Who Did It Better?
Never Gonna Fall In Love Again
Never Gonna Fall in Love Again is a song co-written and recorded by former Raspberry frontman, Eric Carmen. His co-writer? Why none other than Russian composer Sergei Rachmaninoff! The song's melody is based on the third movement (Adagio) from Rachmaninoff's Symphony No. 2. Carmen would borrow from classical composers throughout his career, including his biggest solo hit, All By Myself.
Carmen recorded the song, with producer Jimmy Iovine (Tom Petty & The Heartbreakers, Stevie Nicks) in the booth, for his self-titled solo debut on Arista Records. It was released as the second single from the album, peaking in June of 1976 in the US at #11 on Billboard's Hot 100 chart, while taking the top spot on the Adult Contemporary chart. It did equally well in Canada, snagging the #1 spot on both the Pop and A/C charts.
Carmen promoted the song with appearances on American Bandstand and The Midnight Special.
Meanwhile, in Australia, in April of 1976, singer/songwriter Mark Holden received a call from EMI Music Australia's A&R rep Colin Petersen, who suggested that Holden cover Never Gonna Fall in Love Again. Holden, who'd released a debut album the previous year full of self-penned songs that was a failure, didn't have to think twice. Later, in his biography, he said it "was a chance for me to have a hit".
Holden promoted the song by performing the track on the popular Australian music show, Countdown, where he performed the track while handing out red carnations to members of the audience. The gimmick struck a cord and from that moment on Holden became known as 'The Carnation Kid.'
It also helped push his version of the song up the charts in his native country, where it peaked at #13 on the Kent Music Report.
At the same time, in the UK, Irish-born, Eurovision winner/pop star and future European Parliament member Dana (pronounced 'Donna') decided to record a version of Never Gonna Fall in Love Again for her album, Fairytales. Released as single, the song reached #31 on the UK charts just as Carmen's and Holden's versions were also peaking elsewhere.
Dana promoted her version by performing the song on The BBC variety show Cilla, among others.
That same year, John Travolta was putting finishing touches on his self-titled debut album for Midland International Records. It included a version of Never Gonna Fall in Love Again which was released as a promo only single in Brazil and the UK.
And that's the whole story.
Now? On to the competition.
The Song: Never Gonna Fall in Love Again
The Competitors: Carmen vs. Holden vs. Dana vs. Travolta
Eric Carmen
Never Gonna Fall In Love Again - Eric Carmen
Never Gonna Fall In Love Again - Mark Holden
Never Gonna Fall In Love Again - Dana
Never Gonna Fall In Love Again - John Travolta
Such a whiny intro. That's flautist Jackie Kelso making that noise. I remember owning this 45 and always checking the needle to see if the vinyl had warped.
I've said it before, I'll say it again, Carmen is an amazing pianist. Iovine is keeping that grand right in the middle, where it bounces and cuts through everything else like an insistent ray of sunshine, while Carmen's vocals are drenched in a dab of reverb giving him a bit of grandeur. The percussion is a bit muddy and flat sounding, lending a leaden feel to the whole proceedings, but those were the times.
The backing vocals on the chorus are so closely melded to Carmen's own that you almost think that swell is a bit of studio magic and not additional voices.
My one complaint? The strings. They move through the center like a laser beam. It's a layer of sweetening I don't think the song needs at this juncture. And that flugelhorn like synth? Questionable. It does add a bit of bottom, I suppose.
This is so over-the-top romantic. It reminds me of movie theme songs from the late 1950's and early 60's. There is a bit of a cinematic sweep to the whole thing, no doubt, brought about by that cribbed melody. Rachmaninoff is a favorite composer of so many for a reason - because of all the aural drama he brings to the table.
As we move into the bridge, typically my favorite part of any Carmen recording, we are assaulted by Kelso on the flute again. It's knobbed so hot. Typically, on the bridge, Carmen runs rampant on the piano and I find it breathtaking, but this? This is wince-inducing.
From that point? This thing feels over-stuffed, a cacophony. There's so much going on. If it weren't for that simple, pounding piano at the mix's center, I would lose all sense of equilibrium and momentum.
I do love the big crashing waves and lovelorn tone. It's a slice of instant nostalgia.
Mark Holden
This has a much cleaner, simpler sound; very Carpenters. Holden's voice is fine; a sweet tenor which keeps dropping the ends of words and phrases. He also has a tendency to reach up to a note rather than drop down on top of it. Listen to "I'll get a-long...". His concept of phrasing (during the verses) seems to be to repeat the same dynamic pattern: he begins mezzo piano, expands to forte and then diminishes to pianissimo, dropping the end of the phrase completely. Over and over again.
He's much better on the chorus. Honestly? There's something disarming about how natural and unaffected he sounds.
The piano driving this arrangement is rather plaintive, yet there's also a bit of a music hall sound rumbling beneath.
I actually approve of the string arrangement in the second verse. So far, there's nothing here that's objectionable, its simply unremarkable.
I would have preferred he not mess with the melody line in the chorus. Only because I really miss the lilt, the lift those few notes added. He just drops it and moves on.
No bridge. Cuts thirty seconds. Okay.
And he goes out with... a nothing. Like every phrase he sang, he just drops it and acts like he never touched it. Odd.
But fine. I enjoyed the simplicity. Very clean. Flattened.
Maybe I do miss the drama.
Dana
Treacly opening. Sugary. And then a big down beat. Piecing, multi-tracked vocals.
Oh dear, please... save me from all these f'ing flutes.
Oh, I do like her voice. Very pure. The pseudo string plucks. Ugh. That guitar is overworked - already. And it's early, boys and girls.
I really like her voice. Her phrasing? No. I would have asked for another take on this one. Who drops the middle of a phrase like that?
I think it's a shame they multi-tracked and paired her vocals with backing vocalists for the chorus. Her voice is so pretty and pure. Seems unnecessary, though I'm sure it sounded great on the radio.
No. I really dislike the vocals on the chorus. That is annoying.
I do like the verses. The dichotomy between the fuzzed-out, overworked guitar and her cute as a button voice... there's drama there, there's a story. Her voice reminds me of Marie Osmond or Debbie Boone. It's lovely. A bit precious.
Here's a little background - right after she recorded this, she had to have an operation in order to save her vocal chords. It was botched and she was told she'd never sing again. But she did... four years later she was back in the saddle. However, tastes had changed and her career (as a singer) was essentially over.
Man, those chorus vocals rub me the wrong way.
Ooo... key change. And then it simply becomes shrill; like a power drill attacking one of my eye sockets.
I like the verses. The rest of the arrangement is schmaltz. I haven't the stomach for it.
And the chorus is awful. "Pain..." is right.
John Travolta
This is sort of a combination of Carmen's and Holden's versions. I like the cleanliness, but there's still a bit of storm in the background. The overall sound is more expansive than Holden's.
Travolta as a vocalist. Very breathy, which is not without its charms. His vocals are very unsupported. I'm not quite sure where his voice emanates from... maybe his third eye? I do like his attack and lilt. The piano here reminds me very much of the sound that drove Cheryl Ladd's hit, Think It Over into the Top 40.
Odd thing he does with "a way-ay-ay" - does he slip an 'o' vowel in there?
The verses are fine and then we rush into the chorus and... ugh. The backing vocals are awful. He sounds rushed. Did they increase the tempo? His phrasing is awful. Did they do this in one take? Had he ever heard the song before? It's like he's sight reading the sheet music.
And those gooey strings? Blech.
This is like a multi-car pile up... it just keeps getting worse.
I don't think he has any sense of melody.
And that space cowboy guitar? Why?
Travolta is ahead of the beat, he's behind the beat...
Another f'ng flute! Was there a law in place saying every damn song had to feature a flute?
Okay... okay... I have to stop. I can't rip on this man anymore. He was a kid. It was fun. Good for him. Music? No. No, not at all. Not even close.
And the only thing worse than his vocals is that car-wreck of an arrangement which, by the second chorus is throwing the kitchen sink in there, too.
And... just when you think it can't get worse... flute solo.
I swear they are speeding up the tempo on the chorus. What is that phenomenon? If you tried to recreate that, you couldn't... yet, it must be possible - the mechanics, the physics - because there it is. It's creepy.
This was creepy.
The Verdict
Before I launch into this, I want to share a story.
When I was a kid, I attended a street dance, where I ran into my little sister's best friend. We were both very young and excited to be there; fish out of water, we hung around each other. The local radio station from Austin, MN was on hand to DJ live.
My sister's friend and I wanted to request something. All the DJ had been playing were things like Ted Nugent and disco. We pestered him and pestered him to play... this song. He griped, and kept refusing, but finally relented.
Wow.
If you ever want to stop a street party dead in its tracks? Play this song.
No one else danced, just me and my sister's friend. And guess what?
You can't dance to this song. At all. It was like I had lead feet. It was painful and embarrassing... and one of my favorite childhood memories.
So, thank you Renee, wherever you are. And thank you, Mr. DJ - who knew better, but played it anyway.
Okay, back to the verdict...
Carmen's version is over-the-top romantic. I know what he was shooting for and he actually came very close to creating what he had in mind. It's a bit over-complicated and distracting - the way Spector's Wall of Sound became more of an aural focal point than the singers or song itself. Like I said... instant nostalgia.
I enjoyed Holden's simplicity, but he lacks finesse as a vocalist and I found some of the technique he relied upon too heavily to be off-putting.
Dana has a lovely, sweet voice, but the arrangement is crap and the choruses a travesty.
Travolta? What a nightmare. I almost want to try to listen to it again just to see if I can figure out what's going on. It's such a mess. And, no, he's not much of a singer.
So... this goes to... Sergei Rachmaninoff.
He brought the drama.
No... it goes to Carmen. Musically his version is the most palatable. It's dated, but... fascinating. And I get what he was going for.
The others? Amatuer hour.
--- ---
And that's enough of me.
Okay, your turn. Leave your choice and thoughts in the comments section. You know I love to hear a differing opinion.
That's all for now.
Thank you for reading... and listening!
Never Gonna Fall In Love Again - Eric Carmen
Never Gonna Fall In Love Again - Mark Holden
Never Gonna Fall In Love Again - Dana
.webp)
3 comments:
Eric Carmen, of course. There's something about his songs that makes them memorable.
And was Mark Holden ever so handsome! I would have taken a carnation and more from him.
I'm speechless with Travolta. They did try to make him happen, no?
XOXO
I'm with you, Carmen. though Holden's voice has a brighter tone to it. Dana --- ew.... Travolta: Why? Just to try and cash in, I suppose. Good think he figured out his path was not as a recording artist.
Hands down.....Carmen!!!!!!!!!
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