80s

Lovesong - The Cure (1989) - Lovesong - Jack Off Jill (2000)

The Cure: released in 1989 under the Disintegration album - Lovesong is one of the defining gothic rock, love - songs,‘Lovesong is a touching, sentimental  tribute to frontman Robert Smith’s long time partner Mary: the song an ode to Mary that Smith wrote it as a wedding present for her in 1988. At the time this was one of the most barest - raw lyrical presentation by Smith, being an explicit confession and declaration of his undoubted feelings.

This moving tonality of the song is embedded by being set in a minor however set at 140bpm allowing for a rhythmic upbeat consistency despite the melancholic instrumentals and vocals, forming a musical imagery of not sorrow but as the lyrics emphasise this rawness of expressing love by Smith. 

Structured simply by being built around a distinctive bass riff. The verses follow an Am/G/F/Em chord progression, changing to F/G/Am/C in the choruses. 

Verse 1:

Whenever I'm alone with you

You make me feel like I am home again

Whenever I'm alone with you

You make me feel like I am whole again

Chorus:

However far away

I will always love you

However long I stay

I will always love you

Whatever words I say

I will always love you

I will always love you

In the first verse: Smith expresses his completion in the presence of his wife - feeling whole again, implying himself to be broken, a broken soul - the trope of gothic romance - being healed - safe in her presence, in soul - however far away.

In the chorus: the physical distance expressed - however far away that separates Smith from his beloved wife, Mary, for however long he stays while he tours the world - it will not diminish his undying love for her. Whatever words he says - whatever frustrates her in conflict - arguments - he wants her to know he always will love her.

J.O.J: released in 2000 under the Clear Hearts Grey Flowers album - which contrastingly had been produced by Chris Vrenna of Nine Inch Nails, the song embeds itself as a twisted modern narrative of the original where it follows the same gothic lullaby-esque melody, however is articulated more hurtful, painful contrast to Smith's affectionate presentation of the song. Front women Jessicka Addams moving away from the original tonal range expanding with fried vocals - screeching the refrained phrase "love you" before the fading to silence in the end from the final riff, contrast to Smith's intentions of declaring love this may be a satirised song of anger for Addams as prior to the albums release she had voiced her pain from being in a relationship with Twiggy Ramirez, ex-bassist of Marilyn Manson.

This moving tonality of the song is embedded by being set also in a minor however set at 146bpm, a faster rhythm creating a more punk movement of the song with the intros distorted power chords of A/G/F/E to the chorus of A5/G5/F5/E5, the compositional wall of sound created by reverb - distorted vocals and instrumentals creating this chaotic nature of the song backed by the emotive screams of Addams interjected into the song, particularly in the suspenseful build up in the finale whereby the softer harmony of Addams is broken up with the harsh screams of "love you" reinforcing this rageful subvertion of the classic goth love song.