognize it as universal inspiration coming from a transcendent consciousness, and identify the patterning, then you are truly surrounded. The song is dualistic, addressing "girl", "boy" at the same time, in the recognition this has entered mutuality.
The burning bush was God's manifestation to Moses, naming Himself "I Am that I Am". This is singing about such a manifestation without an ending, a Godly manifestation, that is like the burning bush. The only personal association with the burning bush is Mary, who is in complete isolation even though surrounded by people like anyone else, having never truly been found by anyone. Moses is invoked as a witness to invocation of the "tree on fire from within" because it's his Bible story, with the "news" inside it being of immeasurable meaning. Then the tree is equivocated with a rose, so we have if associated with a feminine "Mary" with all the Biblical weight that entails, and roses, which just happen to be the birth sign flower for the month of June, which is the moniker most of this occured under in the sense that it was the only handle invoked on a concept album that has been re-embraced contextually in the present by someone who accepted the moniker applies and knows who I am enough that the astonomy on his latest album cover is about the Machina Mysteries I posted to him twenty four years ago. (We'll get there when we get there.)
I thought this might signify Bono's bait and switch betrayal of putting enough into his work to signify he read my iBook but doing so in an un-evidentiary, very surrepticious fashion which hamstrung my ability to ever publish or make anything of it. He spends a lot of time in Manhattan.
