Who Did It Better? You Can't Turn Me Off (In The Middle Of Turning Me On)

Who Did It Better?

You Can't Turn Me Off

(In The Middle Of Turning Me On)

For this week's edition of Who Did It Better? we have the story of a potential missed opportunity for a groundbreaking R&B artist which became the career defining moment for a quartet of high energy ladies.

You Can't Turn Me Off (In The Middle Of Turning Me On) was written by Pam Sawyer and Marilyn McLeod, writers of Diana Ross' #1 hit, Love Hangover.

Millie Jackson, the 'mother of hip-hop', was the first to record the song in 1976 as the opening track on her album, Lovingly Yours on Spring Records. 

Jackson's been around since the early1960's. Her innovative work is distinguished by introducing several elements at once: traditional R&B vocals with long spoken sections akin to rapping, mixed with elements of humor and explicit sexual content. A vocal chameleon, she's tackled R&B, disco, dance, and country. 

Three of Jackson's albums have been certified gold by the RIAA for over 500,000 copies sold.

In 1976, Motown had a new girl-group on their hands; High Inergy. Discovered by Gwen Gordy Fuqua during a Bicentennial show in Pasadena, California, members included sisters Vernessa and Barbara Mitchell, along with dancers Linda Howard and Michelle Martin. Fashioned after Martha and the Vandellas and the Supremes, the group was signed to Motown's Gordy subsidiary in 1977.

You Can't Turn Me Off (In the Middle of Turning Me On) served as the debut single from their first album, 1977's Turnin' On. It was a hit right out of the gate, climbing to #12 on Billboard's Hot 100 and peaking at #2 on the R&B chart in December of that year. 

The group was soon trimmed to a trio, and while they would enjoy continued chart success, they would never again hit the heights of their debut.

And that's the whole story.

Now? On to the competition.

The Song: You Can't Turn Me Off (In The Middle Of Turning Me On)

The Competitors: Jackson vs. High Inergy

You Can't Turn Me Off (In The Middle Of Turning Me On) - Millie Jackson

You Can't Turn Me Off (In The Middle Of Turning Me On) - High Inergy

Millie Jackson

That's a very jazzy/lounge singer intro. Nicely done. And Jackson's voice shoots forth like that of an actor standing mid-stage performing in an avant garde/experimental theatre piece. 

Man... is it just me, or does she have some of the same pipes as Gladys Knight? There is a full, lucious, raw intensity to her sound.

Okay. The arrangement is of it's time. I love those strings - again, it reminds me of Gladys. And the backing vocalists - who sound like they backed up so far they're singing in a different room - are perfection. 

You could argue that a little variation in tone would be appreciated. Jackson began this song with the knob turned to ten and she remains there, throughout. Still, such a powerhouse? Who are we to deny her? I adore her muscular control of the song.

This arrangement also makes me think of 1970's television theme songs. 

At the 3:34, the backing vocals are super shrill, but it's a momentary flaw. 

Quite frankly, I am unsure why this - with that intro amended - wasn't released as a single. It's fun and a commanding performance, one that cannot be denied. 

I adore the arrangement, the backing vocals, the mix, and Ms. Jackson. 

Oh, she be the one I be calling nasty, now. 

High Inergy

The sung intro is lovely. Vernessa Williams sings like a full-grown woman, not some little girl. But there's also something in her delivery during that intro that brings to mind the queen of Motown, Miss Ross! She's soon given hella support by sister Barbara. Those are some tight ass harmonies. Nicely done. And the group wastes no time spinning Top 40 gold, knowing to keep the focus on the chorus which is the hook that will propel this one up the charts. 

Then, once we move to the verse, we're back in Diana Ross territory. The arrangement even sounds like a Diana Ross recording from this period. 

The arrangement is kept at bay, allowing the vocals to take full focus - which works on the chorus, but... Vernessa sounds a bit pitchy now and then on the verses - so, maybe she's not up to it. And when the rest of the quartet join her for that big crescendo on 'love', it sounds like a a small plane making a wobbly landing - you kind of hope they eventually get there, but it is touch and go. 

Oh, that bridge - 'please/tease' - that's tasty and I do believe that's Barbara to the rescue.

The second chorus is even more fun than the first. 

There's a breathiness to Vernessa's vocals that works only half the time. I like her solid attacks... again, it's about pitch. 'Space' ends up just as questionable as the previous 'love'. 

And again, Barbara to the rescue. And from there on, they push just a little bit harder and it works pretty well. 

That said... I love this vocal arrangement. It's interesting. Had The Supremes (with or without Miss Ross) gotten their pipes on this one it would have been one for the ages. It sounds like something that Diana should be singing and is arranged as such.

I guess that's why this ended up a sort of also-ran in the Motown Hitsville sweepstakes; these ladies? Not up to the challenge. Oh, they sound great - here and there - but their performances aren't consistent enough to make this the classic it should have been. 

Side note: Vernessa left the group to go solo shortly after the release of the group's first album, leaving sister Barbara to become the frontwoman. It makes me want to hear more from this group, as, I suspect, Barbara is more than capable. The group never had another Top 40 hit, but then... by that point in Motown's history, managing talent was no longer their strong suit.

The Verdict

Well, surprise, surprise. This did not go as expected. 

I assumed that High Inergy would wipe the floor with Ms. Jackson... but that is so not the case. 

I love the vocal arrangement on High Inergy's version. But, as vocalists, they fail to pull it off. 

I love the backing vocals on Jackson's version. They add plenty of color and never get in the way. But then, who could get in the way of a powerhouse like Millie Jackson? I adore her Gladys Knight-like pipes. She is strong - maybe too much so - it wouldn't hurt her to play with the dynamics of the piece a bit more. Still, there's no denying the appeal of her straightforward/take-no-prisoners approach. That it wasn't released as a single? A crime and a missed opportunity for Ms. Jackson.  

And while I appreciate the subtle, supportive arrangement of High Inergy's version, it sounds like something written for someone else - namely Miss Ross. 

But ultimately... it is the annoying pitchiness of Vernessa's performance that sinks High Inergy's take on this song. 

The other deciding factor? Millie Jackson's version clocks in 13 seconds shy of five minutes. Yet? It flew by. I enjoyed it so much, I never once wished for it to hurry on up and get over.

And that's why it's Ms. Millie Jackson for me. 

I know enough never to doubt the strength of a strong black woman - and when it comes to Ms. Jackson? That's no myth, child. That's fact.

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And that's enough of me.

Okay, your turn. Leave your choice and thoughts in the comments section. I love hearing a differing opinion. 

That's all for now.

Until next time...

Thanks for reading... and listening!

You Can't Turn Me Off (In The Middle Of Turning Me On) - High Inergy