The Spin Doctors’ hit song “Two Princes” is more than just a catchy 90s tune. Beneath its upbeat rhythm lies a subtle narrative of rivalry and romantic pursuit, cleverly underscored by a unique musical element: scat singing. This analysis delves into a pivotal scat section of the song, interpreting it as a symbolic duel between two “princes” vying for the same woman’s affection, revealing a shift in power dynamics and emotional vulnerability.
In the initial verse, the dynamic between “Prince 1” and “Prince 2” is presented as a relatively balanced competition. While Prince 2 may possess greater financial resources, Prince 1 counters with other, unspecified, strengths. The lyrical exchange suggests a level playing field, a direct and reciprocal interaction where neither prince is clearly dominant. However, this equilibrium is disrupted as the song progresses.
The lyrical shift in the second stanza portrays Prince 1 in a state of emotional decline. He descends into “a spiral of depression and self pity,” acknowledging Prince 2 as the superior contender. His attempt to manipulate the woman’s emotions through guilt reveals a lack of “princely” conduct, signaling a significant weakening of his position. The question then arises: what transpires within the seemingly nonsensical scat section to precipitate this dramatic change in Prince 1’s demeanor?
While the scat syllables themselves may lack semantic meaning, their musicality within the song is highly communicative. The scat solo, far from being mere vocal improvisation, can be interpreted as a sonic battleground, a musical fencing match where the princes’ conflict is played out through vocal agility and rhythmic prowess.
The opening line, “Di bi bi bip di bi bi bi di,” initiates this vocal duel. It can be perceived as Prince 1 launching an aggressive attack, a bold if somewhat reckless move aimed at overwhelming his opponent. The swiftness and directness of this vocal phrase suggest an attempt to seize immediate dominance.
However, Prince 2 proves to be a formidable adversary. The subsequent line, particularly the “di-di-le-di” segment, can be heard as Prince 1’s attack being skillfully deflected and parried. This vocal counter-maneuver indicates Prince 2’s adeptness and resilience, turning the tide of the musical confrontation.
The following phrase, “ba da ba da ba da ba,” embodies a relentless and overwhelming offensive from Prince 2. This unwavering vocal assault suggests a superior level of skill and strength, leaving Prince 1 struggling to defend effectively. The intensity and repetition of this phrase convey a sense of being overpowered and outmatched.
The concluding line of the scat section, “Da ba da ba da ba da ba da ba,” serves as Prince 2’s decisive blow, a final and crushing assertion of dominance over Prince 1. This vocal phrase, delivered with assuredness, marks the end of the musical skirmish and solidifies Prince 2’s victory. The scat section, therefore, culminates not in a playful exchange but in a musical “massacre,” where Prince 1 is vocally defeated.
This decisive vocal “beating” within the scat section directly mirrors the dejected and defeated tone of Prince 1 in the subsequent verses. He is forced to confront the reality of his diminished standing, accepting his position as “the lesser of the two princes.” The scat, therefore, functions as a crucial turning point in the song’s narrative, a musical “spin doctoring” of the romantic competition where Prince 2’s vocal superiority becomes symbolic of his overall dominance in the pursuit of affection. The seemingly nonsensical scat syllables, upon closer examination, reveal a sophisticated layer of meaning, enriching the song’s narrative and highlighting the subtle complexities of rivalry and romantic aspiration within “Two Princes.”
