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

Who Did It Better? 

Never Can Say Goodbye

Part II

Celebrating the 101st song we've examined as part of the Who Did It Better? series, today, we take a look at the second part 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...

Mark Lindsay forged himself a place in pop history as the lead singer of Paul Revere & The Raiders. Columbia, the band's label, decided to double dip and successfully spun of Lindsay as a solo act. For his third solo album, 1971's You've Got A Friend, serving as his own producer, he chose to to do a cover of Never Can Say Goodbye.

But he was not the only leader of an established, successful act to take the song on.

Smokey Robinson left The Miracles in 1972 and wasted little time establishing himself as a solo artist. Released on Tamala Records on  June 19, 1973, Smokey included a version of Never Can Say Goodbye, wrapped up in a medley with Never My Love, a hit by The Association. Arranged by Dave Blumberg, Gene Page and Willie Hutch, the album peaked at #70 on Billboard's album chart, #10 on the R&B chart, and spun off three singles, including his first solo Top 40 hit, Baby Come Close.

As the seventies went full-bloom, so did the sexual revolution and... the very adult world of the discotheque.

Gloria Gaynor had a major disco-defining moment in 1974, when her version of the tune became a worldwide smash. Stateside, she nabbed the #9 slot on the Hot 100, and #3 in Canada, while overseas, she fared even better... hitting #2 in the UK, besting The Jackson Five's version in both Canada and the UK. In addition the song got to #3 in Australia, #13 in Germany, #3 in Ireland, #6 in The Netherlands, #8 in South Africa, and #3 in Spain. 

Produced by the Disco Corporation of America (a production company newly formed by Meco Monardo and Tony Bongiovi), augmented by Jay Ellis and Harold Wheeler and released on MGM Records, her version has the distinction of being the first #1 song on Billboard's Dance/Disco chart (which later would become the Dance/Club Play chart.)

And that's where we'll leave the story today...

Now?

Onto the competition!

The Song: Never Can Say Goodbye

The Competitors: Brown vs. Robinson vs. Gaynor

Never Can Say Goodbye - Mark Lindsay

Never My Love / Never Can Say Goodbye - Smokey Robinson

Never Can Say Goodbye - Gloria Gaynor

Mark Lindsay

That is one big Elton John kind of 'bomp'. I was expecting him to launch into Bennie And The Jets. Thing is? I think Mr. Lindsay got there first - this was recorded in 1971, and Bennie was recorded in 1973. Too bad Lindsay didn't pursue that sound more. 

Instead? It's MOR hell for us. Yes. This is a true cover of a song... watered down and made palatable for the more mature listener. Though I do appreciate the gospel flavor of that wonderful piano. But the guitar accents undermine that lovely vibe, replacing it with a bit of Vegas schmaltz. This is Tom Jones/Englebert Humperdinck territory. 

And when Lindsay tries to stretch out a bit? He's under the note a tad. It's off-putting. And his phrasing is oh-so sloppy by the second verse, with his clipped words and thrown away notes. That's an attempt on his part to sound hip, but it does not fly. 

I appreciate the grit he brings to that second chorus and I rather like that snaky guitar line. (I always try to find something to appreciate.) So, at its best? This sounds like warmed over Bread - as in the group led by David Gates - and that is lukewarm praise at best.

Oh, for the third verse we get a funky Hammond organ. That's... actually pretty tasty. Sadly, it doesn't stick around nearly long enough... he quickly returns to MOR hell. 

Well, this was underwhelming, but not unsurprising.

Smokey Robinson

So, I put this one in there because it is truly unique. Not only is Smokey going solo, but he's also wrapped this one up with an MOR standard I must confess... I have never particularly cared for. Never My Love has just never tripped my trigger, though the song hook that sells it is undeniable and it is well-crafted. 

Hard to argue with Smokey singing anything. That man's voice is a wonder. Very smart to have him supported by a lonely sounding electric keyboard to start with; puts him in focus, where he belongs. Let's see if they stick with that strategy.

I rather enjoy his soulful take on this. Nice interplay with the keyboard, too. Oh, my word... you add that lone cello and Smokey taking off? I just got chills - and visions of Sam Smith. 

Well, that is a marvelous one minute of music. And had it only ended there...

But, no... we get some Bobbi Humphrey inspired jazzy gobbly-gook instead. Just leap right into the blech. Although, there is just enough of a Marvin Gaye sexy vibe to carry this off. 

Glad the flute goes away. But will it stay away? And Smokey is having himself some fun playing with the syncopation provided. Very nice. 

Then we go a bit Vegas as we fill out the arrangement, thanks to that unsympathetic rhythm guitar while supplementing the bongos/tribal drums with a drum kit. Meh. Plus, that horn section is keyed too high in the mix and is competing with Smokey - and nothing should ever compete with Smokey - he should always be front and center. 

The flute is back on the chorus. And, as much as I love me some Smokey, his vocals fail to take command of the song; they fail to soar - I get no sense of lift-off. Oh, I despise the string transition back to Never My Love - make that: never, my love... never. And that horn chart? That is... not good. 

Then? Suddenly, we are back to the Vegas vibe of Never Can Say Goodbye. This arrangement? Too schizophrenic for my taste. Too bad they didn't stick with that first minute, and/or the Marvin Gaye vibe they had going briefly. As is? Despite Smokey's lovely vocals...

Pass. 

Gloria Gaynor

Can you say 'disco strings'! Oh, my... what a wonderful whirl. I am already heading for the dance floor. And that horn chart stings like a honey bee.

The gallop? Well, it's 1972 and, therefore, early in the disco game. Gaynor hits note one solid-footed, if a bit nasal. That's okay, she's got a lot of swirl to compete with. I love that as we build up to that chorus, she stretches out into more of a legato sound, finding and defining the gorgeous melody. Gaynor's voice is in top form. 

The backing vocals are kept in check and timed nicely. And when she opens up on 'more and more', I am in heaven. Those notes simply appear and hover. Delicious. The big scoop on 'so'? So much fun. She does an incredible job of mixing up her attacks and brings so much shape to this. The amount of energy and excitement it all creates? Infectious. 

In lesser hands? That chorus could go totally shrill, but she manages to keep the energy and attack in place while rounding off the top just enough to make it super palatable. 

Second verse, same as the first... her vibrato comes into play, but it is so tight, it melds well with the strings and horns. I am astounded by those backing vocals - timed so well and kept in check. Marvelous. 

And, trust me, that horn chart? That would undermine a lesser singer, but Gaynor is not having it, oh, no. She is queen bee, here.

There is such amazing depth to this arrangement. Kudos all around. A perfect marriage of style, sound, and technique. 

The Verdict

Unsurprisingly, Gaynor by a landslide.

Lindsay does a decent, if uninspired version. It's obvious he didn't put a great deal into his version, as it serves as little more than album filler. It's a cover version by a reasonably talented singer - very much the same vein Burton Cummings would later mine. 

Smokey, oddly enough, starts out with an interesting idea, only to succumb to Motown's tendency towards mainstream pablum. It's too bad, because he's certainly got the pipes for this one. Unfortunately, after the one minute mark and within 20 seconds of launching into Never Can Say Goodbye, he loses focus as a singer and delivers a rather uninspired version.

As for Gaynor's version? Disco perfection. Uplifting. Energetic. Fun. 

Her vocals are on point throughout and no matter what the Disco Corporation Of America throws into the mix (which they do with impeccable taste, I might add), Gaynor remains top and center as it should be. 

I must confess, hers is the first version I ever heard. I was a young thing and happened to buy a very used copy of one of those K-Tel albums they advertised on television - you know the ones - where they would play two minutes of a given hit before moving on to another Top 40 glory. Doing so, they were able to get 22 hits on one long player. Anyway... the lady, the song, and sound? It ended up hardwired into my brain - so, this particular contest? Not much of one, I'm afraid. 

-- ---

And that's enough of me.

Okay, your turn. Leave your choice and thoughts in the comment section. Which version do you think should advance to the final round?

Tune in next week for three more versions and another opportunity to vote.

Until then...

Thanks for reading, listening... and voting!

Never Can Say Goodbye - Gloria Gaynor