EVERY GENRE PROJECT - March 23 - Levenslied
Genre of the Day - Levenslied
Album of the Day - Gewoon André by André Hazes (1981)
March 24, 2024
The merit and social function of pop music are oft-discussed in music discourse. There’s the notion that pop music can be elevated to an art form, that the elements that constitute it can be elevated and activated through an avant-garde lens in concept albums like Lorde’s Melodrama. There’s also the notion that pop music itself, even in its most commonplace, simplest form can stand on its own merits without having to be conscious of its own identity as pop and greater than itself. That’s the pop we hear at the grocery store, that unites taxi drivers with corporate bigwigs and everyone else, the music we share without intending to share. This is the music that ends up being an important part of national identity, too, one that can bond countrymen without getting into the weeds.
Today’s genre is synonymous with that simplicity. Levenslied hails from the Netherlands, and literally translates in Dutch to ‘life song.’ Something as universally aiming as that in music tends to be simple, pure, and thus a little sappy and sentimental. This cheerful and tender type of music emerged as the dominant pop music format throughout the 1900s, but especially as a lighter-fare counterweight to rock’n’roll upon its invasion into Europe. While it's emblematic of a musically less varied time in the Netherlands, it remains beloved. I think of our yacht rock in the US with similarly sentimental songs featuring light, beautiful melodies and straightforward lyrics.
André Hazes is an icon of levenslied and in the Netherlands. In fact, some consider him the country’s greatest singer. Regardless of his place in the Dutch pop pantheon, it’s remarkable to me how many iconic singers of their countries had such terrible childhoods, like Luis Miguel’s father having his mother assassinated, or the abuse Michael Jackson suffered at the hands of his domineering father. Similarly, Hazes went through abuse as a child that led him to develop a drinking problem that persisted throughout his career, though his output remained surprisingly consistent in the face of these struggles, allowing Hazes to establish himself as one of the most popular levenslied singers.
Armed with a light, ever-so-slightly raspy but deeply expressive voice, he was bound to become a star at emoting on these, well, emotional ditties. Opener “Een Beetje Verliefd” pairs a light piano shuffle characteristic of soft rock with equally cream puff lyrics, with a chorus translating to, “A little bit in love (A little bit in love) / I thought a little bit in love / If I knew what you were thinking back then / I would've never waited on you.” “Zeg Maar Niets Meer” is a dazzling showcase of his warm, clear, and longing voice tackling the anthemic pop standard “You Don’t Own Me” by Lesley Gore with alternative Dutch lyrics with impassioned vocal potency. With a little spacey synth breakdown, levenslied proves its ability to morph into the demands of the era and extend its lifeforce even in the face of new genres. “Voor Mij Geen Slingers Aan De Wand” paints a genuinely heart-wrenching picture, with lyrics about nobody wanting to be with the narrative’s character even on his birthday, the drippy drama sold by the strength of his demanding voice. “Mijn Concurrent” tells the tale of giving a woman love after her boyfriend cheats on her, allowing you to win the war. It’s genuinely well constructed pop, between the New Wave guitar riffs and crisp bass. But overall what this album demonstrates is that a good singer can elevate any material, like the Tin Pan Alley standards Billie Holiday was initially given to work with. Simplicity in pop music reminds us of its uniting power, that like a bare-bones house, not everything needs to be ornate to provide us the shelter and warmth a good singer with a good backing track can provide.