⭐ Official Review [Single]: 20. "I NEED TO BE IN LOVE"/"SANDY" (1828-S)

[JohnFB]

Was there "I Need to Be in Love" slander in these parts? CAN'T be! LOL!! INTBIL as a song is gorgeous. Karen loved it and sang it like she did. I think it's over-produced and too elevator but the chord changes, melody, and lyric are fantastic.

Ed

Well, I didn't sense "over-production" with INTBIL (like one does with "I Just Fall...") - in fact, for the live versions I think the arrangement/orchestration is just about right (it ebbs and flows nicely in density and volume with the movement of the song from verse to chorus) - if the song were placed in it's proper ideal environment as a "showstopper" in a Broadway production it might even be a tad under-produced...speaking of which, can you imagine being in a theater just before intermission and watching Karen move to front center stage with just a single spotlight and sing this like (as you say) she loved it...I would've paid the highest scalper price...

And I'm not sure how a song can be "gorgeous" and be one where "the chord changes, melody, and lyric are fantastic" (all spot-on, as the British are so fond of saying) and yet be considered "too elevator"...if so, that's an elevator I want to spend a lot of time riding.

 

[JohnFB]

Sandy Holland was Karen’s hair stylist on tour and wardrobe assistant to the band so yes it is about her, but it’s actually written from the perspective of Richard, who dated her. Richard didn’t write the lyrics however, John Bettis did.

So, let me see if I've got this straight: John Bettis, Richard's buddy and songwriting partner, writes the lyrics for a song directed at the woman named Sandy on Richard's behalf hopefully explaining to said rejected Sandy that he (Richard) has loved other women but can't or doesn't want to love her, which is then sung by his (Richard's) sister and it ends up (to salacious minds, at least) sounding to all the world (which doesn't know the full complex story behind it) like a song in which Karen is rejecting the lesbian advances or proposals of her hair stylist and just wants to remain friends...got it! You just can't make this stuff up - but would make a great Hallmark movie.

 

[Mark-T]

So, let me see if I've got this straight: John Bettis, Richard's buddy and songwriting partner, writes the lyrics for a song directed at the woman named Sandy on Richard's behalf hopefully explaining to said rejected Sandy that he (Richard) has loved other women but can't or doesn't want to love her, which is then sung by his (Richard's) sister and it ends up (to salacious minds, at least) sounding to all the world (which doesn't know the full complex story behind it) like a song in which Karen is rejecting the lesbian advances or proposals of her hair stylist and just wants to remain friends...got it! You just can't make this stuff up - but would make a great Hallmark movie.

Maybe this will help: in the US, Sandy is considered a name for a man or a woman.

 

[Another Son]

I was a pre-teen when these songs were released but was already an avid Carpenters fan with an ear glued to the radio or record player most hours of the day, (even when I was outside exploring or riding my bike - the radio at those times). When ‘I Need to Be In Love’ was released as a single, it didn’t excite me as ‘A Kind of Hush’ had done, but I did recognise the quality of it.

I came to love ‘I Need to Be In Love’ after I bought the ‘A Kind of Hush’ album in early 1977.

In my adult years, ‘I Need to Be In Love’ far overtook ‘A Kind of Hush’ in my estimation. It’s been a favourite for me amongst Carpenters’ catalogue for many, many years now.

The child ‘me’ preferred ‘A Kind Of Hush’ - at least, I did throughout 1976 - whereas the adult ‘me’ prefers ‘I Need To Be In Love’.

 

[JohnFB]

Richard said in the 40th box set that he was basically not pleased with the choice of material used on AKOH. He said only 3 songs stand out for him, I Need To Be In Love, One More Time and Sandy. I would agree with the first 2 but not the last. I feel that "You" is a much better track than Sandy.

Agreed - "You" is a good song, but "One More Time" is in that very small set of special songs called "Karen's Finest Vocal Performances"! Freakin' awesome - the softest, lovliest piece of mind-blowing music I've ever heard!

 

[Another Son]

I always thought of ‘Sandy’ as an innocuous, pleasant little song about a woman singing to her male partner.

While it’s quite a nice little song, it probably embodies a few things that were going on with Carpenters at the time - a difficulty with finding really good, strong material, lack of drive from Richard, (he has said that he was losing passion for going into the studio around this time, and this recording doesn’t have much passion evident), and a bit of inconsistency from Karen, as she alternated between brilliance and a few performances that seem a bit lack-lustre.

 

[JohnFB]

Sandy had a smooth jazz feeling (similar to This Masquerade) that served Carpenters well. If only Karen were still drumming (, or a least a concurrentlywould've made even more sense (as would've Goofus).

I've been a big fan of Smooth Jazz for decades, but don't get that"feel" with "Sandy" - however, I do get a very strong SJ feel with both "If We Try" and "If I Had You" from the Solo Album - that might have been the best possible direction for the mature Karen to ultimately take a solo career.

 

[Vinylalbumcovers]

Well, I didn't sense "over-production" with INTBIL (like one does with "I Just Fall...") - in fact, for the live versions I think the arrangement/orchestration is just about right (it ebbs and flows nicely in density and volume with the movement of the song from verse to chorus) - if the song were placed in it's proper ideal environment as a "showstopper" in a Broadway production it might even be a tad under-produced...speaking of which, can you imagine being in a theater just before intermission and watching Karen move to front center stage with just a single spotlight and sing this like (as you say) she loved it...I would've paid the highest scalper price...

And I'm not sure how a song can be "gorgeous" and be one where "the chord changes, melody, and lyric are fantastic" (all spot-on, as the British are so fond of saying) and yet be considered "too elevator"...if so, that's an elevator I want to spend a lot of time riding.

I was referencing the song, not the arrangement. The song itself is amazing. It's the arrangement that I feel is very "elevator". The song wasn't produced for a broadway stage; it was produced for an album and released as a single in an attempt at a hit. That really only happened in Japan. Here in the U.S., it only got the mid-20's. It did well on the AC charts here only.

Of course, the vocal is just perfect. It's Karen. She loved the song and it's very evident in the way she sang it. I'd never argue that or the inherent beauty in the basic song.

Ed

 

[JohnFB]

... The song wasn't produced for a broadway stage; it was produced for an album and released as a single in an attempt at a hit.

Ed

Yes, of course - you're correct - I was merely fantasizing about what might have been - what should have been - I think I read somewhere that she said that being in a Broadway musical was one of her ultimate goals - what better song than this to take along with her...

 

[Mark-T]

This came on today while I was driving, and I was just floored by how intimate a performance this is! Perhaps after all these years, Richard's "quieter" arrangement was the right one to go with Karen's vocal. Imagine that!

 

[Rick-An Ordinary Fool]

I'm not sure who this is..at first I thought it was Akiko but must be another Japanese singer? From Richard's remarks he says 20 yrs ago, so I'm assuming this was filmed in 1996? Amazing quality...seeing Richard's reaction at the end is quite moving. The band is dressed in Karen's favorite color too.

"I Need To Be In Love"

 

[Tom_P]

Maybe this will help: in the US, Sandy is considered a name for a man or a woman.

In the UK too; it can be a shorter version of Sandra or Alexander.

 

[John Adam]

In my adult years, ‘I Need to Be In Love’ far overtook ‘A Kind of Hush’ in my estimation. It’s been a favourite for me amongst Carpenters’ catalogue for many, many years now.

The child ‘me’ preferred ‘A Kind Of Hush’ - at least, I did throughout 1976 - whereas the adult ‘me’ prefers ‘I Need To Be In Love’.

Of course, the vocal is just perfect. It's Karen. She loved the song and it's very evident in the way she sang it.

This came on today while I was driving, and I was just floored by how intimate a performance this is!

^ Exactly. ^
One of Karen's best vocals on a song/arrangement not quite right for mainstream pop radio.

It would of been the same with any other song pulled from this set as the second single. Not charting very high on the Hot 100.

 

[Walkinat9]

I'm not sure who this is..at first I thought it was Akiko but must be another Japanese singer? From Richard's remarks he says 20 yrs ago, so I'm assuming this was filmed in 1996? Amazing quality...seeing Richard's reaction at the end is quite moving. The band is dressed in Karen's favorite color too.

"I Need To Be In Love"

The singer is Keiko Toge, here's a YouTube link to the same video (not so amazing quality) with the description in English. Richard's reaction gave me a bit of a lump in the throat as well..

Keiko Toge - "I need to be in love"


As for my favorite side of this 45, I'm one of those few here to go for "Sandy". Can't beat the breezy, laidback vibe of this one, as far as I'm concerned, from the pingpong panned intro notes on the Fender Rhodes (I think??) to that crazy cool chord towards the end of the flute intermezzo (just before the second verse), to that mellow-jazzy flute solo at the end. And of course lovely lush harmonies by Karen & Richard throughout the whole song

Gonna play it again

 

[Cuyler]

I wanted to share here a lightly touched-up promotional video:



I tried to correct some of the colors, some of the bright, grainy blacks, and blown-out whites in the original film transfer from the Yesterday Once More DVD. I think it came out pretty good tbh.

Enjoy YouTube won't let me publish this video due to copyright restrictions, so enjoy it on Vimeo while you still can

 

[GaryAlan]

Albert Hammond on 2015 tour, I Need To Be In Love:

 

[GaryAlan]

I guess it pays to pay attention. I had viewed this Japanese program previously, but here it is again:
Richard Carpenter(26:37): "I heard the beautiful opening line...that was Albert's."
John Bettis (27:02): "...did he (RC) write the whole of the chorus...I don't think so..."
Here is Richard, John and Albert:

 

[GaryAlan]

I always enjoyed the promo-video for I Need To Be In Love
and was surprised that Richard stated: " I loathe it. All those google eyes being made and everyone involved appearing to be in heat... "
Query: Who created the original concept for the video? Answer: Ed Sulzer, who ran our office on the A&M lot from 1973 through 1979."
Source:

Carpenters Fans Ask-Richard Answers Revised March 2005

Carpenters Fans questions answered by Richard Carpenter

www.richardandkarencarpenter.com

 

[ullalume]

I'm not sure who this is..at first I thought it was Akiko but must be another Japanese singer? From Richard's remarks he says 20 yrs ago, so I'm assuming this was filmed in 1996? Amazing quality...seeing Richard's reaction at the end is quite moving. The band is dressed in Karen's favorite color too.

"I Need To Be In Love"

I'm so pleased he gave her a hug at the end.

 

[Nemily]

Her vocal on the 1978 version of INTBIL is much more fantastic without the choir, and the vocal on the solo version of MBIYFT is so much more intimate also. I think the chorale parts can be intrusive on songs where it's Karen's vocal that should be the "star." But I understand, the star wasn't always physically present to do the task, and a choir had to be used.

I was wondering why they handed the backing vocals over to the OK Chorale in 1976 for INTBIL. Of course, there was a very rocky pause in the three months leading up the new year, but they did get back in the studio in January 1976. Here was the line up in the studio (thanks @Mark-T )

"I Need to Be in Love" January 23, 1976; Remix 1985, 1990, 2018 RPO

“You” January 24,1976

“Boat to Sail” January 24, 1976

"Ordinary Fool" January 25, 1976

"There's a Kind of Hush" January 30, 1976; Remix 1985

“I Have You” January 30, 1976

They did the backing vocals on There’s a Kind of Hush. They also did backup vocals on You. Ordinary Fool is an out-take and I Have You Karen does a duet with herself. Did Richard even mention why he and Karen didn’t do the backing parts themselves on I Need to Be in Love? It just seems that it was not yet essential for them to need to go in that direction and get away from that sound that, well at least for me, is essential. There were able to do it for the rest of the album.

 

[goodjeans]

I was wondering why they handed the backing vocals over to the OK Chorale in 1976 for INTBIL. Of course, there was a very rocky pause in the three months leading up the new year, but they did get back in the studio in January 1976. Here was the line up in the studio (thanks @Mark-T )

"I Need to Be in Love" January 23, 1976; Remix 1985, 1990, 2018 RPO

“You” January 24,1976

“Boat to Sail” January 24, 1976

"Ordinary Fool" January 25, 1976

"There's a Kind of Hush" January 30, 1976; Remix 1985

“I Have You” January 30, 1976

They did the backing vocals on There’s a Kind of Hush. They also did backup vocals on You. Ordinary Fool is an out-take and I Have You Karen does a duet with herself. Did Richard even mention why he and Karen didn’t do the backing parts themselves on I Need to Be in Love? It just seems that it was not yet essential for them to need to go in that direction and get away from that sound that, well at least for me, is essential. There were able to do it for the rest of the album.

The siblings backing vocals are essential for me and the OK Chorale just doesn't cut it.

 

[Another Son]

I was wondering why they handed the backing vocals over to the OK Chorale in 1976 for INTBIL. Of course, there was a very rocky pause in the three months leading up the new year, but they did get back in the studio in January 1976. Here was the line up in the studio (thanks @Mark-T )

"I Need to Be in Love" January 23, 1976; Remix 1985, 1990, 2018 RPO

“You” January 24,1976

“Boat to Sail” January 24, 1976

"Ordinary Fool" January 25, 1976

"There's a Kind of Hush" January 30, 1976; Remix 1985

“I Have You” January 30, 1976

They did the backing vocals on There’s a Kind of Hush. They also did backup vocals on You. Ordinary Fool is an out-take and I Have You Karen does a duet with herself. Did Richard even mention why he and Karen didn’t do the backing parts themselves on I Need to Be in Love? It just seems that it was not yet essential for them to need to go in that direction and get away from that sound that, well at least for me, is essential. There were able to do it for the rest of the album.

I guess the choir provided a specific choral background that, particularly, Richard wanted, as co-writer, arranger and producer. Although Karen had quite a stunning head-voice with a beautiful tone, it might not have had the right sound for the background desired. Also, Richard’s voice may not have had the tone wanted.

Personally, I like the choir on INTBIL and ‘Calling Occupants’, etc. I like the choice of mixing a classical-sounding choir, instruments of the orchestra arranged in an almost classical style, rock music instruments and pop vocals. Here lies some of the genius of Richard.

I do agree that Karen and Richard’s background vocals are second-to-none, though.

 

[Matthew S]

I guess the choir provided a specific choral background that, particularly, Richard wanted, as co-writer, arranger and producer. Although Karen had quite a stunning head-voice with a beautiful tone, it might not have had the right sound for the background desired. Also, Richard’s voice may not have had the tone wanted.

Personally, I like the choir on INTBIL and ‘Calling Occupants’, etc. I like the choice of mixing a classical-sounding choir, instruments of the orchestra arranged in an almost classical style, rock music instruments and pop vocals. Here lies some of the genius of Richard.

I do agree that Karen and Richard’s background vocals are second-to-none, though.

I agree. The choir is “just right” here. Too much in other songs, and too much on the newly recorded interludes on RPO. But this song is an example where they do just fine as background.

 

[ullalume]

I agree. The choir is “just right” here. Too much in other songs, and too much on the newly recorded interludes on RPO. But this song is an example where they do just fine as background.

Agreed. When the choir was employed more subtly and further back in the mix, like Honolulu and Uninvited Guest, it works great. When it's dry and upfront (maybe with each singer getting their own mike) like on Now and At The end of a song, it's a turn-off.

 

[Nemily]

I guess the choir provided a specific choral background that, particularly, Richard wanted, as co-writer, arranger and producer. Although Karen had quite a stunning head-voice with a beautiful tone, it might not have had the right sound for the background desired. Also, Richard’s voice may not have had the tone wanted.

Of course, this makes so much sense and explains why this one was singled out on "Hush". Richard was going for something other the swelling familiar harmonies that normally work so well. After all, he does always say he hears 'it' before it is recorded.