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

Who Did It Better? 

Never Can Say Goodbye

Part III

Marking the 101st song we've examined as part of the Who Did It Better? series, today, we take a look at the third of three posts featuring three more artists associated with the classic song, Never Can Say Goodbye. The song remains evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix.

Reminder: Here's how it works: we'll be examining three versions 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. It should make for a very interesting contest. So, be sure to vote!

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.

Picking up where we left off...

The Communards, a British duo which consisted of Jimmy Somerville, formerly of Bronski Beat, and Richard Coles, had scored a #1 UK hit in 1986 with their cover version of Don't Leave Me This Way. It also snagged the top spot on Billboard's Dance Club Play chart in the US. In the age of AIDs, due to the lack of funding and interest in solving the health crisis, the single took on new meaning among members of the gay community. 

As part of their second album, 1987's Red, the pair chose to cover another disco classic which would resonate in a similar manner; Never Can Say Goodbye. Their hi-NRG cover of the song would reach #1 in Spain, #2 in Ireland, and #4 in the UK, It would also reach #2 on Billboard's Dance Club Play chart in the US.  

Yazz, a British pop singer who enjoyed a UK #1 with her hit The Only Way Is Up, released her version of Never Can Say Goodbye as a single in 1997. It peaked at #61 in the UK. It was later included on her album of covers, The Natural Life.

Six-time Grammy nominee Sheena Easton is a two-time Grammy Award winner. She's earned five US Gold albums and one Platinum album and has 15 US Top 40 singles, seven of which went Top Ten and one which went all the way to #1.  

Released in November of  2000, Fabulous, containing Euro hi-NRG covers of dance classics from the '70's and 80's, became her 15th album and included a cover of  Never Can Say Goodbye.

And that's the whole story...

Now?

On to the competition!

The Song: Never Can Say Goodbye

The Competitors: The Communards vs. Yazz vs. Easton

Never Can Say Goodbye- The Communards

Never Can Say Goodbye - Yazz

Never Can Say Goodbye - Sheena Easton

The Communards

What a regal opening. From two queens, what else could we expect? Of course they know how to make an entrance - they were born that way.

Sommerville simmers over that swath of synths like a ghost. Add a hollow sounding synth bass and in the dance machine kicks. Sommerville's falsetto? Flawless. As is this mix. I rather like that he's barely riding on top of the wave; it continues that spirit-like sound. 

My only beef with Sommerville's vocals has to do with the fact that they have no bottom - which, of course, is due to the fact that he's singing falsetto. That very airy quality is what makes him sound rather specter-ish. It's a fascinating (and rare) sound, but I find myself wanting a bit more variety. 

Hmm. Not in love with those female backing vocalists - although, point of fact, there are no other vocalists listed in the credits on the album, so it has to be Sommerville doing his own backing vocals (according to discogs.com.)

My word, this machine took off and just keeps pounding forward. It's energetic, but... a bit lacking in character.  There isn't a great deal of warmth to be found in these grooves, but then those were the times, yes? 

I rather like the soulfulness Sommerville manages to bring to the first few lines of each verse. And when he takes the briefest of liberties with the melody line, jumping up a third? That's rather thrilling, as well. 

This arrangement... it just soars and soars. Every time I think I'm over it, the damn thing pulls me back in. And the more Sommerville breaks away from the expected, the more I admire his vocals. He has got some serious chops. 

Also, I have to say, it's nice to hear a male vocalist declare his love of another man without flinching or apologizing. This is activism at its most danceable. 

Eek. That instrumental breakdown. Not only does it kill the vibe, it suddenly jerks the tempo out of alignment - in the listener's brain. Fortunately, it doesn't overstay it's welcome.

Honestly, when and if (well, you know, old queens never die) Sommerville ever passes from this mortal coil, I sure hope they examine his vocal chords in depth. No one sounds like this. Not with this amount of stamina. My throat is hurting just listening. I can't imagine what's going on in his larynx. 

Oh, and he's doing such a fine job, I'm not sure why Coles felt the need to smarm it up with that horrible Vegas-style breakdown at the 3:35 mark. And just when you think Sommerville has no where else to go, he breaks out totally - where is that sound coming from? That is amazing.

Warm, it is not. Energetic and rather an amazing feat? 

Absolutely.

Yazz 

A bit of a history lesson there, in the opening. What beat is that? A sort of urban, new jack swing-influenced hip hop vibe... very chill, very laid back.

She has a lovely voice. Perfectly in tune. It lacks bottom, though. And she seems to be relying on a sound produced by forcing air up to her soft pallet (just under her nostrils) which causes it to have a bit of a hooded sound. There's not a lot of color to her sound. It's not warm and there is no variation in hue. Which is why I think they've chosen to double her vocals when she sings the title, for variety's sake. 

The string arrangement is lovely. If they are smart, they keep it in support mode and it doesn't get to busy. As is, it works as an architectural element, creating an implied crescendo as it scales upward. 

Her vocals are not soulful. This would have worked if there had been a bit of bottom to her sound, a bit of warmth.

Still, it's a lovely groove. 

Oh, love the backing vocals on 'thinking' and 'unhappy feeling'. That's a deft touch. The producer knows his stuff.  

Love the trumpet. 

The more I listen, the more I'm falling in love with this. 

Unfortunately for Yazz and the listener, she lacks the breadth as a vocalist to take this to the next level by the 3:00 mark and we are stuck with what we have for the remainder, albeit, she does her best to busy things up in order to keep it interesting. 

This is lovely. I personally will be revisiting this, as I am a big fan of linear moving arrangements and this one has a geometry to it that I really admire. Is she a phenomenal vocalist. No. But she does credibly well with what she has to work with. 

Sheena Easton

So, the intro is a nod to Gaynor's version. Sadly, the bottom part of the arrangement seems to be missing in action. And that rhythm track seems to be running at odds with the rest of the arrangement. 

The intro is too long. If they insist on including that very interesting string arrangement that starts at the 24 second mark, then... why didn't they just start there and spare us the rest?

Huh. A 37 second intro, for an album that should be about the vocalist? Okay. Holding my breath...

Easton sounds amazing. This is her 15th album? Wow. She still has it. No, those vowel sounds don't pop at the top anymore, but there is a warmth and a lovely bottom to her voice that she did not have in the early days of her career. 

The arrangement is too bloody busy and by the book and the backing vocals come on way to strong, but Easton still manages to stay above it. Yet, I take issue with the fact that on the chorus, she allows the backing vocalists to carry the day. This is a Sheena Easton record... I want to hear Sheena Easton. 

That said, the energy is good, in a forced, faux kind of way. 

And as we move into verse two, those strings are getting in the way of a good time. I rather like the tiny reverb they've put on Easton's vocals, though they chill things a bit, don't you think?

Oh, I adore that they reintroduce that signature string part from the intro of Gaynor's version. Fun. 

The very pointed and regimented 'don't you say goodbye boy' may be the only original thing brought to this song... and it's just okay. It doesn't really bring more joy.

I have to say, I found this rather noisy. 

Easton is in fine form, but the producers... I really would like a word with them.

The Verdict

Well... this one goes as I imagined. Not that I haven't been given pause...

Easton's version? Noisy. Lacks bottom. She's in great form, but the arrangement and the production work? Shoddy. Would I dance if it came on? Yes. Fun, yes. Classic? No.

Yazz grew on me leaps and bounds. She's a tad limited, vocal-wise, but so very likable and heads above so many others. I loved the arrangement. It's the kind of thing I like hand dancing in my seat to. You know... all arm and hand gestures in the air, like a bird taking flight? Well, it feels magical to me. And this definitely takes me there. So kudos. I actually like her version better than the Jackson 5. Though, I am wanting to hear Isaac Hayes, again. If we had more than three places, she'd have place, definitely. 

As for The Communards? Well. Sommerville is a bit of a vocal wonder, now, isn't he? One can't deny what he brings to the table. Coles' arrangement? Meh. It's not warm, but then neither are Sommerville's vocals. But it is hi-NRG, for sure. I'd dance to this anytime. And it's the vocals that bring this home. He just keeps soaring and exploring. It's a little like watching Britian's Got Talent, right? Sommerville opens his mouth and who cares what he's singing... your jaw hits the ground. 

Very historic, too, given the times. So, extra points for that.

So, this one? It's The Communards, for me.   

--- ---

And that's enough of me.

And... that's all nine versions of Never Can Say Goodbye.  

Be sure to leave your choice and thoughts in the comments section. 

Then, tune in next week to find out which versions made the finals. 

Until then....

Thanks for reading... and listening!

Never Can Say Goodbye - Yazz

Never Can Say Goodbye- The Communards