Geographer
Well-Known Member
So I just finished the authorized biography of Gordon Lightfoot by Nicholas Jennings. Although there is no mention of Carpenters in the book, there are some interesting observations of the years (early to late 70's) both acts were in their prime. A couple things stood out to me, especially if applied to Carpenters at the same time:
1. Mr. Lightfoot's record label seem to be okay with his records reaching only the top 30 or top 40 on Billboard. In fact, sales of one album was considered a huge success selling only 470,000 copies. In comparison, these numbers are considered abysmal for Carpenters. One album, mid-career, only reached 98 on the Billboard charts. It was considered disappointing, but not career ending by any means (he later scored big with Wreck of the Edmond Fitzgerald and the album Summertime Dream that song came from).
2. Mr. Lightfoot routinely only performed in the order of 70 or so shows/dates a year. Some years as low as 50 shows/dates and, in a good year, around 90 shows/dates. Carpenters were performing in excess of 200 shows/dates a year around the same time. Again, the record company, at least as outlined in the biography, didn't think this an issue.
3. Mr. Lightfoot once, briefly, signed Jerry Weintraub to manage him in the mid-seventies. Mr. Lightfoot immediately regretted it and got out of the contract right-away. What if Karen and Richard did the same? No hokey TV specials?
My point is, compared to Mr. Lightfoot and their contemporaries at the time, Carpenters were held to an unusual and impossible standard. Perhaps it is okay that Passage or MIA didn't sell a million copies and still be considered a success; or that a few songs only reached the top 40 or 30 on Billboard rather than having to crack the top 5. Perhaps it was fine to only tour 100 dates out of the year instead of 200. Maybe, if this was the attitude of A&M, things may have turned out better in the long run for both Richard and especially Karen.
1. Mr. Lightfoot's record label seem to be okay with his records reaching only the top 30 or top 40 on Billboard. In fact, sales of one album was considered a huge success selling only 470,000 copies. In comparison, these numbers are considered abysmal for Carpenters. One album, mid-career, only reached 98 on the Billboard charts. It was considered disappointing, but not career ending by any means (he later scored big with Wreck of the Edmond Fitzgerald and the album Summertime Dream that song came from).
2. Mr. Lightfoot routinely only performed in the order of 70 or so shows/dates a year. Some years as low as 50 shows/dates and, in a good year, around 90 shows/dates. Carpenters were performing in excess of 200 shows/dates a year around the same time. Again, the record company, at least as outlined in the biography, didn't think this an issue.
3. Mr. Lightfoot once, briefly, signed Jerry Weintraub to manage him in the mid-seventies. Mr. Lightfoot immediately regretted it and got out of the contract right-away. What if Karen and Richard did the same? No hokey TV specials?
My point is, compared to Mr. Lightfoot and their contemporaries at the time, Carpenters were held to an unusual and impossible standard. Perhaps it is okay that Passage or MIA didn't sell a million copies and still be considered a success; or that a few songs only reached the top 40 or 30 on Billboard rather than having to crack the top 5. Perhaps it was fine to only tour 100 dates out of the year instead of 200. Maybe, if this was the attitude of A&M, things may have turned out better in the long run for both Richard and especially Karen.