Touch Me When We're Dancing

[JohnFB]

TOUCH ME...is in the key of G Major (F#) - not a particularly high key. Also in that same key is FOR ALL WE KNOW. Yes, this is a higher key than usual or normal for Karen, but as we heard so beautifully on FAWK one that she could easily handle, given her extensive vocal range, and the resonance and strength of her voice throughout that range.

In the LEGACY book in the chapter on MADE IN AMERICA Richard is quoted as saying that TMWWD has its background vocals consisting of Karen multi-layered, and supported by a session singer named Carolyn Dennis to create a soulful "mocha" version of the "Carpenter Sound". Richard has a few other things to say about the recording, but nowhere does he give any indication that they chose too high of a key...

 

[newvillefan]

TOUCH ME...is in the key of G Major (F#) - not a particularly high key. Also in that same key is FOR ALL WE KNOW. Yes, this is a higher key than usual or normal for Karen, but as we heard so beautifully on FAWK one that she could easily handle, given her extensive vocal range, and the resonance and strength of her voice throughout that range.

The big difference between the two is that FAWK hovers around the same lower range for most of the song, and those notes are right where Karen’s rich lower tones linger the most. On Touch Me, there’s a much wider range, which opens up at the “woah woah” part from the verse into the choruses. That’s where it takes Karen way up out of her comfortable range, where by 1981 her sounded especially weak and thin.

 

[JohnFB]

The big difference between the two is that FAWK hovers around the same lower range for most of the song, and those notes are right where Karen’s rich lower tones linger the most. On Touch Me, there’s a much wider range, which opens up at the “woah woah” part from the verse into the choruses. That’s where it takes Karen way up out of her comfortable range, where by 1981 her sounded especially weak and thin.

We have to remember that on the choruses specifically both Karen and Carolyn Dennis are overlaying several harmony lines each consisting of higher chord notes, all having the effect or giving the impression of massed vocals "pushing upward against the key"...the problem here isn't the key (or Karen singing in that key), but instead the harmonic structure Richard created. He was after that "mocha sound" and this was his conception of what that sounded like, or should be...

 

[goodjeans]

Okay, so I did a quick and dirty version of what you were thinking about. I kinda get what you're "hearing," tho I'm not sure it's needed. Here you go:



Ed

Thank you Vinlyalbumcovers.

 

[goodjeans]

Took me only a minute since I didn't bother with a video. I just wanted to mention that we had done exactly the same thing, raising the pitch at exactly the same spot.

I love the modulation.

 

[kprather]

I don't think there's anything wrong with Karen's performance in TMWWD. Yes it's higher than we're used to, and her voice is a bit thinner, but that's not inherently bad. I consider it a more mature Carpenters sound, reflective of Karen now in her 30s.

I think we're quick to be critical of this breathier Karen because we associate it with her illness. Olivia Newton John was similarly high and breathy with her performances, we don't say anything about that. I think if Karen had never been sick, we would be more likely to embrace the sound of 80s Karen and 80s Carpenters.