Who Did It Better? Whenever I Call You Friend

Who Did It Better? 

Whenever I Call You Friend

Imagine two gifted singer/songwriters coming together to write an epic duet. One would assume they would end up singing and recording it together, right? Well, the music business works in mysterious ways, so what could have been a win-win for both songwriters ended up being hit for one of them. That is the case for today's Who Did It Better? offering.

Whenever I Call You 'Friend' was written by Kenny Loggins and Melissa Manchester. Manchester, in an interview with Huff Post, explained how that came about: 

"It came out of the oddity of the times - he and I kept running into each other at televised award shows, which were fairly new...We were frequently paired up to present awards together. We would meet and chat in the Green Room, and finally he asked if we could get together and write something. He came to my house one night and we polished off that song."

Loggins would record and release the song first - minus Manchester. Instead, he would choose Stevie Nicks as his duet partner. Nicks, who had yet to launch a solo career, was a hot commodity; at the time, her presence on a song almost guaranteed it airplay and Top 40 success. In addition to her work with Fleetwood Mac, Nicks had been singing back-up vocals on the recordings of a number of artists, including Warren Zevon (Mohammed's Radio), Walter Egan (Magnet and Steel), and, later, John Stewart (Gold, Midnight Wind).  Loggins' version, released in July of 1978, would mark his first major hit, climbing all the way to #5 on Billboard's Top 40.

Manchester would record her own version with backup singer Arnold McCuller, who had toured, not only behind Manchester, but a number of artists including James Taylor, Linda Ronstadt, Phil Collins, Beck, Bonnie Raitt, and Todd Rundgren. The song would be included on her 1979 self-titled album, but never released as a single, despite high praise from the likes of AllMusic's Charles Donovan who called Manchester's version a "far more supple, elegant song" than Loggin's. In the same Huff Post interview, Manchester explained:

"I don't feel that I have a satisfactory version of the song. Kenny and I have not been able to schedule time to record it together, though we would both like to. We almost got together but our schedules just would not allow it. But the universe is going to create a better time for us to do that."  

Manchester's version with McCuller would also be included on her 1983 Greatest Hits album. 

And that's the whole story. 

Now? On to the competition!

The Song: Whenever I Call You 'Friend'

The Competitors: Loggins & Nicks vs. Manchester & McCullers

Whenever I Call You 'Friend' - Kenny Loggins & Stevie Nicks

Whenever I Call You 'Friend' - Melissa Manchester & Arnold McCullers

Kenny Loggins and Stevie Nicks

That intro is absolutely classic. Adore. So ornate, I am surprised it got airplay, but I have a feeling DJs loved talking over the intro. It's very ghostly and continues to move in and out of the background all through Loggins' first solo verse. His voice, mixed way up front, sounds spotless. Love it when Nicks comes in and sits right on top... very well melded. It works because Loggins immediately takes a back seat; his vocals become instantly subdued. 

I am surprised more choirs don't do this number, given how important the choral sections are to this arrangement. That build up to the chorus, for example (forever and ever...). The tempo is faster than I remember, that snare smacks a crisp one. Solo vocals spot on, and when they come in for the blend we find Loggins competing a bit more. Love the acoustic rhythm guitar; basic, but it helps keep this a bit real. Their voices sound great together. So bright. 

As you listen to Nicks' solo on the opening of verse two, she sounds like a tightly wound reed instrument. I don't think she would ever sing anything so sugary again and this tempo is a little like a rocket setting to break through the atmosphere at any moment. Listen to her slight trill on 'evahhh'. Her voice sounds so fresh. Those strings get a little heavy for my taste; so pedestrian. Still they keep ramping this thing up vocally. 

The sax? Sounds a little dated now and very by the book. Zippy disco strings. The production on this is clean, it's a little eerie. Wow, Loggins is screaming (Weeee Can See...). This thing is a lot more sugary sweet than I remember. I used to think of this as rather mystical. No. It's pure ear candy. Loggins falsetto (On...). A tad hollow, but works well in the mix. Man, this thing is revved up and loud. 

This is a great vocal arrangement. Love all that trading on and off with the vocals. Nicks and Loggins sound good together. I am not so sold on the strings. They push this over to diabetes territory. In fact, I would go so far as to say that the instrumental arrangement is on overkill. But.. it did break big on the radio, so they knew what they were doing. 

This sound is from a particular time... Michael McDonald's influence is all over this. And Paul Simon's production methods from this time (also Columbia Records) are heard throughout. Interesting time piece. 

Melissa Manchester and Arnold McCullers

Very simple intro. I like the guitar. A little muddled there vocally with the two. It's not clean. Sonically not enough space between the voices. McCullers is not strong. Hmm. Manchester. Big voice. Very airy, breathy here; it works. I like the slight reverb on her voice, though it creates distance between her and the song. McCullers is very subdued. Not very colorful. Even as we go for the first lift off, he backs off moving into a head tone. Manchester is already 'going for it' and I still get a sense that McCullers is holding back. His is precise but there's no color blending going on in the interp. These are two very separate vocal performances. His is actually warmer than hers in a way, but his also lacks attack. 

Oh, dear. I guess the attack comes from the strings. Man. Whiplash. Oh, dear, that tempo going into the chorus. That is not it, dears. And the vocal mix. Where is McCullers? Buried. They were definitely not in the booth at the same time singing this. This sounds so manufactured. That chorus is so strident. It is so carefully and distinctly meted out. There's no flow here. I actually like McCullers' vocals on the chorus. Manchester? So over enunciated. Chewing those syllables. 

Into the second verse, McCullers solo? It's sung well, but, again, there's little color and inflection in the interp. This is straightforward. Catch the tiny keyboard(?) filler frill added as Manchester preps to come in. So unnecessary, as are those intrusive strings competing with her vocals. It's like she's singing through a megaphone. 

Second chorus is a bit better than the first time around, but still too didactic. I feel like they think we can't hear. They blend better this time, but that's not saying much. They just sing each syllable like it's a separate thought. I like the sax break on this one better than Loggins' version. The bridge to the next chorus, meh. They sing like they are a marching band. I don't get it. Almost to the point of being a bit shrill. I am tired now. 'We must carry on...' (Must we?) Okay, all pretense that this was a duet has flown the coop. Manchester has no intention of blending ANYTHING. It's like a vocal wrestling match where whoever ends up on top wins. I don't get it. 

What were the producers thinking? This is an interesting song. They've bludgeoned it to death. There's no warmth here. I see that McCullers is actually a very good singer. He has a nice voice, but he is no match for Manchester's sledgehammer delivery or this very strange, DOA arrangement. 

Sorry. I adore Melissa Manchester. But this? She is so right when she says this is not the right version for her. Had she been in earth mother mode and approached this as something warm and intimate? Had she listened more than she 'SANG'? And had they come up with an arrangement that was more organic and spoke to the strengths of the composition? Maybe this could have worked. But McCullers vocals get wiped aside in the torrent of bad choices the other players make. I feel bad that this is her version - that this is the final word on her contributions to this song. Everybody involved deserved something better than this. 

The Verdict

Kenny Loggins and Stevie Nicks. It's golden. It soars. It's bright. Sugar sweet and crispy. But fun. 

Melissa Manchester's version lacks heart and soul. It plods along getting louder and louder. Sad.

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Okay, that's my take on it. Your turn. What do you think? Leave your thoughts in the comments section. I love to hear a differing opinion. 

That's all for this week. If you have a suggestion for this series, let me know via the comments section.  

Thanks for reading.

Whenever I Call You 'Friend' - Kenny Loggins and Kimm Hekker

In the Netherlands, the TV program TopPop invited Dutch singer Kimm Hekker to stand in for Nicks when Loggins sang the song on the show.

Whenever I Call You Friend - Melissa Manchester and Floyd

In 1980, Melissa Manchester hosted Episode #251 of The Muppet Show and sang the song with Floyd, bass guitarist with the house band.

Amitié et amour - Jeane Manson and Kenny Loggins

In 1981, Jeane Manson recorded a French version of the song titled, Amitié et amour. Loggins' vocals from his 1978 recording were used. It reached #54 in France.

Whenever I Call You 'Friend' - Michael Johnson and Alison Krauss

In 1997, Michael Johnson (Bluer Than Blue) and Alison Krauss recorded a version for his album, Now and Then.