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

[GaryAlan]

It is important to recall that while album sales had slowed in the USA, album sales had not slowed elsewhere (1975-1979).
Also, audio interviews with Karen, 1978, provide no evidence that she was unhappy with anything: she raves about the
song I Believe You, for example. She praises Richard for his brilliant production work on Passage and Christmas Portrait.
Richard himself decided to "take all of 1979 off." The solo album was pitched to Karen, through A&M and Weintraub, due to that circumstance.
Karen chose to record songs distinctly 'un-Carpenters' like,' A & M execs were very much aware of that.
There is no evidence that Karen felt 'off-brand' or 'led astray' throughout the time period 1975-1981.
She raved about the Lawton- reworked 'live shows' and she raved about their own 1976-1980 TV Specials.
A&M exec Jerry Moss suggested a "return to the bread-and-butter, tried-and-true, for LP Made In America.
If anyone was expressing discontent, it was Richard.
Richard was unhappy with Sherwin Bash and Neil Sedaka, Richard apparently felt LP Kind of Hush was subpar
(he did not say that at the time !). Richard left live performancing in 1978 due to health,
Richard did not go to the UK for promotion on Bruce Forsyth Show,
Richard chose to take all of 1979 off, Richard did not fully appreciate the solo 1979 effort being pitched for Karen,
Richard said in a 1981 MIA interview that he was not a "label-jumper."
No one was ever unhappy with A & M records.
(The contract renewal in 1976 was superior than previously, for example).

 

[GaryAlan]

Re-read....
Billboard July 4, 1981 Carpenters Get Second Wind:
Billboard

 

[Rumbahbah]

Re-read....
Billboard July 4, 1981 Carpenters Get Second Wind:
Billboard

They certainly had a real champion in Paul Grein at Billboard. It's a bit of a puff piece though. Granted, in the pre-Soundscan era, albums generally didn't chart that high in their first week, but #99 wasn't a particularly noteworthy debut, other than the fact that no album that week debuted higher - indeed, prior to this, of all their albums, only Christmas Portrait had debuted lower on the chart. And a good part of the article is devoted to the subject of the solo album rather than Made in America!

 

[WYBIMLA]

It is important to recall that while album sales had slowed in the USA, album sales had not slowed elsewhere (1975-1979).
Also, audio interviews with Karen, 1978, provide no evidence that she was unhappy with anything: she raves about the
song I Believe You, for example. She praises Richard for his brilliant production work on Passage and Christmas Portrait.
Richard himself decided to "take all of 1979 off." The solo album was pitched to Karen, through A&M and Weintraub, due to that circumstance.
Karen chose to record songs distinctly 'un-Carpenters' like,' A & M execs were very much aware of that.
There is no evidence that Karen felt 'off-brand' or 'led astray' throughout the time period 1975-1981.
She raved about the Lawton- reworked 'live shows' and she raved about their own 1976-1980 TV Specials.
A&M exec Jerry Moss suggested a "return to the bread-and-butter, tried-and-true, for LP Made In America.
If anyone was expressing discontent, it was Richard.
Richard was unhappy with Sherwin Bash and Neil Sedaka, Richard apparently felt LP Kind of Hush was subpar
(he did not say that at the time !). Richard left live performancing in 1978 due to health,
Richard did not go to the UK for promotion on Bruce Forsyth Show,
Richard chose to take all of 1979 off, Richard did not fully appreciate the solo 1979 effort being pitched for Karen,
Richard said in a 1981 MIA interview that he was not a "label-jumper."
No one was ever unhappy with A & M records.
(The contract renewal in 1976 was superior than previously, for example).

That's fair. It's hard to tell sometimes with different things that have been said over the years.

I hadn't read that billboard article before. Interesting!
Karen referred to her solo work as "Earthier" meaning:
"(of a person or their language) direct and uninhibited, especially about sexual subjects or bodily functions."
Wow... I hadn't heard her describe her solo album before.

After well over a decade, I've seen fan forums and groups comment about MIA... I'm trying to gain more insight into the stink about it.

There's been talk that that's the "Carpenters script" that you're reading in an article like that, but may not be a reflection how how the two actually felt. However, I think that answers my earlier question. Karen did have a sense that they were back to business as usual for MIA.

She was very proud of the solo album and her work with Richard too.
The other question I was getting at was: is it ok that she was happy with both? Perhaps she just loved making music and felt right about both projects.

Yes, the shelving of her solo work was hurtful/disappointing and it could have been worse. Imagine if she was actively writing lyrics and playing drums on the album too... It was more about her finding out who she was as a singer. At the very least she got to do that and knew what she was capable of. The fans didn't get to hear it at the time, but it was played to a small group in New York who enjoyed seeing that side of her.
No one at the time doubted her talents, but maybe it was something she needed to do for herself.
That's what the article was saying too that she knew part of it was for her own muse.

By this time, Karen was very hands on and had say in what she was doing. Obviously, more comfortable with what she had known with Richard. This idea that she had 'no control' and was completely torn up about business decisions is not entirely true.
The 'sad little girl' image doesn't honour her memory.

She had to have had grit to be in the music business... there's no other way to get through all the studio work she was doing between '78-81.

I find it strange how Karen is described across the board as "someone who could sing the phonebook," yet there's a wide array of takes on what was acceptable for Karen to sing or not sing.

Her story is enigmatic. Hence why we're still talking about her and likely people will keep talking about her work.
Was she happy? Was she not happy? Did she have control? Did she not have control?


Anyways, I'll wrap up my analysis for today. haha
I'd agree with Richard on that point about how she felt ok with where things were in the business in the early 80s, and excited to be back.
I forget what this was from, but a rare clip from around that time in Karen's own words.

 

[GaryAlan]

The 20/20 Herb Alpert segment shows that Karen and Herb were closer than ever.
I do not see that bond being broken by anything.

Much later, we have this interview with Herb Alpert (5:55):

Also, herb Alpert in 1989 (go to 11:13):

 

[John Adam]

I think I finally understand why "The Uninvited Guest" wasn't on this album. It has a very similar vibe to "When It's Gone (It's Just Gone.)"
Maybe it was the flip of the coin again??? lol

 

[CraigGA]

What we don’t have from the Karen Carpenter Story is her side. All we have are friends and family insight and as fans we must be careful in speculation. Unfortunately, Karen was still fighting anorexia, as I understand it can be a lifetime issue, and she just ran out of time, for she was determined to win. I know that no one exactly knows my issues and deep emotion but me, and I suspect it’s the same for us all. I am grateful for all the gifts they have given us in recordings through the years!

 

[GaryAlan]

Since the infamous promotional Money Cube finally resurfaced on ebay, time to spin the album "one more time."
No, I am not going to bash it, simply reassess the music with fresh ears.
One thing I noticed--after listening to Olivia Newton-John and her vocal delivery--is that I believe Karen is making
a purposeful attempt to sound more mature in her vocal delivery.
Another thing I would like to see is an RPO-version of the entire album (for example, a Beechwood make-over like
the make-over we got with Postman, might turn out surprisingly good). Also, as the RPO album teaches, using
Touch Me When We're Dancing as example, bringing Karen's vocals even more up-front makes a difference.
I still want that version of Because We Are In Love that was played at the wedding--I like the song, it is different.
When It's Gone is still a favorite, as is Those Good Old Dreams.
Well, I am still listening to the album, so more opinions later....but,
give the album a chance. Listen without prejudice.

 

[NowhereMan]

I recently learned that Charlie Rich sang "When It's Gone (It's Just Gone)" for one of his albums. I think I like Richard's arrangement better, although there were some background vocals in Charlie's version that seemed very Carpenters-esque. I'm surprised that Richard didn't add any to his and Karen's version.

 

[newvillefan]

I recently learned that Charlie Rich sang "When It's Gone (It's Just Gone)" for one of his albums. I think I like Richard's arrangement better, although there were some background vocals in Charlie's version that seemed very Carpenters-esque. I'm surprised that Richard didn't add any to his and Karen's version.

Some members have said they dislike the Carpenters’ version of this song, that it’s too long and listless, but listening to this just proves what a beautiful arrangement Richard came up with. Ths is one example where they truly set the standard. I’ve always loved the song and think it’s one of the standouts on Made In America.

 

[NowhereMan]

Some members have said they dislike the Carpenters’ version of this song, that it’s too long and listless, but listening to this just proves what a beautiful arrangement Richard came up with. Ths is one example where they truly set the standard. I’ve always loved the song and think it’s one of the standouts on Made In America.

I definitely agree with you.

 

[Jarred]

Some members have said they dislike the Carpenters’ version of this song, that it’s too long and listless, but listening to this just proves what a beautiful arrangement Richard came up with. Ths is one example where they truly set the standard. I’ve always loved the song and think it’s one of the standouts on Made In America.

I go back and forth on it but it’s certainly a song with a mature subject matter that Karen does her best to bring to life. I just think it could have been structured differently to make it more engaging. And it does get rather repetitive.

 

[newvillefan]

I just think it could have been structured differently to make it more engaging. And it does get rather repetitive.

It is fairly repetitive, largely because of the structure of the song, which is quite unusual when you break it down:

Verse/verse/chorus
Verse/chorus
Verse

In other words, there’s no bridge and there’s no instrumental break to vary the flow. It’s also highly unusual for a song to end on a verse. It’s smothered in acoustic guitars, so a soft acoustic instrumental would have made it sound even more bland to some ears; an electric guitar solo probably would have left it dead on arrival. Maybe an oboe or piccolo solo could have mixed things up a bit. But for me a baroque violin solo, à la Schindler’s List Theme Song, would have transformed it. That would have been just stunning.

 

[Murray]

But for me a baroque violin solo, à la Schindler’s List Theme Song, would have transformed it. That would have been just stunning.

Wonderful idea Stephen! That should go on the fantasy RPO 2 tracklist!

 

[Jarred]

It is fairly repetitive, largely because of the structure of the song, which is quite unusual when you break it down:

Verse/verse/chorus
Verse/chorus
Verse

In other words, there’s no bridge and there’s no instrumental break to vary the flow. It’s also highly unusual for a song to end on a verse. It’s smothered in acoustic guitars, so a soft acoustic instrumental would have made it sound even more bland to some ears; an electric guitar solo probably would have left it dead on arrival. Maybe an oboe or piccolo solo could have mixed things up a bit. But for me a baroque violin solo, à la Schindler’s List Theme Song, would have transformed it. That would have been just stunning.

Those changes really would have transcended the song to something more immediately powerful. I hate that I’m iffy on it because Karen sounds strong on it and the rest of the 81 performances don’t all have that quality.

 

[GaryAlan]

Before anyone reads this article, I point out some issues with it:
(1) Too little attention is paid to the actual songs on the album, as there are some good ones (outside of 1978s I Believe You) !
(2) The timeline of recording of the individual songs, as the author neglects the fact that the songs were recorded over the course
of almost a year. So, Karen's health was not bad throughout much (if at all) of the recording of the album.
(3) The author neglects that promo photos for the album were not done simultaneous to when the videos were shot,
those are two different points in time.

Joel Goldenberg: Carpenters' Made in America
Excerpts:
"And, here we have yet another example of the story behind an album being more interesting than the album itself."
---
"So, why am I even discussing this album? Because of what was going on behind the scenes."
---
"When Made in America was released, the album art portrayed Karen (in actual photos and art depictions) as being in robust shape,
but as mentioned above, her voice on the LP was noticeably thin and her appearance was not great in videos made to promote the album."
---
"What all this demonstrates is that you can portray one image to the public that all is sunshine, flowers and lush music,
while major turmoil can go on in the background."
Source:
Joel Goldenberg: Carpenters' Made in America

 

[Vinylalbumcovers]

Before anyone reads this article, I point out some issues with it:
(1) Too little attention is paid to the actual songs on the album, as there are some good ones (outside of 1978s I Believe You) !
(2) The timeline of recording of the individual songs, as the author neglects the fact that the songs were recorded over the course
of almost a year. So, Karen's health was not bad throughout much (if at all) of the recording of the album.
(3) The author neglects that promo photos for the album were not done simultaneous to when the videos were shot,
those are two different points in time.

Joel Goldenberg: Carpenters' Made in America
Excerpts:
"And, here we have yet another example of the story behind an album being more interesting than the album itself."
---
"So, why am I even discussing this album? Because of what was going on behind the scenes."
---
"When Made in America was released, the album art portrayed Karen (in actual photos and art depictions) as being in robust shape,
but as mentioned above, her voice on the LP was noticeably thin and her appearance was not great in videos made to promote the album."
---
"What all this demonstrates is that you can portray one image to the public that all is sunshine, flowers and lush music,
while major turmoil can go on in the background."
Source:
Joel Goldenberg: Carpenters' Made in America

There was an interview done in the UK around this time where the interviewer asked her questions about her weight loss and she clearly bristled. It was pretty classless to "go there" and Karen didn't like it at all.

Ed

 

[newvillefan]

Source:
Joel Goldenberg: Carpenters' Made in America

The UK has already left the EU but their stupid GDPR regulations still apply until the end of this year so the page is blocked for UK members. Would someone be so kind as to post the whole article?

 

[Shalom Bresticker]

Joel Goldenberg: Carpenters' Made in America
thesuburban.com/arts_and_entertainment/joel-goldenberg-carpenters-made-in-america/article_44a300e4-7aa6-589c-9907-01cce34665f6.html

And here we have yet another example of the story behind an album being more interesting than the album itself.

I'm a big fan of the music of Carpenters (the official name of the brother-sister team, not The Carpenters), because of Karen's unique, intimate style of singing and Richard's talent for producing and especially arranging, such as turning a rather nondescript bank commercial song into one of the most affecting hits of the 1970s, We've Only Just Begun. One could say what Brian Wilson was to the 1960s production-wise, Richard Carpenter was to the 1970s.

I pretty much like all Carpenters album to different extents — the folk-rocky debut Offering and such hit-filled albums as Close To You, Carpenters, Now and Then and Horizon, and the risk-taking experimentation of Passage.

But Made in America (1981), the last album released before Karen's tragic death at 32 from issues related to anorexia nervosa (the eating disorder), is the Carpenters album I listen to the least.

The production is lush, in my mind too much so; kind of like Richard's sanitizing of older Carpenters songs in 1991 to achieve a too-clean sound. Most of the songs are pleasant, but don't hit me in the gut (the exception is I Believe You, previously a stand-alone single in 1978). Karen's voice sounds kind of thin (except on I Believe You) and their revival of the Marvelettes' Beechwood 4-5789 is less effective than their previous cover of the same group, Please Mr. Postman.

So why am I even discussing this album? Because of what was going on behind the scenes.

By 1978, both Richard and Karen were deteriorating physically, him because of a raging Quaaludes addiction that limited his piano playing and arranging ability, and to some extent his ability to function generally; and Karen from the anorexia that had a pretty major effect on her appearance and stamina. That year, they stopped touring for what turned out to be forever.

In 1979, Richard took six weeks to dry out in a rehab facility, and Karen — instead of dealing with her own problem and much to Richard's displeasure — decided to record a solo album.

The album met a lukewarm response from Richard and their record company A&M, and it wasn't released in 1980 as it was supposed to be. Instead, after numerous appeals from fans, Richard authorized its release in 1996 — some remixed tracks from the album had been released on the 1989 collection Lovelines.

While some biographical accounts have Karen feeling devastated and betrayed by her album's non-release and the stress contributing to her further physical deterioration, she officially said work on the upcoming Carpenters album (Made in America) took precedence.

But there was more going on behind the scenes.

I have read numerous interviews with Karen and Richard, and both had a strong desire to fall in love and combination settle down/continue their careers throughout the 1970s. Karen said the Richard Carpenter/John Bettis song I Need To Be In Love (from the not-so-great A Kind of Hush album) reflected her situation exactly and was her favourite song to sing. Karen had many boyfriends over the years, among the best was record label owner Mike Curb.

But she instead fell in love with a real estate man named Tom Burris (who she first thought was Richard when introduced to him), and they got married. But numerous factors ensured their marriage was a short one. In fact, Richard and Bettis wrote the song Because We Are In Love (The Wedding Song) (included on Made in America) especially for the wedding, where Karen looked like the picture of health and beauty.

But their separation plunged Karen into a faster spiral of anorexia-related deterioration. In the midst of all this, Richard and Karen filmed the last of their several ABC TV specials, 1980's Music, Music, Music. Karen looked fine and her voice was, in my opinion, at its confident peak.

When Made in America was released, the album art portrayed Karen (in actual photos and art depictions) as being in robust shape, but as mentioned above, her voice on the LP was noticeably thin and her appearance was not great in videos made to promote the album, as well as TV interviews at the time. In fact, in one British interview, Karen was directly confronted as to whether she had anorexia. She lied and said No, but her appearance said otherwise. That part of the interview didn't air originally, at Richard's request.

By the end of their promotional trip, Karen knew she needed help, moved to New York City and consulted a therapist for several months in 1982.

That didn't work, and weight was put on her in a hospital. Not long after returning to Downey, California in late 1982, she died suddenly (although there were warning signs) in February 1983.

What all this demonstrates is that you can portray one image to the public that all is sunshine, flowers and lush music, while major turmoil can go on in the background.

And then we hear about the latter when it's too late to prevent a potential tragedy.

 

[newvillefan]

^^^ Thank you.

 

[Martin Medrano]

For instance listen to road ode and the particular lyric the endless crowds of faces just keep on wearing a smile. That to me makes me think of how she pretended that everything was fine and wore her smile in front of her fans. I mean nothing bad with this post just my speculation.

 

[TheOneBeatleManiac]

Let's appreciate ''When It's Gone'' a bit more, by focusing on Richard's arrangement, and Karen's voice respectively:


This is one of my favorite songs of the Carpenters, really beautiful arrangement and vocal. Also, hearing Karen drumming one last time, albeit shared and in a very subtle way with Bob Conti, it's just great.

 

[A&M Retro]

For instance listen to road ode and the particular lyric the endless crowds of faces just keep on wearing a smile. That to me makes me think of how she pretended that everything was fine and wore her smile in front of her fans. I mean nothing bad with this post just my speculation.

There’s probably a lot of truth to that statement. She was a tough lady and a real trouper and always kept a smile on her face.

 

[CraigGA]

I wish I could love When It’s Gone like you guys do. It’s my least favorite of all. I do like Somebody’s Been Lying as a favorite and most of you don’t.

 

[GaryAlan]

^^I really like the way Karen sings the song--Somebody's Been Lyin'--it's a very good song on Made In America,
that being said, I wish the song had a clean ending at 3:20, that is, I wish the song had finished with karen's vocals at 3:20.
Now, I sorta like the continuation (instrumentation after 3:20) but, even that could have been abbreviated.
Otherwise, as I say, Karen's vocals are superb here.