
In case you’re not from Glasgow, this is a nice thing for someone to say – it means you’ve done something really good, usually far more than might reasonably be expected.
The surprise cake you’ve spent all day baking and decorating to celebrate a loved one’s achievements – when they walk through the door that night, they might say “Ya wee belter!” to you.
If your football team scores a scorcher of a goal from well outside the penalty box, you or someone else in the stands will call out “”Ya wee belter!” to the player who scored it.
Your pal who secured two impossible-to-get concert tickets for your favourite band on the day of their show in the town where you live would deserve nothing less than “Ya wee belter!” as they handed your ticket across.
You get the idea, I’m sure.
Away from Glaswegian patois, though, there’s another use of the world “belter”. And that’s among singers. Especially singers with powerful voices which could fill an entire theatre without a microphone.
Possibly the OG of belters, when it comes to singing, was Ethel Merman. She was a big Broadway star in the 1930s and 1940s and, while you might not instantly recognise her name, you’ll definitely recognise her signature song, Irving Berlin’s “There’s No Business Like Show Business”.
Ethel Merman worked with the greats of musical composition during the 1930s and 1940s – George and Ira Gershwin, Cole Porter, and Irving Berlin. And her reputation as a “belter” was such that Cole Porter once said “When you write lyrics for Ethel Merman they’d better be good because everyone is going to hear them.”
And Irving Berlin advised her not to have singing lessons to make sure she preserved her powerful voice and unique singing style. In his view, singing lessons would have made her sound more like everyone else, losing her distinctiveness in the process.
He was probably right. Love it or hate it, there was never any doubt you were listening to Ethel Merman when one of her songs came on the radio. It couldn’t possibly have been anyone else.
A “belter” is not always what you need
Ethel Merman was primarily a soloist. Having a distinctive voice as a soloist is no bad thing.
But introduce more people in the mix and having a range of distinctive voices, all vying for attention, is a recipe for chaos. It’s never going to sound good.
This, incidentally, is why the common thinking in organisations is mistaken.
You don’t build a great band by having an assortment of soloists with entirely different singing styles fighting to sing louder than one another.
Nor do you build a great organisation by letting a disparate bunch of individuals with different styles, beliefs, and behaviours loose to make their own decisions. Success comes when you can get a disparate group of people working together so that the results of the whole are greater than the sum of their parts.
A good way to think about your organisation is the way one of my favourite vocal groups, The Mama and Papas, operated. (Don’t worry if you’re not familiar with them, there’s a link below.)
There were four members of The Mamas and Papas. Each had their own distinct skills, and each brought a different dimension to the band. But it was in how they worked together to create some of the smoothest harmonies in pop music history that’s the important element here.
John Phillips was the chief songwriter and had one of the finest ears for creating harmonies you’ll ever come across. Nobody was better than him at crafting flower power pop anthems. But he wasn’t the strongest singer and confined himself mainly to singing harmonies around other band-members’ lead vocals.
Michelle Phillips, John’s wife, and occasional co-writer, wasn’t the strongest singer either, but she had a lovely voice, with a high, bright, sweet tone that conveyed the optimistic spirit of the late 1960s perfectly.
Denny Doherty was the main male lead vocalist, which includes singing lead on the song I’ve linked to below. He had a strong voice that sounded just lived-in enough, without straying into the territory of someone who had smoked too many cigarettes and drunk too much whiskey over the years.
And, of course, Cass Elliott, one of my all-time favourite female singers who brought power, warmth, and strength to the band’s vocals.
Cass was a “belter” – she had always wanted to star on the Broadway stage, although she became part of two of the most iconic pop groups of the 1960s instead (The Mugwumps, as well as The Mamas and Papas). She later became a solo star, before her untimely passing in 1974.
What matters here, though, that Cass Elliott understood about making the whole greater than the sum of the parts.
I recently saw an interview with Michelle Phillips, recorded back in the 1980s, in which she said that one of the great things about Cass Elliott was that Cass held back the massive power in her voice so that she didn’t overpower Michelle’s much quieter voice.
I mean, Cass Elliott’s voice was such a significant part of the Mamas and Papas’ sound that, once you spot it, you can’t possibly miss it. But everyone else’s voice is there too, even though Cass on her own could easily have overpowered everyone else put together.
That’s the difference between being a soloist and being part of a group.
As a soloist, to some extent, you can please yourself. If the public likes your distinctive approach, you’ll have a nice career.
As a group, you’re in 2+2 = 5 territory.
You can’t just be a bunch of soloists, each pleasing themselves. You have to work together to make the most of your collective talents instead of maximising your individual performance.
The Mamas and Papas would never have ascended to Rock and Roll Hall of Fame status if Cass Elliott had just overpowered everyone else with her exceptionally powerful singing voice. That’s how she made 2+2 = 5.
You are not a chess grandmaster
The thinking which underpins a lot of businesses is that everything always needs maximising all of the time.
There are performance reviews, KPIs to meet (and ideally exceed), monthly board reports…not to mention rafts of policies, procedures, and working practices designed, at least in theory, to ensure maximum performance at all times.
Yet one of pop music’s most iconic groups had someone who was deliberately not maximising her vocal talents, while being part of a group which created the sound which defined became emblematic of late 1960s San Francisco, when that was the cultural (or, should I say, counter-cultural?) capital of the world.
How does that work?
A lot of businesspeople, especially in tech, think like chess grandmasters. They might be very smart, but they are like solo singers, making all the decisions and deciding where to put their pieces on the chessboard to, they hope, obtain maximum advantage. It’s all about them as individuals and their personal achievements.
However, this ignores that fact that, in most businesses, it’s the interplay of personal relationships between the people you employ, and their interaction in turn with your customers, which determines success or failure.
As it was for Mama Cass Elliott, individual power alone was not enough. Knowing how to use her vocal power to complement everyone else’s voice, and working together with them to make 2+2 = 5…that was the secret of the Mamas and Papas’ success.
And your business success too.
I know it’s superficially tempting to imagine that, if everyone is going “hardcore” all the time, success is assured. On some level it makes sense, as long as you don’t think about it too much.
But if your role depends on bringing people along with you, whether they are internal or external to the business, the likelihood is that’s not the way forward. For example, it’s one reason why overly pushy salespeople don’t make sales as often as they could.
And it’s why, without breaching any company rules, people find a way to undermine managers they don’t like or trust.
And it’s why decisions made purely with technology tend to be poor decisions.
If you get a report that says someone in your organisation is only producing at 80% of their capability, the entirely logical response of an AI agent is to fire that person.
That’s tech-based logic at work. It’s also, at least some of the time, an incredibly stupid thing to do.
If you’re a chess grandmaster performing at 80% of your capabilities, you’d deserve to be fired by an AI agent, because performance in that context is all about you.
In pretty much every organisation, there is far too much interplay between individuals, departments, distribution partners, customers, and suppliers for decision-making to be simplistic enough for tech to be much help.
Cass Elliot probably sung at about 80% of the power she was capable of singing with. If she’d been fired by an AI agent, one of the 1960s’ most iconic groups wouldn’t have achieved the level of commercial and critical success they enjoyed.
It’s not tech’s fault. Tech just applies surface-level logic to every situation. If you’re a chess grandmaster moving the pieces around the board, surface level logic is all you need.
It is, however, your fault, if you try to create a world-beating business that way.
You need to think more like a record producer. Instead of thinking about excellence as a single dimension in a field where all the decisions are prescribed by specific rules, like chess, you need to blend together a range of skills, talents, expertise, strengths, aptitudes, working styles and behaviours to end up with two plus two equalling five.
The reason you don’t see that very often is that making that happen in the real world is incredibly hard. Much harder than playing chess, because there are a million moving parts which don’t exist on a chessboard, but do exist in real life.
But sometimes, the secret to success is nurturing someone who could be a “belter” like Mama Cass Elliott and helping them see that the sum of the whole would be vastly greater if they held back a little and only delivered 80% of what they were capable of.
If you want to reach the business equivalent of the Rock and Roll Hall of Fame, that’s almost impossible if you think you’re playing a logical game of chess, where everyone plays by the same rules, and individual performance is the only thing that matters.
But it’s vastly more likely if you can create the balance in your business to the same level a vocal performance by The Mamas and Papas.
Ironically, part of achieving a world-beating, epoch-defining outcome is sometimes to recognise how important it is for some members of your team to “underperform”.
As promised, in case you’re not familiar with them, here are the singers I’ve written about in today’s article.








