Comments on: [I] love you http://rogerbourland.com/2007/07/10/i-love-you/ Roger Bourland writes about music and life Fri, 12 Mar 2010 09:06:00 -0800 http://wordpress.org/?v=2.8.6 hourly 1 By: PK http://rogerbourland.com/2007/07/10/i-love-you/comment-page-1/#comment-36133 PK Wed, 11 Jul 2007 04:59:30 +0000 http://rogerbourland.com/blog/2007/07/10/i-love-you/#comment-36133 I always felt the formality and history of the expression caused it to be, at best, suspicious. Surely, one can think of a better way to say it? But then I hear Nat King Cole in my head, <i><a href="http://www.sing365.com/music/lyric.nsf/I-Love-You-For-Sentimental-Reasons-lyrics-Nat-King-Cole/D514DA9AA17C0A0448256AF1000B2D23" rel="nofollow">"(I Love You) For Sentimental Reasons</a></i> and I can say it again. -Artist: Nat King Cole -peak Billboard position # 1 for 6 weeks in 1946-47 -Words by Deek Watson and Music by William Best -also charted in 1946 by Charlie Spivak (#5) -also charted in 1947 by Eddie Howard (#2), Dinah Shore (also #2), Ella -Fitzgerald (#8), and Art Kassel (#15). -also charted by Sam Cooke in 1958 (#17). -also charted in 1961 by the Cleftones (#60). I always felt the formality and history of the expression caused it to be, at best, suspicious. Surely, one can think of a better way to say it? But then I hear Nat King Cole in my head, “(I Love You) For Sentimental Reasons and I can say it again.

-Artist: Nat King Cole
-peak Billboard position # 1 for 6 weeks in 1946-47
-Words by Deek Watson and Music by William Best
-also charted in 1946 by Charlie Spivak (#5)
-also charted in 1947 by Eddie Howard (#2), Dinah Shore (also #2), Ella
-Fitzgerald (#8), and Art Kassel (#15).
-also charted by Sam Cooke in 1958 (#17).
-also charted in 1961 by the Cleftones (#60).

]]> By: Brad Wood http://rogerbourland.com/2007/07/10/i-love-you/comment-page-1/#comment-36009 Brad Wood Tue, 10 Jul 2007 16:45:26 +0000 http://rogerbourland.com/blog/2007/07/10/i-love-you/#comment-36009 The first thing that came to mind, a tune that begins (well, after a repetition of the fifth degree) with a descending major seventh and was a huge hit for Bing Crosby, Cole Porter's 1943 I Love You: I love you Hums the April breeze. I love you Echo the hills. I love you The golden dawn agrees As once more she sees Daffodils. It's spring again And birds on the wing again Start to sing again The old melody. I love you, That's the song of songs And it all belongs To you and me. It's spring again And birds on the wing again Start to sing again The old melody. I love you, That's the song of songs And it all belongs To you and me. Great song. The first thing that came to mind, a tune that begins (well, after a repetition of the fifth degree) with a descending major seventh and was a huge hit for Bing Crosby, Cole Porter’s 1943 I Love You:

I love you
Hums the April breeze.
I love you
Echo the hills.
I love you
The golden dawn agrees
As once more she sees
Daffodils.
It’s spring again
And birds on the wing again
Start to sing again
The old melody.
I love you,
That’s the song of songs
And it all belongs
To you and me.

It’s spring again
And birds on the wing again
Start to sing again
The old melody.
I love you,
That’s the song of songs
And it all belongs
To you and me.

Great song.

]]> By: nocal_composer http://rogerbourland.com/2007/07/10/i-love-you/comment-page-1/#comment-35999 nocal_composer Tue, 10 Jul 2007 15:31:20 +0000 http://rogerbourland.com/blog/2007/07/10/i-love-you/#comment-35999 Observations: * LOVE YOU has a simpler pulse hence is psychologically manifest, easier to remember, digest, and walk to. I LOVE YOU tends to fall into more of a compount 3/4 feel. * The "I" is unecessary and redundant. * Having an "I" distracts from the focus and center of attention of the person receiving the message and is not as strong for that person emotionally. e.g. they need to feel as if they are the center of the universe. * Acting lesson number 1: never stress the pronoun. * Culturally, it's embarassing to express oneself with sensitivity, so leaving off the "I" adds an anon and makes the speaker feel comfortable in passing the message. * Speaking from my own southern experience, most southern girls are extraordinarily beautiful, whilse southern men tend to be ugly and crufty, so leaving off the "I" is a wave toward hoping the receiver doesn't know where that voice and message came from - which worked especially for me from the back of the class in 3rd grade. Observations:

* LOVE YOU has a simpler pulse hence is psychologically manifest, easier to remember, digest, and walk to. I LOVE YOU tends to fall into more of a compount 3/4 feel.
* The “I” is unecessary and redundant.
* Having an “I” distracts from the focus and center of attention of the person receiving the message and is not as strong for that person emotionally. e.g. they need to feel as if they are the center of the universe.
* Acting lesson number 1: never stress the pronoun.
* Culturally, it’s embarassing to express oneself with sensitivity, so leaving off the “I” adds an anon and makes the speaker feel comfortable in passing the message.
* Speaking from my own southern experience, most southern girls are extraordinarily beautiful, whilse southern men tend to be ugly and crufty, so leaving off the “I” is a wave toward hoping the receiver doesn’t know where that voice and message came from – which worked especially for me from the back of the class in 3rd grade.

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