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^I agree with you and aaflyer98. "At The End of a Song" is one of my favorites and one of the most meaningful choices on Voice of the Heart.
With regards to the line "don't sell me stories that music's a lady" I think it's referring to the idea of music being decent/proper/a positive force. . . .since clearly once its over it leaves Karen feeling very empty.
Here is an exercise, the Copyright Dates as listed on the inside sleeve of the album:
(John Bettis/Richard Carpenter Compositions underlined)
Now,1982
Sailing On The Tide,1983
You're Enough,1983
Make Believe It's Your First Time,1978
Two Lives,1977
At The End Of A Song,1983
Ordinary Fool,1975
Prime Time Love,1979
Your Baby Doesn't Love You Anymore,1965
Look To Your Dreams,1978.
Which brings me to my question:
When is the decision made to Copyright a Song ?
Here is an exercise, the Copyright Dates as listed on the inside sleeve of the album:
(John Bettis/Richard Carpenter Compositions underlined)
Now,1982
Sailing On The Tide,1983
You're Enough,1983
Make Believe It's Your First Time,1978
Two Lives,1977
At The End Of A Song,1983
Ordinary Fool,1975
Prime Time Love,1979
Your Baby Doesn't Love You Anymore,1965
Look To Your Dreams,1978.
Which brings me to my question:
When is the decision made to Copyright a Song ?
In general, anytime an author/songwriter deems necessary for legal covering. However when with a record label, generally there is a system in place for that with someone that handles the process once the song is committed to pre-production and/or a recording session more or less, regardless of whether or not it ever gets officially published and released.
Which is odd (especially in the case of Sailing On The Tide as that song was quite far along on another album for backing vocals by Karen and Richard to have been recorded) as those tracks with 1983 copyrights should've been applied in 1982 or earlier, since from what Richard has said their last recording session was sometime in 1982. As far as I'm aware, neither of them were in the recording studio in January 1983.In general, anytime an author/songwriter deems necessary for legal covering. However when with a record label, generally there is a system in place for that with someone that handles the process once the song is committed to pre-production and/or a recording session more or less, regardless of whether or not it ever gets officially published and released.
Which is odd (especially in the case of Sailing On The Tide as that song was quite far along on another album for backing vocals by Karen and Richard to have been recorded) as those tracks with 1983 copyrights should've been applied in 1982 or earlier, since from what Richard has said their last recording session was sometime in 1982. As far as I'm aware, neither of them were in the recording studio in January 1983.
With "Sailing", considering it's got backing vocals, it's almost like it was cut from MIA or whatever album it was originally intended for, right before final mix down. And considering that other songs like "LookTo Your Dreams" have earlier dates, but were clearly cut after being recorded, it's odd that a song so far along would have an extremely late date.They weren't in the studio any time after April 1982. I may be wrong but maybe the copyright process can also kick in for songs once they reach post-production stage as well as pre-production.
With "Sailing", considering it's got backing vocals, it's almost like it was cut from MIA or whatever album it was originally intended for, right before final mix down. And considering that other songs like "LookTo Your Dreams" have earlier dates, but were clearly cut after being recorded, it's odd that a song so far along would have an extremely late date.
So I wonder why it wasn't copyrighted in 77? Maybe the paperwork hot lost in the mail.
Richard Carpenter writes, regarding
Your Baby Doesn't Love You Anymore
"....Our rhythm track was recorded in 1980, along with Karen's work lead. It was then shelved...."
This--to my ears--
was another missed opportunity.
As I am assuming it was 'completed' in 1983,
when, in fact, this song would have been great if completed in 1980.
Why wasn't it ? What held Richard back from this song's inclusion/completion in 1980 ?
Also, I always felt it should have been the lead--off Single for Voice of the Heart.
I do wonder if with hindsight, Richard wishes he'd rounded out the 1980 shelved tracks with KC/RC backing vocals. For the most part the OK Chorale reduces some half decent songs to pure schmaltz.
Some songs on VOTH do feel empty and schmaltzy because of the time constraints and the forced use of the Choarle. Lovelines has a much richer sound, soninically, in general.