Four Tops vs. Barry White | Head 2 Head

In the 40th edition of Head 2 Head (2024), Four Tops and Barry White contend for the best rendition of “Standing in the Shadows of Love.”

Welcome to Head 2 Head! On Head 2 Head, we pit at least two musicians performing the same song and compare their performances.  After deliberating, we render a verdict on which performance was the best, or, subjectively, which performance moved us more.  In the 40^th edition of Head 2 Head (2024), Four Tops and Barry White contend for the best rendition of “Standing in the Shadows of Love”. So, without further ado, let the Head 2 Head commence

1. Four Tops, “Standing in the Shadows of Love”

Reach Out // Motown // 1967

The Four Tops are one of the most legendary music groups ever.  Decorated to the nth degree, Levi Stubbs, Renaldo “Obie” Benson, Abdul “Duke” Fakir, and Lawrence Payton are in the Grammy Hall of Fame, Rock and Roll Hall of Fame, and Rhythm & Blues Hall of Fame.  Shockingly, they never won a Grammy, receiving one nomination for the entirety of their career.  Many songs by Four Tops are noteworthy including “Standing in the Shadows of Love”, the eighth track from Reach Out, released in 1967.  “Standing in the Shadows of Love” was penned by the iconic songwriting team of Holland-Dozier-Holland (Brian Holland, Lamont Dozier, and Eddie Holland). Brian Holland and Dozier produced. It peaked at no. 6 on the Billboard Hot 100 in January 1967, one of seven top ten pop hits by the quartet.

“Standing in the Shadows of Love” is brief, running just north of two-and-a-half minutes.  Despite its brevity, it is marvelous. Groovy from the onset, the drums and percussion cook.  Adding to the ear-catching vibes, it is set in a minor key. Like the crown jewel of Reach Out (“Reach Out I’ll Be There”), Levi Stubbs delivers assertive lead vocals. One of the neat features of his vocals is the un-pitched moments (talk-singing). The pitched moments are awesome too. “All alone, I’m destined to be / With misery my only company,” Stubbs sings in the second verse, continuing, “It may come today, and it might come tomorrow / But it’s for sure, I ain’t got nothing but sorrow.” Oh, snap! The melodies are tuneful, led by the catchy, irresistible chorus:

“Standing in the shadows of love
I’m getting ready for the heartaches to come
Can’t you see me standing in the shadows of love?
I’m getting ready for the heartaches to come.”

There are some musical similarities to the innovative, ace-in-the-hole, “Reach Out I’ll Be There”. “Standing in the Shadows of Love” shows why Four Tops was immensely popular and considered the crème de la crème of male vocal groups. This record thrives because of elite vocals, songwriting, and production.

Appears in 🔻:

• Four Tops, Standing in the Shadows of Love: Throwback Vibez 🕶️🎶 154 (2024)

2. Barry White, “Standing in the Shadows of Love”

I’ve Got So Much To Give // UMG Recordings, Inc. // 1973

“Standing in the Shadows of Love” originally appeared on the iconic Four Tops album, Reach Out.  Since then, many musicians have covered the top-10-hit, including the late, two-time, Grammy-winning, soul icon, Barry White (1944 – 2003). In the hands of White, “Standing in the Shadows of Love” runs north of eight minutes in duration, more than five minutes longer than the original. “Standing…” is the opening track on his five-track, 1973 debut LP, I’ve Got So Much To Give. White produced the cover.  This is a Barry White record, PERIOD!

One of the biggest selling points of “Standing in the Shadows of Love” is the extended, picturesque instrumental introduction.  Highlights include the piano, percussion (early on, cymbal), and the orchestral touches (pizzicato strings, oboe).  White is accompanied by the Love Unlimited Orchestra.  The orchestration is utterly sublime (Gene Page), characteristic of White’s lush funk/soul from the ‘70s. The intro is no rush, gradually building bigger and more dynamic.  The background vocals don’t enter the mix until after the two-and-a-half-minute mark. White first sings after the three-minute mark, during an utterly delicious unique vamp (the percussion and overall intensity are incredible). The first notable lyrics sung by White occur at the 3:45 mark – the first verse:

“I wanna run but there’s nowhere to go
Heartaches will follow me I know
Without your love, the love I need

It’s the beginning of the end for me.”

Aside from the background vocals singing the chorus, this is the first time “Standing in the Shadows of Love” sounds like the original, Motown staple.  White brings a dynamic, assertive lead vocal, matching the late, great Levi Stubbs.  With White showing off the powerful middle range of his baritone, he still sneaks some of those sexy, irresistible low notes in (spoken word).  After showcasing ample innovative spirit during the first half of this long-running cut, “Standing in the Shadows of Love” settles in as an awesome, updated version of the beloved original.

Appears in 🔻:

• Barry White, Standing in the Shadows of Love: Covers No. 37 (2024)

The Verdict 👨🏿‍⚖️ 

So, who was “Standing in the Shadows of Love” the best? Was it the top 10 original by the legendary Four Tops, or the innovative, lengthy cover by the legendary Barry White? When legends are facing off, it’s a tough decision to make.  In the Four Tops’ hands, “Standing in the Shadows of Love” was one of many hits on one of soul’s best and most important albums.  At the same time, White did a masterful job of making a 60s Motown classic his own in the 1970s on his debut album. In his hands, “Standing in the Shadows of Love” is unrecognizable in the extended, dramatic instrumental intro, speaking to his innovative spirit.  So, it comes down to personal preference.  Every time I lean Barry White, I feel like I’m disrespecting the Four Tops.  But then, when I lean The Four Tops, I feel like I’m neglecting an epic cover by White.  So, this one is a tie – I just can’t decide!

Four Tops vs. Barry White: Head 2 Head No. 40 (2024) [📷: Brent Faulkner / The Musical Hype; Motown, UMG Recordings, Inc.; Hernán Toro, Los Muertos Crew, RDNE Stock project, Thomas Ronveaux from Pexels]