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

[GaryAlan]

Even allowing for an evolution in vocal style,
the "live" (1981) performance of Top Of The World
is nothing short of heartbreaking. Richard's admonition
that "nothing affected her voice" is simply unsubstantiated, there.
On the flip side of the coin, when Karen starts singing--The Japanese Telethon--
Touch Me When We're Dancing (impromptu), there is strength and
confidence in her vocals ! So, in the end, I am still left with a dilemma !
Too many lip-synced performances in the later years do not help me to form an opinion !
As I have reiterated often, the 1980 TV Medley--- which began with the 1973 This Masquerade--
and then segues for the remainder with a 1980 Karen vocal, plainly delineates those differences.
Richard's arranging skills evolved, too....unfortunately to a less forceful sound, in my opinion.

 

[Buried Alien]

There was certainly a difference in production values between the 1970s and 1980s, to be sure. Many veteran performers from the 70s didn't sound the same in the 80s, and often, the reason was less because of the artiste than because of evolution of production techniques and tastes.

 

[Vinylalbumcovers]

I think, sometimes, we can be too close to something to see the obvious. Voices change and evolve as people age. The 1969 Karen sounds very different than the 1975 Karen, for example. It's not surprising, illness or not, that the 1980 Karen would sound different than the 1972 Karen. Add to that the material recorded, Richard's evolution in arranging, mixing, orchestrating, etc. and of course, she's not going to sound like she did in 1973 on "Top of the World." Did her illness and weight have something to do with it? Perhaps, but I think it has to do more with the way Karen was recorded than with Karen's ability.

I really don't think she sounds bad at all in the 1981 clip. She looks far worse than she sounds, IMHO. I actually agree with Richard that her voice was largely unaffected by much of anything - at least if the live internet clips we've found are any indicator. I think, more than anything, her studio sound on "Made in America" is the product of Richard's rather stifling production throughout. He submerged her beneath his arrangements rather than making her the center of them. He doubled her leads needlessly in many cases and threw in the kitchen sink needlessly time and again on that record. He attempted to sound current on a few things and it just didn't work. It's also a rather weak set of tunes with "I Believe You" and "Touch Me..." being the best of that bunch. The rest of them just aren't good enough, IMHO. Richard seemed more concerned with asserting his arrangement prowess than getting good tunes together or making Karen sound as fantastic as we know she could have. There isn't one tune on that album that isn't over-arranged and over-produced. "Made in America" sounds to me like Richard's album through and through. Karen merely is a cog in the wheel and it was a fatal mistake.

 

[Mark-T]

It does seem over-produced. If this is "Richard's album", its certainly the counterpoint to Horizon which seemed to be "Karen's album"- but look at how magnificent that one was!

 

[newvillefan]

Richard seemed more concerned with asserting his arrangement prowess than getting good tunes together or making Karen sound as fantastic as we know she could have. There isn't one tune on that album that isn't over-arranged and over-produced. "Made in America" sounds to me like Richard's album through and through. Karen merely is a cog in the wheel and it was a fatal mistake.

I think all of the above is the result of his bruised ego over the solo project. I can almost hear him saying to Herb and Jerry "ok I'm back now, I was in control of this in the first place so I want your support in reinstating my authority over this outfit".

Let's not forget that Richard could be extremely stubborn at times (refusing point blank to accept the fact the duo could operate - or be successful - as individual entities) and was brought up believing he was the star of the family. That has to do something to someone's ego.

 

[Vinylalbumcovers]

I think all of the above is the result of his bruised ego over the solo project. I can almost hear him saying to Herb and Jerry "ok I'm back now, I was in control of this in the first place so I want your support in reinstating my authority over this outfit".

It very much feels like "flexing" to me. Couldn't agree more.

Let's not forget that Richard could be extremely stubborn at times (refusing point blank to accept the fact the duo could operate - or be successful - as individual entities) and was brought up believing he was the star of the family. That has to do something to someone's ego.

He wasn't wrong, honestly, about him not being able to operate as an individual recording entity. While Karen could make a solo record and at the very least get people to pay attention to what she was doing, Richard couldn't. "Time" was, I believe, the worst bomb in A&M Records' history. They only wanted to know about Karen. Without Karen as the vehicle for his arrangements, he doesn't have a recording career. After Karen passed, no one wanted to know about this incredibly-gifted musician. Had he moved into other areas of the industry (film scoring, especially, which would have played brilliantly to his strengths), Richard could have had a very fruitful career.

 

[Graeme]

I think it's a bit of both. Over production at times but also Karen seems to have been going for something different vocally and for me it doesn't always work. Want You Back In My Life Again is a case in point. There's a lot of potential with the song but everything is a bit soft and wishy washy. The production needs more oomph and Karen's vocal is too far back in the mix. Harry posted a revamped version he did which made it much better, bringing Karen closer to the front, and my MP3 player has a 'studio' effect option that does a similar thing, making everything sound punchier). However, I get the impression that Karen was generally going for a softer vocal overall and, for better or worse, continuing some of her solo vocal traits (some of her takes on words are reminiscent of her slightly odd pronunciation on some of the solo tracks, for example, when she sings "and I woh-ohn't ever play the part of losing your love.")

And of course most of the album was in a higher key, which is baffling given Richard's criticism of the solo stuff, but was that down to Richard or Karen or a joint decision?

Sometimes it works well (Touch Me When We're Dancing) but I struggle to get through the whole album in one sitting because it's all a bit too lush and I just miss Karen's classic vocals (1978's I Believe You is welcomed in this respect). Lost in the mix or not, for me Karen's vocals just seem as though they were generally softer all round. There are glimpses of the Karen's rich voice (towards the end of When You've Got What It Takes, the second verse of Those Good Old Dreams and even Want You Back In My Life Again when she sings the deeper "of losing your love") She was certainly capable of still delivering close to her classic sound (Rainbow Connection, the Ella medley) but it's almost like she chose not to on many of the Made In America tracks.

 

[WYBIMLA]

As I recall about the idea of Rich scoring films. Karen said that directly to him in a '81 GMA interview. Promoting this album, and yes by this point she looked extremely ill. Cameras don't lie ( probably looked more scary in person).
But, RC didn't seem interested in that... more passion for pop music obviously.

 

[newvillefan]

After Karen passed, no one wanted to know about this incredibly-gifted musician. Had he moved into other areas of the industry (film scoring, especially, which would have played brilliantly to his strengths), Richard could have had a very fruitful career.

That's what I was thinking of when I said they could have each been successful in their own right. He describes himself as a behind the scenes guy and is a talented arranger, so I think he could have produced some very beautiful work scoring movies.

 

[ars nova]

although MIA was a weak album, I doubt, as others have alluded, that Richard was seeking revenge. Richard, being the architect of their sound, had no reason to under-perform. i don't why, and i'm sure very few do, he mixed the album as it is. i find it odd, with all the remixes he has performed over the years, he has not worked on this project. perhaps Richard had lost his " ear ". for the most part, the album is mixed to sweetly especially BEACHWOOD. although i like TMWWD, he should have learned that formula songs like this and AYGFLIALS was the wrong direction, it was too predictable for their talent and magnitude of their past catalogue. I truly think he refers to this as his favorite album, is because it was really the last time he and Karen worked together. NOW was merely a work lead, and it wasn't very good, it could have been if history had been different.

 

[GaryAlan]

I recall-and, still have copies of--newspaper reports/photos of Karen's wedding
stating that Richard had written a new song, Because We Are In Love.
What I found odd at the time (Aug 1980) was the dearth of comment regarding this song--
that is, it was heard at the wedding; didn't any one come forth to comment upon this 'new' song ?
I was so excited when I read the reports--after all, a new 'wedding song' akin to We've Only Just Begun....
or, so I thought at that time.
Imagine, then, when finally I heard the song.
As far from Begun as is possible. (Perhaps that was intentional)
I'm not saying it's a bad song (I've grown to appreciate it--mostly for Karen's lead)
but, Peter Knight and Richard Carpenter turned it into a long-drawn-out over-produced showtune.
Had it been structured, and arranged, differently
I believe the song would have had a chance at pop-music stardom.
As it now exists, the public barely knows of its existence.

Ah...but it does show up on an additional (outside of MIA)
19 cds ! So, it does live on...

 

[Vinylalbumcovers]

although MIA was a weak album, I doubt, as others have alluded, that Richard was seeking revenge. Richard, being the architect of their sound, had no reason to under-perform. i don't why, and i'm sure very few do, he mixed the album as it is. i find it odd, with all the remixes he has performed over the years, he has not worked on this project. perhaps Richard had lost his " ear ". for the most part, the album is mixed to sweetly especially BEACHWOOD. although i like TMWWD, he should have learned that formula songs like this and AYGFLIALS was the wrong direction, it was too predictable for their talent and magnitude of their past catalogue. I truly think he refers to this as his favorite album, is because it was really the last time he and Karen worked together. NOW was merely a work lead, and it wasn't very good, it could have been if history had been different.

I don't think anyone believes he intentionally underperformed. I think we're all saying that he asserted himself here more than on any other record. The result is an over-produced, over-arranged claustrophobic album on which Karen is not the focus; Richard is. She is as de-emphasized here as he could make her.

Worse yet, there are few good songs here. TMWWD sticks out here because it's a decent song surrounded by lesser material. "Those Good Old Dreams" is a Country tune at its core with elevator strings on it. Only the vocal arrangement saves it for me. In fact, most of the record is made for the elevator. "Want You Back..." is, IMHO, their very worst song. Richard goes for trendy and fails miserably, he adds superfluous strings where they aren't called for, and a mercilessly-doubled Karen sounds like she doesn't care about any of it. Overall, this is a record that should have undergone a complete re-think. This is MILES worse than Karen's solo record.

 

[Jamesj75]

I really don't think she sounds bad at all in the 1981 clip. She looks far worse than she sounds, IMHO. I actually agree with Richard that her voice was largely unaffected by much of anything - at least if the live internet clips we've found are any indicator. I think, more than anything, her studio sound on "Made in America" is the product of Richard's rather stifling production throughout. He submerged her beneath his arrangements rather than making her the center of them. He doubled her leads needlessly in many cases and threw in the kitchen sink needlessly time and again on that record. He attempted to sound current on a few things and it just didn't work. It's also a rather weak set of tunes with "I Believe You" and "Touch Me..." being the best of that bunch. The rest of them just aren't good enough, IMHO. Richard seemed more concerned with asserting his arrangement prowess than getting good tunes together or making Karen sound as fantastic as we know she could have. There isn't one tune on that album that isn't over-arranged and over-produced. "Made in America" sounds to me like Richard's album through and through. Karen merely is a cog in the wheel and it was a fatal mistake.

Astute analysis, TFFT! Great to see you here again!

 

[Mark-T]

This is MILES worse than Karen's solo record.

Agreed!

 

[Toolman]

I don't think anyone believes he intentionally underperformed. I think we're all saying that he asserted himself here more than on any other record. The result is an over-produced, over-arranged claustrophobic album on which Karen is not the focus; Richard is. She is as de-emphasized here as he could make her.

Worse yet, there are few good songs here. TMWWD sticks out here because it's a decent song surrounded by lesser material. "Those Good Old Dreams" is a Country tune at its core with elevator strings on it. Only the vocal arrangement saves it for me. In fact, most of the record is made for the elevator. "Want You Back..." is, IMHO, their very worst song. Richard goes for trendy and fails miserably, he adds superfluous strings where they aren't called for, and a mercilessly-doubled Karen sounds like she doesn't care about any of it. Overall, this is a record that should have undergone a complete re-think. This is MILES worse than Karen's solo record.

Agree on pretty much all points. The choice of material is what gets me the most. When you now know some of the things he/they were considering, but passed on, in favor of what does appear...

 

[Geographer]

Still baffles me why so much hate for MIA. It's one of my "Top 5." And I consider it miles better then Karen's solo abomination. Was it "Richard's" album? Possibly. But so what. Does not he get to express himself creatively? I think it comes down to either being primarily a "Carpenters" fan or a "Karen" fan. I, for one (and probably the ONLY one), actually like Richard's contributions as much as I like Karen's to their body of work. Together it was magic. Separately, it was good (as they are/were both immensely talented in their own rights), but not as "magical."

I DO agree, though, that some of the material lingering in the vaults at the time (You're The One, Where Do We Go From Here, Kiss Me the Way You Did Last Night, etc.) were stronger than some material on MIA; however, that material should have come out on Voice of the Heart, in my opinion. The material on Voice of the Heart was not nearly as good as on MIA (except perhaps for Only a Fool).

 

[song4u]

I never listen to the wedding song because it reminds me of her broken heart and dreams. I never even considered the musical side of it. Didn't John Bettis say that she loved show tune style ballads? I think it was more a rush job, love for Karen that inspired it.

 

[tomswift2002]

I never listen to the wedding song because it reminds me of her broken heart and dreams. I never even considered the musical side of it. Didn't John Bettis say that she loved show tune style ballads? I think it was more a rush job, love for Karen that inspired it.

I think Because We Are In Love (The Wedding Song) might've worked better had it been a duet with another female singer. The song is written where you have parts where the bride is wondering if it'll work out, and then you have the mother of the bride also responding, and to me, just having Karen sing both parts never really worked, because she sounds so similar. Sure she tries to sound a different, but it not quite there.

Plus the song is so slow. When compared to the Carpenters other wedding songs, We've Only Just Begun, or For All We Know (which also deals with a bride or groom wondering if it'll work out) Because We Are In Love just doesn't have anything to give it a punch.

 

[Vinylalbumcovers]

Was it "Richard's" album? Possibly. But so what. Does not he get to express himself creatively? I think it comes down to either being primarily a "Carpenters" fan or a "Karen" fan. I, for one (and probably the ONLY one), actually like Richard's contributions as much as I like Karen's to their body of work. Together it was magic. Separately, it was good (as they are/were both immensely talented in their own rights), but not as "magical."

It comes down to, not that he isn't free to express himself, but that he's in a group. This wasn't labeled a solo album. Karen was always the engine that drove even the most dubious of song choices. He needed her to be successful. He couldn't have done it on his own. We know this because "Time" did absolutely nothing and "PACC" wasn't a huge seller either. Richard is extremely talented but he's nowhere from a commercial standpoint without Karen. On "Made in America", he used her as if she were merely part of the formula, not the center of it. When he did that, he forced the listener to rely on the worthiness of the material and his arrangements. Almost none of it was worthy in any way. While his vocal arranging has never failed, I wasn't a fan of his approaches on this record rhythm-wise and with regard to all the needless orchestration.

I DO agree, though, that some of the material lingering in the vaults at the time (You're The One, Where Do We Go From Here, Kiss Me the Way You Did Last Night, etc.) were stronger than some material on MIA; however, that material should have come out on Voice of the Heart, in my opinion. The material on Voice of the Heart was not nearly as good as on MIA (except perhaps for Only a Fool).

We agree there. All of those tunes you mentioned are better than almost anything on "Made in America" (IMHO). We don't agree that MIA is better than VOTH. I don't love the latter dearly but for me, I'd much rather listen to that one than MIA. Of course, if you love it, good for you. Despite all I say, I'm still glad to have every vocal Karen recorded and Richard's vocal arrangements NEVER got it wrong.

 

[GaryAlan]

I still think it odd that the song Two Sides
was used as the B-side to Beechwood 4-5789.
Yet, that does offer a nice method of comparison !

Also, here we have an album with four released Singles.
Again, too much emphasis on trying for the 'next hit.'

In comparison to earlier albums:
The utilization of the Harp on MIA is not as prevalent as previous albums.
Sometimes, I am unable to even hear a harp on the album !
The drum arrangements, which are usually excellent on previous albums,
leaves much to be desired on this album.
As I have said previously, WYBIMLA and Beechwood 4-5789
almost deafen me with the use of drums !
Could have brought the drums forward for When It's Gone...one of my favorites.

In any event, for strange reasons,
I have grown to like I Believe You ,
and to love
Because We Are In Love.

But, back to 1981:
When I first heard Touch Me When We're Dancing
on the radio,
I did not even recognize for a good few minutes that it was the Carpenters !
The Carpenters' sound simply was not evident at once !

 

[tomswift2002]

We know this because "Time" did absolutely nothing and "PACC" wasn't a huge seller either.

I'd disagree in terms of Time as it did have a Top 20 A/C hit in the US with Something In Your Eyes (and I'm not sure, but does anyone know whether Richard's Japanese single Who Do You Love? hit the Japanese charts?). Sure it didn't hit the mainstream chart, but it was still a single that charted (at the same level and on the same chart as the #12 A/C 1983 Carpenters single Your Baby Doesn't Love You Anymore, and it did chart higher than Karen's solo single If I Had You, which only hit #18 on the A/C chart).

As for PACC, quite frankly Richard really dropped the ball on that album, since I've heard the performances for a number of the same songs done by Richard Clayderman on Clayderman's "Music Of The Carpenters" CD's, and I find Clayderman really made the piano sing on the songs and it was bright and cheerful, whereas Richard Carpenter's piano on PACC was down and dour, and neither the opening number or the closing number helped the album. Both Prelude and Karen's Theme should've been dropped, and the other tracks recorded in a lot brighter sound than they appear on the disc. Really, Richard was trying to showcase his talents with this album, but he fell far short.

But even when I compare Richard Carpenter's solo output to Brian Wilson, yeah Wilson he was the backbone behind the Beach Boys 60's hits (and I believe the Beach Boys were the Top Charting American Band in the US in the 60's, just like the Carpenters would be the Top Charting American Band in the US in the 70's), which today are still classics, but his solo albums and singles never really got much impact on the charts until 2004 when his solo version of Smile got released. And it's funny how Richard's Time was released in 1987, and then PACC in 1997, just like Wilson's first two solo studio albums of new material were released ten years apart. And while Wilson's 1998 Imagination was a commercially weak, it really showcased his talent's a lot better than what I think Richard did. And it's interesting how Wilson has had a number of solo albums since then, and both as a solo artist and as part of the Beach Boys he has since had albums in the US Top 20. And this is after his first solo album was a commercial failure, just like Richard's Time didn't make much impact on the charts.

 

[newvillefan]

As for PACC, quite frankly Richard really dropped the ball on that album, since I've heard the performances for a number of the same songs done by Richard Clayderman on Clayderman's "Music Of The Carpenters" CD's, and I find Clayderman really made the piano sing on the songs and it was bright and cheerful, whereas Richard Carpenter's piano on PACC was down and dour, and neither the opening number or the closing number helped the album.

Richard Clayderman's version of Yesterday Once More far outstripped Richard's own version on PACC. The strings and piano really brought the beauty of the melody to life. Even Richard conceded this in an interview after it was released, singling out the track as a highlight. PACC was, to my ears, dull and uninspired. The only highlight was Sandy as it featured Karen's vocals at the end.

 

[ars nova]

i really enjoyed TIME. I think a&m marketed it incorrectly. it was time for a new phase for Richard. SAY YEAH should have been the lead single, it grabbed you immediately as new and fresh. SIYE possibly could have been a strong follow-up. IN LOVE ALONE is the great heartbreak of this album. it is the most stunning ballad Richard and John ever created. this was the song that would have put carpenters back on programmers watch list.

 

[tomswift2002]

The only highlight was Sandy as it featured Karen's vocals at the end.

For me the highlight of PACC was All Those Years Ago, as it was a (for me at the time) "New" song, which, while its nice as an instrumental, it would've been nice had Richard recorded some vocals for it. Unfortunately, as it turns out, All Those Years Ago was just like Time, Sandy & Flat Baroque where Richard just reused the original masters from A Song For You, A Kind Of Hush, Time & Veronique, and was just presenting remixes.

 

[newvillefan]

For me the highlight of PACC was All Those Years Ago, as it was a (for me at the time) "New" song, which, while its nice as an instrumental, it would've been nice had Richard recorded some vocals for it. Unfortunately, as it turns out, All Those Years Ago was just like Sandy & Flat Baroque where Richard just reused the original masters from A Song For You, A Kind Of Hush & Veronique, and was just presenting remixes.

It was a new song for me too but I knew Petula had recorded a vocal for it so this just seemed like another "meh" track as the vocal was missing.