"Tryin' to Get the Feeling Again"

I honestly believe this song was the missed opportunity in 1975. Had they included this on the album and released it as a single, I think they could have scored a top 10 with it. Added to the fact that had they completed it properly in 1975, with a re-recorded lead and Carpenters' backing vocals, it would have had even more 'punch' than the version we hear today.

I agree. After listening to them back to back I absolutely love the Carpenter version over Manilow and could only imagine what it would have sounded like had they released it in 1975. It would have given them at the very least another top 20 hit and probably another top 10. It's also a better "radio" song than "Solitaire" (which I know people love but not as the follow-up to "Only Yesterday" - it sound like a dirge by comparison). It's not like there wasn't enough room on Horizon to add TTGTFA.

But then there were a lot of missed opportunities (which is strange given how both KC and RC were obsessed with the charts at this point), for instance how the mediocre "Breaking Up is Hard to Do" makes it to AKoH (a version weaker than Sedaka's original, which is how I judge Carpenter's covers - Richard didn't bring anything new to it) while "Ordinary Fool", a beautiful song by Paul Williams with some of Karen's finest work lead vocals was left off (and apparently lost to boot).
 
I recently acquired the UK 45 single of Tryin' To Get The Feeling Again. I'm trying to determine if the single version (by single I mean the 45 single vinyl and the CD single both released in the UK) is the single version the cleaned up version where Richard went and removed Karen's mouth clicks. The 45 vinyl version I'm having a hard time deciding if the mouth clicks are present or removed.

I also hope that forum member Mr Guder from the UK can chime in because this person posted that they had the CD single and that they indicate that there were 2 different UK mixes of Tryin', the single mix and the Interpretations UK CD album version. They indicated that the single mix had the mouth clicks removed for radio, (which kinda makes sense) Please correct me if I'm reading your post wrong.

Here is Mr Guder's post
CD Singles

If this is true that the single version (45 vinyl and CD single) is the version with the mouth clicks removed and the UK Interpretations album CD version has the mouth clicks intact then that would make 2 different UK mixes that were used. Is this possible?

When I first listened to my single 45 vinyl version I could not hear the mouth clicks but after further listening I'm not sure if not being masked by the vinyl noise and really still there.

I have the Ultimate Collection (NL) CD so I know what the mouth clicks sound like, there most noticable at about 34-35 sec on the words "find it" (mouth click on each word) and 43-46 sec on the words "feeling again" again mouth click on each word.

For reference here is the Resource site that shows which versions on CD have this and don't. Although....I'm trying to get an answer on the UK Single version of this song (CD Single and 45 vinyl)

Tryin’ To Get The Feeling Again
 
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Here are some scans of my UK 45 Single version.

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I have the Ultimate Collection (NL) CD so I know what the mouth clicks sound like, there most noticable at about 34-35 sec on the words "find it" (mouth click on each word) and 43-46 sec on the words "feeling again" again mouth click on each word.

The UK CD-single is actually the only CD in my collection that has this track (I don't own the Interpretations CD or any other compilation disc or set that has this song), but going by your time indications I listened a couple of times to these parts, but I couldn't hear any mouth clicks on "find it" at 35-37 sec, but right after the word "it", I do hear a faint digital click as if something was edited there.

At 43-46 sec, I do hear 2 mouth clicks on the word "feeLiN", none on "again", not disturbingly loud, but just noticeable and sounding natural.

I also hear a little throat click on "beHind it", at 20 sec.

Hope this is of any help?

Greg
 
Thanks Greg.

I decided to go ahead and buy the UK CD single today...I guess I won't be completely satisfied until I hear it myself with my own ears. I've actually wanted both the vinyl and CD single of this track in my collection anyway but never got around to it.
 
Thanks Greg.

I decided to go ahead and buy the UK CD single today...I guess I won't be completely satisfied until I hear it myself with my own ears. I've actually wanted both the vinyl and CD single of this track in my collection anyway but never got around to it.

Sounds like a perfect excuse to buy something new Carpenters, Rick :D

I was very lucky to find the 1985 Smokey Robinson LP "Smoke signals" today at a stand that sold lots of vinyl. Not only great to see Richard's and Tony Peluso's names in the credits, but also several musicians that played on Olivia's records (Totally Hot and Soul Kiss) :cool:

Look forward to hearing your findings about the 2 TTGTFA singles!
 
I’ve always enjoyed both the Carpenters’ and Barry Manilow’s versions of “Tryin’ To Get The Feeling Again” but I never sat down and really looked at how different they are lyrically. Other than the chorus, they are like two completely different songs!

The interesting thing is, according to the liner notes in “Interpretations,” Richard and Karen recorded the song first and so I assume that their version contains the original lyrics. For whatever reason, the songwriter, Barry or Barry’s “people” almost completely rewrote the thing for Barry’s version.

Here’s a side by side comparison…

Karen’s first verse:
At any moment he’ll be walking through that door
But he won’t find me behind it
‘Cause the feeling is gone and it just won’t come back anymore
I worked so hard to find it


Barry’s first verse:
Doctor, my woman is coming back home late today
Could you maybe give me something?
‘Cause the feeling is gone and I must get it back right away.
Before she sees that


The chorus is basically identical other than the gender change:
I’ve been up, down, tryin’ to get the feeling again
All around, tryin’ to get the feeling again
The one that made me shiver, made my knees start to quiver every time he/she walked in
And I’ve looked high, low, everywhere I possibly can
But there’s no tryin’ to get the feeling again
It seemed to disappear as fast as it came


Then Karen’s version goes into this bridge that isn’t in Barry’s version:
I’ve read every book, looked through every meditation and poem
Just to bring home that old sweet sensation
But it ain’t no use to me to try to get the feeling again


Karen’s second verse:
When did it leave me?
How did I come to miss you?
Such a beautiful burning
But baby believe me, I’ve done everything I can do
But somehow it’s not returning


Barry’s second verse:
Where did it run to?
I thought I’d done all that I could just to keep the love light burning
But whatever I’ve done, I guess I just haven’t done it too good
‘Cause all that’s left is yearning.


Barry repeats the original chorus again:
I’ve been up, down, tryin’ to get the feeling again
All around, tryin’ to get the feeling again
The one that made me shiver, made my knees start to quiver every time she walked in


Karen’s chorus this time has some alternate lyrics, goes into the bridge again, then repeats:
I’ve been up, down, tryin’ to get the feeling again
Like a bloodhound, searching for a long lost friend
Could you help me rediscover the way to re-be his lover once again
I’ve read every book, looked for every meditation and poem
Just to bring home that old sweet sensation
But it ain’t no use to me to try to get the feeling
I want to get that feeling again
Would you help me rediscover the way to re-be his lover once again?
I’ve read every book, looked for every meditation and poem
Just to bring home that old sweet sensation
But it ain’t no use to me to try to get the feeling
I want to get that feeling again


Barry (after a tempo and key change) simply repeats the same old chorus yet again then goes into his big dramatic ending:
And I’ve looked high and low and everywhere I possibly can
But there’s no tryin’ to get the feeling again
It seemed to disappear as fast as it came
And I’ve been looking, I been looking, I been looking
I’ve been up and down and tryin’ to get the feeling
I’ve been up, I’ve been down, I’ve been trying to get
I’ve been trying, I’ve been trying, I’ve been trying to get the feeling
I’ve been trying to get the feeling again
I want to get that feeling
I want to get that feeling
I got to get that feeling
I got to get that feeling again and again and again…..


I find it really interesting to see all the changes that were made, especially since I think the original lyrics (Karen’s version) are actually better than the rewritten ones for Barry, which ultimately became the definitive (“hit”) version of the song. I would love to know what prompted all the revisions and especially the deletion of the bridge which is actually my favorite part of the song!

I’m curious to know other's thoughts and opinions on the differences between the two versions. (And remember, I’m talking about the SONG itself, not Karen or Barry’s performances.)

Scott
I agree that the original lyrics, sung by Karen, are a lot better. Quirky, interesting and appealing. The lyrics sung by Barry Manilow look as if they were written by an amateur.

I'm about a decade late in replying to this post.
 
Not only great to see Richard's and Tony Peluso's names in the credits, but also several musicians that played on Olivia's records (Totally Hot and Soul Kiss) :cool:

Look forward to hearing your findings about the 2 TTGTFA singles!
If you like Olivia Newton-John, you might be interested to know that she sang background vocals on a song that I used to sing along to on the radio in 1973 - 'Suzie Darling', by Barry Crocker. (This was probably an Australia-only release). If you like Olivia Newton-John, you might also be disappointed to find out that you can't hear or recognise her voice at all in the mix of this song.

I only mention this because I just found out, with surprise, that she appeared on the recording.
 
I have lately become obsessed with this song. There seems to be some controversy in the comments section of YouTube, who exactly "turned the page" that is audible on the recording. Some say Richard and others are convinced it was Karen. I say Karen, as she was singing a "work lead" and needed the lyrics written out for her as she probably never had seen them before (kind of like her reading off a napkin with Superstar). But didn't she have piano and bass accompanying her vocals on the original recording? It could've been Richard in that case, does anyone know for sure? She is awesome on the recording and how it "fell through the cracks" for so many years is unbelievable.
 
I have lately become obsessed with this song. Karen is awesome on the recording and how it "fell through the cracks" for so many years is unbelievable.
I really like the song, too - Carpenters' version, not Barry Manilow's. I like the lyrics on theirs and not his.
 
If you like Olivia Newton-John, you might be interested to know that she sang background vocals on a song that I used to sing along to on the radio in 1973 - 'Suzie Darling', by Barry Crocker. (This was probably an Australia-only release). If you like Olivia Newton-John, you might also be disappointed to find out that you can't hear or recognise her voice at all in the mix of this song.

I only mention this because I just found out, with surprise, that she appeared on the recording.

Thanks Brian!! I'm very surprised that I had never even known about this track! You're right, Pat & Olivia's voices are barely recognizable. Sounds like Olivia is the highest voice. But it must be a combination of wanting to hear something and actually hearing it. Same thing with hearing Karen & Richard's backing vocals on other artists' recordings for Magic Lamp :)
 
There seems to be some controversy in the comments section of YouTube, who exactly "turned the page" that is audible on the recording. Some say Richard and others are convinced it was Karen. I say Karen, as she was singing a "work lead" and needed the lyrics written out for her as she probably never had seen them before (kind of like her reading off a napkin with Superstar). But didn't she have piano and bass accompanying her vocals on the original recording? It could've been Richard in that case, does anyone know for sure?

The people commenting on that youtube video have obviously not bought the Interpretations CD. If they had, they'd have read the liner notes in which Richard explained that you could hear Karen turning over the lead sheet herself at the end of the first chorus. There's no way Richard would be standing over her in the recording booth just to turn the page, that's just silly and anyway it would have been way too distracting for Karen.
 
The people commenting on that youtube video have obviously not bought the Interpretations CD.

Part or the "new normal" where no-one buys CDs, just digital files (if they even bought those!). No artwork, no liner notes, just files.

People commenting on YouTube are probably listening to that online, with nothing in their personal libraries. ...the way of the world these days...
 
No-one buys CDs, just digital files (if they even bought those!). No artwork, no liner notes. People commenting on YouTube are probably listening to that online, with nothing in their personal libraries. ...the way of the world these days...
And no royalties for the artists or song writers.
 
It must be a combination of wanting to hear something and actually hearing it. Same thing with hearing Karen & Richard's backing vocals on other artists' recordings for Magic Lamp :)
It would be amazing if Karen and Richard were recorded on backing vocals from the Magic Lamp days. Karen sounded great back then. Even better would be other complete Karen / Carpenters recordings from the era, similar to 'Nowhere Man', 'California Dreamin' ' and the early 'solo' stuff from the mid to late 60s, (which all featured Richard's talents, as well as Karen's).
 
It would be amazing if Karen and Richard were recorded on backing vocals from the Magic Lamp days. Karen sounded great back then. Even better would be other complete Karen / Carpenters recordings from the era, similar to 'Nowhere Man', 'California Dreamin' ' and the early 'solo' stuff from the mid to late 60s, (which all featured Richard's talents, as well as Karen's).

They did the backing vocals on 2 tracks by Lee Denson: "Mississippi Bridge" and "Sixteen States" (1966). These songs are available on CD, but they're also on YouTube. I'm not quite sure if it's just K&R or perhaps a larger vocal group, but on "Mississippi Bridge" I think I can easily hear Karen in her headvoice singing "ooohs", just like on Carpenters tracks such as "Crescent Noon", "Our day will come" and "Invocation".
 
I really like the song, too - Carpenters' version, not Barry Manilow's. I like the lyrics on theirs and not his.
I agree.
However there is one part of the Carpenters lyric that doesn't make sense to me, "how did I come to misuse such a beautiful bonnet"

Can anyone explain how that fits in?

I need to check the lyric booklet but this is what the lyric says on Google play lyrics. Is that correct?
 
Like @theninjarabbit, I, too, thought the lyric is: "How did I come to misuse such a beautiful burning?"

Like @Mark-T, I, too, prefer the lyrics of Barry's version.

However, what I cannot overlook is the terrible "re-be his lover." Seriously, "re-be?!" There is no such word in the English language. Perhaps the writer could have spent an extra maybe 10 minutes to come up with a suitable alternative, rhyming be damned...

That whole verse, which begins, "When did it leave me," is fraught with problems.
 
I agree.
However there is one part of the Carpenters lyric that doesn't make sense to me, "how did I come to misuse such a beautiful bonnet"

Can anyone explain how that fits in?

I need to check the lyric booklet but this is what the lyric says on Google play lyrics. Is that correct?
LOL. Well, Karen did seem to go through a phase of wearing floppy old giggle-hats around the time this was recorded, judging from lots of photos out there. I agree with ol' Ninja Rabbit, though. :)
 
However, what I cannot overlook is the terrible "re-be his lover." Seriously, "re-be?!" There is no such word in the English language. Perhaps the writer could have spent an extra maybe 10 minutes to come up with a suitable alternative, rhyming be damned...

That whole verse, which begins, "When did it leave me," is fraught with problems.
I couldn't agree more! The "re-be" bit is ridiculous, and overall I find the lyrics to be awkward in places. The words just don't flow as they should. I definitely prefer the changes made in the Barry Manilow version.
 
I like the song, but I find the whole "bloodhound" line so out of place. I like Barry's lyrics much better.

I agree that the line makes more sense coming from a man than Karen. Still, if we don't have that, we don't have her beautiful rendering of "for a long-lost FRIEEEEND".

I also don't like the meter of "re-be his lover". It's too much in too little space. Richard should have had her rephrase it so it didn't feel so cumbersome.

Ed
 
I like the song, but I find the whole "bloodhound" line so out of place. I like Barry's lyrics much better.
I wonder how Karen related to this lyric though, considering she loved animals and was crazy about her dogs.

Usually when I hear this, I actually picture a faithful old hound sniffing around after its owner, wagging its tail, not a dejected lover. Maybe the writer intended to make a connection with animal lovers everywhere through this line. Not many songs do that. Think of all the dog-owners amongst the public, especially amongst teenagers, who were the main record buyers. Teenagers often love their pets. Not a bad selling point / hook line.

But I do agree that the image of a person trailing around after their lover who is going a bit cold on them isn't AS appealing. I still do like that thought, too, though, in the way that it ties in with the story of the song. In the same way, I like the vision of someone searching through meditations and poems for inspiration and affirmation.
 
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