Who Did It Better? Make No Mistake, He's Mine

Who Did It Better? 

Make No Mistake, He's Mine

Oh, you know how I can't resist a melodramatic duet, especially one delivered by two pairs of industry heavyweights. And this song is as ripe and juicy as it is musically satisfying. Written by one of my all-time favorite artists, how could I resist?

Make No Mistake, He's Mine is a song written by Kim Carnes. Carnes was an established hitmaker, both on her own (Bette Davis Eyes, More Love), as a duet partner (Gene Cotton, Kenny Rogers, Randy Meisner, James Ingram, Barbra Streisand) and as a songwriter (The Heart Won't Lie, Love Comes from Unexpected Places.)

1984's Emotion album was to be Streisand's reintroduction to the market as a pop artist. In the 1970's she'd enjoyed a string of chart toppers. however, during the time she'd devoted to her masterwork, Yentl, she'd watched her chart presence as a singles artist diminish a bit. Emotion was meant to rectify that. To turn the tide, industry heavyweights were brought on board as collaborators, including Earth Wind & Fire's Maurice White, John Cougar Mellencamp, producer/songwriter Jim Steinman, songwriter Dianne Warren and Carnes. 

Carne's contribution, Make No Mistake, He's Mine was recorded as a duet by Streisand and Carnes (who also co-produced it with Bill Cuomo.)  Released in December of 1984 as the album's second single, it climbed to #8 on the Adult Contemporary chart and #51 on the Billboard's Hot 100 in early 1985.

In 1987, the song would be reinvented by Kenny Rogers and Ronnie Milsap, as a male duet, at the suggestion of Rogers. Under the title Make No Mistake, She's Mine, the country superstars ended up topping Billboard's Country Chart (#1) and landing at #42 on the Adult Contemporary chart. Their unique duet would go on to win a Grammy Award for Best Country Collaboration With Vocals and was later included on Milsap's Heart & Soul album and Rogers' twentieth and final album for RCA, I Prefer the Moonlight.

The song also enjoyed a bit of a resurgence when it was featured on the popular television show, Glee. Featured in Diva (episode 13, season 4,) it was sung by the series regulars Sam (Chord Overstreet) and Santana (Naya Rivera), as they fought for the affections of Brittany (Heather Morris). Regarding this new interpretation (a man and woman sing about a female lover,) Carnes acknowledged the "three different meanings of the song," calling the feat, "rewarding and gratifying."

 A solo rendition of the song by Carnes surfaced as a bonus track on the 2001 CD reissue of her 1985 album, Barking at Airplanes. Unfortunately, that version has yet to be uploaded to YouTube, so I couldn't consider it as part of this competition.

Incidentally, in 1985, Carnes became the first artist to appear on the Billboard charts as a solo artist (Invitation To Dance), part of a duet (Make No Mistake, He's Mine), and part of a trio (What About Me?) at the same time. Quite the accomplishment, don't you think?

And that's the whole story.

Now? On to the competition!

The Song: Make No Mistake, He's Mine / Make No Mistake, She's Mine

The Competitors: Streisand/Carnes vs. Rogers/Milsap

Make No Mistake, He's Mine - 

Barbra- Streisand and Kim Carnes

Make No Mistake, She's Mine - 

Kenny Rogers and Ronnie Milsap

Barbra- Streisand and Kim Carnes

So, I think there's a couple of mistakes made with this single. And I have all sorts of issues with the album as a whole (I think it was a bit of a misfire,) but I'll just focus on this single. 

First off. they released this as the second single. I know that Jim Steinman was enjoying a great deal of success at the time (Total Eclipse Of The Heart,) and maybe they thought Left In The Dark was of the same caliber, but... it was not. This song, on the other hand? Solid. Plays out just like other classic duets of the time and I think it would have been just novel enough of an approach to grab more attention.

Secondly? Where was the video? It was 1984. Everything needed a video. Granted, we didn't want anything as embarrassing as Reba's tour de force, but, let's face it - Streisand would have made everything in that video work like a charm.

Thirdly? Streisand needed to go first. Her voice grabs a listener unlike any other. I don't know if it was because she didn't want to play the wronged woman or if it was something Carnes insisted on, but it's a big misstep - especially considering how pitchy and weak Carnes vocals are, a couple of times, in that opening volley. That first verse? Not Carnes best work. And, yes, I realize it's all about building up to all the emotional fireworks. but... come on. It's Barbra Streisand!

Okay... here we go...

Love the very basic piano intro. Simplicity has always suited Barbra best. Yes, she can sing circles around a damn marching band, matching them blast for blast, but her artistry as a vocalist always shines best when the listener is allowed to concentrate on every flex of her soft palate and every inflection.

Do you hear how Carnes wavers on the word 'more?' Not quite sure how that got through quality check. Oh, and by the way - huge fan of Carnes, so, yes - I'm being picky. Also, her vocals are so over-treated. A little reverb? That's always welcome, but these are so homogenized it's smoothed out everything that makes her achy-breaky voice such a charmer. That opening verse is so filled with emotional substance and Carnes does just fine by it, but... just imagine all the controlled fire Streisand would have brought to that table.

Streisand's arrival brings on the strings. I have to say, I have very few quibbles with this arrangement, except... those guitars come on a bit too strong. Not that Barbra can't handle it. She's in great form, masterful as always. Her instincts as a vocalist rarely fail her and here, her voice is in primo condition; so flexible, so agile. 

We're going all in with the bridge, which also happens to be my favorite part of this well-written song. I think Carnes and Streisand play off of one another well and blend fairly well, too. Yes, the production work is bigger than life - but then? So is Barbra Streisand!

And back to the beginning, with Streisand taking the lead this time. She modulates up nicely. I think one could write up an entire Masters thesis trying to describe all the little things she manages to do with her voice, and yes, she's a very complicated singer, but she also does it so well and with such control that she makes it all sound incredibly natural and easy.

I'm not sure what instrument they have playing counter melody to the piano at the 3:14 mark. I don't think it's a good choice, as it sounds weirdly out of tune. But it's a minor complaint. The vocal back and forth is what grabs the ear and holds our attention. And I like that they both end, singing the same line. It's a study in contrasts. 

Musically, that's a very 'Carpenters' like ending.  

Kenny Rogers and Ronnie Milsap

Ever since It Was Almost Like A Song, I have considered Ronnie Milsap the Barry Manilow of country music. That simple, strident, plaintive piano intro? That's so him. Very clean sounding. I like. They bring on the strings and whatever that instrument is way too early. 

And, see... Kenny doesn't mess around. He takes the lead. This was his idea, so he sings first. Kenny's voice has a certain lived-in quality that the whole world responds to... it's very comfortable. That orchestra moving in the background like the theme from Jaws? Bit much.

Is that a damn whippoorwill? Sounds like a reedy bird call.

Milsap sounds great. Dislike that fluted synth acting as counter-melody. There are so many odd little noises in this arrangement. The fluted synth is followed by something that sounds like a very quietly played digeridoo. Can you hear it? It's incredibly low in the mix. 

The voices sound nice together. Nice blend. That string flourish that's on their tails, though? Too much. Then, Milsap gets all airy and Kenny all croaky. And the strings are just taking off all on their own. Weird. The singing is so simple and straightforward. Did they really feel the need to gussy it up with all these strange and frequently inappropriate trappings? Sometimes an arranger needs to be told 'no.'

The bridge is a bit too straightforward for my taste. I much prefer the high drama Streisand/Carnes naturally bring to it. Here, the harmonies have no space to breath and those damn strings swirling around like a dust devil is annoying the hell out of me. And then, in the call and response section? They just sort of yell at each other. The vocals have no warmth. No ache. Zero sensitivity. 

How very male. 

As return for the third verse, that very clean piano has morphed into some kind of whiny synth. That's unfortunate. And some kind of treated xylophone on the counter melody? Wow. Did they walk into a studio full of instruments and just say, hey, let's use all of them! Did Richard Carpenter arrange this? 

Milsap's voice is also getting on my nerve - the one left.

Nope. Sorry. This... is so not it. 

The Verdict

Well, the gentlemen have made this very easy.

I can't believe Rogers and Milsap had a #1 hit with that bloated piece of crap. But then I think the bar is much lower when it comes to the country market. There's so little dramatic tension and such a lack of dynamics, it plays like its the karaoke version. 

I now have an even great appreciation for all the nuances Carnes and Streisand brought to their version. They skillfully lure in the listener and manage to keep our attention without resorting to gurgling synths and strange counter melodies. Theirs is a very real conflict played out on a beautifully supported stage. 

For me, it's Streisand and Carnes by a country mile. 

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And that's enough of me. 

Okay, your turn. Leave your choice and thoughts in the comments section. I love to hear a differing opinion. 

That's all for now. Until next time...

Thanks for reading... and listening!

Make No Mistake, She's Mine - Glee