"She's Coming Home"

I found two significant melismas in the first verse of "She's Coming Home."  "Away" in the line "I thought my love for her had gone away" is sung with a melisma (E F# E) for a sense of movement, and "So" in the line "Well, I remember how I loved her so" is sung with a melisma (B A G#) for a sense of degree.

"I Must Move"

In "I Must Move," almost all of the line "I can't stand still" is sung to a single pitch (the "I" is sung to a B note, but everything else is sung to As).  The repetition of a single pitch gives a musical sense of that "stand[ing] still," despite its being negated.

"Just a Little Bit"

When I listened to the first disc of The BBC Sessions yester-day, I also noticed some new things.

I noticed a couple significant melismas in "Just a Little Bit."  "All" in the line "No, I don't want it all" is sung with a melisma (B A) for a sense of entirety.  "Low" in the second "Turn the lights down low" line is sung with the same melisma, musically giving something of a sense of that decrease. 

I also referenced the version of "Just a Little Bit" that's on the second disc (which is the same performance as that on the Live at the BBC disc of Zombie Heaven and the only one I'd been familiar with until I got The BBC Sessions).  In that version, "all" is sung with a different melisma (A E D, I think), but it has the same effect.  "Low" isn't sung with a melisma in either "Turn the lights down low" line.

"For You My Love"

I listened to the first disc of The BBC Radio Sessions this morning and was reminded of a thing I noticed in "For You My Love" when I first listened to the album last year (on 29 October).  I'm not sure of the specific notes, but "go" in the line "And there's nowhere I wouldn't go" is sung with a melisma, musically giving a sense of movement.

"The Look of Love"

I've been doing some work on "The Look of Love" lately.  I don't remember exactly when I noticed this, but I discovered that the "so" in the last line ("I love you so") is sung with a melisma (D C D), musically giving a sense of degree.

"Little One"

In the line "That reaches ev'ry part" in "Little One," "part" is sung with a melisma (Bb A), musically giving something of a sense of number for "ev'ry."

"Never Get over You"

In "Never Get over You," "so" in the line "I still love you so" is sung with a melisma (C A), musically giving a sense of degree.  I also referenced the earlier version from Colin Blunstone's The Ghost of You and Me album ("Now I Know I'll Never Get over You"), but it doesn't have this feature.

"And We Were Young Again"

In "And We Were Young Again," "fell" in the line "The years just fell away" is sung with a descending melisma (F# E), so while it's used metaphorically, there's a musical sense of falling.

"New York"

In "New York," the "away" in the line "And Patti and her Bluebelles simply stole my heart away" is sung with a melisma (C# C# B A), musically demonstrating (metaphorical) movement or distance.

"Soul" in the line "She took me to Aretha Franklin, showed me so much soul" is also sung with a melisma (C# B A), musically illustrating the amount of "so much."

"Moving On"

I listened to Still Got That Hunger yester-day and noticed a handful of small points.

In "Moving On," one of the "on"s in the title line (at ~3:00) is sung with a melisma (E G), musically giving a sense of continuation or of movement.

"Sleep Won't Help Me"

In "Sleep Won't Help Me," "pain" in the line "All the pain" is sung with an extensive melisma (I think it's C D Eb F G C' Bb, although some notes near the end might be glissandi rather than melismas).  This articulation gives a sense of the entirety of "all," especially because it spans an octave.

"Chained"

I found two significant melismas in "Chained."

"Free" in the line "Free like an old man that dies" is sung to the notes G E.  Because the word isn't sung to just a single syllable, there's a sense of that freedom.

"Go" in the line "God, why don't you let them go?" is sung to the notes A G, musically giving a sense of movement (although "go" might be used more metaphorically).

As a more general comment, when I listened to Ring of Hands recently, I noticed that some of the songs ("Sweet Mary," "Chained," and "Sleep Won't Help Me") seem to feature Fender Rhodes rather than Rod Argent's typical Hohner Pianet.  I think it's most evident at the end of "Chained," where a bunch of notes are sustained and then all cut off suddenly with a damper.  I'm pretty sure the Pianet doesn't have a damper pedal, so it couldn't accommodate that style of playing.  The Rhodes' characteristic bell sound can also be clearly heard at the beginning of "Sweet Mary."