925-901-Great Vocals
925. IF EVER I WOULD LEAVE YOU “Camelot” (1960)
Vocalist: Robert Goulet
Writer/Composer: Frederick Loewe / Alan Jay Lerner (1960)
Often considered the greatest Broadway Theater singer of the late 20th century, he possessed a major influence in leading roles as an actor / singer / TV entertainer and personality. Raised in Canada and the U.S., he had a resonant, powerful and astonishing baritone voice—it was easily, instantly recognized, strong enough to sing without a microphone, (someone once said he could vocalize in a subway tunnel.) His handsome good looks, blue eyes and screen persona made him popular for over 50 years, from the late 1950s on. He played the lead in the Broadway Theater production of Camelot, and this selection is his signature song, direct from the Broadway classic as Sir Lancelot…Awesome and Unrelenting!
Link from 1960’s Broadway’s, Camelot.
924. II WASN’T GOD WHO MADE HONKY TONK ANGELS (1952)
Vocalist: Kitty Wells (Ellen Muriel Deason)
Writer/Composer: “Jay” D. Miller (1952)
She was a pioneer in Country and Western music, helping to shape the female’s new role, opening doors, recording over 90 songs and adding the Hillbilly persona to what’s now considered the norm. She started recording in the 1940s, with hits well into the mid 60s. This song became her biggest hit, as the first woman to ever have a # 1 song in Country. It is actually an answer to Hank Thompson’s hit, The Wild Side of Life. From its very beginning, “As I sit here tonight, the jukebox playing / The tune about the wild side of life / As I listen to the words you are saying / It bring mem’ries when I was a trusting wife.” Those controversial words were blaming the man for woman’s fall into sin. Her voice was described as intense, supple and twangy, without vibrato, simply real…Celebrated and Melancholy!
Link # 1 Original recording 1952. Live performance sometime later.
923. BABY GRAND (1986)
Vocalist: Billy Joel / Ray Charles
Writer/Composer: Billy Joel (1986)
With Ray, and his 4th entry listed, and Billy, with his 5th, this surprising number sprang up from the 20th Century. It was a stroke of genius to put these two legendary performers together, and it works out as a R&B / Soul / Pop / Rock / Blues classic, almost universally praised and held up on a pedestal as one of the greatest duets of all time. Ray with his unique, gritty, and soul-searching sound and Billy with his amazing song-writing skills, along with his convincing, sincere, and dedicated vocals, both deliver. From its very beginning, “Late at night when it’s dark and cold / I reach out for someone to hold / When I’m blue, when I’m lonely / She comes through, she’s the only one who can / My baby grand is all I need.” It hardly gets any better than this…Phenomenal and Beyond Compare!
Link # 1 Official music video 1986.
922. SHADOWS OF THW NIGHT (1982)
Vocalist: Pat Benatar (Paricia Mae Andrzejewski)
Writer/Composer: D. L. Byron (1981)
Her presence in the 1980s-2000s cannot be denied as a force for American Female Rock stars of that time, she was rivaled only by Heart, (Ann Wilson), Alanis Morrisette and Melissa Etheridge, considered her serious contemporaries. She had classical vocal training as a mezzo-soprano as a youth, hence her ability to hold those notes when necessary, within her 4-octave voice. Her 2nd song listed is one of her multiple award-winning Rock performances—she lays down extra tracks for us remember with her incredible harmony and vibrato. She has a resonant, unique, overpowerering vocal prowess, ideal for anthemic songs giving women power to control and surrender relationships, something most of her hits included. “So baby, take my hand, you’ll be alright.”...Unrelenting and Phenomenal!
Link # 1 Original recording, remastered 1982. Link # 2 Best live performance
921. TILL I WALTZ AGAIN WITH YOU (1952)
Vocalist: Teresa Brewer (Theresa Veronica Breuer)
Writer/Composer: Sid Prosen (1952)
As one of the most successful, best-selling American Pop queens of the 1950s, she had a musical career that ran over 40 years. With her youthful appearance, her jubilant musical style and her unique, effervescent, feminine, soprano voice, she mostly performed on TV and smaller musical venues. After the 1950s she branched out recording Jazz / Country / R&B, even the American Songbook. This song, one of her biggest hits, hit # 1, and as her 2nd on our list, it was a monster hit. From the song’s very beginning, she has our undivided attention, “Till i waltz again with you / Let no other hold your charms / If my dreams should all come true / You’ll be waiting for my arms.” After recording over 600 songs, she was considered one of our most versatile entertainers…An Electrifying Pop Performance!
Link - Original recording 1953.
920. WE DON’T NEED ANOTHER HERO “Mad Max, Beyond Thunderdome” (1985)
Vocalist: Tina Turner / King’s House School Choir
Writer/Composer: Graham Lyle / Terry Britten (1985)
This anthemic power ballad was straight from the film, and it was Award-winning performance, highlighting her 4th song on our list. She takes it to the max here again, with her gritty, power-packed, unrivaled voice, guaranteeing her place on the Mt. Rushmore of R&B / Rock and Pop artists. The song concludes, “All the children say / We don’t need another hero (We don’t need another hero / We don’t need to know the way home, ooh / All we want is life / Beyond Thunderdome.” The number tells us that we deserve a better life than the previous generation handed us before checking out. With a half century performing, Tina’s persona and vocal performance give us her strident, sharp and grating contralto voice, packed with assurance, astonishment and verve…With Formidable Overdrive!
Link # 1 Official music video 1985. Link # 2 Live performance, Wembly stadium London 2009.
919. HOW DO I LIVE “Con Air” (1997)
Vocalist: Trisha Yearwood
Writer/Composer: Diane Warren (1997)
When Diane Warren wrote this megahit for the movie, Con Air, little did they know that it would be one of the biggest hit records of the 1990s. It marked the first time in history that the same song won both Grammys for best female Country song and best female Pop song (Lee Ann Rimes). They were both released on the same day, and this version proved Trisha worthy of her award. Her 3rd selection on our list showcases her crystal-clear, alto, 2.5+ octave voice, and she performs this number with such sincerity, honesty and heart. She absolutely soars on that pleading last verse, “How do I live without you? / I want to know / How do I breathe without you? / If you ever go / How do I ever, ever survive? How do I, how do I, oh how do I live / How do I live, without you baby.” …Simply Magnificent!
Link - For the film Con Air, 1997.
918. DOWNTOWN TRAIN (1989)
Vocalist: Rod Stewart
Writer/Composer: Tom Waits
Rod Stewart appeals to all types of people crossing all music genres, Rock / R&B / Soul / Pop / Disco / Dance and the American Songbook. His 3rd listed entry is a cover of one of Tom Waits’ best numbers, and Rod sends this song soaring, with his exceptional, gritty, hoarse vocals, and his superb showmanship and charisma. With one of the longest active careers in music, starting in the mid-1960s, he has gone deep, deep into the 21st Century, and as of 2024, selling over 156 million singles and over 40 charting albums, making him one of the biggest selling artists in history. “Outside another yellow moon / Has punched a hole in the nighttime mist / I climb through the window down to the street / I’m shining like a new dime.” What a beginning for a magical number…Incandescent and Magnificent!
Link # 1 Official music video (1989) Link # 2 Live Performance 1990.
917. DREAM LOVER (1959)
Vocalist: Bobby Darin (Robert Cassotto) & Chorus
Writer/Composer: Bobby Darin (1959)
This Pop / Rock / Doo-Wop classic is one of Bobby Darin’s great songs as an American singer / Songwriter, with great production and commanding vocals. With Neil Sedaka on piano, a chorus and lovely strings, it was a smash, it seemed he could do no wrong. From its very vocal intro, “Every night I hope and pray / A dream lover will come my way / A girl to hold in my arms / and know the magic of her charms.” the music world discovered and knew, he was one of the most gifted Pop stars in the world. By the mid 1960s he conquered every style of music, Rock / Doo-Wop / Pop / Jazz / R&B / Country and Folk. He was also an Actor / Comedian / TV personality and Entertainer. Only his early death in 1973 at 37 years of a heart defect, stopped his career…One of the Very Best Songs of 1959!
Link - Original recording 1959, remastered. Link # 2 Live - The Midnight Special 1973.
916. FEELIN’ ALRIGHT? (1969)
Vocalist: Joe Cocker (John Robert “Joe” Cocker) / (Merry Clayton / Brenda Holloway / Patrice Holloway chorus)
Writer/Composer: Dave Mason (1968)
You’ll notice the title of this song is a question, right? This unrequited love song, his 2nd on our list, originally by the British rock band Traffic, was just a minor Rock hit…until Joe Cocker covered it. From that point on it made its slow ascent toward Rock music’s immortality, with a Rock / Soul / Funk / R&B version that was incredibly catchy and, as time passed, became legendary as a signature song. From his album With a Little Help from My Friends, it achieved further recognition from a live album version in 1972 entitled Mad Dogs and Englishmen. Joe’s dynamic stage antics, (body movements) and his gritty, bluesey and ‘insanoscreams,’ became his charismatic persona and carried through the rest of the 20th century with songs and stage presence…Incomparable and Tempestuous!
Link # 1 Original recording 1969. Link # 2 Live performance 1970.
915. CABARET “Cabaret” (1972)
Vocalist: Liza Minnelli
Writer/Composer: John Kander / Fred Ebb (1966)
With this number she proved she’s not just the daughter of Judy Garland—her dynamic vocal displayed here proves her performance could stand on its own. As Sally Bowles, Liza owns this showstopper, whether in the Broadway Musical or the motion picture. She takes this song, allowing herself to be a lost soul during wartime, when entertainment was the only thing to get people’s mind off the chilling, demoralizing effects of WWII in Nazi Germany. Many people thought living for today was the only answer, especially when they might not be living tomorrow. Her song is performed as if she’s channeling her mother, and without any moral consequences, she takes this number over the top…Sensationally Hopeless and at the same time, Tantalizing!
Link - Performance from the 1972 film rather than the play in 1966.
914. HURT SO BAD (1965)
Vocalist: Little Anthony (Jerome Anthony Gourdine) & the Imperials (Ernest Wright / Clarence Collins / Sammy Strain)
Writer/Composer: Teddy Randazzo / Bobby Weinstein / Bobby Hart (1964)
This outstanding Soul / R&B / Pop ballad was a sensation, right in the middle of the Bristish invasion, and from an American Doo-Wop group. The 4-man group had multiple hits from the end of the 1950s through the 60s. They were one of the few surviving vocal groups, entertaining for decades with the concert and casino circuit. The group was exceptional with ‘Little Anthony’s’ lead high tenor vocals and outstanding backup by the other three. It was Anthony’s voice that soared, with a reoccurring falsetto that he controlled at will, especially at this final point in the song, “I can’t let you go back to him / Please don’t go, please don’t go / It hurts so bad, it hurts so bad, it hurts so bad / I’m begging you please, please don’t go, please don’t go.” Unbelievable!…An Amazing Triumph in Vocal Dexterity!
Link # 1 Original recording 1965. Link # 2 Live performance 1965.
913. THE MUMMER’S DANCE (1997)
Vocalist: Loreena McKinnett
Writer/Composer: Loreena Mckinnett (1997)
This Canadian Folk / New Age / World Music singer appears with her 4th entry on tour list with a magnificent Celtic sound. She has so much offer, and since the 1980s, she’s been at it four decades. Since the Middle Ages, Mummers disguise themselves, some of them even going door to door during holidays. The band that accompanies her is absolutely amazing! This clever tune is infectiously rhythmic, if dance is what you want. Her soprano voice again captivates, it’s a thing of beauty, birdlike on the high notes, and her etherial, mezzo-soprano voice takes us to celestial heights…Just listen…Absolutely Mesmerizing!
Link # 1 Original track on video, multi-instrumentalists. Link # 2 Stellar live version, she plays accordion.
912. BIRDLAND (1979)
Vocalist: Manhattan Transfer (Janis Siegel / Cheryl Bentyne / Alan Paul / Tim Hauser)
Writer/Composer: Jow Zawinul / Jon Hendricks (1977)
This unique vocal Jazz piece was a tribute to New York City’s Birdland nightclub, written and recorded first by the Jazz group, The Weather Report in 1977. It really took off, however, with this 4-piece vocal group (2 women & 2 men,) winning a Grammy with their version of the song. Their vocals are amazing as they blend this complex song with melodious harmonies, vocally turning and switching on a dime. Their 2nd song on our list is pure Jazz, and it’s as if they’re up to task of challenging each other, singing with mirth and pure joy. They soared in popularity in the 1970s and 1980s, with hits crossing into the Pop market and in spite of a few vocal changes in personnel. This clever selection give cred to practically every great Jazz instrumentalist by name…A Heavenly Delight…Wow!
Link # 1 Original recording audio 1979. Link # 2 Live performance - Munich, Germany 1991.
911. OLD DAN’S RECORDS (1972)
Vocalist: Gordon Lightfoot (Larry Good banjo)
Writer/Composer: Gordon Lightfoot (1972)
Canada’s premier Folk singer, songwriter and performer shines like a bright star in the Nothern Lights in this selection, his 4th entry on our list. This piece was not released for public acclaim—Gordon was diagnosed with Bell’s Palsy, from his album of the same name. This upbeat tune is a rare treat, for most of his sterling compositions were slower ballads or story songs, but this toe tapping number doesn’t disappoint—it’s perfect to end a concert with…And what about that banjo? His vocals are Remarkable, displaying Verve, Vibrato and Tremolo…Wow!…Sensational!
Link # 1 Original studio recording in 1972. Link # 2 In concert in Chicago in 1979.
910. ANYONE WHO HAD A HEART (1964)
Vocalist: Dionne Warwick (sax solo Paul Winter)
Writer/Composer: Burt Bacharach / Hal David (1963)
Through the years Dionne Warwick achieved legendary status in the field of R&B / Soul / Pop music, not just because she possessed the best voice in those fields of music, but because of her wise choice in picking great melodies with complex musical structures, most of which came from the songwriting team of Burt Bacharach and Hal David. Her 2nd song here listed is one of those songs, taking on a life of its own, for her 2.5+ contralto, ‘husky’ voice. As an American singer / actress / TV host, she has had a 60-year career, hence, legendary, spawning multitudes of hits through 40 years. Singing this song is not without challenge, but the backup vocals and production were stellar, from drums to the unexpected turns in the key changes and shifts in tempo…Simply a Diamond in the Rough!
LInk # 1 Original recording 1963. Link # 2 Live performance 1964.
909. BORN TO BE WILD “Easy Rider” (1968)
Vocalist: Steppenwolf (John Kaye lead / Goldy McJohn keyboards)
Writer/Composer: Mars Bonfire (1968)
This original Canadian American 5-piece Rock band featured the rough, well-traveled, gritty voice of John Kaye. 1968 through 1970 saw many changes in music, even the emergence of Heavy Metal, aided by its very expression used in this song. Usually, people picture this song as a defining statement to the counter-culture movement in the late 60s. Just imagine two men (sometimes three) on motorcycles, roaming America, with the song’s pulsating riffs and stellar keyboard work, necessary to comprise a Rock classic. The movie also set a precedent in independent filmmaking. “Get your motor runnin’ / Head out on the highway / Lookin’ for adventure / And whatever comes our way.” A stunning retro look at America…Rip-roaring and Electrifying!
Link from the 1969 movie Easy Rider.
908. FLASHDANCE / WHAT A FEELING! “Flashdance” (1983)
Vocalist: Irene Cara
Writer/Composer: Giorgio Moroder / Irene Cara / Keith Forsey (1993)
When the music starts, you know you're going to hear something spectacular, an American singer and actress and Irene’s colossal global hit from the movie. She couldn’t go wrong with Giorgio Moroder’s stellar production and music of this now classic Pop / Dance / Disco number. One critic stated her voice “still possesses a buoyant energy all its own.” Her mezzo soprano vocals utilize her 2 octaves and she uses them to the full as she delivers with a dynamic, enthusiastic, heartfelt performance. With her Latino background, style. and looks, and her marvelous appealing vocals, she captivated her fans as one of the stars of the 1980s…What a feeling!…Lofty and Awesome!
Link # 1 Official music video including clips from the movie 1983 Link # 2 Live performance MD telethon 1983
907. BUSY BEING BLUE (1988)
Vocalist: k. d. Lang & the Reclines (Buddy Harmon saxophone)
Writer/Composer: Stewart McDougall (1988)
From her stellar album, Shadowland, she reaffirms what all music lovers already knew, that Miss Lang is one of the most gifted artists of the 20th Century, or the early 21st Century. Don’t let her androgynous looks and persona fool you, she could sing in any style she desired, and this number, her 4th on our list, is living proof, she just ‘swims’ here in a Jazz / Blues motif. Her backup band at the time, The Reclines, are spot on, especially Buddy Harmon on sax. Considered an alto or contralto, her vocals take on an almost chameleon type of identity, displaying power, nuance and softer intimate tones as she displays in this song, reminding us that it’s not how many octaves you can control, it’s how you can control the 2+octaves you possess. In this instance, she excells…Absolute Stunning, Enthralling!
Link # 1 Original recording 1988. Link # 2 Live performance from England 1989.
906. EVERYTHING I WANTED (2019)
Vocalist: Billie Eilish / Finneus Eilish ( backup)
Writer/Composer: Billie Eilish / Finneas O’Connell (2019)
In theis 21st century, most everyone knows Billie Eilish, a Pop singer / songwriter who, along with the assistance of her brother, keeps churning out hit after hit. They produce, write and sing their own songs, which means they OWN their own songs! Not being a condescending, pretentious, or arrogant sort of pair, when she sings, people listen—and what she lacks in volume, she excels in having a soft, girlish, breathy, captivating voice that simply flows, instead of just imitating her peers—At times she prefers whispering softly. Check out these disturbing lines in the first stanza. “I had a dream / I got everything I wanted / Not what you’d think / And if I’m being honest / It might have been a nightmare / To anyone who might care…” Is it suicide, lost love, or insecurity?…She’s Exceptionally Avant-Garde!
Link # 1 Official music video 2019. Link # 2 Live performance at 2020 Grammy Awards, 2021.
905. DON’T TAKE THE GIRL (1994)
Vocalist: Tim McGraw (Samuel Timothy Smith)
Writer/Composer: Craig Martin / Larry Johnson (1993)
The early 1990s was marked by an avalanche of Country stars, including American singer / songwriter / actor, Tim McGraw. This heartbreaker of a song was a monster hit, even crossing into the Pop charts, and his first # 1 hit. He more than made his contribution to Country’s resurgence at that time, with a 30-year career, and still counting. This song made him an instant star, and his tenor Southern vocal twang and handsome good looks was great for C&W music. The song’s sad story, told in 3 stages of Johnny’s life. qualifies as one of the most emotional story songs ever. It’s beginning and end come back with the same phrase, “Johnny’s daddy was takin’ him fishin’ / When he was eight years old.” Hold on to your heart! Tim’s tearful Country voice is perfect in this song…Unforgettable and Moving!
Link # 1 Official music video 1994. Link # 2 Live in New York, some years later.
904. RETURN TO POOH CORNER (1994)
Vocalist: Kenny Loggins / Featuring Amy Grant
Writer/Composer: Amy Grant (1994)
As an American singer / songwriter / instrumentalist, Kenny was a man for all seasons. He was surnamed ‘King of the movie soundtrack’ for a reason, working on multiple movies with great musical and production skills. His baritone voice was unique in itself, making his popular from the 1970s - 1990s, and consequently, he appealed to Pop, as he does here with this touching Children’s classic, to Rock / R&B / Blues and Folk. One wonderful verse, “It’s hard to explain how a few precious things / Seem to follow throughout all out lives / After all’s said and done, I was watching my son / Sleeping there, with my bear by his side / So i tucked him in / i kissed him, and as I was going / I swear that old bear whispered, ‘boy welcome home’” Gulp! It touches our heart, clearly Poignant and Resplendent!
Link # 1 Official music video from animated feature. Link # 2 Live from Outside the Redwoods 1995.
903. IN THE WEE SMALL HOURS (1954)
Vocalist: Frank Sinatra / Nelson Riddles Orch. & Arrangement
Writer/Composer: David Mann / Bob Hilliard (1953)
In the field of Jazz to traditional Pop, this early concept album from Sinatra is now considered an important hallmark in vocal sounds, smooth. melancholy songs about loneliness and the emotions connected with “love gone bad.” The album was a triumph, putting Frank back in the spotlight, leading to a resurgence in his career. His 6th song on our list is a simple revelation, and his phrasing and vocal clarity is spot on. The last verse expresses it all, “When your lonely heart has learned its lesson / You’d be hers if only she would call / In the wee small hours of the morning / That’s the time you miss her most of all.” Old blue eyes at his best!…Exceptional!
Link # 1 Original recording 1954. Link # 2 Live performance 1975.
902. MONDAY, MONDAY (1966)
Vocalist: The Mamas & the Papas (John Phillips / Michelle Phillips / Mama Cass / Denny Doherty)
Writer/Composer: John Phillips (1966)
1966 was a wonderful year for music! The ‘British Invasion’ was in full swing, all genres of music was encircling the globe, and this exceptional American quartet was all over the radio with splendid melodies, harmonies, taking turns singing as they demonstrate here, with their clever own kind of music, including this one, their 5th song on our list. They turned Pop into Folk Rock and were synonymous with the counterculture, psychedelic sounds and the looks of the latter half of the 1960s. We all love the bridge, “Every other day, every other day / Every other day of the week is fine, yeah / But when every Monday comes, But when every Monday comes, / You can find me cryin’ all of the time.” They personify the purity and eloquence of rich vocal performance—we sure miss them…Sensationally Exquisite!
Link # 1 Original recording with video 1966. Link # 2 Live recording 1967.
901. WALKING IN MEMPHIS (1991)
Vocalist: Marc Cohn (featuring Full Gospel Tabernacle Choir)
Writer/Composer: Marc Cohn (1961)
There’s a lot of songs containing Memphis in the title, but few ever affected music culture like this “inspirational” piece by American singer / songwriter / musician, the award-winning Mark Cohn. It had all the ingredients, a terrific intro piano riff, well-crafted lyrics featuring Mid-South landmarks, people, foods, and Marc’s Pop / Rock / Soul / Blues / Gospel sound in his gruff, course, vocal delivery. Who can forget the verse, “Now Muriel plays piano / Every Friday at the Hollywood / And they brought me down to see her / and they asked me if I would / Do a little number / And I sang with all my might / She said, ‘Tell me are you a Christian child?’ / And I said, ‘Ma’am I am tonight!’” His full throated baritone really delivers, it takes you right into Religion’s emotional state…Overwhelming and Spellbinding!
