KISS - BETH

Released: August 1976

Charted:  US: #7 

"Beth" is a song by Kiss released on their 1976 album “Destroyer”. The song stands out in the band's repertoire as a departure from their typical hard rock sound, showcasing drummer Peter Criss's emotive vocals and a more melodic, ballad-like style. Produced by Bob Ezrin and co-written with Stan Penridge, the song's heartfelt lyrics struck a chord with listeners, propelling it to become Kiss's biggest commercial hit in the United States. Despite being initially released as the B-side, "Beth" gained significant popularity, reaching number seven on the Billboard Hot 100 and earning a Gold Record certification from the RIAA. Its success was further underscored by winning the 1977 People's Choice Award for "Favorite Song."

"Beck," the precursor to "Beth," originated during Peter Criss's tenure with the band Chelsea, where he collaborated with guitarist Stan Penridge. Inspired by the constant interruptions from guitarist Mike Brand's wife, whose name was Becky, during band practices, Criss and Penridge crafted a humorous song called "Beck." The lyrics humorously addressed Becky's inquiries about when her husband would return home. After the dissolution of Chelsea, Peter Criss and Stan Penridge revisited the song when Criss joined Kiss in 1973. With the guidance of producer Bob Ezrin, they revamped the song, infusing it with a more sentimental tone and altering some of the lyrics. This early composition laid the groundwork for what would later evolve into the heartfelt ballad "Beth" by Kiss.

"Beth" emerged as an unexpected hit for Kiss, garnering more attention than its predecessors, "Shout It Out Loud" and "Flaming Youth." Originally released as the B-side to "Detroit Rock City," the ballad gained traction on radio stations, prompting the record company to promote it further. After about six weeks, the sides of the single were flipped, with "Beth" becoming the A-side. 

Unlike many Kiss tracks, Criss was the sole performer on this song, accompanied by Dick Wagner on acoustic guitar and an orchestra. Wagner, known for his work with Lou Reed and Alice Cooper, contributed to the recording but was not credited on the album. Live performances of "Beth" posed a challenge for Kiss, as they often required an orchestra. In the absence of live orchestration, Criss would perform the song with a recorded backing track.

The song "Beth" has been a point of contention between Peter Criss and Kiss frontman Paul Stanley. Despite being the co-writer and singer of Kiss's biggest hit, Criss's contribution to the song has been disputed by Stanley. According to Stanley, Stan Penridge wrote most of "Beth," with Criss contributing very little. This disagreement is just one aspect of the deeper rift between Criss and Stanley, which was evident when Kiss was inducted into the Rock and Roll Hall of Fame in 2014. Stanley and Gene Simmons opted not to reunite with the original lineup and declined to perform at the ceremony, further highlighting the strained relationship within the band.

 

JOURNEY - OPEN ARMS

Released: January 8, 1982

Charted:  US: #2 

"Open Arms" is a power ballad by Journey, co-written by Steve Perry and Jonathan Cain. Released as a single from both the “Heavy Metal” soundtrack and their album "Escape" in 1981, the song resonates with its heartfelt lyrics aimed at rekindling a fading romance. It remains one of the band's most iconic hits, peaking at number two on the US Billboard Hot 100 chart in February 1982, where it stayed for an impressive six weeks.

Jonathan Cain's melody for "Open Arms" initially faced skepticism from some members of Journey, with Neal Schon and Cain himself unsure about its potential. Cain had originally presented the melody to John Waite of the Babys, but it was rejected as "too syrupy." When Cain played it for Steve Perry, the reaction was immediate – Perry loved it and wanted to pursue it. Despite initial reservations from the band, "Open Arms" became a single and catapulted Journey to new heights of success. It not only became their highest-charting single but also played a significant role in popularizing the power ballad genre. 

Steve Perry expressed deep emotions while producing “Live in Houston 1981: The Escape Tour”, particularly when listening to the band perform "Open Arms." Reflecting on the performance from 24 years prior, Perry revealed that he struggled to contain his emotions during certain moments of the song. Specifically, he mentioned the line "wanting you near," which he envisioned as a soaring, heartfelt expression. Whenever this line played, Perry found himself overcome with pride for the song, needing to keep his head down and swallow the lump in his throat. 

In the VH1's Behind the Music episode featuring Journey, Steve Perry reminisced about the challenging recording sessions for "Open Arms." Perry recalled tension in the studio, with Neal Schon taunting him and Jonathan Cain during the process. When the band performed the song live for the first time during their Escape Tour in 1981, the audience's overwhelming response stunned Schon. After two encores, Schon admitted, "Man, that song really kicked ass!" Perry, feeling incensed by Schon's change of heart, later admitted to wanting to confront him, reflecting the complex dynamics within the band during that time.

HEART - ALONE

Released: May 15, 1987

Charted:  US: #1 (3 weeks)  UK: #3 

"Alone" is a song originally composed by Billy Steinberg and Tom Kelly, who recorded it under the name i-Ten. Heart covered the song on their 1987 album Bad Animals, and their version achieved widespread success, reaching number one in both the US and Canada. Heart's rendition of the song is characterized by its powerful ballad style, featuring a piano-driven introduction and a subdued vocal delivery by Ann Wilson, leading into a synth-driven hard rock chorus. Tom Kelly, one of the song's coauthors and an experienced session singer, provided the high harmony vocals on the recording.

In "Alone," Heart lead singer Ann Wilson expresses her intense emotions for a guy, contemplating how to reveal her feelings to him. Alone in her dark room, she grapples with the daunting prospect of sharing her secret. The lyrics convey her internal struggle as she ponders how to convey her desire to be alone with him.

Billy Steinberg shared the backstory of "Alone," revealing that it was written before some of his other hits but released later. Alongside Tom Kelly, he formed the duo i-Ten and recorded an album under that name. Despite the album's lackluster reception, "Alone" stood out as a notable track. Steinberg expressed dissatisfaction with the recording process, which colored his perception of the album. 

Steinberg recounted how "Alone" resurfaced when Tom Kelly suggested it to Heart for a power ballad. Initially hesitant due to past experiences, Steinberg revised the chorus lyrics and melody, breathing new life into the song. Ron Nevison, Heart's producer at the time, embraced the revamped version, leading to its inclusion on their album. Steinberg and Kelly then met the Wilson sisters during the recording process, with Kelly providing high harmony vocals on the track.

Directed by Marty Callner, known for his work with Aerosmith and Bon Jovi, the music video for "Alone" predominantly features performance footage, interspersed with a subplot featuring Ann Wilson on a balcony wearing a black veil. The video played a significant role in Heart's resurgence, receiving airplay on both MTV and VH1, the latter of which launched in 1985.

"Alone" enjoyed significant chart success, spending three weeks at No. 1 on the U.S. Billboard Hot 100 in July 1987. It ranked No. 2 on the Billboard Year-End Top Pop Singles of 1987. Notably, it became Heart's most successful single in the United Kingdom, reaching No. 3 on the UK Singles Chart in June. Remarkably, it remains the band's only song to peak inside the UK Top 5. Internationally, the song was a global hit, reaching No. 1 in Canada and the top five in Ireland, Norway, and Switzerland. It also achieved top ten positions in Australia, Belgium, and the Netherlands, as well as landing in the top twenty in West Germany. An unplugged rendition of the song was later featured on Heart's 1995 album “The Road Home”.

 

CHICAGO - IF YOU LEAVE ME NOW

Publicada: 30 de juliol de 1976 (EUA), 24 de setembre de 1976 (Regne Unit)

Llistes: EUA: #1 (2 setmanes)  Regne Unit: #1 (3 setmanes)

"If You Leave Me Now" és una balada atemporal del grup de rock nord-americà Chicago, inclosa al seu àlbum “Chicago X”. Escrita i cantada pel baixista Peter Cetera, la cançó es va llançar com a senzill el juliol de 1976. El gust de Cetera per escriure balades emotives va afegir un toc distintiu al repertori de la banda, complementant el seu catàleg de cançons més rockeres sovint escrites per Terry Kath o Robert Lamm.

Líricament, "If You Leave Me Now" pot semblar enganyosament simple, però la seva estructura ofereix un gir intrigant. Es podria argumentar que no hi ha una tornada que destaqui, o que tota la cançó serveix com a tornada. Comença amb la frase titular, que fa de ganxo: "If you leave me now, you'll take away the biggest part of me” (Si em deixes ara, prendràs la part més gran de mi). Aquesta frase es converteix en una pregària sentida, mostrant l'habilitat vocal de Peter Cetera: "Ooooh no, baby please don't go” (Oh, no, si us plau, no et vagis). La frase del títol torna a aparèixer, ara amb més pes: "If you leave me now, you'll take away the very heart of me” (Si em deixes ara, em prendràs el cor mateix). La resta de la cançó veu Cetera demanant apassionadament que no marxi. Cetera va escriure la lletra al voltant d’una melodia que va composar primer.

"If You Leave Me Now" va marcar una desviació significativa en el so de Chicago, ja que va ser el seu primer senzill que va incloure una guitarra acústica com a base. Aquesta guitarra no va ser interpretada per cap dels membres de la banda, sinó pel seu manager, James William Guercio, que també va produir la pista. Guercio, un músic experimentat, havia fet gires anteriorment amb The Beach Boys com a baixista. La implicació de Guercio en la part de guitarra acústica de la cançó va començar com una demostració, amb l'expectativa que el guitarrista habitual, Terry Kath, gravaria la pista final quan estigués disponible. Però la banda va quedar tan impressionada amb la interpretació de Guercio que van decidir mantenir-la per al disc.

Kate Winslet va cantar "If You Leave Me Now" a la minisèrie de HBO "The Regime" del 2024 afegint un toc emotiu a l'escena del sopar del primer episodi. Interpretant el paper de la cancellera d'un país europeu fictici, Winslet infon a la interpretació matisos diplomàtics, integrant de manera fluida frases com "we must carry on forever" (hem de continuar per sempre) entre els versos.

Tot i que Chicago va gaudir d'un èxit considerable als Estats Units, "If You Leave Me Now" destaca com el seu únic número u al Regne Unit. El seu posterior ascens de nou al Top 40 a Gran Bretanya amb la balada "Hard to Say I'm Sorry" el 1982 posa de manifest les preferències de l'audiència britànica en comparació amb la seva contrapart americana, més avesada a la part més rockera de la banda.

CHICAGO - IF YOU LEAVE ME NOW

Released: July 30, 1976 (US) September 24, 1976 (UK)

Charted:  US: #1 (2 weeks)  UK: #1 (3 weeks)

"If You Leave Me Now" is a timeless ballad by the American rock group Chicago, featured on their album Chicago X. Penned and sung by bassist Peter Cetera, the song was released as a single on July 1976. Cetera's penchant for crafting emotive ballads added a distinctive touch to the band's repertoire, complementing their catalog of rock-oriented tracks often penned by Terry Kath or Robert Lamm.

Lyrically, "If You Leave Me Now" may seem deceptively simple, yet its structure offers an intriguing twist. One could argue there's either no distinct chorus, or that the entire song serves as one. It starts with the titular line, which doubles as the hook: "If you leave me now, you'll take away the biggest part of me". This line segues into a heartfelt plea, showcasing Peter Cetera's vocal prowess: "Ooooh no, baby please don't go". The title line resurfaces, now with added weight: "If you leave me now, you'll take away the very heart of me". The remainder of the song sees Cetera passionately pleading his case against her departure. He crafted the lyrics around the melody he composed first. 

"If You Leave Me Now" marked a significant departure for Chicago, being their first single to feature an acoustic guitar lead. This role was performed not by one of the band members, but by their manager, James William Guercio, who also produced the track. Guercio, a seasoned musician, had previously toured with The Beach Boys as a bass player. Guercio's involvement in the song's acoustic guitar part began as a demo, with the expectation that their regular guitarist, Terry Kath, would record the final track when available. However, the band was so impressed with Guercio's performance that they decided to retain it for the record. 

Kate Winslet's rendition of "If You Leave Me Now" in the 2024 HBO miniseries "The Regime" adds a poignant touch to the first episode's dinner party scene. Playing the role of the chancellor of a fictional European country, Winslet infuses the performance with diplomatic nuances, seamlessly integrating lines like "we must carry on forever" between verses. 

While Chicago enjoyed considerable success in the United States, "If You Leave Me Now" stands out as their only chart-topper in the UK. Their subsequent climb back to the Top 40 in Britain with "Hard to Say I'm Sorry" in 1982 highlights the distinct preferences of UK audiences compared to their American counterparts.

 

KANSAS - DUST IN THE WIND

Estrenada: 16 de gener de 1978

Llistes: EUA: #6 

"Dust in the Wind" és una cançó de la banda nord-americana de rock progressiu Kansas, escrita per un dels membres del grup, Kerry Livgren. Va fer el seu debut al seu àlbum de 1977 "Point of Know Return". La cançó va arribar al número 6 a la llista Billboard Hot 100 la setmana del 22 d'abril de 1978, significant ser l'única cançó de Kansas que va entrar al top deu als Estats Units. El single va aconseguir la certificació d'Or de la RIAA, que indica vendes de més d'un milió d'exemplars, poc després del seu pic de popularitat.

El títol "Dust in the Wind", es basa en una referència bíblica, fent ressò de passatges d'Eclesiastès i Gènesi que contemplen la mortalitat i la inevitabilitat de la mort. Específicament, la lletra reflecteix temes trobats a Gènesi 3:19 i Eclesiastès 3:20, que parlen de l'origen humil de la humanitat i del seu retorn final a la terra. La frase "pols en el vent" també es troba a Salmes 18:42, evocant imatges de transitorietat i impermanència. A més, aquesta frase es troba també als primers versos de l'èpica japonesa "The Tale of the Heike" i en la poesia nativa americana.

"Dust in the Wind" va sorgir de la reflexió de Kerry Livgren sobre una frase d'un llibre de poesia nativa americana: "Perquè tot el que som és pols en el vent." Aquesta reflexió el va portar a contemplar la naturalesa transitòria de la riquesa material i el significat més profund de l'èxit. Malgrat l'èxit comercial del grup i la seva prosperitat financera, Livgren va reconèixer la veritat universal que totes les persones, independentment de les seves possessions o assoliments, finalment enfronten la mort i tornen a la terra.

Sota la pressió per produir un èxit que seguís al de "Carry On Wayward Son", Kerry Livgren va trobar inspiració mentre practicava exercicis amb la guitarra acústica. A suggeriment de la seva dona, va decidir afegir lletra als patrons. Malgrat la reticència inicial de Kerry Livgren a compartir "Dust in the Wind" amb els seus companys de banda, aquests van quedar captivats per la senzillesa i profunditat emocional de la cançó. Malgrat les preferències personals de Livgren per a composicions més explosives, la banda va decidir enregistrar la cançó. El posterior èxit va demostrar correcta la intuïció de la seva dona, ja que "Dust in the Wind" es va convertir en un dels èxits més icònics i immortals de Kansas.

KANSAS - DUST IN THE WIND

Released: January 16, 1978

Charted:  US: #6 

"Dust in the Wind" is a song by the American progressive rock band Kansas, penned by band member Kerry Livgren. It made its debut on their 1977 album "Point of Know Return." The track ascended to No. 6 on the Billboard Hot 100 chart in the week of April 22, 1978, marking Kansas's sole single to crack the top ten in the US. The 45-rpm single achieved Gold certification from the RIAA, signifying sales of over one million units, shortly after its peak popularity as a hit single.

The title of the song, "Dust in the Wind," draws from a poignant biblical reference, echoing passages from Ecclesiastes and Genesis that contemplate mortality and the inevitability of death. Specifically, the lyrics reflect themes found in Genesis 3:19 and Ecclesiastes 3:20, which speak to humanity's humble origins and ultimate return to the earth. The phrase "dust in the wind" also resonates with Psalms 18:42, evoking imagery of transience and impermanence. Additionally, the sentiment echoes the opening lines of the Japanese epic The Tale of the Heike and finds resonance in Native American poetry.

"Dust in the Wind" was born from Kerry Livgren's reflection on a line from a book of Native American poetry: "For all we are is dust in the wind." This contemplation led him to ponder the transient nature of material wealth and the deeper significance of success. Despite the band's commercial success and financial prosperity, Livgren recognized the universal truth that all individuals, regardless of their possessions or achievements, ultimately face mortality and return to the earth.

Under pressure to produce a follow-up to Kansas's hit "Carry On Wayward Son," Kerry Livgren found inspiration while practicing acoustic guitar exercises. At the suggestion of his wife, he decided to add lyrics to the patterns. Despite Kerry Livgren's initial reluctance to share "Dust in the Wind" with his bandmates, they were captivated by the song's simplicity and emotional depth. Despite Livgren's personal preferences for more bombastic compositions, the band decided to record the song. The song's eventual success proved his wife's intuition correct, as "Dust in the Wind" became one of Kansas's most iconic and enduring hits.