"One Summer Dream"

In the line "Though it hurts me so" near the beginning of "One Summer Dream," "so" is sung with a melisma (E D), musically giving a sense of degree.

"Strange Magic"

I listened to Face the Music yester-day and noticed a couple small features.  In "Strange Magic," "high" in the line "You fly so high" is sung with a melisma (A G E), musically giving a sense of degree (for "so").

"Dirty to the Bone"

In the line "She'll pull you in; she'll take you down" in "Dirty to the Bone," one of the vocal parts descends for "she'll take you down" (A G G E), musically giving a sense of that "tak[ing]... down."

"Love and Rain"

I listened to Alone in the Universe a couple days ago and noticed a couple things.

In the lines "It takes a lot of rain / To make a flower grow" in "Love and Rain," "grow" is sung with a melisma (C Bb G), musically giving something of a sense of its meaning.

In the chorus, there's an echo applied to "again" in the line "Keep comin' back again," and that repetition also gives an impression of the meaning.

"Without Someone"

I listened to Balance of Power yester-day and noticed a small feature in "Without Someone."  The line "It hardly moves at all" (referring to "the clock staring from the wall" from the previous line) is sung to a paucity of pitches, just A Bb and C.  The musical phrase is limited, and this gives a sense of that "hardly mov[ing]."

"Caught in a Trap"

In the line "Nowhere to turn, but it can't go on" in "Caught in a Trap," "on" is sung with a melisma (F# E D E), so while it's negated, there's a sense of continuation.

"Heaven Only Knows" [alternate version]

I probably noticed this even the first time I listened to the song, but the line "Our Father, who art in heaven" at the beginning of the alternate version of "Heaven Only Knows" is taken from the Lord's Prayer (Matthew 6:9).

"Away" in the lines "If you could turn night into day / I could stop it slippin' away" is sung with a melisma (F# F# E) for a sense of (metaphorical) movement.

"Send It"

In the choruses of "Send It," the backing vocals that sing the title phrase are panned hard right and hard left.  This gives the illusion of space, and because the vocals alternate channels, there's a sense of the distance that "the dream" has to travel in being sent.

In reviewing the song, I noticed a few other things.  "Day" in the line "I'm waitin' for it ev'ry day" is sung with a melisma (E D C# E C# B), musically giving a sense of amount (for "ev'ry").  Like I mentioned before (but with the wrong spelling!), the articulation here seems to owe something to Buddy Holly.

The chorus exhibits anaphora:

Send it on the wires
Send it on a plane
Send it on an express
But send it back to me again

"Send it" is repeated at the beginning of each line, but the method of sending changes from line to line.  Together, these illustrate that the speaker/singer is more concerned with his dream being sent back to him than he is with what means it's sent.  Obviously, this is clear in the words themselves, but it's also in the structure.

"Endless Lies"

In the line "Shine on, silver stars over the sea" in "Endless Lies," the "silver stars" really are "over the sea" as far as musical pitch.  "Silver stars" is sung to the notes C D Eb, and "the sea" is sung to the notes Bb A.

"Is It Alright"

In "Is It Alright," "long" in the line "Can you believe that it's been so long" is sung with a melisma (C A C D), musically giving a sense of length or duration.

"Secret Lives"

I have a handful of notes about Balance of Power from July 2018 that I'm finally getting around to writing about.

In "Secret Lives," there's a constant shifting between 2nd and 3rd person.  The verses have 2nd person pronouns ("I don't know what's on your mind," "You're living secret lives," "I don't wanna stop the things you do," and so on), but the chorus has 3rd person pronouns ("And I wonder where she goes to in the night").  This difference gives a sense of the distinct separation that's a result of the secrecy.

"On the Run"

Last night, I figured out most of the chords for "On the Run" (up to ~2:56), and while playing along to the recording, I noticed a couple features in the first verse.

The first two lines are "Whatever I do / Wherever I go."  Both "whatever" and "wherever" are sung to the phrase G F E.  Each syllable is sung to a different pitch, and as a whole, the pitches span nearly an octave (the F is above the G), both of which give a musical sense of the span of possibility of "whatever" and "wherever."

I also noticed that in the lines "The same afterglow / Is keepin' me low," the "low" is sung with a descending melisma (E D C), musically giving a sense of its meaning.