Charter A&M Corner Member
The second was "Aching Kind", the leadoff track of Michelle Phillips' album. Both of these were written by John "Moon" Martin.
Donna Summer actually had quite a low register not heard much on her singles - mainly on some softer, slower album tracks - ‘Can’t We Just Sit Down and Talk It Over’, the ‘B’ side of ‘I Feel Love’, for example. Their voices may have blended well.I know Karen admired Donna Summer, not sure how their voices would blend. Donna had that powerful "gospel" voice, Karen's more subtle.
This is fun to muse on, more later
I didn't know Thom Bell by name, but when I researched him, I was familiar with his string of hits. I think his sound would have worked well for Karen. Nice idea.I like this discussion. I have often thought about it. Barbra Streisand followed the trends of the day to sell albums with a hit and keep her on the radio. K&R should have done the same. Those records by Barbra may not be as well thought of now, but it did allow for the rest of her material to be heard and stretch out an already enviable career.
Of so many I could them of them doing well, I would have been thrilled to hear a R&B edged version of the Hues Corporation's "Rock the Boat". It has it all- upbeat tempo, backing vocals, horn section, fun lyrics. For remake territory, what about "I Only Want to be with You". When I hear the Bay City Rollers, I can hear Karen a la the oldies on Now&Then that seemed to really rock (Da Doo Ron Ron).
I do wish Richard had encouraged an occasional duet- and chose someone not in the clear MOR pool. Thinking here of Linda Ronstadt and Aaron Neville for example. Producer Thom Bell's sound (of Spinners fame) would have made a great style for them to fall into.
Of course, working with Barry Gibb could have been magic.
Yeah I can hear Richard on the Pow Pow ha...this would even fit on the Now & Then album.Right in Carpenters backyard at A&M in 1977, Michelle Phillips recorded her one solo LP - and it flopped. Nevertheless it had two killer tracks that Carpenters could have scooped up.
The first was the title track "Victim Of Romance". Can't you just hear Richard on the "pow-pow-pow-pow" backing vocals while Karen would have done the harmony lead vocals:
That's a good one...I like that song.I believe I mentioned this in another thread, but--I always felt "I'd Really Love To See You Tonight" was the right kind of tempo (and adult-without-being-explicit lyrics) they needed at the time. I see now that it was written by Parker McGee.
It literally felt like a dream reading this, and it's a beautiful thing to think about..As it turned out everything hinged on Karen's health. How much was her solo work adversely affected by her Anorexia Nervosa? Probably a lot. Let's say Karen was in the prime of health and her career as lengthy as Streisand or Tony Bennett. I think there is virtually nothing she couldn't accomplish vocally. She would have to break free of "The Carpenters" and the "image" first (which she tried to do but to no avail). How about a rock & roll album, much like Linda Ronstadt with Heart Like A Wheel? What about a Stevie Nicks-type lead in an album rock oriented band similar to Fleetwood Mac? Then there was country/blues scene in what Emmylou Harris was doing at that time. I think she would've been successful recording an album of big band/show tunes much like Ronstadt with What's New in 1983. What about an entire album dedicated to Karen's drumming skills such as what Sheila E had in the 80s (imagine Karen singing The Glamorous Life)? Then, picture if you will, Karen doing Gloria Estefan-type songs like Conga, Rhythm Is Gonna To Get You, Get On Your Feet while she is playing the drums.Ooh la la!! The dance floors around the world would be filled and MTV would be showing nonstop videos of it...huh, huh, oh I just woke up - it was all a dream...And to think by the end of the decade (80s) she would've only been 40 yrs old...