⭐ Official Review [Album]: "MADE IN AMERICA" (SP-3723)

[GaryAlan]

Thanks, Mr. J.,
you have reaffirmed my 'belief' that A&M Records would not have stamped their approval on anything
with only Karen Carpenter credited as artist.
This in the light of two things--and,recall A&M was not keen on a Carpenters' Christmas album, to begin with (see Coleman)---
First, as Richard Carpenter has stated, 1978's Christmas Portrait should have been Karen's album, anyway--as he took little participation in its production.
Second--Those left-over vocals, which surfaced on 1984's Old Fashioned Christmas, are Absolutely Incredible--and, if those exquisite recordings
can not be simply credited to Karen Carpenter...then, nothing can.

 

[Rumbahbah]

I'm not sure I completely agree with you on this Gary. Given that it was A&M that got the ball rolling with the solo album in the first place (albeit that Karen had obviously expressed a desire to cut a solo disc already), I can't imagine that they would never have intended releasing anything under Karen's name only. Remember that in mid-1979, when recording first started on the solo album, it may not have been clear how long Richard would take to recover from his addiction, so A&M might have had their eye on not just filling the gap in recording with a solo album by Karen but also hedging their bets in the longer term by creating a Plan B in case Richard didn't want to record again.

By 1980, though, this had all changed. Richard was back, fully recovered, wanted to record again and probably told Herb and Jerry that he was all fired up to create a perfect 'comeback' album full of hits. With the solo album only just in its final stages and Richard not in favour of it, I imagine A&M went with the 'safe' option and veto the solo album. Perhaps had Richard not wanted to get back to recording before the solo album was finished, A&M's attitude to releasing it might have been very different...

Incidentally, I've always been rather perplexed by Richard's comments about Christmas Portrait being Karen's 'solo' album. To me, although Richard had little involvement in arranging the songs on the album, it's still very much a 'group effort' in terms of the style of the sound and production, and it would have been absurd to suggest releasing it as a Karen 'solo' work. It's just that Richard was less involved with it than he usually was, which is different thing entirely.

 

[aaflyer98]

Oh don't get me started....too late. Why in the hell would A&M not give Karen a chance? She was the number one vocalist on the label. Without her there would be no Carpenters. What did they have to hold over her that was so powerful that they couldn't see the star they had and the fact that even if she put outa less than average album (which in my opinion her solo album was above average and had hit potential), they could have granted her the chance. Shame on RC and the A&M mgmt. And MIA I like, but it is Richards baby and Karen for all her goodness of heart is a willing participant.

 

[GaryAlan]

I respect your commentary, Rumbahbah, and you may well be correct.
At one time, I held your opinion in like manner.
However, as new information comes to light, I have altered my outlook.
Even in the 40th Box Set, Richard reiterates that..."What I should have realized then (1978), although I don't know if A&M would have
gone for it, is that Christmas Portrait is Karen's album, and should have been titled accordingly.."
Then, Coleman, Page 236,.."Curious attitude toward its (Christmas Portrait) obvious commercial prospects at A&M...it received scant attention."
I do realize, as you point out, that A&M initiated the idea for the solo album.
"Jerry Weintraub explained that Richard was taking 1979 off. (Schmidt, page 193)
The call from Weintraub to Ramone, was followed by a call from Alpert and Moss , both expressing their support, but reminding Phil
they were not looking to replace the Carpenters." (Schmidt,page 193)
Richard:September 4,1978...quits Las Vegas Concert engagement
Richard December and 24th....refuses to accompany Karen to UK , and pares down his contribution to the Long Beach Christmas Show.
Richard: January 10,1979...off to Topeka for drug treatment.
Two weeks later..."Karen drops bombshell..she was thinking of doing a solo album..."(page 243, Coleman).
Karen: January 24th, 1979, Diary in Red.."Confrontation about solo album.."
Karen: February 16, 1979....on a flight to New York to discuss solo album with Phil Ramone.
Four weeks later: Agnes to Karen "Then, do it!" (the solo album).
Richard in Clinic for SIX Weeks. "Six weeks worked." (page 244 Coleman)
April 30,1979: "Final Plans for Karen's project hatched.." (page 245,ibid.)

Well, there's more to come....

 

[Vinylalbumcovers]

I contend that Karen could have gone on quite nicely without Richard and A&M likely knew that. I surmise that the only one who didn't want her out there on her own with Richard. He was the only one with anything to lose....and he had everything to lose. A&M would have directed her to success. They knew how great she was.

Remember: they didn't reject her solo album; they asked her to go record some more. Important distinction. Had she done so, the record would have been a mix of what they'd already done and songs A&M conceived could be hits.

Either way, she had A&M's support. They just didn't like the album and thought it could be better.

Ed

 

[GaryAlan]

Here is the dichotomy, as I see it...and, I will do this via quotes from Richard and Karen (both in the Schmidt Reader):
1978 Interview by Bill Moran, Radio Reports, 1978:
Interviewer--Do you see yourself getting involved in motion pictures/acting?
Karen: "Yes, We're looking for a script. It's something I would really like to do."
Richard:" I wouldn't mind it, but not as much as Karen. My first love is the recording studio."

Then this:
Late 1983, Southeast News:
"The pop performer (Richard Carpenter) has no plans of retiring. Plans...solo albums, writing songs, arranging and producing for other artists"
"He even plans to explore the possibility of performing on television specials and composing musical scores for films.."

Ed, I largely agree with you..."They knew how great she was"...
be that as it may,
it seems to me that the support given to Richard Carpenter by A&M dwarfs,
in comparison, how they supported (or, rather, how they appeared to support) Karen Carpenter.
Given A&M's ambiguity in marketing "The Carpenters", that ambiguity translated into outright fear, once they (whomever-they- are)
understood that Karen Carpenter could do (sing/perform/record) anything. She was the star of the duo. A&M had to realize that!
From Magic Lamp, onward, it has been about Karen Carpenter (drumming,singing, acting, comedy, dancing...you name it...she could do it).
The Press Kit from June 1981 is "all about Richard's accomplishments" on the MIA Album. Richard appears to assert himself as "the leader".

Made in America was rife with promotional tie-ins:
24X36 Cover Poster, 24X24 Inside Sleeve Poster, Bumper Stickers, Postcards,
The Infamous Money Cube, Sun Visors, and who knows what else?
And, oh how they (A&M) tried--- with four singles!

I would be interested to know what kind of tie-ins were being planned for Karen's solo album.
In other words, at what stage of this project were plans being made for promotional tie-ins, guest appearances, and the like---in support of
the solo album's release---was that point ever reached reached? How about a 'single'?
Why was Derek Green "asked to fly in from London to listen to initial playbacks." (That seems unusual --at least, it does to me).
Karen Carpenter...the A&M vocalist of note--and, they asked Derek Green to listen to playbacks?
Let me tell everyone--if I had had the chance to listen to any playback's with Karen Carpenter's vocals---drop everything, I am there in a flash!

 

[newvillefan]

Remember: they didn't reject her solo album; they asked her to go record some more. Important distinction. Had she done so, the record would have been a mix of what they'd already done and songs A&M conceived could be hits.

Notwithstanding the fact that Richard was ready to go back to work, let's assume for a second that Karen had agreed to do what A&M asked her. How much longer would that have taken? I'd say 3-6 months. By then, it would be almost fall 1980, even further away from the 'disco' era in which the album was conceived. So which songs would Karen have dropped in favour of new, stronger material? I'd say:

My Body Keeps Changing My Mind
All Because Of You
Makin' Love In The Afternoon
Still In Love With You
Guess I Just Lost My Head

 

[Rumbahbah]

Remember: they didn't reject her solo album; they asked her to go record some more. Important distinction. Had she done so, the record would have been a mix of what they'd already done and songs A&M conceived could be hits.

Either way, she had A&M's support. They just didn't like the album and thought it could be better.

Ed

I don't think the distinction is actually that great in terms of what A&M meant by this. I suspect saying the album needed further work was a way of sidestepping having to say from the outset 'we're not releasing it' and kicking it into the long grass for a bit while everyone worked on Karen to give up the project as 'her' decision.

Ray Coleman's book notes that Karen initially agreed to continue recording and asked A&M to help her select the new material, so you'd have thought that if they were being sincere in implying that the album would get released if the tracklist were amended, then they'd have done so. But they didn't and nothing further happened. And I imagine the reason why is that by this stage they never intended to release the album at all, regardless of the songs on it.

Remember that Phil Ramone said of the playback of the album in California that 'the silence was deafening' and that Herb, Jerry and Richard expressed no enthusiasm about *any* of the tracks. If that's the case, then it would make no sense for A&M to ask Karen to record more material to make a better album - it wasn't that they gave the impression to Karen and Phil that some of it was bad, they made it quite clear that they thought that all of it was bad, and thus presumably unsalvageable.

 

[GaryAlan]

Dichotomy:
If there was no enthusiasm, by Richard , for any of the tracks--
Why did he then request a bridge be written for Make Believe It's Your First Time,
and then have Karen re-record the song for the 'upcoming album' (as a track for Made in America)?
So, no one at that time said, oh, Karen--that's a good one!--for the song Make Believe it's Your First Time.
In Richard's mind, he probably believes he 'salvaged' the song--(I won't even bother to comment on that)
This still makes no sense to me.
No one in California thought--at that time--that that was a decent number?And, say so to Karen.
Excuse me: That is a 'f...n' Great song--and, no one-- at that time--- said anything?
And, Derek Green, in New York listened to the initial playbacks, at the request of Moss and Alpert,
so,he could not 'pick up the phone'--at that time--and say to the head-honchos back in California--this album completely stinks.
Sorry, good folks, this still makes No sense to me--no matter how it's 'spun'.

 

[ullalume]

What I find rather telling is the fact that 10 years later with the release of Lovelines, wasn't "If I had You" released as some sort of "special" single. Though, in fairness, RC always said that that song might have had chart potential.

As a writer myself, I HATE being in the same room as a friend when they're reading my material. . . .whether they like it or not. . . .I'm insecure, what can I say. I can only imagine how horrible that hour must have been for Karen. I wouldn't be surprised if she excused herself after a few tracks and walked the lot.

On a few posts I've noticed people saying "Why was Richard's Album released and not Karen's". To me it's quite obvious. In 1980 A&M had a cash cow with the Carpenters. . . they had an "either/or" scenario so they shelved Karen. In 1985-87, there was no Carpenters. . . .so they milked Richard. As it turns out the album was a commercial dud, but it was all they had to work with.

 

[GaryAlan]

All salient points, Ullalume!
And, I would only add : Did A&M honestly believe that Richard's solo album would 'turn a profit' ?
Who was there for the initial playback of his album? How did they respond upon hearing this solo album?
Or, did they simply allow the expenditure for its production costs, because , at that time, Carpenters'
catalog was turning quite a profit (capitalization on cd's --Yesterday Once More--and all that), and the
costs for Richard Carpenters' production would be easily recouped--whether,or not, it succeeded on the charts.
As I see it, still a double standard.

 

[GaryAlan]

And, simply for remembrance' sake:
June 1982 Carpenters Fan Club Newsletter#75
Q: Which album was the most expensive to produce?
A: Made in America, followed by Christmas Portrait.

 

[Vinylalbumcovers]

And, simply for remembrance' sake:
June 1982 Carpenters Fan Club Newsletter#75
Q: Which album was the most expensive to produce?
A: Made in America, followed by Christmas Portrait.

Give the results, it's pretty unsettling that MIA was more expensive to make than CP. MIA had one top 20 single and other duds. Hardly a commercial powerhouse of an album.

Ed

 

[song4u]

And, simply for remembrance' sake:
June 1982 Carpenters Fan Club Newsletter#75
Q: Which album was the most expensive to produce?
A: Made in America, followed by Christmas Portrait.

Wow. I would have thought Passage would have been more costly with all the extra musicians. Shows what I know.

 

[GaryAlan]

June 1981 Made In America Press Kit:
Richard Carpenter:
"We've been classified as a classic California sound, I would have to agree with that."
"I select songs that hit me at the gut level and fit our style."
"..best thing we've ever done. It's the combination of production, performance, engineering and material."

Compare with 1977 Passage Press Kit:
Richard Carpenter:
Karen chose Sweet,Sweet, Smile, Richard chose the rest."
"I had two years worth of material that had been submitted piled up in my music room,and,
apart from looking awful,
I figured I'd better catch up on it."

 

[Vinylalbumcovers]

Richard was certainly liking himself at that point wasn't he? LOL! How could he not hear the dud he'd created? I guess when you're in the middle of it, you just can't tell. This album demonstrates why you shouldn't always produce your own records.

Ed

 

[Harry]

Man, is this the "Pile On Richard" thread, or what?

Harry
...who thought this was a "Fan Forum", online...

 

[GaryAlan]

I have been a life-long fan of Karen and Richard's music, since at least 1973.
However, my life-long admiration for his musical arrangements does not--at least, for me--
imply that all that he ever did career-wise was perfect. No one is--or can be expected to be--perfect in every particular.
Out of 12 studio albums, I happen to love approximately 11 of those creative endeavors, that is 91.6% of his output.
Thus, I admit, for approximately 8.4% of Carpenters' material, my analysis does tend to run
in a less positive direction--the good with the bad--so to speak.
Of course, that same 8.4% might be to
another's liking, opposite to my viewpoint. That's fine, too.
Richard Carpenter happens to find Made In America his
most favorite of the duo's albums. It is my least favorite.
Richard Carpenter has expounded his reasons for his
viewpoint, and I merely expound my reasons for the opposite.
Perhaps, given the sales and chart data precipitated by this album, the general public--
at least the general record buying public in mid-1981-- held an opinion closer to the detractors,
than they do with Richard's opinion of this album. It is his creation--- one merely wonders why the
public's perception of the album is so very different from his.
I should think an analysis of the reasons for a "dud" are every bit as important as the analysis of a "hit".
But, remember, I love the other 91.6% of the duo's creative output.

 

[mr J.]

Unfounded as my belief is, I do not think that A&M Records would have stamped their approval on
anything with only her name ascribed to it.
And, yes, I may be wrong in that belief--but, I have no documented evidence to suggest otherwise.
There is a Billboard article--I'll find it-- where it is pointed out that if she had been credited as Karen Carpenter,
instead of credited as vocalist of Carpenters duo, she would have been one of the top solo female artists of the 1970's.
Of course, we all know she is The Top.

Here is the dichotomy, as I see it...and, I will do this via quotes from Richard and Karen (both in the Schmidt Reader):
1978 Interview by Bill Moran, Radio Reports, 1978:
Interviewer--Do you see yourself getting involved in motion pictures/acting?
Karen: "Yes, We're looking for a script. It's something I would really like to do."
Richard:" I wouldn't mind it, but not as much as Karen. My first love is the recording studio."

Then this:
Late 1983, Southeast News:
"The pop performer (Richard Carpenter) has no plans of retiring. Plans...solo albums, writing songs, arranging and producing for other artists"
"He even plans to explore the possibility of performing on television specials and composing musical scores for films.."

Ed, I largely agree with you..."They knew how great she was"...
be that as it may,
it seems to me that the support given to Richard Carpenter by A&M dwarfs,
in comparison, how they supported (or, rather, how they appeared to support) Karen Carpenter.
Given A&M's ambiguity in marketing "The Carpenters", that ambiguity translated into outright fear, once they (whomever-they- are)
understood that Karen Carpenter could do (sing/perform/record) anything. She was the star of the duo. A&M had to realize that!
From Magic Lamp, onward, it has been about Karen Carpenter (drumming,singing, acting, comedy, dancing...you name it...she could do it).
The Press Kit from June 1981 is "all about Richard's accomplishments" on the MIA Album. Richard appears to assert himself as "the leader".

Made in America was rife with promotional tie-ins:
24X36 Cover Poster, 24X24 Inside Sleeve Poster, Bumper Stickers, Postcards,
The Infamous Money Cube, Sun Visors, and who knows what else?
And, oh how they (A&M) tried--- with four singles!

I would be interested to know what kind of tie-ins were being planned for Karen's solo album.
In other words, at what stage of this project were plans being made for promotional tie-ins, guest appearances, and the like---in support of
the solo album's release---was that point ever reached reached? How about a 'single'?
Why was Derek Green "asked to fly in from London to listen to initial playbacks." (That seems unusual --at least, it does to me).
Karen Carpenter...the A&M vocalist of note--and, they asked Derek Green to listen to playbacks?
Let me tell everyone--if I had had the chance to listen to any playback's with Karen Carpenter's vocals---drop everything, I am there in a flash!

Derek Green was head of the A&M UK office-and he was in charge of every A&M release for the UK.

Derek had to hear the album upfront-in order to prepare it for it's UK release.He flew to NY for the playback probably in-lieu of Karen (with master tape) flying to London.

 

[newvillefan]

Give the results, it's pretty unsettling that MIA was more expensive to make than CP.

That's because it was pure indulgence on Richard's part: over-produced and over-orchestrated to soothe his ego following Karen's near miss at being a successful solo artist.

 

[GaryAlan]

As some needed insight into Mr. Derek Green, executive with A&M Records, I offer a few of his words
from Billboard Magazine, November 15, 1980 (page 81):
Derek Green:
"..the trick is 'planned failure'...We all know what to do with a hit. The smartness comes before the hits, in
having a business environment where you can protect the artists you believe in and allow them to keep making records."
"..agrees...overheads relate to the number of records you release. Often it costs more to service a miss than it does a hit."
"..has his doubts about Video's total relevance to the music business...sees no signs as yet of creative skills to match the new (video) technology."

 

[Daniel Perales]

Man, is this the "Pile On Richard" thread, or what?

Harry
...who thought this was a "Fan Forum", online...

That's why I hardly post anymore.



Danny

 

[GaryAlan]

Daniel,
it truly saddens me to read that the reason you hardly post is due to the
perception that the dissenters (regarding this album) are 'piling on Richard' (as quoted from Harry).
Nice as it would be for complete homogeneity, it seems to me that the most varied
and thought-provoking discussions arise from the mosaic of various members--
the aspect in which " different cultures mix, but remain distinct in some aspects."
(The melting pot scenario would have a heterogeneous mixing, with the ultimate goal of homogenization.)
I think, or,at least believe, that various members joined the forum because--of course-- they
share a fondness (if not, love of) Carpenters music.
Needless to say, I would--speaking for myself--excuse myself from this forum if the only things
I could write were always the same iterations of what every other member writes. If I am unable to add
insight or additional meaning to the 'mix',---why would I bother to spend any time on the forum?
If the only things to say are recapitulating the status quo, what would be my purpose in contributing?
As time progresses, different aspects come to light regarding Carpenters' career.
Were I not in possession, say, of the Made In America 1981 Press Kit (which was only recently acquired),
I would be unable to contribute the additional information in that press kit as it pertains to this album.
That Press Kit was distributed to Media Outlets, at that time. (Richard Carpenter said those things)
The information contained therein offers another view on the totality of this album.
The fantastic thing, as I perceive it, about this forum is that while we all love the Carpenters' music,
certainly it is an asset that all members offer their own, unique, perspective and are not forced to any one viewpoint.
History--which really is what we are discussing--is not written on one stone tablet, inviolate, for all time.

 

[Vinylalbumcovers]

That's why I hardly post anymore.



Danny

I'm sorry to see this too. We give credit where credit is due and don't when it isn't. Nobody is perfect and, while we're fans of Karen and Richard, they made mistakes. Why should we not mention them? I agree with Gary in that the best discussions come from dissenting opinions. Sometimes people go a little too far but, by and large, I think we're pretty fair. How boring would it be if we liked everything they did? There'd be no reason for forums to exist.

Ed

 

[Vinylalbumcovers]

That's because it was pure indulgence on Richard's part: over-produced and over-orchestrated to soothe his ego following Karen's near miss at being a successful solo artist.

I just think he took things to far into the elevator. He overproduced when it just wasn't necessary. His gifts would have shined through regardless. In spite of him, his vocal arrangements remained amazing. I would love form him to have continued to do them for other acts.

Ed