Read the lyrics Fue Mejor Lyrics – Kali Uchis & SZA. Is Its Classy Lyrics Are Written by PARTYNEXTDOOR, Jahaan Sweet, ELENA ROSE, Ray “Quasi” Nelson, Kali Uchis & SZA. Its Official Music Video Has been Released On September 29, 2021. And Present On The YouTube Channel.
The lyrics explore the fate of a bifurcation, weaving a narrative of emotional recovery and tone- reflection. Kali Uchis, SZA, and collaborators claw into themes of emancipation, soul-searching, and the complications of moving on from once connections. Their poignant expressions convey a blend of commission, craving, and growth following the end of a romantic connection.
Fue Mejor Lyrics – Kali Uchis & SZA
[Intro]
Aah, oh (Wee-oh, wee-oh, wee-oh, wee-oh)
Aw yeah, aw yeah-yeah (Yeah, yeah)
Oh, oh, oh-oh, oh, oh, oh (Fue mejor)
Wee-oh, wee-oh, aw yeah, aw yeah-yeah
These worldly possessions
I don’t need none of them
¿Tú no me mereces? (No, no, no, no)
Someone could come love me
If somebody knew me
¿Tú no me conoces? (Ghost, ghost)
Take a little sip, take a little puff
Don’t want to think, don’t want to talk
Is it enough, is it too much, oh
I’m not dead so I’m not done
Explanation of Intro
In this intro , Kali Uchis and SZA set a comforting, reflective tone. They express a objectiveness in material effects, questioning if someone truly knows or deserves them. There is a sense of craving for genuine connection and understanding. The citation of taking a belt or puff suggests a desire to escape shortly from study and discussion. Overall, it hints at soul-searching, a hunt for deeper connections, and a desire to live completely.
[Coro]
Y me fui en el Jeep a las doce (Las doce)
The backsеat donde yo te conocí (Conocer)
Si mе voy, no pierdas de vista
Hay cosas que se tatúan sin tinta
Fue mejor volar pa’ no caerme (Oh, yeah)
No, amor, no me duele perderte (Oh no)
Ya no estoy, pero nunca olvidas
Hay cosas que se tatúan sin tinta
Explanation of coro
In the chorus, Kali Uchis reminisces about a once hassle, represented by a trip in a Jeep at night. She references the backseat as the place where she met someone. The lyrics convey a sense of detachment but also emphasize that certain gests leave a lasting mark, indeed if physically impalpable like tattoos. There is a feeling of emancipation in choosing to fly rather than fall and an acceptance that while she’s gone, the recollections persist like unforgettable tattoos.
[Verso 1]
Ya no me pesa na’ (No pesa na’)
La vida me trata bien (Me trata bien)
Tú estás con otra haciendo las cosas
Que en mi cama yo te enseñé (Que te enseñé)
Pues nada, a ver si después me llamas
Me dices que todo tú extrañas
Soy tu favorita, la que necesitas (Ajá)
Pero yo no estoy pa’ que eso se repita
Explanation of verse 1
In this verse, Kali Uchis expresses a sense of emancipation, indicating that the once relationship’s weight no longer burdens her. She acknowledges herex-partner’s involvement with someone differently, noting that the conduct they are doing together were effects she tutored them privately. There is a hint of dubitation , suggesting she anticipates a call from herex-partner expressing remorse and missing her. Despite being seen as their favorite and someone they need, she asserts her reluctance to repeat once patterns or readdress the relationship.
[Puente]
El precio de tu amor lo pagué (Lo pagué)
Si cuando te perdí me encontré, eh (Eh, eh)
Lo siento, mi camino cambié (Cambié)
Pero para bien (Para bien)
Explantion of the Puente
In this Puente, Kali Uchis reflects on the cost she paid for their love, admitting the offerings made. She recognizes that losing her mate led her to tone- discovery and particular growth, expressing that she set up herself after their departure. She apologizes for altering her path but asserts that the change was eventually for her own betterment and well- being.
[Verso 2]
Di mi última toma al cambio de enemigo
Di mi última y dejaste que esa perra se
Fuera con lo mejor de mí (De mí)
Tú nunca fuiste mío, tú nunca fuiste mierda
Desde la primera vez que me probaste
Duro dejarte ir cuando lo haces así
Te hace sentir bueno cuando me
Tratas tan mal, tú
Me diste más de lo que te pedí
Told you “I’m ready, ” so why won’t you let me?
Oh
Explanation of verse 2
In this verse, SZA expresses a sense of futurity in her commerce with her mate. She references giving her last chance to someone who allowed another person to take advantage of her kindness. SZA acknowledges that this person was noway truly hers and did not hold any value. Despite the mistreatment, there is a struggle in letting go, feeling equivocal about leaving when their mistreatment paradoxically makes her mate feel good. She questions why, despite expressing readiness for a change, her mate will not allow her to move on.
[Coro]
Y me fui en el Jeep a las doce (Las doce)
The backsеat donde yo te conocí (Conocer)
Si mе voy, no pierdas de vista
Hay cosas que se tatúan sin tinta
Fue mejor volar pa’ no caerme (Oh, yeah)
No, amor, no me duele perderte (Oh no)
Ya no estoy, pero nunca olvidas
Hay cosas que se tatúan sin tinta
Explanation of coro
In the chorus, Kali Uchis reminisces about a once hassle, represented by a trip in a Jeep at night. She references the backseat as the place where she met someone. The lyrics convey a sense of detachment but also emphasize that certain gests leave a lasting mark, indeed if physically impalpable like tattoos. There is a feeling of emancipation in choosing to fly rather than fall and an acceptance that while she’s gone, the recollections persist like unforgettable.
[Outro]
Oh
Oh, oh-oh, oh-oh, oh-oh
Oh-oh, oh-oh, oh-oh
Oh-oh, oh-oh, oh-oh
Oh-oh-oh, oh-oh-oh, oh, yeah
Explanation of outro
In this outro, SZA and Kali Uchis conclude the song with a lyrical chorus filled with emotive declamations. The repetitious” ohs” elicit a sense of moping feelings, conceivably reflecting on the complications of the relationship’s end. It creates a haunting, nearly hauntingly beautiful atmosphere that emphasizes undetermined passions or contemplation despite the conclusion of the song.
Overall
The lyrics recite a story ofpost-breakup reflection and emotional recovery. Kali Uchis, SZA, and collaborators express a blend of emancipation and soul-searching, admitting the fate of connections and the process of moving forward. They touch upon themes of tone- discovery, acceptance, and commission, pressing the complications of romantic snares and the emotional risk they can take. The song captures a mix of abdication, strength, and moping sentiments after separation, eventually conveying a communication of growth and tone- consummation amidst the pain of a bifurcation.