Have you ever listened to a song and felt a little…unimpressed? It’s not always about the melody or the singer’s voice. Sometimes, something in the lyrics just grates on the ear, even if you can’t quite put your finger on it. Often, this feeling stems from the way grammar is used, or perhaps misused, in song lyrics. While music offers creative license, there’s a line between artistic expression and linguistic choices that simply fall flat. Let’s explore how grammatical variations, particularly the use of “don’t” where “doesn’t” might be expected, can contribute to whether a song strikes a chord or leaves us feeling indifferent.
One interesting linguistic phenomenon is called “paradigm leveling.” This is essentially where language simplifies itself over time, ironing out variations. A classic example in English is the verb “to be.” We say “I am,” “you are,” “he/she/it is,” “we are,” “you are,” “they are.” Historically, verb conjugations were much more complex. Paradigm leveling is a natural process, and it’s why, for instance, many modern English speakers might instinctively use weaker verb forms where stronger, more distinct forms once existed.
This leveling effect can be seen in the use of “don’t.” Logically, we know it’s grammatically “doesn’t” for the third person singular (“he, she, it”). However, the pattern of “I don’t,” “you don’t,” “they don’t,” is strong. For some English speakers, particularly in certain dialects, this pattern extends to “he, she, it don’t.” You might even hear examples like, “He don’t do that, does he?” This usage, while not considered standard English, isn’t necessarily jarring in informal speech or, crucially, in certain types of songs.
In fact, the use of “he, she, it don’t” is a feature of dialects like African American Vernacular English (AAVE) and Appalachian English. These dialects have profoundly influenced many popular music genres. Think about rap, hip-hop, R&B, gospel, country, and blues. These genres often embrace and celebrate these linguistic variations. When artists in these genres use “don’t” with a third-person singular subject, it often signals authenticity, intimacy, and a raw emotional connection. Consider artists like Tom Jones, who, despite being Welsh, incorporates elements of AAVE into his singing style, or country singers drawing from Southern dialects. This deliberate use of non-standard forms can add depth and character to a song. It suggests a connection to a specific cultural or regional identity, which can be very powerful and emotionally resonant.
Imagine Pink Floyd singing “We doesn’t need no education.” It simply doesn’t have the same impact as “We don’t need no education.” The grammatically “incorrect” version is iconic and powerful within the context of the song. Similarly, Elvis Presley lamenting “I’m nothing but a hound dog,” not “I am nothing but a hound dog,” contributes to the song’s bluesy, informal feel. In these cases, the dialectal variation enhances the song’s emotional impact and authenticity.
However, there’s a crucial distinction to be made. While dialectal variations can add authenticity and emotional depth, sometimes grammar is twisted in songs purely for the sake of rhyme, and this is often where songs truly “don’t impress.” Take the Christmas carol “I Wonder as I Wander.” It contains lines like, “How Jesus the Savior did come for to die, / For poor on’ry people like you and like I.” While “come for to die” and “on’ry” might evoke a vaguely Appalachian feel, the “like I” is jarring. It’s grammatically awkward and sounds forced. It’s a clear example of sacrificing grammatical correctness, not for dialectal authenticity, but for a rhyme with “sky.” This kind of grammatical manipulation often comes across as clumsy and detracts from the song’s overall quality. It’s not charming dialect; it’s simply awkward phrasing for convenience.
In conclusion, when it comes to grammar in songs, context is key. Dialectal variations like “he, she, it don’t” can be powerful tools for creating authenticity and emotional resonance, particularly in genres rooted in specific cultural and regional dialects. These choices can make a song more impactful and, dare we say, more impressive. However, when grammar is bent out of shape solely for the sake of a rhyme, without any grounding in dialect or artistic intention, the result can often be lyrics that simply don’t impress us much at all. The difference lies in authenticity versus artificiality, and listeners can usually tell the difference.
