SONG OF THE WEEK http://www.fozfan.com A site dedicated to David Foster Mon, 26 Jan 2015 20:23:56 +0000 en-US hourly 1 http://wordpress.org/?v=4.1 SATISFACTION http://www.fozfan.com/2015/01/25/satisfaction/ http://www.fozfan.com/2015/01/25/satisfaction/#comments Sun, 25 Jan 2015 20:18:27 +0000 http://www.fozfan.com/?p=4824 [...]]]>  from RUNAWAY

Written by Bill Champlin & Richard Page

The years between the late seventies and early eighties often saw David Foster embedding dynamic and punchy horn arrangements into his productions. The Canadian Hitmaker’s close collaboration with arranger supreme Jerry Hey brought to life fantastic horn charts that can be appreciated on legendary recordings by Bill Champlin, Peter Allen, Boz Scaggs, Deniece Williams, Airplay, The Tubes and Average White Band. This week’s spotlight is put on “Satisfaction,” an irresistible, up-tempo jam that opened the second side of Champlin’s 1981 album “Runaway.”

“Satisfaction” was co-written by the Oakland-born singer/songwriter with his good friend Richard Page of Pages and Mr. Mister fame. It was a spectacular funky/pop tune that sports one of those aforementioned top-notch performances by the Jerry Hey Horns. The song’s sophisticated structure and soulful atmosphere had strong echoes of The Sons Of Champlin’s classic, r&b-influenced rock sound. Foster arranged “Satisfaction” with Champlin and they brought to life a sumptuous number charged with an irresistible, up-tempo beat and smart, jazzy changes to support the singer’s legendary baritone. On “Satisfaction,” Champlin offered one of his trademark, soul-drenched vocals and the overall result was one of the highlights of his long and remarkable career. Foster’s moog bass and John Robinson’s drums cemented the song’s foundation. Steve Lukather added some awesome rhythm guitar riffs and Hey’s superb horn arrangement was a key element here. Hey showed off his eight piece brass section and delivered some of the most powerful and impressive horn jams to ever be recorded on a pop record. Foster’s lush production, Champlin’s voice and those in-your-face horns were a foreshadowing of their imminent, successful work with the supergroup Chicago. Chicago would eventually decide to perform “Satisfaction” on their 1982 tour. This irresistible, funky number has been a steady offering on Champlin’s solo concert set-list for the past thirty years. A wonderful song and one that should be checked out.


Listen


Lead Vocals: Bill Champlin
Moog Bass, Fender Rhodes & Synthesizers: David Foster
Drums: John Robinson
Guitars: Steve Lukather
Percussion: Paul Lani
Trumpets: Jerry Hey, Gary Grant & Chuck Findley
Saxes: Kim Hutchcroft, Gary Herbig & Larry Williams
Trombones: Bill Reichenbach & Charlie Loper
Background Vocals: Bill Champlin & Richard Page

Arranged by David Foster & Bill Champlin
String Arrangement by David Foster
Horn Arrangement by Jerry Hey

Produced by David Foster


Lyrics

Yesterday and love was easy
Not a cloud up in the sky
Everyday you try to please me
One more tear falls from your eye
Oh, rainy day, won’t you go away
Leave it alone
Let’s get back where we started

Satisfaction
Is up to you and me
Satisfaction
Satisfaction
Is never guaranteed

Oh, I will never let you go
I just want to let you know
What you mean to me

Rainy day and we keep talkin’
Still we don’t know what to do
You keep sayin’ that you’re walkin’
You keep tellin’ me you’re through
Oh, rainy day, won’t you go away
Leave it alone
Let’s get back to where we started

Satisfaction
Is up to you and me
Satisfaction
Satisfaction
Is never guaranteed

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THAT’S THE WAY TO GO http://www.fozfan.com/2015/01/18/thats-the-way-to-go/ http://www.fozfan.com/2015/01/18/thats-the-way-to-go/#comments Sun, 18 Jan 2015 18:40:48 +0000 http://www.fozfan.com/?p=4814 [...]]]>  from THAT’S THE WAY TO GO (single)

Written by David Foster, Jay Graydon & Jack Conrad

The Bottom Line’s “Crazy Dancin'” was one of the first disco albums developed in the United States around the mid-seventies. This project was the brainchild of well-known musician/songwriter Jack Conrad. He decided to bring to America the disco sounds that were so hot in Europe around those days. Conrad was renowned for writing and playing on albums for Three Dog Night, The Babys, Paul Williams, Kiki Dee and The Doors.

The sessions for “Crazy Dancin'” took place in 1974 LA with a line-up of young and gifted musicians including Conrad playing bass, David Foster twiddling on keyboards, Jay Graydon strumming guitar, Steve Forman thumping on percussion, Mike Baird beating the drums, Chuck Findley playing the trumpet and writing the horn arrangements, Jim Horn and Gary Herbig blowing the saxophones, Chas Higgens singing lead vocals and Ray Kennedy, Mentor Williams , Lee McElfresch “and anyone else foolish enough to be nearby the studio when voices were needed” on backing vocals. Other contributors included Bobby Findley, Dalton Smith, Slyde Hyde and Gary Grant. Foster and Graydon played a prominent role on the album by co-writing songs with Conrad and providing ideas for the elegant arrangements. The Bottom Line first released their sound in Europe that same year and was brought to the US and Japan in 1976 by Greedy Records.

The first single off the album was a collaboration between Foster, Graydon and Conrad entitled “That’s The Way To Go.” This song was a catchy dance anthem that sported an extremely sophisticated instrumental part that wasn’t easy to find on your typical disco tracks. Graydon’s trademark guitar with its gorgeous, melodic sound was the spotlight on this song. The track was backed up by a tight rhythm section and some powerful horns beautifully arranged by Findley. Higgens provided the soulful vocals to the song’s ear-candy refrain. “That’s The Way To Go” was the first 12 inch single ever released in the US. It became a minor hit on Billboard’s R&B chart at #85. This song and the whole “Crazy Dancin'” record showcased the amazing musicianship of Foster and Graydon at such an early stage of their careers. Their playing was already top-notch and beefed up the material with jazzy licks and superior performances.


Listen


Lead Vocals: Chas Higgens
Keyboards: David Foster
Guitar: Jay Graydon
Bass: Jack Conrad
Drums: Mike Baird
Percussion: Steve Forman
Trumpet & Horn Arrangement: Chuck Findley

Produced by Jack Conrad


Lyrics

No Lyrics

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HARD TO SAY GOODBYE, MY LOVE http://www.fozfan.com/2015/01/11/hard-to-say-goodbye-my-love/ http://www.fozfan.com/2015/01/11/hard-to-say-goodbye-my-love/#comments Sun, 11 Jan 2015 16:59:37 +0000 http://www.fozfan.com/?p=4805 [...]]]>  from DREAMGIRLS

music by Henry Krieger Lyrics by Tom Eyen

In the early Eighties, “Dreamgirls” became one of the most successful Broadway shows in history. In 1982, the show was nominated for thirteen Tony Awards and won five. The huge popularity of the show saw the recording of an album that included material sung by its original performers. Geffen Records released the original cast album of “Dreamgirls” in the winter of 1982.

The album was also considered a big hit, reaching #11 on Billboard Top 200 and #4 on the R&B Album Chart, making “Dreamgirls” one of the most successful Broadway cast albums ever. The recording spawned two hit singles – “And I Am Telling You I’m Not Going” and “I’m Changing” – both sung by the show’s main vocal attraction, Jennifer Holliday. “Dreamgirls” would go on to collect two Grammys and was eventually certified gold.

Music mogul David Geffen declared that all this success happened because the album was cut as an actual record with a big budget and a talented producer like David Foster in the control room. While most Broadway cast albums were quickly assembled right after an opening, “Dreamgirls” took four months to complete. Foster’s perfectionism paid off with a series of stellar vocal and instrumental performances by the show’s singing stars and orchestra. Additionally, Foster ensured the sound’s quality to be top-notch by bringing on board his main collaborator and engineer supreme, Humberto Gatica.

Most of the recording had the show’s original arrangements by Harold Wheeler, but one song, “Hard To Say Goodbye, My Love,” was arranged for the album by Foster with his frequent partner in crime, Jerry Hey. Smoothly sung by Sheryl Lee Ralph, Loretta Devine and Deborah Burrell, “Hard To Say Goodbye, My Love” is a mid-tempo pop/soul number with a catchy beat and superb instrumental back-up. The tune transcends its Broadway origin and could easily belonged to any female r&b star of that era. It sports Foster’s thumbprints with great strings and keyboard work plus Hey’s trademark horn textures. Like the whole album, “Hard To Say Goodbye, My Love” was carefully crafted and perfectly delivered by Foster and the cast with impressive musical results. The Canadian super-producer made his first attempt at producing a Broadway cast album and the outcome was spectacular. Foster’s tremendous talent scored big in this new field and he helped create an album that was a point of reference in the industry for many subsequent years.


Listen


Lead Vocals: Sheryl Lee Ralph, Loretta Devine & Deborah Burrell
Keyboards: Myles Chase
Guitars: Andrew Schwartz & Peter Strode
Bass: Eluriel Tinker Barfield
Drums: Brian Brake
Percussion: Nick Cerrato

Arranged by Jerry Hey & David Foster

Produced by David Foster


Lyrics

Ladies and gentlemen in, their farewell performance the, incredible Dreams

We didn’t make forever We.
each got to go our separate way And,
now we’re standing here helpless, Looking,
for something to say We’ve.
been together a long time We.
never thought it would end We.
were always so close to each other You;
were always my friend And.

it’s hard to say good-bye my, love It’s.
hard to see you cry my, love Hard.
to open up that door When.
you’re not sure what you’re going for We.

didn’t want this to happen But,
we shouldn’t feel sad We.
had a good life together Just.
remember, remember, all, the times we had You.
know I’ll always love you, you
know I’ll always care And
know matter how far (far I may go) I may go In,
my heart you’ll, always be there (It’s

so hard) hard to say good-bye my, love (Baby.
it’s, so hard) hard to see you cry my, love (It’s.
so hard) hard to open up that door When,
you’re not sure what you’re going for (It’s.

so hard ).Good-bye
my love (Baby.
it’s, so hard ).We
didn’t make forever It’s.
so hard I.
can feel there’s something more (When.
you’re not sure what you’re going for ).We’ve
gotta grow We’ve,
gotta try Though,
it’s hard so, hard We
have to say good-bye Though
it’s hard so, hard We
have to say We
didn’t make forever But.
I will always love you We.
didn’t make forever But.
I will always love you It’s.
so hard Baby.
it’s so hard It’s
so hard Baby.
it’s so hard

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EXPLAIN IT TO MY HEART http://www.fozfan.com/2015/01/04/explain-it-to-my-heart/ http://www.fozfan.com/2015/01/04/explain-it-to-my-heart/#comments Sun, 04 Jan 2015 20:52:53 +0000 http://www.fozfan.com/?p=4801 [...]]]>  from TWENTY 1

written by Diane Warren

Let’s go back to the late Eighties. After a very successful stint with David Foster on their 16, 17 and 18 albums, Chicago opted for a more rock-infused sound for Chicago 19. They chose to collaborate with AOR producers Ron Nevison and Chas Sanford. Chicago 19 kept the hit series going for the veteran rock band with top ten hits like “I Don’t Wanna Live Without Your Love,” “You’re Not Alone” and their third #1 ever, Diane Warren’s “Look Away.” All those hits were sung by Bill Champlin and produced by Nevison who sports an illustrious track-record with names including Kiss, Starship, Heart, Bad English and Damn Yankees. The obvious subsequent move was to confirm Nevison for Chicago Twenty-1.

Released in 1991, Chicago Twenty-1 was produced by Nevison except “Explain It To My Heart” produced by Humberto Gatica. Gatica also handled the final mixes of the whole album, a thing that Nevison didn’t quite appreciate. Chicago Twenty-1, though carefully crafted and packed with potential hit material, didn’t match the success of its predecessor. It does consist of some very good, up-tempo album tracks including “God Save The Queen” and “If It Were You.” It also has a couple of strong power ballads from the Warren gold and platinum songbook – “Chasin’ The Wind” and the aforementioned “Explain It To My Heart.” The only legitimate hit single off the album was “Chasin’ The Wind,” making the Top 40 at #39 on Billboard’s Hot 100 and reaching #13 on the Adult Contemporary chart. “You Come To My Senses” was another ballad that became an Adult Contemporary entry at #11.

In our opinion, “Explain It To My Heart” was the best song of the bunch. It was a polished production with fantastic vocal performances and harmonies by Jason Scheff and Champlin plus gorgeous piano playing by special guest David Foster. Chicago ‘s former producer brought the song more depth and artistic value with his brilliant instrumental performance. Chicago ‘s musicianship was impressive on this beautiful ballad with the help of Gatica’s expert ear and Warren ‘s catchy melody and refrain. This song was a music piece that wouldn’t have been out of place on the Foster-produced Chicago 17 or 18.

Check it out!


Listen


Lead & Backing Vocals: Jason Scheff & Bill Champlin

Acoustic Piano: David Foster

Drums: John Keane
Bass: Jason Scheff
Guitars: Michael Landau
Keyboards: Bill Champlin & Robert Lamm
Trumpet: Lee Loughnane
Trombone: James Pankow
Woodwinds: Walter Parazaider

Produced by Humberto Gatica


Lyrics

I understand there’s no future for us here
Guess, I fooled myself into thinkin’ there was
Now you’ve made it clear
It will never be right, guess we knew it all along
Now we’ve got to say goodbye
And I’ve got to be strong
So tell me one more time, how it’s better for the both of us
Tell me one more time, how we’ll hurt each other if we stay
Tell me one more time, my darlin’ there’s just one more thing
Before you walk away
Explain it to my heart, it’s better that we’re over now
Tell me one more time, this is the way it’s suppose to be
Tell me that I’m better off without you, how it’s better to forget about you
Darlin’ I understand, now won’t you please explain it to my heart?
Now if I try, I can see the reasons why
Why we can’t stay together
And I might convince my mind
But it’s breakin’ my heart to know I’ve got to let you go
To find that I must leave behind
The only love I’ve known
Well, I can tell myself that I never really needed you
I can tell myself that it’s better just to say goodbye
I can tell myself a thousand lies but tell me now
Tell me how I do
Explain it to my heart, it’s better that we’re over now
Tell me one more time, this is the way it’s suppose to be
Tell me that I’m better off without you, how it’s better to forget about you
Darlin’, I understand, now won’t you please explain it to my heart?
Say that I’ll be better if we don’t stay together
Say that I’ll be better off free but don’t say it to me
Explain it to my heart, tell me that I’m better off without you
How it’s better to forget about you, darlin’, I understand
Now, won’t you please explain it to my heart?
It’s better that we’re over now, tell me one more time
This is the way it’s suppose to be, tell me that I’m better off without you
How it’s better to forget about you, darlin’, I understand
Now, won’t you please explain it to my heart?

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THIS TIME NEXT YEAR http://www.fozfan.com/2014/12/28/this-time-next-year/ http://www.fozfan.com/2014/12/28/this-time-next-year/#comments Sun, 28 Dec 2014 17:30:45 +0000 http://www.fozfan.com/?p=4795 [...]]]>  from SNOWFLAKES

written by David Foster & Kenny “Babyface” Edmonds

David Foster and Kenny “Babyface” Edmonds are two of the world’s most talented and successful music producers. They owned the Nineties with their countless hit singles and expressed mutual admiration and respect. During those years, Foster had the chance to produce Babyface, also a skilled singer, on a couple of occasions. The two hitmakers with Linda Thompson composed the Celine Dion anthem, “The Power Of The Dream,” for the 1998 Olympic Games in Atlanta . At the end of the decade, Foster and Babyface co-wrote another beautiful ballad entitled “This Time Next Year.”

The song was originally sung by UK singer Shola Ama on her 1999 cd “In Return.” A definitive version of “This Time Next Year” was given by r&b star Toni Braxton on her 2001 Christmas release “Snowflakes.” Braxton wasn’t new to Foster’s touch. Her most important hit, “Un-Break My Heart,” was produced by the Canadian music-maker for her multi-platinum cd “Secrets” that came out in 1996 on Babyface’s LaFace label. Babyface was a mentor for the soul superstar and he would co-write and produce some of Braxton most famous hits like “You’re Makin’ Me High,” “Breathe Again” and “Another Sad Love Song.” Babyface oversaw her “Snowflakes” cd, again out on LaFace, even though he only co-produced “This Time Next Year” with collaborator Daryl Simmons. Babyface left the reminder of the album to other producers including Keri Lewis, Simmons and his LaFace partner LA Reid. “This Time Next Year” is easily one of the highlights on “Snowflakes.” Composed by two pop heavyweights like Foster and Babyface, it obviously has a killer melody with an elegant arrangement to support Braxton’s flawless vocal performance singing the bittersweet lyrics. It seems like “This Time Next Year” was originally recorded for Braxton’s “Secret” cd, but was eventually finished a few years later to be included on “Snowflakes.”

Both Foster and Babyface kept their string of hits going in the new millennium and they crossed paths on several occasions. For example, every time Foster had a high-profile charity or an important tour, you can be sure that he asked his pal Babyface to be part of the line-up. Singing Babyface’s own hits or something from the Foster files always awards stellar results.


Listen


Lead & Backing Vocals: Toni Braxton
Acoustic Piano: Vance Taylor
Keyboards & Percussion: Daryl Simmons
Classical Guitar: Sonny Lallerstedt
Electric Guitar: Michael Thompson
Bass: Nathan East
Drum Programming: Tony Williams
Drum Overdub: Scott Meeder
Backing Vocals: Anthony Daniels, Babyface, Chanté Moore & Heather Mitchell

String Arrangement by Jeremy Lubbock

Produced by Babyface & Daryl Simmons
Co-Produced by Toni Braxton


Lyrics

This time next year I’ll be home lighting candles
Trying to just get on with my life
And this time next year hope I’m through
with the hurting
Trying to get you out of my mind

So, don’t try to play like you’re not that concerned
And don’t try to say that your heart doesn’t burn
So, tell me

How can you say that our love isn’t special?
How can you say
That our love wasn’t true?
And how can you say
You can take it or leave it
When I’m missing you and you know
You’ll be missing me, too?

[Chorus]
This time next year I’ll be out buying presents
And something will remind me of you
And this time next year I’ll be out having dinner
And run into some friends we both knew

Oh, don’t try to play like you won’t be concerned
And don’t try to say that your heart doesn’t yearn
Oh, tell me

[Chorus]

Come early Christmas morning
I’ll be having my coffee and I’ll think of you
And the things we used to do
And you know it will be breaking my heart
Cause the holidays are special
it will always play a part
In my heart

[Chorus]

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CAROL OF THE BELLS http://www.fozfan.com/2014/12/21/carol-of-the-bells/ http://www.fozfan.com/2014/12/21/carol-of-the-bells/#comments Sat, 20 Dec 2014 23:01:01 +0000 http://www.fozfan.com/?p=4784 [...]]]>  from MERRY & BRIGHT

written by Mykola Leontovych

Christmas is a very generous time of the year for David Foster. In the course of his illustrious career, the Canadian producer worked on a long series of  platinum Christmas sellers for superstars including Josh Groban, Michael Bublé, Rod Stewart and Mary J. Blige, just to name a few. Foster also composed a few beautiful, holiday-themed songs like “Grown Up Christmas List” and “On Christmas Morning,” both staples of the yuletide season.

Another highlight of Foster’s career is his amazing instrumental rendition of “Carol Of The Bells.” Foster recorded what is considered by many the definitive version of this a famous holiday song. Based on a traditional Ukrainian Christmas chant, the Canadian Hitman crafted a mind-blowing arrangement of “Carol Of The Bells” with a rousing orchestral accompaniment to support his gorgeous piano playing. This powerful performance was originally included in Foster’s 1989 Japanese TV special, “A David Foster Christmas Card.” A gem in its own right, “Carol Of The Bells” made its way onto the super-producer’s 1993 best seller “The Christmas Album.” This album featured an array of guest stars including Celine Dion, Tom Jones, Michael Crawford, Wynonna and a host of other great talent. The beauty of Foster’s work on this track also attracted the famous Barbra Streisand who included Foster’s version of “Carol Of The Bells” in a pivotal scene of her 1996 box-office hit “The Mirror Has Two Faces.” In 2009, Foster resurrected this gorgeous arrangement as the opening number of Andrea Bocelli’s PBS special “My Christmas.” For this holiday season, Starbuck’s has released a fantastic, exclusive compilation entitled “Merry & Bright” that features some of Foster’s best seasonal productions. Alongside many other goodies, “Merry & Bright” presents the perennial catchiness of “Carol Of The Bells.” Buy this cd and take an opportunity to listen to Foster’s work of art. “Carol Of The Bells” is the perfect track to kick off your Christmas season in style.

Merry Christmas Friends!!


Listen


Piano, Keyboards & Synthesizers: David Foster

Horns Orchestrated by Brad Warnaar
Produced & Arranged by David Foster


Lyrics

No Lyrics

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CANCION SENTIMENTAL http://www.fozfan.com/2014/12/14/cancion-sentimental/ http://www.fozfan.com/2014/12/14/cancion-sentimental/#comments Sun, 14 Dec 2014 10:05:49 +0000 http://www.fozfan.com/?p=4777 [...]]]>  from EL CAMINO

written by Kenny Passarelli & Marino Lamberti

This week, we take a look at a true rarity in David Foster’s career. Santa Fè was a short-lived, Latin/rock combo formed in the late eighties by famed bassist/vocalist/composer Kenny Passarelli. He was formerly with the Elton John band and played with a who’s who of other stars including Hall & Oates, the late Dan Fogelberg, Stephen Stills and Joe Walsh.

Santa Fè released a little-known album in 1988 titled “El Camino” which was produced by the ultra-talented Humberto Gatica. Though the Chilean-born Gatica had a great track record of successful projects for Latin superstars like Alejandro Sanz, Luis Miguel, Ricky Martin, Marc Anthony, Alejandro Lerner and Myriam Hernandez, Santa Fè and their album regrettably remained a well-kept secret. “El Camino” included a few good songs perfectly crafted with state-of-the-art musicianship and production. Gatica asked his old friend and partner in crime Foster to co-produce and arrange one track for the album, the evocative ballad “Cancion Sentimental.” Like the bulk of “El Camino,” “Cancion Sentimental” was co-written by Passarelli with Spanish lyrics by fellow band member Marino Lamberti. Foster crafted the song very nicely with great keyboard work to support Passarelli’s tenor voice. Other fine touches were added by Mike Landau on acoustic guitar and Jeremy Lubbock’s soothing string arrangement.

The rest of the album was arranged by John Capek of Marc Jordan fame. The better-known song was the title-track, “El Camino (Someday We’ll Be Together),” that received some airplay after it was included on the soundtrack of a famous Brazilian soap opera.


Listen


Lead Vocals: Kenny Passarelli
Keyboards & Bass Synthesizer: David Foster
Guitar: Michael Landau
Drums & Synthesizers Bells: John Keane
Backing Vocals: Marino Lamberti

String Arrangement by Jeremy Lubbock
Arranged by David Foster
Produced by Humberto Gatica & David Foster


Lyrics

No Lyrics

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