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[[Simon Frith]], the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of [[Soul music|soul]] artists, particularly [[Ray Charles]], and the adaptation of this style by performers such as [[Eric Burdon]], [[Tom Jones (singer)|Tom Jones]], and [[Joe Cocker]] to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.<ref name=Frithpop>S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press), pp. 100-1.</ref> According to [[Charles Aaron]], power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.<ref name=aaron>{{cite book|last=Aaron|first=Charles|editor1=Jonathan Lethem |editor2=Paul Bresnick|title=Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More|work=[[Da Capo Press]]|chapter=Don't Fight the Power |year=2002 |isbn=978-0-306-81166-1|page=132}}</ref> Typically the [[hard rock]] power ballad bespeaks of love or heartache, building in emotional intensity into a wordless climax of distorted [[guitar]] leads over heavy drumming, thus the "power" in the power ballad.<ref name=Metzer2017>{{cite book |title=The Ballad in American Popular Music: From Elvis to Beyoncé |page=144 |last=Metzer |first=David |date=2017 |publisher=Cambridge University Press |isbn=9781108509749}}</ref><ref name=Brown2016>{{cite book |title=Heavy Metal Studies and Popular Culture |editor1=Gabby Riches |editor2=Dave Snell |editor3=Bryan Bardine |editor4=Brenda Gardenour Walter |last=Brown |first=Andy R. |chapter=The Ballad of Heavy Metal: Re-thinking Artistic and Commercial Strategies in the Mainstreaming of Metal and Hard Rock |page=83 |publisher=Springer |date=2016 |isbn=9781137456687}}</ref>
[[Simon Frith]], the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of [[Soul music|soul]] artists, particularly [[Ray Charles]], and the adaptation of this style by performers such as [[Eric Burdon]], [[Tom Jones (singer)|Tom Jones]], and [[Joe Cocker]] to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.<ref name=Frithpop>S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press), pp. 100-1.</ref> According to [[Charles Aaron]], power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.<ref name=aaron>{{cite book|last=Aaron|first=Charles|editor1=Jonathan Lethem |editor2=Paul Bresnick|title=Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More|work=[[Da Capo Press]]|chapter=Don't Fight the Power |year=2002 |isbn=978-0-306-81166-1|page=132}}</ref> Typically the [[hard rock]] power ballad bespeaks of love or heartache, building in emotional intensity into a wordless climax of distorted [[guitar]] leads over heavy drumming ie. the "power" in the power ballad.<ref name=Metzer2017>{{cite book |title=The Ballad in American Popular Music: From Elvis to Beyoncé |page=144 |last=Metzer |first=David |date=2017 |publisher=Cambridge University Press |isbn=9781108509749}}</ref><ref name=Brown2016>{{cite book |title=Heavy Metal Studies and Popular Culture |editor1=Gabby Riches |editor2=Dave Snell |editor3=Bryan Bardine |editor4=Brenda Gardenour Walter |last=Brown |first=Andy R. |chapter=The Ballad of Heavy Metal: Re-thinking Artistic and Commercial Strategies in the Mainstreaming of Metal and Hard Rock |page=83 |publisher=Springer |date=2016 |isbn=9781137456687}}</ref>


Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier love songs such as [[Badfinger]]'s "[[Without You (Badfinger song)|Without You]]", [[Led Zeppelin]]'s "[[Stairway to Heaven]]" and [[Aerosmith]]'s "[[Dream On (Aerosmith song)|Dream On]]".<ref name=aaron/> But such macho "bad boys" may have been inspired by the [[The Carpenters]]' "[[Goodbye to Love]]" with [[Tony Peluso]]'s distorted, rock guitar leads.<ref>{{cite news |last=Perrone |first=Pierre |title=Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era |url=https://www.independent.co.uk/news/obituaries/tony-peluso-guitarist-whose-solos-on-the-carpenters-goodbye-to-love-ushered-in-the-powerballad-era-2041048.html|access-date=February 4, 2013|newspaper=[[The Independent]]|date=August 2, 2010}}</ref>
Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier love songs such as [[Badfinger]]'s "[[Without You (Badfinger song)|Without You]]", [[Led Zeppelin]]'s "[[Stairway to Heaven]]" and [[Aerosmith]]'s "[[Dream On (Aerosmith song)|Dream On]]".<ref name=aaron/> But such macho "bad boys" may have been inspired by the [[The Carpenters]]' "[[Goodbye to Love]]" with [[Tony Peluso]]'s distorted, rock guitar leads.<ref>{{cite news |last=Perrone |first=Pierre |title=Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era |url=https://www.independent.co.uk/news/obituaries/tony-peluso-guitarist-whose-solos-on-the-carpenters-goodbye-to-love-ushered-in-the-powerballad-era-2041048.html|access-date=February 4, 2013|newspaper=[[The Independent]]|date=August 2, 2010}}</ref>


In the 1980s, beginning with [[Journey (band)|Journey's]] "[[Faithfully (song)|Faithfully]]" and [[REO Speedwagon]]'s "[[Keep On Loving You (song)|Keep On Loving You]]", the power ballad became a staple for harder rock performers like [[Night Ranger]], [[Loverboy]], [[Bryan Adams]] and [[Toto]] who wanted to gain radio airplay and entice female audience members with a slower, emotional love song. [[Mötley Crüe]] and [[Dokken]] were two of the early 80s glam/hair bands showcasing this style, with songs such as "[[Alone Again]]" and "[[Home Sweet Home (Mötley Crüe song)|Home Sweet Home]]".<ref name=Harrison2011/> By the late 80s, nearly every hard rock and [[glam metal]] band wrote one power ballad per album, and record labels often released these as the album's second single. Even female acts like [[Heart]] with [[Alone]], [[Bonnie Tyler]] and [[Lita Ford]] hit the Top 40. Many '70s classic rock acts had a resurgence via power ballad  [[Aerosmith]] with [[Angel (Aerosmith song)| Angel]], [[Meatloaf]], [[Ozzy Osbourne]] and [[Ted Nugent]]. While [[Love]] was usually the topic, as in [[Sweet Chile O' Mine]], [[I Remember You]] or [[Love Song (Tesla song)]], [[LA Guns]] had success with a nostalgic ballad about the death of Hollywood icon [[Jayne Mansfield]] and [[Bon Jovi]] spun a modern-day-cowboy metaphor about a rock band's life on the road in [[Wanted Dead or Alive (Bon Jovi song)|Wanted Dead Or Alive]].
In the 1980s, beginning with [[Journey (band)|Journey's]] "[[Faithfully (song)|Faithfully]]" and [[REO Speedwagon]]'s "[[Keep On Loving You (song)|Keep On Loving You]]", the power ballad became a staple for harder rock performers like [[Night Ranger]], [[Loverboy]], [[Bryan Adams]] and [[Toto]] who wanted to gain radio airplay and entice female audience members with a slower, emotional love song. [[Mötley Crüe]] and [[Dokken]] were two of the early 80s glam/hair bands showcasing this style, with songs such as "[[Alone Again]]" and "[[Home Sweet Home (Mötley Crüe song)|Home Sweet Home]]".<ref name=Harrison2011/> By the late 80s, nearly every hard rock and [[glam metal]] band wrote one power ballad per album, and record labels often released these as the album's second single. Even female acts like [[Heart]] with [[Alone]], [[Bonnie Tyler]] and [[Lita Ford]] hit the Top 40. Many '70s classic rock acts had a resurgence via power ballad  [[Aerosmith]] with [[Angel (Aerosmith song)| Angel]], [[Meat Loaf]], [[Ozzy Osbourne]] and [[Ted Nugent]]. While [[Love]] was usually the topic, as in [[Sweet Chile O' Mine]], [[I Remember You]] or [[Love Song (Tesla song)]], [[LA Guns]] had success with a nostalgic ballad about the death of Hollywood icon [[Jayne Mansfield]] and [[Bon Jovi]] spun a modern-day-cowboy metaphor about a rock band's life on the road in [[Wanted Dead or Alive (Bon Jovi song)|Wanted Dead Or Alive]] and [[White Lion]] waxed philosophical about war, peace and [[When the Children Cry|crying children]] shortly before the end of the [[Cold War]].


When [[grunge]] appeared as a counterpoint to the decadence of 1980s glam metal, one clear style distinctions was the absence of power ballads,<ref name=Harrison2011>{{cite book |title=Music of the 1980s |page=41 |last=Harrison |first=Thomas |date=2011 |publisher=ABC-CLIO |isbn=9780313366000}}</ref> however, its subgenre [[post-grunge]] would have ballads thrown in the mix.
When [[grunge]] appeared as a counterpoint to the decadence of 1980s glam metal, one clear style distinctions was the absence of power ballads,<ref name=Harrison2011>{{cite book |title=Music of the 1980s |page=41 |last=Harrison |first=Thomas |date=2011 |publisher=ABC-CLIO |isbn=9780313366000}}</ref> however, its subgenre [[post-grunge]] would have ballads thrown in the mix.

Revision as of 21:46, 31 January 2022

For the painting by Grant Wood, see Sentimental Ballad (painting).
For information on the modified type of blues music in South Korea, see Korean ballad.

A sentimental ballad is an emotional style of music that often deals with romantic and intimate relationships, and to a lesser extent, loneliness, death, war, drug abuse, politics and religion, usually in a poignant but solemn manner.[1] Ballads are generally melodic enough to get the listener's attention.[2]

Sentimental ballads are found in most music genres, such as pop, R&B, soul, country, folk, rock and electronic music.[3] Usually slow in tempo, ballads tend to have a lush musical arrangement which emphasizes the song's melody and harmonies. Characteristically, ballads use acoustic instruments such as guitars, pianos, saxophones, and sometimes an orchestral set. Many modern mainstream ballads tend to feature synthesizers, drum machines and even, to some extent, a dance rhythm.[4]

Sentimental ballads had their origins in the early Tin Pan Alley music industry of the later 19th century.[5] Initially known as "tear-jerkers" or "drawing-room ballads", they were generally sentimental, narrative, strophic songs published separately or as part of an opera, descendants perhaps of broadside ballads. As new genres of music began to emerge in the early 20th century, their popularity faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.[6]

History

Early history

Main article: Ballad

Sentimental ballads have their roots from medieval French chanson balladée or ballade, which were originally "danced songs". Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia and North Africa.[7][8][9] As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling.[10] Musically they were influenced by the Minnesinger.[11] The earliest example of a recognizable ballad in form in England is "Judas" in a 13th-century manuscript.[12] A reference in William Langland's Piers Plowman indicates that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.[13]

18th century – early 20th century

"After the Ball", a ballad by Charles K. Harris, was the most successful song of its era, selling over two million copies of sheet music.[14][15]

Ballads at this time were originally composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance.[16] In the 18th century, ballad operas developed as a form of English stage entertainment, partly in opposition to the Italian domination of the London operatic scene.[17] In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'Native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music.[18]

In the late 19th century, Danish folklorist Svend Grundtvig and Harvard professor Francis James Child attempted to record and classify all the known ballads and variants in their chosen regions.[12] Since Child died before writing a commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads.[19] There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous.[10]

By the Victorian era, ballad had come to mean any sentimental popular song, especially so-called "royalty ballads".[20] Some of Stephen Foster's songs exemplify this genre. By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song, often written in a fairly standardized form. Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces.[21] Notable sentimental ballads of this period include, "Little Rosewood Casket" (1870), "After the Ball" (1892), and "Danny Boy" (1913).[22]

1950s–1960s

See also: Traditional pop
In 1962, Frank Sinatra released Sinatra and Strings, a set of standard ballads, which became one of the most critically acclaimed works of Sinatra's entire Reprise period.[23]

Popular sentimental ballad vocalists in this era include Frank Sinatra, Ella Fitzgerald, Andy Williams, Johnny Mathis, Connie Francis and Perry Como. Their recordings were usually lush orchestral arrangements of current or recent rock and roll or pop hit songs. The most popular and enduring songs from this style of music are known as "pop standards" or (where relevant) "American standards". Many vocalists became involved in 1960s' vocal jazz and the rebirth of swing music, which was sometimes referred to as "easy listening" and was, in essence, a revival of popularity of the "sweet bands" that had been popular during the swing era, but with more emphasis on the vocalist and the sentimentality.[24]

1970s

See also: Soft rock and Easy listening

Soft rock, a subgenre that mainly consists of ballads, was derived from folk rock in the late 1960s, using acoustic instruments and putting more emphasis on melody and harmonies. Major sentimental ballad artists of this decade included Barbra Streisand, Nana Mouskouri, Elton John, Engelbert Humperdinck, Carole King, Cat Stevens and James Taylor. By the early 1970s, softer ballad songs by the Carpenters, Anne Murray, John Denver and Barry Manilow began to be played more often on "Top 40" radio.[25]

Some rock-oriented acts such as Queen and the Eagles also produced ballads.[1][26][27]

When the word ballad appears in the title of a song, as for example in the Beatles' "The Ballad of John and Yoko" (1969) or Billy Joel's "The Ballad of Billy the Kid" (1974), the folk music sense is generally implied. The term ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie" (1971).[28][29][30]

1980s–1990s

See also: Adult contemporary
Celine Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of uptempo pop and rare forays into other genres.[31]

Prominent artists who made sentimental ballads in the 1980s include Stevie Wonder, Lionel Richie, Peabo Bryson, Barry White, Luther Vandross and George Michael.[32]

The 1990s mainstream pop/R&B singers such as Boyz II Men, Celine Dion, Shania Twain, Whitney Houston and Mariah Carey.[33]

Newer female singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time owing to their ballad-sound.[34]

2000s

A popular trend in the early 2000s was remixing dance music hits into acoustic ballads (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen To Your Heart" by D.H.T., and "Everytime We Touch" by Cascada).[35]

2010s

In the 2010s, indie musicians like Imagine Dragons, Mumford & Sons, Of Monsters and Men, the Lumineers and Ed Sheeran had indie songs that crossed over to the adult contemporary charts, due to their ballad-heavy sound.[36]

Genres

Jazz and traditional pop

Most pop standard and jazz ballads are built from a single, introductory verse, usually around 16 bars in length, and they end on the dominant – the chorus or refrain, usually 16 or 32 bars long and in AABA form (though other forms, such as ABAC, are not uncommon). In AABA forms, the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge, is added, as in "Over the Rainbow".[37][38]

Pop and R&B ballads

The most common use of the term "ballad" in modern pop and R&B music is for an emotional song about romance, breakup and/or longing.[22] The singer would usually lament an unrequited or lost love, either where one party is oblivious to the existence of the other, where one party has moved on, or where a romantic affair has affected the relationship.[39][40]

Rock/Power ballads

"Power ballads" redirects here. For other uses, see Power Ballads (disambiguation).
Power ballad
To emphasize the emotional aspect of a power ballad, crowds customarily hold up lighters adjusted to produce a large flame (an alternative might be a turned on smartphone screen).[41][42]
Stylistic origins
Cultural originsEarly 1970s
Other topics

Simon Frith, the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of soul artists, particularly Ray Charles, and the adaptation of this style by performers such as Eric Burdon, Tom Jones, and Joe Cocker to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.[43] According to Charles Aaron, power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.[44] Typically the hard rock power ballad bespeaks of love or heartache, building in emotional intensity into a wordless climax of distorted guitar leads over heavy drumming ie. the "power" in the power ballad.[45][46]

Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier love songs such as Badfinger's "Without You", Led Zeppelin's "Stairway to Heaven" and Aerosmith's "Dream On".[44] But such macho "bad boys" may have been inspired by the The Carpenters' "Goodbye to Love" with Tony Peluso's distorted, rock guitar leads.[47]

In the 1980s, beginning with Journey's "Faithfully" and REO Speedwagon's "Keep On Loving You", the power ballad became a staple for harder rock performers like Night Ranger, Loverboy, Bryan Adams and Toto who wanted to gain radio airplay and entice female audience members with a slower, emotional love song. Mötley Crüe and Dokken were two of the early 80s glam/hair bands showcasing this style, with songs such as "Alone Again" and "Home Sweet Home".[48] By the late 80s, nearly every hard rock and glam metal band wrote one power ballad per album, and record labels often released these as the album's second single. Even female acts like Heart with Alone, Bonnie Tyler and Lita Ford hit the Top 40. Many '70s classic rock acts had a resurgence via power ballad  Aerosmith with Angel, Meat Loaf, Ozzy Osbourne and Ted Nugent. While Love was usually the topic, as in Sweet Chile O' Mine, I Remember You or Love Song (Tesla song), LA Guns had success with a nostalgic ballad about the death of Hollywood icon Jayne Mansfield and Bon Jovi spun a modern-day-cowboy metaphor about a rock band's life on the road in Wanted Dead Or Alive and White Lion waxed philosophical about war, peace and crying children shortly before the end of the Cold War.

When grunge appeared as a counterpoint to the decadence of 1980s glam metal, one clear style distinctions was the absence of power ballads,[48] however, its subgenre post-grunge would have ballads thrown in the mix.

Bands such as Nickelback (All the Right Reasons), Creed (With Arms Wide Open), Matchbox 20, and 3 Doors Down (Here Without You) among others would mix power ballads with post-grunge. Some of these bands also have adult contemporary radio airplay, most notably Matchbox 20 and Nickelback.

Latin ballad

Main article: Latin ballad
Luis Miguel in Mexico City.

Latin ballad refers to the ballad derived from bolero that originated in the early-1960s in Latin America and Spain.

One of the most well-known Latin ballad singers of the 1970s and 1980s was José José. Known as "El Principe de La Cancion" (The Prince of the Song), he sold over 40 million albums in his career and became a huge influence to later ballad singers such as Cristian Castro, Alejandro Fernández, Nelson Ned, Manuel Mijares and Lupita D'Alessio.[49]

See also

Notes

  1. ^ a b J. M. Curtis, Rock Eras: Interpretations of Music and Society, 1954-1984 (Popular Press, 1987), p. 236.
  2. ^ Bronson, B., H. (1969). The Ballad as Song. Los Angeles: University of California Press
  3. ^ Ord, J. (1990). Bothy Songs and Ballads. Edinburgh: John Donald.
  4. ^ "Pop Music - What Is Pop Music - A Definition and Brief History". Top40.about.com. September 7, 2012. Retrieved October 3, 2012.
  5. ^ P. Buckley, The Rough Guide to Rock (Rough Guides, 3rd edn., 2003), p. 378.
  6. ^ Witmer. See also Middleton (I,4,i).
  7. ^ W. Apel, Harvard Dictionary of Music (Harvard, 1944; 2nd edn., 1972), p. 70.
  8. ^ A. Jacobs, A Short History of Western Music (1972, Penguin, 1976), p. 21.
  9. ^ W. Apel, Harvard Dictionary of Music (1944, Harvard, 1972), pp. 70-72.
  10. ^ a b J. E. Housman, British Popular Ballads (1952, London: Ayer Publishing, 1969), p. 15.
  11. ^ A. Jacobs, A Short History of Western Music (Penguin 1972, 1976), p. 20.
  12. ^ a b A. N. Bold, The Ballad (Routledge, 1979), p. 5.
  13. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 45.
  14. ^ "'After the Ball': Lyrics from the Biggest Hit of the 1890s", History Matters
  15. ^ Smith, Kathleen E. R. (2003). God Bless America: Tin Pan Alley Goes to War. The University Press of Kentucky. p. 91. ISBN 0813122562.
  16. ^ "Popular Ballads", The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century, p. 610.
  17. ^ M. Lubbock, The Complete Book of Light Opera (New York: Appleton-Century-Crofts, 1962) pp. 467-68.
  18. ^ D. Head and I. Ousby, The Cambridge Guide to Literature in English (Cambridge University Press, 2006), p. 66.
  19. ^ T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 352.
  20. ^ Child, F., J. (1898). The English and Scottish Popular Ballads, Boston: Houghton, Mifflin and Co
  21. ^ Temperley (II,2).
  22. ^ a b N. Cohen, Folk Music: a Regional Exploration (Greenwood, 2005), p. 297.
  23. ^ Fusilli, Jim (May 13, 2008). "Sinatra as Idol – Not Artist". The Wall Street Journal. Retrieved May 15, 2008.
  24. ^ "Project MUSE - Lounge Caravan: A Selective Discography" (Document). Muse.jhu.edu. February 23, 2005. doi:10.1353/not.2005.0059. {{cite document}}: Unknown parameter |access-date= ignored (help); Unknown parameter |s2cid= ignored (help); Unknown parameter |url= ignored (help)
  25. ^ "10 Best Soft Rock Ballads". Made Man. Archived from the original on November 13, 2010. Retrieved December 6, 2010. "Journey fans can easily list a dozen soft rock ballads from the band..."
  26. ^ Soft Rock. "Soft Rock : Significant Albums, Artists and Songs, Most Viewed". AllMusic. Retrieved January 9, 2013.
  27. ^ "Soft Rock - Profile of the Mellow, Romantic Soft Rock of the '70s and Early '80s". 80music.about.com. April 12, 2012. Retrieved January 9, 2013.
  28. ^ D. R. Adams, Rock 'n' roll and the Cleveland Connection Music of the Great Lakes (Kent State University Press, 2002), ISBN 0-87338-691-4, p. 70.
  29. ^ C. H. Sterling, M. C. Keith, Sounds of Change: a History of FM broadcasting in America (UNC Press, 2008), pp. 136-7.
  30. ^ "Journey: The band who did not stop believing". BBC News. November 12, 2010. Retrieved December 6, 2010.
  31. ^ Erlewine, Stephen Thomas. Let's Talk About Love: Album review. Allmusic. Retrieved 12 October 2009.
  32. ^ Sweeting, Bernadette McNulty, Thomas H. Green and Adam (April 15, 2015). "50 best love songs of the 1980s". Archived from the original on 2014-07-17 – via www.telegraph.co.uk.{{cite web}}: CS1 maint: multiple names: authors list (link)
  33. ^ Roberts, Amy. "This '90s Love Song Playlist Is The Only One You'll Ever Need". Bustle.
  34. ^ Hyatt, Wesley (1999). The Billboard Book of Number One Adult Contemporary Hits. New York City: Billboard Books. ISBN 978-0-823-07693-2.
  35. ^ Whitburn, Joel (2007). Billboard Top Adult Songs 1961-2006 (Record Research Inc.), page 373.
  36. ^ Kelley, Frannie (October 26, 2011). "Has 'Indie' Become 'Adult Contemporary'? : The Record". NPR. Retrieved October 3, 2012.
  37. ^ D. Randel, The New Harvard Dictionary of Music, (Cambridge MS: Harvard University Press, 1986) ISBN 0-674-61525-5, p. 68.
  38. ^ Buchan, D. (1972). The Ballad and the Folk. East Linton: Tuckwell Press
  39. ^ Smith, L.: Elvis Costello, Joni Mitchell, and the Torch Song Tradition, p. 9. Praeger Publishers, 2004.
  40. ^ Allan Forte, M. R.: Listening to Classic American Popular Songs, p. 203. Yale University Press, 2001.
  41. ^ "POP VIEW; The Male Rock Anthem: Going All to Pieces". The New York Times. Published February 1, 1998.
  42. ^ "Rock Concert Question: Are Lighter Salutes Bad for the Environment?" Live Science, July 15, 2006.
  43. ^ S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press), pp. 100-1.
  44. ^ a b Aaron, Charles (2002). "Don't Fight the Power". In Jonathan Lethem; Paul Bresnick (eds.). Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More. p. 132. ISBN 978-0-306-81166-1. {{cite book}}: |work= ignored (help)
  45. ^ Metzer, David (2017). The Ballad in American Popular Music: From Elvis to Beyoncé. Cambridge University Press. p. 144. ISBN 9781108509749.
  46. ^ Brown, Andy R. (2016). "The Ballad of Heavy Metal: Re-thinking Artistic and Commercial Strategies in the Mainstreaming of Metal and Hard Rock". In Gabby Riches; Dave Snell; Bryan Bardine; Brenda Gardenour Walter (eds.). Heavy Metal Studies and Popular Culture. Springer. p. 83. ISBN 9781137456687.
  47. ^ Perrone, Pierre (August 2, 2010). "Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era". The Independent. Retrieved February 4, 2013.
  48. ^ a b Harrison, Thomas (2011). Music of the 1980s. ABC-CLIO. p. 41. ISBN 9780313366000.
  49. ^ "José José "Esta es mi Vida" LANZAMIENTO". Famaweb.com. Archived from the original on 2014-03-19. Retrieved 2014-06-05.
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