Who Did It Better? I Believe In You And Me

Who Did It Better? 

I Believe In You And Me

Some songs sure take their time climbing up the charts.

This week, we have a song which has scored twice in the Hot 100 in the US. If the first time was merely a toe dip, the second was a trip into the stratosphere. In all, it took fourteen years for it to crack the Top Ten, a real testimony to the power of music. 

I Believe In You And Me is a song written by Sandy Linzer and David Wolfert in 1982. 

David is a Grammy and Emmy nominated composer, arranger, songwriter, orchestrator, producer and instrumentalist who has worked in all areas of music, including film, records, advertising and television. His songs have been performed by Whitney Houston, Barbra Streisand, Ariana Grande, Kelly Clarkson, Jennifer Hudson, Usher, Dolly Parton, Dusty Springfield, Eddie Murphy, The Four Tops, Cher, Lynn Anderson, Julio Iglesias Jr. and many other. He's also worked as a producer, arranger and guitarist with many icons of the music business, including Rod Stewart, Bette Midler, Whitney Houston, Elton John, Peter Criss, Jimmy Cliff, Johnny Cash, Harry Nilsson, The Temptations, Aretha Franklin, Judy Collins, Brenda Russel, Dr. John, Melissa Manchester and many others.

I Believe In You and Me was first recorded by The Four Tops, who released it as a single from their 1982 album, One More Mountain. It failed to reach the US Top 40, but it did become a moderate hit for the group on the US Billboard Hot Black Singles chart, peaking at #40 in early 1983.

Also in 1983, former members of The 5th Dimension, Marilyn McCoo and Billy Davis, Jr. would record a version of the song for McCoo's solo album titled, Solid Gold - an album associated with the syndicated pop countdown/dance program which featured McCoo as a host. As part of the promotional efforts, the duo sang it on an episode of Solid Gold, an episode of the nighttime soap, Santa Barbara, a special called On Stage America and The Vicki Lawrence Show. Their version of the song, produced and arranged by the song's writer, David Wolfert, was released as a single, but failed to chart. 

It was next recorded by David Peaston, an R&B and gospel singer who won the 1990 Soul Train Music Award for Best R&B/Soul or Rap New Artist. He best known for 1989's Two Wrongs (Don't Make it Right) - #3 R&B, and Can I? - #14 R&B, and 1990's We're All in This Together - #11 R&B. After beginning his recording career on Geffen Records, he moved to MCA in 1991, issuing the album, Mixed Emotions, which contains his version of I Believe In You And Me. Peaston is the brother of singer Fontella Bass (Rescue Me).

Five years later in 1996, Whitney Houston recorded a version for the soundtrack album of her movie, The Preacher's Wife. Two different recordings exist, the first was produced by Mervyn Warren and Houston, herself  for the film version, while David Foster helmed the single version of the song. Released as the soundtrack's first single, Houston received a Grammy nomination for Best Female R&B Vocal Performance.  

The song debuted at #7 on the Billboard Hot 100 and #6 on the Hot R&B Singles chart. A month and a week later, it peaked at #4 on the Hot 100, becoming Houston's 16th Top 5 hit and fourth Platinum single. In addition it snagged the #2 slot on the Adult Contemporary chart.

Outside the US, the song was released as the soundtrack's second single. It hit #16 in the UK, #59 in Canada, and #46 in Sweden.

In 2004, shortly before his death, Levi Stubbs, lead singer of Four Tops, who was sidelined from the group due to complications of a stroke and confined to a wheelchair, appeared with the other group members and Aretha Franklin, to sing I Believe In You and Me live onstage in Detroit, in his final television appearance  - From The Heart: The Four Tops 50th Anniversary Special - which aired on PBS.

Ten years later, Barry Manilow decided to create duets using the established vocals of other deceased artists whom he had always wanted to sing with such as Judy Garland, Jimmy Durante, Marilyn Monroe, and Dusty Springfield - via modern technology. He included a version of I Believe In You And Me featuring vocals sampled from Houston's version. The album, My Dream Duets, debuted at #4 on Billboards album chart. He would perform the song with a projected image of Houston in concert and on The View. 

And that's the whole story.

Now? Onto the competition!

The Song: I Believe In You And Me

The Competitors: The Four Tops vs. McCoo and Davis vs. Peaston vs. Houston vs. Manilow and Houston

I Believe In You And Me - The Four Tops

I Believe In You And Me - Marilyn McCoo and Billy Davis, Jr.

I Believe In You And Me - David Peaston

I Believe In You And Me - Whitney Houston

I Believe In You And Me - Barry Manilow and Whitney Houston

The Four Tops

That's one bright, glassy sounding piano. I like the simplicity. 

Wow. That voice. Makes me want to sit in his lap. That's deep and full and round. But it's also an aged voice. He doesn't quite make good on that full first phrase. Also, he's not able to take the lid off his sound and sing above his eyebrows. Voice placement is everything. And when he tries to meld into his head voice... well, it's with mixed results.

So far, I like the arrangement. It's very lowkey. I appreciate that. This is a sweet ballad - it doesn't need a lot of bells and whistles. Musically, the song has enough going for it - nice message, lovely melody, it doesn't need to be bolstered up. 

And I'm enjoying the production values. It's a lively sound, very much in the moment, with an almost 'live' vibe. Very crisp. Which is why the vocalist's (Stubbs, I believe) shortcomings are so noticeable. This lives or dies based on his performance.

His baritone is an acquired taste. It would be right at home in a gospel setting. But this is pop, and I think his maturity is totally coloring this recording's potential as a pop single. 

At the 1:17 mark, in comes the full arrangement. It's a tried-and-true, standard quiet storm technique. Big swell of strings after that 'bomp', as the rhythm section is introduced. Nice bell tones for the counter melody. This is definitely mired in adult contemporary land. 

"Just to be right where you are..." - unfortunate. The break in his voice. And again, he's unable to get that lid off his sound, so the sound remains very hooded. It would be great if, when going into his head voice, he was able to open it up a lot more. This is a common issue with mature singers. That inability or inattention to sound placement is what bring careers to a close. 

That said? This is lovely. It's not pop heaven, but it's a great listen. There's something very comforting and real about his delivery and sound. 

We get the full vocal group coming in on the C-section. Interesting choice. Super dramatic. 

After the C-section, I get a sense that Mr. Stubbs is much more relaxed and in his element. He's opening up a bit more. "I was lost..." Yeah, that's the stuff, baby. 

Stubbs delivers right to the end. Those strings? A bit much, but... it's 1982. They're the real thing and we'll allow it. Call it a 'cinematic' gesture, rather than an overly-sweet one.

I have no complaints with this. It's a solid take. Mature, yes. But that has it's benefits. It's very comforting and natural. This could have come off as treacly and ham-fisted, but they toed the line and delivered something very heartfelt and genuine.

They've done right by this song.

Marilyn McCoo and Billy Davis, Jr.

A nice bell tone keyboard intro. Bareboned. A bit strident. 

McCoo is in fine form, though she fails to lift her palate for "the one..." - which surprises me. Her technique is normally irrefutable. She sounds more alive on the second verse. And in comes Mr. Davis in the background. McCoo nails that "I." That's the lift I was talking about. Her delivery is a bit stiff. Studied. Very Broadway. Very adult contemporary. 

Mr. Davis. I forgot what he sounded like. It's a little hammy. He has a lovely voice, I just wish he wouldn't try so hard. He's pushing it. Over-singing, a bit. That's a shame. 

I think it was a mistake to not have them trading lines and blending more right after the first verse. I'm not getting a sense that they've taken the time to live inside this song. It's always best in a duet when two voices end up wrapped around each other and the song. This is very much - she sings/he sings. 

When they do harmony, they do it so well. That C-section... gorgeous.

And the start of the next verse! When Davis goes falsetto? Panty drop. 

And then 36 seconds of play off. 

Well. I don't mind the arrangement, what there is of it. It works well. When you have two such accomplished singers at the helm, you don't need fireworks to bolster them - you just let them do their thing. 

Unfortunately, Marilyn delivers too little upfront while Billy goes over the top with his section. Once they sing together? Magic. It's a shame. I'm amazed Wolfert, their producer and one of the writers of the song didn't coach them a bit more. Studio time is always tight, but how is it there's not time to get it right? 

David Peaston

Peaston's roots are in gospel, a genre he returned to once his pop career evaporated. Let's see what he does with this. 

That is a big ass string opening. Overly lush. Like something Nat King Cole would sing after. Shades of Luther (Vandross). He sounds great. He fails on "one" - and he's breaking things into two word phrases - something I detest, but he sounds good doing it. 

I like the arrangement. It's not pop at all, but its very grown up and rich. Love that grand piano providing all the rhythm on top of those strings. In a way, he's even more hammy than Mr. Davis, but there's a light to his voice which counteracts it. 

Don't like the cinematic instrumental bridge into what I guess is verse two. There really isn't a chorus to this... its all verses. What a lovely sound on "where you are..." That's his head voice, not his falsetto. Gorgeous sound. And I like the workout that grand is getting. He does get carried away with the melisma thing. 

Missed opportunity at the end of the C-section. He buries it when dynamically he should swoop and soar into the last verse, tying it together. 

Wow. This man can sing. He almost makes this into a And I Am Telling You I'm Not Going moment. Imagine him singing a duet with Jennifer Holiday! 

He certainly brings all he possesses to this. The gospel is there. The Luther Vandross influence. The Big Broadway sound. All on top of this very traditional grand piano and string arrangement. I do wish he played off the arrangement more... I enjoy that kind of synergy, rather than him simply showing off on top of it all. But, that's a small complaint. 

And that "me"? He should have gone light and with his head voice. That's too brassy and forced. This needed a softer landing. 

This is well done. Over the top, overheated, yes. But it makes for a nice showcase, with the emphasis on the 'show'. 

Oddly, though? Not very emotionally involving. 

Whitney Houston

I think we're listening to the David Foster version. It's the better known of the two... although comparing the two version would have been an interesting thing to do - if I had the patience. 

Mushy, twilight zone sounding intro. Houston's okay. She doesn't make the most of some interesting syncopation in that opening verse. 

I must say, the more I listen to this song, the more I wish Barbara Streisand was singing it. It even sounds like a Barbara Streisand song. 

Really dislike the arrangement. The rhythm track is tacky. The synths inappropriate and fuzzy. 

Houston really shines at the start of verse two. You can hear the damage she's done to her throat, as she can't smoothly pull off what used to come so effortlessly without the cracks showing. But her pop chops are still in place and when she shines, she shines. 

I am laughing. "When all your chips are down.." What? What is David Foster doing? What is that under there? That is the dumbest thing I have ever heard. 

Oh, no... that guitar - all wrong. 

Whitney's in good form. Sparking stuff. A bit of hard sell on her part, a bit too muscular. Still, it's effective, I guess. 

No one bridges a key change like Ms. Houston. Into that final verse.... that's her magic at work. And after that point - who cares about the arrangement?

This is all about Whitney - and as Whitney goes, she acquits herself beautifully. 

Barry Manilow and Whitney Houston

I don't know why I wanted to include this in this competition - it's such an odd notion. 

And did you know that David Byrne of Talking Heads wrote a brief essay about Manilow and this project of his? 

Manilow is such a talented arranger. And one of my all-time favorite pianists. Schmaltz. YES. Please. No one has a better modern understanding of the great American songbook than Manilow. It's as if he digested it all and then created his own kitschy pop confections. Broadway, Vaudeville, Swing, Soft Jazz, MGM Musicals... it all in there. If he was a dancer, he'd be Gene Kelly. 

No, I haven't always agreed with all his choices... but then, he's done so much - such a vast body of work. 

Now, as he's gotten older, his sound has changed slightly. He sings with his jaw locked. I think. That's what it sounds like, and that's what I'm hearing on this recording. Give him a breaky, right? I mean... he's not a young man. But he's still very 'Barry'. 

So, just as I'm getting into Barry, in swoops - out of the blue - Whitney. That's a dramatic change up. And Manilow does his best to soften the transition by wrapping his vocals around hers. Smart move. 

And after that first verse, I am going to tell you straight out... this is the arrangement that Marilyn McCoo and Billy Davis, Jr. should have sung!

As is, that was lovely. Let's see what he's got for verse two. Oh, no... its not melding. Manilow doesn't sound a bit natural trying to go all soulful behind her. But then when he starts doing the echo on the second half of the second verse... we're back on track. 

Okay, so his voice is not up to this task. That said... this would have worked when he was a bit younger. Of course he would have gone all show biz with it back then, so... meh. Maybe not. Still, this arrangement is a winner. 

The C-section works for the most part and then the third verse... where did he find that? That works so damn well. Where he's dropped everything out except the rhythm section, while working the back beat. 

The ending is quite lovely too, although that spoken word part... oh, so show biz. Blech. 

Great arrangement. Bravo, Barry. 

The Verdict

Gee. I dunno. 

I still want Streisand to sing this. 

This is a good song. So good, that even after slogging through five versions of it I am still intrigued by it.

The Four Tops do a lovely job of it. They don't muck about and they do right by the song. 

Marilyn McCoo and Billy Davis singing this is a lovely idea, but their's is a missed opportunity. With a little coaching it could have worked. And quite frankly, had they been singing Manilow's arrangement there would be no contest here.

David Peaston pulls out all the stops - perhaps too many - but his ends up feeling emotionally bereft. He's so focused on wowing us with his pyrotechnic vocals, he forgets to actually sing the song. 

Whitney is in surprisingly good form, but David Foster's arrangement is nothing but bollocks. Utter crap. Houston succeeds despite him. 

And Barry Manilow's arrangement is top notch. His singing? Not so much. The beginning half of verse two killed this for me. Otherwise, I thought it was an interesting experiment and Manilow did well with it. Musically, he certainly understood the material. 

So... who to pick? They all have good points. They all have something a little off. 

I will go with The Four Tops. They do right by the song. Everyone else is so interested in over-singing, going over the top, and selling the hell out of it - that they forget that at its very heart, this is a simple ballad. It needed to be delivered in a genuine manner, not sold. 

The Four Tops. Their hearts were in the right place. So, I give this to them.

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And that's enough of me.

Okay, your turn. Leave your choice and thoughts in the comments section. I love to hear about what you're thinking.

Until next time...

Thanks for reading... and listening!

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I Believe In You And Me - Marilyn McCoo and Billy Davis, Jr.

I Believe In You And Me - Whitney Houston

I Believe In You And Me - Barry Manilow and Whitney Houston