Who Did It Better? Friends

Who Did It Better? 

Friends

Today's Who Did It Better? entry had an interesting habit of appearing twice for each of the three artists most associated with it, albeit, in very different ways. It is also considered something of a gay anthem, becoming associated with a diva who is held dear in the hearts of many a gay man.

Friends is a song written by actor/singer Buzzy Linhart and Mark 'Moogy' Klingman.

The song first appeared on Linhart's 1971 album, The Time To Live Is Now, recorded for Kama Sutra Records. He would later re-record it, in the wake of Bette Midler's phenomenal success, with a different arrangement for his 1974 album on Atco Records, Pussycats Can Go Far. The 1971 version is very guitar-driven, while the 1974 arrangement is piano-centric with more of a vaudevillian/cabaret feel. Unfortunately, currently, the only version available on YouTube is the 1971 version.

I'd like to point out that there's an error on the Wikipedia page for this song. It claims the song has an alternate title, but if you go to the four albums it initially appeared on you will see that this song, even as a 45 rpm, has never been released with any title other than Friends. So, their assertion that Linhart recorded it as (You Got To Have) Friends, is false.

Now, Bette Midler, was, in fact, playing the Continental Baths back in 1971, so it is very possible that Linhart played the song for her when he and Klingman first wrote it. The song did become a part of Bette's stage act at the baths and would be included on her 1972 debut album on Atlantic Records - appearing twice on the album; acting as bookends for the second side. Bette's version of the song was arranged and played by her accompanist at the time, Barry Manilow, who produced The Divine Miss M album with Ahmet Ertegun and Geoffrey Haslam. 

Midler's version of Friends would be released as a single in 1973. In the US, the song nabbed the #9 spot on the Adult Contemporary chart, while eking into the Top 40 on Billboard's Hot 100 chart at #40.

It should be noted that, Klingman, the other half of the songwriting duo, would go on to play keyboards and produce Bette Midler's duet with Bob Dylan, Buckets of Rain, which appeared on Midler's 1976 album, Songs for the New Depression. Klingman then became her musical director, taking over for Barry Manilow, who had, by that time, launched his own successful solo career.  

Manilow would record his own version of Friends for his debut album on Bell Records (which soon became Arista.) When Manilow's second album became a huge hit, Clive Davis reissued the first album with a new cover and new versions of four of the songs. However, Manilow's original version of Friends remained untouched. Thanks to a re-recorded version of Could It Be Magic (Manilow's third version of that song) going all the way to #6 on the charts, the reissued album sold a half a million copies, rendering it a gold album in 1976. 

And that's the whole story.

Now? On to the competition!

Friends - Buzzy Linhart (1971)

Friends - Bette Midler

Friends - Barry Manilow

Buzzy Linhart

Buzzy is okay. He's very laidback and is presenting this as a simple, shuffle beat, strummer. It's pleasant. Yes, his voice is nasal and a bit pitchy, but very strong and likable. 

I hear this song? I smile. 

The rhythm section provides adequate support. I could quibble that the bass could have been turned up a bit in the mix, but that was not true to the times. I could harp about the fact that he fails, time and again, to open up those vowel sounds, preferring instead, to sing the consonants (never easy to do, don't recommend it, but, at times, a bit necessary in this song.) However, to pick this apart would be to deny the abundant charm to be found in Linhart's reading. 

The harmonies are inoffensive. His vocalizations get to be a bit silly around the 2:00 mark, and the drummer is taking too much focus by that point (that is some real trash playing,) but it's fun. And I love his bebopping at the 2:39 mark, by which point the bass turns up to shine, as well. Such zeal.

Sometimes, in simplicity there is great joy to be found.

It's like a Muppet singing any song. The quality? Not really an issue. It's always gonna make you smile. 

Bette Midler

Midler finds the drama and pathos inherent in that intro. 

I have to say, her interpretation brings to mind Judy Garland, and I have often wondered, had she lived long enough, if she would have found her way to a song such as this. I imagine her singing this and it brings tears to my eyes.

Bette? She's her own person, but owes a lot to Garland. 

Even on this intro, she takes huge risks, forcing the sound up through her nose, while going for something gut-wrenching, instead of simply singing it. Manilow is in excellent form, by the way. Offering the best kind of support. 

Once it kicks in, it's Bette doing some borscht belt type schtick, but it totally works, bringing a ton of energy to the proceedings. The backing vocals? Very male. Is it Manilow? The accompaniment is very simple, very straightforward. That's good. Bette is the one bringing the fireworks here. By the time she'd recorded this song, she'd been singing it night after night for a year and a half. For some singers that is poison. They get bored. Not Midler. Instead, she's created an alternative language of additional vowel sounds, 'mmm's' and the like to connect every note, every phrase. It's almost as if she's afraid to pause for fear that she'll lose our attention. She needn't have worried, but that is the sort of thing familiarity breeds when it comes to singing.

The other thing about Midler. She's a young woman here, but she sings like she's much, much older, which, no doubt, is the reason she relied on older material (Boogie Woogie Bugle Boy, Chapel Of Love) early on in her career. It didn't sound strange coming out of her mouth. What it did sound like? Vital. Energetic. On fire. She brought new life to old chestnuts.

Later in her career, after the initial fire that was her career had died down to embers, she became a different kind of singer. Gone was the manic energy, the huge, dramatic risks. In their place? A tempered, thoughtful, more-assured singer. The warmth was still there, it was merely kept in check at all times, like a special super power.

Man. Manilow throws in the kitchen sink, here. Bells, a flute, later on a trumpet. In fact, there's a lot of horns there in the bottom, running beneath. He's a kid in a candy store. Doesn't matter. Midler rules. She moves through, past and under everything, like a mink on an obstacle course. 

I should point out, the drumming throughout? Excellent. 

Manic? Hyper? Frenzied? Sure.

This is a total showstopper. 

Midler's vocals are a mess, all over the road, but that's the fun of it. She chews it up and spits it out. She's in the drivers seat from note two, pedal to the metal in a hopped-up roadster with one hand on the wheel while the other, along with everyone in the backseat, is giving the world jazz hands. 

What's not to love?

Barry Manilow

Aside: You know, Manilow got his start at the Continental Baths, too. Originally, the show was Barry Manilow and Friends. But nobody ever talked about that as he was coming up. Not like Bette. Every interview, every article... "singer began her career in the Continental Baths." But not Manilow. Different times, I guess.

Huh. Did not see this intro coming. And Lady Flash, right from the get-go? 

Manilow does away with simplicity, going double-time on a count of eight. It totally alters things, but hey, he had to differentiate himself, right? 

As is, this sounds like one of his jingles. I keep expecting the Mentos clones to appear at any moment. It's very bright and crisp and clean. The only thing keeping it tied to the earth is Manilow's nasal charms. 

Those backing vocals. Oh, my word. Overkill. Like someone just learned how to arrange vocals. ('Shoo, shoo?') 

Manilow's in good form. And yes, in jingle mode, but then, his early stuff? That was the energy that powered things like Beautiful Music. Huh. Hear that weird crackle in his voice on the bridge? Interesting. And very unlike him. 

That doubled 'oooo' after 'got to have friends?' Very odd. 

There are a lot of hints of future Manilow to be heard here. A Nice Boy Like Me, springs to mind, for example. Those backing vocals are all over the place, swooping and scooping and playing with dynamics. It's like Glee, but human.

What is that percussion? Hand claps and a cat of nine tails? 

You know, the arrangement is so damn busy. And it's fun. Energetic. But there's a loser, too.

The song. 

It's as if they could be singing anything - a Juicy Fruit jingle, Up, Up With People, a song from the musical Hair? Doesn't matter. 

I am actually done with this at the 2:20 mark, but let's soldier on. 

My one big complaint? Manilow is not on top of the mix. By the time he's riffing, over and over again, he's buried, lacking the star power to cut through all he has to compete with. 

The Verdict

They are all fun. They each possess a great deal of charm.

I think Buzzy is just lovable. I want to squeeze him like a Muppet.

Midler is on fire and in her element. Don't get in her way, honey. She will cut you down to nothing in 4/4 time.

Manilow is all technical wonder, bringing the kind of overkill the very young and the very eager bring to everything they are doing for the first time. Yes, the talent is all there. The focus? Not so much.

You give this to Bette, because it belongs to her. That intro? Makes me cry every time. And those lyrics, "I used to have me some friends, but something came and took them away."

Has there ever been a more potent, prophetic musical moment in the history of forever?

So, thank you, Buzzy Linhart and Moogy Klingman, for an all-time classic. 

One, I never tire of hearing or performing. 

--- ---

And that's enough of me.

Okay... your turn. Let me know what you think. Leave your choice and thoughts in the comments section.

I just want to take this opportunity to thank all my blogosphere friends for all their kindness and thoughtfulness.

Every click feels like love to me, honey.

And, as always, thanks for reading... and listening!

Friends - Bette Midler

(The Continental Baths, 1971)