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If this documentary is from the UK, Touch might not have been mentioned since it looks like it either wasn’t issued or did not chart in the UK (at least according to Wiki).
On the subject of UK singles from Made in America, three were issued ('Touch Me When We're Dancing', 'Beechwood' and 'Those Good Old Dreams') within the space of five months between June and November 1981, but none of them made the Top 75 chart.
We’re they just Promo only singles? That might explain why they didn’t chart.I stand corrected on all three counts. I don’t know why I posted that Touch Me When We’re Dancing wasn’t a UK single because I’ve got a copy of this . The second two are clearly marked “exclusive licensees for the UK”.
I was about to ask what happened with a UK release for Want You Back In My Life Again when I realised it was the B-side of Those Good Old Dreams. Very strange choice.
We’re they just Promo only singles? That might explain why they didn’t chart.
No, all three were officially released as singles (I've got copies of 'Touch Me...' and 'Beechwood' and neither is a promo copy). You can see a scan of the commercially released single here:
Carpenters - Beechwood 4-5789
It’s interesting that Beechwood was released in August 1981 in the UK and not until March 1982 in the US - almost a year after the album’s release. Sadder still than none of the MIA singles even charted in the UK - not even Touch Me When We’re Dancing. By rights they shouldn’t even appear on UK hits compilations.
Sad-looking blue t-shirt guy laments KC's vocals on MIA, as if to say that her declining health had produced a thinner sound. What utter nonsense.
Still, impossible to deny that her physical decline had to affect her vocals in some manner.
Although I believe there is weakness in Karen's vocals on parts of MIA LP,
I attribute that perceived weakness to (at least) three things:
(1) Karen (or Richard--or, both) was purposeful in trying to sound more feminine on these songs,
[SNIP]
Still, impossible to deny that her physical decline had to affect her vocals in some manner.
It is impossible to ascertain to what extent it did.....my two cents worth....
I think what Karen did do is choose a more restrained vocal sound. I remember reading that she essentially accused her younger self of oversinging, and she really preferred the controlled version of her voice. Once she made that decision, she stuck with it. Personally, I disagree with Karen's assessment. I loved the dynamic range she achieved in her youth, everything from "belting" (though Karen's version of belting was quite different from, say, Ethel Merman's) down to a whisper. But it wasn't my voice, and I can understand why she felt more restraint equaled greater maturity.I usually stay out of discussions about Karen's "weaker" vocals because frankly I don't hear it - at all. I think too many people look at videos and are horrified by her appearance and equate that to her sound. As Richard himself has said, her sound never changed, and I agree with that. These "faster-tempo" songs were both mixed with Karen back in the mix. That was intentional to give the songs a more group-like feel. Enough said. I'll retreat from this discussion for another decade or so.
I recall-1981--upon first hearing Touch Me When We're Dancing--thinking that the vocal sound was a bit thinner than previous songs.
I think what Karen did do is choose a more restrained vocal sound. I remember reading that she essentially accused her younger self of oversinging, and she really preferred the controlled version of her voice. Once she made that decision, she stuck with it. Personally, I disagree with Karen's assessment. I loved the dynamic range she achieved in her youth, everything from "belting" (though Karen's version of belting was quite different from, say, Ethel Merman's) down to a whisper. But it wasn't my voice, and I can understand why she felt more restraint equaled greater maturity.