Who Did It Better? You Keep Me Hangin' On

Who Did It Better?

You Keep Me Hangin' On

This is a suggestion from our beloved Anne Marie of Philly. 

Three of these versions of You Keep Me Hangin' On are rather well known, but I've taken the liberty of adding one more, because it actually made the Dance Club Play chart in 1996. All in all, it makes for an eclectic listening experience: classic Mowtown pop, psychedelic rock, hi-NRG pop and a dance turn by a true country legend.

 

Let's take a look how they all stack up.

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Composed by Holland–Dozier–Holland, You Keep Me Hangin' On was originally recorded in 1966 by The Supremes for the Motown label. Similar in style to The Supremes' previous single, You Can't Hurry Love, it utilizes 'call and response', an element rooted in gospel music. That signature opening guitar part is based on the Morse code-like sound effect frequently used as an intro before news announcements. It was a little something brought to the table by Lamont Dozier, who wanted to incorporate it into the sound of the single.

Utilizing a multitrack production technique developed by Holland–Dozier–Holland, the song was recorded in eight sessions with The Supremes and session band The Funk Brothers before settling on a version deemed suitable for release. 

As the lead single from The Supremes' 1967 album, You Keep Me Hangin' On went on to become the group's eighth #1 on Billboard's Hot 100 chart in late November of 1966. It also hit #8 in the UK. Billboard described the song as a "pulsating rocker with the trio in top form" with an "interesting, driving guitar figure throughout." 

Psychedelic rock band, Vanilla Fudge would release their own version of the song with a slight title change and a unique arrangement. Drummer Carmine Appice, in a 2014 interview, recalled the group's reason for choosing the song:

"That was Mark and Timmy. We used to slow songs down and listen to the lyrics and try to emulate what the lyrics were dictating. That one was a hurting song; it had a lot of emotion in it. If you listen to 'Hangin' On' fast, by The Supremes, it sounds very happy, but the lyrics aren't happy at all. If you lived through that situation, the lyrics are definitely not happy."

Retitled You Keep Me Hanging On, the band's version snagged the #6 spot on the Billboard Hot 100 chart one year after The Supremes' version was released. The song, recorded in a single take (!) was whittled down from 7:20 to just under three minutes in order to fit the 45 format and served as the group's first single.    

Fast forward to 1986, and the song enjoys a rebirth, thanks to a hi-NRG version by Kim Wilde. Wilde had previously enjoyed success world-wide with her hit, The Kids of America. Produced with the help of her brother, Ricky Wilde, the two approached the song as something entirely new, while making slight changes to the lyrics. 

Released as the second single from Wilde's second album, Another Step, You Keep Me Hangin' On quickly became her second world-wide smash, reaching #1 in both the US (June 1987) and Australia, while managing to reach #2 in the UK. 
 
Moving the dial on our memory machine to 1996, country star Reba McEntire included the song on her 1995 album, Starting Over. Released as the album's fourth single, You Keep Me Hangin' On got the remix treatment, with a special 'pink' vinyl version made available. Not released to country radio, her version would eventually reach #2 on Billboard's Hot Dance Club Play chart, marking her only entry on that chart.

And there you have it! The whole story.

Now? On to the competition. 

The Song: You Keep Me Hangin' On / You Keep Me Hanging On

The Competitors: The Supremes vs. Vanilla Fudge vs. Wilde vs. McEntire

You Keep Me Hangin' On - The Supremes

You Keep Me Hanging On - Vanilla Fudge

You Keep Me Hangin' On - Kim Wilde

You Keep Me Hangin' On - Reba McEntire

(Classic Paradise Mix)

The Supremes

That opening sequence is iconic. It's not only the Morse code guitar, its that single drum beat announcing the kick-off. Ross is in top form; focused and sounding as cute as a bug with her Kewpie Doll vocals. I never realized they multitracked her lead, but listening again, I can't believe I failed to pick that up. That beat is so insistent, fitting hand in glove with that guitar; very driven; creating incredible energy and tension - almost anxiety inducing. 

The horn chart is so subtle, adding a nice bottom to the whole proceeding without ever calling attention to itself or threatening the vocalist. Flo and Mary finally make an appearance at the one minute mark, and, like the horns, theirs is a subdued role.

When Ross speaks the line, "And there ain't nothin' I can do about it."? I lose it every time. That is the ultimate breakdown and a musical moment that could be a throw away moment in other hands, but not in the hands of H-D-H and Ross; pure magic. Flo and Mary get to drive for a whole line and half before Ross is dovetailed back in. It's subtle, but telling. 

By verse three, the energy in this thing just keeps building. Given the times, I'm sure this sounded absolutely manic on the radio. The only thing keeping it in check is all the muted production choices and the sparse use of the other two group members. Other producers would have gummed up the works with additional oohs and ahs, but not H-D-H; they keep the focus on Ross and Ross' pixie girl sound. 

Interesting harmony on the word 'man' in the line, "Why don't you be a man about it". In fact, as we move to the end of the song, it's difficult to tell if the harmony effect is due to some sloppy multitracking, using various takes of Ross solo, or if  Mary and Flo are actually responsible. If the latter, that is some impeccable timing, and, if the former, a happy accident. I wonder if they were able to recreate that live. Again, something very minor, but then the magic of this song is built on some very deft choices on the part of the producers. 

Vanilla Fudge

So, right up front, I must confess - psychedelic rock? Not my thing. I always thought of it as 'dirty' music because of its relationship with hallucinogens. That stuff has always scared me, because I am pretty sure I am that one in million who would take a trip and never return. 

That organ? Standard at the time. It drove so many songs and groups (Iron Butterfly, Doors). Wow, 22 seconds worth. That's a bit much. Weird, draggy horns. This is starting to sound like part of the soundtrack to every 'hippy' film ever released - you know, the ones where the straight business man's life is turned upside down when he meets this pretty, doe-eyed hippy chick who 'turns him on' in more ways than one? 

The song finally starts at the 0.35 mark. I can already tell you, I will not be listening to the seven minute plus version of this song. I do like that see-saw, ambulance siren-like cadence. Interesting. Reminds me of D.O.A. by Bloodrock and brings to mind early Chicago. 

The vocalist finally shows up at the 0.50 mark. Actually, I like his voice and that is a great entrance. Again, reminds me of early Chicago. Those backing vocals initially made me chuckle, but work on "keep me hanging on." I have never heard this before and all I keep thinking about is early Chicago and Bloodrock. The more relaxed, slowed approach works much better than I thought it would. It's not muddy, which I expected it to be. 

Interesting, playing with the backbeat on the bridge/verse. (Aside: this song is all chorus with a bridge, really -  there are no verses?) It definitely jolts the listener. Oh, dear, that breakdown. NO. Kind of a similar take (as The Supremes) on the chorus, with the backing vocalists taking over the lead. Okay, so it's now getting a bit drudge like, grungy. All those drum fills get on my nerves. Fortunately, they choose to drop everything, rather than continue to build, and grab on to that Morse code urgency. I don't like that the horns have been given this job. They sound like sludge. Oh, such an odd ending. But then, this is trimmed down and edited, so who knows what transpired between. Me? Not curious enough to find out. 

Kim Wilde

That weird bamboo/pan flute sound has not aged well. Nor that opening delayed synth pad. Add tiny, icy synth prickles. Finally, the beat and then Kim swooping in and out like a ghost. Huh. Her vocals. Thin? A bit? And almost lost in the mix. 

Oh, my word! That big tornado of sound crashing down. (I am not remembering this at all.) Why does the tempo feel a bit too fast. This is anxiety producing. YASSSS... the BIG BEAT. That's what I love and remember about this. It's all Sunglasses At Night meets Frankie Goes To Hollywood. Her version doesn't take off until the 0.44 mark. Then it becomes the song I remember. Hard to argue with any of this. It was the sound of the time. It made us all feel metropolitan and cutting edge. And her vocals? Not bad. Listen to how she plays with 'playin' with my heart'. There's just enough personality there to keep things interesting. 

I rather admire all the work that went into stitching together all these vocals. This version? It's more constructed than it is performed. 

They sure keep that hi-NRG thing going. It's a little on my nerves by the 2:44 mark. Wow... some guitar. Nice. Kim's weaknesses as a vocalist are covered up quite a bit with the overdubbing and editing. It works, more so in 1996 than now. 

It's getting to be a bit cacophonous. That is one weird synth swirl they introduce at the 3:00 mark. Love that trash can back beat. That sound? So much fun to dance to. That synth swirl returns at the 3:30 mark. So odd. 

Huh. Well. It has aged better than I initially thought, but it also feels much weaker than I remember. 

Reba McEntire

Note: There exists a radio edit of this song, but it wasn't available through Blogger's YouTube download. Why is that? What is that about? It's annoying. So, we are stuck with the seven minute plus version.

Well, it starts up like every gay-clichéd dancefloor filler ever with that backbeat fed trip rhythm section. Of course, if we were listening to the radio edit, we would be spared a lot of this. You know? I've never understood the need for remixes like this - except I know long intro and outro sections help DJs mix into and out of a song. As a listener? It wears on the patience. There are exceptions - certain Blondie remixes spring to mind (diddy's 12" mix of Atomic) and The Tyrell Corporation's Better Days Ahead (serious rope 12" mix) both profit from all the added drama and glamor. 

But this? These are just beats with a tiny accent thrown in. Until we reach that Vegas showgirl opening at the 0.46 mark... oh... not sure what to think. That edited, repeated vocal helps. Is that Reba? Well, eventually, yes. There's no mistaking her rather pointed, nasally take on singing. That little yodel thing she does on 'love'? So Reba. 

At the 1:28 mark we start the song, again, with a standard, repeated piano cadence. So far? All by the book. Oh, Reba's got some very soulful assist on this one. Huh. I don't mind her vocals as much as usual. Reba happens to be one of my sister's favorite vocalists. I never felt it, but this? This works. Oh, the way she clips words ("playin' with my heart"). No. Don't like. 

The whole lilt of her voice doesn't work with this song. I was expecting brassy, resilience, and, instead, we're stuck with McEntire's typical smarmy take on country. Still that big 'oh' sound she delivers on 'over' is lovely. I dunno. This is such a mixed bag. I'm happy she got the opportunity to breakout like this, but... not sure it works. It feels very 'Variety Show'. 

You know, some of her vocal mannerisms are not far afield from Cher's. Listen to how she sings the word 'want'. They both do that catch/release thing with words. The attack is all at the beginning and then the word simply dissolves. Enunciation. Not something Reba do, apparently. Reba do. Reba do. 

The Morse code break at 3:06 makes me think Ms. Anne Margaret or Raquel Welch is about to take the stage. Such a terribly clichéd build. I bet the boys in Stillwater, IA ate this thing up every night. It is cheesy fun. But by the 3:30 mark, I am done. 

Yeesh. Syncopated synth horns. Eek. If they modulate this I am going to scream. Kind of admire that "Get out! Get out!" part. By not modulating, the producer creates some tension. Unfortunately, it's so cheesy that it robs it of the drama intended.  

And she still insists on doing that yodel thing with the word "love". Ugh. And listen to how she scoops on the word "soul". Am I being too picky? (Have you met me?) This drop out section is not working for me at all because it puts the emphasis on her vocals and she commits so many vocal crimes I can't see this as anything but a parody. But I guarantee you, when I was hanging with the boys in Stillwater, IA, after a drink (or three) I would have been out there on the dancefloor in my scoot boots.

After this? We just splice back in what we heard before. It does overstay its welcome. And that play out? Exhausting. 

The Verdict

You can't top the original. Sorry. You can jazz it up with the latest electronics, but this belongs to The Supremes. Period.

I like Vanilla Fudge's version better than I expected. It has some great moments, but, ultimately? Not my cup of tea. 

Wilde's version now sets my teeth on edge. That certainly wasn't the case in 1996. But what once felt modern and daring, now strikes me as rather hollow and lacking in musicality. 

McEntire's version is cheesy, Vegas-style, Variety Show fun. But seven minutes of it is too much to ask of a listener. There aren't any really great ideas and it comes off as a bit of a spoof. This is dance music produced by men who have no idea what the scene is all about. I wish I could enjoy it for the cheese fest it is, but... when it comes to music? I am not that guy. 

So, The Supremes take this one... just as I suspected.

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Okay, your turn. Put on your listening ears and let me know your thoughts. Leave it all in the comments section. I love to hear differing opinions. 

Am I being too harsh on Reba? Let me know.

And thank you, Anne Marie of Philly, for suggesting this one. It turned out to be a lot of fun. 

Also, thank you, all, for listening and reading. 

...until next time. 

You Keep Me Hangin' On - The Supremes

You Keep Me Hanging On - Vanilla Fudge

You Keep Me Hangin' On - Kim Wilde

You Keep Me Hangin' On - Reba McEntire