THE 40 GREATEST BALLADS OF ALL TIME! [[As picked by me!)

[ollie]

na ja Tim i don't know if Spandau Ballet turned any of there songs into an musical art form, full stop here! But i get your point.
It is quit simple my friends, no matter the musical genre, if you dig it, it's funky!
I know all the genres the music market invented the last 100 years, and it is boring to death.

[soulster]

While I totally, absolutely, completely disagree with robb k's
position I graciously applaud his honesty...Everything isn't for everybody....So be it..

We all have our own tastes. That's what makes message board discussions interesting. I personally like most music if it's played well. However, I find myself watching old episodes of the "Lawrence Welk Show" on public television and wonder how such wonderful musicians could play such soulless music. I also wonder about the folks who used to faithfully tune into it and think to themselves "Oh h*ll yes! That is my sh*t right there!"

Or something like that.

I dislike the fact that I cannot like the bland [[in my opinion) music, though it was skillfully played and I can't relate to the dancers and other entertainers. It takes me back to a much scarier time in the U.S.; the era of my childhood. In my mind, the folks who made that show a hit for years would have probably called the cops on me for walking through their neighborhood.

So, we find reasons to like what we like. As stated before: so be it.

Both of these posts sum up my position perfectly.

[jillfoster]

Another belting thread here!
Mersey beat was built on a pile of "stolen" black music sung with a white voice. There were other British cities, Manchester, London, Sheffield etc. that were spewing "Mersey beat copies" of copied/covered songs. So black music had a face and it was white [[same for earlier Rock and Roll) The radios, BBC exclusive, absolutely pushed the British wave. No mention of the roots of it all. To be fair the Beatles did give a big word for Motown, Smokey etc. All we got were the covers more or less. When I heard the original music with all that feeling that went for a walk when sung by the 60's Brit pop. That was it , no turning back . I want it from the "horse's mouth" That's the way I continued, its a bit narrow minded, tunnel vision etc. I couldn't care less, I've had all the name calling doing the "missionary" work pushing this music and changing some peoples minds to it. It was a major piss take some times BUT they couldn't win with weight of evidence, the covered songs and development to other genres etc. HEAR the people that wrote it, the original singers singing a song written for them, to suit their voice, not a Scouser, Manc or Cockney. So who's wrong about music? Robb K? ,no, I love him to bits, anything after 19 canteen is out the window. I respect his views and can see why he is saying what he is. As for Funky, its not that old, I don't mean Grand Ma's bloomers that Red Fox reffered to! Its 60's surely. I cant think of any Jazz that has the funk thing before the funky thing was being sung. I don't do bland. I wanted leading edge music. Where was I going to find it? That's a rhetorical question. I HAVE MELLOWED OVER THE YEARS!

Put a record on. If the hairs on the back of your neck stand up, it aint synthetic. It's your thing!

What songs are you referring to was "stolen" black music sung with a white voice? When I think of Merseybeat songs... I think of stuff like this, certainly not black music at all [[And keeping with the ballad topic)

[jillfoster]

[soulster]

It is a common perception among many Blacks that White artists "stole" Black music or singing styles. This started in the 50s with Elvis Presley because of the massive success he had with White audiences, the same success that eluded Black artists doing the same music. This created a lot of resentment. It also fueled the belief in the myth that Elvis held contempt for Blacks. It made many Blacks resent rock music and the whole British Invasion. White Brits getting famous doing Black music that Whites previously ignored? And, you know it has to sting when millions of people today think "Twist And Shout" was originally written by The Beatles instead of originally being an R&B song by The Top Notes on Atlantic.

But, I digress...back to the topic...

[splanky]

Actually, soulster, it goes back further than Elvis and he by the way has only in the last decade or so been revealed to be a victum of the manipulations and negative spin of
Colonel Parker. And truth be told about the history of black music in this country, yes,
sometimes stuff was stolen, sometimes borrowed, other times given and somethings
we just threw away. I used to say I throw nothing away of primarily black culture but
listening to current hip hop which I'm forced to at work, a lot of times I want to scream
SOMEBODY COME GET THIS THING!!!!......

[jillfoster]

Actually, soulster, it goes back further than Elvis and he by the way has only in the last decade or so been revealed to be a victum of the manipulations and negative spin of
Colonel Parker. And truth be told about the history of black music in this country, yes,
sometimes stuff was stolen, sometimes borrowed, other times given and somethings
we just threw away. I used to say I throw nothing away of primarily black culture but
listening to current hip hop which I'm forced to at work, a lot of times I want to scream
SOMEBODY COME GET THIS THING!!!!......

haha!! I love your last sentence. I think in music in general, that happens both ways, all through history, everyone is influenced to some degree by someone else. You could argue that the Beatles did cover soul music, and that's true... but they also wrote 90 percent of their own stuff, that soul artists, in turn... were able to cover and have hits with, giving another spin to a song [[And Thank God they did, because I never thought Beatles records were well produced or sung). Any music by black artists that stepped into physchadelia is an example of the reverse happpening. That's how trend happen, people influencing one another. Sometimes the trend is started by white music, sometimes by black music, but as long as it's good music, it's all good as far as I'm concerned.

[tamla617]

JillFoster
Not individual songs so much as the scene was built on black music. The Beatles covered the Isley Brothers' Twist and Shout and used the OOOOh in She loves you to show one small thing. this ooo sond made it a Beatles trade mark early on and drove the young girls bananas! After their success the other groups were looking in the same direction [[USA) for the style of their songs. BTW Dave Clarke 5 are a north London band. After a while the 60's Britpop moved away and developed something else, some to prog rock, some to blues and heavy music.
You can fill several books on the subject of 60's music development.
I agree with your post above. The 90% of their stuff came after they hit it big time singing songs that either came from or had elements of US black music. I didn't mean stolen in a sneaky way just "taken from".

[Jerry Oz]

"Stealing music" it's a funny concept. If I like it, then that is what I am going to make. Did Charlie Pride or Nat "King" Cole steal "white music"?

[tamla617]

Jerry I just amended my last post, #58, on my stolen remark.

[timmyfunk]

I look at the process of stealing music as someone taking another musicians music and not giving any kind of credit. That's is what I think riles up many lovers of R&B/Soul/Funk music.

[Jerry Oz]

Or what George Clinton's manager did to take the rights to virtually all of his P-Funk hits. I was curious as to why he supported Robin Thicke's side of the "Blurred Lines" debate.

[soulster]

I look at the process of stealing music as someone taking another musicians music and not giving any kind of credit. That's is what I think riles up many lovers of R&B/Soul/Funk music.

There you go! This sounds like douchebags like Pat Boone. At least people like The Rolling Stones and Eric Clapton gave their props.

[jillfoster]

There you go! This sounds like douchebags like Pat Boone. At least people like The Rolling Stones and Eric Clapton gave their props.

I agree about Pat Boone being a douchebag... but a white singer covering black songs is not a problem in my mind. If people want to buy the awful versions that Pat Boone put out, that's on them. I only look at ripoffs as when you try to closely mimic someone's "sound" to have hit records like the Brotherhood Of Man did to Abba in the later 70's. Just covering someone else's hits doesn't mean theft to me at all. And look at the influence that the Orchestral britpop of the 60's had one Philly International, you see clear correlations there, with Gamble and Huff, and Thom bell, you can see influence of producers like Tony Hatch and Ivor Raymonde.

[soulster]

I don't have a problem with it, either. It's all just borrowing from each other, as long as those you borrow from are acknowledged. The melding of styles is what makes the music.

[heikki]

Hi!

I must disagree a bit on the influence of the orchestral Britpop on PIR. In the U.S. orchestral pop music has long traditions, had one of its power peaks in the early 60s, but it never vanished. It was always there. Gamble & Huff were creating music influenced by that tradition already in the mid-60s - then came Neptune etc. - and Thom Bell has named Teddy Randazzo as one of his heroes, also from the early and mid-60s.

Best regards
Heikki

[tamla617]

How about toe curling, patronising interviews where the artist is feted and he/she knows exactly where the sound/influence came from, the artist isn't letting go though, and the interviewer wouldn't know music falling from the sky, not in his day job anyway. That's BBC TV for sure [[in general) Ask the wrong questions? Forget the next tour BBC . I foxtrot in Hate them! For what they have done in the past and the control it still has, in music censorship.

[nysister]

I'm not sure if this a "ballad" but it would be my choice for slow tunes ..



Roger

One of my all-time favorites.....Gladys took this church...she sang the heck out of this song!

[nysister]

OK, I have one more list that I was originally against doing. But thanks to some encouragement from a very effective third party, I was able to compile a surprisingly lengthy list. I am by no means a lover of ballads. I always thought that I could name all of my favorite ballads on both hands. I've even been accused of not being a romantic. I'm sure that you guys [[and especially gals) can name off hundreds of personal favorites.

People Make The World Go Round-The Stylistics
You're A Big Girl Now-The Stylistics
Love Won't Let Me Wait-Major Harris
Me And Mrs. Jones-Billy Paul
True-Spandau Ballet
I Miss You-Harold Melvin and the Blue Notes
Hope That We Can Be Together Soon-Harold Melvin and the Blue Notes
She's Leaving Home-The Beatles
Always and Forever-Heatwave
Close To You-The Carpenters
Be For Real-Harold Melvin and the Blue Notes
Close The Door-Teddy Pendergrass
I Don't Want To Do Wrong-Gladys Knight and the Pips
Something-The Beatles
Sweet Sticky Thing-The Ohio Players
Sweet Love-Anita Baker
Emotion-Samantha Sang
How Deep Is Your Love?-The Bee Gees
Every Generation-Ronnie Laws
I Wanna Be Around-James Brown
Heaven Must Be Like This-The Ohio Players
Oh Honey-Delegation
Be Thankful For What You've Got-William Devaughn
Feel Like Making Love-Roberta Flack
Float On-The Floaters
After The Dance-Marvin Gaye
Jesus Is Waiting-Al Green
Everybody Plays The Fool-The Main Ingredient
Harbor Lights-The Platters
Cane-Gil Scott-Heron
Everybody Is A Star-Sly and the Family Stone
Pillow Talk-Sylvia
Woman In Love-Barbara Streisand
What You Won't Do For Love-Bobby Caldwell
Leaving Me-The Independents
Natural High-Bloodstone
You Are My Starship-Norman Connors
For The Love Of You-The Isley Brothers
Gigolos Get Lonely Too-The Time
Let's Get It On-Marvin Gaye
You're My Latest, My Greatest Inspiration-Teddy Pendergrass

I am late on this one, but I want to add this song as one of the greatest ballads ever!!!
http://www.youtube.com/watch?v=D-_qiq-JOQ4

[jillfoster]

I don't have a problem with it, either. It's all just borrowing from each other, as long as those you borrow from are acknowledged. The melding of styles is what makes the music.

I agree... and it's happened the other way round plenty of times, and two of the biggest examples are "Misty Blue" by Dorothy Moore and "The Chokin Kind" by Joe Simon which were originally written and sung by white country artists.

[funkyone71]

I consider it a ballad! This is one of Gladys Knight and the Pips' most beautiful tunes! They had a lot of great material before their Buddah days. Thanks for posting this great performance!

[timmyfunk]

I agree... and it's happened the other way round plenty of times, and two of the biggest examples are "Misty Blue" by Dorothy Moore and "The Chokin Kind" by Joe Simon which were originally written and sung by white country artists.

We're not talking about remakes here. We're talking about performers who appropriate [[I'm being nice here) styles of other artists without a iota of credit.

[Jerry Oz]

With that being the case, Pat Boone completely emasculated his covers. He even tried to change the lyrics of "Ain't That a Shame" before realizing that "Isn't That a Shame" sounded as pathetic as he did. He could hardly be accused or ripping off the style of Black acts, although he repackaged and sold their music in his own bland, soulless way.

And there have been plenty of brothers who appropriated the sound of other Black singers [[R. Kelly was accused of biting off of Aaron Hall when he first came out), so if it's the style that we're concerned with, it wouldn't appear to me to be a racial issue but an issue of some people having a lack of decency to throw credit where credit is due.

[timmyfunk]

R. Kelly also bit Lenny Williams of TOP pretty hard as well. And I do agree that Pat Boone was waaaayyyyy too pathetic to be taken seriously as a singer, regardless of what style he was trying to bite.

[Jerry Oz]

I'm reminded of the controversy and hard feelings behind Michael Bolton's version of "When A Man Loves A Woman". A lot of people accused him of ripping off Percy Sledge, but his version was an inferior cover, not a blatant repackaging of the original song. True, he thought he was being soulful [[as did a lot of sisters, by the way...), but I didn't buy into the ripoff complaints. It was no more a ripoff than Roger's version of "I Heard It Through the Grapevine".

BTW, I have to replace a song on the 100 Greatest Funk Songs with Roger's version of "I Heard It Through the Grapevine". LOL.

[arr&bee]

I don't know about forty but here goes...don't misunderstand[o.c.smith]..i could never stop loving you[the temptations]..i'm lost[nat king cole]..i'm riding your shadow down to love[the spinners]..i had a talk with my man last night[mittie collier]..time after time[the isley bros.]..the more i see you[brook benton].