I don't really like what I consider syrupy love songs anymore. I like a lot of dramatic love songs, but there has to be some specificity to their poetry. The "stand with you on a mountain song," when I hear it now, sounds like a guy talking to a girl whose head is a box with a question mark, and just saying to her, "I love you so much! I love you ten times! I love you a hundred times! I love you a thousand times!" and so on. One of my all time favorite songs, on the other hand, is "Sad Eyed Lady of the Lowlands," by Bob Dylan. It's five verses of dense, intricate description of a woman. The description is vivid and haunting, abstract but never general. And it doesn't really give you a picture of who this woman actually is (although some have made guesses), but it makes it very clear that he knows who she is, that she isn't an archetype, that she has a face. Another favorite love song of mine is "Chelsea Hotel No.2" by Leonard Cohen. There are no broad declarations in this song, only a pure, unvarnished recount of what was said, what was done in that room with the unmade bed. How she got away, didn't she, and how he doesn't think of her that often anymore. It's the truth, and the truth is in the details of her loud voice, the limousines in the street, the way she clenched her fist and what she said as she clenched her fist.
And even though I loved both those songs in high school, I think the syrupy, generic top forty songs might have more accurately described my understanding of what love was, at the time. Now, not so much.