Sunday Diva/Three From The Hip: Patrice Rushen

Sunday Diva/Three From The Hip: 

Patrice Rushen

In my big gay church, there are many, many wings. One is dedicated to those referred to as Forever Our Girls. They are the girls next door. The ones who seemed accessible, real and a part of every day life while stealing our hearts with their girlish charms. And they did it all wrapped up in the trappings of whatever was topping the charts at the time. Sounds changed. Styles came and went, but the one thing that remained constant? Their voice.

One such groove-meister?

Patrice Rushen.

Forget Me Nots? How could we ever?

Accomplished. Talented. A musical goddess. 

The lady has laid down so many seminal sounds, she's been feeding generations of artists, inspiring and enlightening.

The entire time? She got us hitting the dance floor with grooves so deep, one's soul could be lost forever. 

We are thankful. We bow down. We surrender. So powerful is her channel. How could we help but stay tuned?

And she's still at it... playing live and igniting the spark in young minds the world over.

The gospel according to her?

Well, here are three from the hip, dropping from her lips.

The topic? Prince.

"I think that our friendship was really based in the music. A recording engineer of my project said, 'I need you to meet someone that has the same kind of interest as you in terms of playing a lot of instruments, writing material, introspective about the industry, and is a fan of yours, and wants to meet you.'

We met over the phone and the whole idea of what he was about musically was intriguing. He was very curious about the music and that's what started our friendship. Now, because we were contemporaries, and because this industry has always been kind of set up with the what-ifs, 'What if so-and-so was with so-and-so?', I think that may have been a little bit more perpetuated than I was aware.

I find out probably the same time you find out! You open up the CD or whatever, and you're reading the “Best Of” [liner notes] and find out a particular song was written about you or for you, or with you in mind or something like this. That came as news to me!"

"Our relationship was always kind of distanced because we didn't run into each other that often. But when we did, we used to have some pretty deep conversation. And the one I remember and respected the most was before Purple Rain came up. He was terrified.

He was really concerned about this movie: 'I may have bitten off more than I can chew on this one.' I said, 'Well, did you do your best?' He said, 'Yeah.' I said, 'Well then that's all that's all you can do.' And he said, 'Well, from your lips to God's ears.' I said, 'If this is about your path and in your truth, you're going to be okay.' Boy, the thing came out and the rest is history!"

"There was one other time when I had a conversation with him actually at the Grammys. My first Grammy Awards as [music] director was the show that he and Beyoncé opened. Because of the scope of - just the spectacle of this show, the bigness of it and everything... he wanted to rehearse and get things right, and so [did] she. Very hard worker. Wants it right. Doesn't mind doing things over and over until it's just so. I admired that about both of them.

Some of the music was prerecorded so that it would be consistent. This is very, very common. Especially when it’s going out live like that, in a basketball arena! It's not a concert arena. So, you want to control the sound, blah, blah, blah. This particular day, the producer just thought, 'I know we've rehearsed it like this, but I want to do it [live] over the air.' That’s kinda dangerous on the day of the show! He said, 'I want you to go and convince Prince that that's what he should do.'

I’m knowin' this is not a great idea!

And on the way to the stage to talk to him, I’m going, 'Okay, so how - how do I deliver this message, knowing that I'm getting ready to talk to my friend about doing something that wasn't a great idea?' So, I went to him, delivered the message, and he says, 'What do you think I should do?'

I said, 'I think you should follow what you feel is right. Just remember no one else is set up for this right now. Nobody. It can be done, but you could be rolling the dice in a situation [where] others are not prepared.' He got it.

That's the relationship that we had. 'What do you think I should do' doesn’t come out of the mouth of a major star who has done a thousand shows, loves playing live, but knows that this is one of the biggest nights on television and the world stage. He got one shot and he gon' ask what do I think? With all of the other bravado, at his core, he was an artist. He wanted opportunities to express himself in the clearest ways that he could.

I know that he listened to a lot of the music that I did because I could hear little quotes and stuff here and there, now and again. That's wonderful to feel like you touched somebody in that way. And whenever I would see him, he was always polite and cordial and inquisitive."

Haw-Right - Patrice Rushen Trio

Forget Me Nots - Patrice Rushen

Haven't You Heard? - Alan Fitz Patrick vs. Patrice Rushen

And one last parting shot...

"As a college professor who teaches popular music, one of the things that becomes really obvious is that those in higher education are there because they are wanting to go deeper. They want to do a deep dive into massive amounts of musical material. They want to be able to use that as a launchpad for whatever they're going to do. They want to understand where it all comes from.

I think that the artists [of today] that you’ve mentioned maybe haven't done the deep dive, but they've gone back far enough to realize the validity and the value of those sounds and grooves. It sticks in a different way, when people can see that you're not out here winging it. That you've taken the time to be able to get with your team and think about how it's going to be presented. I think that's why some of those artists stand out.

I'm okay with the idea that artists like myself didn't get our just due. A lot of us were rewarded in ways that allowed for us to continue to do it. That's why we did it. You could tell who was doing it because they loved it. It was a part of who they were, it resonated with their truth. Their truth was so powerful that it resonated with another person's truth.

We were hybrids that came from a generation that gave us permission to go for whatever we wanted musically, as long as it was presented at a high level. Creating an environment that told us it's okay to do our thing because we were already standing on the shoulders of those who have done it. So, when you talk about the artists you mentioned, those are people who are standing on ours. And that's the way it's supposed to go."

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

Sunday Diva/Three From The Hip: Sheila E.

Sunday Diva/Three From The Hip: 

Sheila E.

In my own personal big gay church there is a wing dedicated to those who belong to the Rhythm Nation. These divas got us to think, encouraged us to love and respect ourselves, made us feel sexy as hell and... most importantly, got us to dance! One diva has been bringing the magic to dance floors for decades and to this day manages to get our feet moving to the beat.

One such magical soul sister?

Sheila E. 

In the home of her father, Latin music legend Peter Escovedo, the beat was everywhere. How could it not become part of her?

This diva took that gift and found her own way. 

For a time, Prince served as mentor and a conduit, bringing her energy and joy to the world.

Infectious, jubilant and sexy as hell, her rhythmic magic captivated us, sending us running to the dance floor time after time. 

And she never stopped. She evolved, she grew - as both a person and a musician.

To this day, she remains as vital and vibrant as she was her first day on the scene.

The gospel according to her?

Well, here are three from the hip, dropping from her lips.

The topic? A Life In Music

"That's how we grew up - kinda like Pops would put his drums, his percussion and instruments into the car and we would just go to a facility in the Bay Area and he would say to us, 'You think we have it bad? There are people worse off than we are. Let's go give back to the kids.' And that's how we grew up."

"Having that music around us all the time, it was so inspiring. But at the same time, I was a kid. I didn't pay attention to any of it. I'd get on the drums and hit them a few times, and then go outside and play."

"Don't forget, I was a musician long before I ever met Prince. That's a big difference between me and those other women he's worked with. We operate on the same plane, as equals."

"The point in me playing with Prince was to let a lot of people know that I can play trap. I don't think people know that."

"I like being in the back. I've done that for so many years, I'm really comfortable doing it. I don't like the solo thing as much as I like playing drums behind someone."

"My genre of music is very eclectic. I might play some Latin jazz, or just go into a spontaneous jazz thing. That's the thing about coming to one of my performances. Not every show is the same."

"To me, the stage is like my living room, or my home, and when you come over to my house, I have to be a hostess and invite you in so that we can have a great time."

"Engaging with the audience lets them know I'm approachable. I don't like that whole, 'You can't talk to Sheila E thing' - I don't like that."

"I want to be entertained, so if I want to be entertained, I know if I'm going to play, I want to make sure that you're entertained and that I'm having a great time. I really do love what I do."

The Glamorous Life - Sheila E.

A Love Bizarre - Sheila E.

Sex Cymbal - Sheila E.

And on last parting shot...

"The youth are very important to me, they're the next generation, but I want to instill in kids, even in playing, that it's never too late and there's no right or wrong way to do anything."

"The break down for kids is communication. Music helps bring that bond."

"I love talking to the youth and helping them as much as I can or encouraging them, if I can help them at all."

Who Did It Better? I Feel For You

Who Did It Better? 

I Feel For You

Some songs are born before their time. Take today's Who Did It Better? selection, for example. It took five years for sound and song to sync up, creating a megahit for one lucky vocalist. In the five years that preceded her interpretation, three other artists, one of them the song's writer, all took a swing at it. 

But only one of the four had what it took to make it an international bestseller.

Let's take a look at a how they all compare.

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I Feel for You is a song written by Prince which originally appeared on his 1979 self-titled second album. 

He originally wrote it, along with what was to become his first major hit single, I Wanna Be Your Lover, for musician Patrice Rushen (Forget Me Nots.) However, she declined to record either of the songs, so, Prince recorded them for his own album, which was released in October of 1979.

In 1982, The Pointer Sisters were still working toward creating their breakout album. Now a trio, they'd been working with arranger/producer Richard Perry, successfully honing their sound, for a number albums, relying, in part, on his taste in music. Perry felt I Feel For You was a good fit for the ladies, so they recorded a version for their I'm So Excited! album. 

Rebbie Jackson, the eldest child in that fabled musical family, was in the process of putting together her debut album. I Feel For You was on the list and made the cut. Produced by Wayne Henderson, it was included on her 1984 album, Centipede. 

Enter Chaka Khan.

With Melle Mel, from Grandmaster Flash and the Furious Five laying down rhymes, Stevie Wonder on harmonica, and legendary producer Arif Mardin on board this recorded moment almost seemed too good to be true. Add to that a sample lifted from Wonder's 1963 hit Fingertips - and how could they possibly miss?

Included on Khan's 1984 album of the same name and released as a single, her version sold more than one million copies in the US and UK, helping to reestablish Khan as a certified hitmaker. It peaked at #3 in the US for three weeks - kept from the #1 slot by Prince's own Purple Rain and Wham!'s debut single, Wake Me Up Before You Go Go. It did, however,  manage to snag the #1 spot on both the US Dance and R&B charts. In the UK, it held down the #1 slot for three weeks in November of 1984. 

Khan's version of the song went on to win two Grammy Awards; for Best R&B Song and Best Female R&B Vocal Performance.

Oh, and that distinctive signature opening?  Where Melle Mel repeats Khan's name over and over? Yeah. That was an accident, one committed by producer Arif Mardin. But he was so happy with the result? 

He kept it.

And that's the whole story.

Now? On to the competition.

The Song: I Feel For You

The Competitors: Prince vs. The Pointer Sisters vs. Jackson vs. Khan

I Feel For You - Prince

I Feel For You - The Pointer Sisters

I Feel For You - Rebbie Jackson

I Feel For You - Chaka Khan

Prince

So... that intro? 

Nothing I expected. 

It sounds like the morning theme for Wake Up, Cincinnati!

Yes, that is some cheesy stuff. 

And in comes Prince with his signature falsetto, multi-tracked, sounding... very much like Prince. The hand claps are fun.

That cheesy synth is killing this for me. I would love to hear a mix without it. And there is actually an acoustic mix that he recorded that was found in the vault and released (see below.)

Prince is in fine form. But between that cheesy synth and the one that sounds like an accordion taking focus on the chorus? 

By the way... if it sounds 'slight,' there are a number of reasons for that. 

First - it's 1979. Recording technology had only come so far. 

Second - everything you hear is Prince; he wrote, produced, and played all the instruments with a tiny bit of assistance from Bobby Z and Andre' Cymone.

Third - it was sort of a rush job! You see, Prince had spent twice what he was supposed to recording his debut album, For You. It failed to spin off a sizeable hit, so Warner Bros. wanted new product, quickly. This whole album was recorded in a couple of weeks time.

Now that I've equated that synth sound to a television show theme - that's all I hear. Especially on that instrumental bridge. It's a great song, though.

I love the 'whoah-a-whoah-a-whoah' build up. But then we get a flatulent sounding solo? I think it's an actual trumpet. Love the bass work. 

At the 2:30 mark? I'm done.

Oh, but then he goes and starts getting all creative. Very fun play out. 

Never doubt Prince.

Rather surprised this was not released as a single. It would have worked in 1979. 

Limited. A bit cheesy. But tasty.

Did you know that Chaka and Prince toured together at one point and would perform this as a duet?

You do now.

The Pointer Sisters

Well, the cheesiness factor has been kept in place. I was hoping for something with more bite. 

WOW. Who cares about that intro. Those ladies kill. Man, that is a gorgeous sound. LOVE the harmonies. So damn tight. 

Ruth is holding down the bottom. 

I have to say, I'm surprised by how common the arrangement sounds. Richard Perry typically brings a great deal of personal style to the proceedings. The ladies are carrying this on their own - and very well, I might add. 

I like the horn chart, but there's something about the mix that's not right. There's too much occasional conflict, too much competition. I think some elements in the arrangement need to excised and others knobbed a tad lower, so they support rather than overwhelm. 

And the instrumental break is just as cheesy as Prince's; yet another Top Of The Morning, Ohio theme song.

Considering the ladies can sing the phone book in three part harmony... why is there so much instrumental nonsense taking center stage? 

I'd rather hear them vocalize these instrumental parts than listen to these flat-ass synths. Perry, who is typically better than this, has relegated our dynamic trio to the role of back-up singers on their own damn album. 

Once again, the play out is fun - out of balance, but fun. I would have brought the ladies back into focus rather than that annoying synth. 

A missed opportunity.

Rebbie Jackson

Best intro so far... that's not saying much.

Way up tempo. Strips all the soulful R&B vibe out of it. It's too damn peppy.

So, Rebbie. Not much of a voice. Not a great deal of color to it, or shading. She doesn't purr. More like a squawk. 

She's cute on the chorus though. 'I think I love you.' 

I like the faux hand claps. The tempo is a bit breathless. The arrangement sure is bright. 

I do appreciate the cleanliness. But Rebbie does not possess the pipes to dig into this song.

Interesting vocal choices on the ramp up to the...

Guitar solo? Blink. Blink.

And boom. It's Late Night With Conan O'Brien.

Well, Rebbie will stand it for only so long. In she comes. All sorts of fun ideas. I'm not saying this is not without its charms. 

She reminds me very much of Vanity, of Vanity 6, Prince's girl group. Vanity was also his girlfriend and was supposed to be his co-star in Purple Rain, but... they had a fight, or something... maybe drugs? Anyway, she, too, had a very limited vocal range, with little color to her voice... so it makes sense that Wayne Henderson went this route.

It's cute. It sort of satisfies. 

Chaka Khan

Nope. Not breaking this one down. Sorry... it is such a classic. 

Like we didn't know how this was gonna go from the get go?

This sucker just rips.

Chaka is in such fine form here. And not so much a singer as... a force of nature.

The woman is the element of fire. She's an instrument, filling all space and time. 

Everything about this is jaw-droppingly amazing. The timing. The cuts. The beats. The mix

It's masterful, Arif Mardin at his best. A perfect marriage of of all the various elements. 

And so much fun. It's ageless. 

The Verdict

So, this was fun.

It was nice to trace this song's path.

I think The Pointer Sister's version is a missed opportunity. Those ladies are so deep and tight. With a funkier, sparser arrangement, and allowed to vocalize themselves into a frenzy, I think they could have had something there. I blame Perry, who played it too close to the original and didn't think outside the box. Prince had already moved on to far funkier sounds by 1982, so why Perry didn't pick up on that? Well, I have no clue. 

Prince's version sounds like something concocted in a bedroom studio. His one-man-band approach may have saved time and money, but it did not do justice to this song. His version sounds like a padded out demo.

And Rebbie? It's cute. Like Anita Ward's Ring My Bell is cute... until it becomes annoying and wears out its welcome. 

Chaka got the hit because Chaka's got 'it.' 

The woman, at that point in her career, simply blew other vocalists out of the water. Given the right material, arrangement and mix? Ain't nothin' she couldn't do. 

--- ---

And that's enough of me.

Okay, your turn. Leave your thoughts and choice in the comments section. Love to hear what you hear.

Until next time...

Thanks for reading... and listening!

I Feel For You - Chaka Khan

I Feel For You - Prince

(Acoustic Demo)

Who Did It Better? Company

Who Did It Better? 

Company

I love it when someone leaves a comment on the blog which triggers a musical memory. This is a shout out to justlikesdads, who mentioned something in relation to The Minneapolis Sound we touched on two weeks ago. To answer his question... oh, yes. I remember Sue Ann. Sue Ann Carwell, whom Prince wanted to rename Suzy Stone and when she wouldn't go along with it (or give him complete artistic control,) he sort of lost interest. But she did get signed to Warner Bros. Records and she did cover a couple (four?) early Prince songs.

I owned a copy of her debut album on cassette and was chiefly taken with her version of a Ricki Lee Jones song that was included. Which brings us to today's edition of Who Did It Better?

(Apologies to the few of you who were hoping this was going to be a battle over who sang the title song from the Stephen Sondheim classic musical best.)

--- ---

Company is a haunting ballad written by Rickie Lee Jones and Alfred Johnson.

Jones would include it on her blockbuster self-titled debut album on Warner Bros. Records, released February 28, 1979 and use it as the B-Side for her UK single of Easy Money. 

Jones and Johnson had been knocking about together, performing at the Ala Carte club in Los Angeles when the two began to catch the ear of the industry. A showcase performance and demo tape later, Jones had a recording contract. Her debut album, produced by Lenny Waronker and Russ Titelman, would produce the Top Ten hit, Chuck E.'s In Love while landing at #3 on Billboard's album chart.

Meanwhile, in Minneapolis... Prince, who'd been recording for Warner Bros. since 1977 and recently notched his first Top 40 hit for the label, had been toying with the idea of playing Svengali for undiscovered talent. One of the first such talents he would nurture was Chicago-native Sue Ann Carwell, who would initially be known professionally as simply Sue Ann. 

Beginning in 1976, Sue Ann would record and perform a number of songs with Prince, either as co-vocalist or as a back-up singer, and in the process earn the title of "first lady of the Minneapolis Sound." Many of these recordings remain unreleased, including a duet, Since We've Been Together, which was recorded at Prince's Edina home studio in a session which also included Make It Through The Storm, a song included on Sue Ann's self-titled debut album.

Like Prince and Jones, the singer would find herself signed to Warner Bros. and a version of Jone's Company was to be included on her debut album. Released in 1981 and produced by Pete Bellotte (Donna Sumer, Elton John), the song would serve as the second single from the album. However less than competent marketing on the part of the label would kill the album, although it did create quite a stir, here, in Minneapolis. 

Sadly, it would also mark the end of her professional relationship with Prince. It would take Sue Ann until 1988 to reemerge as a recording artist, doing so on MCA. 

And that's the whole story.

Now? On to the competition. 

The Song: Company

The Competitors: Jones vs. Sue Ann

--- ---

Company - Rickie Lee Jones

Company - Sue Ann

Rickie Lee Jones

Jones' debut album is one of the finest produced albums ever recorded. Lenny Waronker and Russ Titelman created a valentine to the object of their affections, doing a top notch job of coddling their newborn jazz baby. The duo somehow totally clued-in to Jones' idiosyncratic style, supporting without ever overwhelming, allowing the artist's songs to reveal themselves.

Jones, a chanteuse unlike any heard in a long time, utilizes her brand of jazz phrasing in tandem with her menthol cool soprano voice which she can flip on a dime (and constantly does, playing with musical dynamics by toying with force of delivery and volume throughout.)

Company is the most straightforward song on the album; a standard ballad as lovely as any in the American Songbook. Adorned primarily with Jones' piano stylings, the focus is placed entirely on the singer's emotive reading. 

I love the halting lilt she brings to the proceedings. And such atmosphere; one can easily visualize the black grand catching the light, the smoke-filled room, the overflowing ashtray, the partially consumed cocktail. It's closing time in another bar, another town. 

I also adore how Jones' voice conspires with the melody and lyrics; when she flips into her head voice on "but when I reach across the galaxy," it all fits hand in glove and the listener is only too happy to go wherever she leads. 

This arrangement deftly avoids all the mistakes so frequently made with this type of song. The strings act as nothing more than that softest of cushion, until they skillfully unfold into a sort of cinematic splendor, while the rhythm section provides the quietest of discipline. That orchestration? By the incomparable Johnny Mandel. 

And that's Michael McDonald providing all the vocal balm in the background. Jones' phrasing, her stop/start delivery, her tin pan alley theatrics: they tie my heart and stomach in all sorts of knots. With the final chorus, the entire ensemble comes together providing safe and sure passage, as Jones climbs to a lovely head note, allowing it to hang there and reverberate for a moment, before putting this baby to bed. 

A brilliant, knowing, assured performance; as brilliant as it is lovely.  

Sue Ann

It has been three and a half decades since I have heard this. (Is that possible?)

What an interesting piano sound. Sort of honky-tonk, but with a rounder sound - as if haunted. Such odd tones in that intro. It's like a Germanic dance hall or cabaret.

I have to question the wisdom of pairing Sue Ann - who is clearly an R&B singer - with Pete Bellotte. 

Sue Ann goes right for it, no whispery, slithering entrance for her. Her voice; its like there are two singers in there... the young pop princess and someone with a much fuller, more adult voice. When I listened to her uptempo stuff, the pop princess was in control, but there were also elements reminiscent of Chaka Khan. 

This has such a live sound, as if recorded in an empty ceramic tiled room. There's so much vibrancy. But the singer doesn't seem to be aware of it and isn't playing with it.

The first verse, she's struggling to make this her own, to put her stamp on it. There's something very green about the whole thing. She's going for some very sophisticated R&B flavoring, frequently coming up short because she's so young. I have to say, the production work here is very unsympathetic. And that arrangement is pretty rote.

The chorus blossoms with a bit of quiet storm magic. Those backing vocals are huge. I dislike the guitar work. The beginning of the second verse weirdly comes apart - the band is not in tune with the singer's intentions at all. Honestly, I am a bit appalled by the apathy on display. Unless they recorded this live, in one take. Then maybe I could understand.

"And I know-wo-wo-ah", very Chaka.

Oh, my word. Diva takes off. That is some pure soaring vocals at play. Wow. That alone makes this worth listening to. I bow down. Suddenly I'm hearing more of a Stephanie Mills thing going on. Wow, interesting orchestra break, too. I have to say, this final chorus is making up for all that went before. They found a groove and made this into a full-fledge R&B song. Interesting. Why didn't they do that from the start? I get the acoustic beginning, but they could have pulled this out a lot earlier and sold this as a straight on R&B / Quiet Storm kind of thing.

Sue Ann can be a little pitchy. There's some tonal rubs in there that I am not comfortable with. She's young and it shows. And Bellotte does her no favors. He's not treating her vocals or asking for overdubs. This is some pretty raw stuff, vocally speaking. 

The Verdict

Jones' is the more polished, knowing, performance. Even with her halting, odd delivery, she keeps the narrative intact and shares a gutsy, heart-wrenching story. It's theatrical jazz at its finest. It's so intimate, as if she's crawled up inside the song and is singing in the fetal position.

Sue Ann deserved a better producer. Someone more empathetic. I think there's a lot of raw talent on display here, but this performance is far from mature. 

Jones takes this easily. 

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And that 's my two cents worth. 

Special thanks to justlikesdads for shaking this one loose. If you have a suggestion for this series, leave it in the comments section. I have a running list of about 50 songs waiting to be tackled, but I can always use a few more. 

Okay, your turn. Let me know what you think. Leave your thoughts in the comments section. 

Until next time...

Thanks for reading... and listening.

Let Me Let You Rock Me - Sue Ann

Friday Fun: Happy National Hair Loss Awareness Month

Friday Fun:

Happy National Hair Loss Awareness Month

I can assure you... those of us who are follically-challenged were very aware once our hair began disappearing from the tops our heads. So to spend a whole month focused on it seems a bit... harsh. 

But, if we must celebrate it, then let's truly celebrate. 

As for those who remained well-maned? We know they are all too aware of the state of our hair. That's why many of us live a large percentage of our lives in public wearing baseball caps. Oh, the shame of it.

Though, I must point out that, yes, we baldies? We do have our fans. 

As do those who choose not to shave their scalp. Those living with and making the most of what nature has given them. Those men who proudly wear their eagles nests like a crown for all to see. 

Well, more power to 'em.  

Me? I cut my losses early. Made the best of a bad situation. I buzz it down to nothing daily. 

Of course the reason most frequently cited as the major cause of hair loss? 

Excess testosterone. 

Yes. Indeed.

So, put that feather in your caps, boys. 

As for the rest of you! Remember that little fact the next time you're about dismiss someone because their hair is no longer all there. 

Yes... You know what they're missing, but do you know what you're missing?

Judging from the pics below...

Hell, honey... all that excess testosterone?

It sure looks good on you!

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Ah, another weekend is upon us.

Celebrate life. Celebrate love.

Have the time of your life.

- uptonking from Wonderland Burlesque

U Got The Look - Prince w/ Sheena Easton

You Look Good To Me - Cherrelle

Love Is The Look - Kristine W