"Goodbye To Love" with the RPO

[newvillefan]

Well, of course, he's known that since the "Joe Osborn Sessions" in his garage studio when Joe signed her to that ill-fated, short-term original contract. And that may have been his biggest problem through the years, and why he won't or can't de-emphasize himself...

I’ve often wondered why there was next to no mention of the Magic Lamp record or deal during their heyday. They were asked about their pre-Carpenters careers often enough during interviews on talk shows, but the fact that Karen was offered a solo recording contract at 16, the story behind it and that fact that copies of the record still existed, was only really revealed many years later after her death. At the time though, for a 16 year-old kid in any family, this would have been a massive deal.

 

[WYBIMLA]

@WYBIMLA - excellent list - I would add A PLACE TO HIDE AWAY, LEAVE YESTERDAY BEHIND, ONE LOVE, and a few others...I would love to add MAYBE IT'S YOU because of it's compelling melody line and arrangement, but can't since they chose to double her lead vocal on the choruses...strip that out and it's a great song/vocal/recording.



Yes, you're correct about all that - I don't agree with everything they did in the recording studio, but I do understand why they did it: mostly the need to create more "hit" records and Richard's compulsion to experiment with "enhanced" recording techniques...but I'm not asking that all they did be undone - only that it be supplemented in their catalog with alternate versions of their best - these wouldn't necessarily have to be completely stripped down versions (with just drums, bass, piano & vocal) but instead "lightened" versions with vocal out front prominently and slightly less orchestration/background vocals, which would be a little further back or underneath - and, most importantly of all, any doubling of the lead vocals totally wiped out.


This is true to a great extent - and it was always great when it was Karen by herself - Solo Karen - it became something else entirely on those occasions when she sang duets and trios with herself...yes, I know, it helped sell records because it was what most of the fans wanted - ok then, but now lets hear what she really sounded like on all those hits. I truly believe most here would love to hear that.



Good thoughts and thanks for helping me clarify exactly what I'm after here - what I really want to hear!

I'm glad to help in any way on these boards. It's always fascinating discussion.
I find Carpenters are one of those artists were you could talk about them forever. ahah

Just when ya think you've got em figured out, there's more perspectives and findings revealed over time. Truly fascinating stuff.

I've been on fan message boards since 2007. Although I have taken time away from fan groups/boards and visited from time to time, but I'm still here finding different things to talk about. Still crazy after all these years.
I enjoy the discussion and writing. I mean, what else would I be doing with all this Carpenters knowledge stored in mind? Lol
May as well share some thoughts.

It's actually amazing to witness the way people still love The Carpenters, and younger generations still take to their songs as well.
Who would have thought 50 years after the fact, fans are still talking about 'Goodbye to Love' in such detail?
You might have thought The Carpenters were a newer act from the 2010s , 2000s or something. haha

There definitely is something special about KC and RC. I hope there will be something more there that will come out for fans.
RPO was definitely all about a fuller sound and more production. I suppose it might've given off a kind of "High Art/Culture" feeling that made it less appealing to a wider audience in ways?? Perhaps alienating to some listeners. Orchestration heavy music is a more specialized, niche area.

I guess what this whole thing is about is really finding a sweet spot and balance. That's tricky. Easier said than done.

And yeah the entertainment business in general works with things like proposals and 'elevator pitches.' In order to get something done like a minimalist Carpenters album project, you'd have to really sell it to a label and Richard. He'd have to love the idea and the label too. There's a whole process there to get something like that going especially these days.
I don't know if perhaps after the "Songbook" album there might be some consideration for something of that nature. Who knows? My feeling is there would be more eyes on business as usual by remixing and updating the catalogue for better quality.

 

[Mark-T]

I wonder of a new compilation that has a 70s era photograph and look might draw in the retro crowd. Maybe include some 60s/early 70s hits and covers. Ticket, Nowadays Clancy, Get Together, Help, Baby It's You, along with the early hits.

 

[WYBIMLA]

I wonder of a new compilation that has a 70s era photograph and look might draw in the retro crowd. Maybe include some 60s/early 70s hits and covers. Ticket, Nowadays Clancy, Get Together, Help, Baby It's You, along with the early hits.

Hmm that's not a bad idea. Something like that would be worth discussion in a business meeting.
The more minimalist production Carpenters album mentioned earlier sounds like a contender.
The 'flower power' Carpenters album sounds good too. ahah

It seems these days an album does have to have some sort of theme. Not even necessarily a concept album or cohesive set of songs, but more abstract ideas I suppose. Deals with more with moods or atmospheres.

Maybe that idea would be more of a streaming service playlist than album release?

Personally, I thought of a dance themed Carpenters album with focus on their more upbeat songs. Probably more of a playlist as well.
It'd be good to see something along those lines only because I've heard it said how a lot of their songs happen to be melancholy. It could benefit them image-wise and just that it'd be fun to show another side to them.
A bit of a stretch perhaps on the dance aspect, but Karen could dance and loved danceable music as well. So, it might be a challenging to piece together, but do-able.

I think all of these ideas are possible in theory. It's difficult to know what the label is thinking.
Of course fans end up having some actual good ideas. Not sure why producers and/or executives wouldn't want to consider some of it.

I suppose we'll have to buy any new Carpenters releases that come out, and show the label that indeed there's still a market for Carpenters and different ways they can go about it respectfully and tastefully.

 

[Nemily]

The first time I heard the RPO version of GTL, the piccolo trumpet reminded me of the fanfare in All You Need is Love, from the wedding scene in Love Actually (in GTL from I'll Say Goodbye to Love segueing to the surprise piccolo pomp then a return to the vein of the power ballad).

It adds a tad of lightness to a despondent song. RPO is a real treat from the Overture to We’ve Only Just Begun (or Mr. Postman if you are fortunate to have the Target or Japan bonus track) The Lithograph that came with it is pretty awesome, too.

 

[Vinylalbumcovers]

The first time I heard the RPO version of GTL, the piccolo trumpet reminded me of the fanfare in All You Need is Love, from the wedding scene in Love Actually (in GTL from I'll Say Goodbye to Love segueing to the surprise piccolo pomp then a return to the vein of the power ballad).

It adds a tad of lightness to a despondent song. RPO is a real treat from the Overture to We’ve Only Just Begun (or Mr. Postman if you are fortunate to have the Target or Japan bonus track) The Lithograph that came with it is pretty awesome, too.

To me, the trumpet addition just feels like it was added to be added. It makes no sense thematically so Richard added it because it’s something new.

Ed

 

[Jorge]

I really like both versions. And also the live ones from the 1976 Special and the London Palladium with all those "Ahhhhhh Ahhhhhh Ahhhhh Ahhh"