Karen's Signature Vocal Recording

[Nemily]

I was reading through a thread on a different topic and @Dano mentioned having tingles in response to hearing the It’s Impossible teaser from the Carpenters/Como Medley on The Perry Como Christmas Show (TV Special 1974). It is a popular dream that Karen had done a full recording of it.

I agree that the It’s Impossible is a chilling tease to what could have been an amazing recording. In that same medley, Karen also sang four lines of And I Love You So, and I also had the Spidey Tingles that @Dano had (Spidey tingles are what Marvel Comic character Peter’s Aunt May refers to when the Spiderman has senses that anticipates something before it happens). My senses were that And I Love You So could have possibly been Karen's signature vocal if by some chance Karen had recorded the song.

There may be five to ten Carpenters studio recordings that arguably capture the utmost expression of the Carpenters sound and Richard’s cornerstone arrangements. There have been discussions here at the Corner on Karen’s Vocal Peak as far as a timeline. For the purpose of this thread, what is Karen’s signature vocal performance?

What is the vocal of her lifetime that best embodies the Karen Carpenter “it” factor. Which vocal has that unmistakeable and unapologetic quality that transcends Carpenters and is the essence of all Karen Carpenter vocal recordings.

My vote is the 1970 vocal of Merry Christmas Darling. Her voice after 1970 would of course mature and emerge professionally as she learned how to use her voice in the serious depths of understanding her instruments’ potential. Karen would even insist in later years on re-recording MCD because she was musically conscience of her brand and how her voice had polished up.

IMO, the 1970 version, the original Merry Christmas Darling is Karen’s signature vocal. What is captured on the vocal is an unrestricted, raw energy which is completely unique to Karen only. The song was also a tap on the shoulder to Karen and Richard’s beloved choir director Frank Pooler, so it had strong sentimental connections which likely boosted Karen’s vocal efforts to pay homage to Pooler. It is still today considered a timeless benchmark and it still chokes me up as if it was my first listen. I have read where it is one of Richard’s favorites of Karen's vocals as well.

I am eager to hear what others consider to be Karen’s signature vocal recording.

 

[Harry]

I've often listed "Hurting Each Other" as one of my favorites, and it's mostly due to Karen's lead - but also Richard's production and arrangement. A signature tune for sure...for both.

 

[goodjeans]

Karen lead only? "Have Yourself a Merry Little Christmas".

 

[Chris May]

“I Can Dream, Can’t I?” is the go-to for me when showing Karen off to a newbie.

 

[GDBY2LV]

I think it’s Superstar for me, especially the R.P.O. version, but the start of Only Yesterday always gives me goosebumps too. Their ultimate made for radio song.

 

[Jack A.]

I've often listed "Hurting Each Other" as one of my favorites, and it's mostly due to Karen's lead - but also Richard's production and arrangement. A signature tune for sure...for both.

HEO is among my favorites too, because it was the first song that I came across when I began to become a Carpenters fan in my own right, independent from when my parents would it. I remember hearing the RPO rendition with the orchestral prelude and thinking it was some full-length version that was only present on the album and removed for the single release.

It may not be the most widely recognized Carpenters song, but I feel that “I Need To Be In Love” should be considered a signature KC lead, for the known reason that it was her personal favorite among their songs (before The Wedding Song, at least) and how autobiographical John’s lyrics were to her.

 

[Toolman]

If I go purely by the emotional impact her vocal had on me at first listen, "Little Altar Boy" ("Solitaire" a close second). Of course, there are so many songs in which Karen shines, especially within the context of Richard's arrangement. "Hurting Each Other" definitely, and "Superstar". I'm also very fond of "I Believe You", even though few others seem to like it.

 

[Mark-T]

Aside from Postman and Happy, just about any song from Horizon would be one best to show off her voice to someone who hadn't heard her sing.
Picking a signature song would be almost impossible for me to do. Too many great ones!

 

[Portlander]

"You're the One" with "I Won't Last a Day Without You" as my runner up! When I hear either of these songs I stop whatever I'm doing and listen!

 

[newvillefan]

You’re The One.

Every time. There is no better showcase for her stunning talent as a vocalist. And it came so many years after their biggest hits.

 

[Kyle Thomas]

The first time I heard "It's Impossible" was on a clip from the Como special and I had the same reaction -- the tingles and that feeling of awe at the power of the vulnerability and perfection combined there.

As far as vocal peak is concerned, I think the 1972-recorded version of "Santa Claus is Coming to Town" is amazing, the way she hits the notes, holds them, etc. "Our Day Will Come" would be close competition also.

But if I'm choosing an album, it's got to be Horizon. Every album after that (and I love them all) has her losing just a slight bit of the immense power she still wields on Horizon. In 1973-5, her voice has reached full maturity and the recordings are stellar. Before that point, there's still a little rawness and grit to be worked out (which in itself is magical) and after that point, her voice loses a little of its fullness (this happens together with her health decline).

That said, the voice is extraordinary, no matter what year she was singing, and any perceived difference is still a matter of differing degrees of greatness, not 'great' versus 'non-great.'

 

[Monarch]

"And yes, I know how lonely life can be.
The shadows follow me and the night won't set me free."

Two lines, perfectly delivered, as was the snippet of "It's Impossible."

These two samples show us just how delicious it could have been if Richard and Karen had taken on the American Songbook without the syrup the suffocates the arrangements of "When I Fall in Love" and "Little Girl Blue."

 

[Mark-T]

"And yes, I know how lonely life can be.
The shadows follow me and the night won't set me free."

Two lines, perfectly delivered, as was the snippet of "It's Impossible."

These two samples show us just how delicious it could have been if Richard and Karen had taken on the American Songbook without the syrup the suffocates the arrangements of "When I Fall in Love" and "Little Girl Blue."

Welcome to the boards, Monarch!

 

[Vinylalbumcovers]

“I Can Dream, Can’t I?” is the go-to for me when showing Karen off to a newbie.

Makes you wish she did a whole record of stuff like that. It's basically just here with minimal adornment and without the overproduction Carpenters could absolutely drown in. Honorable mention goes to "Ordinary Fool." Fantastic vocal and Richard's arrangement isn't too much here. I love the ending.

Ed

 

[newvillefan]

These two samples show us just how delicious it could have been if Richard and Karen had taken on the American Songbook without the syrup the suffocates the arrangements of "When I Fall in Love" and "Little Girl Blue."

Couldn’t agree more!

 

[Monarch]

Welcome to the boards, Monarch!

Thank you. I have been around here for 20 years or more. Somewhere along the way I lost access to my account and this is my first post under the new one.

 

[WYBIMLA]

I would start with Only Yesterday because that was basically the song's goal from the start. It is radio friendly, showcases Karen's voice beautifully, sung well (backing vocals and all), superb production, etc. etc. I've never heard anyone have a negative reaction to the song. I think of it as a great starting point.
Only Yesterday is my vote for this question. Good question, by the way.

There are many songs that work as a great vehicle for Karen, as Richard's stated before, and she sings so well and effortlessly that it's hard to say. As far as signature we'll be looking at the singles for that likely.
Only Yesterday has never let me down because it's practically what you might call objective or scientific fact. Of course music is more art than a science, but that one's really has this definitive quality to it. At least for me as a recording and studio perfection.

That's a great example because it's also original Carpenters and those songs written by Richard and John Bettis hold a special place in my mind because those songs go beyond the musicianship.
The musicianship is phenomenal of course, but just knowing a song was written by Carpenters makes the experience even better, imo.

Also many years ago there was some online poll that went on for weeks narrowing down the best Carpenters songs.
I think Rainy Days and Mondays took the cake. Can't go wrong with that choice either.
For sure Yesterday Once More and Close to You have the Carpenters signature and fingerprints all over it as well.

I think pretty much the entire 'Singles' album represents the undeniable Carpenters sound. Not that it ever really changed that much.
By 1975 there's the beginnings of that kind of 'draggy' sound and Carpenters trying to stay updated while music evolves faster than what artists can keep up with. I think as you go along into the later material you find that's more the stuff that fans dig into and stuff fans will defend and get passionate about.

If you're wanting to keep things light, I guess those 'golden years' of The Carpenters is the best place to springboard off of.

 

[Graeme]

Rainy Days and Mondays for me I think. It showcases 'the voice,' Richard's arranging and the classic backing vocals. Trying To Get The Feeling Again would come a close second (although minus the backing vocals) followed by Close To You.

 

[Nemily]

Makes you wish she did a whole record of stuff like that. It's basically just here with minimal adornment and without the overproduction Carpenters could absolutely drown in. Honorable mention goes to "Ordinary Fool." Fantastic vocal and Richard's arrangement isn't too much here. I love the ending.

Ed

As successful as Carpenters were in pop, I would have liked to see a transition over to the standards or at least some more dabble in that direction.

 

[Nemily]

"And yes, I know how lonely life can be.
The shadows follow me and the night won't set me free."

Two lines, perfectly delivered, as was the snippet of "It's Impossible."

And she was only twenty-four years old at that time. My goodness.

 

[Nemily]

You’re The One.

Every time. There is no better showcase for her stunning talent as a vocalist. And it came so many years after their biggest hits.

Twice You’re the One is mentioned here. This was an outtake from Passage. YTO and The Uninvited Guest (an outtake from MIA) are two of my favorite vocals from Lovelines and how they didn’t see the light of day until 1989 is surprising

 

[Vinylalbumcovers]

As successful as Carpenters were in pop, I would have liked to see a transition over to the standards or at least some more dabble in that direction.

That was the way forward IMHO. They never seemed to realize that but probably made a couple of Pop records too many. They'd fallen from fashion far more quickly than they'd let themselves believe and standards would have been the way to go. There's not a single one she tried that she didn't nail.

Ed

 

[cam89]

For me, SOLITAIRE and SUPERSTAR

 

[Florian]

In my opinion: "I Need to Be in Love", "Only Yesterday", "I Won't Last a Day Without You", "Yesterday Once More", "Look to your Dreams" and the "Ticket to Ride" version from 1973. I know that's a lot but I can hardly decide.

 

[Monarch]

As successful as Carpenters were in pop, I would have liked to see a transition over to the standards or at least some more dabble in that direction.

Carpenters had the fastest transition from hot top 40 pop act to Las Vegas lounge act ever to be witnessed. It's too bad they never found solid management, and that they obsessed over singles and top 40. The release of Sing really signalled the turning of the tides, and by the time Made in America rolled around they had really lost their way in the struggle to remain popular or relevant. Such a shame, as they really tried so hard to always do good work.