Whats something in a Carpenters song that always gives you chills? | Page 2 | A&M Corner Forums

Whats something in a Carpenters song that always gives you chills?

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Whats something in a Carpenters song that always gives you chills?

Nemily said:
Why do birds suddenly appear......every time you are near..... Gets me every time.
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On the overture, on the word 'time', she doesn't quite hit the note bang on. But for some reason, that makes it even better than if she had. Several of my friends have remarked on that exact same point and described it as a chill factor moment.
 
There have been many "chills" moments over the years. One of the most recent for me is the intro to the RPO version of "Ticket To Ride" with the new re-recorded piano. That updated piano and the additional new orchestration mixed with some of the original elements from the 1969 and 1973 recordings somehow bridge 1969 to the present. When Karen's 1973 vocal comes in, it becomes a truly timeless masterpiece.

 
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So many….

“Some can even make me cry. Just like before….’ background and lead vocals on ‘Yesterday Once More’.

‘I can’t believe it’s over…… It’s over, and I-I-I-I-I-I-I love you more than ever….’, (especially the way Karen holds the word, ‘I’), on ‘Two Lives’.

The chord changes behind Karen while she holds the last word, ‘…..down’, on the ‘Superstar / Rainy Days and Mondays’ medley, from ‘As Time Goes By’.
 
The final part of the lead vocal right at the end of ‘Maybe It’s You’, where Karen repeats, “Only a fool……. only a fool” and all the changing harmonies and chords in background vocals and instrumentals behind her vocals. Delectable!!
 
JohnFB said:
[SNIP]

But more specifically, I'm really big on the brilliant "pregnant pauses" that Richard built into his best arrangements:

1. the 2 pauses in "Close to You" right after the lyric "...and star light in your eyes of blue."
2. the pause in "Rainy Days..." at the end on the phrase "always get...me down."
3. the awesome pause at the end of "Superstar" after the last "...I really do" when the orchestral cord swells, and then stops, and then comes back softly and in a minor key - incredibly effective and haunting - a stroke of arranging genius .
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YES, agreed concerning Ricards' placement/use of pauses, which in a number of cases are just absolute (and delicious) hooks in the song.

Edit: I'd have to think more on this, but my mind is telling me that on more than one of these pauses she also introduces some vocal fry - adding some extra yum (sorry to get technical there heh!).
 
David A said:
Edit: I'd have to think more on this, but my mind is telling me that on more than one of these pauses she also introduces some vocal fry - adding some extra yum (sorry to get technical there heh!).
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"Extra yum" is a perfect way to describe those tasty fries she inserted so judiciously into her interpretations - another good word that the PA Dutch like to use is scrumptious...
 
the overdubbed 'Wah's, 'Ah's 'Oh's or 'Bah's, for instance in 'Close To You', 'Baby It's You', 'Goodbye To Love' and 'Druscilla Penny'
That's what i really like about Carpenter songs!
 
From the Japanese‘Anthology’ set, live ‘Make it Easy On Yourself’, the way Karen sings, ‘If the way I hold you can’t compare with her CARESS’, (magical chord changes and counterpoint background vocals as Karen beautifully holds the note; then her amazing performance on ‘No words of constellation will make me miss you Le-e-e-e-e-e-e-e-ess’; and after that, on both the live and ‘As Time Goes By’ versions, the background vocals on ‘If this means goodbye, I just know I’m gonna cry-y-y-y’.

Karen’s complete vocal performances on ‘Solitaire’, ‘Crescent Noon’ and ‘Eve’, and Richard’s arrangements of these.
 
Another Son said:
...live ‘Make it Easy On Yourself’, the way Karen sings, ‘If the way I hold you can’t compare with her CARESS’, (magical chord changes and counterpoint background vocals as Karen beautifully holds the note...
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What note is CARESS? Does she "slide" from one low note to another lower note on this word? Is this one of the lowest notes she ever nailed? Even for her it stands out - and it's startling...
 
JohnFB said:
What note is CARESS? Does she "slide" from one low note to another lower note on this word? Is this one of the lowest notes she ever nailed? Even for her it stands out - and it's startling...
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Yes, on this recording, Karen puts a lot of emphasis and power into that word.

I wouldn’t say that she slides through the notes but hits each note individually.

I’d have to consult my piano to work out which notes the word covers. My guess is that it reaches close to her lowest note but a couple of tones off.

Yes, the sound is a bit startling, but in a beautiful way.
 
Yesterday I updated the entry for "Make it Easy..." on Wiki near the end under the heading of Other Versions to include those appearing in Bacharach medleys by Carpenters.
 
Yes, "Road Ode" - the whole dynamic chorus, which explodes out of the soft, somber verses - chilling - this was a monster hit waiting to happen, needing just another verse and another repeat of that chorus...
 
Without A Song said:
The opening drumbeats in "Only Yesterday," because they signal the start of not only what I consider Karen and Richard's best song, but my favorite one, period.
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and that super basement croon of "After long enough of being alone..." Being able to watch her lip-sync (she's one of the best i've ever seen at an unappreciated talent) I think It's Billy Mays that has that isolated vocal of that opening. I think about when Mike Curb talks about her practicing in the car on the way to the studio(not that song, obviously)...how he could barely hear her...and then she gets close to that mike in the studio. Divine...
 
Nemily said:
For me it has to be the orchestral overture and Karen's 1973 remixed intro of Close To You segueing into We've Only Just Begun on the "The Singles 1969-1973" album.

Why do birds suddenly appear......everytime you are near..... Gets me every time.
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...and what a treat/gift it was when I bought the album on the day of its release, never expecting more than a collection of singles. Classic.
 
The incredible instrumental and anticipation build-up and Karen’s magnificent vocal at the ‘Nune et in hora,
In hora, Mortis nostrae‘ point in Ave Maria, original mix, (without the choir over the top of Karen’s voice).

Karen’s entire first verse of ‘California Dreaming’, before the drums kick in, and the electric piano behind her.

Karen’s phrasing on, ‘I’ve been up … down… Trying to get the feeling again’ and ‘….once again. I’ve read every book….’.

Both times Karen sings, ‘You’re really not in love, so let me go. I must be free’ at the end of ‘Love Me For What I Am’; especially the second-to-last time she sings it, holding the word, ‘free’, with Richard’s piano changing chords behind her.
 
Agreed, Another Son. That line in Ave Maria (original mix without the choir) makes me weak in the knees and slide down the wall when I hear it, if that makes any sense. It's not from drinking too much. 😂
 
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