10 Great Male Duets of the 80s
One of the musical highlights of my 1980s reminiscences is the duets. The concept is a slippery one: duets can certainly get tripped into hokey territory, especially if the collaborations feel forced. The artists of the 80s had quite the benchmark to live up to, considering the caliber of duets past: Dinah Washington and Brook Benton, Marvin Gaye and Tammi Terrell, Ray Charles and Betty Carter, and so on. Although the 80s produced more seemingly manufactured duets, the end results — more often than not — are great, feel-good records, which consisted of powerhouse artists who found themselves in collaboration, often at the height of their success.
While the classic duet formula is almost always a love song between a man and a women, some of my favorite duets are between men. Yes, the musical bromance is my entire jam. And to be honest, I feel like it’s what the world needs more of.
Over the course of my lifetime, it’s been stunning to witness the steep decline of male intimacy in Western society. The knee jerk “that’s gay” trope, especially as it pertains to men being vulnerable, creative, loving, soft or honest with one another is deeply problematic. To that end, “gay” being understood as inherently derogatory… I could dedicate an entire post to that baneful ideology. But the idea that normal and healthy expressions are somehow evidence of weakness has been completely damaging to all interpersonal relationships and to community as a whole. And there’s data to back it up — data that only adds to the countless testimonies of almost anyone you or I know who has bumped up against this problem.
A study out of the U.K. reports that 51% of men have less than two close friends and that 2.5 million men are going through life feeling totally alone. Furthermore, suicide is now the single biggest killer of men under 45, and accounts for 13 deaths a day, according to the same study. Contrastingly, men who bond in healthy ways with other men tend to have less stress, and according to Psychology Today, research concludes that “a good bromance will release oxytocin in the human brain as well—and increased oxytocin can help men live longer, healthier lives. (Although some also refer to oxytocin as ‘the love hormone,’ emotionally intense platonic relationships also increase oxytocin.)” While several historical and cultural factors make this a multi-faceted, multi-layered concept worthy of exploration, healthy and harmonious relationships between men make life better and safer for all. It is well past time for reeducation and healing to begin.
While it may seem like the male duet has little to do with these heavier concepts, I think the link is actually rather closely related. It’s the many imposed, micro, societal “no-nos” that police an already manufactured perception of manhood that feed the beast.
So in honor of a time when men could sport fitted pants, don long jheri curls and eyeliner… or sing a duet with a buddy, without his masculinity being called into question, I present some of my favorite bromantic duets of the 80s.
Smoke Robinson & Rick James
“Ebony Eyes” (1983)
Growing up, Rick James’ 1981 release, Street Songs, was a staple in my house. A funk masterpiece, it was highlighted by a now classic duet, “Fire and Desire,” featuring fellow Motown songstress and muse, Teena Marie. By the time Cold Blooded (1983) was released, he’d already proven his flair and brilliance as a writer, producer, musician and brand. With “Ebony Eyes,” he steps into the duet space again, this time with songwriting progenitor and Motown legend, Smokey Robinson. By this time, Robinson was only a few years away from his induction into the Songwriters Hall of Fame and he was also the king of quiet storm, even if some of his 80s efforts fell a bit flat. Together, James and Robinson scored a hit with “Ebony Eyes.” Lyrically, they trade lovestruck sentiments about a woman, whose blackness is central to her beauty. The production is lusty in the best of ways (the drums alone scream sex), yet the lyrics are a balance of sensual and sentimental, making it one of the Rick James songs we didn’t have to turn down on the stereo when over my nana’s house! Ha! A beautiful ballad that still goes hard to this day.
Phil Collins & Philip Bailey
“Easy Lover” (1984)
Written by Phil Collins, Phillip Bailey and Nathan East, “Easy Lover” is the big single from Bailey’s album Chinese Wall (1984), which was also produced by Collins. The longtime Earth, Wind and Fire falsetto frontman had only recently gone solo. Collins had this scenario in common with Bailey as he too was straddling success both as a huge solo star and with Genesis, where he began as a drummer before becoming the lead vocalist of the brit-rock band in 1970. Here, he lends not just his vocals but his superb drumming to “Easy Lover.” The two Phils score a big hit (it reached #2 on the Billboard chart) with this delightful, mid-tempo jam.
Michael Jackson & Paul McCartney
“Say, Say, Say” (1983)
One of two duets from these larger-than-life artists, off of McCartney’s Pipes of Peace album in 1983 (the other being the much lesser known “The Man”). Released almost a year to the date after Jackson’s earth-shifting Thriller, “Say, Say, Say” was an example of their continued creative kinship. Though it would be short lived, and business complicated (and ultimately severed) their relationship soon after, this bop is untainted for me. And Michael’s vocals are superb.
Michael Jackson & Paul McCartney
“The Girl Is Mine” (1982)
Another gem from the dynamic duo. Of any song on Thriller, this one is easily the most divisive: people either love it or loathe it, with the latter most always citing a cheese factor that I personally reject. The jazzy-pop-mid-bop is every bit of a feel good record as Al Jarreau’s “We’re In This Love Together,” (a likely inspiration for the Jackson classic). Further, I love the way Jackson and McCartney approach the vocal treatment, both smooth like butter, warm and ultra melodic. And who could argue against that bridge?! Cheesy? Nah. In the words of McCartney, “I don’t belieeeeeve it!”
Stevie Wonder & Paul McCartney
“What’s That You’re Doing?” (1982)
Around the same time McCartney was collaborating with Jackson, he was also teaming up with Stevie Wonder, whom he met and befriended in London when Wonder was only 15. Wonder appeared on two tracks on Tug Of War, one of McCartney’s earliest solo artist recordings. While “Ebony and Ivory” was the big chart-topper from the album, my favorite is the lesser explored duet from the same album, “What’s That You’re Doing,” a funk-synth-pop jam that pulls McCartney into a realm slightly less familiar. It’s a surprising, funky song that sounds like it could have easily fit on Wonder’s Hotter Than July.
Stevie Wonder & Paul McCartney
“Ebony & Ivory” (1982)
I know… I know… but it’s a classic. And so is this…
and this…
James Ingram & Michael McDonald
“Yah Mo Be There” (1983)
This is a vocal match made in heaven. Written by Ingram, McDonald, Rod Temperton and Quincy Jones, “Yah Mo Be There” is an inspirational classic, and a nod to Ingram’s devout Christian roots. If a two step and a good praise hand needed a soundtrack, this is it. Sidebar: if you’re looking for where the Rockwell hit, “Somebody’s Watching Me,” likely found its inspiration, listen no further.
Luther Vandross & Gregory Hines
“There’s Nothing Better Than Love” (1986)
One of the most beautiful duets there is. Written by Vandross and veteran producer Skip Anderson, “There’s Nothing Better Than Love” appears on Vandross’ Give Me The Reason LP. Luther was at the height of his powers with yet another platinum album and a single on a movie soundtrack (Ruthless People, 1986). Hines was enjoying big successes of his own, as a leading man alongside Billy Crystal in the hit movie, Running Scared. The Broadway veteran and tap icon would score an NAACP Image Award for the role. This Side 2 ballad gets a signature treatment from the incomparable Nat Adderly and Marcus Miller. Vandross and Hines are like a hand in glove, trading phrases. Vandross, arguably one of the greatest voices of our time, doesn’t outshine Hines in the least. Instead they find their compatibility and groove with ease. I must admit, I can’t always listen to this one… I can definitely get teary. Two gems who are so sorely missed.
Michael Jackson & Stevie Wonder
“Just Good Friends” (1987)
“Just Good Friends” is easily the second most underrated song on the King Of Pop’s Bad LP, with the first being “Another Part Of Me.” Written by Terry Britten and Graham Lyle (“What’s Love Got to Do with It”), they perfectly tap into the musical aesthetics of both Michael and Stevie. This song brings me so much joy, as they find consistent vocal interplay. The song’s gorgeous bridge leads to a vamp-out overflowing with inspired creativity and reciprocity. Both are in particularly clear vocal form.
Michael Jackson & Freddie Mercury
“State of Shock” (1983)
The duet that almost, but never, happened. There is a fantastic reference of their working on the song that’s widely accessible online, but the song ends up being recorded and released with Rolling Stones frontman, Mick Jagger, instead. One can only imagine what happened with Mercury, and the theories around why it didn’t come to full fruition are pretty hilarious, but likely untrue. What I do know is that they were clearly fond of each other’s artistry (Queen was most definitely checking out the Jacksons, if you listen to their work around 77-78). But why these two Virgo giants didn’t pull “State of Shock” over the finish line remains a mystery. Still, if you want to hear a rarer performance of the song and feel like you’re hanging in the studio with your favorites, this is your chance. Listening to Mercury parrot Mike’s signature “Hees” and “Hoooops” is worth the price of admission.
Al B. Sure / James Ingram / El DeBarge / Barry White
“Secret Garden” (1989)
I know… I’m cheating with this one. It’s not a duet. It’s a bromance 4X. This classic has been making the ladies swoon for over three decades. The bass line alone is an eternal vibe. A vast vocal fest featuring DeBarges’ signature falsetto and White’s irresistible baritone and everything in between. Written by DeBarge, Quincy Jones, Rod Temperton, and the wonderful Siedah Garrett, “Secret Garden” closes Jones’ Back On the Block, an historically essential album in that allows us to hear some of the last work from some of our greatest musicians. “Secret Garden” extends the intergenerational theme of the album, in full bromantical glory.