Who Did It Better? Love Is The Answer

Who Did It Better? 

Love Is The Answer

For today's chapter of Who Did It Better?, we travel all the way back to 1977, to take a look at a true pop treasure, Love Is The Answer.

Throughout his storied career, Todd Rundgren would wear many hats: songwriter, solo artist, producer, innovator, inventor, and band leader. His restless spirit, unbridled ambition, and burning passion for music would lead him down many a path. In 1973, after releasing several successful solo albums, Rundgren longed to be part of a group and formed the musically progressive Utopia.   

Love Is The Answer is a song written by Todd Rundgren and recorded by his group, Utopia for their 1977 album, Oops! Wrong Planet. The group's previous albums were synthesizer-driven prog rock, featuring songs concerning various sci-fi/spiritual concepts with lengthy instrumental solos. Oops! Wrong Planet found the group reigning in those excesses while concentrating on more traditional song structures and lengths, as well as a more commercial pop sound. In an interview with Songfacts, Rundgren shared "that Utopia's Oops! Wrong Planet was a 'bummer album,' and that they included this song on it to make it more uplifting."

Rundgren shared his impetus for such songs in the pages of Rolling Stone: "From a lyrical standpoint, it's part of a whole class of songs that I write, which are about filial love," Todd Rundgren explained. "I'm not a Christian, but it's called Christian love, the love that people are supposed to naturally feel because we are all of the same species. That may be mythical, but it's still a subject."

Love Is The Answer, the album's closing cut, was released in August of 1977 as it's lead single. Despite the group making numerous television appearances and receiving favorable feedback regarding the song, it failed to chart. The song would go on to become the group's signature concert closer and a fan favorite.

Fast forward a year and a half later, England Dan & John Ford Coley - a popular pop-folk duo who'd been recording since 1970,  who were working on their fourth and final album for their label Big Tree, decided to tackle Rundgren's Love Is The Answer. It was a bit of a musical departure for the duo, marking a move to a more sophisticated, urban sound. Otherwise, the song was a perfect fit for them. 

Dan Seals is the brother of Jim Seals (of Seals and Crofts), a diehard follower of the Baha'i faith. In the mid-seventies, Jim Seals converted both his brother and John Ford Coley to the religious sect. According to Bill De Young, "Rundgren’s gospel-tinged Love is the Answer was like a crib sheet for the Baha’i faith, to which England Dan and John Ford Coley belonged."

Released as the lead single in March of 1979, by May of that same year, the move paid off big time, giving the pair their sixth (and final) Top 40 song and fourth Top Ten. Not only did the song hit #10 on the Hot 100, it also hit #1 on the Adult Contemporary chart, where it stayed for two weeks.

As John Ford Coley recalled, "Of all the songs we released as singles, that was my favorite. The song first of all had a classical base, and the middle had a gospel section which I loved." 

Due to its uplifting message, the song would go on to be adopted by a number of Christian pop acts, becoming something of a staple in that community.

And that's the whole story.

Now? On to the competition!

The Song: Love Is The Answer

The Competitors: Utopia vs. England Dan & John Ford Coley

Love Is The Answer - Utopia

Love Is The Answer - England Dan & John Ford Coley

Utopia

Classic Rundgren piano intro followed by a fascinating, if a bit pitchy, bit of backing vocals; very ambitious for a pop song. Rundgren's lead vocals are pitched so that they play with that uncomfortably weird break between his chest voice and his head voice. And then there's also that signature warble of his one has to deal with - you either love it or hate it. His voice, with it's rather nasal tendencies, is an acquired taste. While I've learned to accept it, I do feel it's the major drawback of this recording. 

Those backing vocals are solid and stellar, and, quite obviously multi-tracked. The group consists of only four members and that is a full-fledged choir singing we're hearing. As a matter of fact, aside from it's rather powerful, universal message, it's the choral leanings of this composition that motivated the Christian community to embrace this song. It's also those choral leanings that rescue this version, as Rundgren's lead vocals sound much more sturdy backed up with a full-on choir. 

"Someday we all must die." Pretty heady stuff for a pop song. Not only is the theme rather existential, the music it is coupled with, structurally, is incredibly sophisticated. And the way Rundgren chooses to deliver that line... with the stretched out, middle-eastern influenced "all" followed by the rather bratty tone on "die", one can see why, for AM radio, this song would have proven a bit of a stretch. The idiosyncrasies of Rundgren's style are the sort of talisman that could make or break a given recording. 

By the second verse, things become rather strident. Rundgren's delivery feels shouted and stretched, losing all sense of the lovely melody. While a raptured hysteria is what he's aiming for here, it comes off rather tone deaf. But then, to the rescue, come those stellar backing vocals, working as a balm tethering Rundgren to the heart of the recording. This song has a bridge leading to the bridge - that's how advanced Rundgren's songwriting can be! 

The gospel call and response bridge compositionally works so well. Here, it feels a bit rushed and somewhat muted, and rather than a gradual build, we get more of a burst which fails to work because of that trash can sounding synth drum overpowering the proceedings. However, I do like the handclaps. And then, vocally, Rundgren takes a few risks he perhaps shouldn't. Not only is his delivery at times flailing and over the top, but those suddenly treated vocals, as we proceed into the final chorus, take this listener out of the experience. His desire is to transport us into a rapturous state, but instead of powerful, the moment is rendered false. 

Rundgren and the group would never be satisfied with their arrangement for this song, tinkering with it in live settings throughout the group's life. Just go to YouTube and click and compare the various live recordings to discover what I mean. 

As a single release, I can see why this failed to catch fire. There are simply too many peculiar elements at play, with the primary culprit being Rundgren's musical choices as a vocalist. As a listener, there were far too many 'whiplash' moments - some of which are pretty egregious - for my comfort level. 

England John & Dan Ford Coley

I know that harpsicord like synth sounds rather dated, but it certainly gets one's attention - something quite key when it came to getting play on AM Radio. The other thing that worked in favor of this single? That intro worked perfectly as a sound bed for a DJ to talk over. By the way, that's Ernie Watts playing that pitch perfect soprano sax solo. The backing accompaniment with it's backbeat emphasis and the smoother than glass lead vocals of John Ford Coley place this one firmly in the Yacht Rock category; a smart move as the likes of Toto and Christopher Cross were ruling the airwaves at the time. 

It's evident, due to the elongated and slightly skewed way Coley sings words such as "short" and "found" that he would be a natural for the cosmopolitan world of country music which he would later become a part of, yielding an astounding eleven #1 country hits on his own. By the time we hit the chorus, this is going down smoother than a poolside piña colada. The harmonies are seamless, which is the perfect word to describe this whole recording: seamless. Nothing gets in the way: strings and icy synths and saxophone and vocals all meld into a lovely relaxing tumbler. This results in a product that's a bit faceless, lacking a distinguishing traits, save for Coley drawl, but one that satisfies nonetheless. 

Oh, I love that string flourish as we move into the second verse. I'm glad they kept the middle-eastern tinged delivery of "all"; it's served as one of the hallmarks of this song. The harmonies on the second verse get a bit squeaky - for some reason, anytime a vocalist strains at the top of their range it makes me uncomfortable. It's that stretching/reaching/strainng; causes me to quiver, but not in a good way. 

I like the keyboard counter-melody they've placed on the chorus; nice balance, nice fill. Moving into the bridge to the bridge, "Or are we just a dying planet..." is one of those occasions when a drawl really comes in handy, as it naturally creates an incredibly effective plaintive sound. Oh, that synth pad at the end of the bridge into the bridge (I'm sure there's a musical term for that, but I do not know what it is) is equally effective, creating kind of backdraft, cleaning the listener's sound palate. 

The vocal play back and forth coupled with a gradual build makes for a very potent musical moment. You could argue that the lead vocals become a bit strained and musically untenable, but that's what happens when artists who are not gospel singers attempt to sound like gospel singers - something I normally do not recommend (or tolerate), but, here, we'll let it slide. ("And when you're near the end..." for example, borders on parody. It's like Southpark's Cartman singing as if he's having a bowel movement.) 

A big choir sound and synth pad swoop later we are into the final chorus. They keep it nice and warm, reintroducing all the elements that have brought them safely thus far, including numerous sax flourishes. It establishes a wave of goodwill that we, as listeners are only too willing to ride out until the end. I love the head voice/falsetto ad libs the main vocalists throw in near the end. They add a bit of color, leading to a very satisfying conclusion.

The Verdict 

No surprise, here. Yes, their version is a tad 'corporate' and faceless, but it works well and, as I remember, sounded incredible on the radio, so I am giving this to England Dan & John Ford Coley. Yacht rock is one of my guiltiest musical pleasures (you know, something you're loathe to admit liking, but still adore.) And while some of the vocals are a bit over the top or a tad annoying, I think they compliment this arrangement and end up giving this group's version a bit of personality. 

Utopia's version, on the other hand, is sunk by Rundgren's vocal idiosyncrasies. While frequently charming, here, his vocal indulgences come off as flawed and troublesome. A pity, as this is one of his strongest compositions. 

--- ---

And that's my nickel's worth. 

Okay, your turn! Leave your choice and thoughts in the comments section. I love a differing opinion. 

Until next time...

Thanks for reading... and listening!

     

Love Is The Answer - Utopia

on The Mike Douglas Show