Ballads

690. ‘(I Can’t Help) Falling in Love With You’, by UB40

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More reggae at the top of the charts, after Shaggy and Ace of Base over recent weeks. And it’s Britain’s best-sellers in the genre who are bringing it there…

(I Can’t Help) Falling in Love With You, by UB40 (their 3rd and final #1)

2 weeks, from 6th – 20th June 1993

As with their last #1, a cover of ‘I Got You Babe’ with Chrissie Hynde, this is a dub take on a golden oldie (though note the slight title change from the Elvis original, a chart-topper in 1962). And I can see what they were going for – a softened version of their reggae sound, with clear nineties dance influences in the swaying beat – but I can’t take to it. ‘Plodding’ and ‘slow’ were the two notes I took on first listen. I also gave their version of ‘I Got You Babe’ a ‘Meh’ award, so I’ve got form.

Ali Campbell’s voice is an acquired taste most of the time, and especially so here. I don’t know if he’s trying to imbue his lines with emotion, but it mainly sounds as if he’s straining to get them out. Obviously it doesn’t help that the listener automatically compares his efforts to Elvis’s from thirty years earlier… And yet, the quality of the song shines through – there’s a reason why it’s become a standard – and I do like the addition of the short, sharp horn fills towards the end.

Like ‘Oh Carolina’ before it, ‘(I Can’t Help) Falling in Love With You’ featured on the soundtrack to the Sharon Stone movie ‘Sliver’. There are very few film soundtracks to have included multiple #1s, and it’s amazing that a movie as poorly regarded and forgotten as this ‘Sliver’ managed it. Still it gave UB40 their 3rd and final chart-topper, and became their biggest hit in the US, staying at #1 for seven weeks.

And we should note the impressive longevity of the band, given that those three number ones were spread out over a decade (while the Campbell brothers have one more shot at top spot, in a featuring role, to come). But I think it’s fair to say, and this is coming from someone who wouldn’t count himself as a fan, that UB40 are not best represented by their three #1s. Two of them are fairly pedestrian covers, while ‘Red Red Wine’ – which was also a cover, of course – has bit more charm to it, though still plays it fairly safe.

They had a few more years of chart hits in them, including two further Top 10s, but its perhaps right to mark this as UB40’s swansong. They remain a going concern, with four of the original eight members still in the band. Ali Campbell, however, left in 2008, after disagreements with the band’s management.

688. ‘Five Live E.P.’, by George Michael & Queen with Lisa Stansfield

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I have to admit my heart sinks each time I see an EP coming along. It’s hard enough writing about double-‘A’s (in fact, it can be hard writing about some of the standalone number ones…), but when it’s four songs to get through? Cancel my three o’clock…

Five Live E.P., by George Michael (his 5th of seven #1s) & Queen (their 5th of six #1s) with Lisa Stansfield (her 2nd and final #1)

3 weeks, from 25th April – 16th May 1993

Luckily for me, the final EP to top the British singles chart has five whole tracks to get through! Five live tracks (hence the name) by George Michael, with assistance from Queen on two of them, and Lisa Stansfield on one. Let’s not tackle them in order, but take the two Queen covers first, recorded at the famous Freddie Mercury Tribute Concert a year earlier.

First up, George has a good old crack at ‘Somebody to Love’. It’s a thankless task, trying to do Freddie Mercury, singing one of his signature songs. But GM gives it a bloody good go. It might be the most impressive vocal performance of all seven of his solo #1s, especially given that it was recorded live. It’s a straightforward cover, but a decent one. And it takes to number one a Queen song that should, like many of their post-Bo Rap singles, have got there first time around. One wonders if this was where Brian May got the idea to start touring again, eventually, with the likes of Paul Rodgers and Adam Lambert.

The other Queen cover is ‘These Are the Days of Our Lives’, the track that had made #1 in the immediate wake of Mercury’s death. George is joined by Lisa Stansfield, who he welcomes on stage remarking that she hasn’t any hoover or curlers (presumably referring to her performance of ‘I Want to Break Free’ earlier that night, and not just being sexist…) Again it’s fine, excellently sung – particularly by Stansfield, who didn’t really get to show off her vocal chops on ‘All Around the World’. I don’t imagine it was easy going on stage with George Michael in full flow and holding your own, but she manages. Yet this track isn’t as enjoyable, because a) it was #1 barely a year before and b) it’s not as good as ‘Somebody to Love’ in the first place.

The three other tracks are George Michael solo efforts, recorded in March 1991, again at Wembley (from the same tour that gave us his ‘Don’t Let the Sun Go Down on Me’ duet with Elton John). According to the records, he covered both Adamski’s ‘Killer’ and The Temptations’ ‘Papa Was a Rolling Stone’, but both tracks are hard to, well, track down. Luckily on the British version of the EP he used a shortened, medley version, and again it’s… OK. You’d need a good ear to hear these tracks as a medley, but it works.

However, I refer you back to my comments on Michael’s earlier live #1: live versions being rarely better than the originals and, unless you were actually at the concert, the crowd noises are little more than a distraction. It’s like modern-day shaky camera phone footage, but better produced. Still it was for charity, which is always good, benefiting the Mercury Phoenix Trust, an AIDS fund set up by the remaining members of Queen, their manager Jim Beach, and Mercury’s former partner Mary Austin.

Did we need a fifth track though, making this the longest record to ever make #1 (a milestone that is now almost impossible to break)? Not really. This is where we tip into real self-indulgence, something that George Michael was always prone to, with a cover of ‘Calling You’, originally recorded by soul singer Jevetta Steele for the film ‘Bagdad Café’. I hadn’t heard of it, although the crowd’s reaction suggests that some of them had, at least. And in fairness it did win the Best Original Song Oscar for 1988. The vocals are amazing, from both George and his backing singers, especially again considering it was recorded live. But… It does go on. It unfolds at a snail’s pace, over five minutes. My patience is well and truly tried.

The history of EPs – longer than singles but shorter than LPs – on the UK singles chart is hard to pin down. In the sixties, their heyday, they sold very well and had their own chart. Between the 70s and 90s they fell out of fashion, but could chart alongside the singles. We’ve had three earlier EP #1s, from Erasure, The Specials and Demis Roussos. ‘Five Live’ was the last one to make the top, and maybe this sprawling beast of a record helped to kill them off. Nowadays the closest we’ve got to an EP is a Maxi-CD, or a digital bundle, but since the download/streaming era individual tracks can simply chart in their own right. The same fate has also befallen the double-‘A’ record, though we’ve still got a few more of them to come before then…

684. ‘I Will Always Love You’, by Whitney Houston

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I’ve enjoyed my journey through 1992, a year short on number one hits (just twelve) but a year that has valued quality over quantity. I’ve not actively disliked any of its chart-toppers, the worst I could say is that a couple have been fairly bland (yes, KWS, I’m looking at you). But before we wrap this year up, we have to grapple with its final hit. The year’s biggest-selling, longest-running #1…

I Will Always Love You, by Whitney Houston (her 4th and final #1)

10 weeks, from 29th November 1992 – 7th February 1993

The early nineties is the era of the soundtrack single. And it’s bookmarked by three songs-from-movies in particular, each of which got into double figures at the top of the charts. Enter Part II, then: Ms Houston, and the love theme from her blockbuster ‘The Bodyguard’. (And, as an aside, isn’t it interesting that both this and the earlier ginormous soundtrack #1 were from films starring heartthrob du jour Kevin Costner…?)

Anyway. First off, this record gets a lot of stick. It’s overblown, over-sung, overplayed… A misuse of Whitney’s undoubted talents. It also has the misfortune to be a cover – a cover of a wistful, tender original by the universally beloved Dolly Parton. Bryan Adams’ sixteen-week monster at least had nothing to compare it with… But is this stick justified? Does ‘I Will Always Love You’ deserve the hate…?

Well, yes. Let’s be honest, it’s rotten. A bloated whale corpse of a record. All the complaints I had about ‘Everything I Do (I Do It for You)’ – that it was too much, too serious, missing the tongue-in-cheek silliness that any good power-ballad needs – also apply here. Plus, this adds a teeth-grinding saxophone solo for good measure.

But what’s also annoying about this record is that for the first three minutes or so, it’s actually pretty dull. I compared Whitney’s most recent #1, ‘One Moment in Time’, to a couple of rounds in a boxing ring. She grabbed that tune, and pummelled the listener into oblivion with it. Ridiculous, of course; but I enjoyed the bombast. Yet on ‘I Will Always Love You’, she sleepwalks her way through the first couple of verses, with their gloopy production, and sleazy sax. Then comes the moment that everyone remembers when they think about this song: the pause, the drumbeat, and the rocket launch into the final chorus.

It’s like she knew that this song would be a millstone around her neck for the rest of her career, and thought ‘fuck it, we might as well have some fun’. Either that, or she foresaw that this would be murdered in karaoke bars from here to eternity, and so decided to make it impossible to copy, by going through her full repertoire of trills, belting, melisma… you name it. Because while you might disagree with her approach to this song – and I do – there’s no denying that the woman could sing. It’s an ending so aggressive, so over the top, that the ‘love theme’ becomes a stalker’s anthem: I-ee-ayye will always love you-hoo… (and there’s nothing you can do about it!)

This song stayed at number one for ten weeks – a total that Bryan Adams would have scoffed at, but that gave Houston the record for a female soloist. It made the top in late November, stayed there as Xmas #1, and was still there at the end of January to become my 7th birthday number one. (My ‘girlfriend’ at the time – we were in Primary 3 – liked to sing this to me as we walked home together…) Wikipedia lists it as making #1 in twenty-three countries, though I’m sure there were more. It set a new record for weeks at #1 on the Billboard chart, and remains the planet’s best-selling song by a female act… ever.

Yet here ends Whitney Houston’s British chart-topping career. From smooth jazz (‘Saving All My Love for You’), to dance pop (‘I Wanna Dance With Somebody’), to overblown power-ballads (the last two). Her chart career, though, was far from over, and in fact she would go on to release some her best records once her voice had deteriorated through age (and drug use), meaning she could no longer attempt ginormous ballads like this one. ‘My Love Is Your Love’, ‘It’s Not Right but It’s Okay’, and ‘Million Dollar Bill’, among others, are all great.

Whitney died in 2012, after a troubled life, aged just forty-eight. A sad way for one of the most technically gifted singers of all time to go. Among the tributes paid upon her death was one from Dolly Parton, whom the media had suggested wasn’t happy with Houston’s cover at the time. Parton thanked her for bringing her song to a wider audience (not to mention for the royalties that must have rolled in…)

682. ‘End of the Road’, by Boyz II Men

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Things are getting very nineties around here: from iconic dance hits, to adult, dinner-party pop, to this… Yes, it’s time to sound the boyband klaxon!

End of the Road, by Boyz II Men (their 1st and only #1)

3 weeks, from 25th October – 15th November 1992

When I think of ‘90s boybands’, the first ones that spring to mind are all homegrown: Take That, East 17, 5ive, Boyzone (OK, Irish but still…) Yet all four of the boyband #1s that we’ve covered so far have been by Americans. And they’re getting progressively more sophisticated and mature – from NKOTB, to Color Me Badd, and now Boyz II Men. So much so that it feels slightly unfair to label these dudes as a ‘boyband’.

Except, the name, Boyz II Men, is pure ‘90s Boyband. Is there a ‘z’ in place of the ‘s’…? Check. Are there numbers and/or symbols…? Check. Is it memorably cheesy…? Check check check. Still, musically, this is a big improvement on ‘I Wanna Sex You Up’. It’s an update on the classic sixties/seventies vocal group sound: great voices, and great harmonies, with bass, tenors and baritones swooping all around one another.

If this was a one-off smash by a one-hit wonder, then I might be more effusive in praising it. It is a good record, a well-produced, well-written, well-performed pop song with a soaring bridge, and a catchy chorus: Although we’ve come, To the end of the road… It also has a great spoken word section (and intro, on the album version) in which bass vocalist Michael McCary does his best Barry White: All those times… You ran out with that other fella, Baby I knew about it…

The reason why I’m feeling a bit down on this record is because I know that this was not Boyz II Men’s only hit. And most of those other hits sound very much like ‘End of the Road’. They had a sound, and they rinsed the arse off it: ‘One Sweet Day’, ‘On Bended Knee’, ‘Water Runs Dry’… The one Boyz II Men song that I like more than ‘End of the Road’ is the preposterous ‘I’ll Make Love To You’, which basically sounds like someone doing a Boyz II Men parody.

At least in the UK this was the Boyz only visit to the top of the charts, and the first of just three Top 10 hits. Compare and contrast this with their complete domination of the Billboard charts in the mid-nineties. Two of their singles (including this one) set records for most consecutive weeks at #1. They were the first act since The Beatles to replace themselves at the top. Their five chart-toppers spent a combined 50 (fifty!) weeks at number one…

Thank God, then, for their less-fanatic British fans. They sent the band’s (second) best single to number one, for a perfectly sensible three weeks. And we can appreciate it for the fine piece of soul/R&B that it is. Plus, it was technically a Motown release, giving that legendary label its first UK #1 since ‘I Just Called to Say I Love You’ and, unless anyone wants to tell me otherwise, its last.

674. ‘Stay’, by Shakespears Sister

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Our next number one follows nicely on from the first chart-topper of the year, Wet Wet Wet’s ‘Goodnight Girl’. At least at first…

Stay, by Shakespears Sister (their 1st and only #1)

8 weeks, from 16th February – 12th April 1992

The opening two minutes are paired-back, moody, and again almost a cappella. If this world is wearing thin, And you’re thinking of escape… The voice is memorably kooky, a slightly higher-pitched Cyndi Lauper, to my ears. It lulls you, draws you in, takes you a moment to realise that the lyrics are pretty dark: When your pride is on the floor, I’ll make you beg for more…

It’s not ‘Stay’ as in ‘please stay, baby’. It’s ‘Stay’ as in ‘stay… or else!’ So, darker than first anticipated. And then things get very dark indeed, when one-third of Bananarama comes crashing through the doors, and the song flips to grungy, industrial rock. You better hope and pray, That you make it safe back to your own world…she crows, relishing her pantomime villain role.

The two contrasts – the soft, gospel opening half against the heavy final two minutes – are complemented by the two very different voices. What could have been a nice but fairly run-of-the-mill ballad (like, say, ‘Goodnight Girl’) becomes something else altogether. Towards the end the first voice takes over again, much more frantic now, begging their lover to stay.

‘Stay’ really has to be listened to in conjunction with its bizarre, award-winning video. One Shakespears Sister – Marcella Detroit, very pale and panda-eyed – sits by a dying man’s bedside while the other, Siobhan Fahey, barges into their hospital room looking like a slimmed-down Ursula from ‘The Little Mermaid’. The two women wrestle over the man, before he finally comes back to life in Detroit’s arms, and Fahey shuffles off with a roll of the eyes. It’s every bit as melodramatic as the song, and very camp.

By the end, this has turned into one of the stranger chart-toppers of recent years. It’s very hard to pin down, and whoever described it as ‘a weird sci-fi ballad of gothic-gospel electronica’ for PopMatters is pretty spot on. It was written by both women (managing to chart higher than Bananarama ever did), alongside Dave Stewart of the Eurythmics, who was then Fahey’s husband.

Shakespears Sister was Fahey’s post-Bananarama solo project, with Detroit joining a bit later. (This was one of the only songs on which Detroit sang lead, and its success apparently annoyed Fahey.) The duo’s name was a misspelling that stuck, inspired by the Smith’s song of the same name, which had in turn been inspired by Virginia Woolf’s ‘A Room of One’s Own’, which eventually leads us all the way back to William himself. A fittingly literary heritage for a song that packs an epic story into less than four minutes. They’d had one Top 10 hit before this, and would have one more after, but it is for ‘Stay’ that they are to this day best remembered.

673. ‘Goodnight Girl’, by Wet Wet Wet

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Into 1992 we go, then. A year that it won’t take us long to get through, as it only has twelve #1s – the lowest turnover of chart-toppers for thirty years. Why the charts slowed down so much as we move towards the mid-‘90s is something we might chat about in the coming posts…

Goodnight Girl, by Wet Wet Wet (their 2nd of three #1s)

4 weeks, from 19th January – 16th February 1992

We kick off with Clydebank lads Wet Wet Wet, last heard four years ago singing a peppy cover of ‘With a Little Help from My Friends’ for charity. Since then they’ve grown up: the hair is longer, the mood much more serious… Was this the original boy-band to man-band transition, a path since followed by Take That, Westlife and more…?

It’s a nice enough ballad. Lots of strings, a bit of piano, and an almost a cappella feel to the vocals. Marti Pellow takes the lead of course, but the three others whose names I don’t know weave themselves around him. It could have crumpled into bland, MOR mush; but the chorus is an earworm, with real purpose to it: Caught up in your wishing well, Your hopes inside it…

The video is very 1992, and not nearly as clever as it thinks it is. Why is there a priest swinging on a pendulum? Why indeed? The same applies to the lyrics, really, but if you allow them to just wash over you then the melodies, and Pellow’s voice, are enough to make this an enjoyable, if low-key, start to the year. It seems that Wet Wet Wet had managed to grow old(er) gracefully. It was also my 6th birthday #1, and perhaps that means I give it extra fondness points.

‘Goodnight Girl’ is a bit of an anomaly in the Wet Wet Wet discography. As well as being their only self-penned number one, it was the only Top 10 hit the band managed between 1989 and 1994. It’s pleasant enough, but I’m not sure I can explain why it so spectacularly broke their slump. Was it as simple as it being released in January, traditionally the quietest time for new singles? Anyway, they’ll come back properly in a couple of years, with an (almost) record-breaking mega-hit that will set them up for the rest of the decade, and beyond.

671. ‘Don’t Let the Sun Go Down on Me’, by George Michael & Elton John

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It’s been a while since we’ve had a live number one. And here’s one featuring two of Britain’s best-loved pop stars…

Don’t Let the Sun Go Down on Me, by George Michael (his 4th of seven #1s) & Elton John (his 3rd of ten #1s)

2 weeks, from 1st December – 15th December 1991

It starts off as George Michael doing a cover of a 1974 Elton John hit. It’s nice enough – Michael is an excellent singer, especially considering that it’s a live recording – but I’m not sure if live recordings are ever better than studio versions. They’re great at capturing the essence of an artist, and sound fine as long as you’re a singer as competent as George Michael. But unless you were there, in the crowd at Wembley Arena in March 1991, is this as enjoyable as it would have been in the studio?

What happens at the end of the first chorus, though, elevates it above most other live singles. The crowd noise rises… something’s happening… and George utters the immortal line: Ladies and gentlemen, Mr Elton John! The crowd’s reaction suggests it was a surprise, arranged for the closing night of Michael’s tour. From then on, this record becomes a moment in pop history. They had already performed the song together at Live Aid in 1985, while at Elton’s recent Glastonbury headline show he touchingly dedicated the song to his late partner in this duet.

What I will say in its favour is that, despite being almost six minutes in length, this cover doesn’t drag. The slow build of the intro and first verse, the revelation, and then the duet are all propelled along by the crowd’s reaction. There’s real drama there. Were this a studio recording then it may well have dragged (which the original does, a bit, despite it eventually reaching a pretty rousing climax, and despite having two out of the five Beach Boys on backing vocals…)

Like the artist they knocked from top spot, Michael Jackson, the 1990s would be among Elton and George’s ‘best’ periods for #1s, despite them being synonymous with earlier decades. It’s only Elton’s second chart-topper of the decade, and that’s already better than his ‘70s and ‘80s returns combined. Meanwhile, apart from his duet with Aretha Franklin, none of Michael’s ‘Faith’ era smashes made number one in the UK.

Aside from the fact that it featured two of the nation’s biggest pop stars, another reason for this record’s instant success (it entered at the top) was that all money raised went to AIDS charities. And our very next chart-topper might explain why, sadly, the disease was at the forefront of the public’s consciousness in late 1991.

667. ‘(Everything I Do) I Do It for You’, by Bryan Adams

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Oh Lordy, here we go…

(Everything I Do) I Do It for You, by Bryan Adams (his 1st of two #1s)

16 weeks, from 7th July – 27th October 1991

The 1980s gets the rep as the era of the power-ballad, when big drums and even bigger hair stalked the pop landscape. And yes, the ‘80s gave us ‘Total Eclipse of the Heart’, ‘Take My Breath Away’, ‘The Power of Love’… All gigantic anthems. All of them, to me at least, pretty good. But the 1990s was when power ballads really started to bulk up, to hit the gym, to mutate, Jurassic World-style, into the beast that stands before us now…

Everything about this record is colossal. The slow-build intro, the strained vocals, the sentiment, the production… Nothing is subtle, nothing left to chance. The title, even, tells you exactly what sort of song this will be before you even press play. The listener is not required to think; they merely have to submit to its awesome power. I bet very few of the couples who’ve chosen this as a first dance at their wedding actually like the song; they’ve just been bludgeoned into submission, a sort of musical Stockholm syndrome.

I could pick any line from ‘(Everything I Do…)’ and bask in its cliched stupidity. It’s all the sort of the stuff even a lovestruck fourteen-year-old would think was too overwrought. Take me as I am, Take my life, I would give it all, I would sacrifice… Bryan Adams growls. I get that we live nowadays in a more cynical age, but did anyone actually take this seriously at the time?

Well, probably. Because a record this overblown couldn’t just have a couple of weeks at #1. Not even a couple of months would suffice. No, ‘(Everything I Do) I Do It for You’ needed sixteen long weeks at the top to get its message across. It famously holds the record for the most consecutive weeks at number one (though not the most weeks in total: Frankie Laine’s ‘I Believe’ racked up eighteen over three different runs in 1953). And the UK wasn’t alone in suffering through a summer (and autumn) of Adams. It was #1 for seven weeks in the US, nine in his homeland of Canada, eleven in Australia, and twelve in Sweden.

But there’s a reason why this record, despite its success, has been semi-forgotten, and earlier power ballads by Bonnie Tyler and co remain well-loved. ‘(Everything I Do)…’ just isn’t fun. There’s nothing here that isn’t full-on, one-hundred percent sincerity. And for a power ballad to truly work, you need to feel that the singer is aware, on some level, that what they’re singing is ridiculous. And yet here’s this behemoth, with all the charm of a constipated brontosaurus. Adams isn’t an insufferable guy – he’s recorded plenty of fun, upbeat songs – but this one…? It’s way too earnest.

It’s also probably an indicator of where we are, in pop music terms. The fun of glam metal has fizzled out, and grunge hasn’t quite broken through yet. (Symbolically, ‘Nevermind’ was released right in the middle of this record’s long, long run at the top…) Glam metal hadn’t made much impact at the top of the British charts (neither would grunge for that matter), but it did mean that guitars slowly returned to the mainstream and allowed huge hit singles like this. (Compare this with a power-ballad from the mid-eighties, and it’s much more ‘rock’.)

This single was of course from the soundtrack to ‘Robin Hood: Prince of Thieves’, the ginormous box-office hit of that summer. Chart-toppers from movie soundtracks have been around since the dawn of the charts, but it does feel as if they are taking over in the early nineties. Of the last five #1s, all have been from soundtracks (if we count stage shows as well as films). And this won’t be the last theme song to make it to double-figures at the top of the charts. We’ve got plenty more of these mutant power-ballads to come soon… Brace yourselves.

(For some reason, the single-edit version of the video to ‘(Everything I Do)…’ seems to have been erased from history in favour of the six and a half minute album version.)

653. ‘Unchained Melody’, by The Righteous Brothers

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And so the slew of random re-releases, that have been peppering the number one slot since the late ‘80s, peaks here, towards the end of 1990. And I mean ‘peaks’ both in the sense that we’ve literally just waved a Steve Miller Band tune from 1973 off top spot, and in the sense that nothing can top this gilt-edged beauty of a love song.

Unchained Melody, by The Righteous Brothers (their 2nd and final #1)

4 weeks, from 28th October – 25th November 1990

That’s not to say that ‘Unchained Melody’, in the hands of the Righteous Brothers, isn’t a preposterous, overblown nonsense of a record. It is completely over-the-top, the sort of display of affection that would put most women off a man were he to belt it out ‘neath her window of an evening. How does a lonely river sigh, exactly…? And yet, it is irresistible.

Irresistible because of the vocal performance of Bobby Hatfield (who won the right to record it in a coin-toss with his Righteous partner Bill Medley). It’s spectacular singing all the way through, a true tour-de-force, that culminates in that outrageous note he hits in the final chorus. The strings swell, the percussion crashes, creating a tempest of emotion that will wash over even the most cynical of listener.

Irresistible, too, because it is so different to what has come before it. I’ve enjoyed the recent transition to dance, more than I thought I might, but it’s interesting to hear a big sixties beast cutting through the drum machines and the samples. And despite coming from long before the era of the power-ballad, ‘Unchained Melody’ can compete with contemporary classics like ‘Nothing Compares 2 U’ and ‘Show Me Heaven’ in the chest-thumping melodrama stakes. In fact, could the case be made for this being the very first ‘power ballad’?

It found itself back in the charts thanks to its use in the movie ‘Ghost’, in a famous sex scene involving Patrick Swayze and a pottery wheel (I’ve never seen the film, and don’t intend to, so don’t try to persuade me that this isn’t what happens…) The Brothers did a re-record, which charted in the US, but it was their original that took off again in Britain (it had previously made #14 in 1965). It means that the duo have a twenty-five year gap between their two #1s – beating The Hollies’ previous record of twenty-three years – and that ‘Unchained Melody’ itself has a huge thirty five year span since Jimmy Young took his version to the top in 1955.

Young’s version is half the song that this is, though it feels unfair to judge him against what has since become a standard. A standard that, sadly, subsequent singers have felt the need to compare themselves against. ‘Unchained Melody’ has two further, Righteous Brothers aping versions to come atop the charts… And this also increases the irresistibility of this version: the depths that I know the song will be brought down to.

This record cemented itself as the peak of the re-release era by becoming the highest-selling single of the year. Folks lapped it up (‘Ghost’ was, for a spell, the highest-grossing film of all time in the UK), though I’d say it’s now moved into the realms of cliché, thanks no doubt to the subsequent karaoke cover versions, to the point that any use in a movie today would be done with tongue firmly in cheek.

Before I go, I have to give a shout out to the one version that can compete with the Righteous Brothers’: Elvis’s. It was used to great effect in the recent film biopic (that I thought was OK, but nowhere near as good as some said), and when they spliced it with the famous footage of him singing it a few weeks before his death… Well some dust just went and got in my eye, didn’t it?

651. ‘Show Me Heaven’, by Maria McKee

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It’s been a while – a whole six months at least. Time for a power ballad!

Show Me Heaven, by Maria McKee (her 1st and only #1)

4 weeks, from 23rd September – 21st October 1990

I love the opening chords, like a wheezy accordion played by the fireside. I also like Maria McKee’s sultry voice, as if she’s just inhaled a lungful of smoke from said campfire. But most of all I love the bridge, a real gear-shift before the thumping chorus: I’m not denying, We’re flying above it all… I’ve never felt this way!

Then the chorus takes a surprising turn. Yes, the vocals are big and the sentiment overwrought: Show me heaven… Leave me breathless… etc. But under that there’s a folky edge to it, with what sound like banjos being lightly plucked. It’s a post-Enya power ballad, perhaps, with a new-age influence being felt in the background. It’s not much, but might I make the same bold claim I seem to make every couple of chart-years, that guitars are making a comeback…?

My favourite bit, though, is the middle eight: If you know what it’s like, To dream a dream… McKee breathes, before embarking on one of the most impressive ten seconds of singing we’ve ever heard in a number one single. I’m pretty sure she does it all in one breath, unless a more trained ear than mine can hear when she sneaks a gulp of air.

From there this most classy of ballads glides to a finish. As the eighties become the nineties, the power ballads are just going to get glossier. But ‘Show Me Heaven’ melds all the OTT fist clenching that we expect – nay, need – from a power-ballad, with genuine credibility and grit. 1990 has already given us ‘Nothing Compares 2 U’, and this provides that record with some proper competition in the ‘ultimate power ballad’ stakes.

It probably helped that Maria McKee was an accomplished songwriter. who refused to record the song unless she could rewrite some of the original version’s ‘appalling’ (her words) lyrics. She already has one writing credit on a number one – Feargal Sharkey’s ‘A Good Heart’ – and had been the lead singer of country rock (or ‘cowpunk’, according to Wiki, which is amazing) band Lone Justice. None of her subsequent hits came anywhere near to matching her only #1; but she seems to be a free spirit, doing whatever she pleases, be it recording music, making short films, or writing fiction.

‘Show Me Heaven’ featured on the soundtrack to the Tom Cruise-Nicole Kidman, NASCAR racing film ‘Days of Thunder’ (Cruise and Kidman met on set, and were married barely a year later.) This makes it the second song from a Tom Cruise movie to make #1, after ‘Take My Breath Away’ (sadly ‘Kokomo’ couldn’t replicate it’s US success on British shores…) And, lest we forget, Nicky Kidman has her own chart-topping moment in the sun to come…