Who Did It Better? Please Don't Go

Who Did It Better? 

Please Don't Go

Please Don't Go is a song written by Harry Wayne Casey (KC) and Richard Finch.

It was recorded by KC and The Sunshine Band and released in 1979 as the second single from their sixth album, Do You Wanna Go Party.

The song was the first # 1hit of the 1980's on the Billboard Hot 100. It was also an international chart hit, reaching #1 in Australia, South Africa, and Canada while charting  at #3 in New Zealand and the UK, #4 in Norway, #5 in Ireland, #7 in the Netherlands, #8 in Belgium and #20 in West Germany. 

Shortly after the song's one-week run at #1, the group broke up and Harry Wayne Casey went solo - sort of. He and Richard Finch would continue to write and record together. There were a number of factors behind the breakup: TK Records went bankrupt, so they signed to a new label, Epic, who were less than supportive, and new wave was in and disco was out. 

Double You is an Italian Eurodance group founded in 1985 by vocalist William Naraine, keyboardist and producer Franco Amato, and DJ Andrea de Antoni. In January 1992, Please Don't Go, a dance version of the KC and the Sunshine Band song, was released as a single and on the group's album, We All Need Love. Their version proved to be a big hit in the clubs as well as the charts, hitting #1 in Belgium and the Netherlands, #2 in Australia, France, and Switzerland, #3 in Germany, #6 in Italy, and #9 in Sweden. It also hit #41 in the UK, but that was after another group beat them to the punch.

You see, Network Records attempted to distribute Double You's version via ZYX Records in the UK. When they failed? Network Records created a soundalike version. So, while Double You were initially stymied in the UK market because they had no distribution deal, that left the door open for an enterprising UK group, KWS, to swoop in and scoop Double You on the heat their version of the song was generating worldwide. 

KWS band member Chris King heard Double You's take on the song, formed the group and recorded a version utilizing Double You's arrangement. Their soundalike version raced up the UK charts, snagging the #1 spot for a solid five weeks in May of 1992. It even crossed the pond and managed to reach #6 on Billboard's Hot 100 chart in the US. It also made it to #7 in Germany, but had to be withdrawn in the country due to legal issues with Double You. 

Following three years of litigation. the similarity between the versions resulted in Network paying compensation to Roberto Zanetti, Double You's producer.

The whole drama was picked up by a television station in Nottingham and BBC radio, which crowned it 'Record Of The Week' - and in a single week KWS's version jumped from #30 to #9 in the UK. Top Of The Pops also jumped on board, with the group performing it five weeks in a row on the show. That propelled it to #1 for five solid weeks. In addition their version hit #1 in Israel, #2 in Australia, Finland, and Greece, #3 in Ireland, #8 in Sweden, #9 in New Zealand, #11 in Switzerland, #15 in Spain, and #27 in Canada

In light of this achievement, The Nottinghamshire County Council, who counted KWS as one of their own, honored the group with a civic reception. A council chairman  commented: "All the good work they are doing is helping to put Nottingham in a good light. We like to put on receptions for people that have achieved something. We are proud of what they have done and will wish them well for the future."

In May of 2008, Please Don't Go was covered by Swedish musician Basshunter. Released as a single, it also appeared on his album, Now You're Gone – The Album. 

The song was originally planned to be released in the UK in June of 2008, as the second single from the album, however, it was cancelled due to technical difficulties and another song took it's place. It was eventually released as a single in Sweden where it snagged the #6 slot. But it wasn't all roses and champagne for Basshunter's version; in 2009 it was deemed #43 of The 50 Worst Songs of the '00s by The Village Voice.

And that's the whole story.

Now? On to the competition!

The Song: Please Dont' Go

The Competitors: KC And The Sunshine Band vs. Double You vs. KWS vs. Basshunter

Please Don't Go - KC And The Sunshine Band

Please Don't Go - Double You

Please Don't Go - KWS

Please Don't Go - Basshunter

KC And The Sunshine Band

I must say that once KC dropped his horn section and started concentrating on synth driven music things started sounding a bit thin. That's at the heart of the issues I have with his version of this song; it sounds painfully cheap. 

His voice - in weird tenor/falsetto mode, sounds tired and a little ragged. And while I am not immune to the charms of the actual song - the ear candy hooks are there, I will never understand how this became a #1 hit in the US. I think it's a testament to the overall quality of what was being offered up at the time. Everyone was fascinated with synths... they simply didn't know how to make them sound very good. 

That one synth sounds like an accordion. 

His vocals on the second verse are at least a little more forward and focused, even if the doubling of them is somewhat distracting. 

Things fill out a bit at the 1:53 mark... but then that weird laser-whistle zings in and out and... it actually hurts my ears. More proof that they simply had no idea how to make musical sense of what they had to work with. 

As far as this being a huge hit, the only explanation I can think of is... it was a big hit at high school dances, because you got to hang all over your date and slow dance to it. 

And it simply goes on and on. Yes, his vocals get more intense. Yes the arrangement fills out. But the mix is odd. It sounds warped. And the bass sounds out of tune. 

It all sounds dead in the water to me. 

And I can't shake that.

And that spoken bit at the end with the shimmy synth... ugh.

Naïve. 

Double You

Like his voice. Like the intensity in tune with that satellite beam blinking.  Okay, once he starts actually singing, he sounds a bit flattened. But I like the anticipation found in the tempo and the eventually rolling up to dance-ville. 

That rhythm track. One should have been able to buy it off the shelf like a bottle of Windex. Yes, it sounds canned, just like that insistent keyboard figure playing over and over in the background. But that was the era. (Remember Cathy Dennis?) At the time, it was very exciting stuff. 

I do like the string arrangement. It sounds quite believable and demonstrates a deft, clever touch.

Naraine's vocals are all cut from the same cloth - not a lot of surprises, however, I do find his voice rather seductive. Of course, that could be because I keep looking at his lips in photos... sigh.

Interesting use of the sax - sounds like a duck. 

That keyboard figure never ceases. Yes, it drives the thing forward, but it also drives me a bit mad. 

Oh, I like the backing vocals near the end. 

Overall, I found this quite enjoyable. Bloodless. But enjoyable. 

KWS

This sounds warmer and more rounded, though a bit rushed. I think I liked Double You's intro a tad better. It's the timing with the satellite bleeps, here; they feel off. 

I like the synth utilized for that insistent repeating figure here much better. It's warmer and not so pointed. In fact, the blood that was missing in Double You's version seems to be pumping here. The vocals are just as flattened, but there's a rougher edge to them, and my ears are responding to that. 

I think that intro bit overstays it's welcome. 

There's a brightness to the lead vocals that I like. Also, there's more air in the mix. 

Now this? This makes me think of Haddaway. Oh, my word... I was mad about that boy. 

Rather disappointed they didn't spring for some actual strings. Instead, they're flavoring things with a very soft synth coloring things up the tiniest bit in the background. 

And, well, the sax part... a tad boring, but at least it doesn't bring to mind a duck. 

Huh. They miss the boat after that sax bit. They don't build, they drop stuff out. It's a bit of a let down at the 2:24 mark.

And from that point on... they bring the same elements back one by one, including that lovely synth/string thing, and his vocals ramp up intensity... but - the magic's gone. Despite the vocalist's best intentions, it doesn't seem to go anywhere new. 

Pity. 

Basshunter

He doesn't stray far from Double You's intro, but keeps it brief, as we are catapulted into rave mode. Oh, dear.

This sounds a bit cliché.  Okay, I have mixed feelings. I enjoy the throb. I love the fuller sound. But I'm also having flashbacks to Cotton-Eyed Joe (not good) and that swishy ghostlike backbeat... ick. 

His vocals are so treated he sounds like an auto-tuned Speak And Spell. 

Hokey. That instrumental part. Pure hokum. 

I keep expecting little Dutch girls in braided pigtails and wooden shoes to suddenly appear and do a quaint dance.

Are you ready? 

This is so cheesy. It sounds like a track found on one of those nonsensical European pop compilations. Oh... I have some and I adore them, for the songs are, well... truly terrible. But that's part of their appeal. This? This would feel right at home there.

The big dropout at the 1:30 mark... and we start all over. 

I like the second verse a bit better. 

(Ready for take off?)

Only... it doesn't. 

I do like the vocoder ending. 

(Mainly because it is the end.)

The Verdict

KC, minus sunshine... wow. What a draggy affair. I don't find it appealing in the slightest. So lifeless.

Double You's arrangement is the most interesting of the bunch and I truly applaud their use of strings. Yes, a bit cookie-cutter, but it was considered innovative at the time. I find Naraine's vocals sexy. 

I was going to give this to KWS, but they only deliver half a song. Once the do the dropout, I am over their version. It goes nowhere new, so why bother? I liked the overall sound of their version best, it had a warmth and a bit of air. And I liked the vocalist as he brought to mind Haddaway. But they kill it with that dropout. 

And Basshunter? No. I can't. Yes, a lively sounding bit of production work, but it's rather alien in nature, isn't it? Like a European's idea of space rock. I can't get the image of dancing Dutch girls out of my mind. It almost sounds like a parody. Oh!... Eurovision. Of course. 

So... I'm going with Double You's version. Mainly because I want to bite that man's lower lip... just a little. Sigh. No, actually, it's because I enjoyed their journey the most. And those strings... the best of the bunch. 

--- ---

And that's enough of me.

Your turn; you know what to do: leave your thoughts and choice in the comments section.

Until next time...

Thanks for reading... and listening!

Please Don't Go - KC And The Sunshine Band

Please Don't Go - Double You

Please Don't Go - KWS