We'll start with murder. David Dalton (Who Is That Man? In Search of the Real Bob Dylan, Hyperion 2012, pp. 28-29, hyperlinks added!):
Most folk songs had grim, murderous content (and subtext). In Pretty Polly a man lures a young girl from her home with the promise of marriage, and then leads the pregnant girl to an already-dug grave and murders her. In Love Henry, a woman poisons her unfaithful lover, observed by an alarmed parrot that she also tries to kill. So it was a bit bizarre that these songs should become part of the sweetened, homogenized new pop music.
[. . .]
The original folk songs were potent, possessed stuff, but the folk trios had figured out how to make this grisly stuff palatable, which only proved that practically anything could be homogenized. Clean-cut guys and girls in crinolines, dressed as if for prom night, sang ancient curse-and-doom tales. Their songs had sweet little melodies, but as in nursery rhymes, there was a dark gothic undercurrent to them — like Ring Around the Rosie, which happens to be a charming little plague song.
The most famous of these folk songs was the 1958 hit Tom Dooley, a track off a Kingston Trio album which set off the second folk revival [the first was in the early '40s with groups like the Weavers] and was Dylan's initial inspiration for getting involved in folk music. [I prefer Doc Watson's version.] And it was the very success of the syrupy folk trios that inspired Dylan's future manager to assemble one himself: Peter, Paul and Mary. They would make Dylan, the prophet of the folk protest movement, a star and lead to consequences that even he did not foresee. Their version of Blowin' in the Wind would become so successful that it would sound the death knell for the folk protest movement. Ultimately there would be more than sixty versions of it, "all performing the same function," as Michael Gray says, of "anesthetizing Dylan's message."
Be that as it may, it is a great song, one of the anthems of the Civil Rights movement. Its power in no small measure is due to the allusiveness of its lyrics which deliver the protest message without tying it to particular events. It's topical without being topical and marks a difference between Dylan, and say, Phil Ochs.
And now for some love songs.
Gloria Lynne, I Wish You Love. A great version from 1964. Lynne died at 83 in 2013. Here's what Marlene Dietrich does with it.
Ketty Lester, Love Letters. Another great old tune in a 1962 version. The best to my taste.
Four for my wife. An old Sam Cooke number, a lovely Shirelles tune, an Everly Bros. cover, and my favorite from the Seekers.
Addendum:
1. On Thomas Merton: “All the love and all the death in me are at the moment wound up in Joan Baez’s ‘Silver Dagger,’” the man wrote to his lady love in 1966. “I can’t get it out of my head, day or night. I am obsessed with it. My whole being is saturated with it. The song is myself — and yourself for me, in a way.”
Don't sing love songs, you'll wake my mother
She's sleeping here right by my side
And in her right hand a silver dagger,
She says that I can't be your bride.All men are false, says my mother,
They'll tell you wicked, lovin' lies.
The very next evening, they'll court another,
Leave you alone to pine and sigh.My daddy is a handsome devil
He's got a chain five miles long,
And on every link a heart does dangle
Of another maid he's loved and wronged.Go court another tender maiden,
And hope that she will be your wife,
For I've been warned, and I've decided
To sleep alone all of my life.