Music has universal appeal, and, as savage beasts, we respond to its melodies near-instantly, allowing it to soothe us.
Music is an artistic form expressing numerous messages. A top theme of music (and any associated lyrics), is romantic love. Even before lyrics were added, titles alone suggested the ‘love’ theme of a composition.
Love songs reflect an innate desire or drive as people relating to people. Many of these types of songs makeup the majority soundtrack of our lives. From country music to hip-hop, songs about wanting love or having love or some status of love, get us down the highway, get us … in the mood for love.
Romantically speaking, love is an indefinable emotion—but we all know it when we feel it, all know what that ‘indefinable’ thing means to us, individually and uniquely. Love songs often enhance or complement those individual and unique feelings when we’re in the throes of connecting with someone on that ‘special’ level.
Couples, specifically, usually have a song or five ranking higher in importance relating to key moments of their relationship and all the many ‘firsts’: first meeting, first date, first kiss, first ‘I love you,’ first time … well, you know where this is going. And, other than a first meeting, the rest of those aren’t in any established order. Many an impromptu fun discussion (or possible resulting ‘argument’) comes up over naming a song under some variation of: “Do you remember the song playing when we …?”
In my novels, music is as instrumental a part of my stories as the setting and dialogue.
Like Sweet Buttermilk (book one in my series) is a love story, and, as such, the main characters have certain love songs which bond them. As the couple endures the trials of marriage counseling with psychiatrist, Dr. Naomi Alexander, there is one love song affecting pivotal moments in their story.
Obscure Boundaries (book two in the series) centers around grief counseling and the loss of a loved one. A main character in this tale uses love songs particular to his relationship with his lost love as a form of self-therapy. Listening to these songs helps get him through the pain and sorrow. Key to this story, however, is getting him to release himself from the escape of those love songs of his past—and pay attention to the familial jeopardy happening around him presently.
Broken Benevolence (book three, coming this fall) deals with trauma counseling but there are love songs interwoven, impacting the plot and subplots of the story. There is also a central ‘un-love’ element happening to these main characters—and, accordingly, a noticeable lack of love songs attributable.
I’m working on book four and part of that preparation involves identifying the love songs applicable to my characters’ story journey. It isn’t the easiest task, but it is a bit of fun requiring serious consideration. Fans of the series will notice there’s a good share of ‘oldies’ as part of my novel soundtracks, so too, will book four have music from prior decades. There’s something about the older stuff … but that’s a different blog.
Until next time, read on.
