Who Did It Better? Never Can Say Goodbye - The Finalists!

Who Did It Better? 

Never Can Say Goodbye

The Finalists!

Marking the 101st song we've examined as part of the Who Did It Better? series, today, after having examined nine versions, three at a time, we take a look at the three versions of the  classic song, Never Can Say Goodbye, which received the most votes. Yes, we whittled it down to three... but now comes the hard part... we must choose one. So, be sure to leave your vote in the comments section. I'll do a tally, add my own and announce the winner next week! 

As for the song? Written by actor Clifton Davis, Never Can Say Goodbye is a song which remains evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix. Davis starred in the television sitcoms That's My Mama and Amen. In addition to his many television, Broadway and movie credits, he was also 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.

Originally written for The Supremes (post Diana Ross), 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. 

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.)

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 versions 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, number, and #4 and #2 on Billboard's Dance Club Play chart in the US.  

And that's the whole story.

Now? On to the competition

The Song: Never Can Say Goodbye

The Competitors: The Jackson 5 vs. Gaynor vs. The Communards

Never Can Say Goodbye - The Jackson 5

 

Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards

Here are my previously posted thoughts about each version:

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.

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 honey bee.

The gallop? Well, it's 1972 and, therefore, early in the disco game. Gaynor hits note one sold-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 that lovely melody. Gaynor's voice is in top form. 

The backing vocals are kept in check and timed nicely. And 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. And 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 a wonderful depth to this arrangement. Kudos all around. A perfect marriage of style, sound, and technique. 

The Communards

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

Sommerville simmers over that swath of synths like a ghost. A hollow sounding synth bass and in the 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), 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.

The Verdict

Michael is amazing. But the song? Not a good fit. And I don't like the tempo or the arrangement. It's too by-the-numbers and too adult contemporary. 

Gloria is at the top of her game here. Maybe the arrangement can be faulted for being a bit Vegas brassy, but I adore it. It works on all levels for me. And I adore the depth and warmth Gaynor keeps bringing to the mix time and time again. She is so on point throughout. I have a hard time finding fault with this version.

The Communards? Historical, for sure. So let's give them props for that. And Sommerville? What an amazing voice - unlike any other, and here, used to great effect. He sounds ghostly for the same reason that this version is historically significant to the gay community. 

However... Coles' arrangement sounds more dated than Gaynor's. It's also cold and, on brief occasion, difficult to fathom. Those breakdowns? That instrumental section? They detract. Sommerville is an angel soaring and soaring. All those electronics? They keep bringing us back to the cold, hard world. And that's my major issue... and even Sommerville shares a bit of the blame, here... this is cold. Too cold. I need this to be body temperature at the very least - which is why Yazz's version still pulls me in. No, she can't touch Sommerville vocally, but her version is very human and rather lovely. And it's those qualities I find lacking in The Communards.

So... in the end? 

My vote goes to Gaynor. She owns this song. I will always want to dance to her version. Hearing it? I am automatically in a better mood and wish I could sing it. That's the hallmark of a great song. 

So, Gloria Gaynor for the win. 

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Okay, kids...

It's your turn. Your last chance to have a say, here.

Who is it going to be?

The Jackson 5? Gloria Gaynor? Or The Communards. 

All are worthy, but only one can win.

So, have your vote counted. Leave it in the comments section, along with your thoughts, or any suggestions for future Who Did It Better? posts. 

And that's all for now.

Until next time...

Thanks for reading and listening... and voting!

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Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards