Who Did It Better? All The Man That I Need

Who Did It Better? 

All The Man That I Need

Sometimes it takes a song a bit of time before finding it's way to the top of the charts. Today's Who Did It Better? selection is such a song - spending nine years in limbo before getting its moment in the sun. And what a moment! After resting in obscurity all that time, it went on to become a worldwide smash.

All The Man I Need is a song written in 1981by Dean Pitchford and Michael Gore. It was written with one singer in mind; Linda Clifford (If My Friends Could See Me Now, Runaway Love). Pitchford and Gore had scored big, writing several songs for the hit 1980 film, Fame. Thanks to their efforts, Clifford ended up with a #1 dance hit on the soundtrack, singing the pair's Red Light. The writers were so impressed they wanted to continue the creative relationship, so they wrote All The Man I Need for her.

The song was first recorded in 1982 as All the Man I Need by Clifford for her seventh album I'll Keep on Loving You - her first on Capitol Records. Wikipedia claims it was released as a single, but it's not listed in her discography on that site, nor does Discog.com, my go-to for discography info, have any record of it. A cursory Google search doesn't reveal any evidence that such a 45 ever existed.

However, in 1982, Sister Sledge (We Are Family) did record and release the song as a single. Done up as a duet with an uncredited David Simmons, it was included on their album, The Sisters. However, their version failed to make much of an impression, only managing to reach #45 on Billboard's Hot R&B chart. 

Pitchford and Gore, who were certain they had a hit on their hands, were disappointed to say the least. "I figured that it was one of those songs that was going to get cut a number of times and not ever have its day," said Pitchford. Fast forward to a dinner with Clive Davis in 1987. Pitchford pitched the song to Davis, who thought it might be right for Whitney Houston, who'd broken huge and was in the process of putting final touches on her second album. A demo of the song was delivered to Davis. 

Davis liked the song, but since Houston had just finished an album, he told the pair she was unlikely to get a chance to record it anytime soon. Pitchford and Gore agreed to wait. In the meantime, they received a number of requests from other artists wishing to record the song, but the duo felt they had to honor their commitment to Davis and Houston.

Houston did finally get around to recording the song, featuring production by Narada Michael Walden, for her 1990 album, I'm Your Baby Tonight. At this point? The song was nine years old, but - if a song is good - then its timeless and its time will come, right?

Released as All The Man That I Need, Houston's version served as the second single from her third album, racing all the way up the charts and snagging the #1 spot (for the ninth time!) on Billboard's Hot 100, #1 on the Adult Contemporary chart, and #1 on the R&B chart (her fifth to do so.) It also proved to be a worldwide hit, making the charts in numerous countries, including: Canada (#1), Zimbabwe (#1), Iceland (#2), Netherlands (#11), and the UK (#13). It remains the fourth best-selling single of her career.

In 1994, Luther Vandross, who created the arrangements for the original Linda Clifford version of the song, recorded his own version.  Released as All The Woman I Need on his album Songs, he later performed the song at the 2001 BET Awards, in honor of Houston - committing a bit of a gaffe in the process: he cited Houston as the song's original singer - somehow forgetting singing back-up and all the other work he'd done on Clifford's original version back in 1981.

And that's the whole story.

Now? On to the competition!

The Song: All The Man I Need / All The Man That I Need / All The Woman I Need

The Competitors: Clifford vs. Sister Sledge/Simmons vs. Houston vs. Vandross

All The Man I Need - Linda Clifford

All The Man I Need - Sister Sledge w/ David Simmons

All The Man That I Need - Whitney Houston

All The Woman I Need - Luther Vandross

Linda Clifford

Love the piano. How fresh. The strings, however, come on a bit strong. And a whiny guitar line? At lease, I think that's what it is. 

I love Clifford's voice. Here, in the opening, it is very reminiscent of classic MOR singer, Marilyn McCoo. There's a warmth and knowing implied in the tone, a mature, but strong voice. Her articulation is impeccable. 

The arrangement is really going for the gusto right out the gate. Everything is underlined and punched up. Let's see where they are headed. 

Wow. Clifford's voice is powerful. That is some full-bodied singing. Strong and lovely. And I don't get a sense that she's straining in any way. This lady sings from the bottom of her feet up. From my experience, she is a vocal coach's dream!

The strings are competing a bit too much, however. And that's too bad. 

Why wasn't this, at the very least, an adult contemporary hit for her? Wow. Somebody fell asleep at Capital Records. 

The guitar work that underscores the verses needs to back up. It's too busy. I think focusing on just her voice and a bit more quiet - a bit more breathing space in the arrangement, with some of that business simply dropping out would have created a much more dramatic reading and supported Clifford's interpretation of the song. This is lovely, but a remix in different hands and this would be dynamite. 

Yes, Clifford's enunciation is a bit strident, but then, the song itself is written for that dramatic 'buh-bum' to hit us hard. And yes, the arrangement is a bit old-school and also over the top, but I am betting this would have sounded amazing on AM Radio. 

Obligatory sax break. It's a bit rote, but right with the times. 

Enter backing vocalists. Among them? Luther Vandross, who is also responsible for this over the top arrangement. (Did you know Luther also worked with Bowie on his Young American's album in the same capacity?) "Everything  I need, everything I need..." Too funny. Like something out of The Wizard Of Oz.  I do wish the backing vocals matched the exactness and sharpness of Clifford's enunciation. They're a little mushy. 

Love hearing Clifford stretch out on the playout... man, that lady has a set of pipes!

The strings, the sax, the backing vocals... too much for me. But Clifford handles it well, riding on top of it all. 

A very powerful reading. Kudos to Clifford.

Sister Sledge and David Simmons

Now, I am not sure why this is credited to Sister Sledge. This is primarily a duet between Simmons and Kathy Sledge. 

Let me tell you about Kathy Sledge. Sister can sing. Her voice developed this raw ache the longer she sang. In the 1990's she did a couple of dance tracks that I adore to this day. Her raw energy and sunlight make those tracks sizzle.

That's a very pretty, delicate opening, but not one that is going to get you play on AM Radio. It should be noted that this is the first time the sisters are doing it for themselves. And by that, I mean producing. Yep, that's them turning the knobs this time. 

That said, they need to turn those knobs up; this is mixed too low to have any impact. They are going for a very sweet quiet storm vibe, here. A couple of problems though. There's a lushness lacking in the arrangement and Kathy, at age 23, hasn't developed that ache yet and since her voice is on the narrow side of things, she needs that to bring some character to this affair. She's holding back way too much. It would've been much better if she'd let her light shine and let her presence be known. 

Simmons sort of slithers in and, while in smooth jazz mode, lacks the edge to distinguish himself from a bank of other similar singers. 

By the way? The arrangement? Actually very, very good so far. I wish Clifford had been given something this simple to lord over. She could have relaxed a bit and really stretched out. 

Simmons reminds me a bit of Donny Hathaway for some reason, which brings to mind Roberta Flack and yes, this is the kind of tasteful, cribbed quiet storm stuff she trafficked in at the time. 

Simmons has some vocal tricks he brings to the yard. Listen to his trill on the chorus that is then echoed by that (bah) flute. 

Oo... dramatic transition, ala Endless Love.  Nice move, sisters. 

Oh, dear. That wah-wah guitar and spoken bridge... no, dears. Just... no.

And that flute becomes omnipresent just as the quiet fire should be bursting into flame. Knobs up, dear. We need more intensity from the vocalists, too. That restrained straining is not cutting it. 

Oh, please... kill that flute. Killing me, here.

Fun piano breakdown with the swelling strings. And, in the playout, now we get a little fire from the belly. 

The sisters make a couple of fatal error with this song... they put both verses side by side and delayed the introduction of the chorus - which is where the big hook resides. Hello? This failed because it is a weak attempt at a quiet storm ballad, they delayed the hook, and there is no fire. 

Nice arrangement, though. Except that flute. 

Somebody kill that flute.

Whitney Houston

I must put you on notice: Narada Michael Walden is one of my least favorite producers, ever. He represents a period in music that was void of soul. He is to an artist, what an iron is to a wrinkled white shirt. It's all starch. It's all flattened. Let's see what he does to Ms. Whitney. 

Houston was at a vulnerable place in her life when this came out. I know she felt the strain. Clive Davis wanted her to maintain a broad appeal, while Whitney was thinking maybe moving into more of an R&B/hip hop direction would be a better move. It certainly would improve her standing in the the black community, who, while proud of her, also looked at her a bit sideways because of her 'little miss butter won't melt in her mouth' persona. (She sure changed that soon enough!)

This album arrived with a thud. The kind unexpected, given Houston's meteoric rise. The cracks (no pun intended) were beginning to show. The biggest sin committed on her I'm Your Baby Tonight album was... it was so damn dull. It had all the depth of a hallmark card; hollow, generic sentiment, well-packaged.

So, be forewarned, I am not a fan.

I enjoyed her first album and I really liked My Love Is Your Love. But, despite her amazing voice, that is it.

Magical opening. Very Barbara Streisand Somewhere. 

Houston's voice is no longer at the top of it's game. There's a dry rasp in the bottom of her throat. Warm? That is not. As we launch into the first verse, lots of air, lots of crackle. And when she moves to employ a bit of melisma on the word 'same', she lacks control and the breath support to keep it from breaking apart. You can hear the vocal breaks and it sounds like it hurts. That said, I also take issue with her phrasing (?) and lack of breath control all through the first verse. It's a mess. It communicates nothing. 

(You were forewarned.)

Moving into the chorus, Whitney brings it. She still has the ability to turn it up. That lovely pop sound she could open up? Present, though it doesn't shine quite as brightly as it once did. Part of the issue is Walden's production. Never has a flank of strings sounded like a sludge tsunami. Never has a wallop struck with such a resounding thud. This is some bland, mediocre work on display. 

"More love than I've ever..." Houston brings the fireworks early. And yes, she's still got them. I simply get a sense that she's less than inspired. She's undermined by that muddy, muddy production work. There's no air, no separation in there. Walden is a drummer, but you wouldn't think so given the lusterless sound of the percussion. The only thing glistening here? Houston. And she's having to work way too hard. 

Houston's a bit better on the second verse. Breath and sustainability issues continue to abound, but at least she's more focused, more keyed in. I do like the backing vocals on "high." That's a thrilling moment. The remainder of the verse? I keep wanting to give the lady a glass of water. She sound dehydrated. 

Again, chorus magic. 

Let's talk about that chorus for a moment. It is fun to sing. And it is great to sing. 

Why?

Open vowels sounds. Even the word 'more' - which is something that can trip up any number of singers is a breeze because of that flexed note. Looking for a song to slay with? This is it. The verses? No. They will not grab people's attention. But that chorus? That is gold. You pop that note on 'up'? Maybe give it a bit of super tight vibrato? (Yes, hold on to it.) You've got 'em every time.

Into the instrumental bridge. Whitney is working some magic running scales in the background, while none other than... gasp... labelmate Kenny G works the saxophone. As Mr. G solos go, this one has a lot more muscle than usual and is much more exciting than his typical tepid offerings.

Clever key change, gospel choir... great stuff. Houston pulls out all the stops. Yes, it gets a bit shrill, but she's working her upper range, just before she has to fly to falsetto land. Fortunately she has that solid choir to serve as bottom, which gives her a lot of latitude - something she takes full advantage of. 

Love Houston's exit 'woo.' 

As if to say... "glad that's over."

I feel you, Whitney.

Luther Vandross 

Luther's obligatory title change bothers me a bit, but... well, the man had issues. 

So, a similar beginning to Houston's, but I keep expecting Donna Summer to launch in to the slow opening of Last Dance. 

That's a sloppy, schmoozy way to start this song. And his whole tender man act... I know it gets the girls to drop their panties, but musically? Not very convincing. 

The arrangement is hollow. A cipher, really. Not an organic sound to be found. So far, I want to file this under 'too pretty.' 

I do like that Luther holds back with that first chorus, keeping his powers in check. Sadly, it also registers as a bit pedestrian. I know, I know... wait for the build.  That synth accent they keep employing, such as after 'she's all I got'? Blech. Limp noodle time.

What the hell does he do to 'woman'? It catches in his throat like the lie it is! It's like not even he can believe he's singing it. That is crazy. What a tell.

Next verse. Luther gets a little pitchy. Which is unlike him. This is a very sloppy vocal on his part. He's normally more of a perfectionist. And certainly more focused.

This arrangement is taking me to snooze town. The drums sound like cardboard, the fake orchestra moves like a glacier toward the Titanic. 

That's kind of a cool thing he does with the backing vocals (I assume it's his arrangement) heading into the bridge. The bridge... lazy. More sleepy time. 

Third chorus clicks. Nice backing choir and Luther brings a bit more heat to the proceedings. 

But it doesn't go anywhere. My main issue? Luther sings five notes when one would do the trick. ALL. THE. DAMN. TIME. Not only does such frequency reduce it's effectiveness it also tries the patience of the listener. 

Naw. Now, I know, Luther can do magic. But this? 

I'm not buying it, dear. 

The Verdict

I actually had to go and listen again to Linda Clifford's version before making a decision. 

Keep in mind that there is a nine year gap between her version and Houston's. A lot had changed in the music world during that time. 

And while I know some of you will instantly have issues with Clifford's very Marilyn McCoo like vocals - I think they're superior to any of the other versions. I think they serve the song the best. Yes, sometimes... simplicity is best. 

I think this is a case of musical injustice. This should have been a hit for Clifford back in 1981. 

That takes nothing away from Houston's version. She still could have covered it nine years later and ended up with a huge hit - isn't that what she did with Greatest Love Of All? The difference being... Houston was in pristine form when she did Greatest Love Of All. Here, she sounds tired. A mere four years after this? She and an equally worn out Mariah Carey would stun the world (not in a good way) with their rather creaky sounding duet, When You Believe. What should have been a powerhouse moment? Sounded like a couple of throats in need of some hot lemon water and a long rest.

As for Houston's version of this song? At best it's a somewhat inspired reading. At worst? It is a hollow piece of product delivered without grace or enthusiasm. Walden's production work is absolute garbage. 

There is no fire to be found in Sister Sledge's quiet fire version of this song. 

And Luther? I don't know. A bunch of noodling that adds up to a nothing moment. I would have rather he'd sneezed into the mic. 

So, for me... the only version I wanted to hear again... is Clifford's. Keep in mind - that was recorded in 1982. That woman's star rose in 1978. She's got a great set of pipes and her vocal technique is textbook perfect while also being incredibly nurturing and warm. 

What can I say? She lifts me up!

--- ---

And that's enough of me.

Okay, your turn. Leave your choices and thoughts in the comments section. You know I love a differing opinion and I fully expect to hear some on this one; there are a lot of diehard Houston fans who feel the lady could walk on water.

That's all for now.

Until next time...

Thanks for reading... and listening!

All The Man That I Need - Whitney Houston