Who Did It Better? Never Can Say Goodbye - Part I

Who Did It Better? 

Never Can Say Goodbye - Part I

Today, we begin a series of three posts So... this marks 101 songs we've examined as part of the Who Did It Better? series. You know, when I began this series I thought I would be lucky to find 35 or so songs to give a listen to. Well, not only have we made it past #100 - I have an additional 75 songs on a waiting list, a list I am sure will continue to grow.

Here's how it will work: we'll be examining three at a time. The number of votes a version receives in the comments section, plus mine, will determine if it makes it into the final round. The fourth post in the series will feature the three finalists going head to head. Yes, a bit of a trek, but it should make for a very interesting contest.

This song is evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix. And did you know that it was originally written for and intended for one group of artists, only to be given to another? 

Well, you do now!

Never Can Say Goodbye is a song written by actor Clifton Davis. Davis starred in the television sitcoms That's My Mama and Amen. In addition to his many television, Broadway and movie credits, he was a songwriter, responsible for Lookin' Through The Windows and Love Song (The Jackson 5), Can We Fall In Love Again (The Supremes) and the perennial favorite Never Can Say Goodbye.

Never Can Say Goodbye was originally slated to be recorded by The Supremes in 1971, the year after Diana Ross had officially left the group - and a recording with Jean Terrell on lead vocals was, indeed, made. That version was shelved, finally seeing the light of day in 2002 as part of a retrospective release of The Supremes' 1970's post-Diana Ross recordings.

Turns out the powers that be at Motown thought the song was a better fit for The Jackson 5. Included on their 1971 album, Maybe Tomorrow, it features a 12 year-old Michael Jackson on lead. Released as a single, the song would peak at #2, remaining there for three weeks in May of 1971, kept from the top spot by Three Dog Night's Joy To The World. Their version did go #1 on the US R&B chart, while also snagging the #33 slot in the UK.

That same year, Isaac Hayes recorded a version of the song - in his very distinctive style - for his Black Moses album. Released as a single, it reached #22 on Billboard's Hot 100, # 5 on the R&B chart and #19 on the Easy Listening chart.

As I am sure you're aware... there's much more to the history of this song, but these are the three versions we will be taking a look at today. 

Don't worry - we'll get to the others soon enough.

Now?

On to today's competition!

The Song: Never Can Say Goodbye

The Competitor's: The Supremes vs. The Jackson 5 vs. Hayes

Never Can Say Goodbye - The Supremes

Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Isaac Hayes

The Supremes

That is a very heavy horn arrangement. And this tempo! Slinky as hell. 

Jean in not Diana. Her vocals are pointed, with a bit of Eartha Kitt's attack coloring the proceedings. 

The backing here is all part of Motown's The Corporation - and there are some who say the other two Supremes were not present at this session and are not the voices singing back-up. 

Still, it's a slice of history. Jean gets a bit strident, but then she's also working against those sludgy sounding horns, so I don't think that's a bad thing. When she drops out on the repeat of the song's title, I am a bit disappointed. 

I also take issue with her phrasing - she drops phrases in the middle. That may be due to unfamiliarity with the song. We also don't know how much time was spent in the studio putting this together. And when she moves into spoken word, oh... honey, no. That is a sign of a singer who is lost. By the 1:25 mark, with "more and more and more" and "is it so"? Well, that's a singer who is drowning. It's very unfocused, in fact, it wobbles. And she's a tad under some of those notes. 

Oh, dear, those backing vocals at the 1:30 mark. Eek.

And the rushed, syncopated "no, no, no"... no. Very Las Vegas. 

I have to say, not only did Motown have no idea what or who The Supremes were after Diana went solo, but a lot of the joy had gone out of the Motown sound by this point. Ambition was still fully on display, along with a desire for mass appeal. I think all of that is working against poor Jean doing her best with this. She got saddled with a very hoary arrangement. What could have been Curtis Mayfield slinky/sexy quickly becomes very workmanlike. 

Listen to that weird note she ends with at the 1:50 mark. Tuneless. She's working without guidance. And that cheesy orchestration that follows? Ugh.

Who is singing that third verse? Wow. Jean is back. On target with that. She gets two lines off that are perfect, only to lose focus on what follows. I have a feeling she simply wasn't given enough time to find herself in the song. A vocalist has to inhabit a song in order to know exactly what to do with it... what powers it forward. She keeps giving hints that she could have digested this song and come up with a much better vocal performance, even with that rather indifferent arrangement.

But I'm equally baffled as to why The Corporation didn't go with something more joyous, harking back to the group's original sound. Diana was not the only ingredient that worked in The Supremes sound. The indifference on display here? It's rather appalling.

An arranger, a producer? Never let's a singer drown. 

That's pretty much their only job.

Somebody was asleep at the wheel on this one.

The Jackson 5

So, this is a product of The Corporation - a group of Motown insiders who had an ear for what pops. 

Odd harpsicord opening, suggestive sigh, and then some freaky sounding beats being laid down. With a virginal sounding Michael singing on top... well, he might as well be female - his tone is so pure and bell-like. Pristine. The backing vocals are suitably subdued. 

But as we ramp up the intensity, future Michael comes into play. He's got an edge to him, backed up by a fascinating rhythm section. Oh... and a flute. Yeah. Well... it was kind of a Jackson 5 thing, right? That flute. 

Oddly enough, hearing this, you can well imagine The Supremes with Diana Ross recording this song. It's a perfect fit. And Michael is summoning a bit of Diana's precious princess-vibe as we mellow back down to a second verse.

And for all of the pop-smarts that Michael's vocals bring to the proceedings, I have to say... that by verse two that backing track is sounding a bit canned - a bit too adult-contemporary, considering this is a bunch of teens. Another reason this would have worked better for the Supremes. 

Love that breakdown at the 1:29. Michael carries the day, doing a little James Brown imitation there.

And again, verse three? We get the smoothness of Diana. He had great pipes and glommed on to all the right influences. It's hard to believe this is coming out of a 12 year-old singer, but then again, by this point, he was already road-tested and seasoned.

The interplay with the flute? It works on some level. Gets pretty busy, though. 

I do have a problem with this. These boys are too young to be singing this very adult song. Not only is the arrangement adult contemporary, but the subject matter? Well, I don't know too many teens who could articulate the ups and downs of a relationship in this manner. That The Jackson 5 pull it off only proves what old pros they'd quickly become. 

Isaac Hayes

Love the bell tones. Love that bass. Nice percussion. 

Those of you who think that Hayes begins and ends with Shaft... well, you don't know Hayes. He paved the way for Barry White, just as assuredly as Curtis Mayfield paved the way for Hayes. 

So, I adore the funky vibe, though his voice in breathless mode doesn't quite work for me. I like him deep-throated. And the flute? Welcome to the early 70's. I think it was written somewhere that all songs must contain flute. 

I appreciate all the space being allowed each individual element of this arrangement. I never feel overwhelmed; there's plenty of breathing room.

Well, all I can say is... this man can seduce me any day. Sigh. This is laid back and lovely. He's got the slow hand I been needing!  Sexy AF. (I have a new crush.)

The backing vocals introduced on verse two? So far, okay. Hope they keep them in check. 

Ooo, no. Don't like his choice on the song's title the second time through, nor do I like that backing vocal bridge. Followed by? Double flute? No. Though I do like the little gospel organ fill that follows. 

There is something very immediate about his vocals that I adore. When he sings? I am there. Can't you hear Barry White doing this? 

His breathy break up on words like 'why' sort of undermines his seductive powers. 

Interesting male backing vocals at the start of the playout. Reminds of The Spinners. Wow... love Haye's falsetto. Why he hasn't employed that more, I have no idea. 

This is lovely. And my personal choice, today. It has issues, but overall, it hits me where I live.

The Verdict

That said...

Michael Jackson's vocals are superior, among these three. He may only be twelve years-old, but he gets to the heart of the song and carries the day.

Jean Terrell could have sold this, too... had she been given the opportunity to inhabit the song for awhile. Her version sounds exactly like what it is... a demo. That sludgy arrangement? Doesn't help matters.

Isaac Hayes' version is the one I want to hear again. But then, that's my groove. I do have issues with the instrumental bridge and the backing vocals that accompany it. 

The Jackson 5 got the hit with this one, as well they should have, though, again... I have issues with that arrangement; a little too adult contemporary and pedestrian for my taste.

But... The Jackson 5 are the ones that get my vote.   

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And that's enough for now...

Tune in next week for the next three versions.

Be sure to to voice your choice in the comments section. The version from today's trio that gets the most votes in the comments section (plus mine) will make it into the final round.

Until next time...

Thanks for reading... and listening... and voting!

Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Isaac Hayes