My Top 40 Happy Rhodes Tunes: #’s 16 – 20

As we crack the Top 20 we’re seeing a lot of Equipoise. Three songs from that album appear in this batch, with several more still to come! Not much else to unite these five songs, other than the otherworldly beauty of Happy’s voice. We’ve got some lovely ballads, an upbeat pop song, an inventive homage to her father and a gentle acoustic number. So like Happy to keep things ineresting.

#20.) Mother Sea – Equipoise (1993) – A haunting and somewhat mournful paen to our Mother Sea, Happy’s voice drifts above a gorgeous, simple piano accompaniment by Martha Waterman, and lush keyboard washes to provide texture. I love the changes of mood that ripple through the song. The verses have a bit of longing, or yearning laced in them, then the chorus starts off builds, calling out the power of the sea and its glories, but then it ends on a minor note and a downward cascade of piano notes while Happy sings, “I remember now, how it goes.” It’s aurally reminiscent of some the ‘Twin Peaks’ score; filled with beauty, longing, and sadness.

Mother Sea is another track taken from Equipoise, which was my first Happy Rhodes album, but it wasn’t one of the breakout songs for me. In fact, I rediscovered it’s power and beauty during my research for this list. It’s the third of eight tracks from that album on my Top 40.

#19.) Look for the Child – The Keep (1995) – Look for the Child was first released on the Ecto album, but it is the version of Happy’s The Keep album, a collection of acoustic versions of previously released songs and rarities, that makes it to my Top 20. The Ecto version is quite different, with some heavy electronic drums, and lots of layered keyboards, while on The Keep, it is the acoustic guitar that drives the song forward, with some edgy electric guitar work, and some beautiful harmonics to provide the texture. Ultimately, what launches this gorgeous song into my Top 20 is the dramatic moment mid-chorus where the songs moves from a minor to major key with some dramatic acoustic guitar strumming. When that change occurs, it just feels like my body is lifting up into the sky and the emotion rises in my heart.

Lyrically, it’s simple and beautiful. If we want to be better people, better leaders, we should look to the child, before they are taught to fear, and to hate. Someone who is free of the influence, however loving, of the people around them. The purity and innocence of a child whose curiosity and wonder rule them, would be the qualities we would want in our leaders. Sadly, we very quickly learn to purge that out of our characters. I’ve included a live version of the song as well, because it features Kelly Bird, who toured with Happy for a while, recreating her uncanny vocal harmonies so beautifully.

#18.) Out Like a Lamb – Equipoise (1993) – Family relationships always make for good song-writing fodder, and with Out Like a Lamb, Happy explores the relationship she had with her father. It’s an interesting song, both musically and lyrically and certainly one of the many high points on Equipoise (there are still lots more to come). Lyrically, there definitely seems to be some ambivalence in the lyrics, and it’s definitely exploring the relationship from an adult point of view looking back on what seemed like an absent father situation. I like the fluctuations in the chorus, with the lyrics sometimes declaring, “He’ll call me when he’s back in town, this I know,” and alternatively, the less assured, “He’ll call me when he’s back in town, surely.” And other lyrics certainly imply an initial bravado that would lead to a hasty departure… the classic in like a lion, out like a lamb, scenario. What’s fascinating was reading one fan’s interpretation that the song is about a serial killer sung from the point of view of an admirer, or perhaps his next victim. Fascinating the different ways we can interpret a song.

Musically I like militant snare drum enhancing the mood and the subtle use of bagpipes must surely be representative of the family heritage, but it sounds cool, and avoids the traditional sound one might expect. The keyboard work is fantastic, with multiple textures to denote the conflicting feelings, the strong piano chords, the percussive opening, the airy synth washes. As ever, Happy fills the song with varies tones and moods, a perfect complement to what was clearly a complex relationship. It certainly speaks to the maturing of Happy’s talents not only as a songwriter, but as a musician and a recording engineer.

#17.) Hold Me – Building the Colossus (1994) – Life is hard, and despite mustering all the confidence you can, sometimes you get worn down and you just need someone to hold you. That’s the basic, but universal truth being stated in Happy’s Building the Colossus opener, Hold Me. There are lots of things I like about Hold Me, besides its intricate arrangements, and accessible melody (this is nearly a traditional pop song!), but most of all, this song is a really great showcase for Happy’s voice, featuring all three of her traditional modes of singing. I read that one person thought Hold Me was a duet between Annie Lennox and Kate Bush, which is fairly amusing, given I don’t think either of them could plumb the depths of Happy’s lower register.

Happy’s three voices include her elfin soprano, something that sounds like it should be coming out of the faerie folk, rather than a grown woman; her deep, otherworldly voice, that surely is far below an alto, or possibly even a tenor, approaching baritone levels; and finally, her bold, strong alto where she can string with strength and power, or with fragility and emotion. The opening verse and chorus feature Happy’s soprano, rolling over your hears like the chirps of a songbird. When the bridge hits, you have Happy’s alto boldly singing about her confidence, and being echoed back to her by that insanely deep, otherworldly voice. It’s hard to wrap your head around, but it’s a special talent that makes Happy so unique. On a side note, love David Torn’s ripping electric guitar solo towards the songs end.

I’ve included a live version of Hold Me as well, because it’s such a different arrangement, focusing more on the acoustic guitar than the keyboards, and shows off Happy’s skill as a songwriter as it still holds up remarkably well.

#16.) He Will Come – Equipoise (1993) – Here is Happy’s precursor to The Flight a duology about a vampire and his vampire hunter lover. He Will Come is the precursor to The Flight, which was #30 on my Happy Top 40, and it’s where an ancient vampire first sees Gabrielle, the woman who he recognizes will one day end his immortal existence and end his undying pain. Lots of beautiful imagery in the lyrics about these star-crossed lovers, with lovely music to match.

The keyboard washes and percussion provided by Rhodes and Kevin Bartlett sets the perfect tone, with the synths mimicking strings through the chorus. Add in some truly lovely acoustic guitar work by Chuck D’Aloia, and this gentle yet sweeping tune conjures visits of Gabrielle dancing while the Count looks on. Sweet and simple with delicate beauty.