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Post by Kapitan on May 20, 2020 20:40:15 GMT
It begins with familiar, simple right-hand piano chords or an acoustic guitar. Before long, some usually hyper sexualized, usually male singer begins softly singing something sentimental, something his band usually wouldn’t be expected to perform. The female fans swoon and the guys in the audience hope to benefit from these warm feelings.
By the second verse, the bass and drums kick in. And the refrain? Power chords, distorted through Marshall amps, back the singalong chorus. There will be a guitar solo. Oh yes. There will be a guitar solo.
The power ballad: hard rock bands’ tickets to the top of the charts and to women’s hearts.
I thought about a power ballad thread the other day, when we were talking about Mr. Big’s “To Be With You” and then, in response, to Extreme’s “More Than Words” and Saigon Kick’s “Love Is On The Way” and then my deep dive into Whitesnake’s early material (and thus what became almost the prototypical power ballad in the late ‘80s, “Here I Go Again”) got me thinking even more about it.
As for this thread? I’m not sure. Post about power ballads, I guess! - The history of the form. (What was the first one?) - Your favorite power ballad. - Your least favorite: feel free to mock! - Discussion about the framework, the format itself.
Whatever you want, if it’s a ballad and it’s got power, it’s a power ballad, and this is the spot.
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Post by Sheriff John Stone on May 20, 2020 21:55:49 GMT
By the beginning of the 1980's, Slade's hit-making years appeared to be behind them. They were releasing good albums and still touring, but they weren't the huge draw that they had been ten years previous. Then in late 1983, Slade released The Amazing Kamikaze Syndrome (strangely in the U.S. it was released as Keep Your Hands Off My Power Supply). The recording of the album was supposed to cash in on the success of Quiet Riot's cover of the Slade tune, "Cum On Feel The Noize". The Amazing Kamikaze Syndrome only reached No. 49 in the U.K., but more importantly, it spawned two hit singles, "Run Runaway" and "My Oh My".
"Run Runaway" got Slade back on the singles charts (it went No. 7 in the U.K. and No. 20 in the U.S.), and the video on MTV brought the band a lot of much-deserved attention. "My Oh My" was the follow-up single, and it went to No. 2 in the U.K. but only No. 37 in the U.S. "My Oh My" was a power ballad, and while not a rarity for Slade, it was the only ballad that was a hit for them. Slade had recorded power ballads before, and they were quite good, but the group's reputation was more of a fun-loving, party band. "My Oh My" features an outstanding lead vocal from Noddy Holder and some excellent guitar work from lead guitarist, Dave Hill. The words ain't too bad either.
When I used to DJ, I carried a copy of "My Oh My" with me. I always wanted to play the song at a large gig and get the crowd into it with the hand swaying thing. However, because I felt "My Oh My" was a little too obscure to play, especially when I had so many other power ballads, I ultimately chickened out and never attempted it. Now, every time I hear the song, I regret not trying it.
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Post by Kapitan on May 20, 2020 23:03:37 GMT
I don't think I've ever heard that song. It is right on the edge of what I'd see as a power ballad, with roots in a kind of song I don't know that I can quite name, but something like a (proper) ballad, an old pub drinking song sort of thing.
Great story, as usual.
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Post by Kapitan on May 20, 2020 23:51:46 GMT
Sometime in the 1992-93 school year, for some reason, I was a part of a one-off combo assembled to perform one of the most over-the-top power ballads of all time at some school function. Subsequently, at some event whose purpose I no longer recall, I (thought that I) tore the roof off the auditorium by tearing into the coda of “November Rain” with the participation of only half my bandmates. It’s driving me crazy because in hindsight I can’t imagine what the purpose for this would have been, this performance of the still relevant hit song in an instrumental rendition for a school function. A junior, I was on my Epiphone Les Paul through a Randall amp, the closest I was going to get to Slash; two male friends joined in, with junior J on bass and sophomore E on drums; a fellow junior, the female A, took the vocal part on alto sax; and a female senior, T, was on piano. The guys and I had “jammed” a handful of times over the years. In a small town like mine, not many people played rock instruments. (In fact, the drummer lived out in the country.) The girls were try-hards, both musical only in the “I’m in band” kind of way: they needed written music; they needed to practice, to read, to memorize; they didn’t know a one from a five-seven from a minor-two. For whatever reason, the coda of the song wasn’t going to be performed. I haven’t the slightest recollection why anymore. Unnecessarily raucous? Time constraints? No clue. But when I’d run through the chord charts with the bassist, we joked that we ought to do it anyway. Separately when I’d talked to the drummer, he said the same. The full ensemble—and a school-assembled combo probably should be referred to in exactly that neutered a term—rehearsed. I remember eye-rolling with my guy-friends about the girls’ inability to just play. Once you know it, don’t you know it? Why do you need to keep looking at the music? It’s not a hard song, after all… Whenever, whatever, the event occurred. I believe it was an evening event, but I could be wrong about that. I remember sitting on my amp (as was my wont) and, bored, strumming away those clean-toned chords. What, C, G/B, Amin for the verse? I went to sleep… As we approached what was to be the end, I remember making eye contact with both the drummer and bassist. They were thinking what I was thinking. We each grinned, or nodded. And after that last big chord of the song proper, the drummer went into the military style part on the snare. Timing it with our eyes, the bassist and I hit our power chords in time. And I clicked on my distortion switch so I could wail on the (melodic minor? I can’t recall) melody while the drum and bass went along, pianoist and saxophonist awkwardly, nervously, and angrily looking at us. To my 16-year-old mind, that was some ultimate rebellion. (I was’t especially rebellious, obviously.) But we—we guys—rawked without permission in public! In my mind, we tore the roof off that place. In reality, I suspect nobody much noticed, understood, or cared. If we were sticking it to the man, the man wasn’t aware of the sticking. Ladies and gentlemen, one of the most pompous songs of all time, a #3 hit, and (at the time) the second-longest song ever to chart in the top ten of the Billboard 100, “November Rain.”
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Post by kds on May 21, 2020 12:25:43 GMT
Power ballads go back to the early 70s. Aerosmith's Dream On and Queen's White Queen come to mind.
Of course, this was prior to the 80s explosion when a hit power ballad pretty much guaranteed a gold album at least.
My favorite is a tough one, it predates the 80s / MTV power ballad explosion, but it might be this 1978 epic from Scorpions - We'll Burn the Sky. In the 80s and early 90s, Scorpions might have embraced the power ballad more than any other metal band, but I think this one is their best.
I can't think of a least favorite off hand, but I think I could go the rest of my life without ever hearing Cinderella's Don't Know What You Got Til It's Gone again. I remember in the late 90s, when 80s nostalgia started to gain some momentum, this song began to take on a new life as a lament to the era itself, and it seemed like every doc or show about 80s "hair metal" included this song in a slow motion montage of Poison, Motley Crue, and Warrant having a blast.
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on May 21, 2020 17:47:17 GMT
I don't have a personal story to go with this song, just the bittersweet, wistful tale of the power ballad hit that came too late for the band that made it... When I'm With You, by Sheriff. Sheriff were a Toronto based band who released their first and only album in late 1982 and had a few singles hit the charts in 1983, including this song. Sadly, nothing much came of it. Disappointed with the album's performance, the band broke up. The members went on to form other bands, notably Frozen Ghost, who had moderate local success, and Alias who went on to have their own hit power ballad More than Words Can Say in 1990. In the meantime, years after the band split up, When I'm With You started to get radio play again in 1989, which led to it being re-released as a single. This time, it became an international #1 hit for Sheriff, a band that no longer existed. Aww. I don't recall ever hearing the song played when it was originally released, only in 1989 when it was getting constant play on YES 99.5 FM, the Michigan based station I used to listen to back in the olden days. The song made its way onto many a mixed radio tape. Such a good song, and that note at the end... wow. For what it's worth, the whole album is quite good and I think has aged very well (sonically speaking, perhaps not lyrically). It's not groundbreaking, but it's good solid arena style rock, and worth a listen.
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Post by Kapitan on May 21, 2020 17:57:18 GMT
Wow, I was reading your post and saw the thumbnail and thought, well, that's one I've never heard of.
But upon listening, I sure as hell have heard it! I don't believe I've ever heard the band name before, though, which makes me think I must have heard it in soundtracks or on the radio (presumably in its '89 rerelease) and just didn't pay attention.
Also ... great thumbnail. I don't know whether I like the all-white suit (always a good idea) or the aerobics enthusiast look better!
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on May 21, 2020 18:17:45 GMT
Wow, I was reading your post and saw the thumbnail and thought, well, that's one I've never heard of.
But upon listening, I sure as hell have heard it! I don't believe I've ever heard the band name before, though, which makes me think I must have heard it in soundtracks or on the radio (presumably in its '89 rerelease) and just didn't pay attention.
Also ... great thumbnail. I don't know whether I like the all-white suit (always a good idea) or the aerobics enthusiast look better!
Lol that's the album cover! I'd have to go with white suit all the way, super suave.
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Post by Kapitan on May 21, 2020 18:18:19 GMT
This one just occurred to me and I re-watched the video. It's close to the prototypical power ballad, from the tinkly electric piano to the big, broad chorus, to the (surprisingly good!) guitar solo ... even down to the pretty lead singer in that era of Jon Bon Jovi, White Lion's Mike Tramp, Poison's Bret Michaels, and yes, Europe's Joey Tempest.
So very of the times.
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Post by kds on May 21, 2020 18:20:32 GMT
This one just occurred to me and I re-watched the video. It's close to the prototypical power ballad, from the tinkly electric piano to the big, broad chorus, to the (surprisingly good!) guitar solo ... even down to the pretty lead singer in that era of Jon Bon Jovi, White Lion's Mike Tramp, Poison's Bret Michaels, and yes, Europe's Joey Tempest.
So very of the times.
The guitar was courtesy of John Norum who was one of the most overlooked musicians of that era.
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Post by Kapitan on May 21, 2020 18:21:36 GMT
Yes, John Norum was great. Though his replacement, Kee Marcello, was actually great as well.
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Post by kds on May 21, 2020 18:53:03 GMT
Yes, John Norum was great. Though his replacement, Kee Marcello, was actually great as well. The guitarists from that era in general don't get nearly enough credit.
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Post by kds on May 21, 2020 19:17:33 GMT
Speaking of great guitarists. In 1985, Tony Iommi planned a solo album with Glenn Hughes on vocals. The label insisted that it should be a Black Sabbath album. So, in a sort of compromise, the album Seventh Star was released in 1986, credited to "Black Sabbath featuring Tony Iommi." Metal at large was going in too different directions in '86. A West Coast thrash movement was making heavier and faster music. Meanwhile, Sabbath, Scorpions, Priest, and Maiden were infusing synths, while writing more hooky songs, including power ballads. Including this Sabbath power ballad.
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Post by Sheriff John Stone on May 21, 2020 22:30:07 GMT
Being a fan of Chicago's early hits, I wasn't quite ready for their post-Terry Kath, now David Foster-produced music. Bill Champlin was initially brought in to sing Terry Kath's part though Champlin sounded nothing like Kath. What Champlin did do was supply a soulful singer (before and after Peter Cetera left) for their new direction which featured...power ballads! They also brought in excellent guitarists Chris Pinnick and Dawayne Bailey to augment the sound.
In the early days of MTV, Chicago was on a roll. "Hard To Say I'm Sorry", "Love Me Tomorrow", "Stay The Night", "Hard Habit To Break", "Your The Inspiration", "Will You Still Love Me", "I Don't Wanna Live Without Your Love", and maybe my favorite, "Look Away". I confess to not being sold on this new sound in the mid/late 1980's, but over the years - and after seeing Chicago perform these songs when they opened for The Beach Boys - those songs grew on me and now I like them very much.
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Post by jk on May 22, 2020 9:01:34 GMT
Not being a hard rock fan (if you exclude "Whole Lotta Rosie"), my interest in this subject was ultimately aroused by the mention of Queen. If that acoustic song by Xtreme is a power ballad (is it?), then the "power" need not necessarily lie in a crashing offbeat. In which case Queen's peerless "Who Wants To Live Forever" is definitely a power ballad. I'll wait patiently for you hard rock fans to make mincement of my argument but you can't accuse me of lacking the necessary get-up-and-go.
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