Showing posts with label Lyrics. Show all posts
Showing posts with label Lyrics. Show all posts

Monday, 5 September 2011

The language of rock and pop?

Many Spanish friends regularly remark that most rock and pop music sounds far better in English than in Spanish. Are they right? If so, why? Leaving aside certain cultural inferiority complexes, there are important metrical keys to understanding the reasons.

A decent place to start might be translated versions of famous songs, such as hits by The Beatles. Their work does tend to be dreadful when sung in Spanish, even when the lyrics aren't clunkily reworked. Let's take the example of Yesterday and look at how it works...

"...now it looks as though they're here to stay..." That's written in trochees!

"...oh I believe in yesterday..." That's written in iambs!

In other words, just as stressed poetry doesn't work well in Spanish, so imposing Spanish lyrics on a song that originally used iambs and trochees is never going to sound natural. In the same way, translated nursery rhymes are also extremely dodgy (e.g. Old MacDonald had a farm is a series of trochees in itself!). Here's a link to a typically grim Spanish-language performance of Yesterday:



Nevertheless, I do believe it's easy to get too simplistic about this. Many Spanish groups have successfully fused elements of flamenco or rumba, etc, to their pop or rock, creating gorgeous lyrics that face no problems at all. Trouble mainly flares up when songs written for English lyrics are shoved into Spanish.

This is another example of translator..traitor and shows once more that it's impossible to reflect accurately the poetry or lyrics of English in Spanish and vice versa.

Sunday, 20 June 2010

Lyrics in contemporary poetry

Bearing in mind the ever-growing aural presence of lyrics in our daily lives, it's worth noting that more and more poems make use of them.

My current favourites include Matt Merritt's terrific I'm Your Man (from his Happenstance pamphlet, Making The Most Of The Light) with its references to Leonard Cohen, plus Maura Dooley's The Spoils (from Kissing A Bone), in which she invokes the singers and songs on the records that are being divided up by a separating couple.

As for myself, I've even alluded to a cheesy Paul Young song in a poem that might well find its way into my pamphlet. Dangerous territory indeed!