B
benedictgal
Guest
That is an excellent point, Sarabande. When composers are writing songs “in the voice of God”, but, not being explicit about just Who is speaking, it leaves the composition rather ambiguous. That is the big problem with a lot of these songs. We really don’t know who is addressing whom. The older songs had no ambiguity to them.This is true. “Making love” for instance, up till the early 20th century, did not mean having sex. It just meant being innocently amorous with your sweetheart. I know a man in his early 60s who was a sensitive, innocent, old-fashioned kind of guy when he was a young man. He read a lot of old poetry and novels and innocently said to a girl he was dating, “I love making love to you.” Well, that ended the courtship right then and there. He got smacked in the face and didn’t know why until he asked his friends and was brought to the realization that the “modern” (this was back in the early 60s) term of “making love” meant having sex. He never used that again when dating.
But besides the fact that the writer probably should have thought about the modern connotation of the word, “lover”, it’s more of the issue that the song is ambiguous with no mention on God, thus leaving it open to lots of interpretation of whether or not it is a secular song or a religious one.
Someone brought up the fact that OCP is now including “Lean on Me” as part of their arsenal. That is sad. Every time I hear that song, I keep remembering the late 80s remix with “we be jammin, we be jammin” and the reggae beat to it. Next thing you know, they’ll include “Bridge Over Troubled Water”, “Pride (In the Name of Love)” and “Gloria (a very old U2 song that has Latin in the refrain, which I love, but, not for the Mass)”.