[NOTE: There isn’t a previous post called “Emotion in popular songs: Part I.” But I realize that this one was actually Part I on the subject, and now I’m posting a Part II.]
Commenter “Brio” wrote the following on a post about the Everly Brothers:
Never been a fan of the Everly Brothers or the Bee Gees. I will listen to them when they pop up on the radio, but I would never spend a cent buying their music.
I prefer singers who sing with emotion rather than just mouthing the words. None of those three Everly Brothers videos show any emotion to me.
I have a very different reaction. To me the Everly Brothers, while not the most hyper-emotional of singers, certainly convey emotion. But emotional reactions to songs and singers are highly individual.
Brio added: “the feeling is more important to me than a harmony.” I certainly like both feeling and harmony, but for me, harmony adds its own emotion. Is it the emotion that comes from the whole being greater than the sum of its parts, the unity of the separate into the one? Is it just the extra beauty of the aural complexity? Whatever it is, I like it immensely, although by itself it’s not enough to make me like a song or a version of a song.
In addition, I tend to divide singers very roughly into Apollonian and Dionysian types. My guess (and it’s only a guess) is that a commenter such as Brio much prefers the latter. The quintessential Dionysian singer would be Janis Joplin, I think, although there are plenty of others. Nina Simone falls into a curious category of being both for me. Her piano playing has so much of the classical, her voice is so unusual and like an instrument itself (some sort of brass or woodwind instrument, I think), and yet she puts a lot of over-the-top emotion into many of her songs as well.
The Beatles vs. the Stones I think are somewhat Apollonian versus Dionysian. I like them both, but I much prefer the Beatles, although I am far from liking everything they did . But strangely enough, the more Dionysian Stones rouse almost no emotion in me at all except appreciation of the tremendous beat and power of their music. And (also perhaps rather oddly) only a few Beatles songs – such as “Yesterday” and “Eleanor Rigby,” for example (both with string accompaniments) – stir any emotional reaction in me but nostalgia.
And then there’s the music of Leonard Cohen – he of the low monotone and no pyrotechnics at all, quite Apollonian in my book – which I find very emotional. The emotion is in the words and the music itself, and something evocative in his unbeautiful but resonant and full-of-meaning voice. And two other big favorites of mine, Richard Thompson and Mark Knopfler, are also emotional in their playing (guitar in both cases) and yet Apollonian in their physical stillness while playing, and in their singing voices. On the other hand, Whitney Houston and her vocal flourishes leave me utterly cold, despite that glorious voice.
And the Bee Gees? (You knew I’d get around to them, didn’t you?) They are a special case to me because they have so many voices and ways of singing. I have noticed that a lot of people find their singing very emotional, even perhaps hyper-emotional, expecialy the voice of Robin and especially in his 60s incarnation, where he sounds as though he is constantly on the verge of a nervous breakdown.
Nevertheless, the Bee Gees seem to me to be a very Apollonian group, because they exercise total and complete control of their voices and of their arrangements. Some people perceive it as too slick. But I love almost everything they do. Even their disco songs – so very strongly loved and hated – are IMHO the best disco songs ever made. I defy people not to succumb to the beat. The falsettos are in the disco songs not to be annoying (although some people find them so), but to heighten the urgency and the excitement; their regular voices were way too beautiful for that, and they wanted a different sound.
But they can do falsetto in so many ways it’s astounding, including a lovely sound that’s closer, for Barry, to that of a countertenor. “Too Much Heaven” evokes tears in a great many of the YouTube reactors, for example, and it often happens almost instantaneously (and somewhat mysteriously, because a lot of them are puzzled by their reactions).
“Nights On Broadway,” one of the Bee Gees biggest hits from 1975, is another love/hate song. I love it. It has a driving catchy rhythm, a tenacious hook (watch out!), and sounds upbeat. But the words are about a love that’s ended, and a hopeless pursuit of the loved one that amounts almost to stalking. The tune masks the darker words to a certain extent unless the listener is really paying attention (that’s also true of others Bee Gees songs such as “Stayin’ Alive”).
And in the middle of the upbeat catchy part of “Nights On Broadway,” we come to the hyper-emotional (although still Apollonian) bridge, in which the frenetic pace stops and we enter something quite different. The music slows and Barry says “I will wait…” and then we wait to hear the rest, which is (to me, anyway) transcendently and almost heartbreakingly beautiful and full of yearning (in this live version from 1975, the bridge begins at 2:57 and ends at 3:50):
“Singing them love songs, singing them straight-to-the-heart songs…”
