Ahhh! As a part of a teen couple who has a soft spot for love songs, I feel pretty excited about Do you want to learn more about a current relationship? If you're . Romance is in the air! We've scoured the lists and compiled our picks for the top country love songs. These are songs for that mood, and songs about the sometimes tragic outcomes of puppy love What does that song mean? . Just because we're in our teens.
Since its full inception at the end of the Second World War, the teenage market has relied on music as one of its biggest hooks: So, if you're going to sell music to teenagers, it seems fairly obvious that that music should contain qualities that will appeal to adolescents. In the s and the s, before the terms 'teenage' and 'youth culture' were coined, the sheer energy and - to adults - atonal noise of hot jazz was enough to demarcate the generation line.
But that's as far it went.
50 all-time teenage classics | Music | The Guardian
If there are any Charlestons about acne or swing tunes about school, I haven't found them. As teenage marketing was more seriously pursued during the Second World War, it became to some degree self-conscious. Hence the emergence after of songs about what it is to be a teenager, with all that adolescent angst and potential purchasing power. Naming something helps to bring it into being, so all the Fifties songs about teens and teenagers reinforced the nexus between youth, music and money.
Ranging from to the present day, these 50 songs - arranged in chronological order - contain various thoughts and feelings about what it is to be adolescent. Some are shameless cash-ins, others reveal acute insights, others just celebrate peer power.
The list is not supposed to be definitive, but organised around various key words: Any omissions are accidental. On 14 August, Grand Central Station was swamped by a 'delirious mob' of 10, fans.
At the premiere three days later, 15, fans thronged the streets around the Capitol Theatre. Alerted by this display of peer power, reporters noted that 60 per cent of the crowd were 'minors'.
By the end of the day, Garland and Rooney, who performed after each showing, had played to 37, fans, and the crowds continued for the rest of the run. This was one of the events that kickstarted teenage marketing: At this time, the term denoting young consumers changed from 'sub-deb' to the more music-specific 'bobby-soxer' and the age-derived 'teenster' or 'teen-ager'.
With lyrics by Roger Edens, 'In-Between' pin-pointed that adolescent dilemma: Garland looks forward to the day when she'll be 16 and can stop being 'an awful in-between', 'too old for toys and too young for boys'. Echoing her own confusion - a young woman of 16 strapped up to play a child - it remains a haunting document from the start of teenage culture.
Like Haley, Bennett was on the cusp of his thirties - a professional musician equally at home with swing, country and r'n'b. After sessions with Earl Bostic and Bill Doggett, he decided to fashion something for the teenage market. Bennett was shrewd enough to itemise all the period's teenage style signifiers: And relentless enough to record another song, 'My Boy Flat Top', that, aimed at boys, celebrated the rockabilly hairstyle.
The style that scored with the young public was the slow, unearthly ballad, such as the Penguins' 'Earth Angel' - a true teenage swoon. Its success made Dootsie Williams's Dootone label a magnet for Los Angeles groups and the Meadowlarks - led by year-old Don Julian - were the smoothest. One of their few rockers, 'Boogie Woogie Teenage' is little more than a standard boogie riff. The lyrics celebrate the new youth world - 'Well, if you're ever on jukebox street, let me tell you about the kids you'll meet' - but despite an energetic performance, the horn-based arrangement is rooted in a style that was becoming obsolete.
But the buzzword was out. Entering the US pop charts before 'Heartbreak Hotel', the fresh, doo-wop of 'Why Do Fools Fall in Love' reached number six, making the group authentic adolescent deities and an inspiration to their peers. Sweet Little Sixteen, Chuck Berry Berry's huge hit is a peerless invocation of the young female consumer upon whom pop culture rests. The last verse gets to the heart of the problem, sex: Released the month after Buddy Holly's death - the Belmonts had been on the same tour but could not afford the money for the fatal plane ride - this was their biggest hit to date.
Sparse and melodic, it hit the market for adolescent self-absorption fair and square, rising to number 5 in the US. Like Frankie Lymon, Dion's innocent vocal worked against his own experience.
Unlike Lymon, however, he survived and continues to record today. I've got the blues, man.
Teenage Love, The Five Chesternuts With a good dose of brutally simple instrumentation and yearning lyric, 'Teenage Love' marks the moment when Brits started to make decent pop records. It was quickly followed by Cliff Richard's 'Move It'. Real-life teens, the Five Chesternuts included future Shadows Bruce Welch and Hank Marvin, who co-wrote this rudimentary Buddy Holly knock-off that contains within its lilting energy the first-time innocence of a generation finding its voice.
A Teenager's Letter of Promises, Sun Ra The word 'teenager' was such a hot branding device that Sun Ra, the jazz band leader who claimed to have been to Saturn, turned his hand to the topic. Already experienced in doo-wop, Sun R as Mr V put together this bizarre, spookily effective mixture of echoed recitative 'And now reminiscent of the lover's voice, I shall be the shadow lying at your feet' and yearning female vocal by Juanita Rogers.
Teen Angel, Mark Dinning With its melodramatic storyline - car stalls on train line, the pair escape, the girl goes back for Mark's high school ring and dies - this ghoulish slice of kitsch went to number one in the US.
Dinning was a country singer in his mid-twenties when he recorded 'Teen Angel'. Its morbidity tapped into the Romantic nexus of youth and premature death that had been a staple of 20th-century culture - think of Rudy Valentino - and what Fifties teens claimed as their own with James Dean and Buddy Holly.
The Beat Generation, Bob McFadden and Dor 'Generation' had long been one of the keywords unlocking the key to the 20th-century youth world. In the hands of the Expressionists and the Futurists during the s, it tended to take on a punkish, crudely ideological flavour - ie we're young: From the lost generation to the beat generation was not too big a step: The beat generation became national news after Jack Kerouac's On the Road By the term had become shorthand for a new youth style.
Sixteen years later, Richard Hell stole the riff and the lyric for his manifesto, 'Blank Generation'.
Nowhere is his determination 'to cater to the teenage market' more apparent than on this early attempt. An American dancer and actor, Chakiris was one year away from stardom and an Oscar in West Side Story when he cut this formulaic ode to the mythical girl 'who is only 17'.
Meek would soon perfect his approach. Despite a Norrie Paramor production - Light Programme strings and brass, dreadful 'ye-ye-ye' back-ups - she stamps her authority on the lyric: The Young Ones, Cliff Richard The theme tune to the 'let's do the show right here' clean teen film and the start of Cliff's imperial period, 'The Young Ones' went in at number one in the UK in January and stayed there for six weeks.
A great pop production - with the swing of the Shadows balancing producer Norrie Paramor's sweetening tendencies - the song celebrates living in the present and the transience of youth. I Saw Her Standing There, The Beatles Titled 'Seventeen' until the last moment, the lead track from the Beatles' first album acted as a manifesto for a new pop age.
No pizzicato strings or shrill female back-ups here, just tough, guitar-driven rock'n'roll and sharp, colloquial lyrics 'she was just seventeen, you know what I mean' that described teenage life as it was or could be.
Right from the count-off, these tough girls know what they want and know how to get it. It was put together by Shadow Morton, of Shangri-Las fame.
The easygoing music is a perfect complement to the delightful and decidedly quirky lyrics, which the couple sing to each other in youthful, matter-of-fact voices, and which brilliantly capture the fresh, unique experience of first love. The song was released in two versions. The first version was intended for Swift's country fans and emphasized acoustic instrumentation, including a banjo.
The second version was directed toward her pop fans and put the spotlight on rocking electric guitars.
Style and Mood As a country and pop crossover hit, You Belong With Me combines elements of both genres with its infectious beat, lilting melody, and frank, down-to-earth feel. The lyrics are direct, earnest, and straight from the heart. The song is about unrequited love. A teenage girl has a crush on a boy who is dating a popular cheerleader. The young girl wants him to wake up to the fact she's the one who truly understands him and can love him the way he deserves to be loved.
Teenage Dream by Katy Perry With an irresistibly catchy tune and a beat that makes you want to dance, Katy Perry's anthem to young love, Teenage Dreamis ranked number four on Rolling Stone's list of the 50 best songs of Billboard places the song at number two on its list of the 20 best songs of the s so far.
It soon shot to the top of the chart and stayed there for two weeks. Style and Mood Teenage Dream is a pop song with a buoyant 80s feel. In a soft, breathy voice, Katy Perry sings the lyrics to the song's verses, describing how she feels safe enough to open her heart to her high school love interest, since he loves her even when she messes up punch lines to jokes and when she's not wearing her makeup.
In the song's chorus, Perry delivers strong, syncopated vocals with a driving beat to capture the intense, incomparable feeling of young love, of wanting to run away together and never look back. The song was the first single they released and came from their debut album Up All Night.
One Direction got its start as an act on the British program X-Factor. The song debuted at number one on the U. What Makes You Beautiful has sold nearly 4.
Style and Mood What Makes You Beautiful is a guitar-driven pop song with a pulsing beat that makes you want to dance. It has a fun and frothy 50s rock vibe, which is particularly evident in its opening guitar riff and its soulful vocal harmonies.
The lyrics, which would melt any teenage girl's heart, are written from the perspective of a young man who wants to let his sweetheart know how beautiful she is, though she doesn't seem to realize it.
It's the sort of song that moves into your mind and plays itself again and again. As the second single released from the album, the song reached number 22 on the Billboard Hot At the time the song was released, Selena Gomez had just begun a romantic relationship with teen pop superstar Justin Bieber. Selena Gomez' vocals are delivered in an almost ethereal tone as she describes her passion for her new love interest.
In lyrics to which any teenage girl in love can relate, Selena sings about how she wants to put the love she shares with her boyfriend on eternal repeat, just like a favorite love song. Rolling Stone ranked the song number 45 on its list of the 50 best songs of Song History Soon after the release of Die in Your Arms to iTunes, the song shot up to the digital store's number three position.
It haddownloads in its first week and reached number four on the Hot Digital Songs Chart. Style and Mood Die in Your Arms, a laid-back and soulful song, features Justin Bieber earnestly crooning to his beloved in a voice that will make you think of a youthful Michael Jackson.
Songs about Young Love
You'll hear a melodic piano accompaniment and snapping fingers, which complement the song's mellow hip hop beat. Lyrically, the song speaks to Justin Bieber's complete immersion in his love for his sweetheart, that he dies in her arms every time she touches him, and if there's any reason for her to call him a fool, it's because he "loves too hard. Clearly, though, she's pretty much there already, and it's making her exhilarated and nervous at the same time. In the first week after its release, sales of the single toppedcopiesearning it the number four spot on the Billboard Digital Songs chart.
Heart Attack reached number ten on the Billboard Hot and stayed on the charts for twenty weeks. Style and Mood The centerpiece of of Heart Attack is its strong, pulsing beat, which brings to mind a pounding heart.
As an EDM electronic dance music song, its rhythm makes you want to dance, and Demi Lovato's vocal prowess brings the emotion in the lyrics to life. When she sings about how her new love interest makes her glow, she draws out the word "glow" like she means it.
Songs about Young Love
The song speaks to the anxiety young lovers feel when faced with the intensity of their emotions and their fear of being hurt. Sledgehammer by Fifth Harmony From girl group Fifth Harmony comes Sledgehammera song with captivating harmonies, a driving beat, and a refrain that will make you want to sing along. The song struck such a strong note with young audiences it garnered a nomination at the Teen Choice Awards for Choice Love Song. Song History Fifth Harmony, who got their start on X Factorreleased Sledgehammer in as their second single from Reflection, their debut album.
The song became Fifth Harmony's first top forty hitpeaking at number Style and Mood Sledgehammer hooks listeners with its phenomenally catchy refrain, in which the girls of Fifth Harmony blend their voices to perfection. The song is backed by an irresistible EDM beat that brings to mind a heart beating like a sledgehammer. The lyrics capture that rosy feeling of first attraction, in which a young couple-to-be is feeling a pull to each other that cannot and will not be denied.
The video for the song features Tom Hanks and Justin Bieber and was named one of the ten best videos of by Billboard. The song was a hit in Canada, the U. I Really Like You hit number three on the U. Style and Mood Though Carly Rae Jepson sings "It's not love," she makes perfectly clear a subtext of "not yet," because according to her lyrics, that's where things are headed. In I Really Like You, she's in that delicious in-between stage, during which a new romance is blossoming into what will become full-fledged love.
Backed up by a flirty synthpop beat, Carly Rae Jepsen lets her love interest know she really, really likes him.
The sheer number of times she sings "really" lets the listener know it's only a matter of time until she makes a declaration of love. Like the song, the video will warm your heart. It begins with Charlie Puth at a grand piano, then segues into classroom scenes and snippets from daily life that demonstrate his devotion to his beloved.
The song peaked at number twelve on the Billboard Hot and spent 26 weeks on the charts. Style and Mood One Call Away is a soulful piano ballad with a gospel feel, and it demonstrates Charlie Puth's considerable skill at the keyboard. In a tone that combines gentleness and strength, he sings to the girl he loves that whenever she needs him, he will be there to "save the day" and that Superman has "nothing on him.
Treat You Better by Shawn Mendes In Treat You Betterteen heartthrob Shawn Mendes sings the words that any teenage girl who's been through a difficult relationship would love to hear.
He pledges that unlike his love interest's previous boyfriend, he will treat her well because she "deserves a gentleman. It peaked at number six on the Billboard Hot and spent a total of 39 weeks on the charts. The song also rose to number one on the Adult Contemporary Chart. Style and Mood A sweet-spirited pop songthe light musical production of Treat You Better provides a good background to shine a spotlight on Shawn Mendes' heartfelt lyrics, in which he pleads with the girl he loves to reconsider her current romance with an abusive boy who treats her poorly.
In asking his beloved to take his hand, Mendes promises that they'll be fine and that she won't have to cry anymore. Cooper has become well-known for creating soulful music with romantic overtones. The song peaked at number seven on the U. Singles Chartand it hit number four on the Scottish charts.