Who Did It Better? All I Really Want To Do

Who Did It Better? 

All I Really Want To Do

This week's Who Did It Better is a matter of style. Which do you prefer?

Climb aboard the time machine as we go back to 1964. Bob Dylan (songwriter) released his version of All I Really Want To Do on August 8, 1964. Dylan was all the rage and when he published a new song, it was immediately gobbled up by other artists, eager to put their mark on it and climb the charts. 

The song caught the ear of Sonny Bono, who thought it would be perfect for his wife, Cher. 

At the same time that Sonny & Cher was taking off on Atco Records, Bono had cut a solo deal at Imperial Records (Liberty Records in the UK) for his wife, Cher. Previously, Cher had released two solo singles under pseudonyms - and both had failed. Bono produced a debut album's worth of cover songs, giving the whole affair more of a folk feel, in order to differentiate it from Sonny & Cher. 

All I Want To Do was the only single released from the album. Released on August 30, 1965 - over a year after Dylan's version had been released - it would climb to #15 on Billboard's Hot 100 and #9 in the UK. This would be Cher's first hit as a solo artist. The album would reach #16 on the Billboard 200 Chart the same week that Sonny & Cher's debut album, Look At Us, was perched at #2,

Columbia records panicked when it found out Cher was releasing her version of All I Really Want To Do as a single. The Byrds had just had a huge hit (#1 in US and UK) in April of 1965 with Dylan's Mr. Tambourine Man, marking their debut as a hot new commodity, and an album of the same name was in the works. All I Really Want To Do, much to the chagrin of the group, was scheduled to be the group's second single.

Rush-released on June 14, 1965, the single version was not the version featured on the album (released June 21, 1965). Their single version featured slight changes to the lyrics and a different running time. The Byrds' version also played with the songs structure, added an ascending scale in the chorus and altered the melody to one of the verses. 

Columbia hoped lightening would strike twice and was certain that, not only could they bury Cher's version, but The Byrds would soon have their second chart topper. 

They failed on both counts. 

While definitely beating Cher to the punch, stateside, The Byrd's version would stall at #40. However, over in the UK, it became CBS Record's fastest selling single while eclipsing Cher's version (#9) by reaching #4. 

--- ---

So, there's your music history lesson for today! On to the competition!

The Competitors: The Byrds vs. Cher

The Song: All I Really Want To Do

Shall we?

All I Really Want to Do - The Byrds

All I Really Want to Do - Cher

I hear this (The Byrds' version) and immediately think of Tom Petty. Which is why it irks me so much that he sued Sam Smith for Stay With Me. I think his whole sound was based on The Byrds and Dylan - so, who was he to claim proprietorship of anything? But, that's besides the point (and maybe I shouldn't bring it up - but, boy, it chaps my hide). 

It's really too bad that Columbia chose to rush out this version and not use the album version. The sound of the album version is actually much cleaner and the harmonies soar (they sound a bit buried/muddied on the single version). Also, the rhythm section is sharper on the album version, while a bit jangly, here. I believe the rougher sounding mix was chosen because of the way it would sound on the radio. It would also sound more 'authentic', more true to Dylan's aesthetic.

That said - the production values on The Byrd's version are incredibly smooth - harking back to the silky British Evasion pop of Hermit's Hermits. It's a clean sound, but you can definitely hear the influence of Dylan's nasal sneer throughout. I adore the harmonies on the chorus. Jim McGuinn handles most of the vocals, but that's distinctively David Crosby (CSN&Y) on the bridge. 

Moving on...

It's rather refreshing to hear Cher so early in her career. A lot of the vocal mannerisms she would develop and trademark (that would either sink or rescue a number of recordings) are absent here. She, too, has Dylan's sound in mind, but that voice? Distinctively Cher. The tambourine backbeat, a hallmark of Sonny Bono's production work, immediately sets the brand. As Cher alternates between her upper and lower registers, one can easily imagine this as a duet sung by both Sonny and Cher. Once that tambourine starts shaking, the sunshine enters, taking control and the smile apparent in Cher's vocals only helps to buttress that feel-good vibe. 

The Verdict:

There's a lot to admire about both versions. Those harmonies by The Byrds? Hard not to love. And Cher's straight-forward, uncomplicated zest? Hard to resist. 

But, in light of the times and because it makes me smile, I am going to give this one to Cher. Her version is more in tune with what was happening on AM radio at the time. And there's something about her sly, breezy manner that absolutely wins me over. I can totally imagine myself walking barefoot on a beach in L.A. as I listen to her version.

--- ---

Well, those are my thoughts. What do you think? Please share your opinion in the comments section. I love to hear from you.

Well, that's all for this week.

And... as always, thanks for reading.