Confessions of a Classic Soul

In 1987, voracious music fans were treated to a variety of new music as the decade grew hotter with heavier beats, wilder hair bands, and groovier RB/Soul hits. The year also paved the way for two powerhouse singers who each formerly left their original bands.

George Michael and Andrew Ridgeley dissolved Wham! in 1986, a mutual decision that allowed George to grow as a solo artist. Before releasing the Faith album, Michael experienced a “bridge” period of music where he performed two duets, the first being the Grammy-Award winning “I Knew You Were Waiting (For Me)” with Motown sensation and icon Aretha Franklin.

Meanwhile, Jody Watley was the female singer in the band Shalamar, who formed in 1977. After several albums, including the song “Dancing in the Sheets,” Watley left Shalamar in 1984 to pursue her own solo career. She would, later in the year 1987, chart with famous songs such as “Don’t You Want Me” and “Looking for a New Love.”

In ’87, Michael and Watley teamed up to sing an emotionally and vocally outstanding cover of Richard “Dimples” Fields 1981 “I’ve Got to Learn to Say No.” However, when comparing the two versions, the duet has a different set of lyrics, so it’s not an exact cover, and the title was shortened. Both songs are executed brilliantly, but the duet allows for each singer to show-off the voices they have grown into.

Today would have been George Michael’s 58th birthday, so, as always, June’s Monthly Mixtape review celebrates Michael, today by featuring this often forgotten duet.

“Learn to Say No”–The Duet

There’s an energy that comes with the opening instrumental of the song, and it will pave the way for the emotional lyrics. A curiosity lives in this instrumental, as well as an attraction. Immediately, the song emits a strong gravitational pull for the listeners.

Cue George and his powerhouse voice! The first lyrics the audience hears are “Too strong”, followed by a “Whoa” that soars; fans who are used to hearing George Michael’s higher pitches in Wham! songs get a taste of how Michael will grow as a vocalist in 1987 and 1988.

The chorus is introduced right away, and the word “strong” is both eye and ear-catching. Here, “strong” isn’t used as muscular strength, but of course mental and emotional strength. This strength is sensual, where lust and desire overpowers logic. Singing together, Michael and Watley admit that “something is wrong.” They know that the attraction is so great that they need to “learn to say no” and curb those desires.

Easier said than done, of course! Michael dives into the first verse, articulating the fact that giving up on this relationship is far from simple. “Playing games” is a topic and phrase that Michael would eventually reference in songs on the Faith album, but it is introduced here, and Michael makes very clear that not taking the relationship seriously or even looking elsewhere for love isn’t an option. Only this his relationship can heal that “hole in his heart.” However, this love doesn’t make sense, and even he admits that he has no clue what he is doing. A battling love/hate feeling arises here as Michael says he can’t leave this relationship, yet he keeps coming back for more. He wants it, but then he doesn’t. The last line of that verse is one of the most powerful, especially with Michael’s release of the note, jumping into a higher octave. This love is like a gun, and he wants it pulled away. The mental and emotional battle is underway, and Michael has enough logic to know he should get away and “say no.” But will he do it?

Jody Watley takes over the second verse with as much passion as Michael in the first. She explains that this battle has been ongoing. It’s the same old story time and time again, yet they always fall back into each other’s arms. She analyzes her own logic by admitting that she often plans to leave. Desire, however, overpowers the will, especially because Watley knows that she can eventually get over the heartbreak of ending the relationship. The body, instead, takes control and logic is tossed out the window. Meanwhile, focusing on vocals, Watley’s silky voice and emphasis on specific lyrics mirror Michael’s emotional battle. The pleasure and the pain are apparent in both of singers’ voices.

By the bridge of the song, both Watley and Michael realize that they can’t win this battle. They’ll lie to themselves to keep the relationship going. The repetition of “Gimme that” reiterates that the lust is building and they can’t stay away from each other. This relationship may be toxic, but pleasure will keep winning.

Not much to say about the sax solo except that it echoes the passionate tension of the lyrics!

The end of the song features Watley and Michael repeating lines and riffing off one another. The back and forth sounds as though they are actually having the emotional battle at the same time, which is a very neat effect of a duet. In the middle, Michael sneaks in the line “I’m just a slave to your heart.” The word “slave” has a very strong connotation here. The word itself emphasizes how this battle is never-ending. “Slave” has a very negative connotation in general, but here it is almost good and bad. Because they both like and hate the relationship, the word can be positive or negative, depending on whether they are happy with the relationship or want it to end.

Overall, Michael and Watley’s duet blends their iconic voices not only to emotionally convey the meaning of the song, but to show how each singer would come to stand-out tremendously with their solo albums.

“Dimples'” Original

As mentioned previously, Richard “Dimples” Fields’ version of the song has completely different lyrics, although the instrumental is very similar. Fields’ version was recorded in 1981, but a ’70s disco vibe still rings true throughout the song. Unlike the duet, Fields’ isn’t having issues with one lover, but all of them. Quite simply, he has too darn many of them! He needs to quit being a ladies’ man and settle down with only one of them. This song is very light-hearted and even humorous, where the duet is more emotionally charged and serious.

Both versions of the song still tell the tale of a mental and emotional conflict that has too many tightly-wound knots!

Oops, I Said “Yes” Again!

Sometimes, saying “no” is important for sanity, but the body can overpower the brain. Both the duet and original versions of the song are a joy to listen to. The premise of each one is generally the same, but the duet features two powerhouse singers who make the song just as addicting as the toxic relationship! Who can say “no” to George Michael and Jody Watley?!

Before You Go…

Be sure to follow the Guilty Pleasures of a Classic Soul playlist that contains all of the songs featured on Monthly Mixtape reviews. You can listen on either Spotify or YouTube. Also, please remember that we’re looking for YOUR input on July’s Monthly Mixtape. Keep an eye out on social media for the poll where you’ll help select which Hair Band is featured next month!

What is my True Confession #7 involving Jody Watley? Click below!

Memorial Day weekend is upon us, which means summer, summer, SUMMER! And ’60s music. When I was little, I’d constantly play my mom’s ’50s and ’60s cassette tapes, so the ’60s have become my own personal summer soundtrack.

Today we’re heading back to 1965 for a classic “British Invasion” group. Music aficionados undoubtedly know of “Bus Stop” and that “Long Cool Woman (In A Black Dress),” but most won’t know another Hollies’ track called “We’re Through.” I stumbled across this song while shuffle-playing The Hollies’ essential playlist on Spotify. The song itself is fairly simple, as it depicts a breakup caused by an affair. The vocals and the lyrics, however, give the song its true essence.

“I’m telling you, my friend /…we’re through!”

“We’re Through” by The Hollies

The song kicks off with Don Rathbone’s drum roll and an easy guitar groove, a perfect way to ease into summer! When Allan Clarke jumps in on vocals, the song immediately turns serious. The first line that stands out is “You take pride in making me blue.” Instantly, the tone has become somber, and the fact that the girl is proud of cheating slices at the heart of the song. The emotion is infused into the song from the downbeat of Clarke’s first lyric.

Even more, Clarke’s vocal abilities in this song intensify the emotion and the meaning. He elongates lyrics in the lower register and then skyrockets to higher pitches in later lines. This back and forth combination in each verse, as well as the duration of each individual lyric, drags the listener along through the song. As his experience of heartbreak is pronounced, listeners feel the experience as well through the varying range of notes.

Focusing on the lyrics, the word “friend” is repeated throughout the song. The lover is referenced as “friend” in the first verse, implying that the singer has accepted that this girl is indeed no longer a lover. Friendship is no doubt a part of a romantic relationship, but here the word has a lesser connotation. The girl is simply a “friend.” No more, no less. At the same time, he still cares for her as a friend, or he wouldn’t feel the need to tell her they’re through. In the second verse, “friend” is the word the girl uses to describe the “other guy.” Obviously he wasn’t “just a friend,” or the song wouldn’t exist, especially without all of Clarke’s vocal emotion. Overall, “friend” has a negative connotation in these lyrics, as it is the true cause of the heartbreak and why the relationship must be ended.

As the song progresses, listeners wonder if the girl can even be considered a “friend.” After all, friends still treat friends well, and the girl clearly is not affectionate in return. Through Clarke, we learn that he treated her as a gentleman should, and he can’t see why she would run off with a new man. The line following this one, however, cuts the deepest: “‘Cause I can’t leave you alone.” He still loves her and doesn’t truly want to let her go. The heartbreak has reached its climax in these lines; there is anger, bitterness, sadness, and guilt wrapped up in all of these lyrics. He nearly blames himself for knowing the relationship would end, but, in the end, he did keep his commitment to the girl.

These lines repeat one last time, almost a lament for this broken relationship. The last stanza of lyrics transitions into acceptance. The entire song feels like the grief cycle, and Clarke emerges at the end. He has mourned the relationship and decides to move on, without the girl.

Wait, We’re Through?

Yes, didn’t you hear the news! “We’re Through” is a Hollies’ song that has most definitely fallen through the cracks over the years. At its core, the song is simple, yet highly expressive. Although it is a typical “heartbreak” song, Allan Clarke’s vocals, the contradictory lyrics, and even Graham Nash’s strumming (yes, of Crosby, Stills, and Nash fame), give the song its extra oomph. It packs a powerful punch, but at least we can all move on after we accept that “we’re through.”

Before You Go…

Don’t forget to follow and listen to Guilty Pleasures of a Classic Soul, the playlist dedicated to all the songs featured on Monthly Mixtape. You can find the playlist on either Spotify or YouTube (see links below!). Get ready to vote on which hair band we’ll feature on July’s Monthly Mixtape. Stay tuned!

When I was 10-years old, I couldn’t get enough of Grease. Although I was too young to comprehend half of the innuendos throughout the movie musical, I knew I loved the music. One time, I attempted to compose my own song that had remnants of Olivia Newton-John’s “Hopelessly Devoted to You.” I was devoted all right!

Now that I’m older, I admit that I still can’t get enough of Danny and Sandy, but I’m also able to scope out more of Olivia Newton-John’s work, as she has clearly become one my favorite female vocalists. In a recent bender of listening to her other songs, I came across “Have You Never Been Mellow,” which is derived from the 1975 album of the same name. As someone who worries way too much, this song easily hit home for me. “Mellow” is in the name, and it is certainly the message of the track. By the end of the song, listeners will be wondering why they, too, aren’t mellow!

“Have You Never Been Mellow”

Naturally, the beginning instrumental is, well, mellow. It sounds a bit sad at first, but as soon as Newton-John’s vocalizing comes in, the song starts to take its shape. The message of this song relies on personal experience, as she relates that she used to be like “you,” or like us. The message, then, becomes a classic warning of “don’t let history repeat itself.” Humans like to hurry, especially because the stresses of everyday life are very demanding and overwhelming. Humans also like to stick their noses in and give their opinions. What Newton-John instantly explains in these first lines is that we don’t have to hurry or be heard. We can simply live.

The “mellow” mood continues in the chorus, and I particularly like how the word “mellow” is slowed down and emphasized. In fact, the other lines in the chorus are drawn out: enunciated and elaborated. Newton-John’s voice rises and falls as she literally sings her message. Here, humans don’t have to be strong all of the time. The world is restless, with its constant demands, and Newton-John urges us to slow down and take our time. Instead of diving from one fleeting pleasure into the next, we can look inside ourselves and simply be ourselves. We don’t have to have all the answers, and we are allowed to take time for ourselves; we’re not superheroes, we’re humans. The lyrics in the chorus are sung as questions. Newton-John is directly asking listeners to reflect on these ideas. She’s not pointing fingers, but tenderly suggesting.

What strikes me in the second verse is the line “head up in the clouds.” Normally, this cliche refers to daydreamers. However, here, the line shows that a person who’s head is up in the clouds is oblivious to peace and relaxation. This person, instead, is too busy running around and trying to get all of the work done. This person cannot realize that the world just asks way too much sometimes.

The “I was like you” repetition emphasizes that Newton-John doesn’t want listeners to be like her. She wouldn’t be singing this song if she hadn’t come to her own realization that it is okay to be mellow. Therefore, the more she repeats these lyrics and allows her vocals to soar, the better chance she has of getting her point across.

In the end, people who just keep running from one activity to the next aren’t hard to understand because it’s human nature. Most of us have grown up in a hard-working family, and the adult world demands that we work double-time. We need someone to “take our hand(s)” or we’ll continue to run along at full speed. We don’t need burnout, we need mellow!

The chorus is repeated one final time at the end of the song. One last time, Newton-John reminds listeners that we can find joy and peace inside of ourselves, inside our own hearts. If we take time to just be mellow, then we can live one moment at a time and stop stressing about the future. She doesn’t say that living for one moment at a time is easy, but it is certainly possible to do. Humans have weaknesses, and one of them is the ability to become tired-out. As Newton-John so gently and sweetly comforts with her soft lyrics, listeners can learn that to be mellow is perfectly acceptable.

Before You Go…

Be sure to listen to and follow Guilty Pleasures of a Classic Soul, a playlist dedicated to the songs featured on Monthly Mixtape. You can follow or subscribe on either Spotify or YouTube. See links below!