Who Did It Better? Love Hangover

Who Did It Better? 

Love Hangover

This is an interesting one, and a bit of show biz trivia few remember, making it quite a juicy piece all on its own, however... I've decided to include a cover version that became a bit of a sensation in the UK six years later. 

Love Hangover was written by Pamela Sawyer and Marilyn McLeod, who are credited with a number of Motown hits including Love Child, You Can't Turn Me Off (In the Middle of Turning Me On), Let Me Tickle Your Fancy, Last Time I Saw Him, and I Thought It Took a Little Time (But Today I Fell in Love.)

Diana Ross recorded the song in 1975. It was released on February 10, 1976 as part of her Diana Ross album. The recording process was rather unique. 

From Wikipedia:

"Producer Hal Davis instructed the song's engineer Russ Terrana to install a strobe light so that Ross could be in the "disco" mindset. As the song changed from ballad to uptempo, Ross became more comfortable with the material; she hummed, sang bit parts, laughed, danced around and even imitated Billie Holiday. The carefree and sensual nature of Ross' vocals and the music's direction helped to sell the song, in addition to the background vocals relying heavily on Donna Summer's 1975 hit Love to Love You Baby."

But, at the same time that Ross was recording her version at Mowtown, over at ABC/Dunhill, a newly 'reimagined' 5th Dimension was busy recording their own take on the song. The group, with it's original line up still intact (Billy Davis Jr., Marilyn McCoo, Florence LaRue, Lamonte McLemore and Ron Townson,) had  signed on to ABC/Dunhill and released 1975's Earthbound. When that album failed to garner any attention, the powers that be decided to siphon off McCoo and Davis, who had been married since July 26, 1969. In 1976 the pair would enjoy a #1 hit for the label, You Don't Have To Be A Star (To Be In My Show. While the remaining trio were left to carry on with two new members and one last shot at making it on the label; a one-off single: Love Hangover.

Motown initially chose I Thought It Took A Little Time as the lead single from Ross' album, with Love Hangover as the B-Side. However, once news got around about The 5th Dimension's release, Ross' label reversed course and began heavy promotion for Love Hangover, releasing it as an official A Side on March 16, 1976 - the same day The 5th Dimension released their version. 

Both versions entered the chart the same day. 

The competition seemed fierce enough that a photo of both artists would be featured on the cover of the piano score issued by the song's publishing company.

The 5th Dimension's version peaked at #80 on Billboard's Hot 100, while Ross' version would go all the way to #1 on May 29, 1976. It would give Ross the record for the most #1's by a female artist, a title she'd hold on to until Whitney Houston unseated her in 1988 (Houston, in turn, was unseated in 1990 by Madonna.) In addition Ross would snag a Grammy nomination for Best Female R&B Vocal Performance. 

The newly 'reimagined' 5th Dimension, on the other hand, would never get to release an album for ABC/Dunhill and Love Hangover would also prove to be the groups final showing on Billboard's Hot 100.

But that's not the whole story... well, at least not for this post.

In 1982, British new wave band Associates, a Scottish post-punk and pop band formed in Dundee in 1979 by singer Billy Mackenzie and guitarist Alan Rankine, would release a double-sided single featuring 18 Carat Love Affair and Love Hangover. It would do quite well, peaking at #21 in the UK and Ireland.

And that's the whole story.

Now? On to the competition!

The Song: Love Hangover

The Competitors: The 5th Dimension vs. Ross vs. Associates 
 

Love Hangover - The Fifth Dimension

Love Hangover - Diana Ross

Love Hangover - Associates

The 5th Dimension

Compositionally, this is an exceptional song. I love the various moods and styles it incorporates with relative ease. 

A very Asian-influenced opening, followed by that deep rich 'chaka, chaka chug' groove. 

The rhythm section, including the guitar work, is solid. The strings and horns, on the other hand, leave a bit to be desired. They lack impact and sound rather rote.

It's hard to argue with Florence LaRue's vocals. They strike me as spot on. The backing group vocals are fine too, although their arrangement sounds clunky in places, getting in the way of the funk. When they hit the chorus they strike me as not very tuneful. "Sweetest hangover..." sounds like everyone is not on the same page. The transition into the disco phase doesn't work very well. The men sound underpowered, though I do love whoever is letting loose (I assume it's LaRue). 

LaRue continues to impress. "Don't call my mama..." is perfection. 

Huh. And then we seem to get stuck in in first gear. This doesn't feel like it's going anywhere new. Again, the backing vocals feel clunky, one misstep after another. The guys don't seem to be with the spirit of things. Their "Don't call the doctor..." sounds phoned in, at best. 

Disappointing, given that LaRue brought so much to this. 

Diana Ross

Same intro, but notice how that suspended string absolutely vibrates? This thing is alive. The funk feels deeper and Ross is in control from that very first gasp. Hers is a fully realized performance backed up by some crisp, stellar production work. The slight reverb they put on her voice separates her from arrangement, giving one the impression that she merely shimmers on top the mix, creating the perfect prelude for what is to come. Haunting. 

And she's one with the backing vocals, mainly because it's her voice that helps inform them. No awkwardness on display here, just a sense of future joy. 

That transition into disco-land?  Not my favorite. The vocals needed to be as melded together, as they were on that chorus. But a small complaint. 

There is simply more snap, pop and crackle to this arrangement. If that doesn't get your booty shaking then you need to be checked for a pulse. That bass and guitar are so uplifting, working beautifully together. The guitar is actually being played like a bass, the two lines snaking about each other like dancers on the floor. 

When Ross reenters the picture, she sounds in need of an exorcism (a 'sexorcism'?), so lost to the beat is she. It's hypnotic and erotic. The effectiveness of the backing vocals on this part must be called out. They appear like spirits, here, there, over there. Risky stuff, and it all pays off. (Notice the 'love to love you' like backing vocals slowly percolating to the top.) All the giggles, sighs, and cries... oh, my, my, my. 

This would not be the last time Ross brought her very special brand of sophistication to the disco-sphere, but it could be argued that it was her (and Motown's) finest. 

Associates

Adore this group. Had a copy of Sulk and thought it was difficult in a fun way. Now? It sounds easily digestible. 

Listening to this, you can hear where the Communards would eventually derive a bit of inspiration - yes, the sound of things to come. 

It's a looney toons intro, but they understand the power of those spirit-like backing vocals wafting in and out. And while that falsetto's got nothing on Jimmy Sommerville, it is good fun. 

The arrangement grabs all the most obvious elements and boils them down to a four piece band augmented by some killer strings; held firmly into place thanks to Alan Rankine's meter perfect rhythm guitar work. It's all straight ahead, but very clean. 

Billy McKenzie grabs dramatic hold of that opening salvo and throttles it for all its worth - and then doesn't let go. His epic Tarzan yells make me giddy. 

Depending on your tastes, this is either a group of punks bludgeoning one of disco's sacred cows or a whacky parody; I think it's a bit of both, but it's also high drama and a razor sharp interp. On top of all that? It makes me want to dance!

This is fun, but of course, not everyone's cup of tea and at the time, way ahead of its time. 

Yes...

"Think about it..."

The Verdict

I adore Associates version. It is my personal favorite. 

However...

This belongs to Diana Ross. Period. 

The production work is flawless. Her vocals, flawless. I adore every gasp, every sigh, every vocal spirit hovering about. The song, a remarkable piece of work as originally written and arranged, landed in the best of worlds when graced with Ms. Ross' divine gifts. 

There's a reason The 5th Dimension are the also-rans of this saga. Theirs is an inert reading. Despite LaRue's best efforts (and they are substantial), their version never takes flight due to something that feels an awful lot like indifference on the part of the others involved. Whoever arranged their version? Whoever produced it? They didn't understand the song. They failed to break through to what lay beneath.

Ross did all that and more; hers positively glimmers with sensuality. 

Associates are an acquired taste, I will give you that, but the nerdy kid in me will always root for their brand of DIY music, pop posing and theatrical grandiosity. 

Oh, I should let you know... when this song came out? The Diana Ross version? 

I hated it. 

Couldn't understand why grown ups wanted to listen to it. It was trash. Then, one Saturday afternoon, I happened to catch Looking For Mr. Goodbar on television. Stop the presses! 

Suddenly, I understood. Everything I was missing? It was in that song! 

And I've adored it ever since. 

--- ---

That's enough of me.

Your turn. Let me hear it. I know we have some diehard Diana fans out there. What's not to love? Leave your thoughts and opinions in the comments section. 

You know I wanna hear from you!

That's all for now. Until next time...

Thanks for reading... and listening!

18 Carat Love Affair - Associates

Party Fears Two - Associates