ballad – Page 2

David Soul | Don’t Give Up On Us

“The newish Quentin Tarantino movie Once Upon A Time… In Hollywood is full of fascinating little period details, and one of my favorites is the idea that everyone in 1969 watched the same TV shows,” (Stereogum). “The washed-up movie stars, the psychotically violent hippies, the ailing cowboys — they all go home at night and tune in to the same cheesy procedurals. They don’t have options. Cable doesn’t exist yet. Neither, obviously, does the internet. There are three networks. If you’re looking for some kind of routine and vaguely comforting diversion, the shows on those three networks are all you really have … That was still the case in 1977. The ABC buddy-cop show Starsky & Hutch wasn’t even an especially big hit in its time. It did decent ratings, stayed on the air for four seasons, and stuck around in syndication for a while. Starsky & Hutch wasn’t a landmark TV show. It didn’t change the game. But it was on. So pretty much everyone in America at least had some vague idea who those two Bay City, California detectives were.

If you were, let’s say, an actor who’d never managed to get your music career off the ground but who was on TV every week, that exposure could change everything. You could record a forgettable ballad, and that forgettable ballad, combined with your own familiar face, could propel a record to #1. Starsky & Hutch was in its second season when David Soul, the chiseled and squinty actor who played Detective Kenneth “Hutch” Hutchinson, released ‘Don’t Give Up On Us.’ That year, Starsky & Hutch was airing against The Mary Tyler Moore Show and regularly getting wrecked in the ratings. But that didn’t matter. David Soul was just famous enough … (UK songwriter) Tony Macaulay produced the song for Soul, slathering it in dramatic strings and woodwinds. (It) has a hook strong enough to linger. It’s got a full, luxuriant arrangement … But ‘Don’t Give Up On Us’ remains a sleepy nothing of a ballad. It fills space, and it does nothing else.”

After a start in A major, the piano-driven track shifts up to Bb major at 2:43. The vocals seem a bit dicey through the transition in terms of pitch, but close enough for a 1970s pop ballad(?) — apparently! Many thanks to regular contributor Rob P. for submitting this track.

Derek + the Dominos | Bell Bottom Blues

“Layla and Other Assorted Love Songs (1970) is Eric Clapton’s tortured love letter to the wife of his friend, George Harrison … Clapton poured his heart into the songs on Layla,” (American Songwriter). “The five co-writes with (Derek + the Dominos bandmate) Bobby Whitlock – songs like ‘Anyday’ and the bluesy ‘Tell The Truth’ – fuse high-energy rock with some of the most emotional electric blues of all time … Clapton would never again present the blues with such urgency as on the album versions of ‘Nobody Knows You When You’re Down and Out’ and the Big Bill Broonzy staple ‘Key to the Highway.’

‘Bell Bottom Blues,’ the only song on the album Clapton wrote entirely by himself, is a portrait of a man on the brink of collapse. After the record’s release, Clapton sank into depression and addiction. As Whitlock recalls, one of the great all-time rock and roll bands ‘didn’t break up, it just kind of dissipated … Eric locked himself away for a couple of years, and that was that.'”

Starting in a slightly de-tuned C major, the tune shifts up to A major for its plaintive chorus (heard for the time between 0:41 – 1:16). Verse 2 reverts to the original key. The pattern continues from there.

Sunrise, Sunset (from “Fiddler on the Roof”)

“Set in a shtetl in czarist Russia in 1905, the beloved musical Fiddler on the Roof has been staged hundreds of times around the world since its Tony Award-winning Broadway debut in 1964 … As for Fiddler’s enduring popularity, it’s perfectly written as a comedy and a tragedy and shows tradition in such a beautiful way, with the Sabbath candles and the family sitting around the table … tradition is also at the root of heartbreak: Tevye’s daughter Chava must choose between her family and her non-Jewish love,” (Jewish Journal).

“Lyricist Sheldon Harnick, who collaborated with composer Jerry Bock on Fiddler’s songs, spoke about the musical’s appeal in a telephone interview. ‘It’s a family show. It’s about a father and his children. So many people can identify with the problems of fatherhood and raising a family,’ he said, calling the musical’s success ‘astonishing. It’s the most popular and the most performed of everything that Jerry Bock and I did. I’m very surprised and very gratified.'”

Perhaps the most memorable of all of Fiddler‘s tunes is the waltz ballad “Sunrise, Sunset.” According to NPR, Harnick remembers “‘ … when we wrote ‘Sunrise Sunset,’ the first person we played it for was Jerry Bock’s wife… and when I finished, then I looked at Jerry’s wife Patti and I was startled to see that she was crying. And I thought, my goodness; this song must be more effective than we even know.'” Starting in Eb minor, the tune shifts up to E minor at 4:08.

Don Henley | The Heart of the Matter

“Don Henley knew to listen when Mike Campbell came calling with a piece of music,” (American Songwriter). “The first time it happened, Campbell provided Henley with the foundation for his biggest solo hit, 1984’s ‘The Boys Of Summer.’ When Campbell delivered another unused instrumental piece as Henley was making 1989’s The End Of The Innocence, the end result was ‘The Heart Of The Matter,’ which became the album’s closing track and turned into one of the most resonant ballads of the decade. Indeed, the first lines of ‘The Heart Of The Matter’ tell the news of the narrator’s former flame finding someone new, putting him in a wistful, reminiscing mood: ‘And I thought of all the bad luck and the struggles we went through/How I lost me and you lost you.’

Henley muses about the tendency for even those who are seemingly at peace in a relationship to seek greener pastures: ‘What are these voices outside love’s open door/Make us throw off our contentment and beg for something more?’ ‘The Heart Of The Matter’ strikes such a chord because the themes are universal, especially for those who have lived, and lost, a little. Many breakup songs get bogged down in rancor and recrimination, but here is one that strives for something nobler, even as it admits how hard it is to get there.”

Built in D major overall, the track shifts to C major for most of its brief bridge (3:32 – 3:49) before shifting back into D major via its Vsus/V chord (3:49-3:54). Then we drop back into another verse in the original key.

Natalie Cole | I Live for Your Love

“Nine-time Grammy Award–winning singer, songwriter, and performer Natalie Cole has proven to be one of the most beloved performers of all time,” (The Kennedy Center). “Natalie Cole rocketed to stardom in 1975 with her debut album, Inseparable, earning her a #1 single, ‘This Will Be (An Everlasting Love)’ and two Grammy Awards for Best New Artist, as well as Best female R&B Vocal Performance. More hit singles followed, including 1977’s “I’ve Got Love on My Mind,” 1987’s “I Live for Your Love,” and a remake of Bruce Springsteen’s “Pink Cadillac.”

In 1991, Natalie took a bold leap that would change her life and career forever. Already a highly successful R&B artist, Natalie amazed everyone when she recorded Unforgettable … With Love, an album of standards from the American Songbook that included a duet with her late father — Nat King Cole — on the title track. The album spent five weeks at #1 on the pop charts, earned six Grammy Awards (including Song, Record, and Album of the Year) and sold more than 14 million copies worldwide.” Branching out beyond music, she made more than 300 major television appearances, including Law and Order and Touched by an Angel and talk show episodes with Oprah Winfrey, Ellen DeGeneres, and Larry King. She went on to release other albums through the 2010s; her final album, En Espanol, was an entirely Spanish language album. Cole died of kidney disease in 2015.

1987’s “I Live for Your Love,” written by Steve Werfel, Pam Reswick, and Allan Rich, reached #13 on the U.S. Billboard Hot 100 in 1988; it was also a big Adult Contemporary (#2) and R&B hit (#4). The track shifts keys even before the first verse starts: the intro is in C# major, while the verse falls down to B major! The chorus returns back to C# major at first (1:11), but then transitions to E major before ending in C# major (1:32). Verse 2 starts at 1:41 in B major; the pattern continues from there, other than the bridge (2:51 – 3:18), which throws a few more changes in just for good measure. The tune wraps up in D# major.

Michael Brecker | The Nearness of You (feat. James Taylor)

“Listening to a note perfect song is one of the many small joys afforded us by life. Of course, it’s an entirely subjective experience because music comes in all different flavors and we listeners have a wide variety of palates,’ (HistoricAmerica.org). “Be that as it may, I would argue that the Great American Songbook ranks among this nation’s greatest gifts to the world, and within this wealth of tunes there’s an absolute abundance of musical perfection.

… Hoagy Carmichael was a multi-talented man. A bandleader, singer and actor, Carmichael was best known as a pianist and composer. Originally from Indiana, he’s responsible for memorable songs like ‘Heart & Soul,’ ‘Georgia on My Mind,’ and ‘Stardust.’ For ‘The Nearness of You’ Carmichael wrote the music while the words were work of lyricist Ned Washington, who also gave us ‘When You Wish Upon a Star,’ ‘Wild is the Wind’ and ‘Do Not Forsake Me Oh My Darlin” (the theme song from High Noon). Originally, the song was intended to be featured in a film version of Shakespeare’s A Midsummer Night’s Dream but the production fell through and the song didn’t find wide release until it was picked up and popularized by the Glenn Miller Orchestra in the 1940s.”

James Taylor did an admirable job as a guest among the stellar jazz quintet convened by the late tenor saxophone legend Michael Brecker for the 2001 album Nearness of You: The Ballad Book. The band: Pat Metheny (guitar), Herbie Hancock (piano), Charlie Haden (double bass), and Jack DeJohnette (drums). Starting in F major, the AABA-form tune shifts up to G major at 1:56 for a partial instrumental verse featuring Brecker, leading to Taylor’s return for the B section. But the last A section doesn’t quite arrive, at least not as expected: it leads instead to a slightly rubato feature for Brecker at 2:54, then a downward shift to Eb major — and a delayed final A section leading to an outro — starting at 3:04.

Dionne Warwick | I’ll Never Love This Way Again

After singing a long string of legendary hits hits written by composer Burt Bacharach and lyricist Hall David through the 1960s and early 1970s, “Dionne Warwick’s career was revived when she teamed with Barry Manilow” for 1979’s Dionne. “Manilow’s production of such heavily orchestrated numbers as ‘I Know I’ll Never Love This Way Again’ put Warwick back in the spotlight, as she once again sounded confident and compelling,” (AllMusic). “It was the first platinum album of her career, and also her first album in ten years to crack the Top 20 on the pop album chart. Warwick scored another hit with ‘Deja Vu,’ and was back on track.”

Bacharach’s tunes routinely featured broad harmonic structures, surprising meter side-steps, atypical modulations so subtle they sometimes flew under the radar while still lending a renewed energy to a tune, and textures that often bordered on symphonic. Barry Manilow’s hits, broadly known by the late 70s, had a big strings-heavy sound of their own, but 4/4 always remained 4/4 and a song’s high point (frequently accompanied by a classic upward direct modulation) often chewed the scenery many measures before hitting their mark at center stage.

Richard Kerr and Will Jennings were the co-writers of “INLTWA,” but the track’s finished sound bears the unmissable imprint of Manilow, who played piano in addition to handling production. At 2:31, a quintessentially Manilow half-step key change hits, announced in advance by a huge crescendo, swelling strings, and a massive floor tom feature. Warwick lets the writing, the supporting musicians, and the production carry the day, giving the impression that she’s never belting at anywhere near 100%. She was rewarded with a top-10 hit in the US and Canada, and a top-50 hit in Australia, New Zealand, and South Africa.

Skeeter Davis | The End of the World

“Although she was a mainstay on the country charts for decades, Skeeter Davis’ crossover success on the pop charts was mostly limited to a pair of Top-10 singles,” (American Songwriter). “But one of those songs, her 1962 hit ‘The End of the World,’ stands as one of the greatest songs ever about the aftermath of a devastating loss.

… ‘The End of the World’ was written by the songwriting pair of Arthur Kent and Sylvia Dee. Dee, the lyricist, was inspired to write the song by the death of her father, although the lyrics keep the loss general enough to make it seem like it could be a breakup. In any case, Davis’ performance, understated and vulnerable, took it to another level. Instead of remaining within country music circles, ‘The End of the World’ took off when New York DJs started spinning it on the regular. Not only did it work its way into the pop charts, hitting #2 in 1962, but it also hit the Top 5 on the Hot R&B, Easy Listening, and Country charts, an unprecedented feat.”

After a start in Bb major, a shift up to B major at 1:56 is followed by a partially spoken verse, leading up to a sung rubato for the balance of the verse as the tune draws to its end. Although it feels far from rushed, the 12/8 ballad has a run time of under 2:45.

Someone Else’s Story (from “Chess”)

Chess The Musical is a musical stage production with a very interesting story line that captures the essence of the Cold War … Tim Rice, the legendary British musical theater lyricist, and writer, became hooked on the epic chess match between world chess champions Bobby Fischer and Boris Spassky. It was during the Cold War that tension between the US and the USSR led to his thinking, “Hey, this would be a great backdrop for a story.”

Tim was a regular collaborator with Andrew Lloyd Webber for a while and he wanted to work with him again. Unfortunately, Andrew was busy with Cats, so Tim (worked with) ABBA’s Björn Ulvaeus and Benny Andersson. We can say Chess The Musical is about the rivalry between the American and Russian players with a romantic subplot … Even before it hit the stage, it was clear that the soundtrack for Chess was a total game-changer. Released as a double LP concept album in 1984 by RCA Records, it quickly became a worldwide hit. The show later had its West End debut in 1986 and its Broadway opening in 1988.

The New York Times called the album “a sumptuously recorded…grandiose pastiche that touches half a dozen bases, from Gilbert and Sullivan to late Rodgers and Hammerstein, from Italian opera to trendy synthesizer-based pop, all of it lavishly arranged for the London Symphony Orchestra with splashy electronic embellishments.” The standout single, “One Night in Bangkok,” performed by Murray Head, ranked #3 on the US Billboard Hot 100 list.” Other standouts from the soundtrack include “I Know Him So Well,” “Pity the Child,” “The Arbiter,” and “Nobody’s Side.” The ballad “Someone Else’s Story” begins in F major; after a a bridge starting at 2:16, the key shifts up a full step to G for the balance of the tune.

Christopher Cross | Think of Laura

“‘Think of Laura‘ is a popular song by the American Grammy Award-winning singer-songwriter Christopher Cross,” (SessionDays). “Released as a single in late 1983 from Cross’ second studio album, Another Page, ‘Think of Laura’ became the singer’s fourth (and, to date, final) single to reach the Top 10 on the Billboard Hot 100 chart, where it peaked at #9 in early 1984. The song spent eleven weeks in the Top 40. In addition, the song became Cross’ third single to hit #1 on the adult contemporary chart, following ‘Never Be the Same’ and ‘Arthur’s Theme (Best That You Can Do).’ It remained at #1 on this chart for four weeks. The song was written by Cross and produced by Michael Omartian.

The song became popularized when the American television network ABC began playing ‘Think of Laura’ in reference to a character on the soap opera General Hospital … Cross allowed ABC to use his song in this context; however, he has stated that he wrote ‘Think of Laura’ … to mourn the death of Denison University college student Laura Carter, who was killed when she was struck by a stray bullet during an altercation among four men over a block away. Cross had come to meet Laura through her college roommate Paige, whom Cross was dating at the time … he wrote the song as a way of offering comfort to Paige and honoring Carter’s memory … The lyrics express the sorrow felt by those who knew the woman, but ask that she be remembered with happiness.”

The tune begins with a verse in D major; at 0:29, with the help of a common tone in the vocal melody, the key shifts to B major. The pattern continues from there. The focus throughout is on the heartfelt lyrics and Cross’ instantaneously recognizable (counter?)tenor and distinctive phrasing. Many thanks to regular contributor Rob P. for yet another wonderful addition to MotD!