ballad – Page 4

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!

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.

The Brothers Johnson | All About the Heaven

“Light Up the Night was the album that Quincy Jones produced in late 1979 soon after helming Michael Jackson’s Off the Wall,” (BBC). “As a result, it is a sister sound, perfectly arranged by Jones and also partially written by UK songwriter Rod Temperton. It is a perfectly calculated piece of superior, smooth groove, with a zingy, upbeat message.

… So who were these Johnson brothers? Guitarist George and bassist Louis Johnson had been performing together since their teens with brother Tommy and cousin Alex Weir. After supporting various acts, they joined Billy Preston’s band and came to the attention of Quincy Jones when they played on his Mellow Madness album in 1975. From then on, Jones produced a run of their albums, including 1977’s Right On Time, which contained their sweetened, arguably superior version of Shuggie Otis’ ‘Strawberry Letter 23.’ Light Up the Night was a real UK soul radio favourite at the turn of the 80s, as it was another window into bright, shiny Californian sunshine amid the grimness of the early part of that decade.”

After a brief intro in Bb major, “All About the Heaven” shifts into its first G major verse at 0:21. At 1:00, the chorus enters with a return to Bb major. The pattern continues from there. The soft-spoken ballad is a perfect contrast to the album’s hit track, the uptempo dance track “Stomp.”

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.