It's hard to find much redeeming value in the song, besides the obligatory "why... was this a hit" snide comment. But here's one way to enjoy it: when the female singer comes in for her two lines in the second verse, pretend it's Avalon doing a falsetto "woman" voice. Way funnier that way.
What is it about this song that's so... lame? Well, I guess it really doesn't have any emotion or dynamics whatsoever. It's a happy love song, a man extolling the mutual love he shares with his significant other. But wait – it isn't really that happy, is it? It's more... content. Here, this is what a happy song sounds like. Listen to a couple minutes of "Keep On Growing" and then flip back to "Why" and you'll see what I mean. Frankie Avalon says a lot of things about "love" and "forever," but he kinda sounds like he doesn't give a shit. But it's hard to blame him – even Marvin Gaye himself probably couldn't have done anything with that insipid backing music behind him.
But wait, you say. What about that feeling of quiet content that we can sometimes feel when thinking of a loved one – can that not be captured in song? Are the more violent and passionate emotions the only ones suited to the format of popular music? Well, I guess it depends on whom you ask. But I'll go with: no, it probably can't. And yes, they probably are.
And with that, we conclude the brief year-and-a-half period that our timeline extends into the 50s. Ahead lie the 60s – a decade more mythologized than any other, but in which the sounds and attitudes of popular music become much more palatable to our 21st century tastes. But let's not get too far ahead of ourselves – first there's the early 60s. Not too much different from 1959, really.
D
