ARTHUR'S THEME (BEST THAT YOU CAN DO) - CHRISTOPHER CROSS

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Best That You Can Do - CHRISTOPHER CROSS

"Arthur's Theme (Best That You Can Do)," from the 1981 film Arthur, is a quintessential Christopher Cross ballad that encapsulates the breezy, romantic essence of yacht rock. Co-written by Cross, Burt Bacharach, Carole Bayer Sager, and Peter Allen, the song’s dreamy melody and heartfelt lyrics—capturing the magic of being "caught between the moon and New York City"—resonate with universal longing.

Cross’s silky tenor, paired with a lush arrangement featuring piano, strings, and subtle percussion, creates a polished yet intimate sound. The track, produced by Michael Omartian, won an Academy Award for Best Original Song and became a defining hit of Cross’s career, blending pop sophistication with cinematic storytelling that perfectly complemented the film’s romantic comedy tone. On the Billboard charts, "Arthur's Theme" was a massive success, reaching Number 1 on the Hot 100 in October 1981 for three weeks and spending 20 weeks on the chart. It also hit Number 1 on the Adult Contemporary chart for two weeks, solidifying Cross’s dominance in the format following "Sailing" (Number 1 in 1980).

The single peaked at Number 7 in the UK and earned gold certification in the U.S., contributing to the Arthur soundtrack’s #25 placement on the Billboard 200. Compared to Cross’s earlier hit "Ride Like the Wind" (Number 2), "Arthur's Theme" marked his commercial peak, its Oscar win and radio ubiquity making it one of the era’s most iconic love songs, as noted in Billboard chart analyses. Christopher Cross’s live performances of "Arthur's Theme" have been a staple of his concerts, showcasing his vocal consistency and emotional delivery. During his 2019 "It Was Fifty Years Ago Today" tour, a Beatles White Album tribute with Todd Rundgren and others, Cross performed the song at venues like Nashville’s Ryman Auditorium, as captured in fan reviews on Reddit.

His rendition, backed by a tight band including Chazz Frichtel on bass, retained the song’s lush warmth, with Cross’s guitar work adding a personal touch. Fans noted the audience’s enthusiastic sing-alongs, particularly to the iconic chorus, highlighting the song’s enduring appeal nearly four decades later. In his 2021–2022 40th anniversary tour, delayed by Cross’s recovery from COVID-19 and Guillain-Barré syndrome, performances of "Arthur's Theme" remained a highlight, as seen in clips shared on YouTube from shows like Austin’s ACL Live. While some fans observed a slight vocal strain due to his health challenges, Cross’s delivery stayed emotive, with the song’s nostalgic pull amplified by minimalistic arrangements that emphasized his voice and piano.

BABY WHAT A BIG SURPRISE - PETER CETERA

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Baby What A Big Surprise - PETER CETERA

"Baby, What a Big Surprise," from Chicago’s 1977 album Chicago XI, is a luminous power ballad that showcases Peter Cetera’s gift for crafting emotionally resonant pop. Written and sung by Cetera, the song captures the transformative joy of unexpected love, with lyrics like “Right before my very eyes” conveying awe and vulnerability.

The track’s distinctive flute introduction by Walt Parazaider, piccolo trumpet by Lee Loughnane, and backing vocals from Carl Wilson of The Beach Boys and Cetera’s brother Tim create a rich, orchestral texture, blending Chicago’s horn-driven rock with a softer, romantic edge. Produced by James William Guercio, its catchy chorus and doo-wop-inspired “oh, woah” vocalizations make it a standout, balancing the band’s vintage pop roots with the smoother sound that defined their later hits like “You’re the Inspiration.” On the Billboard charts, "Baby, What a Big Surprise" was a significant success, peaking at Number 4 on the Hot 100 in late 1977 and spending 14 weeks on the chart. It also reached #3 on the Canadian RPM Top Singles chart, reflecting its broad appeal. As the lead single from Chicago XI, which hit Number 6 on the Billboard 200, the song marked Chicago’s last top-10 hit before the tragic death of guitarist Terry Kath in 1978 and their final top-10 under Guercio’s production. While not as globally dominant as “If You Leave Me Now” (Number 1 in 1976), it outperformed later singles from Chicago XI and solidified Cetera’s role as the band’s ballad maestro, paving the way for their 1980s resurgence with hits like “Hard to Say I’m Sorry.” Peter Cetera’s live performances of "Baby, What a Big Surprise" during his solo career, particularly in concerts like his 2004 Soundstage performance at WTTW’s Grainger Studio in Chicago, highlight his enduring vocal finesse. Backed by a tight band and joined by Amy Grant for select tracks, Cetera’s rendition—also featured in his 1997 album You’re the Inspiration: A Collection—reimagined the song with a slightly modernized arrangement while preserving its emotional core.

His crystalline tenor, though seasoned, carried the same heartfelt delivery, with fans on platforms like Amazon praising the concert’s pristine 5.1 surround sound and nostalgic setlist, including Chicago classics and solo hits like “Glory of Love.” The performance resonated deeply in Chicago, his hometown, amplifying the song’s themes of love and revelation. Cetera’s live takes on "Baby, What a Big Surprise," also seen in his 2015–2018 concerts before his retirement, consistently captivated audiences, with fans on X noting his ability to evoke 1970s nostalgia while maintaining vocal clarity. A 2015 performance clip shared on YouTube shows him delivering the song’s soaring chorus with confidence, supported by lush harmonies that echoed the original’s charm.

Some reviews mention the absence of Chicago’s full horn section, but Cetera’s solo arrangements emphasized his voice and guitar, keeping the song vibrant. As one of Chicago’s final 1970s hits, "Baby, What a Big Surprise" remains a testament to Cetera’s songwriting and performance prowess, its chart success and live renditions cementing its place as a beloved soft rock classic.

TAKE ME HOME - PHIL COLLINS

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Take Me Home - PHIL COLLINS

"Take Me Home," the final track on Phil Collins’s 1985 album No Jacket Required, is a hauntingly introspective rhythmic ballad that blends pop accessibility with emotional depth. Written by Collins and co-produced with Hugh Padgham, the song’s circular rhythm, languid melody, and layered vocals—featuring Sting, Peter Gabriel, and Helen Terry—create a cinematic atmosphere. Inspired by Ken Kesey’s novel One Flew Over the Cuckoo’s Nest, its lyrics, often misinterpreted as a yearning for home, actually reflect a mental institution patient’s plea for release, adding a layer of psychological complexity. 

The track’s gated reverb drums and ambient texture, staples of Collins’s 1980s sound, make it a standout, praised by Rolling Stone for its “engaging rhythm” and by Billboard as an “introspective mood piece of melancholy and defiance”.

On the Billboard charts, "Take Me Home" was a solid hit, released as the album’s final single in March 1986 in the U.S. and July 1985 in the UK. It peaked at Number 7 on the Billboard Hot 100, spending 15 weeks on the chart, and reached Number 19 on the UK Singles Chart. While not as dominant as No Jacket Required’s Number 1 hits "One More Night" and "Sussudio," it outperformed "Don’t Lose My Number" (Number 4) in the UK and cemented Collins’s chart prowess, with the album itself hitting Number 1 on the Billboard 200 for seven weeks.

Phil Collins’s live performances of "Take Me Home" have been a staple since the 1985 No Jacket Required World Tour, often serving as the emotional climax of his sets. During his 1990 Seriously Live! tour at Berlin’s Waldbühne, captured in a fan-shared clip, Collins delivered a rousing rendition, with the audience’s participation amplifying the song’s anthemic quality. 

His 1985 tour performance, also shared on X, showcased the song’s communal power, with fans singing along to its iconic chorus. Backed by a tight band, including Chester Thompson on drums, Collins’s passionate vocals and dynamic stage presence brought the song’s introspective themes to life, often enhanced by dramatic lighting and extended instrumental outros.

FEELS LIKE HEAVEN - PETER CETERA / CHAKA KHAN

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Feels Like Heaven - PETER CETERA / CHAKA KHAN

"Feels Like Heaven" from Peter Cetera’s 1992 album World Falling Down, is a radiant duet with Chaka Khan that blends his crystalline tenor with her soulful contralto, creating a lush, romantic pop ballad. Written by Mark Goldenberg and Kit Hain, the song’s lyrics celebrate the euphoria of finding love after years of searching, wrapped in a polished adult contemporary production.

The interplay between Cetera’s smooth delivery and Khan’s powerful, emotive vocals elevates the track, making it a standout in Cetera’s solo career. Its melodic warmth and heartfelt sincerity, though not as iconic as his hits like "Glory of Love," showcase his knack for crafting duets that resonate emotionally, appealing to fans of both artists’ distinctive styles.

On the Billboard charts, "Feels Like Heaven" achieved modest success, peaking at Number 71 on the Hot 100 in 1992 but performing strongly at Number 5 on the Adult Contemporary chart, as noted in sources like Edge Induced Cohesion. This mirrored Cetera’s consistent dominance in the AC format, though it fell short of his earlier duet successes like "The Next Time I Fall" (Number 1 with Amy Grant) or "After All" ( Number 6 with Cher).

The song’s lower Hot 100 placement reflected the early 1990s’ shift toward grunge and hip-hop, yet its Adult Contemporary performance ensured steady radio play, cementing its status as a fan-favored track from World Falling Down, an album that reached Number 163 on the Billboard 200.

There is no definitive record of Peter Cetera and Chaka Khan performing "Feels Like Heaven" together in a concert setting, as their collaboration was primarily a studio effort for the 1992 album. Cetera typically performed the song live with backing vocalist Kim Keyes, most notably during his 2003 concert at Abravanel Hall in Salt Lake City, filmed for a live CD and DVD release.

In these performances, Keyes filled Khan’s role admirably, her soulful voice complementing Cetera’s, as seen in fan-shared YouTube clips. The Salt Lake City show, backed by members of the Utah Symphony, featured a polished rendition of "Feels Like Heaven," with Cetera and Keyes capturing the song’s romantic essence.

RIDE LIKE THE WIND - CHRISTOPHER CROSS / MICHAEL MCDONALD

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Ride Like The Wind - CHRISTOPHER CROSS

"Ride Like the Wind," the debut single from Christopher Cross’s 1979 self-titled album, is a dynamic soft rock classic that blends cinematic storytelling with infectious energy. Written by Cross while under the influence of LSD during a drive from Houston to Austin, the song narrates a fugitive’s urgent escape to Mexico, infused with a Western-inspired outlaw spirit. Its driving rhythm, propelled by a four-on-the-floor bass drum beat, Cross’s crisp guitar solo, and Michael McDonald’s distinctive backing vocals, creates a vivid, propulsive soundscape. Produced by Michael Omartian, the track’s polished instrumentation—featuring Lenny Castro on congas and a 28-piece string section—elevates its yacht rock appeal, making it a standout in the early 1980s soft rock scene. Its unique blend of narrative depth and melodic accessibility sets it apart from Cross’s later ballads like "Sailing." On the Billboard charts, "Ride Like the Wind" was a major success, debuting in February 1980 and peaking at Number 2 on the Hot 100 for four weeks, held off the top spot by Blondie’s "Call Me." It spent 17 weeks on the chart, showcasing its broad appeal, and reached #3 on Canada’s RPM Top Singles chart. The song’s performance helped propel Cross’s debut album to Number 6 on the Billboard 200, contributing to its multi-platinum status and five Grammy wins, including Album of the Year. Compared to Cross’s other hits like "Sailing" (#1) and "Arthur’s Theme" (#1), "Ride Like the Wind" remains his most energetic chart entry, its success driven by its catchy hook and the era’s appetite for sophisticated yet accessible pop. Christopher Cross’s live performances of "Ride Like the Wind," particularly during his 2019 "It Was Fifty Years Ago Today – A Tribute to the Beatles’ White Album" tour with Todd Rundgren and others, highlight his ability to recapture the song’s vibrant energy. At venues like the Tobin Center in his hometown of San Antonio, Cross delivered the track with his signature smooth yet clipped baritone-tenor, backed by a skilled band including Chazz Frichtel and Richie Gajate Garcia. His guitar work, often underappreciated, shone in the song’s iconic solo, earning praise from fans for its precision and passion. The performance, often a set closer, ignited audiences, with Cross introducing it as the song that “started it all,” amplified by McDonald’s recorded backing vocals for authenticity.

NEVER BE THE SAME - CHRISTOPHER CROSS

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Never Be The Same - CHRISTOPHER CROSS

"Never Be the Same," released in 1980 as the third single from Christopher Cross’s self-titled debut album, is a quintessential yacht rock ballad that captures the bittersweet essence of lost love. Written by Cross, the song’s introspective lyrics, such as “Sometimes love just slips out of sight,” resonate with understated emotional depth, while his smooth, velvety vocals glide over a meticulously crafted arrangement. Produced by Michael Omartian, the track features Cross’s signature acoustic and electric guitar work, complemented by lush instrumentation that epitomizes the soft rock sound of the era. The song’s polished yet heartfelt delivery, with its subtle jazz and pop influences, makes it a standout in Cross’s catalog, appealing to fans of the era’s sophisticated, radio-friendly sound. Its timeless quality lies in its ability to evoke nostalgia without feeling dated, a testament to Cross’s songwriting prowess. On the Billboard charts, "Never Be the Same" achieved solid success, peaking at No. 15 on the Hot 100 in late 1980, marking Cross’s third consecutive Top 40 hit from his debut album. It performed even better on the Adult Contemporary chart, where it reached No. 1 for two weeks starting December 13, 1980, and spent 18 weeks on the chart, reflecting its strong appeal to the adult contemporary audience. While it didn’t match the chart dominance of Cross’s earlier singles like “Sailing” or “Ride Like the Wind,” it contributed to the album’s multi-platinum status and solidified Cross’s reputation as a defining voice of the yacht rock movement. The song also appeared on the year-end Adult Contemporary chart for 1981 at No. 31, underscoring its enduring airplay. Christopher Cross’s live performances of "Never Be the Same" have been documented in several taped concerts, notably in his 2013 release A Night in Paris (Live), available on Spotify. In this performance, Cross delivers the song with a refined intimacy, preserving the studio version’s emotional core while showcasing his enduring vocal clarity, despite some fans noting a slight reduction in his ability to hit the highest notes compared to his 1980s prime. The live arrangement stays faithful to the original, with lush guitar work and a tight band, including percussionist James Fenner and bassist John Fremgen, enhancing the song’s smooth, reflective vibe. Fan reactions from concerts, such as his 2017 Tobin Center performance in San Antonio, praise the song’s inclusion for its nostalgic pull, often eliciting strong audience responses, with many standing and cheering by the set’s end.