1. A&M Corner can now be found on Instagram! Follow us on our new account at @a.m.corner .
    You may also follow us on Twitter: @amcorner.
  2. We have received word that UMe is aware of the problem with the Carpenters vinyl releases, both the box sets and the individual LPs, and has offered a solution. To receive a replacement, send a proof of purchase to UMGCustomerSupport@umusic.com. UMe prefers email, but those who prefer phone contact may call 1-800-288-5942 to speak to Customer Support.

Official Review [Single]: 22. "ALL YOU GET FROM LOVE IS A LOVE SONG"/"I HAVE YOU" (1940-S)

Discussion in 'A Song For You: The Carpenters Forum' started by Chris May, Jun 10, 2017.

Which side is your favorite?

  1. Side A: "All You Get From Love Is A Love Song"

    47 vote(s)
    95.9%
  2. Side B: "I Have You"

    2 vote(s)
    4.1%
  1. newvillefan

    newvillefan Well-Known Member

    That’s an interesting observation. I’ve never thought of that but yeah, as great a song as it is, their signature vocal harmony sound is completely missing...from most of the album when I come to think of it:

    B’Wana She No Home - Richard and Karen (oohs and aahs only)
    All You Get From Love Is A Love Song - Karen, other backing singers, no Richard
    I Just Fall In Love Again - choir
    Don’t Cry For Me Argentina - choir
    Sweet Sweet Smile - Richard and Karen
    Two Sides - Karen only
    Man Smart Woman Smarter - Karen only
    Calling Occupants - Richard and Karen (mainly oohs and aahs)

    Even on the tracks featuring them both, the sound is nowhere near what it was in their heyday. There’s little of the multilayered, stacked vocal sound we heard on the first four albums.
     
    Last edited: Aug 22, 2018
  2. ullalume

    ullalume Well-Known Member

    Hey Stephen,

    Richard's on AYGFLIALS and Smarter. He's low in the mix but he's there.

    Best time to hear him is the final Ooohh during the sax solo on the former (you can here him "finishing off" the breathy ooohh)

    laters

    Neil
     
  3. newvillefan

    newvillefan Well-Known Member

    Hey Neil - that sort of reiterates my point - if he’s there, then he’s virtually inaudible. Not at all like the sound of the early days.
     
  4. ullalume

    ullalume Well-Known Member

    Yeah, they were trying a different sound, weren't they. As Karen said in '78 they wanted to get back to the big vocal sound and that's evidenced in tracks like Slow Dance and I Believe You.
     
    newvillefan likes this.
  5. newvillefan

    newvillefan Well-Known Member

    I love Slow Dance. Karen sounds so young on the backing vocals, it's almost as though she styled her voice to suit the "young" feel of the lyrics that Richard had initial doubts over. They were still able to produce that signature sound even in 1978. I don't know why they ever abandoned it, because that's what made them instantly recognisable. The minute you take Karen's voice out of the stacked vocal sound, that sound goes out the window. Bjorn Ulvaeus once said the same about ABBA: no matter how good the arrangements, the songs, the production...the minute you take the girls' voices out and replace them with two other singers, that magic is lost, because their voices were the most important ingredient in that sound.
     
    Last edited: Aug 22, 2018
  6. GaryAlan

    GaryAlan Well-Known Member

    ^^Well, they may have been trying to return to that earlier vocal sound, but I feel--
    and, felt in 1978--that I Believe You is NOT representative of that sound (i.e., arr. Paul Riser).
    By 1981, toss in Made In America, and where are we ? Carpettes and Choral sound.

    Thus, although Passage purposefully went in a different direction, that direction was not
    as far askew as MIA went in 1981--so, for whatever reason, they chose NOT to return to that earlier vocal sound.
    Close To You, Carpenters, A Song For You seem to be most representative of that earlier vocal sound (imho).
    Actually, to my ears,
    Passage is Offering minus Richard's leads ! That is, from a creative viewpoint.
     
  7. newvillefan

    newvillefan Well-Known Member

    Yeah, they seemed to drift further and further from their home-grown choral sound and never truly went back to it. The last studio album I hear the true Carpenter sound throughout on is Now And Then. It’s there in places on Horizon and then starts to really peter out.
     
  8. ullalume

    ullalume Well-Known Member

    Oh MIA has plenty of stacked vocals throughout. . . TGOD, Strength, WYBIMLA, WYGWIT, TMWWD, Beechwood.
     
    Geographer likes this.
  9. GaryAlan

    GaryAlan Well-Known Member

    Agree, there are "stacked vocals" on MIA, yet, still
    Strength and Touch Me have additional singers on background duty.

    Also, as contrast, I feel Beechwood and Postman --two similar songs--
    highlight the real differences between how background (stacked) vocals were
    utilized in 1974, and in 1981. I would argue that the difference was "real."
     
  10. John Adam

    John Adam Member

    I mentioned this song in another thread as being my favorite Carpenters single. This is the one that got away. Radio should of played the h*** out of this. Their best radio friendly single since Only Yesterday. It's still has the melancholy overtones, but I love the instrumental track to this song, so uplifting! This song always makes me smile, I envision Karen singing this one as another [almost] biographical lyric, and she sings it so convincingly. I actually think this was their last "great" single, even though it's chart numbers weren't all that impressive. Oh well.

    10/10
     
    Jamesj75 likes this.

Share This Page

Users Viewing Thread (Users: 0, Guests: 0)