Who Did It Better? Now We're Starting Over Again/Starting Over Again

Who Did It Better?

Now We're Starting Over Again/Starting Over Again

Ooo... three major divas battling it out. This should be fun!

When you're an established songwriting team with a number of huge hits under your belt, you can bet you're going to end up with a song or two which fails to connect with the mainstream from time to time. Such a song gets picked up by one vocalist after another, until it finds the one who makes it the success it deserves to be. Such is the case with today's Who Did It Better? selection, a little gem of a song which would go on to become a staple on adult contemporary radio.

Now We're Starting Over Again  is a middle of the road ballad written by songwriting team Michael Masser and Gerry Goffin. The pair is responsible for a number of all-time classic ballads, as sung by Diana Ross (Do You Know Where You're Going To (Theme From  Mahogany), Whitney Houston (Saving All My Love For You), and Roberta Flack & Peabo Bryson (Tonight, I Celebrate My Love). 

Now We're Starting Over Again was first recorded by Dionne Warwick in 1981 as part of the studio side of her Hot! Live And Otherwise album on Arista Records. .It  was released as a single in certain countries, though it failed to become a major hit. It's sole chart appearance was in the UK, where it managed to reach #76.

Fast forward four years, and Cotillian artist Stacy Lattisaw (Love On A Two Way Street, Let Me Be Your Angel) is making the move from teen singer to adulthood. She would record the song as part of her 1985 album I'm Not The Same Girl. 

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Natalie Cole was in the midst of a late 80's resurgence. She'd gotten sober and was heating up the charts with pop gems like Jump Start (#13), I Live For Your Love (#13), Pink Cadillac (#5), and Miss You Like Crazy (#7) (which was also penned by Masser and Goffin with Preston Glass.) Her 1989 Good To Be Back album on Elektra Records included another Masser/Goffin contribution; the retitled, Starting Over Again. 

Released as the album's fifth single, it would become a staple on adult contemporary/easy listening radio stations, managing to reach #5 on those charts in the US and #12 in Canada. It also became a minor hit in the UK, peaking at #56. 

And that's the whole story.

Now? On to the competition!

The Song: Now We're Starting Over Again/Starting Over Again

The Competitors: Warwick vs. Lattisaw vs. Cole

Now We're Starting Over Again - Dionne Warwick

Now We're Starting Over Again - Stacy Lattisaw

Starting Over Again - Natalie Cole

Dionne Warwick

I've always been a fan of the double-album set this song is a part of. On one of the live sides, there's a stunning medley of her Burt Bachrach material which I never tire of listening to. 

A very pretty intro. A bit treacly, definitely going for that MOR market. Incidentally, this recording is being produced and arranged by Michael Masser, one of the song's writers.

That opening volley by Warwick is pitched pretty high. But the lady is still in great voice, so, while just the tiniest bit under the note, she still sounds good. It's a risky gamble - pitching that first note so high in her register and utilizing her head voice - and I don't think it pays off. 

She almost immediately reverts to her mid-range and it sounds so much more assured. She's a pro. The way she works her lower jaw has so much to do with the tone of her vocals. It's one of the things that makes her delivery so unique, as she pulls notes and clips phrases. 

Not loving the string arrangement. It's way over the top. And the backing vocals, though more subdued, are giving me a very Vegas feel. This hasn't aged well. That's some odd guitar work countering the vocals. 

As we regroup and, quite literally, start over again - you can hear the influence that Do You Know Where I'm Going To (also a Masser/Goffin composition) has on this song and string arrangement. If that is what Masser was going for here, he needed to hone in those strings. There's a quiet beauty, a stillness found in Do You Know Where I'm Going To that I'm not feeling here. This feels rushed and pushed. And Warwick sounds like she's merely skating the song's surface. I place the blame on the arrangement. It's not tender and I think, perhaps, slowing the tempo a bit might have given Warwick more time to contemplate what she was singing and give this whole affair more breathing space. 

"Break each other's hearts.." - not pretty. And not the strong statement I think they believe they're making. That's belted like a truck driver. 

Really dislike that little guitar lick in there. Why? It's so telethon/union musician sounding. 

And we have the obligatory key change. The strings feel shrill and Warwick is wound up too tightly. Again, not the strong statement they think their making. This isn't a declaration, it simply feels strained. 

Part of the fault belongs to Warwick. She's not popping her notes out of the top of her head - which is what a singer needs to do when stuck in their upper range. That's how one keeps things from becoming laser like and unmusical. 

I'm disappointed. I was expecting warmth. I don't feel Warwick ever has an opportunity to own this song, she's so rushed. Thus, her delivery comes off rather workmanlike, as if to say, 'hey, let's just get this one in the can and call it a day.' 

Stacy Lattisaw

A bit less ostentatious intro. I like the tempo. But Lattisaw is singing behind the beat right out of the gate. There's a disconnect happening between the singer and the arrangement. The backing vocals are lovely, but equally out of sync with the arrangement. 

Huh. Lattisaw has a powerful, pointed voice. Multi-tracking her vocals on a simple ballad like this? I don't know what they're thinking. I like the relative simplicity of this arrangement, but warm is not a word that springs to mind while listening to this. By the way - once again, arranged and produced by Masser. Wow, I really dislike those vocals on the chorus. Too strident. 

Launching into the second verse, Lattisaw, who has a lovely, young voice, continues to sing behind the beat. It's off-putting. But then, I think this song isn't a good fit for her. This is adult contemporary and she's still a teen. The subject material feels ill-suited and way too mature for this still budding singer. I think that explains why she fails to dig very deeply or find the natural lilt that exists in the melody of the verse and chorus. 

Wow. Verse two is incredibly underwhelming. Her delivery misses the point. And, while I do feel this arrangement is an improvement, sidestepping the overkill which sank Warwick's version, it is still not right for the song. It's still pushed and rushed. There's no breathing or thinking space. 

The vocals on the chorus make me think of a Catholic girl choir all singing in unison. Not exactly the sound I think they were going for. That said, it's hard not to appreciate Lattisaw's apparent enthusiasm and sincerity. She sounds like a total winner - very bright and open. Though it does become a bit shrill near the end of that second chorus. 

I know its a bit cheesy, but I like that little instrumental fill. 

So, this ends up reminding me of every song Glee ever took on. The sheen is there. The notes are hit. It's loud. It's also young and a bit hollow. In other words, its a case of the material not matching where the singer is in their development as an artist. 

You know, like when four year-old girls play dress up and hobble around in a pair of mommy's high heels.

Natalie Cole

WOW! What a stunning opening. Simple. Direct. And Cole sounds amazing. There's the warmth I've been needing. There's the knowing. 

And you are not going to believe this, but that is Masser again, playing producer. Something tells me third time is the charm and that perhaps he's seen the error of his ways.

So far, I am liking this. Cole is in good form and is doing her best to work with the natural lilt found in that melody - though failing on occasion, just the tiniest bit. I now suspect this song was always intended for Diana Ross. It's her wispy, fragile quality which works with this type of song structure and melody. But, back to Cole...

Cole has the warmth I've been seeking. However, I take issue with her lack of open vowel sounds. Listen to the word 'pain.' It's weirdly scooped forward when it should be popping out of the top of her head. It's a small thing, but it's the difference between bringing a song to life or merely delivering a workmanlike product. The word 'lover' is another example. 

That said, when it comes to verse two? She nails it with that first note. It's a light touch. Touch and gone. A lift. Very open. 

Odd little vocal/instrumental bridge there. Necessary? Maybe it's to set something up.

Oh, yes. When she returns on that bridge? That's Natalie. Lovely. As we launch into that chorus again, this becomes very 'Whitney.'  I could quibble with 'lover and friend' - very odd choice to slam that variation in there, but hey... she's Natalie Cole.

And a very lovely Disney-like ending. 

The Verdict

I think Barry Manilow could have turned this one into Top 40 gold. The lyrics are a little problematic (a bit cloying,) but I have a feeling Manilow's can-do attitude, likable demeanor and his self-deprecating sense of humor could have brought this one to life. 

And, after a few listens, it became more and more apparent that this song was always intended for Diana Ross, who would have brought the same magic to it that she brought to Do You Know Where I'm Going To.

Well. This is a pretty easy decision.

Warwick's version is workmanlike and a tad overwhelming. She misses the heart of the song, simply content to serve up another slice of middle of the road pop. Very rote. I do appreciate her professionalism.

The song doesn't suit Lattisaw at all at that point in her career or development. Though I applaud her sincerity and sense of wonder.

Cole is the clear winner here. I could quibble with a few choices and ask for a bit more connection between singer and melody, but... the arrangement works (for a change) and her vocals have the warmth and thoughtfulness I was needing to hear. That slowed tempo helped, as did the reigned-in arrangement. 

It's Cole for me, by a landslide.

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And that's enough from 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!

Starting Over Again - Natalie Cole