Who Did It Better? Sometimes Like Butterflies

Who Did It Better?

Sometimes Like Butterflies

A good song has the means to find its own way in this world; simply by virtue of  it being well-crafted. Such is the case with today's little gem. Such a song may not be released right away, sitting on a shelf in a vault, fearful it may never see the light of day. But, if it is quality music, it will find a way to bubble up into the public's consciousness. 

Sometimes Like Butterflies is a song written in 1982 by Donna Summer with her frequent collaborator, Bruce Roberts. 

At the time, Summer found herself caught up in a bit of a dilemma. The 1970's had been good to the superstar, yielding one hit after another. She left Casablanca Records, due to personal and contractual disputes, for the presumably greener grass of the shiny, new Geffen Records, it was assumed the good times would continue. However, sales for her Geffen debut album, 1980's The Wanderer, proved disappointing and, after refusing to release her follow-up album, 1981's I'm A Rainbow, the label requested that she no longer work with longtime collaborator Georgio Moroder.

Superstar producer Quincy Jones (Michael Jackson) was brought on board. It was not a match made in heaven. The recording process proved arduous and long (6 months.) There were more people involved in its making than on any other previous album Summer had recorded. She was also pregnant with her daughter, Amanda Grace, at the time. She found Jones to be boisterous and controlling, telling the Los Angels Times that: "Sometimes I feel it's a Quincy Jones album that I sang on."

The  advance single, Love Is in Control, featured a track on it's B-side which did not make the album's final cut - Sometimes Like Butterflies. Featuring Quincy Jones as producer, the song's production values are minimalistic and unlike any other track included on 1982's Donna Summer. Love Is in Control would peak at #10 in the US, while the album managed to reach #20.

But the song didn't go unnoticed.

In 1985, Dusty Springfield, who last released an album in 1982 on Summer's former label, Casablanca Records, was adrift without a recording contract. 

Enter Hippodrome records.

Hippodrome Records was the brainchild of nightclub-owner Peter Stringfellow, who opened the famed London Hippodrome nightclub in the old Talk Of The Town theatre. The Talk Of The Town, a cabaret/restaurant had featured such performers as Judy Garland, Eartha Kitt, Shirley Bassey and... Dusty Springfield. Hippodrome Records, under the direction of Dave Martin. was an off-shoot of the nightclub, operated out of a backroom at the club. Featuring primarily Hi-NRG fare, the label's releases were sold in a shop in the club's foyer.

In 1985, Martin approached Springfield, suggesting she record a version of Sometimes Like Butterflies as a one-off single for Hippodrome. Splitting production credit, a 45 version and a 12" version of the song was released to the public. Despite limited promotion, the single still managed to reach #83 in the UK.

Fast forward to 2012. 

Kristine W is busy putting together her first compilation album, New and Number Ones, when word reached her that Donna Summer had passed away. Kristine had spent years in Las Vegas doing a well-received revue of Summer's music, so the dance diva held a special place in her heart.

Since the set was to include some of her greatest hits alongside select new recordings, Kristine decided to include a version of Sometimes Like A Butterfly to honor the beloved icon. The liner notes for the CD included a short essay written by Kristine, paying tribute to the music legend. The album proved popular both in and outside of the club scene, reaching #19 on Billboard's Top Dance/Electronic Albums and #14 on Billboard's Heatseekers chart.  

And that's the whole story.

Now? On to the competition.

The Song: Sometimes Like Butterflies

The Competitors: Summer vs. Springfield vs. Kristine W

Sometimes Like Butterflies - Donna Summer

Sometimes Like Butterflies - Dusty Springfield

Sometimes Like Butterflies - Kristine W

(Simon Langford and Soul Seekerz Tribute Radio Edit)

Donna Summer

Nice simple piano. I wonder if Mr. Roberts is playing? Oh, Ms. Summer is not in good voice. That is pretty raw sounding. I know Quincy really pushed her in the studio and that she found several of the songs he'd picked for her to be quite difficult to sing. 

I remember the critical reaction to 1982's Donna Summer album. Everyone thought it was over-produced and that Summer sounded mummified and tired.

I also question the key, seems high. Something lower would have given us a richer sound, but maybe her bottom range was in worse shape than her top?

Still, our lady demonstrates she's got a great set of pipes. As she warms into it, pushing further up, she goes full volume and things sound a lot better. I like the song. It's very simple, but pretty. Lovely sentiment, which her strenuous vocals help balance, removing the treacly nature of such a song.

This is how I love to hear my divas... with just a simple piano. Nothing showy. Nothing to distract from their vocals. The additions to the arrangement are fine. Nice fill. Nothing too fancy. I do like that they keep calling attention to the piano. 

Summer's vocal fills following the chorus? Meh. She's just filling airtime, not really adding anything or saying anything. It's an issue many vocalist face. Sometimes? There are things that are best unsung.

At the 3:17 mark she's fully committed. That's our girl. 

That's some very restrained percussion work. In lesser hands, this could have come across as quite pedestrian. Our lady gets very real at the end and I like the bell-like ending.

I'm glad she was able to get this one out there, even as a B-side. 

Dusty Springfield

Down tempo. The piano is there but shrouded in a synth wash. I kind of like the accent notes.

Again, rather surprised by the key. Seems high. 

Dusty is in breathy, dry-throat mode with lots of reverb. The production work here is a bit heavy-handed, considering the relatively lightweight material. 

"If you wanna love me... if you wanna hold me..." - how lovely is that? This lady makes my eyes well up at the drop of a hat. What is that power? How very vulnerable she sounds. 

Well, it was the 80's and everything was synth driven and everyone loved experimenting. It was easy, because all you needed was someone who had a keyboard and someone who could summon forth sounds. I suspect there were probably three or four people playing everything. 

Again, I like the little accent keyboard. It sounds a bit cheap, today, but is still effective. I do appreciate the restraint being shown. They know Dusty is the reason we're listening and the lady is front and center at all times... so far. 

Oh. She stretches out on that second chorus, now fully-engaged. Nice. Nice to know she still has her pipes. 

I am so glad I never got ahold of a copy of this in 1985. I would have played it to death. 

Oddly enough, I find I'm paying more attention to the lyrics on this version. That's a sign that a singer is doing a great job interpreting a song. Springfield is doing more than just singing the notes - she's very connected here. 

The production work is a little muddy. No air. That becomes glaringly clear once that obligatory sax enters the picture. Everything is coated with the same glaze, melding all the elements together - that, great music, does not make. 

Wow. She feeds off that sax and comes up with something that matches its fire, but does not come across as shrill. Nice. Where did she pull that from? I am impressed.

I don't even mind when her throat gives out on 'fly, fly, fly.' I do think the arrangement has started to get in the way though. I could do with less at this point.

The play out is fine. I think her filler lines work, even when her voice fails a bit. Very effective.   

Kristine W

This is a little unfair. Kristine is working with much more advanced studio technology and this is a dance mix. But, I thought I'd include it anyway. I think it's too bad she didn't do a straight version for her previous album, 2010's Straight Up With A Twist. 

Way up tempo. But that's because of where we're headed. Same high key. I like the subtle synth washes. She's in good voice, her vibrato is very focused and bird-like. Rather like a coo.

She has a little trouble opening up the vowel sound on that stretched 'know.' But then, that could because of where we're heading.

Which is the dance floor, bitches!

Oh, my. Yes. I wanna dance. I love this HI-NRG stuff. Bit fat synth pad moving in the background, standard drum machine beat. I feel like I just climbed aboard The Love Boat.

Cheesy? Perhaps. But that is also part of its charm. 

And no diva brings more heart to a dance floor stomper than Ms. Kristine. She digs in and it gets even better on that second verse. Oh, she brings on the choir. Yes, the lady is taking us to church, kids.

Her phrasing, at times, is a bit... well, odd. But then it's about finding the rhythm within the arrangement. She does a great job with it, keeping our ears engaged and on guard. I do like the mix and find the arrangement very simpatico to the song.

I like all the energy. I like that wall of sound the backup singers bring. This is full-bodied and fun. As tributes go, this one celebrates Summer's spirit in the best way. 

That hyper-syncopated, Latin-flavored break down is interesting. Plays like a xylophone. A bit surprising. 

"Fuh-ree..." Well. It's a choice. Is this becoming chaotic and frantic feeling? Nope... we are off and soaring once more. 

Oh, the play out... wasn't sure, but it does end up working. Very nice.

The Verdict

You know, before I started to write this series, I was not all that acquainted with the work of Dusty Springfield. Oh, I knew the most obvious hits; those are inescapable. But I never really paid attention to what everybody else was talking about. 

The lady really knows how to connect to a song. 

I already know Miss Maddie's choice. And I'm on board, too.

Summer is not in the greatest of voice. I have a feeling this is a recording made as a concession to the artist after putting up with Mr. Jones. Her version is fine. And if that is all we had to consider? It would be a fine pick.

Kristine's is fun. My buns were jumping as I sat and wrote this, so hers is very effective, both as a tribute to her idol and as a bit of dance floor fun. I really enjoyed her energy.

But, it's Dusty who, not in the greatest of voice, still manages, due to her artistry, to do the song the most justice. Despite production values and an arrangement that feel a bit pedestrian, our lady still manages to deliver an astounding, nuanced performance. I believe every note she sings. She found the heart of this rather slight song and absolutely devastates. I feel so fortunate to have heard this version.

So, yeah... it's Dusty all the way for me. 

--- ---

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.

Thank you for reading... and listening!

Sometimes Like Butterflies - Dusty Springfield