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A well-written song can have a lengthy lifespan and be recorded by a number of artists. Such is the case with today's Who Did It Better? selection.
Now, Barbra Streisand, Cilla Black, and numerous others, including Elaine Paige, have recorded solo versions of the song, but for the purposes of this post, we're only looking at group or duet versions of the song.
I Know Him So Well was written by ABBA's Benny Andersson and Björn Ulvaeus with Tim Rice of Jesus Christ Superstar and Evita fame. The chorus of the song incorporates the chorus of ABBA's 1977 concert stable, I Am An A, a song which was never officially released, though bootleg versions are to be found on YouTube.
The song is a duet from the trio's concept album Chess, which explores the world of international chess champions using the Russian/American cold war as a backdrop. It was later turned into a stage musical. In this duet, two women – Svetlana, the Russian chess champion's estranged wife, and Florence, his mistress – express their bittersweet feelings for him and at seeing their relationships fall apart.
Originally sung by Elaine Paige (as Florence) and Barbara Dickson (as Svetlana), the duet was first released worldwide on the Chess double LP, often referred to as a concept album or album musical, in the autumn of 1984. They'd laid down their vocals separately and never met during the recording of the song, only for the video and subsequent performances on Top of the Pops and the European tours.
Released as a single by Paige and Dickson, the duet took the #1 spot in the UK for four weeks in 1985. Their recording remains in the Guinness Book of Records as the biggest selling UK chart single ever by a female duo. In addition it went to #1 in Ireland, #9 in New Zealand, and #21 in Australia. It would become the second biggest hit in the UK in 1985.
Paige would go on to appear in the original London West End stage production of Chess.
In 1987, a studio version of I Know Him So Well was recorded as a duet by Cissy Houston and her daughter Whitney Houston for Whitney's second album, Whitney. It was released as the 6th and final single from Whitney on November 30, 1988 in Australia, Germany, Netherlands, and Spain. Given little in the way of promotion, no official music video was produced, though there are live performance video-recordings of the pair singing the song. Their version peaked at #14 in the Netherlands and #46 in Germany.
In 1999, British musical group Steps recorded a version for a various artists compilation titled Abbamania. It would later be included on their own album, 2001's The Last Dance. Released as a double-A-side with Words Are Not Enough, it would be the final single released by the group before their abrupt breakup. It debuted at #5 in the UK and peaked at #4 in Scotland and #21 in Ireland.
In 2009, a concert version of the musical featuring Josh Groban and Idina Menzel was released. It included a version of I Know Him So Well sung by Menzel as Florence and fellow Wicked alum Kerry Ellis as Svetlana.
As part of the fundraising drive for Comic Relief 2011, a parody version was recorded by Susan Boyle and Peter Kay as his drag persona Geraldine McQueen. Thanks to its accompanying music video, their version managed to hit #11 in the UK.
For her theatre-inspired 2012 album, Stages, former Spice Girl Melanie C. teamed up with group member Emma Bunton to record a version. It was released as the album's lead single with an accompanying music video. The pair made numerous appearances on British television programs to promote and perform the song, including: This Morning, BBC Children in Need, Live at Shepherd's Bush Empire, The Alan Titchmarsh Show, and Loose Women.
And that's the whole story.
Now? On to the competition.
The Song: I Know Him So Well
The Competitors: Paige/Dickson vs. Houston/Houston vs. Steps vs. Menzel/Ellis vs. Boyle/McQueen vs. Melanie C./Bunton
I Know Him So Well - Elaine Paige, Barbara Dickson
I Know Him So Well - Whitney Houston, Cissy Houston
I Know Him So Well - Steps
I Know Him So Well - Idina Menzel, Kerry Ellis
I Know Him So Well - Susan Boyle, Geraldine McQueen
I Know Him So Well - Melanie C/Emma Bunton
Elaine Paige, Barbara Dickson
Oh, my... we are in it for the long haul today! Sigh.
I have always loved this song. While I have issues with Chess as a stage musical, some of the music is mighty tasty. I always wanted to learn this song, and I'll be damned, but I sat down the other day and tried to find cords for it and... it all flew together in a matter of minutes. I think that's because I have been singing this song on and off for a number of years, but now? I finally really know it! So I can't wait to try it out on an open mic night, maybe with my friend, Laura or the BF singing it as a duet.
I was not aware of it, but Chess turns out to be one of the reasons ABBA broke up! The group had actually recorded seven songs for their follow-up to 1980's The Visitor, when Benny Andersson and Björn Ulvaeus started working with Tim Rice. Coupled with relationship stress and Agnetha developing a form of paralyzing stage fright brought on by a long-term stalker and it was game over for the supergroup. A shame, because you can't listen to this song without imagining Frida and Agnetha singing it.
Instead? We have superstars Elaine Paige and Barbara Dickson.
Adore the maudlin intro. Classical, precise, yet electric thanks to that lovely keyboard sound. So clean. And a bit of flourish with the added edge of a guitar.
Paige has a beautiful bell tone to her voice. She strikes a note and it reverberates. A bit posh sounding, but lovely all the same.
As we move into the second half of the first verse, note the orchestra. Very Russian. Very haughty. Oh, the delicious drama. Paige isn't quite on top of "Won..." but close enough. The strings in the background are so playful. You could argue that Paige is a bit over-strident, but then, this is a number from a potential stage musical and she is a diva of the stage... so good luck winning that one. As is? I think she's a perfect substitute for Agnetha, right down to her overwrought pronunciations. Wait. You act like that's a bad thing? Oh, no my dears. Not where this song is concerned. Given the storyline and characters? Posh and dramatic is the way to go.
Love hearing her dig into that chorus, almost before the orchestra gets a chance to. And enter Dickson... a curious figure in Tim Rice's catalog, as she was the first to sing Another Suitcase In Another Hall from Evita. She's a much beloved figure on British television with a long and varied career. Here, she's got a marvelous opportunity playing both a supporting role - sort of softly backing up Paige as she tears into the first chorus, before stepping out to tell her side of the story.
Their voices blend beautifully. I wouldn't expect less; they are both at the height of their powers as vocalists, well-trained, and experienced.
I just love what Paige does with "more security..." Yes, over the top. More, please.
And isn't Dickson simply lovely; the softer, the sadder but wiser singer.
A big fat homogenized guitar lick takes us to verse two... sort of a bit of foreshadowing for the fireworks to come?
Speaking of fireworks, I know Paige is the fire in this duet, but Dickson is the one who gives me chills. Her first two stanzas? How lived-in. How knowing. Some of the finest line readings ever recorded.
I also adore listening to her sing. She stretches out, takes her time, fills in all the area between the lines. Her technique is breathtaking. Mature? Yes. But such is the fate of the sadder but wiser girl.
Now it's Paige's opportunity to offer support - and she does in the most - forgive me - Streisand means possible - moving between notes in the background, making sure you can't help but notice her. But no worries, Dickson maintains focus, and brings out the big guns. She comes from a place of power, pulling her sound all the way up through the floor, through her legs, through the chest... a lovely, broad sound, so Paige can chirp away all she wishes.
This is such a lovely marriage of voices and style. And the arrangement compliments them perfectly - it's so careful and smart, never threatening to overwhelm or push. Yes, there's a lot going on back there, but it's all kept in check. Musically proper, shall we say?
At the 3:07 mark or so, the producers do the oddest thing... they treat the vocals with a bit of reverb, I believe. It's unnecessary and calls attention to itself because everything has been so naturally felt and delivered up to that moment. It could simply be the effect of the two singing together, but it sounds multi-layered beyond what two voices could produce.
The back and forth is fine. Big snaky guitar... homogenized, but acceptable, given its surroundings.
A big ritardando as we prepare for the dismount. This has indeed been a feat of vocal gymnastics.
Such a lovely ending. It makes me want to hear Barbara Dickson sing an evening of Sondheim.
Bravo, ladies!
Whitney Houston, Cissy Houston
A strummed guitar opening. Nice differentiation. But the big flourish? A bit much, especially followed by those overzealous drums.
Whitney is in lovely shape. Pure tone. She can't resist changing up the melody line a bit and working in a bit of miasma at the end. Not sure if it works. She needs to open her vowel sound on 'wrong' - she's trying to sing the 'ng'. Her first 'far' is odd... more like 'fah' and the second is perfect. I do generally appreciate her articulation.
That little cover into the second half of verse one? What... why? So odd. Hinting at something to come? It sounds so out of place... almost like a key change. Oh, dear... we're messing with the words... 'done' instead of 'played'. Why?
I dislike the guitar. The rhythm track is silly and so middle of the road. And Whitney? While reinvention is commendable... sometimes you don't mess with what the songwriters intended.
I rather like their voices together. Cissy has a nice bottom to her sound. Very grounded. It's a great contrast to Whitney's pop lite. What is that moving underneath? Bass and... big old synth? Like Jaws. Still... nothing yet to take offense to. I get it. They are trying to make this fit in with the rest of Whitney's album - no small feat given the rather musical theatre nature of this selection.
Cissy on 'fantasy and freedom' - bit of a reach. Big scoops and her out-of-control vibrato is showing. Whitney covers by going Hollywood big on 'well'. Followed by a stupid musical sting?
Okay... Cissy had a long career. She was a good singer, never a great one... and she is not up to the task here, folks. That happens with age. It just does. What is with the weird sitar sounding guitar after 'side'? Like a chicken clucking? She's smart. She plays with the melody (too much) and doesn't sit long enough on a note for her vibrato to wobble. I like it when she comes from underneath, there's still a great deal of strength to the woman.
I don't know... second half of verse two? I get it... she's working her way around it, trying to loosen things up, but... that might work on a different type of number... not this one. Whitney sounds nice in the background. But they cut it short, most likely because it's difficult to navigate what Cissy is doing. How do you counter something like that without drawing attention to pitch issues?
But they sound great on chorus two. The arrangement on the other hand? Could they try any less? Elevator snoozeville. There's no interplay. Just chugging on to the end. Punch the clock, go home. These ladies deserved better. They deserved something to play with, to play off. That arrangement is so bland.
Interesting... 'start'. Say no more.
Huh. 'Apart.' Musically? It makes no sense. As a line reading, it makes no sense. Who? Who thought that was a good idea? No doubt the same person who thought Whitney, at this point in her career, singing this song as a duet with HER MOTHER. Looking in your direction, Clive. Damn fool.
Well, if you thought that 'apart' was going to be the end of the fireworks, oh, no my friend. And I have to say... both ladies acquit themselves quite favorably all the way to the end. Whitney goes nuclear and Cissy ramps it up. The let down is the lack of cohesion on the final 'I know him so well..' But, I didn't expect much, so...
I give the ladies props. That arrangement and the musical direction (or lack thereof) and the arrangement sinks this more than Cissy's vibrato ever could have.
Steps
Very close to the original intro. Nice and clean. Not too bombastic.
What is that weird ambient sound buried in the final flourish? A seagull? What an odd thing.
I don't know Steps. They were huge in the UK. I assume they are like Glee, but without a weekly hour on the telly where they ruin our favorite songs.
This singer is breathy, but has great pitch, so far. She goes nasal on 'long', always a no-no. I appreciate her proper articulation. She has a bit of proper training.
Oh, dear. Singer #2... I fear she has 'plans' for this second half of verse one. The plot thickens, the pulse on the other hand... Is she the designated 'bad girl' in the group? Don't they each have a personality? No?
What is with that clanky harpsicord banging out chords?
She sings like she has a cold. Also, they've treated her extended notes. 'Tale' instead of 'tell'? Is she from the American south? Wait. 'Now at least I know him whale?' Really? Letting that stand, are we? Hmm.
Her voice is, temperature-wise a bit warmer than Singer #1 (sorry, I know they have names, but really... why bother?) But she has some very bad habits to overcome, not the least of which is her tendency to launch the odd note like she's gunning for home base.
Oh, guys. Singing. Huh. Guys who sing. Well, I suppose they need the eye candy, right?
Are Singer #1 and Singer #2 in the same group? There's no connection there. And the producers clearly choose to wipe out one over the other on chorus #1. Singer #2 continues to astound me. Someone needs to spell the word 'security' out for her - as one would to a horse. Does she have her own language?
Terrible guitar line leading us to the second verse. So far, there have been a number of odd instrumental choices in this arrangement. It's rather schizophrenic. Do they always tailor each section of a song to the style of the vocalist?
Oh. I was hoping the boys would sing. Solo. This is singer #3, isn't it? Is she the 'popular' one? She's all bollocks when it comes to singing, dears. Listen to her stress the oddest words and attack the beginning of each phrase like a parakeet after a cracker. If an actress gave line readings like these she'd be laughed off the stage.
And her vowel sounds are flat and hard. 'Caan-stantly.' Horrible breath control. Gasping and what not.
I have to go to the video to learn who is singing what.
Wait. Is she the 'perky' one in the group? The first singer is the pure pretty girl, the second is the saucy ice bitch, and the third the perky every-boy-could-have-a-go-with-her girl?
I like that the producers know to go with Singer #1 for the background vocals. I mean, she doesn't muck things up the way the other two do.
Oh, the boys are back for their cameo vocals. Yay.
This is like the coed karaoke version of this song.
"Didn't I Naaaooo." What the ever loving... "Stahhhhhht"? Is she a cow? And that's singer #1 with #2 in tow? Get out.
The harmonies aren't even interesting. Did they take this to the lowest common denominator so Singer #2 wouldn't feel bad?
I understand that the group broke up out of the blue the day after this was released or something dramatically made-up like that.
All in all... not a bad thing. But... couldn't it have happened before they recorded this?
"A lettle bit more than me." And then, what? Did Singer #1 just give up? Mawwww? It's like she opened her mouth and just said... "no, you go find that note. I'm staying right where I am. My nails need to dry." Weirdest sound yet. Was that Singer #1?
Are there three girls? I'm not getting this. This is like The Three Faces Of Eve.
And, what? The guys? Did they clock out early? Done for the day. Home for a bit of down time, a plate of nachos and Mario Bros.?
Oh, wait... that very end... that's... actually nice.
And best of all?
It does, indeed, end.
So many questions. Like... was this band put together via some kind of sweepstakes? You know... they found a magic ticket or something and won a spot in a pop band? Can't imagine an adult doing this on purpose. Or did they all start out as something similar and then morphed via adolescence into the three gorgons (with Chip and Ernie in tow)?
Fascinating.
Idina Menzel, Kerry Ellis
Idina Menzel should only sing one song. No, not that one. Gorgeous. It's a dance single she put out and I adore it. In fact, I am going to go on YouTube and find it right after I slog through three more versions of this.
Yes... that's right, dears. Three more versions.
And here I thought being fisted was painful!
This was from the live concert version of Chess starring Josh Groban which no one asked for, ever. I remember seeing and thinking, "What? Is this a free giveaway? Buy three bottles of dishwashing liquid and you get... this?"
Hmm. Sound quality's a bit thin. Clean, but thin.
How many n's are at the start of 'Nothing's'? So, odd... I know it's Idina singing, but it's like there are three voices trying to escape. Or did someone jump in and sing 'it lasts eternally'?
And I thought Steps version was schizophrenic. She frequently sounds like a magic elf about to steal all your underpants. And she just can't resist leaning back and biting off those bigger notes. Someone needs to tell her... just because, doesn't mean you should.
"Madness", indeed.
And she winds up for the pitch... "I knoooow him sooo well!" Big scoops. Why not always go big?
Kerry Ellis, I like. Though, what's with singers stressing 'be' in the phrase 'move my world to be with him?', as if their lives depended on it?
Ellis sounds good live. More of a pop singer, actually. Or maybe cosmo country. There's a rasp to some her stuff which is feels very natural, especially in contrast to the phantom witch woman hovering in the background.
I'm kind of hoping they both wrestle this thing to the ground by going all out and physically attacking one another.
"Madness", indeed. And then she chews up and spits out "more security." Why rush through 'security'? There's that wonderful 'u' sound in the center, like a chewy bit of nougat.
It is like Hamilton, isn't it?
As in... Margaret Hamilton. If she could sing, she would sound exactly like Idina.
Someone needs to tell Idina this is a different show and that she's no longer in that other show. I bet they paired her with Ellis in the hopes that upon hearing what normal singing sounds like, Idina would take the hint?
Horrifying ending. Not a bit of shame.
Did they rehearse this?
Well, two to go.
Susan Boyle, Geraldine McQueen
Sorry about using the video version, but it was the only version I could find on YouTube. I wanted to include this... not only did it chart, but... Susan Boyle!
I think Susan Boyle has a most amazing instrument. I know she can be a bit staid, but her technique? Among the finest. Such a rare, natural sounding tone. And no bad habits. Truly gifted.
Wait. I'm confused. Was this the parody version? Or was that Steps?
Oh, no... it is this one.
Wow... they went all out and bought a Casio - at Walmart, I'm thinking.
Boyle is lovely, as expected. A bit breathy, but this is a one-off. They probably rushed her out of the dressing room with the tissue still under her collar.
Peter Kay holds his own. Well, 'tucks his own' more likely.
Kay demonstrates exactly why this song is so much fun to sing. I don't know much about him, but Geraldine has got it together. I could nitpick, but... this is good fun, and for a good cause. There's no power to his voice and even less color, but he manages to primly purse his lips and pluck the right notes in a fey way.
As for Boyle, she's actually sung the song quite legitimately with Elaine Paige herself, no less. You couldn't ask for a better duet partner, for she never competes - she simply sings. And yes... complain all you want, she's not your typical entertainer. She's a singer. A good one. An evening with her? Well worth the price of admission.
As for Kay, what a good sort. Again, I know nothing about him, so if he's in jail for kiddie porn or there's a video on YouTube of him in blackface, I do apologize. But as is, this was great fun.
The video is a hoot, too... subtle and fun, especially if you're familiar with the source material.
Melanie C/Emma Bunton
What on earth? Why. What did this song do to deserve this?
Oh, alright. Let's do this.
Lovely piano intro. Clean. And the flourishes? Fine, too, actually. Nice and full-bodied. The timpani? Perfectly placed in the mix with just the right emphasis.
So far? Very tasteful.
Oh, dear. Mel C has a tiny, sandpapery voice. This is not a song for little girl voices, dear. Grownups. This is a grownup song. Colorless. Terrible tone. Bad vowels. No idea how to reach a note.
My apologies to Step.
This is the karaoke version.
The arrangement is a bit busy, but I think they're doing their best to take focus off the rather dreadful, though well-intentioned, I am sure, vocals.
Oh, listen to her go all pop and bratty on 'fine'. Emma, on the other hand, sounds sweet.
Who coached this woman? Who told her she could sing this song? Oh... damn. Firing squads have gone out of fashion, haven't they?
You know what I know so well? Mel C sings like shite. No wonder she needs to be surrounded by four other singers.
The arrangement goes all cheap and sugary once Bunton starts in. She's a breath of fresh air after Mel C, but no great shakes. Very breathy. Bright. Nice tone. A bit lite. Very chippy. But immensely likable.
Was this done on a dare? Was it a game of Truth Or Dare and Mel C. chose 'dare' and someone said, go do an album of Broadway tunes?
Oh, once the two of them join forces, it's much more palatable. Bunton detracts from Mel C's terrible vocal habits and while it's not exactly Paige and Dickson, it's not shite. More like a vegemite sandwich.
And they certainly didn't go cheap with the orchestra. It's all there, blazing away. Rather lovely.
And there's something about Bunton, it's like a Disney princess or if Bambi could sing.
If that ending got any breathier we'd all be handing out a palm full of mints.
Well. That ended.
The Verdict
Oh, lawd.
Sometimes I want to apologize for the things I put us through. But then, the one I really need to apologize to the most is... myself. Clearly I have some deep-rooted dislike, as I keep putting myself through things like this week after week.
I suppose it's time I talked to someone about it.
I wonder if Susan Boyle would care to come 'round for a cuppa?
Okay... let's wrap this up.
Paige and Dickson are spot on. As showy as Paige gets, it's Dickson who holds the line. Such a fine singer. They compliment each other so well. And, I think they have the best arrangement, although I did come to like Mel C. and Bunton's.
Whitney and Cissy? Oh, no, child. What was Clive Davis thinking? That is a shaking-my-head musical moment right there. I don't know what the intent was, but it is all so damn wrong. Ain't nobody need to hear that ever.
And that goes for Step and Idina Menzel, as well. Kerry Ellis holds her own just fine, but Idina's musical sensibilities are batshit cray cray. There's not enough elfin magic to be found to make me listen to that version again. Though I do want to be there the day she finally splits into three separate entities.
As for Steps? Well, I suspect the drama behind the scenes is where it really was at when it came to that odd mixed lot. It was like listening to a competition where each singer tries to sing worse than the one who sang the line before them. This was a popular thing? This really happened? Or was it one of those Saturday morning cartoon things? Like TheBugaloos? Or The Banana Splits? Did one save box tops from cereal boxes and mail them in to receive the group's latest CD?
Boyle and McQueen? Oh, how fun was that. Peter Kay. Bravo, my dear. No, you can't sing much, but that sure was fun. And Boyle? What a lovely singer. I really would like to hear her and Dickson have a go at it... but then, I probably don't want to hear this song again for quite some time.
And Mel C. and Baby Bunton. Well, Emma could actually charm the pants off anyone, even this old dried-up gay guy. But Mel C.? Is she an aerobics instructor? This is a prank, right? Oh, you Brits and your whacky sense of humor.
I've seen Fawlty Towers!
So, my choice.
Well, it's obvious, isn't it?
Barbra Streisand.
Of course.
She duets with herself. What's not to love?
No... it's Paige and Dickson by a mile, my dears. The tone is a bit haughty, but I do love the drama. And those two? Well, they got it right the first time.
--- ---
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 a differing opinion.
That's all for now. I do apologize. It was an awful lot to ask.
Oh, look... videos!
Until next time...
Thanks for reading... and listening!
I Know Him So Well - Elaine Paige, Barbara Dickson
Some songs sure take their time climbing up the charts.
This week, we have a song which has scored twice in the Hot 100 in the US. If the first time was merely a toe dip, the second was a trip into the stratosphere. In all, it took fourteen years for it to crack the Top Ten, a real testimony to the power of music.
I Believe In You And Me is a song written by Sandy Linzer and David Wolfert in 1982.
David is a Grammy and Emmy nominated composer, arranger, songwriter, orchestrator, producer and instrumentalist who has worked in all areas of music, including film, records, advertising and television. His songs have been performed by Whitney Houston, Barbra Streisand, Ariana Grande, Kelly Clarkson, Jennifer Hudson, Usher, Dolly Parton, Dusty Springfield, Eddie Murphy, The Four Tops, Cher, Lynn Anderson, Julio Iglesias Jr. and many other. He's also worked as a producer, arranger and guitarist with many icons of the music business, including Rod Stewart, Bette Midler, Whitney Houston, Elton John, Peter Criss, Jimmy Cliff, Johnny Cash, Harry Nilsson, The Temptations, Aretha Franklin, Judy Collins, Brenda Russel, Dr. John, Melissa Manchester and many others.
I Believe In You and Me was first recorded by The Four Tops, who released it as a single from their 1982 album, One More Mountain. It failed to reach the US Top 40, but it did become a moderate hit for the group on the US Billboard Hot Black Singles chart, peaking at #40 in early 1983.
Also in 1983, former members of The 5th Dimension, Marilyn McCoo and Billy Davis, Jr. would record a version of the song for McCoo's solo album titled, Solid Gold - an album associated with the syndicated pop countdown/dance program which featured McCoo as a host. As part of the promotional efforts, the duo sang it on an episode of Solid Gold, an episode of the nighttime soap, Santa Barbara, a special called On Stage America and The Vicki Lawrence Show. Their version of the song, produced and arranged by the song's writer, David Wolfert, was released as a single, but failed to chart.
It was next recorded by David Peaston, an R&B and gospel singer who won the 1990 Soul Train Music Award for Best R&B/Soul or Rap New Artist. He best known for 1989's Two Wrongs (Don't Make it Right) - #3 R&B, and Can I? - #14 R&B, and 1990's We're All in This Together - #11 R&B. After beginning his recording career on Geffen Records, he moved to MCA in 1991, issuing the album, Mixed Emotions, which contains his version of I Believe In You And Me. Peaston is the brother of singer Fontella Bass (Rescue Me).
Five years later in 1996, Whitney Houston recorded a version for the soundtrack album of her movie, The Preacher's Wife. Two different recordings exist, the first was produced by Mervyn Warren and Houston, herself for the film version, while David Foster helmed the single version of the song. Released as the soundtrack's first single, Houston received a Grammy nomination for Best Female R&B Vocal Performance.
The song debuted at #7 on the Billboard Hot 100 and #6 on the Hot R&B Singles chart. A month and a week later, it peaked at #4 on the Hot 100, becoming Houston's 16th Top 5 hit and fourth Platinum single. In addition it snagged the #2 slot on the Adult Contemporary chart.
Outside the US, the song was released as the soundtrack's second single. It hit #16 in the UK, #59 in Canada, and #46 in Sweden.
In 2004, shortly before his death, Levi Stubbs, lead singer of Four Tops, who was sidelined from the group due to complications of a stroke and confined to a wheelchair, appeared with the other group members and Aretha Franklin, to sing I Believe In You and Me live onstage in Detroit, in his final television appearance - From The Heart: The Four Tops 50th Anniversary Special - which aired on PBS.
Ten years later, Barry Manilow decided to create duets using the established vocals of other deceased artists whom he had always wanted to sing with such as Judy Garland, Jimmy Durante, Marilyn Monroe, and Dusty Springfield - via modern technology. He included a version of I Believe In You And Me featuring vocals sampled from Houston's version. The album, My Dream Duets, debuted at #4 on Billboards album chart. He would perform the song with a projected image of Houston in concert and on The View.
And that's the whole story.
Now? Onto the competition!
The Song: I Believe In You And Me
The Competitors: The Four Tops vs. McCoo and Davis vs. Peaston vs. Houston vs. Manilow and Houston
I Believe In You And Me - The Four Tops
I Believe In You And Me - Marilyn McCoo and Billy Davis, Jr.
I Believe In You And Me - David Peaston
I Believe In You And Me - Whitney Houston
I Believe In You And Me - Barry Manilow and Whitney Houston
The Four Tops
That's one bright, glassy sounding piano. I like the simplicity.
Wow. That voice. Makes me want to sit in his lap. That's deep and full and round. But it's also an aged voice. He doesn't quite make good on that full first phrase. Also, he's not able to take the lid off his sound and sing above his eyebrows. Voice placement is everything. And when he tries to meld into his head voice... well, it's with mixed results.
So far, I like the arrangement. It's very lowkey. I appreciate that. This is a sweet ballad - it doesn't need a lot of bells and whistles. Musically, the song has enough going for it - nice message, lovely melody, it doesn't need to be bolstered up.
And I'm enjoying the production values. It's a lively sound, very much in the moment, with an almost 'live' vibe. Very crisp. Which is why the vocalist's (Stubbs, I believe) shortcomings are so noticeable. This lives or dies based on his performance.
His baritone is an acquired taste. It would be right at home in a gospel setting. But this is pop, and I think his maturity is totally coloring this recording's potential as a pop single.
At the 1:17 mark, in comes the full arrangement. It's a tried-and-true, standard quiet storm technique. Big swell of strings after that 'bomp', as the rhythm section is introduced. Nice bell tones for the counter melody. This is definitely mired in adult contemporary land.
"Just to be right where you are..." - unfortunate. The break in his voice. And again, he's unable to get that lid off his sound, so the sound remains very hooded. It would be great if, when going into his head voice, he was able to open it up a lot more. This is a common issue with mature singers. That inability or inattention to sound placement is what bring careers to a close.
That said? This is lovely. It's not pop heaven, but it's a great listen. There's something very comforting and real about his delivery and sound.
We get the full vocal group coming in on the C-section. Interesting choice. Super dramatic.
After the C-section, I get a sense that Mr. Stubbs is much more relaxed and in his element. He's opening up a bit more. "I was lost..." Yeah, that's the stuff, baby.
Stubbs delivers right to the end. Those strings? A bit much, but... it's 1982. They're the real thing and we'll allow it. Call it a 'cinematic' gesture, rather than an overly-sweet one.
I have no complaints with this. It's a solid take. Mature, yes. But that has it's benefits. It's very comforting and natural. This could have come off as treacly and ham-fisted, but they toed the line and delivered something very heartfelt and genuine.
They've done right by this song.
Marilyn McCoo and Billy Davis, Jr.
A nice bell tone keyboard intro. Bareboned. A bit strident.
McCoo is in fine form, though she fails to lift her palate for "the one..." - which surprises me. Her technique is normally irrefutable. She sounds more alive on the second verse. And in comes Mr. Davis in the background. McCoo nails that "I." That's the lift I was talking about. Her delivery is a bit stiff. Studied. Very Broadway. Very adult contemporary.
Mr. Davis. I forgot what he sounded like. It's a little hammy. He has a lovely voice, I just wish he wouldn't try so hard. He's pushing it. Over-singing, a bit. That's a shame.
I think it was a mistake to not have them trading lines and blending more right after the first verse. I'm not getting a sense that they've taken the time to live inside this song. It's always best in a duet when two voices end up wrapped around each other and the song. This is very much - she sings/he sings.
When they do harmony, they do it so well. That C-section... gorgeous.
And the start of the next verse! When Davis goes falsetto? Panty drop.
And then 36 seconds of play off.
Well. I don't mind the arrangement, what there is of it. It works well. When you have two such accomplished singers at the helm, you don't need fireworks to bolster them - you just let them do their thing.
Unfortunately, Marilyn delivers too little upfront while Billy goes over the top with his section. Once they sing together? Magic. It's a shame. I'm amazed Wolfert, their producer and one of the writers of the song didn't coach them a bit more. Studio time is always tight, but how is it there's not time to get it right?
David Peaston
Peaston's roots are in gospel, a genre he returned to once his pop career evaporated. Let's see what he does with this.
That is a big ass string opening. Overly lush. Like something Nat King Cole would sing after. Shades of Luther (Vandross). He sounds great. He fails on "one" - and he's breaking things into two word phrases - something I detest, but he sounds good doing it.
I like the arrangement. It's not pop at all, but its very grown up and rich. Love that grand piano providing all the rhythm on top of those strings. In a way, he's even more hammy than Mr. Davis, but there's a light to his voice which counteracts it.
Don't like the cinematic instrumental bridge into what I guess is verse two. There really isn't a chorus to this... its all verses. What a lovely sound on "where you are..." That's his head voice, not his falsetto. Gorgeous sound. And I like the workout that grand is getting. He does get carried away with the melisma thing.
Missed opportunity at the end of the C-section. He buries it when dynamically he should swoop and soar into the last verse, tying it together.
Wow. This man can sing. He almost makes this into a And I Am Telling You I'm Not Going moment. Imagine him singing a duet with Jennifer Holiday!
He certainly brings all he possesses to this. The gospel is there. The Luther Vandross influence. The Big Broadway sound. All on top of this very traditional grand piano and string arrangement. I do wish he played off the arrangement more... I enjoy that kind of synergy, rather than him simply showing off on top of it all. But, that's a small complaint.
And that "me"? He should have gone light and with his head voice. That's too brassy and forced. This needed a softer landing.
This is well done. Over the top, overheated, yes. But it makes for a nice showcase, with the emphasis on the 'show'.
Oddly, though? Not very emotionally involving.
Whitney Houston
I think we're listening to the David Foster version. It's the better known of the two... although comparing the two version would have been an interesting thing to do - if I had the patience.
Mushy, twilight zone sounding intro. Houston's okay. She doesn't make the most of some interesting syncopation in that opening verse.
I must say, the more I listen to this song, the more I wish Barbara Streisand was singing it. It even sounds like a Barbara Streisand song.
Really dislike the arrangement. The rhythm track is tacky. The synths inappropriate and fuzzy.
Houston really shines at the start of verse two. You can hear the damage she's done to her throat, as she can't smoothly pull off what used to come so effortlessly without the cracks showing. But her pop chops are still in place and when she shines, she shines.
I am laughing. "When all your chips are down.." What? What is David Foster doing? What is that under there? That is the dumbest thing I have ever heard.
Oh, no... that guitar - all wrong.
Whitney's in good form. Sparking stuff. A bit of hard sell on her part, a bit too muscular. Still, it's effective, I guess.
No one bridges a key change like Ms. Houston. Into that final verse.... that's her magic at work. And after that point - who cares about the arrangement?
This is all about Whitney - and as Whitney goes, she acquits herself beautifully.
Barry Manilow and Whitney Houston
I don't know why I wanted to include this in this competition - it's such an odd notion.
And did you know that David Byrne of Talking Heads wrote a brief essay about Manilow and this project of his?
Manilow is such a talented arranger. And one of my all-time favorite pianists. Schmaltz. YES. Please. No one has a better modern understanding of the great American songbook than Manilow. It's as if he digested it all and then created his own kitschy pop confections. Broadway, Vaudeville, Swing, Soft Jazz, MGM Musicals... it all in there. If he was a dancer, he'd be Gene Kelly.
No, I haven't always agreed with all his choices... but then, he's done so much - such a vast body of work.
Now, as he's gotten older, his sound has changed slightly. He sings with his jaw locked. I think. That's what it sounds like, and that's what I'm hearing on this recording. Give him a breaky, right? I mean... he's not a young man. But he's still very 'Barry'.
So, just as I'm getting into Barry, in swoops - out of the blue - Whitney. That's a dramatic change up. And Manilow does his best to soften the transition by wrapping his vocals around hers. Smart move.
And after that first verse, I am going to tell you straight out... this is the arrangement that Marilyn McCoo and Billy Davis, Jr. should have sung!
As is, that was lovely. Let's see what he's got for verse two. Oh, no... its not melding. Manilow doesn't sound a bit natural trying to go all soulful behind her. But then when he starts doing the echo on the second half of the second verse... we're back on track.
Okay, so his voice is not up to this task. That said... this would have worked when he was a bit younger. Of course he would have gone all show biz with it back then, so... meh. Maybe not. Still, this arrangement is a winner.
The C-section works for the most part and then the third verse... where did he find that? That works so damn well. Where he's dropped everything out except the rhythm section, while working the back beat.
The ending is quite lovely too, although that spoken word part... oh, so show biz. Blech.
Great arrangement. Bravo, Barry.
The Verdict
Gee. I dunno.
I still want Streisand to sing this.
This is a good song. So good, that even after slogging through five versions of it I am still intrigued by it.
The Four Tops do a lovely job of it. They don't muck about and they do right by the song.
Marilyn McCoo and Billy Davis singing this is a lovely idea, but their's is a missed opportunity. With a little coaching it could have worked. And quite frankly, had they been singing Manilow's arrangement there would be no contest here.
David Peaston pulls out all the stops - perhaps too many - but his ends up feeling emotionally bereft. He's so focused on wowing us with his pyrotechnic vocals, he forgets to actually sing the song.
Whitney is in surprisingly good form, but David Foster's arrangement is nothing but bollocks. Utter crap. Houston succeeds despite him.
And Barry Manilow's arrangement is top notch. His singing? Not so much. The beginning half of verse two killed this for me. Otherwise, I thought it was an interesting experiment and Manilow did well with it. Musically, he certainly understood the material.
So... who to pick? They all have good points. They all have something a little off.
I will go with The Four Tops. They do right by the song. Everyone else is so interested in over-singing, going over the top, and selling the hell out of it - that they forget that at its very heart, this is a simple ballad. It needed to be delivered in a genuine manner, not sold.
The Four Tops. Their hearts were in the right place. So, I give this to them.
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And that's enough of me.
Okay, your turn. Leave your choice and thoughts in the comments section. I love to hear about what you're thinking.
Until next time...
Thanks for reading... and listening!
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I Believe In You And Me - Marilyn McCoo and Billy Davis, Jr.
I Believe In You And Me - Whitney Houston
I Believe In You And Me - Barry Manilow and Whitney Houston
A question we ask ourselves all the time. 
In fact, it gives life purpose.
So, keep on your toes, you never know!
