Who Did It Better? Our Night

Who Did It Better? 

Our Night

You know... they can't all be winners. 

Mathematically, the odds are simply against every song released as a single becoming a hit. 

So, for today's edition of Who Did It Better?, we're going to take a look at one of the also-rans. 

I think it's worthy of a listen because it's a very well-written tune hewn by the hands of an established hitmaker and serves as an interesting opportunity to examine how two artists can take the same song and come up with something a bit different.  

Our Night is a song written by Bruce Roberts. 

It first appeared on his self-titled debut album on Elektra Records in 1977. A number of songs on the album, many of them co-written with Carol Bayer Sager, caught the ears of industry professionals, musicians and producers leading to a number of artists, including Barbara Streisand, Gladys Knight, Dusty Springfield, Helen Reddy, and Judy Collins, to record their own versions. In fact, out of the nine original tunes on the album, eight of them found homes on other artist's albums.

Shaun Cassidy was coming off of two successful albums and four Top 40 singles. His second album, 1977's Born Late, was even the featured review album in an issue of Rolling Stone magazine and received a relatively positive review. However, by the release of his third album, 1978's million-selling Under Wraps, Top 40 radio was on the decline, his show on ABC television, The Hardy Boys/Nancy Drew Mysteries had just wrapped its second season to diminishing ratings, and his days as a teen idol appeared numbered.  

Released on July 1, 1978, the album barely cracked the Top 40 on the US Billboard's Hot 200, reaching only #33. It also failed to spin off any major singles. The lead single, the Bruce Roberts penned Our Night peaked at #80. marking Cassidy's final appearance on Billboard's Hot 100. 

And that's the whole story. 

Now?

On to the competition.

The Song: Our Night

The Competitors: Roberts vs. Cassidy

Our Night - Bruce Roberts

Our Night - Shaun Cassidy

Bruce Roberts

Loads of atmosphere and shimmer in that intro. Love the string sting. Roberts sounds like he's singing in a water well. That guitar work is keeping things percolating nicely. Nice little rev up, though I wish they would have changed things up a bit, added some new elements to distinguish it from the verse. Kicking in the rhythm section would have been a nice idea. should lead to the chorus, but... instead we get verse two, with some new elements added. Backing vocals - a bit silly. Roberts still sounds like he's singing in a different room. I do love his effortless falsetto; best this side of Sam Smith and Freddy Mercury. And a bed of strings rides beneath. A bit too sweet. But it does help with the rev up as we launch into the chorus.

Again, that falsetto. Knocks me over. Every time. I like the backing vocals here. Better blend. Ah, disco strings. Would be nice if there was some bass to go with it. This production lacks bottom (no offense, Bruce.) 

Well, this arrangement, particularly the strings, they're of an age, now aren't they. Haven't aged all that well, but as a time capsule? Too sweet. I think disco strings work best when in drama mode. This seems a bit fey. 

Roberts' vocals heat up. Nice to hear some fire. And I do adore that plucked guitar. It really adds texture and energy. Still not sold on the back-up vocal echoes. I think it's a mistake to rely solely on those strings for the rev up. The don't hold any weight. 

I know what I want to hear... some new wave elements to give this more shape. However, given that this is 1977, I'm about two years early. Tom Dowd, the man behind the mixing board on this one, is responsible for Rod Stewart's commercial breakthrough in the states - 1976's Night On The Town. Merely one among numerous other successful, classic rock albums he'd produce over the years.

That chorus absolutely soars. Stupid flute. Finally the horns show up. Some bottom... and funky bottom at that! I can tell you right now... this little breakdown bridge section? Had we started the song here and built from there, we'd be talking a whole different ballgame. But then the strings take over again, along with the female backing vocals which still am not sold on (too Vegas) and then... oh, dear. A damn flute solo. Kill me. 

And the chorus soars. Great energy here on this final chorus. I even like those male back up vocals. Again... that's really where we should have started. Everything before? Too couched. Too precious. If we're doing disco, then let's dance. I wish the horn section had driven this. 

Okay, regarding Roberts vocals and his attempt at giving things an edge? Sort of comes of a bit whiny instead. I adore his voice, I just want something more solid from him, more direct. He sings almost everything from just below the bottom of his nose to the out of the top of his head. It's an incredible gift, but he has a throat. I would have asked him to dig a bit further into his lower range on this, in order to ground things. Maybe they were going for a Leo Sayer You Make Me Feel Like Dancing sound? That would explain the heavy reliance on the strings to drive things. But Sayer has a bit of grit to his delivery. I think Roberts could have, too. 

Mixed feeling about this one.

Shaun Cassidy

Did I say I wanted disco? Hmm.

This is cheesy. Not funky. Cheesy, the same way Leif Garret's big hit, I Was Made For Dancing, is cheesy. 

But, maybe I've spoken to soon. What's saving this is that chunky guitar. The strings are whirling like a mirror ball, but that guitar is grounding this just enough for me. Oddly, this is the touch of new wave I was pining for when listening to Robert's version.

And Cassidy sounds committed and tight, bringing a touch of grit to his vocals. I'm buying this. He borrows a bit of Robert's inflection on the second verse, but the phrasing reminds me of his stepbrother, David. 

That chorus clicks, too. So, this is the first time I'm hearing this and so far the arrangement, though a tad dense, has everything I wanted when listening to Roberts. That revved up tempo is helping, as well. When he sings the word 'right' at the end of the chorus? Pure David Cassidy. 

Okay, the backing vocals on verse three? Maybe not. Oh, and I just checked, and sure enough, the same dude who produced Leif Garret's Top Ten hit, I Was Made For Dancing, Michael Lloyd, is the one twisting the knobs on this little cream puff. 

Cassidy's vocals are also bringing to mind Eric Carmen. That bridge? I don't know if I care much for the guitar solo - seems rather messy and unfocused, but I do love when everything comes to a halt and Cassidy rocks it. The backing vocals, however, are not working for me. 

This could start to fade at the 3:12 mark and I would be very happy. Granted, Cassidy is having a lot of fun and it's rather infectious. 

I really like that jam where the piano competes with the rhythm guitar; chunky fun. I would have swapped a bit of this out for the guitar solo. 

Huh. I must say... I am pleasantly surprised. 

The Verdict

Cassidy takes it. 

I love Roberts. But his version is too fey for me. Atmospheric, yes, but the strings are angelic and never dig in. But then, neither does Roberts until the very end. It's pretty, and tuneful, but... so what? Isn't sugar pop enough to make me want to hear it again, nor is it's disco leanings anything that make my feet want to dance. I think this is a 1976 era Leo Sayer wannabe misfire. 

I don't care for the backing vocals, except on the chorus, too much in either version. 

The strings in Cassidy's version bother me, as well; they're too textbook cheesy disco. It 's Cassidy's vocals and the rhythm guitar work that keep me listening and my toes tapping. I would have danced to this. There's enough Eric Carmen like power pop and David Cassidy charm to grab me. 

Too bad this didn't get more airplay. It might have made folks reconsider Cassidy as something other than a teen girl heartthrob. In any event, even though I grew up listening to the Roberts' version...

It's Cassidy for me.

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And that's enough of me.

Alright, your turn! Leave your choice and thoughts in the comments section. You know how I love ot hear what you're thinking.

And that's all for now.

Until next time...

Thanks for reading... and listening!