The Wedding, The Wedding Song

The Wedding.
The Wedding Song.

Bowie and Iman were united on one point: that Wagner’s “Bridal Chorus” was appalling and wouldn’t be used in their wedding ceremony. Otherwise she was happy to cede all musical responsibilities to her fiancee. So Bowie chose a Bulgarian choir record (“Evening Gathering”) for the bridal entrance, and for the recessional he wrote his own piece, an attempted fusion of Western and Arabic music to symbolize the union of a man from Bromley and a woman from Mogadishu.

Writing what became “The Wedding” (and its subsequent revision as “The Wedding Song”) served as a creative break for Bowie—he later said composing the former renewed him, with most of the self-penned songs for Black Tie White Noise coming soon afterward—and “The Wedding” worked as an album opener, offering an effervescence of spirit, a lightness of touch that seemingly had gone missing somewhere in Bowie’s Eighties.

Wedding songs and pop music are often ill-suited partners. Pop wedding songs tend to be grotesquely comic (“The Big Bopper’s Wedding,” “Dear Doctor”) or bitter and depressing, as someone is often left stranded at the altar in them (“$1,000 Wedding”) or suffers wedding-night blues (“Band of Gold,” “Wedding in Cherokee County”). It’s understandable, as marriage, with its compromises, its implied adulthood, its apparent finality, its sense of an ending, can seem irreconcilable with the ever-unfulfilled promise of pop music. Occasionally you get something as perfect and sweet as “Chapel of Love.” But just as often there’s an ominousness in wedding songs, a sense that the people who are marrying in them are deliberately blinding themselves for a moment, that their bliss will only last as long as the record plays. It’s telling that one of the best wedding songs, Ike and Tina Turner’s “It’s Gonna Work Out Fine,” happily documents the start of a horrific union.

It’s hard not to compare Bowie’s pair of wedding songs to his “Be My Wife.” The latter has no place in any wedding ceremony, with its abrasive neediness, its irregular rhythms, its empty vocals, although its chorus lyric, excised from its song, could have been written by Dan Fogelberg: stay with me, share my life. “Be My Wife,” written while Bowie was shaking off his addictions and his first marriage, has a cold irony in its depths: it means exactly what it says, that the singer is absolutely desperate for connection, that he wants to escape himself by joining with someone else, but the precise chaos of its arrangement and Bowie’s unreadable blank phrasing denies these attempts. It’s a closed circle.

There’s none of that tension in “The Wedding.” There’s no great depth of spirit, no sense of a settled conflict. It’s meant as a public song, the public face of an (apparently still) happy and successful union, a merger of thriving celebrity ventures, the musical equivalent to the images of the golden, supernatural-looking creatures marrying in the pages of Hello!. Built on a repeating three-chord progression (D-A-Bm-A) in A major, with a brief foray into B-flat major in a eight-bar “bridge” section (starting at 2:33), “The Wedding” is a series of intertwined duets. There are two sets of bells (tubular, played by Michael Reisman) that open the track, the two main keyboard lines, the two-note bassline, jumping between fifth and root notes of the chord (it’s close to a slowed-down version of the hook in Melle Mel’s “White Lines.”)* There’s even a pairing in the chord structure, with a steady A major dancing with a changing set of suitors: D, Bm, Bb.

Most of all, there are Bowie’s twin saxophone lines: an initial “traditional” one, calling back to the days of Davie Jones and the King Bees, with Bowie’s Earl Bostic-inspired playing rich with thick melody (he apparently used the solo lines as the basis for his vocal top melodies) that dances through two choruses, and a second “Arabic” saxophone—Bowie’s tenor sax altered, echoed and distorted, apparently sped-up in places—that’s more discordant and has a more exuberant energy. As Bowie easily could have found an actual Arabic musician to duet with him, his decision to also play the “Eastern” role, for lack of a better word, suggests an attempt to incorporate his wife into himself, reversing the birth of Pallas Athena.

I’m so happy people want to strangle me most of the time.

Bowie on the Arsenio Hall Show, 1993.

At some point in the BTWN sessions, Bowie decided to write a lyric for “The Wedding,” and so following the sequencing of Scary Monsters, he closed the album with a reprise of the opener. He happily admitted that his lyric was just a saccharine ode to his wife, his own extended version of “The Lovely Linda,” though the images he chose again were a reckoning with his musical past. There’s the murmured “I’m gonna be so good/just like a good boy should,” Bowie sinking to a low A on the last three words, which lightens the fatalism of “Beauty and the Beast,” where Bowie had tried to be good but admitted it was a loss. And the central image of Iman as his personal angel revises the indifferent angel of “Look Back in Anger” as a golden spirit.

Returning to how rock wedding songs often have an unresolved conflict in them, that tension is slightly there in Bowie’s “Wedding.” If Iman is his personal angel, she’s also on another plane from him, one which he’s denied entrance to. “She’s not mine forever,” he sings. She’s a temporary embassy from heaven to him, and he won’t be united with her in heaven, because heaven doesn’t exist for him: only the moment, only the wedding. But does it matter? A wedding at its best is a defiance: a public statement that despite age and indifference, despite the ravages of time and chance and illness, two people are taking an impossible stand against their inevitable demise, whether as a couple or as mere humans. “I’ll never fly so high,” Bowie sings, in a gorgeous, slow sweep up a fifth to peak on a long-held E.  But “I’m smiling.”

Recorded ca. summer-fall 1992 at Mountain Studios, Montreux and/or the Power Station, NYC. Released in April 1993 on Black Tie White Noise.

* An appropriately inappropriate reference, given DB’s history. Melle Mel had taken the bassline from Liquid Liquid’s “Cavern.

Top: Brian Aris, photographs from the Bowie-Iman wedding, 6 June 1992, Florence (Brian Eno looks like a caterer caught in the photo by accident). Complete set of Hello shots here.

71 Responses to The Wedding, The Wedding Song

  1. Patrick says:

    Well. Given the occasion for DB here, it hard to begrudge him a little indulgence on this one. I much prefer the instrumental version. It’s a pleasant enough tune but ends rather abruptly and doesn’t need the sugarly lyrics. . He’s clearly happy and who can blame him. I was much impressed by Iman’s brief appearance as a cigar puffing preying mantis of a sexy alien in StarTrek VI.
    The Hello pics are weird. Is that his Mum in some of them?
    And that bloody Bono gets bloody everywhere! Even at Balthus’s funeral , who Bowie interviewed for Modern Painters Magazine.

  2. humanizingthevacuum says:

    These days when I hear the opening chords of “The Wedding,” the last eight years of Bowie’s career seem a bad dream.

    • Patrick says:

      There’s that Cyril Connelly quote: “There is no more sombre enemy of good art than the pram in the hall.”. But DBs previous decade was hardly an artistic triumph. I read that having missed out with bringing up Duncan (nee Zowie) (though he seems to have turned out more than ok) , he wanted to make up for the father role with Alexandria. Speaking of family resemblances (or not) I just found these (relatively – no pun intended) recent pics.

      • humanizingthevacuum says:

        I meant the eight years between Let’s Dance and BTWN, Patrick. Pardon my bad grammar. I’m glad Bowie’s retired!

      • Sky-Possessing Spider says:

        When I was young and silly I wanted to follow in Bowie’s footsteps and be famous myself. But looking at those photo’s, I can only say it was a mercy that it never happened. Iman doesn’t look like she’s enjoying being in the spotlight of an anonymous and opportunistic papparazzi snapper at all, the way she’s shielding Lexi and hustling her past.

  3. Dave Depper says:

    Wonderful article, as always. After a parental Xmas gift of the “Sound and Vision” set, “BTWN” was my first Bowie record, and it’s always held a special place in my heart. I greatly look forward to reading the rest of your entries about this underrated (if somewhat awkward and dated-sounding) record.

  4. J.D. says:

    A convergence of the one-name phenom set. Regrets no doubt forwarded in advance by cher, lulu, ringo, and madge.

    • Quiet Wyatt says:

      Seeing these pictures for the first time, I’m positive they inspired the bridge of Half Man Half Biscuit’s “Eno Collaboration”:

      I know Bono
      And ‘e knows Ono
      And she knows Eno’s
      phone goes thus:
      “Brian’s not home,
      he’s at the North Pole,
      but if you’d like to
      leave a weird noise…

  5. Maj says:

    I like these songs. I like about a half of Bowie’s instrumental songs and The Wedding is one of them. It expresses exactly what it should…so, success. And The Wedding song is sweet but at the same time still Bowie-esque (nice analysis there, Chris!)

    The wedding photo on top…Iman looked so fine (she still does) but why did Bowie look like a grilled skeleton?

    And when it comes to pop wedding songs De-Lovely surely wins it all…

  6. SoooTrypticon says:

    I often find myself muttering lines from this one while doing the dishes or making breakfast. A lovely song.

  7. I’ve always liked The Wedding, and also prefer it as an instrumental to open the record. Fun fact: The Cure’s cover of “Young Americans” is built around the same bassline as both tracks- kind of a bizarre, but neat nod to one of RS’s heroes.

  8. Claws-on says:

    Bono, Eno, Ono!

    • Maj says:

      well, when you put it like this… 😀

    • Roman says:

      Bono, Eno, Ono. Ha, that’s great – me likey-a-lotty.

      Another great entry. God, I love the instrumental version of this song – it’s just pure pop perfection. I loved it the first time I heard it in the casette deck of my girlfriend’s then 14 year old Mini.And I still haven’t tired of it.

      It soundtracks the very essence of romance.

    • Patrick says:

      Eno. Yes.
      Yoko, Ok
      Bono. No

      (we now return you to your scheduled program.)

  9. Mike says:

    Looks like Iman’s marrying the Thin White Duke in the top pic. Yikes!

    • Anonymous says:

      Hate to say it but Bowie in the first pic looks like a calculating hillbilly eyeing up his prize. I could look at pics of him through the ages all day but his wedding ones just seem unflattering. Who wouldn’t beside Iman I suppose ( or as Great Pop Things called her, Inman)

      • Patrick says:

        But she’s clearly now an Inman , not “free”, sadly. (“Are You Beijing Served” – Brit 70s sitcom ref that will probably baffle many non-brits)

        They are terrible pics of him. Sticky out ears and I think before he got his teeth done. Weird looking fellow. Can’t see him becoming a star or a sex symbol. Paint a lightning flash and cover him with make up, it might help.

    • Actually, I think he got his teeth capped specifically for the wedding, but it’s hard to tell.

  10. Diamond Duke says:

    Speaking of Bowie’s teeth… 😉

    I actually really, really like this song a lot – the instrumental and vocal versions. I know the lyrics of the latter are a little on the saccharine side, but I think they’re genuinely moving – especially that aforementioned line “She’s not mine for eternity / Though I’ll never fly so high / I’m smiling” as well as the outro line “I believe in magic… Call me sentimental, but this never fails to put a lump in my throat.

  11. gnomemansland says:

    Yoko Bono

  12. col1234 says:

    if you lot don’t watch out, I’ll run nothing but Bono pictures from now on.

  13. Sky-Possessing Spider says:

    There’s an interview with Bowie, circa 1. Outside where he’s talking about painting, and he says the temptation is to sometimes keep going and overpaint your masterpiece when it’s already finished. I believe this applies here. The instrumental version is perfect David: time to step away from the canvas.

  14. Patrick says:

    And If his painting is anything to go by, I’d suggest he step away from the canvas for good –

  15. bcr says:

    sounds to me like that odd, time-stretched/phased voice at the end of “the wedding” is the man himself saying “be my wife”…anyone else hear that?

  16. Mike F says:

    Good call on the “White Lines” bassline. Note the same bassline reappears on “Nite Flights” starting from the first chorus. I strongly suspect the bassline was Nile’s attempt to make these “arty” tracks more palatable.

    Now on to the 800 pound gorilla in the room that no one wants to address. Bowie started off what could have been Let’s Dance II with an extended instrumental sax solo. Bowie playing sax is like Michael Jordan playing baseball — a superstar highlighting his weakest skill. Bowie’s sax tone is similar to an asthmatic mule in pain. It’s fine in small doses but this is an overdose. I can imagine Nile and Lester shooting each private looks while listening to this. “The Wedding” isn’t a bad track to stick towards the end of an album but leading off with it is a miscalculation especially for a post-Tin Machine comeback.

    • David L says:

      Agreed. About the only place I like his sax is on Looking for Lester, and even there, a different, meatier tone would have been welcome, not this pathetic bleating. And I thought exactly the same thing about Lester and Nile, they must have been shaking their heads.

    • J.D. says:

      Strange thing, The Saxophone Oeuvre Of David Bowie. In the early photos you can see he’s very casual-proud of it, consciously posing himself ‘around’ it, to some extent.

      Well, any read of any sixties pop startup memoir generally conveys the privilege entailed by the instrument that the keen teenager could bring to the stage. (Anecdotal proofs include various contestants underwhelming on the audition but getting hired anyway, because they had an impressive drum-kit, or a larger amplifier than the competition, etc.) Overall a lot of identity & aspiration was wrapped up in the choice of ‘axe’.

      Like a lot of what has built the Bowie brand, the choice of sax (unleveraged by any real virtuosity with the thing) is a kind of risky balance between absolute beginnerism (read it either way, hopefulness or dilletantism) — and clear-eyed strategy, a grasp of the future.

      Bowie arguably never really sounded good on the sax beyond a couple of studied lines, and there is no evidence he could ever be called a ‘versatile’ sax man, or ever get gigs as a sideman on same. But it was a much more potent symbol for a ‘multi-talented frontman’ to take up than the standard accoutrements being deployed by the competition (harmonicas, tambourine, etc, all pretty lame and subordinate to the rock foundation). Since a lot of fight went into just who would be the proper frontman for a band, the additional instrument he brought to the stage would be a factor, part of the band’s identity. Ergo, it helped put db on the stage, and could fit the frontman bag of tricks.

      Once db is a phenomenon, its just another prop in the performer’s trunk, it gets pulled out for a quick run (Changes) as if honoring some nonexistent glories of the past, but then put away quickly enough. (Interesting contrast to, say, the 12-string guitar, which bowie had mastered as necessary to owning the spotlight in his incarnation as Space Folkie. He plays clean, crisp basic twelve string, completely the opposite of his scary forays on sax. Act Two of the Santa Monica concert offers a nice listen on that.)

      But– once db steps beyond the early going and does whatever he likes (say, Station To Station), it becomes something he inserts as a kind of post-modern voice in the mix. It’s mannered, self-referential, a sax quoting ironically the sax stylings of the past. Almost more a kind of Remembered Sax thing, than a basic instrumental voice (all very fortunate since db didn’t really do adequate journeyman sax anyway). See :

      For the listener, the DB Sax has always been a subliminal drag. The average listener would no doubt have preferred that a studio sideman have been hired to play competently as coached by the Auteur, but never played by him. For the fan, though, the DB Sax is a legitimate– although squonky– plank in the platform. All along the way the sax is always indicative of some or other artistic intent as constructed by the visionary (if not entirely competent in terms of basic changes, tempo, or continuity). In the Orchestra In David Bowie’s Head, the apparition of the saxophone always indicates another idea, a re-consideration, another twist in the proceedings.

      • col1234 says:

        this is very well said. Also keep in mind that Bowie began as a sax player, that one of his first rock & roll dreams was to play sax with Little Richard, and as you said even if he never mastered the instrument it had a great deal of symbolic value to him: it’s the Rosebud of DB’s life in a way.

        also, Bowie knew his limits: he generally brought in a top pro–David Sanborn or Ken Fordham–when he really wanted a big sax sound for a song.

        and yes, DB’s acoustic guitar playing is underrated. If it’s him on the early records (though I think Keith Christmas does most of the AG work on the “Oddity” LP), he’s very good.

      • J.D. says:

        Rosebud it is.
        Can’t wait for the theatrical release of ‘Citizen Jones’.

        Gaunt, elegant black & white, seventy millimeter, Madge as Angela, and Bono as Ronno, of course.
        Okay, no.

      • Mike F says:

        Yes, there are times, like Neuköln, when a bit of Bowie sax squonk hits just the right spot and a pro might have come up with something less memorable. But I do think he was overreaching on BTWN.

      • Patrick says:

        I just listened again for the Sax for Lulu’s Man Who Sold The World arrangement and see it it’s DB playing and, in itself it just about does the job but is quite a bit ropey if you listen too carefully.

      • David L says:

        Is it the Rosebud, or his Chinatown? I wish someone had told him to forget it.

      • I think Bowie deserves credit for his self-awareness of his sax playing. At least once he became Bowie without a band, he never pretended he was “good” or tried to be. Instead he has treated the sax much in the way Eno’s oblique cards suggest- play something you’re not a master of.

  17. Momus says:

    One small ring for a man, one giant tinnitus for mankind.

  18. gcreptile says:

    The instrumental is wonderful, the version with lyrics is unnecessary, but you’re right to compare it to Scary Monsters. That album was meant to close one era and open another. Black Tie White Noise is pretty much the same.

  19. Steve Mallarmy says:

    This is pretty dreadful, cheesy stuff. I hear a small – very small – revival of Bowie’s artistic fortunes on tracks like You’ve Been Around or Pallas Athena, but not with this.

    Incidentally in these wedding photos Bowie looks (unsurprisingly I guess) very much like his old man:

  20. Brendan O'Lear says:

    I seem to be out of step with opinion on DB’s sax playing. I have to confess to an irrational, borderline hatred of the saxophone sound in general, but DB makes it work for me. I think it’s around Pin Ups that he stops trying to ‘play’ and just use it to make a noise. I’m probably completely out on my own on this one, but I think it starts with Can’t Explain or Lulu’s MWSTW. My favourite of all is TVC 15, but I’m not sure that’s all him. The sax that really grates is on David Live, followed by YA and DB is not guilty.
    Good points from Chris on DB’s guitar playing too. I think meeting up with Ronson inhibited him there, thankfully. Iggy Pop was always very complimentary about Bowie as a guitarist.
    “The Wedding”? Love it. I was about to get married myself at this time so maybe that affected my judgement, but it was the first time in around ten years that I’d heard any form of new pop music and thought that I’d like to hear it again. It must have been that sax sound!

  21. J.D. says:

    Whether effective or not, the reed contingent on David Live is very likely designed to service the whole seedy-redlight-backstreet ambiance of the stage act.

    At times grating, at times overtly familiar and cloying, the wheedle & bleet of the saxes on this record strike me as db imitating the crass Reeperbahn sound whose era inspired some of this show. Sort of the sound you get by underpaying an old vaudeville-brass hack, and then feeding him liqueurs in between the strippers.

    He had David Sanborn and Richard Grando on reeds and even got Michael Kamen to step in on Oboe when not twinkling the keyboards (on the fin-de-siecle backdrop of Lady Grinning Soul or Aladdin)… So I think it was at very least a conscious decision to sound that way.

    If the Ziggy stage act was meant on the surface to prompt a plausible consideration of other-planetary intelligence (showcasing the first listen many would have heard of the Bowie songbook)—

    The Diamond Dogs show was meant as something uncomfortably transgressive, a too-close visit to the wrong side of town… that yes, conicidentally also offered a showcase to the now-established back-catalog of hits. This time, though, in curdled, Weimar shrill. Put another way, db wanted to stage his own Kabaret, but he wanted to play both Joel Grey and Liza Minelli.

  22. DietMondrian says:

    I showed this entry to my other half to share the joke about Eno looking like a caterer, but what amused her more about that photo is that the bride – usually the focus of wedding pics – is very much second banana to Bowie. It’s as though its Bowie’s wedding rather than Iman and Bowie’s wedding.

    • humanizingthevacuum says:

      She’s right!

      • Sky-Possessing Spider says:

        HTV, I have to say that it’s really disappointing to read your earlier comment that you’re glad that Bowie has retired. I think that the work that he was doing just prior to the health concerns that brought down the curtain on his career (Heathen and Reality) were of high quality for a man five decades into his musical journey. The hole that his retirement has left in the music industry is indeed a gaping one in my opinion, and one that I’ve tried to fill by compiling cd’s of every latter period collaboration, live cover version, obscure b-side and obscure rarity that I can lay my hands on.
        I can think of several dozen of his contemporaries that I would rather see shuffle off into an unannounced but much-appreciated silence…..

      • humanizingthevacuum says:

        Sky-Possessing Spider, I liked Heathen and Reality but I would rather Mr. Jones shut up than release product for its own sake. Silence is the surest guarantee of quality control. Surely we all agree.

      • Sky-Possessing Spider says:

        It seems a bit contradictory that you claim to like Heathen and Reality(did you like the 4 or 5 albums preceding these?) yet say that it’s for the best that Mr. Jones has shut up. Is it because that, given Bowie blotted his copy book somewhat in the 80s, you’d rather he chooses not to undermine his legend anymore, and you’d prefer to draw a line under his career and say, this is what he achieved?
        If so, I’d have to disagree for as he himself said, for all the times he made himself look a pranny, there were times he knew he was good, and for me this rang especially true in the 90s and 00s when he went back to making challenging and interesting music again.
        Your point about “making music for the sake of it”intrigues me also. What do you think motivates the likes of McCartney, Dylan, Springsteen and Young to continue churning out albums? Do they need the money? Obviously not. Do theythink they can match the quality or sales of their early work? Probably no on both counts. Does their ego dictate that they keep their names in the spotlight? Quite possibly. Or are they just restlessly creative people who, like Picasso, will go on producing work until they drop?
        I’d always hoped that Bowie too would fit this latter criteria. I find it hard to believe that somebody so endlessly creative would just stop producing altogether. But it seems that disenfranchisement with the music industry, coupled with a sense of his own mortality have brought his career to a close. More’s the pity.

  23. humanizingthevacuum says:

    I should point out: my high school best friend’s wedding theme in 2002 WAS “Be My Wife.”

    • humanizingthevacuum says:

      If he’s got nothing to say, I’d rather he didn’t release perfunctory albums for the sake of making us happy. It’s as simple as that.

      • Maj says:

        100% agree.

      • Sky-Possessing Spider says:

        Yeah, well I still wish he’d come out with something new and surprise everybody that’s written him off.

      • While we’re at it, I’d like a pony.

      • Sky-Possessing Spider says:

        Now I get it! I’ve stumbled into the Twilight Zone, where the people who post on Bowie Fan Forums don’t actually like David Bowie….

      • humanizingthevacuum says:

        Or: we respect Bowie so much that we’re sensitive when he records crap.

      • Sky-Possessing Spider says:

        -sigh- look, this argument is starting to go round and round in circles, so I’ll try just one last time. Q: When did Bowie last record crap? A: Well, apart from this album currently under discussion, which was a bit patchy, the answer is, during the dreadful 80s. So, given that he was once again producing consistently good music when his health issues brought his career to a grinding halt, why would you assume that any further work he may do would be rubbish? Or going through the motions? Why would ANY fan be rooting for him to be silent??
        Look, in all likelihood he probably has retired. But until he difinitively makes that announcement, it leaves that door of hope ever so slightly ajar for fans like me who love his work, have always been fascinated by the journey even when he’s occassionally misfired, and are hungry for more.

      • I think it’s been clear since Heathen than he is now writing albums to make HIMSELF happy, which is what I thought we all wanted when we were complaiing about his eighties output.

  24. tin man says:

    i can listen to that weak song but…. i was waiting for David to record some vocals with the Bulgarian Choir, the Georgian Choir (more male choir or mixed choir)…, the Bunun Men’s Choir. I truly love this Music. Glenn Branca used malet guitars & strange home-made instruments so you think the result should have been inspired a lot by Taiwanese Aboriginals.

    One more time… too much George Michael after… Tin Machine.

  25. MC says:

    For me, The Wedding is a thrilling, beautiful opener for the album. And I love DB’s sax – whatever he lacks in technique he makes up for in emotion and expressiveness, here in particular. As far as the album is concerned, I find it’s pretty much downhill from this point, with a couple of exceptions – The Wedding Song unfortunately not being one of them. With DB’s vocal firmly on the side of self-parody, this track in my opinion falls firmly on the what-was-he-thinking side of the ledger – like a lot of things on BTWN, actually.

  26. xianrex says:

    This entry made me tear up – both the song and the post are so heartfelt.

  27. fantailfan says:

    You want a Wedding Song? Try Dylan’s, off of Planet Waves.

  28. The instrumental is the only piece on the album aside from You’ve Been Around I genuinely enjoy. The Wedding Song suffers from Bowie’s typical literal lyrics and I don’t especially care about it one way or another.

    Judging from the pictures I think Chant of the Ever Circling Skeletal Family would have been an appropriate processional.

  29. Roger says:

    Yes. The whole that line is so powerful. And when he sings “I’m smiling”, i can’t but help closing my eyes and smile too. What a great song. He really give’s that feeling of how happy he is to the listener. No fake shit here, really just euphoric and dreamy.

    I’m smiling.

  30. StoweTheLion says:

    For some reason other than the blackstar songs, wedding song is the one track that makes me feel immediately really quite sad for his passing. Amlapura too actually.

    The Wedding song is lovely, I don’t care if it’s seen as cheesy, it’s for his wedding.

    I believe in magic.

    • StoweTheLion says:

      I think the difference with this track and a lot on BTWN is the emotionally expressive melody played.

%d bloggers like this: