Who Did It Better? Where Do I Go From Here

Who Did It Better? 

Where Do I Go From Here

Sometimes a great song simply gets lost in the shuffle. I think that's the case with today's Who Did It Better? entry. Three major players, heavyweights in the middle of the road pop market at the time, took it on - all pretty much at the same time, yet none of them felt confident enough to put the resources behind it in order to make it a household favorite.

Where Do I Go From Here is a song written by Parker McGee who had enjoyed success writing songs for Seals & Croft and England Dan and John Ford Coley. The latter's first two successful singles - I'd Really Love To See You Tonight (#2) and Nights Are Forever Without You (#10) were written by McGee.

It was enough for McGee to land a solo album on Big Tree Records, England Dan and John Ford Coley's record label. He managed to land one single on the charts in 1976, I Just Can't Say No To You, which reached #42 on Billboard's Hot 100 and #7 on the Adult Contemporary chart.

Where Do I Go From Here was first recorded in November of 1976 by the duo England Dan & John Ford Coley their fifth album, 1977's Dowdy Ferry Road, which was the follow-up to their hugely successful 1976 album, Nights Are Forever. The album's lead single It's Sad to Belong b/w Where Do I Go From Here was a moderate pop hit (#21) and nabbed the #1 spot on the Adult Contemporary chart.

The following year, Barry Manilow decided to record a version for his fifth album, 1978's Even Now. It was recorded at A&M Studios in Hollywood, California, which just happened to be the home of The Carpenters. 

The Carpenter's version of the song would not see the light of day until after the death of Karen Carpenter, on the posthumously released album Lovelines in 1989. The songs on Lovelines were primarily gathered from The Carpenters television specials. The liner notes on the album, while not including recording dates, do help indicate when the songs were recorded. When I Fall in Love  was originally recorded for their 1978 TV special, Space Encounters, which aired on May 17, 1978. However, they chose Little Girl Blue for that special instead. 

Based on information gleaned from Loveline's liner notes, it becomes obvious that their version of Where Do We Go From Here was recorded during the same sessions as Little Girl Blue and When, I Fall In Love - in 1978 at A&M Studios, which is exactly when and where Barry Manilow was recording his version.

And that's the whole story.

Now? On to the competition!

The Song: Where Do I Go From Here

The Competitors: England Dan & John Ford Coley vs. Manilow vs. The Carpenters

Where Do I Go From Here - England Dan & John Ford Coley

Where Do I Go From Here - Barry Manilow

Where Do I Go From Here - The Carpenters

England Dan & John Ford Coley

Very wistful song. This intro sounds a bit strident to my ears. The vocals, while pitch perfect, feel pushed. I would like there to be a little more weight to the words and some breathing space in there. The imagery is nice. The musical fit, very comfortable.

You can't help but hear that tiny country twang in Coley's voice. It was a feature on all the duo's recordings, except their final group album, Dr. Jekyll and Mr. Jive. Given that, it makes sense that Coley would go on to have an extremely successful solo career as a country artist. 

The production work here is very crisp and clean - until the chorus. Suddenly those strings overwhelm and the purity of the vocals and magic of this duo's harmonies get lost in the onslaught. It's simply too much competition for the listener's ears and, therefore, comes off strident and a bit too pointed. 

Love that brief 'plucked' instrumental fill before the second verse. Second verse works until the harmonies enter. Suddenly the song feels bloated and heavy. It feels like it drags a bit. I think it's because everything is mixed at the same level. 

I don't mind the second chorus nearly as much as the first. It actually feels like more a liftoff this time. 

Third chorus? You really notice those backup singers and oh, no, no, no. So fake. So canned. It kills it for me.

Barry Manilow

Okay, this is the intro I want to hear. I adored Manilow's theme song for the 1978 Goldie Hawn/Chevy Chase film, Foul Play. I consider Ready To Take A Chance Again to be, perhaps, Manilow's penultimate moment as a recording artist. It just so happened to have been recorded the same year he recorded this song. And that's what this intro brings to mind.

Sadly, his vocals here are a bit leaden. There's a lightness that he could bring to even the saddest (sappiest) of songs, and I wish it were present here. 

So, listening to this arrangement, I can't help but think of Richard Carpenter and The Carpenters. Which brings to mind the question... who got there first? Is Manilow's version influenced by Richard Carpenter's arrangement or is it the other way around? I would be curious to know the exact dates the two versions were recorded. Is it a matter of one influencing the other or merely a coincidence? Not a big deal, but I'd like to know definitively.

I definitely prefer Manilow's chorus to that of England Dan & John Ford Coley. It's lighter. There's more air. It doesn't feel pushed. Maybe a touch too ponderous for some, but I like it.  

Oh, don't like that oboe or whatever that is welling up at me - is it an oboe? Mixed too high. 

Listen to the difference in Manilow's delivery between the first verse and the second. Hear that common sense lightness, that purity of motive in the second? Had he begun with that same tone on the first verse, I think this would have been a total winner. It's that plaintive, succinctly-spoken delivery that I prefer when it comes to all thing Manilow.

A big old string swell into chorus number two. He's ramping it up right on schedule. This is the Manilow overkill we've come to love (and, perhaps, fear.) And, I don't know why... it's the virtually the same canned backing vocals (on steroids) that England Dan and John Ford Coley tried to employ near the end of their version, but it works for Manilow, because... it's rather expected of him. 

Love the strength Manilow brings to the end of the second chorus. Coupled with that wonderfully (overly) cinematic instrumental fill before launching into verse three, he is in his element and steering this one home with great command. 

The strings (that waterfall effect!) on the third chorus are a bit much for my taste. (Really? That's where I choose to draw the line?) Love that he goes for that big note and the calm that is restored after the storm. Great way to end this. 

Yeah, I know what you're thinking. 

But I'm a sucker for this stuff.

The Carpenters

That's a very simple intro. I like it. Mournful from the very first note.

Karen's voice sounds a tiny bit tired. And do you hear that croak in her voice? She used to be in full command of that croak and would use it like a crayon taken from a brand new box. The thing with binging and purging and singing is... it messes with your vocal chords. All that stomach acid? Not a good thing. 

That said, no one sang like Karen. Her phrasing and breath control? I only wish we had another singer who could sing in such a relaxed manner and yet exert that much control over their sound. She never pushes her sound through her nose in order to find a pitch. It simply magically manifests itself like the air she's breathing. I think that's one of the reasons her appeal was so universal. It seemed effortless. 

Weird swell on the word 'time,' but that has more to do with her keeping in sync with Richard's arrangement. At the same time, that swell? Yeah... she could do stuff like that without stealing an extra breath. I can't think of a singer who does that today.

She brings such a lovely lilt to the chorus. Richard knew his sister's strengths and always worked accordingly, providing great, unobtrusive support. Yes, her tone is a bit heavy on the Adult Contemporary side, but then she bridged the worlds between what was (then) modern pop and old-school traditional female vocalists, such as Rosemary Clooney and Barbara Cook.

I just get lost in her voice. I think this is lovely... until the second chorus. That is some heavy-handed old-school arranging. It's that kick-back beat and withheld strings. No. Had it simply maintained the steady, quiet support I think this would have been my favorite. But Richard is employing some very stale schtick, making what is already saccharine, so sweet my mouth puckers. 

Oh, that horrible fuzz guitar. Cringeworthy. Make it stop. So schmaltzy. And the instrumental break - totally unnecessary - ends with a damn harp glissando. Shaking - my - head. 

There's a reason this was left in the vault. Or do you think Richard ADDED that guitar crap before the 1989 release? Oh, the horrors. 

Huh. And then Karen zooms in to the rescue, all sunshine and rainbows and makes it work again. She sounds amazing on that third chorus. Not my cup of tea, as far as the arrangement's tone, but she makes it work. I have to say, I have issues with the rhythm section throughout this recording. Tone deaf. Knocking on Formica. 

Really lovely ending. Brings out the Broadway musical aspects of this song. And that is how this plays, like something from a musical - which makes sense, because it was originally recorded to be part of a television special.

The Verdict

Barry Manilow is the clear winner here. His version is true to the song, true to himself and was recorded when I consider the man at the peak of his powers. His is a confident, knowing performance. Yes, it's by-the-book Manilow, but then... that was always the best Manilow.

England Dan and John Ford Coley do nicely with the song, but I find the production work and the arrangement awkward, creating all sorts of competition for the singers - competition that, the duo, as singers, cannot win.

Karen is a dream. A vocal marvel. Her voice, the eighth wonder of the world and she's in very good form here. But, as is true with a great many of the duo's recordings, Richard's ego as an arranger sabotages her Herculean efforts. She goes with the flow and makes whatever is handed her work, but by 1978, Richard (who had issues himself) was out of touch with what was clicking with radio listeners. And while Karen was successfully bridging the two musical worlds the duo occupied, sadly, Richard had both feet firmly mired in 1972.  

--- ---

And that's enough of me.

Okay, your turn. Let me know what you think. Leave your thoughts in the comments section. You know I love to hear from you!

That's all for now.

Thank you for reading... and listening!

Sticker on the Loveline's album.

Just Can't Say No To You - Parker McGee