Who Did It Better? I Just Fall In Love Again

Who Did It Better? 

I Just Fall In Love Again

Oh, what fools these mortals be...

Yes, sometimes, despite our earnest, very-human intentions, life gets in the way, resulting in best-made plans being thwarted and a different bird getting the proverbial worm. 

Such is the case with today's Who Did It Better? selection. Two other well-established artists had big plans for today's song, however, circumstances allowed it to slip through their fingers and land in the lap of another, who wasted no time taking it to the top of the charts!

I Just Fall in Love Again is a song written by Larry Herbstritt, Steve Dorff, Harry Lloyd, and Gloria Sklerov. Herbstritt composed the melody and chords for the chorus and a chord progression for the verse, which he took to his friend, fellow songwriter, Steve Dorff. Harry Lloyd and Gloria Sklerov then provided the lyrics.

Richard Carpenter was the first to became aware of the song and thought it a great fit for Karen's voice. Once recorded, he was also convinced he had a huge hit on his hands. However, the group's label, A&M Records (owned and operated by Herb Albert) did not agree. The powers that be felt the song, running at just over four minutes, was too long for AM Radio and editing it to fit the format was simply not possible. So, while the song was included on the duo's 1977 album, Passage, it was never released as a single. 

In 1978, Dusty Springfield was mounting a bit of a comeback. Signed to United Artists, she and producer David Wolfert had the MOR market in mind as they selected songs. One of those songs? I Just Fall in Love Again. The pair had high hopes for it and planned to release it as a single. However, when the lead single, I'm Coming Home Again, failed and a series of concerts in the UK cancelled due to public indifference, things were put on hold. This was also due to the fact that the label, United Artists, had been sold to Mercury Records the same week Springfield's album came out, resulting in all sorts of management changes, and in the shuffle, the album simply didn't get the kind of promotion it needed.

 
That same year, Anne Murray chose the song to be part of her New Kind of Feeling album. Murray, who'd been enjoying a huge surge of popularity thanks to songs like You Needed Me and Broken Hearted Me, was unaware that Springfield, who happened to be one of Murray's favorite singers, had recorded the song only six months before. Later, she said, "If I had known (Springfield) had released it as a single, I never would have recorded it."

Released as a single in early 1979, Murray's version quickly rose up the charts. It would end up topping Billboard's Country and Adult Contemporary charts for three weeks, while snagging the #12 slot on Billboard's Hot 100. Subsequently, the album would go Platinum, and the song would be declared the #1 Country Hit of 1979 by Billboard Magazine. 

Later, in 2007, Murray, to honor Springfield, would create a posthumous duet, melding their respective versions of the song. It's included on Murray's album, Duets: Friends & Legends.

And that's the whole story.

Now? On to the competition!

The Song: I Just Fall In Love Again

The Competitors: Carpenters vs. Springfield vs. Murray

I Just Fall In Love Again - Carpenters

I Just Fall In Love Again - Dusty Springfield

I Just Fall In Love Again - Anne Murray

Carpenters

A little background: 

For their new album, Passages, Richard Carpenter had cast about trying to find an outside producer to liven things up. Sales were down and he had a sense that their classic Carpenter's sound had grown a bit stale. Unfortunately, no one suitable, for one reason or another, would take on the job. So, Richard, deep in the depths of his sleeping pill addiction decided to soldier on, believing that song selection alone would remedy the situation. 

Well, I have to let you know right up front, folks; everything wrong with this is Richard's fault. 

That is one treacly intro. Is that a woodwind? An oboe? A flute? What is that? It's very pretty, but a bit too precious for 1977. 

Karen, matching the tone of the opening, enters in on tippy toe wearing satin ballerina shoes. Still, there's that lovely lope/bend to her voice which feels warm and knowing. 

The piano is fine. I enjoy its simplicity and acuteness. 

Karen sings 'baby' and in swoops a flourish of strings and a damn flute. Oh, my word... please... rescue me from flutes. This sounds like a Disney animation score. 

And still, we have Karen, ever perfection, matching each notch up the crescendo. She is such a skilled singer; so much control, such a lovely tone. 

Launching into the chorus, clueless Richard pours on the schmaltz; it literally glistens. And those strings? How dare they threaten to undermine our beloved singer? Richard? Have you no shame?

I could argue with that stretch Karen gives to 'ev'ry time'. I would have pushed her in a different direction. But this is a minor criticism. I find her 'fluffing' on 'and when I do,' very interesting. I don't know many singers who could pull that off or even consider doing it. 

So, at this point, I think her tone and Richard's arrangement, for that matter, would have been much more at home covering an American Songbook standard, such as When I Fall In Love. I wonder if that song served as an inspiration for Richard's take on this one.

The instrumental bridge into the second verse? Well, I surrender. It's lovely. And very Steven Spielberg 1977. Spielberg's movies and Carpenter's music are perfectly suited to one another - both giant bowls of sweet vanilla pudding.

The thing I don't understand? Why does Richard insist on calling attention to his arrangement? Why couldn't he simply support the song and the singer? The strings become truly terrifying as Karen sings 'take me to a star.' They sound like a pair of giant wings flapping.  And that's followed by some weird ass drum drops. (Don't blame Karen - this is the first album on which she didn't play any drums.) 

Those strings behind the chorus? I am just shaking my head. I feel like I fell into a Disney wonderland. Love that occasional ache Karen uses to un-homogenize things. 

That is one bloated, uninspired guitar solo. And the 'ick' factor keeps ramping up. This is so old school. Who was Richard selling records to? My grandmother? 

And for the final chorus, Karen loses her battle against the strings. Apparently, Richard's ego is more important than the song, their career, their ability to compete in a market they were rapidly aging out of, and the considerable gifts his sister brought to the table. 

The arrangement does back up enough to allow Karen to finish the damn thing with a bit of dignity. A total shudder fest.

Dusty Springfield

David Wolfert, the producer for this album, was part of Melissa Manchester's crew just prior. So, I think he's a good fit. Let's see what he does.

The piano intro is very nice. Almost sounds as if there are two at play there. Dusty enters and I must say, sounds as if she's just been lulled awake. It's very intimate and rather lovely.

As we move to the chorus, that piano is working hard. Dusty's voice is a touch fragile, lots of breaks and dryness, but her skills as a singer, particularly her phrasing are still working their magic. 

The chorus is lovely. The arrangement? Other than the piano, very by the book. The guitar sting at the end, I could do without, but it does add a certain texture. Love Dusty's vocals. Yes, halting and airy, but she's still completing a phrase, broken though they are.

There is a second keyboard! The arrangement is ramping up a bit with the introduction of that sustained guitar. But Springfield is not seceding any ground. I'd pull those strings back, but Springfield doesn't appear cowed at all. 

So, Wolfert is a guitarist, though I'm not sure that's him playing the solo. Rather unconventional. It reminds me of similar solos played on Rita Coolidge's albums. 

I like all the liberties Springfield takes with the melody. And, while I could quibble a bit with the mix and the arrangement, I think this is a complete success.  

Anne Murray

My, that is a big 'ol bed of strings! Treacly piano intro.  

I love Anne's voice. It's so comforting. And there's just a hint of lilt now and then, enough to keep it from becoming too leaden. Oh, that little piano scale fill... eek. Very lounge singer. The bass notes on the piano on "in your arms?" A bit foreboding. 

This arrangement is a bit much for my taste, but Murray's pop sensibilities come shining through on the chorus. She stays on top of this thing. An incredibly strong vocal, making those intervals with such ease. There's something very athletic about her singing, yet she also makes it seem effortless. Still, a bit strident on occasion.

Some weirdly tuned stuff going on in that fill. 

Ah, the steel guitar. Now, it's country. Those little trills the piano keeps introducing as filler... ugh. I do like how the steel guitar counters the melody. That's the beauty of that particular instrument. Hear that weird bowed moan before "heaven is that moment...?" Like a spooky ghost. 

The further we venture into this and the more cooked the arrangement gets, Murray responds by becoming incredibly strident. She's nailing notes like they're shingles on a roof. The only thing that saves her from sounding ridiculous is that lilt she occasionally employees and the the fact that she knows exactly the right amount to pull back on a note - such as when she sings the word "go."

I have no doubt, as big as Murray's vocals are, that this sounded great on the radio. 

The Verdict

Poor Karen. 

I do wish we'd had a chance to get to know her as a vocalist outside of Richard's control. You can't count her 'solo' album, because, even though it was produced by Phil Ramone (Paul Simon, Billy Joel, Barbra Streisand), it was shelved and released only 13 years after her death. And even then, before it was, Richard had the gall to remixed the whole thing.

I guess we could blame the Quaaludes for this one? But, despite Karen's incredible vocals, it is an utter mess. It's probably a good thing it wasn't released as a single.

Dusty's version is alive. And while she's not in the best of voice, it still works incredibly well. The arrangement, a tad over the top here and there, supports both the song and the vocalist very well. Though I don't know that, had been released as a single, it would've gotten airplay. She does sound very fragile. But... and I had to go back and listen to it again before this occurred to me, she also reminds me of Diana Ross singing It's My Turn. So, I think it really works. 

And Murray? Well, if Dusty is a fragile flower awakening, then Murray is... a truck driver? The woman moves through that song without batting an eye. Zero hesitation. From note one, she's got the hammer down, pulls her notes when needed, staring straight ahead the whole time. Nothing wrong with that. Given that questionable arrangement, it seems the best course of action. 

The winner here? 

I know Murray got the hit. And I know this is 'her' song. But for me.

It's Dusty. 

The woman brings a tear to my eye.

You do that? 

And you've got yourself a fan for life!

--- ---

And that's enough of me. 

Okay, your turn. Did I get it wrong? 

Leave your choice and thoughts in the comments section. I love to hear a different point of view. 

Until next time... 

Thanks for reading... and listening!

I Just Fall In Love Again - Anne Murray & Dusty Springfield

Anne Murray and Dusty Springfield