Who Did It Better? You're My Favorite Waste Of Time

Who Did It Better?

You're My Favorite Waste Of Time

For this week's Who Did It Better? selection, we have a song which started out as a home demo B-side but has gone on to become one of a certain singer/songwriter's most widely recorded songs - and not always to his liking! Though it only became a huge hit in the UK, it did help win its writer quite a bit of credibility and helped change the musical direction of a certain American diva. 

So, hardly a waste of time.

You're My Favorite Waste Of Time was written by Marshall Crenshaw. The song was written in 1979, while he was appearing Off Broadway as John Lennon in the Beatles tribute Beatlemania. Inspired by the Hollies, it features tongue-in-cheek lyrics concerning his wife. 

It was one of Crenshaw's first attempts at songwriting and he recorded it first in his NYC apartment studio, playing all the instruments himself. When it first appeared as the B-side to his signature 1982 hit, Someday, Someway, it was credited as being played by The Handsome, Ruthless and Stupid Band, but, nope... that's all him. Given that, the sound on the original version is very much that of a home demo, featuring what one critic dubbed: "a curious tempo and an eerie vocal harmony... a little out of kilter, with distinctive keyboard notes, and a lovely stumbling finish." It's rough, but not without its charms, which is probably why Crenshaw never went into a studio and produced a more polished version. 

As is, it can be found on two of his compilation albums: 1998's The 9 Volt Years and 2000's This Is Easy: The Best of Marshall Crenshaw.

1983 found Bette Midler returning to the studio to record her sixth album - her first studio album in four years. She'd been busy launching a film career, appearing in The Rose, the concert film, Divine Madness!, and Jinxed!. Given the commercial disappoint of her prior studio album, 1979's disco-infused Thighs And Whispers, the folks at Atlantic Records were pushing for a change in musical direction. The results? Her arty, stylistically adventuresome No Frills album - an inspired piece of work which, while it did little to alter her commercial fortunes, did alter her musical landscape forever and has since become a fan favorite. With plenty of rock and new wave influences, it was produced by Chuck Plotkin, best known for his work with Bob Dylan and Bruce Springsteen.

Midler’s gave You're My Favorite Waste Of Time it’s major exposure to American audiences. Released as the second single from the album, her version reached #78 on the Billboard Hot 100. You'd think those additional song royalties would have pleased Crenshaw, but upon hearing it, he was rather dismissive, saying: "I guess there must have been something in it that struck her as funny - that appealed to her sense of humor perhaps, whatever that is."

The Bellamy Brothers, who had enjoyed a #1 hit with their very first charting single, 1976's Let Your Love Flow, recorded a version for their 1985 album, Howard and David. It was their tenth studio album. By that point in their career, the duo had been thoroughly embraced by the country music crowd. Released via MCA and Curb Records, the album spun off a trio of #2 Country hits: Old Hippie, Feelin' The Feelin' and Lie To You For Your Love - with the album itself going Top Ten.

Scottish singer Owen Paul’s approach was a much more dance-pop affair. It made the UK top ten in 1986. Released on May 19, 1986 it climbed to the #3 spot in Britain. In addition, it managed to hit #4 in Ireland, #8 in Belgium and the Netherlands, #20 in Austria, #21 in Germany, and #23 in Australia. It helped earn Paul the status of a  one-hit wonder, as it would be his only charting hit.

 

Referring to the Paul's version, Crenshaw said that "a guy in Britain picked up on [Midler's] version of it and had his own smash hit, which still gets played on the radio all the time in Europe." Which is great - because that means larger royalty checks for Crenshaw. But, like Elvis Costello before him, some songwriters aren't always flattered. In an interview at the time, Crenshaw was critical of Paul's version, saying: "I can't listen to even twenty seconds of that record at all."

More to Crenshaw's liking? Ronnie Spector's take on it. In 2003, the former Ronette's lead singer recorded an EP's worth of  Crenshaw's songs titled Something’s Gonna Happen. How do we know he approved? Crenshaw himself plays on her version of You're My Favorite Waste Of Time.

Note: in addition, the song has been covered in a variety of styles by numerous other acts including: Matthew Sweet & Susanna Hoff, Freedy Johnston, Johnny Logan, The Drowners, et. al. So, like it or not, Crenshaw has a bit of a time-honored classic; something his bank account most certainly approves of!

And that's the whole story.

Now? On to the competition!

The Song: You're My Favorite Waste Of Time

The Competitors: Crenshaw vs. Midler vs. The Bellamy Brothers vs. Paul vs. Spector

You're My Favorite Waste Of Time - Marshall Crenshaw

You're My Favorite Waste Of Time - Bette Midler

You're My Favorite Waste Of Time - The Bellamy Brothers

You're My Favorite Waste Of Time - Owen Paul

You're My Favorite Waste Of Time - Ronnie Spector

Marshall Crenshaw

The weird beginning is so we know it's a home demo. The drum kick-off is a riot. Sounds like he's hitting a big plastic barrel. Very Mersey Beat. Very D.I.Y. Fun. Crenshaw is a great vocalist. Clean, crisp. The vocals are the most polished part of this. His voice has a perfect pop edge to them. 

Very messy transition into verse one. Given that he was playing John Lennon Off-Broadway, no big surprise that this sounds very much like the very early Beatles. 

The arrangement is very chunky, a bit too thick, and very messy. That the vocals manage to float above the din? An amazing feat. 

What a great chorus. This song? Extremely slight. It's a breeze to play on the piano, as there is so little to it. But simplicity doesn't mean necessarily translate as  'less than'. It's a charming trifle with just enough edge to it to give it cred. 

Some kind of keyboard in there, I can't tell exactly what it is, but it offers up a nice bit of counter-melody during the verses. 

It's the static that's so off-putting. The aural debris floating around the recording. It's unfortunate, but it also lends a great deal of authenticity and liveliness to the proceedings. 

That guitar line is awesome. And sounds hot. Nice and thick. Typically, home recordings, on the whole, come off quite thin - but this is so not your typical home recording. 

Wraps up before the 3:00 mark. Still, given that? I would have shaved an additional 16 seconds off that ending. 

Incredibly fun. 

Bette Midler

I can't tell you how much I adore Mr. Crenshaw. He's a total talent. Can play like a dream, has great vocal chops, and wears his influences on his sleeve perfectly - paying homage without plagiarizing. 

So, it should also not surprise you how very disappointed I was to learn about his comments regarding other artists recording this particular song. It's that Elvis Costello thing. Elvis got over it, so I wonder if Crenshaw did as well. Biting the hand that feeds you? Truly stupid. 

In addition... I can't tell you how much I adore the album Bette Midler's version of this song came from. No Frills was a career changer and so refreshing. Post-disco, musically, Midler was at a bit of a loss. She'd tried on so many musical hats since the birth of her singing career, she'd failed to hone any type of identity. So for her to take on this batch of edgier tunes was super refreshing and though it failed to stem her commercial decline, it raised her image and got her a bit of that MTV heat everyone else was benefitting from.

This is one of the best tracks on the album.

Stellar lead-off acapella vocals. Lots of reverb. Pitch perfect with a great 'smile' built in. Happy Bette is the best Bette. 

The band is kept way in tow. I would have let that electric guitar bite just a bit more. She sounds great. Love the energy. 

Love the big strum of the guitar. And Midler is singing as if she's learning a new language, which, I think she is... this type of pop material was very new to her. For contrast, go listen to her previous studio album, 1979's Thighs And Whispers. This? This is a very different singer.  It could have something to do with her tenure as The Rose and the effect playing a Janis Joplin-esque singer had on her subsequent music tour. That transition is all captured in the concert film, Divine Madness. Needless to say, it helped sharpen her pop razor.

This sounds like an updated girl group number. 

It definitely pulses, without being propelled. It's the combination of the arrangement and the tempo. It creates a strange sense of drag, as in lag-time. Yet, Midler sounds effervescent enough to carry on, regardless. Yet, this ends up not quite the whip-smart pop it could have been. 

I don't care for the sound of the guitar solo. It's muddled. Not as fresh and crisp as Crenshaw's. Too bad. I blame the production work. This is a bit too slick, a bit too smoothed-over. I want snap and crackle. I want liveliness. 

Love the 'ooh's' that bring us back to the chorus. And she wisely brings it in at 2:39. 

Great job.

The Bellamy Brothers

Great vocals. Very country, mature, gruff. 

The drum kit sounds cheap. 

Love the acoustic piano on the counter-melody. But again, production sounds cheap and thin. 

I like what the electric guitar is doing on the verses. Working almost like castanets. 

This is a little too straightforward for my taste. Very similar to the cheap-ass version I play in one of my sets. Trouble is, the energy is too low to catch fire. That might be the fault of the tempo, or simply a choice the performers are making. Laidback country? Meh. I like it to kick ass.

That instrumental break is cheesy. 

"And a bell's gonna ring..." Really? I don't think so, dears. You barely have a pulse there.

I like the play-off. Very odd. I never heard that in there.

Great song. So-so version. Suffers from inertia. 

Owen Paul

What a lot of noise. I dislike that tropical/reggae-lite vibe. UB40 did similar stuff. It always smacked of inauthenticity and pandering. Cultural appropriation? Actually, I might not have minded but it always sounded so soul-less.

The mix is gawd awful. His vocals are all over the place, too. It's like his voice has no bottom. Well, it doesn't help that it's competing with all the disembodied ephemera. 

A bit chunkier on the chorus and it's growing on me. He possesses a bit of David Cassidy's appeal, but Cassidy has a more apparent personality.  

Huh. Goes off-scrip at the 1:20 mark. I suppose, trying to stretch it out. This does go on for almost three and a half minutes. Well, if you're going to add something, then make it meaningful. This sounds lifted from a Tears For Fears song. 

The only thing more horrifying? That guitar and sax break. Ugh.

This is the noisiest bit of claptrap. How did they make this so annoying? I guess I can see why Crenshaw hates this version. I'm beginning to feel the same.

And he adds his own verse? Well. The gall. (Confession: I do a Buddy Holly song with an extra verse - at least I think it's extra... either I wrote it or I am unaware of its existence, but I have never heard it anywhere else that I know of. If anyone ever calls me on it, I will just say "I don't know.")

Well, if The Bellamy Brothers phoned it in, this one squeezes out "and the bell's gonna ring..." as if he's just creamed his jeans. Not attractive.

Is there a bass guitar? Is there?

I like the drop out... I simply wish the whole thing would. Period.

Oh, it's fun to hate the things others hate. 

And starting at the 2:50 mark things go from bad to worse, as the producers simply start throwing things into the studio - things like folding chairs, anvils and ceiling fans. What utter garbage.

Oh, sorry. It's not any of those things. It's Mr. Owens doing an improved backing vocal run. It sounds like someone turned on a blender with nails in it. 

And the whacky sax makes a comeback. Ugh.

No. 

Bad dog.

 

Ronnie Spector 

HUGE drum lead-off. Nice. 

And we are right into it. Very similar to Midler's girl-group take on it, a natural fit for Spector. 

But, where Midler has the vocal dexterity and actor's chops to play coy and sly, Spector has that troubling vibrato, which limit her.  On the plus side, she has those vocal breaks which add a dimension of toughness and rasp to things. 

Is it me? Or does this not sound a great deal like Midler's version? Considering Crenshaw himself is the mastermind behind this recording, hard to believe he was so snarky about Midler's take on the song, given how much he's borrowing here. 

This makes me think that had Crenshaw gone into an actual studio and re-recorded this, it would have sounded like this and been at least a modest chart hit. What a shame. What prevented him? Ego?

I like the rhythm section on this a lot. I also think the guitar work it top notch. The mix is thick and just a bit murky, but it works. 

What a great recording. Until she adds her a bit of her signature oh-oh-oh-oh. Hmm. Unnecessary. 

We know who you are, dear.

The Verdict

What a fun song. It's always stayed with me, from the moment I first heard it.

After listening to Spector's version, I had to go back and listen to Midler again.

I think the original demo is a lot of fun. I adore D.I.Y. But it's not the best version. It's too messy. Too much static. Charming as it is, it doesn't do the song the full pop justice. Crenshaw is in pristine form, but the mix is simply too muddy. Best guitar solo, though.

I am going to pass on both The Bellamy Brothers' and Mr. Owen's versions.

The Bellamy Brothers seem to almost sleepwalk through it, they bring so little to the table. Also, the production (Curb Records!) sounds horribly cheap and thin. It's so straightforward it might as well be any bar band in any town. 

As for Mr. Owens. He's not much of a vocalist, to be honest. No color to his voice. The few times he attempts to change things up he ends up shrill or silly sounding. The arrangement is absolute garbage. And all those added bits/lyrics/verses... for shame! I can see why Crenshaw can't get through listening to it. And it was a hit? Well... he is sort of cute in a generic pop star way, but other than that? Maybe it is simply a product of its time.

Spector's version is great. If Ronnie was vocally in better shape and refrained from reminding us of her past glories via the "oh-oh-oh's" (seriously, every song does not need that, Ronnie), I might have been more torn. She sound good. It's exactly what you would expect if you were expecting to hear Spector sing this song. And Crenshaw's guitar work is stellar. But... it's all incredibly similar to Midler's girl group vibe. 

So? Why not go with the original? And by that, I mean, Midler's version. Yes, I take exception to some of the production work, the mix and that guitar solo, but... Midler is a joy to hear. She's having fun and does the song justice. Equal parts sly and coy, it's like I said earlier in this post... happy Bette is the best Bette.

So, for me, it's Midler time. 

And that? Is never a waste.

--- ---

And that's enough of me.

Okay, your turn. You know what to do: leave your choice and thoughts in the comments section. I always welcome a differing opinion.

That's all for now.

Until next time...

Thanks for reading... and listening!

You're My Favorite Waste Of Time - Bette Midler

You're My Favorite Waste Of Time - Owen Paul

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

Who Did It Better? Moonlight Dancing

Who Did It Better? 

Moonlight Dancing

Today's edition of Who Did It Better features a pair of well-established artists who began their recording careers in the early 1970's only to become even more successful in the 1980's. As fate would have it, this particular song finds one act experiencing a decline in popularity, while the other soars to ever newer heights. Both have a history of serving up delectable slices of pop gold, so let's dig in and uncover what each had to bring to this particular table.

Moonlight Dancing is a song written by hit-meister Diane Warren, whose list of successful tunes reads like a history of the Top 40 circa 1983-1998, and beyond.  

The song first appeared on the Pointer Sisters' thirteenth studio album, Serious Slammin'. Ever since the lofty heights achieved with their appropriately-titled 1983 blockbuster, Breakout, the sisters had been experiencing an ever diminishing slide in popularity. Released on RCA Records in March of 1988, it would prove to be their final offering under the guidance of longtime collaborator, producer Richard Perry. It would also be the last Pointer Sisters album to chart on Billboard's Top 200.  

Bette Midler, on the other hand, was continuing to enjoy yet another resurgence in popularity, thanks to the success of her 1988 movie, Beaches, and its accompanying soundtrack. To capitalize on renewed interest in her recording career, Atlantic Records brought back producer Arif Mardin, who had helmed the Beaches soundtrack, hoping lightening would strike twice. 

It did. 

Some People's Lives, Midler's seventh studio album was released in 1990, and contains one of her biggest hits, From a Distance, which won songwriter Julie Gold a Grammy Award for Song of the Year in 1991. It would also become the biggest commercial success of Midler's musical career, peaking at #6 in the US and #5 in the UK.  

Moonlight Dancing was released as the fourth single from the album, but failed to chart, though it remains a fan favorite. It was also released as an extended dance remix which sampled her 1973 hit, Do You Want to Dance.

And that's the whole story.

Now? On to the competition.

The Song: Moonlight Dancing

The Competitors: Pointer Sisters vs. Midler

Moonlight Dancing - Pointer Sisters

Moonlight Dancing - Bette Midler

Pointer Sisters

Love the rhythm track right from the start. It is so much fun. And the sisters sound great, going with a very light, but pitch perfect touch on that first bit of harmony. 

I am a huge fan of this song. It makes me smile and it has the sort of groove that moves me. I find the timing and lyrics to be so tight and fun. 

Love it. All the way through the second chorus. I'd ask for a bit more separation between the lead vocal and and the rhythm section, but the sister is in such a lovely, loaded mode, I'll take it as is. 

Now... when we get to the bridge part? I want them to dig in a bit more... sort of like Prince would? Because that's what this should have been... a Prince song. 

Things get messy. The ladies' harmonies are not as sharp as they should be and after a point, because there's no sense of build or direction, the whole thing ends up feeling stuck in second gear and rather aimless. 

Around the 2:10 mark, Ruth starts asserting herself a whole lot more and that helps. I have always felt she was somewhat under appreciated as a singer... she's got pipes.

And things are slowly - very slowly - heating up. Though I do wish those 'oh's' at the 2:22 mark had more focus. The harmonies are there, but the sisters seem to have hit the snooze button on their alarm clocks.

And now I know why I think this is a Prince song... that rhythm track? Little Red Corvette.

This could have been Little Red Corvette.

Instead? It's more like an Edsel. As in... not going anywhere.

By the 2:50 mark, the sisters are waking up. And, I must confess, I keep arm dancing in my seat as I'm listening. This thing? Just like an Edsel... it has it's charms. 

Ruth.. busting loose in the background. Damn, girl. You go get it!

I love the tone of that saxophone. Absolutely spot on. 

And the very ending... nice touch.

Huh. Okay... this is going to be tougher than I thought. I was hard on this version, but in the end... it sort of won me over. 

What can I say? I got thing for these sisters.

Not Richard Perry's best work by a long shot. Not the sisters' either. But it has a lot going for it. Sometimes messy can be a whole lotta fun!

Bette Midler

What is going on in that first five seconds? I have no idea. 

When the rhythm track kicks in so does that plucked synth line, and... surprise, surprise - it sounds a lot thinner than I remember. 

An aside: My favorite number in the movie Beaches? Oh, Industry. It was so theatrical and fun - it made little to no sense, but it was so much fun. And that's what this song has always reminded me of... Oh, Industry. Because of its mechanical musical nature.

I like that quick string sting!

And, honestly? Bette never sounded better. So focused. So pop. 

This also reminds me a lot of her work on No Frills. I love the layered vocals. And, yes... I suspect all the vocals are being run through some kind of filter. Treating vocals in the studio is so standard. Even back then. Once the industry heard what it could do for Oliva Newton John? Everybody jumped on that bandwagon. 

The string arrangement, thus far? Tasteful and subtle, as it should be. I do like the mix. Of course, when it comes to Bette? She always needs to be on top, am I right?

As we move into verse two... lots of new additions and the harmonies are heating up. And still... the mix is perfect. I love all the silly little synth lines snaking in and out and about. Her bridge is abbreviated, but I'm a fan of succinct. She moves straight ahead. I don't think I can recall a time when Midler has been so focused as a singer. The discipline and restraint she showing? Remarkable.

Yet, as we progress, more and more of her personality is coming to the fore. It's a wonderful build, and exactly what is missing in the sisters messier version. I think the vocals just keep getting more and more interesting. 

By the time we hit that flute/fife solo with those strings going nuts underneath it? So much fun! I want to flutter off into the night like a firefly.

Oh, my gawd. A solo violin and then... man-do-lin!  A mandolin! NO! Get out!

And the lovely rhythm track with that plucked synth. I am a sucker for kitchen sink instrumentation. A little goes a long way... but a little of a lot is so much more fun.

This is a marvel of production. It is so sonically diverse. It's a fascinating piece of work. Brilliant.  

The Verdict

Bravo, Bette. 

I thought it would go that way.

I must say, the production on her version sounds a bit thin to me these days, or at least thinner than I remember it. But it is just a marvelous piece of work. Her restraint. And yet her personality comes through. And the arrangement and the production work - all on point, all succinct, all tight. 

I like the Pointer Sister's version, too. Theirs is a lot of fun and had they been made to focus a bit more, keeping in mind that they were building on something as sexy as Little Red Corvette, I think it could have been made into something that would have caught the public's attention. As is? A missed opportunity. 

But Bette's version? Spot on. Hermetically sealed, yes, but oh, what a magnificent piece of art. So much candy for the ears. I think, had they tweaked their promotion of this single a bit differently, pitching it as a sort of cosmic adventure, it might have caught on.

It's a very clever song. 

--- ---

And that's enough of me. 

Okay, your turn. You know what to do - leave your choice and thoughts in the comments section. I love to hear about what you're hearing.

That's all for now.

Until next time...

Thanks for reading... and listening!

Moonlight Dancing - Bette Midler

12" Version

Who Did It Better? Say Goodbye To Hollywood

Who Did It Better? 

Say Goodbye To Hollywood

 Today's Who Did It Better? selection is an example of a boomerang! 

A little retro homage that, when first tossed out? Hard to say if it was actually going anywhere. 

It even managed to bounce off of three other major talents before returning home to roost. And when it did? It was to its original artist, going to prove, that you simply never know how a song is going to find its way into the popular lexicon until it finally lands

Say Goodbye To Hollywood is a song written by Billy Joel. He wrote the song after moving back to New York City  from L.A. in 1975. The reason he moved to L.A.? He was trying to extradite himself from a record deal with a label that had screwed up the release of his debut album, Cold Spring Harbor by mastering it at too high a speed. 

Joel has stated in his university lectures that he wrote the song with Ronnie Spector and The Ronettes' classic song Be My Baby in mind. In kind, the song was also produced using aspects of Phil Spector's 'Wall Of Sound' production technique.

It was first released in 1976 on his fourth studio album, Turnstiles. Originally delegated in the US as the B-side to his I've Loved These Days single, the powers that be at Columbia thought better of it and a month later re-released as an A-side single with Stop in Nevada on the flip side. It failed to chart in the states, but did nab the #45 spot in Australia. 

Things worked out better five years later, when a live version of the song was included on his compilation album, Songs In The Attic. Released as a single with Summer, Highland Falls as the B-side, Say Goodbye To Hollywood peaked at #17 on Billboard's Hot 100, #35 on the AC chart and #27 in Canada.

In the meantime, the song was not idle.

In 1976, Ronnie Spector sang a duet with Southside Johnny on a track for an Asbury Duke's album, You Mean So Much To Me, penned by Bruce Springsteen. So taken with her contribution, Springsteen's E Street Band decided to record a one-off with Spector singing lead. Recognizing that distinctive opening beat, Spector decided that Say Goodbye To Hollywood was to be the song and it was released as a single. Sadly, and somewhat surprisingly, given the popularity of anything associated with Springsteen at the time, it failed to chart.

Spector wasn't the only songstress to appreciate the retro vibe of the song.

 

Bette Midler, who was cobbling together her fourth studio album, thought the vintage flavor of the song was a perfect fit for her and decided to include it on her 1977 Broken Blossom album. 

In addition... Elton John's longtime drummer, Nigel Olsson had been toying with a solo career for some time. He'd released four solo albums - two on UNI, and two on Rocket Records; both  labels associated with John. For 1978's self-titled effort, he jumped ship and signed on with Columbia Records. For that album, he recorded a version of Say Goodbye To Hollywood and it was released as the album's second single. However, it failed to chart. 

And that's just as well. For that meant that the song remained unassociated with any other artist and, when Joel revisited the song as a part of Songs In The Attic, given his increased popularity, it was deemed a perfect single to be released from that collection. 

And that's the whole story.

Now? On to the competition.

The Song: Say Goodbye To Hollywood

The Competition: Joel vs. Spector vs. Midler vs. Olsson

Say Goodbye To Hollywood - Billy Joel

Say Goodbye To Hollywood - Bette Midler

Say Goodbye To Hollywood - Ronnie Spector

Say Goodbye To Hollywood - Nigel Olsson

Billy Joel

Love that big beat. Ronnie and The Ronettes, indeed.

Joel sounds like he's being recorded in another room, but that is the effect when trying duplicate Phil Spector's Wall of Sound. His voice has always been piercing and lacks color, but it is an effective pop means of breaking through on AM Radio. 

His band is in good form, they have always offered him the best support. I like the harmonies. This is straight ahead, meat and potatoes pop. 

Here, Joel seems to be more interested in shout/singing than actually singing. It's a tad off-putting. 

Adore the story lyrics. This is a well-crafted tune. 

Dislike the strings on the bridge. And the whole thing suffers from a somewhat awkward time signature change. It's like the record skips. 

And really hate the strings after the 'oh's.' 

Wow, as Joel goes on he becomes less and less tuneful. I dare say, there are pitch issues.

Oh, and the strings carry on into the final verse. Too bad. It's too much frosting for this cake. 

Obligatory sax and not as soulful as one would wish. Clarence Clemons would have done this right.

As this goes on, seems less polished and more amateurish. Like any bar band in any small town could knock this out. You know, except for those hideous Neil Diamond strings.

I know the play-off is meant to make us feel a big swell of emotion... and maybe it would have worked if they'd saved the strings for then and only then. As is? Feels like padding. Not interested. 

Well, this didn't go as I remembered. 

And I can't blame the producer... Joel produced this album himself.

Bette Midler

That intro is disco dreck. Very messy.

Oh, dear... that tempo misses the point of the song.

And the backing vocals. Sort of a yelp there. Midler sounds like she's on helium or mastered at the wrong speed.

Everything feels awfully rushed.

Now, I like the 'doot do-its' on the second verse.

You know, if I remember correctly, this was a lot more fun live than it is on record. But then, that was the case with a lot of Bette's material back in the day. She'd work it out live, finding things in a song that escaped her in the studio.

Always enjoy the weird little breaks in her voice that occurred when she sings. You never knew what or when. But it was always very human and interesting.

Ick. That little guitar bit into the bridge. Hope that goes away and stays away.

The strings are annoying. Love the backing vocals. Midler sounds so tiny, I wish they'd slowed this down an allowed her to sit in the song a bit more. She's hitting all the notes, but it feels like a very surface reading, very rushed. 

The string stings suck ass. 

Is that a male vocalist doing a bullfrog beneath the second half of verse three? 

Interesting vocal arrangement at the end of that chorus. Does it work? And it continues into the play off. Odd choice, but it does add a certain element. I would have killed this at the 2:30 mark.

Maybe this hasn't aged well?

Ronnie Spector

Speaking of the late Clarence Clemons.

Messy intro, but very E Street. Jury is out on the strings. Really? Strings that early.

Ronnie sounds right at home. Huh. Who would have guessed. 

Okay, the sax is a little in the way, but Ronnie is still holding her own. It's a definite Springsteen-sounding arrangement. Huh, I like the interplay between the piano and the strings. It works.

During the second verse, the arrangement is overwhelming the singer a bit too much. Too bad. 

Okay... the strings are going way overboard on the bridge. I wish they'd trusted Ronnie more. 

Damn. What a missed opportunity. Those strings are just awful. They're destroying the beat and washing out the entire song. 

Still, this is a great moment for Ronnie. She sounds right at home. 

Damn.

Nigel Olsson

He's a drummer, so he gets the intro right. I even rather like that programmed sequencer bit. 

I'll be damned. He's getting this right. It's very clean, and I like that. It's that space between the big beats - it needs to be respected. 

I even like his voice. Though it's a little like Shaun Cassidy.

The backing vocal arrangement is interesting. A bit heavy-handed. 

He sort of misses the vocal fun inherent in the melody of the bridge. Rhythmically, he's smoothed away all the edges. Oh, don't know what he's doing with that second half, though. Shrill. 

Weird little vocal flourish with that programmed sequencer to take us into the third verse. It's all a bit much? This started out so well.

He gets back on track only to allow that hoary organ to well up out of nowhere. This is truly overproduced. So many elements thrown in, none of it consistently so or in focus. 

I do love the Ronnie Spector like 'Oh-oh-oh-oh's.'  Nice touch. 

Boy, too bad. It sure got messy at times. 

The Verdict

Wow. Some 'almosts' in the lot, but no real winner.

I like Joel's arrangement and production the best. I rather loath his vocals though. They are frequently tuneless, bringing none of the fun of the era he's evoking. He's just shouting in a rather unmusical manner.

Midler misses the point of the song. Her arrangement washes out all the fun of the era it evokes, leaving us with a glossy, polished nothing burger. It's that tempo, too. She could have had a lot of fun with this had she done with this what she did with Leader Of The Pack.

Ronnie is in great voice, and sounds perfectly at home. But between those strings and the sax player, she tends to get drowned out. It's a wasted opportunity.

And Olsson starts out on the right foot, but quickly loses his way in a very unfocused arrangement. They simply kept throwing in too many differing elements. None of it stayed long enough to make an impression nor did half of it work. 

So... I'm going with Ronnie, despite the lousy arrangement. She still taps what's important here, evoking an era that begs to be romanticized. I wish Billy Joel had produced her version... his arrangement and production with her vocals? That would have been perfection.

--- ---

And that's enough of me.

Okay, your turn. You know what to do. Leave your thoughts and choice in the comments section. I love to hear what you're hearing!

That's all for now. Until next time...

Thanks for reading... and listening!

Say Good-Bye To Hollywood - Billy Joel

Say Good-Bye To Hollywood - Ronnie Spector