Karen Carpenter Solo Sessions - Continued

[Rick-An Ordinary Fool]

I agree with Ed. I hadn't read a single review or interview about this album prior to listening to it. I felt that Karen was trying to be someone she wasn't, and it just didn't ring true for me.

My apologies I should have spoke in general terms...I really don’t know when and what time people came in contact with first listen of her solo album vs when he aired that video interview. Yet I still stand behind the rest of my comments above.

 

[byline]

What was it that Phil said? I haven’t seen anything - I haven’t gone looking to be honest - but I am intrigued.

I seem to remember Phil being quoted as saying he felt that Karen was mimicking emotions she'd never experienced, and that it came through in her singing during the solo sessions. He gently confronted her about this, and as I recall she broke down in tears. But as I recall, there was some resolution over this, and they continued working together, with him feeling the result was better. Maybe this was in the Ray Coleman book? I can't remember where I saw that, but it was well after I'd heard Karen's album.

 

[vze4rkna]

The only thing I don't see discussed a great deal, that I would like to know more about, are the 2 still unreleased tracks that were recorded for the solo project. One was called Church Choir and the other is called Basket Case. Does anyone have any info on these 2 in particular?

 

[newvillefan]

Maybe this was in the Ray Coleman book? I can't remember where I saw that, but it was well after I'd heard Karen's album.

Phil recounted that episode in his interview for the 1997 E! True Hollywood Story documentary (which I thought was excellent). He said on one take she sang the word “love” and he pulled her up on it, saying something about it just didn’t ring true. She sang it again, and again he said it didn’t sound right. She then sang it a third time and Phil said she broke down in tears in the studio.

 

[Kaisu]

Phil recounted that episode in his interview for the 1997 E! True Hollywood Story documentary (which I thought was excellent). He said on one take she sang the word “love” and he pulled her up on it, saying something about it just didn’t ring true. She sang it again, and again he said it didn’t sound right. She then sang it a third time and Phil said she broke down in tears in the studio.

From 1:01 on to 1:20...

 

[AnnaSock]

I seem to remember Phil being quoted as saying he felt that Karen was mimicking emotions she'd never experienced, and that it came through in her singing during the solo sessions. He gently confronted her about this, and as I recall she broke down in tears. But as I recall, there was some resolution over this, and they continued working together, with him feeling the result was better. Maybe this was in the Ray Coleman book? I can't remember where I saw that, but it was well after I'd heard Karen's album.

Thank you Ray Coleman’s Book is next on my ‘to read’ list.

 

[byline]

Thank you Ray Coleman’s Book is next on my ‘to read’ list.

It may have been in the Ray Coleman book. I'm not sure. I no longer have it. I sold it to the owner of a used book shop when we moved, and I've not seen it since. Stephen notes that Phil mentioned it in the E! documentary linked above.

 

[TheOneBeatleManiac]

Going to post my review of the album here, as the official thread is closed. I have wanted to write about the album for quite some time now.

This is my favorite album Carpenters related. I hear this album in its entirety quite often, and I listen to it more than the Carpenters ones, and I have listened to all of their albums (except As Time Goes By).

On this album, a different Karen can be heard, with a vocal range that has being expanded, with some songs touching themes that had not be listened before from her, and with very diverse arrangements that go to a direction not quite touched before in Carpenters.

Starting with Lovelines, the album opens with what seems a relaxed introduction, with the classic chest voice of Karen entering the scene, and a beat that goes up and down subtly along with her vocals. Both music and vocals grow as it arrives to the chorus, with vocal harmonies sung by herself. The chorus is joyful, and she sings it as such as she knows, Lovelines never fade. After another verse expressing a desire of love and the feel of it, as well a reprise of the celebratory chorus, a short bridge before the splendorous instrumental break comes with a slightly subdued arrangement but that keeps the rhythm, and Karen also stays in that same range and strength to reiterate what she wants, until reaching a climax by wanting to make her cry out loud for more! During the break we hear the verse arrangement with an intricate solo played on the keyboard, and during a brief stop, we hear for a short time some breath-taking Karen harmonies in the background, and this instrumental breaks ends by Karen bringing back the chorus to start the fade-out ending by singing an extended-to-emphasize ''You're...''. And during this final section, she adds a harmony vocals to her lead to make it clear that it's all right with her, that this one love helps her through the day, and more and more things that become obscured as the song fades away.

Then comes across All Because of You, with a more laid-back, sparse accompaniment from beginning to end, with Karen humming during the opening bars a small melody, and then singing softly throughout the verses and chorus, expressing her tranquility and passion produced by someone, then reaching a climax wanting to keep singing her love song up to where the music can be seen through it, and afterwards, it reaches full circle returning to that feeling of peace; all of those sensations because of somebody, you.

If I Had You, pretty much follows the template of Lovelines, with soft verses, where mundane things like having the TV in the bedroom, up to having a teardrop in her eye, wouldn't be there if she had somebody in her life, you. And then the explosive chorus arrives by her exclaiming ''If I Had You! Again!'' and starts to say the things that she would do this time in order to show you (baby) you're the only one. Then she tries to put a scenario where you believe in second chances and let her be with you tonight, so that you take her hand so she can show you how love can be so right. If only she had you! Again!. Afterwards, a small saxophone solo comes, a instrument pretty well heard on the same sections on previous Carpenters songs, before returning to the chorus for the fade-out where she still wants that chance again, and asks herself questions like ''Are you my man, my dream, my everything?''

Then, Making Love In The Afternoon, simple as that, the choruses just say that simple thing and verses elaborate to making it to another Beatle tune, in a sunny day, in a very special way just to be together in the afternoon. Tomorrow may never come, so why wait? If you two wait for the evening shadows, then something will always remind her to wait for the morning: knowing that you'll be with her soon, together, in the afternoon.

If We Try, keeps the layout of the first and third tracks, with verses done in a calm manner, pretty much remembering somebody, and the times they spent in love without care, wishing that that someone was there; yes, you. Then the chorus appear though less extrovert than the previous songs with this template, in order to make the climatic instrumental break and final chorus reprise more effective. On the chorus, she simply states that you can call her if you feel lonely tonight, and she'll be there by your side, as she knows that if both of you try, you two can put that feelin' back inside. The feeling of love.

And maybe along those memories, she wants you to Remember When Lovin' Took All Night. This one retains more or less the same arrangement and rhythm throughout the song, verses expressing the passion building up and choruses taking it to doing it again after so long, like that time when lovin' took all night. The more elaborated musical arrangement and complex background harmony vocals are jaw-dropping.

Still In Love With You, goes for a more rockier accompaniment with simpler lyrics that state that despite how much time has passed, how much she is in constant move, how she knows that they will stay the same even when tomorrow will be different than today, and how she just can't deny it, she is still in love with you.

My Body Keeps Changing My Mind, also tries a different approach, a more dance-oriented one, making it a fun statement in verses and chorus about falling in love, reaching levels of take me home tonight, but trying to take it slow and not to confess it, but when she sees that someone (you) dancing, her body keeps changing her mind. This reaches to a new height, quite literally, during the climax by saying ''Then we fly together across the floor'', as she just can't resist you! Her heart cries out for more!

Another approach is attempted with Make Believe It's Your First Time, probably the closest one to a Carpenters ballad arrangement (no wonder why they tried to rescue this one for their next album, the problematic ''Made In America'' - but didn't make it there). Just two people that have been in the game of love long enough, in an intimate moment in the now, taking their time with love, and if they fall in love, well, that's all right. All they have to do is, make believe it's their first time.

Guess I Just Love My Head, pretty much touching the love theme again, though she knows that they don't really know each other so she asks forgiveness for the things she is doing (stare, hold a hand). Won't you tell her you'll forgive her?

Still Crazy After All These Years, closes the game with a more blues-y feel and different lyric subject from the previous ones, a statement that after all what's happened throughout the years, either that she doesn't tend to socialize, no fool for love songs that whisper in her ears or not be convicted by a jury of her peers, she's still crazy. This one also excels in the background harmonies, especially during the bridge that states where she is longing her life away, but why should she worry? It's all gonna fade.

 

[Rick-An Ordinary Fool]

Going to post my review of the album here, as the official thread is closed. I have wanted to write about the album for quite some time now.

This is my favorite album Carpenters related. I hear this album in its entirety quite often, and I listen to it more than the Carpenters ones, and I have listened to all of their albums (except As Time Goes By).

On this album, a different Karen can be heard, with a vocal range that has being expanded, with some songs touching themes that had not be listened before from her, and with very diverse arrangements that go to a direction not quite touched before in Carpenters.

Starting with Lovelines, the album opens with what seems a relaxed introduction, with the classic chest voice of Karen entering the scene, and a beat that goes up and down subtly along with her vocals. Both music and vocals grow as it arrives to the chorus, with vocal harmonies sung by herself. The chorus is joyful, and she sings it as such as she knows, Lovelines never fade. After another verse expressing a desire of love and the feel of it, as well a reprise of the celebratory chorus, a short bridge before the splendorous instrumental break comes with a slightly subdued arrangement but that keeps the rhythm, and Karen also stays in that same range and strength to reiterate what she wants, until reaching a climax by wanting to make her cry out loud for more! During the break we hear the verse arrangement with an intricate solo played on the keyboard, and during a brief stop, we hear for a short time some breath-taking Karen harmonies in the background, and this instrumental breaks ends by Karen bringing back the chorus to start the fade-out ending by singing an extended-to-emphasize ''You're...''. And during this final section, she adds a harmony vocals to her lead to make it clear that it's all right with her, that this one love helps her through the day, and more and more things that become obscured as the song fades away.

Then comes across All Because of You, with a more laid-back, sparse accompaniment from beginning to end, with Karen humming during the opening bars a small melody, and then singing softly throughout the verses and chorus, expressing her tranquility and passion produced by someone, then reaching a climax wanting to keep singing her love song up to where the music can be seen through it, and afterwards, it reaches full circle returning to that feeling of peace; all of those sensations because of somebody, you.

If I Had You, pretty much follows the template of Lovelines, with soft verses, where mundane things like having the TV in the bedroom, up to having a teardrop in her eye, wouldn't be there if she had somebody in her life, you. And then the explosive chorus arrives by her exclaiming ''If I Had You! Again!'' and starts to say the things that she would do this time in order to show you (baby) you're the only one. Then she tries to put a scenario where you believe in second chances and let her be with you tonight, so that you take her hand so she can show you how love can be so right. If only she had you! Again!. Afterwards, a small saxophone solo comes, a instrument pretty well heard on the same sections on previous Carpenters songs, before returning to the chorus for the fade-out where she still wants that chance again, and asks herself questions like ''Are you my man, my dream, my everything?''

Then, Making Love In The Afternoon, simple as that, the choruses just say that simple thing and verses elaborate to making it to another Beatle tune, in a sunny day, in a very special way just to be together in the afternoon. Tomorrow may never come, so why wait? If you two wait for the evening shadows, then something will always remind her to wait for the morning: knowing that you'll be with her soon, together, in the afternoon.

If We Try, keeps the layout of the first and third tracks, with verses done in a calm manner, pretty much remembering somebody, and the times they spent in love without care, wishing that that someone was there; yes, you. Then the chorus appear though less extrovert than the previous songs with this template, in order to make the climatic instrumental break and final chorus reprise more effective. On the chorus, she simply states that you can call her if you feel lonely tonight, and she'll be there by your side, as she knows that if both of you try, you two can put that feelin' back inside. The feeling of love.

And maybe along those memories, she wants you to Remember When Lovin' Took All Night. This one retains more or less the same arrangement and rhythm throughout the song, verses expressing the passion building up and choruses taking it to doing it again after so long, like that time when lovin' took all night. The more elaborated musical arrangement and complex background harmony vocals are jaw-dropping.

Still In Love With You, goes for a more rockier accompaniment with simpler lyrics that state that despite how much time has passed, how much she is in constant move, how she knows that they will stay the same even when tomorrow will be different than today, and how she just can't deny it, she is still in love with you.

My Body Keeps Changing My Mind, also tries a different approach, a more dance-oriented one, making it a fun statement in verses and chorus about falling in love, reaching levels of take me home tonight, but trying to take it slow and not to confess it, but when she sees that someone (you) dancing, her body keeps changing her mind. This reaches to a new height, quite literally, during the climax by saying ''Then we fly together across the floor'', as she just can't resist you! Her heart cries out for more!

Another approach is attempted with Make Believe It's Your First Time, probably the closest one to a Carpenters ballad arrangement (no wonder why they tried to rescue this one for their next album, the problematic ''Made In America'' - but didn't make it there). Just two people that have been in the game of love long enough, in an intimate moment in the now, taking their time with love, and if they fall in love, well, that's all right. All they have to do is, make believe it's their first time.

Guess I Just Love My Head, pretty much touching the love theme again, though she knows that they don't really know each other so she asks forgiveness for the things she is doing (stare, hold a hand). Won't you tell her you'll forgive her?

Still Crazy After All These Years, closes the game with a more blues-y feel and different lyric subject from the previous ones, a statement that after all what's happened throughout the years, either that she doesn't tend to socialize, no fool for love songs that whisper in her ears or not be convicted by a jury of her peers, she's still crazy. This one also excels in the background harmonies, especially during the bridge that states where she is longing her life away, but why should she worry? It's all gonna fade.

Excellent review but you missed one last track. I want to hear your review on that one too.
"Last One Singin' The Blues"

 

[TheOneBeatleManiac]

Excellent review but you missed one last track. I want to hear your review on that one too.
"Last One Singin' The Blues"

Didn't miss it, intentionally omitted it as it wasn't going to be in the album; but if you want my review on that one too, here goes:

Last One Singin' The Blues, fittingly a blues-y arrangement type of track, and despite delivering a great performance both musically and vocally, lyrically it takes a theme that has been tied to Karen on quite a number of Carpenters numbers and perhaps due to how contradictory would have been to put this one along with the themes the other tracks are touching, that's why it was left off the album: singing about the blues, about loving somebody in whom she finds the devil, the best she has met when it comes to fiction, a person that plays with her off and then on again. And she also states something that has been heard before: well someday I won't play, I'll just have to look at you with different eyes if all I do is catch you in the same old lies; and, just like those familiar tunes, it doesn't seem that she will actually do something, she just stays in someday, despite that she doesn't really want to be the last singing the blues.

 

[newvillefan]

Afterwards, a small saxophone solo comes, a instrument pretty well heard on the same sections on previous Carpenters songs, before returning to the chorus for the fade-out where she still wants that chance again, and asks herself questions like ''Are you my man, my dream, my everything?''

The line is actually

(You are) my night
(You are) my day
(You are) my dreams
My everything
(You are) the sun
(You are) the stars
(You are) the sun
I want sun

 

[TheOneBeatleManiac]

The line is actually

(You are) my night
(You are) my day
(You are) my dreams
My everything
(You are) the sun
(You are) the stars
(You are) the sun
I want sun

Thank you, couldn't find those lyrics so I had to guide myself with my ears.

 

[newvillefan]

I’m just re-reading Rick Henry’s collection of online interviews and in the interview with Russell Javors, he mentions that a song called “Room At The Top” was the fourth Javors song commissioned to Karen for recording (the others being All Because Of You, Still In Love With You and Truly You). This song has not shown up anywhere and I’ve never heard it mentioned anywhere except here. Does anyone know anything about the song and whether it’s ever surfaced with another artist?

 

[Randy M]

I would do (and I do it myself) what you have done. Compile your ideal dream albums. I have made several for myself. We have had threads on compilations before. If someone likes your idea, they will make a CD like it or listen to your playlists while on their computers. I agree; sequencing is everything. Upload the playlists to YouTube for everyone to enjoy. Let those babies fly. Disable comments... or not. Be prepared for haters and trolls. Do not engage with them. Someone called me a moron today on one of my videos. I could not care less. Burn your ideas/compilations to CDs or iPhone, iPod, iTunes, etc. Enjoy your creations.

 

[Randy M]

PS: I am not a moron; I am my own special creation. I am not referring to anyone on this forum.

 

[John Adam]

I’m just re-reading Rick Henry’s collection of online interviews and in the interview with Russell Javors, he mentions that a song called “Room At The Top” was the fourth Javors song commissioned to Karen for recording (the others being All Because Of You, Still In Love With You and Truly You). This song has not shown up anywhere and I’ve never heard it mentioned anywhere except here. Does anyone know anything about the song and whether it’s ever surfaced with another artist?

It doesn't appear any major recording artist has yet to record it. I've been looking for years just to hear it.......by anyone at this point!

 

[Karen Carpenter Fan 2012]

I love the unreleased tracks, as I have them on CD and vinyl. A lot of the tracks are as good as the ones released on the "Karen Carpenter" CD. Hard to believe KC actually delivered the album to A&M 39 years ago, only to have it rejected. I really think it would have done well, maybe even better than "Passage" (my least favorite Carps LP) or "Made In America", if it had been released then. Am hoping to see the "Karen Carpenter" release see a vinyl issue...one can only hope

 

[Jorge]

I love the unreleased tracks, as I have them on CD and vinyl. A lot of the tracks are as good as the ones released on the "Karen Carpenter" CD. Hard to believe KC actually delivered the album to A&M 39 years ago, only to have it rejected. I really think it would have done well, maybe even better than "Passage" (my least favorite Carps LP) or "Made In America", if it had been released then. Am hoping to see the "Karen Carpenter" release see a vinyl issue...one can only hope

If ever it is released in vinyl. I hope the use the original photo, and not that dreadful drawing... one can only hope!

 

[Karen Carpenter Fan 2012]

If ever it is released in vinyl. I hope the use the original photo, and not that dreadful drawing... one can only hope!

Me too, that CD art was dreadful....

 

[ullalume]

Phil recounted that episode in his interview for the 1997 E! True Hollywood Story documentary (which I thought was excellent). He said on one take she sang the word “love” and he pulled her up on it, saying something about it just didn’t ring true. She sang it again, and again he said it didn’t sound right. She then sang it a third time and Phil said she broke down in tears in the studio.

It always struck me as funny that Ramone felt her usual phrasing to not ring true, but on several of her solo tracks she sounds far more contrived than anything she did with Richard. (Still In Love With You, All Because Of You etc)

 

[Rumbahbah]

It always struck me as funny that Ramone felt her usual phrasing to not ring true, but on several of her solo tracks she sounds far more contrived than anything she did with Richard. (Still In Love With You, All Because Of You etc)

She did put on quite a country twang on some Carpenters' tracks like 'Jambalaya' and 'Sweet Sweet Smile',. This is understandable given that they were country-influenced, although it's true that I don't much care for that affectation on her vocals on these songs.

 

[Karen Carpenter Fan 2012]

The one song, "Keep My Lovelight Burning", where Karen sings "Teh keep my lovelight burning..', I kinda like that, but that might be the song that someone was referring to where they said Ramone had her trying to sound like she was from New York, etc

 

[Vinylalbumcovers]

It always struck me as funny that Ramone felt her usual phrasing to not ring true, but on several of her solo tracks she sounds far more contrived than anything she did with Richard. (Still In Love With You, All Because Of You etc)

Ugh those Javors things. Talk about your songwriter/singer mismatch. I’d have been okay to never have heard them.

Ed

 

[Toolman]

I guess I should re-listen to "All Because" before commenting, but my impression has always been that her vocal delivery on that is similar to her approach on "A Song for You". A bit clipped, not as silky-smooth in places as became the norm on later albums, but also not (IMHO) "affected". Now, "Keep My Lovelight Burnin"...there I'd agree she sounds forced, much like ONJ's "Gimme Some Lovin", which -- much as I also love ONJ -- leaves me cringing.

 

[Karen Carpenter Fan 2012]

I guess I should re-listen to "All Because" before commenting, but my impression has always been that her vocal delivery on that is similar to her approach on "A Song for You". A bit clipped, not as silky-smooth in places as became the norm on later albums, but also not (IMHO) "affected". Now, "Keep My Lovelight Burnin"...there I'd agree she sounds forced, much like ONJ's "Gimme Some Lovin", which -- much as I also love ONJ -- leaves me cringing.

I like both Karen's "Lovelight" & Olivia's "Gimme", both girl's were trying to get out of that "girl next door, milk drinking, vanilla virgins" stereotype, Karen never lived long enough to see where she could have gone & Olivia, never was able to shake that image, but a good clean image is rare nowadays, considering that so many female musicians now show so much of their bodies to help promote their music. I'll take KC & ONJ over many of today's best "singers"....PS: "All Because Of You" is my least favorite song on the "Karen Carpenter" release