Who Did It Better? Someone That I Used To Love

Who Did It Better? 

Someone That I Used To Love

This week we take a look at yet another song written by hit-meisters Michael Masser and Gerry Goffin. And while we have two versions by a pair of masterful divas to consider it's the story of the one recorded - but not released - by a certain other diva that's the real story here!

Someone That I Used to Love was written by Michael Masser and Gerry Goffin; a songwriting duo who has appeared a number of times as part of this series (and will continue to, for Masser is responsible for oh-so many songs!)  

Turns out, it was first recorded in 1977 by Bette Midler! It was slated to be the lead track on her album Broken Blossom. 

You see, the songwriters personally pitched the song to Bette's slated producer, Brooks Arthur (Janis Ian, Bernadette Peters). Arthur was totally convinced he now had a huge hit for Midler. He brought Midler in, played the song for her and she was on board. Arthur then contacted Artie Butler to orchestrate an arrangement for the song. As Arthur recalls... "In a matter of 72 hours, the [track] was done. We had to rush it [since] Masser [insisted we] commit to [the song] right away [or he'd give it] to someone else."

With the track completed, Arthur was feeling pretty confident about the song's chances on the charts. But then, according Arthur, things began to unravel. "I get a call a couple of days later from Bette [at around] two, three, four in the morning, and she says: 'I don't want to release the song... My manager Aaron Russo didn't feel the album needed another gushy ballad, it needed more energy.' We [argued] until four, five, six, seven in the morning - we did this for about two days straight."

Then Russo went behind Arthur's back and got Ahmet Ertegun, the co-founder and president of Atlantic Records involved. Ertegun sided with Russo and Someone That I Used To Love was shelved. Ertegun wanted the album to kick-off with a number similar in tone to Boogie Woogie Bugle Boy or Friends, so the track was replaced with Midler (inexplicably) singing the 1954 Sarah Vaughn hit Make Yourself Comfortable, instead.

To this day, the track has never seen the light of day and it would take Someone That I Used To Love another three years before being recorded by anyone. 

This time it was Masser himself behind the board. He also played piano on the version Natalie Cole would include on her 1980 album, Don't Look Back. Issued as the first single from the album, it was also the very first single Cole released that was not produced by longtime collaborators Chuck Jackson and Marvin Yancy. The song only reached #21 on the Billboard Hot 100, but it was heralded as a much needed comeback for Cole, who had been going through a bit of a dry spell (and dealing with a cocaine habit that was destroying her once promising career.) She also managed to snag the #21 spot on the R&B chart and #3 on the Adult Contemporary chart. 

However, that comeback proved short-lived -  for Cole would not have another Top 40 hit until 1987. 

But Masser wasn't quite through with the song yet...

He returned to the studio to record a new version of the song in 1989 at the request of  Barbra Streisand, who was about to release a stop-gap anthology called A Collection: Greatest Hits... and More. and wanted to sweeten the deal with a pair of newly recorded songs, one being Someone That I Used To Love. 

Surprisingly, the song was not released as an official single, but as an 'airplay' only track. Even more amazing? The track, based on radio airplay alone, still managed to reach #25 on Billboard's Adult Contemporary chart. On the other hand, in the UK, it was released as a single, but failed to chart, though it did manage to hit #86 in the Netherlands.

And that's the whole story. 

Now? On to the competition!

The Song: Someone That I Used To Love

The Competitors: Cole vs. Streisand

Someone That I Used To Love - Natalie Cole

Someone That I Used To Love - Barbra Streisand

Natalie Cole

That's Michael Masser at the keys and, while treacly and overly-sweet, man... does he set this up nicely. That's as clean as it comes. Just lovely.

This is a great song. A great story. I used to sing this back in the days when they had open mic night at The Gay Nineties and killed with it, thanks to a sympathetic accompanist.

At this point in Ms. Cole's life... she is not in a good place. She, along with her longtime collaborators Chuck Jackson and Marivn Yancy, for the longest time could be counted on to whip up the most inspired R&B pop songs. They lit up every room they played. It led to instant success and all that good fortune went right up their collective noses! 

When this album came out, I rushed to buy it. I had heard the single on the radio and thought, wow... this is a big change. I can't tell you how sad an experience it was listening to it the first time. It's not bad - by normal standards. It's a professional affair. But there was definitely something missing... and that would be the effervescence which Ms. Cole used to regularly bring to table. She sounded tired. She sounded defeated. 

So, if that opening verse strikes you as a bit withdrawn, you're not alone. Her full-sound is absent. Those lovely round tones she can bring to anything... are MIA. 

Which is one of the reasons I think Masser digs in and overreaches a bit with the accompaniment in verse two. He's pushing for something and Natalie does take it up a notch. In fact, one can hear why she was frequently compared to Aretha Franklin - they do both possess a similar texture and approach. It's there, in her reading of the material. 

But, again, Natalie is sounding dry-throated, here. Nothing's liquid. Nothing's as effortless as it used to be, in fact, it's like she's unable to lift her head up high enough to find the mic. 

This arrangement is very sympathetic. They are keeping a lid on things. Overly-sweet? Yes. Maybe they're doing it as a means of distraction, but, if I remember correctly, such maudlin trappings were a common ingredient found in anything Masser produced. The strings, here, are subdued and supportive. 

And then we swell into the chorus... 

Cole is doing her best, but fails to pop and open up those big notes. Or, maybe she's holding back for a big finale? I'm not sure what the thinking is, but if the intention was to get this played on the radio, then bigger earlier would have been the way to play this. This is a very cabaret reading, and that... does not Top 40 make. 

Again, I hear Aretha on the word 'satisfied'. It's chewed off. The difference being, Aretha always sang from the bottom up. Here, Cole is just barely maintaining a sort of middle. 

Yet, at the 1:45 mark, guess who shows up? It's warmer. It's alive. And so much better than everything that came before it. Yes, she misses the big scoop on 'refused' - but then, she's not herself, folks. And they treat those vocals to carry that love into the big swell of the instrumental break. 

And that is some high-quality TV-Movie Of The Week schmaltz we got going with those strings. 

And things with Ms. Cole remain hit and miss from that point on. She nails the re-entrance, but then fails to open up on 'choose'. And it hurts to hear her voice almost fail at times.

I'm not saying this isn't an effective, emotional reading of the piece, rather, I am being horribly picky about her singing. We all know what she's capable of - and would be, again, once she cleaned up her act. But this? This is not her best moment. 

It's good. Just not great. 

Barbra Streisand

Masser, again. Not as clean. The strings are right there from note one, making their presence felt. This is a deeper reading... and that's just the intro.

Streisand always sings like she's holding a pearl. She'll start with her hands covering it, but is never stingy when it comes to opening up and allowing it to shine. Listen to the clouds part on that opening "though you're someone in this world..."  That's her magic. That's her gift. It's effortless. 

And we're just getting started.

Hear what she does to "down" - not the wisest choice, but a Streisand move. She wants you to be aware of her flex and ability to focus her sound. It's nasal and not musically appropriate, but... she's Streisand. She can do what she pleases. 

Am I a Streisand superfan? 

I was. Back in the late 1970's with her string of Top 10 singles, I was convinced she could do no wrong. When she released her album titled Superman? I thought, why of course. Who else?

But then Wet arrived. Followed by Songbird and I began to suspect that she was far from fallible. Eventually, I began to recognize the Streisand approach to song. When you're Barbra, life is one big crescendo. Once I heard it, I couldn't unhear it. Yes, she has a perfect instrument. No, she has not always been the best steward of said instrument. 

But then Yentl happened... and, yes, the crescendo continued, but... how wonderful. 

I think her phrasing on "when you must begin to ease the pain..." is all, excuse the pun, wet. 

"I weeesh it was..."? Possible lovely tone, very open, but... hon, just sing the words. Don't maul them. Yeesh.

And listen what she does on "love" - that's textbook Streisand and one of her best moves. She sort of pulls the note only to reopen it. That's... unheard of. 

Honestly, had I produced this, I would have asked for another take. This is not as careful as she typically is... in short, not her best work. But then tossed-off Streisand is heads above most singers on their best days. 

Why is she yelling "refuse"? See? Musically, that makes no sense. I get that it's a high note and could be construed as the dramatic apex of the piece... except, why yell it like that? I don't get it. 

And once we get to the instrumental break we hear exactly how chintzy this arrangement sounds. Those strings. Eeek. The crappy keyboard. Ugh. What the hell?

No matter. Barbra returns to wrestle the song into submission. 

Oh, my... "choose to love". What the utter hell?

What, did the orchestra from Prince Of Tides owe her some studio time, or what? Those strings, this arrangement. UGH. 

And she returns, more melodic and we get the standard Barbra send off. 

Well. While there were plenty of surprises in there, dear... none of them were pleasant. 

Let's just... look over here.

The Verdict

Well. We have two divas. One of them is not in her best form. The other is in her typical bombastic form. 

The question is? Who does the song justice?

Not Michael Masser. The man should never be allowed to produce his own stuff. It's weird, though... with Diana Ross, the man gets it right almost every time. Check it out. There's a marvelous compilation album called To Love Again. All Masser, all the time. One of my favorite Diana Ross albums ever. This song? Doesn't appear on it.

But back to the question at hand. Who does the song justice?

While I think Streisand is in great voice and recognizes a great song, here, she bulldozes her way through it. She could be singing... anything. Otherwise, the musical sins she commits make no sense. I think she climbed into the booth that day and set it on autopilot. Her phrasing frequently makes zero sense and utterly destroys the delicate nature of this song. And I am a big fan. I think she has the most amazing instrument in all of popular music. But this? Not a good day for Babs.

And let's not forget that the horrible arrangement she's saddled with does her no favors. That is a piece of dreck of the highest order. 

And while Cole's version suffers from a less treacly arrangement, there is still a bit to complain about. Masser is over the top. Period. But... at least her piano is clean and real. At least the strings remain at bay for most of the piece - they have no choice, for the diva they're supporting isn't having her finest vocal moment. But what she does have? Is the kind of vulnerability which makes this tearjerker of song open up the waterworks as if stealing candy from a baby. 

It's a very cabaret-style reading. And it works. It's vulnerable - something sorely lacking in Streisand's typical take-no-prisoners approach. I admire Streisand's sonic strength, but this song doesn't call for it.

So, for me... it's Cole's song. Her version tells the story. Her version sounds less about the singer and more about the song. And, given it's brittle, fragile nature... I think it's a great marriage. 

Though it does make me wonder what Diana Ross might have brought to the table.

--- ---

And that's enough of me.

Okay, your turn. Leave your thoughts and choice in the comments section. You know how I love a differing opinion. And, I get it. For some folks Streisand can do no wrong. I get it. The lady is a gem. But then, sometimes the occasion doesn't call for such a show of wealth.

That's all for now.

Until next time...

Thanks for reading... and listening!

Make Yourself Comfortable - Bette Midler