ballad – Page 3

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!

The Lemon Twigs | Any Time of Day

“The Lemon Twigs recorded Everything Harmony in New York and San Francisco in 2021, and they produced the LP themselves,” (Stereogum). “In a press release, (band member) Brian D’Addario names Arthur Russell and Moondog as big influences on this record, and he has this to say about the new songs:

Their arrangements entered my head when we were arranging the strings on the album, and we worked for a long time on our vocal blend. On previous records, whoever wrote the song might do most, if not all, of the harmonies on their track, but not so much on this one. Our blend is a strength that we tried to exploit as much as possible.

You can hear that blend at work on ‘Any Time of Day,’ which has a real ’70s easy-listening vibe, combined with a bit of psychedelic seasickness.”

Starting in F major, the tune pivots into E major for the chorus (0:20 – 0:38). But F major is back for the next verse, then E major for the second chorus. The harmonically dynamic bridge (1:18 – 1:51), expansive in comparison with all that came before, leads to some final choruses — a saturated wall of sound in F# major.

America | I Need You

“The first half of the 1970s was the heyday of introspective songwriting and close-harmony singing,” (AllMusic). “The band America lay at the commercial end of this movement, releasing a string of singles that earned radio play for years.”

“Gerry Beckley, Dewey Bunnell and Dan Peek formed the band America in 1970 when two of them were still in their late teens,” (EntertainmentFocus.com). “Their eponymously-titled debut studio album was released the following year, and they were immediately established as a highly popular and successful folk band. Their acoustic sound captures the spirit and time of the early 1970s, and their soft, soulful vocals and haunting harmonies give them an output a little similar to Simon and Garfunkel, but more rural to their urban.”

After a start in A major, a quick and compelling cycle into C major (and back) happens twice during the the chorus (0:12 and 0:26). The chorus, first heard at 0:37, is in G major. At 1:09, we’ve moved on to verse 2, where the pattern repeats. The contrast of the verses’ wistful solo vocal with the tight three-part vocal harmony of the choruses is central to the enduring appeal of this track.

Sly + The Family Stone | Everybody Is a Star

“Sly + the Family Stone brought funk to the party during what many consider the most fertile period in music history: 1969-1971,” (Songfacts). “This was an eclectic time when hard rock, bubblegum pop, Motown soul, and singer-songwriter tunes were all on the charts, and it was also the heyday for Sly + the Family Stone. They landed three US #1 hits during this time: ‘Everyday People,’ ‘Thank You (Falettinme Be Mice Elf Agin),’ and ‘Family Affair.’ All three also topped the R&B chart.

With two white members (drummer Gregg Errico and sax player Jerry Martini) and a female trumpet player (Cynthia Robinson), the group broke from convention defied expectations. Robinson was particularly influential, encouraging girls to play the trumpet at a time when it was a very male-dominated instrument.

‘Everybody is a Star’ (1970) was released as a double-A-side single with ‘Thank You (Falettinme Be Mice Elf Agin).’ The single went to #1 in the US, so under Billboard methodology at the time, the chart position is attributed to both songs combined. Like many Sly & the Family Stone songs of this era – ‘Everyday People’ and ‘Stand!’ among them – ‘Everybody Is A Star’ has a message of togetherness and self-worth. These songs were set against joyful melodies that kept them from sounding preachy. They went over very well at live shows where a sense of community formed.”

The intro and verse is in Bb major; the chorus, featuring various wordless vocal solos and groups, (heard for the first time from 0:54 – 1:15), is in C major. Clocking in at just over three minutes, the tune features the second chorus as an extended fading outro as well.

Toad the Wet Sprocket | I Will Not Take These Things for Granted

“Toad was in the house last week — that’s Santa Barbara’s beloved (and probably most famous) homegrown rock band, Toad the Wet Sprocket, to those of you who are new to town,” (Santa Barbara Independent, 9/4/2024). “And as we’ve come to count on, they came … bearing gifts of lovely vocals, powerful chord progressions, familiar tunes, enthusiastic friends, family, and fans, plus a strong supply of feel-good vibes.

With the seemingly ageless vocals of founding band members Glen Phillips, harmonizing with bass player/vocalist Dean Dinning, and guitarist/vocalist Todd Nichols, now backed by drummer Carl Thompson and Jon Sosin on keyboards, mandolin, accordion, and more, it was a solid evening of mostly well-known tunes … It’s hard not to think of Santa Barbara when you hear Toad sing ‘Walk on the Ocean,’ which Dinning told me was his favorite Toad song to play live.”

“I Will Not Take These Things for Granted” is the closing track of the 1991 album Fear, which opens with “Walk On the Ocean,” a single which reached #18 on the US pop charts. The track is built in A major overall, with a prominent bVII-I vamp making up much of the chorus. At 1:24, an alternate verse/pre-chorus(?) shifts to a purely diatonic F# major. 1:36 brings the first chorus and a return to A major. The pattern continues from there, with the exception of the alternate verse/pre-chorus, which returns at 2:52 which a longer duration than before. The tune ends with a long run in A major.

Claudia Telles | Eu Preciso Te Esquecer

“Daughter of one of the most important female singers of the bossa nova (Sylvia Telles), Claudia Telles recorded for the first time in 1976 (the ballad “Fim de Tarde” by Robson Jorge/Maura Motta), which scored a hit,” (AllMusic). “After recording other singles, she recorded her first LP, Claudia Telles, in 1977. Along with her bossa nova interpretations (covering her mother’s hits), she also dedicated a CD to the samba masters Cartola and Nelson Cavaquinho.

She passed away due to complications from endocarditis at age 62 in 2020. “‘Each of the fans who made her career, her life the way it was: she had immense affection for each one of you’, said Bruno Telles, the singer’s son, to the newspaper O Dia.” (uol.com).

Built primarily in A major, 1978’s “Eu Preciso Te Esquecer” (I Need to Forget You) features a late downward key change to Ab major (3:32 – 3:47) before reverting to the original key. Many thanks to our Brazilian reader and contributor Julianna A. for this submission!

Linda Ronstadt + the Nelson Riddle Orchestra | What’ll I Do

“While the Rock and Roll Hall of Fame has inexplicably remained immune to her charms, few artists have had the career of Linda Ronstadt,” (The Second Disc). ” She’s racked up 38 singles on the Billboard Hot 100, including ten that went Top Ten. On the album chart, she’s placed 36 entries, including ten that reached the Top Ten there too (her magic number!) and three that hit pole position. And consider this: after playing a vital role in the country-rock scene with the Stone Poneys and their hit recording of Mike Nesmith’s ‘Different Drum’ on which she sang lead, Ronstadt embarked on a solo career definitively interpreting some of the greatest songs of the California rock genre.

Ronstadt never could stay in one place for long, though, which may account for her great longevity as a vital artist and performer. While she kept racking up hits from both her contemporaries and the voices of an early generation – think of “When Will I Be Loved,” “It’s So Easy,” “You’re No Good” or “That’ll Be The Day,” and chances are you might think of Ronstadt over those songs’ originators – she was looking for new directions and new challenges … In 1983, Linda Ronstadt teamed with Nelson Riddle, the man responsible for many of Frank Sinatra’s most famous orchestrations, for What’s New … It spent 81 weeks on the Billboard chart … In any format, What’s New is a classy excursion into timeless pop teaming one of the most familiar voices of all time with arguably the greatest arranger of them all.”

Ronstadt and Riddle’s version of Irving Berlin’s classic 1923 waltz ballad “What’ll I Do?” begins with a brief string intro leading to a short additional vocal section. The tune begins in earnest at 0:57, launching into a textbook AABA form built in Ab major overall. The B section (1:37 – 1:58) shifts up to Db major. The piece modulates wholesale up into A major at 2:18 with two instrumental A sections; Ronstadt rejoins the band on the B section at 2:59. The rubato outro spirals out of the otherwise measured arrangement, its closing bars off-kilter and unresolved.