Who Did It Better? Don't Leave Me This Way

Who Did It Better? 

Don't Leave Me This Way

 
Time to visit another absolute disco classic.

Don't Leave Me This Way was written by powerhouse producers Kenneth Gamble, Leon Huff and Cary Gilbert. It was first recorded by Philadelphia International superstars Harold Melvin & The Blue Notes, featuring Teddy Pendergrass on lead vocals. It appeared on the group's 1975 album, Wake Up Everybody. Initially, there were no plans to ever release the song as a single. 

But things change!

In 1976, over at Motown, the song was originally assigned to Diana Ross as the intended follow-up to her breakthrough single Love Hangover. However, Ross never got around to recording it and the song was eventually passed on to labelmate Thelma Houston. Included on Houston's fourth album, Any Way You Like It, the song quickly became a sensation in discos throughout the states. Released as a single on December 26, 1976, it went on to conquer Billboard's Hot 100 (April 1977), Disco and R&B charts, taking the top spot on all three!

Like Ross's Love Hangover, Houston's version of Don't Leave Me This Way was featured on the soundtrack for the film Looking For Mr. Goodbar. In addition, it won Houston the 1978 award for Best R&B Vocal Performance, Female at the 20th Annual Grammy Awards.

Houston's version was also released as a single in the UK, where it peaked at #13. 

Sensing an opportunity in the UK, Philadelphia International decided to release Harold Melvin and the Blue Note's original version as a single, in 1977. Their version surpassed Houston's, ending up at the #5 spot, becoming the group's best selling single in that country. It subsequently began garnering attention on dancefloors in the states, eventually reaching #3 on Billboard's Hot Disco Singles chart. 

In the US, throughout the 80's and 90's, Houston's version of the song served as an unofficial anthem for the AIDS epidemic and the gay community. American artist Nayland Blake would go on to create a work for the American Foundation of AIDS Research regarding the epidemic, referencing the song and its significance for the community. In 1994, an art exhibition  entitled Don't Leave Me This Way – Art in the age of AIDS opened at the National Gallery of Australia.

In 1986, British duo the Communards (Richard Cole and Bronski Beat's Jimmy Sommerville) recorded a hi-NRG version of Don't Leave Me This Way with the help of jazz vocalist Sarah Jane Morris. It was included on their self-named debut album. While it barely scraped into the Top 40 (#40) in the states, it did end up hitting #1 on Billboard's Dance Chart. 

Overseas, in their native UK, it was quite a different story. There, it sat at #1 for four weeks in September, going on to become the best-selling single of 1986 in the UK. 

Nine years later, Houston's version was remixed and climbed its way to #19 on Billboard's Dance Chart, while entering the Top 40 (reaching #35) for a second time in UK. 

In 2000, Sheena Easton was busy creating a disc full of classic disco hits. Don't Leave Me This Way was included in the mix for her Fabulous album.

And that's the whole story.

Now? On to the competition!

The Song: Don't Leave Me This Way

The Competitors: Harold Melvin & The Blue Notes vs. Houston vs. Communards vs. Easton

Don't Leave Me This Way - Harold Melvin & The Blue Notes

Don't Leave Me This Way - Thelma Houston

Don't Leave Me This Way - Communards

Don't Leave Me This Way - Sheena Easton

Harold Melvin & The Blue Notes

This is the single edit. The album version runs an additional two minutes. 

Very subtle intro. That strummed electric guitar adds a lot of texture. And when Pendergrass enters the mix, so do those hallmark Philadelphia sound strings. I love the raspy, pleading tone Pendergrass employs. I can hear why all the ladies dropped their panties at the sound of his voice. 

His vocal performance works perfectly with the natural build of this song. The arrangement? It's a bit creaky sounding - as in, old-fashioned. Perhaps a bit too middle of the road for me, but it was of a time and certainly a very successful sound for the label. Still, by 1975, the clock was ticking on those heavy strings. People were looking for a more muscular beat - at least in the states. 

Those horns. They sound old. The whole thing is a bit on the soft side. Handing the rave up to The Blue Notes? I dunno. Lacks punch. Pendergrass zooms into to rescue the thing from mush, and I do love his more aggressive tone. Gets me where I live. The strings and horns running beneath? Fairly rote. 

I like the guitar work and the interplay with the keyboardist on the second verse. Sadly, those mushy horns enter the mix and mess with the tone. Pendergrass continues to be the driving force, here. 

The playout begins at the 3:15 mark, allowing Pendergrass plenty of time to stretch out and engage in a bit of call and response with The Blue Notes. Adore his performance. 

So, if I recall correctly, a lot of tension existed in the Blue Notes because Teddy Pendergrass became the vocal focus of the group. That didn't set well with Harold Melvin and I believe that is probably why this wasn't released as a single back in 1975. It would appear that only after Houston's version took the world by storm was there any interest in trying to salvage a bit of cash from such an egregious missed opportunity.  

Thelma Houston

Ross' loss was Houston's gain. 

That lovely bell sound at the opening would seem to indicate that something special is about to happen. Houston takes the reins right away, moaning low. Love the earthy vibe to her voice. I think this performance would serve as inspiration for singers like Martha Wash and Brenda Holloway. 

Allowing that bass guitar to rule the mix - smart move. It helps cut the sweetness of those strings, which aren't as heavy-handed as those of Gamble & Huff. Great string sting, too.

Houston as a bit of vibrato in there. It undercuts her throatier sound. She's keeping the kettle on low for now. 

As we zoom into the chorus, that opening "Baby!" is the key to selling this song. Houston hits it dead on. It works like dynamite. Great bass line on the chorus. Drives this thing. Those backing vocals are deftly arranged and spot on, as well. Great mix. I can see why this was picked as a possible follow-up to Love Hangover. The songs share a similar architecture.

Second verse actually reveals Houston's weaknesses as a vocalist. That voice? That is not going to age well, I'm afraid. She's fine, here, changing it up just enough, colored with the right degree of toughness. 

On the second chorus, those backing vocals truly help punch this thing up. Love all that gospel-flavored zeal. Man, as we enter the breakdown - that bass player deserves an award. Love all those popped notes. Again, comparisons to Love Hangover spring to mind. Houston's vibrato pretty much kills that extended note on "Meeeeeeee," and not in a good way. Still, she manages to rise to the occasion with a few gospel call outs of her own. 

This is an absolute classic. I have to hand it to Motown; they found a percolating bass line unlike any other and worked that beast.  Infectious and smart - I simply adore all the space they created surrounding that bass line.

Communards

Different era, different sound, different beat. But to dance remains the objective.

Communards waste no time. Boom. Right into it. Sommerville sounds confident and in control. Those multi-tracked, reverbed vocals? A matter of personal taste. But he's setting the stage. 

Huh. His entrance lacks punch. And that drum machine is mixed high. Maybe too high. Interesting phrasing. Sommerville was one of a kind. With that programmed keyboard and those drum machines churning - lots of muscle here pushing the beat. 

Sommerville's falsetto? Again, a matter of personal taste. My complaint here is the mix. He should be popping on top, instead he's running in tandem with everything else - it's messy and it flattens the proceedings. I can hear why Sarah Jane Morris was brought on board. She adds a bit of gospel-sounding realness. I don't like the horns. Again - everything appears to be competing for airspace. Also, there's an air of frenzy in play that I find disconcerting.  

Sommerville backs himself up on the second verse. His vocals are rather pitchy in places. That's the danger of playing in your mid-range falsetto. 

Second chorus, same as the first, until the end when Sommerville starts stretching out a bit. To be honest, I am ready for this to be done. I remember thinking this was the bomb back in the day, but it is not hitting me right today. Something about that pushed beat combined with Sommerville's shrill, unsteady vocals makes me anxious. 

Love the acoustic piano on the instrumental breakdown. Glad they move beyond that drum machine. The vocal build up is nice. I like Sommerville in his lower range. He sounds like Alf (Alison Moyet.) But he doesn't stay there long. 

Now I hear the connection - between Vince Clarke, Yazoo, Erasure, and Sommerville's projects (Communard's, Bronski Beat.) They are all cut from the same cloth. 

The piano helps that third verse immensely. And, suddenly, there is air in the mix, with Sommerville sounding as if he's singing live. 

That extended rave up into the key change is a lot of fun. I don't know, though... something takes place in the chorus where it doesn't feel celebratory, it feels frenzied and a bit mad. And the more Sommerville hammers away with his falsetto, the weaker he sounds. This brings to mind Sylvester, who, I believe, avoided such sins. The backing vocals on the playout feel leaden, even with Sommerville popping over the top. 

Huh. Some things don't age well. 

Sheena Easton

Spacey intro with strong strings, breathy vocals and a bit of Spanish guitar. Interesting choice, that Spanish guitar. 

My, such busy, busy strings. Like the cavalry is riding up. 

I don't really care for all the breaks in her voice. The production here is rather rote, defying the expectations set up with that intro. It's also very sanitized. Huh, her upper range has not held up well, but by the second verse, she sounds more herself.

Ahh, finally... that Spanish guitar returns. Just before the breakdown, Easton seems to be bringing a bit of fire to the proceedings. So far, this has been nice enough, but unexceptional - like a Las Vegas style revue version. 

The breakdown is fun; pinging bells and a scratch guitar working while Easton pops out a few high notes.  And then we get a bit of mariachi-flavored trumpet. This breakdown is the most interesting thing going so far. Oh, my word... disco whistles! Do you remember??? Wow. 

I rather like the arrangement. I think what's not working here? Easton. She doesn't have the blood and guts to pull this off. She's a great singer... but this is R&B and she's not feeling it - merely skating on the surface, hitting all the right notes but failing to bring the grit needed. She chirps like a beautiful bird. 

Yes, this is fun, but not earthshaking stuff. And you know what's missing? The bass. Huh. How did that get missed?  

The Verdict

This belongs to Houston. I have issues with her strength as a vocalist (which may explain why this is her only solo hit), but the arrangement takes the cake with all the frosting. 

Pendergrass vocals are lusty and gorgeous throughout Harold Melvin & The Bluenotes' version, but the Philadelphia sound had definitely run its course by then. The arrangement is simply too middle of the road for my taste.

Communard's version hasn't aged well - not to these ears, anyway. I get that it's historically a bit of gay history, but it's also a piece of its time, which greatly limits its long-term appeal. Also, I've always had issues with Sommerville's falsetto; it's not Freddy Mercury strong, Andy Bell (Erasure) warm, beatific as George Michael's or soulful as Sylvester's.

Easton does a nice job of it, but hers is the cover version I sort of expected. I did like that instrumental breakdown, though. Disco whistles. Hee hee.  

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And that's enough outta me! Okay, your turn. Let me know what you think. Which version tops your personal hit parade?

Leave your answers and opinions in the comments section. You know I love to hear from you.

That's all for now.

Until next time...

Thanks for reading... and listening!

Don't Leave Me This Way - Communards