Karen Carpenter Unreleased tracks

Interestingly enough,
Phil Ramone, apparently, was not the only one to have Karen singing in her "head voice":
(Question and answer taken from
Carpenters Fans Ask-Richard Answers Archive »).

Q
:What college courses did Karen and Richard take?"
A:“Karen and I took all the usual pre-reqs, and as music majors, had to select an instrument, as well as take the required music courses.
Obviously, I went for a piano major. What one would do the first semester,
no matter how well or poorly he or she played, was perform a “closed recital” for 1, 2 or 3 of the faculty,
and if they deemed you worthy, you got to play for your peers at the next recital (“open recital”, one each semester).
I got “open recital”, which I was certain I would; however it’s a double-edged thing, because most of us got nervous playing for our peers.
Karen was a vocal major of course, but the trouble with that was she was a “pop” singer,
and they (faculty) didn’t want to know from that.
They had her singing using her “head voice”,
not the “money voice” – the instantly identifiable chest voice of hers,
because it didn’t work for the traditional classical repertoire required.
They had her singing things she really wasn’t born to sing. "
 
Some of the unreleased tracks are better than the released tracks. One in particular has too much of a commercial appeal to be left in the vaults. "Love Makin' Love To You" is even better than a number of recordings on Carpenters albums. Karen delivers this sensual song with such class and perfection that it still sounds fresh today.
 
Some of the unreleased tracks are better than the released tracks. One in particular has too much of a commercial appeal to be left in the vaults. "Love Makin' Love To You" is even better than a number of recordings on Carpenters albums. Karen delivers this sensual song with such class and perfection that it still sounds fresh today.

My sentiments exactly!
 
I haven't actually commited them to a CD-R yet, but I have them all ready to go. When I obtained them, I was quite surprised to hear It's Really You, a song I have had by the Tarney-Spencer Band for many years.
 
I really like all of these songs, for any number of reasons.
Primarily, there are vocal nuances in Karen's readings that are
far and away some of her best. (Lows and Highs, a mixture...).

That being said, I find Jimmy Mack my least favorite out of them
all (
that is, released and unreleased solo sessions).
Though, it is no less entertaining than Beechwood 4-5789.

Also, as I was listening to Made In America--and, comparing--
it seems there are no instances (that I recall) of the so-called
"vocal fry" on any of the solo sessions,
but, it can be heard on some MIA sessions
Somebody's Been Lyin' and Rainbow Connection come to mind.

Interesting to compare the recordings, in any event.
 
Also, as I was listening to Made In America--and, comparing--
it seems there are no instances (that I recall) of the so-called
"vocal fry" on any of the solo sessions,
but, it can be heard on some MIA sessions
Somebody's Been Lyin' and Rainbow Connection come to mind.

It's funny, reading this made me think of all the tracks on MIA and the only goosebump moment on the entire album that I can think of is on one of my least favourite tracks from it: that first time she sings the chorus of Because We Are In Love.

That low note she sings just resonates with me so much, more so than any other moment on the entire LP.
 
Going slightly off topic now and starting to speculate, but at a guess I would imagine that Karen felt comfortable enough to use her voice with a slightly more sensuous lyric. The solo project was about collaboration, a fusion of ideas of two people, Karen and Phil. Carpenters worked slightly differently with Karen recording songs such as "Solitaire" which apparently did not really appeal to Karen, but turned out to be one of her best vocal performances. Karen must have enjoyed this collaborative approach with Phil as opposed to turning up to a recording session not knowing what Richard had selected for her to sing. Richard made some amazing song selections, no one can deny this fact, but Karen obviously desired a different approach, and I think she was extremely brave to step out of her comfort zone.
 
Going slightly off topic now and starting to speculate, but at a guess I would imagine that Karen felt comfortable enough to use her voice with a slightly more sensuous lyric. The solo project was about collaboration, a fusion of ideas of two people, Karen and Phil. Carpenters worked slightly differently with Karen recording songs such as "Solitaire" which apparently did not really appeal to Karen, but turned out to be one of her best vocal performances. Karen must have enjoyed this collaborative approach with Phil as opposed to turning up to a recording session not knowing what Richard had selected for her to sing. Richard made some amazing song selections, no one can deny this fact, but Karen obviously desired a different approach, and I think she was extremely brave to step out of her comfort zone.

I think Love Makin' Love To You is one of the most sensuous tracks Karen ever recorded. Such a shame we don't have it to enjoy on the solo album. Her reading is so flirtatious and the backing vocals and arrangement are sublime. I honestly think had people heard it as the lead single in 1980 it would have opened a lot of people's ears to her versatility.
 
I haven't actually commited them to a CD-R yet, but I have them all ready to go. When I obtained them, I was quite surprised to hear It's Really You, a song I have had by the Tarney-Spencer Band for many years.


According to Wikipedia, which I know is not the best place to look, but apparently the Tarney-Spencer Band hit #86 on the Billboard Hot 100 chart, in 1978, and they were signed to A&M at the time, so maybe that's how Karen heard it.

But I just put my CD on today, so I tend to have the songs in this order:

Love Making Love...
Don't Try To Win...
Something's Missing (sounds like there's some distortion right at the start of the track,which I think comes from the analog-digital conversion, since it sounds like Karen's vocal spiked at one moment and on analog equipment the db level went above zero and into the plus level.)
Keep My Lovelight Burning
Midnight
Jimmy Mack
I Do it For Your Love
Truly You
Last One Singing...
It's Really You

Both Love Making Love and Don't Try are probably the best and it's surprising that either didn't make it onto a Carpenters compilation, as Richard didn't need to do much to either song. And I would've loved to have seen Richard take Karen's vocal on Jimmy Mack and mix it into a new recording.
 
According to Wikipedia, which I know is not the best place to look, but apparently the Tarney-Spencer Band hit #86 on the Billboard Hot 100 chart, in 1978, and they were signed to A&M at the time, so maybe that's how Karen heard it.

But I just put my CD on today, so I tend to have the songs in this order:

Love Making Love...
Don't Try To Win...
Something's Missing (sounds like there's some distortion right at the start of the track,which I think comes from the analog-digital conversion, since it sounds like Karen's vocal spiked at one moment and on analog equipment the db level went above zero and into the plus level.)
Keep My Lovelight Burning
Midnight
Jimmy Mack
I Do it For Your Love
Truly You
Last One Singing...
It's Really You

Both Love Making Love and Don't Try are probably the best and it's surprising that either didn't make it onto a Carpenters compilation, as Richard didn't need to do much to either song. And I would've loved to have seen Richard take Karen's vocal on Jimmy Mack and mix it into a new recording.
I have made a "Personal Compilation" of the Carpenters which I titled Carpenters Performing Great Songs From The 60's;
which includes her version of Jimmy Mack. With the help of some of the technology I have on my computer, I was able to give this song a respectable reading.
I have posted my complete list on the Personal Compilations thread.
 
Now, I recall the reason for thinking that everything was recorded in the New York Sessions:
here is Phil Ramone...
"The love of Billy Joel's band - Rod Temperton and the other players, who had the best time working with her--
- gave Karen Carpenter's work in New York a sparkle that can be heard on this album."
"....The bonus track is unmixed and was one of several that might have been finished."

I am a bit confused, when was it decided that more lead vocals needed to be done in Los Angeles ?
What does it mean to say that the bonus track is "unmixed" ? It sure sounds great to me.
In fact, the unreleased songs sound --- the lead vocals,in any event--virtually finished. (Mixed, or not).
Thus, being unfamiliar with the entire recording process, the timeline of these events still confuses me.
(Oh well, perhaps I am obtuse !).
 
I have to admit that "Love Making Love To You" just doesn't ring true to me. As one interviewer once said, Karen was like "an emissary from a private world". Her voice was meant to sing haunting poetry with strange detachment, like she wants to believe in a lyric but simply knows better. Hearing her sing about "keeping it up" and "getting it while its hot" make me a little embarrassed. Don't get me wrong, stuff in the Carpenters cannon can do the same thing, like the choir in Make Believe.

It's all very well for artists to grow and stretch, but frankly there's a hell of a lot of talent out there and you need to realize where your strengths lie. It's the difference between having your art connect completely, and it merely registering.

I agree with the above to a certain extent, but I think that in a sense that was part of Karen's issue with the world in that everyone, especially her family, wanted to see her as something she may well have been fed up of being.

Karen was certainly the enigma singing about something more than being unlucky in love, but she was also a woman who had sexual needs just like all women - and men. I think she was done with being seen as a bit unhappy without anyone knowing why, but still being an amazing songstress.

Mitchell Anderson (who of course played Richard in 'The Karen Carpenter Story') was in a film called 'Relax, it's just sex' and although I never saw it, I think that's a phrase Karen would use about anyone getting an attack of the vapours just because she sang some songs about a hot guy she fancied.

I realise I'm drifting now, but I think Karen just wanted to put on a leather biker jacket and rock-on for a bit just to see what happened.

As for the track listing, I just kept them in the order I was given them in.
 
I'm with Newvillefan ,
in that I believe
Love Making Love To You is one of Karen's finest readings, ever.
(Somewhat reminiscent of Kiss Me The Way You Did Last Night ?).
If one concentrates on Karen's vocal delivery, nuances of some of these solo songs, she gives some of her finest vocal performances.
The difference between Make Believe It's Your First Time (solo) and Voice Of The Heart....like night and day.
(And, the entire title of the song is a double entendre. Richard's later arrangement doesn't suddenly change that aspect !).


Lyrically,we still have:
(1) Druscilla Penny, "You're so sure that instant love is all you need"
(2) I Believe You, "When you say you'll fill my body with your soul, and love will grow into a..."
(3) changing Superstar from "sleep with you" to "be with you".
All these are instances of subtle innuendo in Carpenters' recordings.
 
Almost forgot, here is my take on sequencing/reasoning:
1. Something's Missing......start out with the best....great song and delivery by Karen....
2.Love Making Love To You....mixing it up with a slow burn start, then faster on chorus...great delivery....
3.I Do It For Your Love....some low notes held in this one...great chorus-like ending.....
4.Keep My Lovelight Burning.....again, putting another in with a faster tempo......heavy guitars nice,drums,too....
5.Midnight...lyrics "We can ride a dream until tomorrow..." plus a mix of highs and lows....great....
6.Truly You....I like the lyrics..."I believe a star will guide us..." (I only rated this one-star).
7.Don't Try To Win Me Back Again....(title reminds me of Want You Back In My Life Again)....catchy,here, great background vocals...
8.It's Really You....another song with a great mix of high to low notes, very good.....
9.Jimmy Mack....my least favorite....not bad....better than Beechwood 4-5789, in my opinion.....
 
Here is what I've done, in part, based on pairing songs with title links (tracks 3, 4, and 5; tracks 6 and 7) or lyric links (tracks 3 and 4):
  1. Midnight
  2. Don’t Try to Win Me Back Again
  3. Keep My Lovelight Burning
  4. Love Making Love to You
  5. I Do It for Your Love
  6. Truly You
  7. It’s Really You
  8. Jimmy Mack
  9. Something’s Missing
Bonus Track
  • Coming Through the Rye/Good Vibrations (w/John Denver)
The sound quality of the bonus track is terrible; and I think that, when John comes in on "Good Vibrations" ("Good, good, good, good vibrations..."), he's singing in a lower key that doesn't flow right. Yet I like that Karen and John performed together. In general, it's bittersweet to listen to Karen's unreleased solo tracks. Still, I'm grateful to have them as well as all that Richard has officially released since Karen's passing.
Love that you added a bonus track! :)
 
Here are mine:
  1. Love Making Love to You*
  2. I Do It for Your Love
  3. Jimmy Mack
  4. Something’s Missing
* My choice for a single out of the unreleased songs... I have vacillated between this and Something's Missing. But as of this moment, I think the former had quite a bit of potential for the early 80's market...

There are parts of the others that just don't work for me...

BTW - I have always been curious how these tracks made it to the light of day... Do we think that Itchie Ramone helped us out with these leaks? However they made it... I know I speak for thousands that appreciate it! Would love a few more unreleased tracks to leak out along the way... :wink:
 
Here are mine:
  1. Love Making Love to You*
  2. I Do It for Your Love
  3. Jimmy Mack
  4. Something’s Missing
* My choice for a single out of the unreleased songs... I have vacillated between this and Something's Missing. But as of this moment, I think the former had quite a bit of potential for the early 80's market...

There are parts of the others that just don't work for me...

BTW - I have always been curious how these tracks made it to the light of day... Do we think that Itchie Ramone helped us out with these leaks? However they made it... I know I speak for thousands that appreciate it! Would love a few more unreleased tracks to leak out along the way... :wink:
I'm replying to myself - as I just read a page I initially missed here - where the leaks were explained, somewhat. My apologies for missing those entries!
 
I really like all of these songs, for any number of reasons.
Primarily, there are vocal nuances in Karen's readings that are
far and away some of her best. (Lows and Highs, a mixture...).

That being said, I find Jimmy Mack my least favorite out of them
all (
that is, released and unreleased solo sessions).
Though, it is no less entertaining than Beechwood 4-5789.

Also, as I was listening to Made In America--and, comparing--
it seems there are no instances (that I recall) of the so-called
"vocal fry" on any of the solo sessions,
but, it can be heard on some MIA sessions
Somebody's Been Lyin' and Rainbow Connection come to mind.

Interesting to compare the recordings, in any event.
I'm going to take a guess here and say that there are parts of a vocal range that make it easier to apply a "vocal fry" depending on the voice. Karen applied it in her lower range more. And I thought I heard it in Something's Missing, (not ironically) and I thought the original idea was to use Karen's vocal register not familiar to Carpenters tunes. (Mic placement, type of mic, mic frequency etc. may have had something to do with certain magnifications in the voice).
Contraltos usually have a wide range and can accomplish different skills learning different techniques to properly utilize the range. I believe that is why Phil Ramone wanted to capture the yet not heard of part of her range. I have read stories that some contraltos capture their low range last, and others in the reverse.
One of the most popular in classical music is the Met opera singer Marilyn Horne who sang many roles over the years using her voice in the vocal range required by the musical piece she sang.
To me, Karen's voice is more refreshing in the lower range but they both are true to their chosen style and great examples of vocal artistry.
 
Back in 1995, or there-about-,these Karen Carpenter tracks were leaked to the now-defunct Napster.
Now, my question is this:
Whomever had access to these tracks, how is it that no other unreleased Carpenters' tracks surfaced
at that time ? For that matter, did any other A&M artists surface at the same time, as far as unreleased tracks ?
Were the Solo tracks not given the same "lock and key" as other Carpenters' tracks ? That is, my understanding
is that the Pennsylvania Iron Mountain facility holds unreleased Carpenters' material. When did that start ?
Were any solo tracks held had the same facility ? (Probably not--if they were so 'hated' as to be deemed unworthy.)
But, then why save any of the material, anyway, after 1983---if they were deemed so very bad ?
Simple ruminations as I listen to "Something's Missing"......an awesome recording.....
 
Back in 1995, or there-about-,these Karen Carpenter tracks were leaked to the now-defunct Napster.
Now, my question is this:
Whomever had access to these tracks, how is it that no other unreleased Carpenters' tracks surfaced
at that time ? For that matter, did any other A&M artists surface at the same time, as far as unreleased tracks ?
Were the Solo tracks not given the same "lock and key" as other Carpenters' tracks ? That is, my understanding
is that the Pennsylvania Iron Mountain facility holds unreleased Carpenters' material. When did that start ?
Were any solo tracks held had the same facility ? (Probably not--if they were so 'hated' as to be deemed unworthy.)
But, then why save any of the material, anyway, after 1983---if they were deemed so very bad ?
Simple ruminations as I listen to "Something's Missing"......an awesome recording.....

If I remember rightly, a cassette copy of the original solo album was bootlegged and ended up in the public domain in the 1990s (in much poorer quality), but as for the unreleased tracks, I think these were leaked by someone at A&M Records after a tape transfer of the solo tracks at the studios (possibly in preparation for the album's 1996 release). We know that one outtake ended up on the album, so it's possible the whole lot were transferred for possible inclusion as bonus tracks. I'm surprised only one outtake ended up on there given that at least two of the other songs were more or less complete.
 
Kind of just stumbled onto this tonight. In the comments, a "Goofus KAC" claims to be the one who digitized Karen's unreleased solo tracks from a cassette tape onto his iMac and uploaded it to the internet 15 years ago:



On his channel, he's got a couple of "House of Goofus" mixes. Here's one of them:

 
amsecureAv.jpg [Moderator: Please do not post any links to unauthorized sales. Such links can get this site in trouble with the copyright owners.]
 
It made sense to me to compile the unreleased songs with Karen's solo album to one CDR. One minor problem was that there wasn't quite enough time on one CDR for all of the songs. So, I decided to leave off my least favorite or least polished song, whatever the criteria I used at the time. I'm looking at it now, and I have a notation on the CDR that Jimmy Mack was left off due to lack of available time.

I had two things I wanted to accomplish:
1. Create a hard copy archive. I failed (at the time) since I had to sacrifice one song due to time; however, Jimmy Mack, in a better mixed form, is set to feature on my "oldies" compilation.
2. I wanted to make the listening experience as pleasant as possible which would have meant I saved the least liked songs for last.

My sequencing was the first 12 songs from the Karen Carpenter solo album, then:
13. Don't Try to Win Me Back Again
14. It's Really You
15. Midnight
16. Love Making Love to You
17. Truly You
18. I Do It For Your Love
19. Something's Missing
20. Keep My Lovelight Burning
(Jimmy Mack was left off due to CDR length.)
 
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