What's your favorite INSTRUMENTAL hook in a Carpenters song?

[Jack A.]

To my knowledge, this hasn't been a topic yet on this forum.

For me I'm going to go with the brass ornaments in the chorus of "Superstar" - to me, that's a quintessential, signature Richard Carpenter hook. It stands out, but at the same time, also blends pretty well with the rest of the arrangement. It also complements the power of Karen's lead. Tony Peluso's guitar fills between the two sections of Solitaire's chorus are a close second.

Overdubbed harmonies don't count (But I agree, those are the best type of hook the C's used ).

 

[motownboy]

For me, it has to be the intro to the 2018 RPO version of "Ticket To Ride" where Richard re-recorded the piano in stereo. The re-recorded piano truly makes the entire recording sound as timeless as the vocals. This song is my favorite of the RPO versions.

 

[Jack A.]

For me, it has to be the intro to the 2018 RPO version of "Ticket To Ride" where Richard re-recorded the piano in stereo. The re-recorded piano truly makes the entire recording sound as timeless as the vocals. This song is my favorite of the RPO versions.

I noticed that as well. It sounded much better.

 

[byline]

The pipe organ part on "Help!" As far as I can tell, it's the only time Richard played that kind of accompaniment on a Carpenters song.

 

[JohnFB]

I don't know if this exactly meets your criteria of an "instrumental hook" but a few of my favorite moments in their recordings are the brief SILENCES that dramatically occur when the instruments (and vocals) stop dead, creating those brilliant so-called "pregnant pauses" that are so very effective. Example are:
1. At the end of the repeat of the bridge of "Close to You" right after the phrase "...and starlight in your eyes of blue." (This same "break" occurs earlier in the song, of course, but the silence is filled by Richard's famous piano quintuplets).
2. Ar the very end of "Superstar" right after the final reiteration of Karen's "I love you, I really do" when the strings swell in volume slightly, then go silent for a few seconds. And then return ever-so-softly, accompanied by that lovely run up the scale by the harp. Absolutely goosebumps stuff!
3. At the end of "Rainy Days & Mondays" the stunning silence that happens right after the final repeat of the phrase "Rainy Days and Mondays always get..." Maybe the best part of their overall best recording...

Honorable mention to the drum fill and then the uptempo & haunting flute solo in the middle of "Road Ode", the only problem with it being far too short (it still irks me what a seriously blown opportunity this was with a few additions to be one of their finest pieces of music!).

 

[Arthur Talarico]

I agree with @JohnFB when it comes to "Superstar"! The end of the song is exceptional.

Another instrumental part that I really like is the last guitar solo that Tony Peluso does in "You" (1976). It seems much more robust than the rest of the song and has a lot of presence.

Another instrumental that I think is my favorite is from "Sometimes" (1971). Every time I hear the opening piano arrangement, it gives me goosebumps.

 

[Harry]

First thing I thought of is "B'wana She No Home".

 

[newvillefan]

Mine is covered here in post #1

Favourite Instrumental Break

I’m listening to All You Get From A Love Song on holiday in the sunshine and it struck me that this is without doubt my favourite instrumental break out of Carpenters’ entire catalogue. It has a great sax solo and percussion and those beautiful, summery backing vocals with Julia Tillman, Carlene...

forum.amcorner.com

 

[kprather]

The one I usually catch myself rewinding the song to hear again is the guitar solo on "I Just Fall In Love Again." Out of curiosity, I'd love to hear how it would sound if that guitar continued into the final chorus.

 

[Mark-T]

There are just so many to choose from!

 

[1969]

Love the orchestral overture in the 1973 remix of Close to You segueing into WOJB (best version) on The Singles 1969-1973 album. Always get a lump in my throat when I hear Karen sing the intro "Why do birds suddenly appear.... everytime you are near...." (I prefer this over the one on RPO with a choir of non-Karen/Richard voices.) Anyone know if Karen sang that little intro bit just for the The Singles '73-'69 version or did Richard splice the vocal in at the beginning from another mix?

 

[newvillefan]

Love the orchestral overture in the 1973 remix of Close to You segueing into WOJB (best version) on The Singles 1969-1973 album. Always get a lump in my throat when I hear Karen sing the intro "Why do birds suddenly appear.... everytime you are near...." (I prefer this over the one on RPO with a choir of non-Karen/Richard voices.) Anyone know if Karen sang that little intro bit just for the The Singles '73-'69 version or did Richard splice the vocal in at the beginning from another mix?

^^^ My favourite bit of that entire album too! It was recorded new especially for the 69-73 album overture.

If I had one wish, it would be that the overture existed somewhere with a segue into the 1985 remix of We’ve Only Just Begun, as we heard it on the video (and later DVD) collection.

 

[Jack A.]

Yeah, that's re-recorded. She doesn't sound as "husky," and she's singing it with a different style (as she did with just about every song live). I think for the original recording, on each take she likely would been singing it more or less the same way as she did on the final mix - I think it only took one or two takes, as well.

Speaking of this version, it confuses me why K&R included less than a minute and only one line from (probably?) their biggest hit. It reminds me of when I saw Herb live and he only did about 30 seconds of "Rise" as part of a medley.

 

[Nemily]

Speaking of this version, it confuses me why K&R included less than a minute and only one line from (probably?) their biggest hit.

I saw it kind of as a bookend because they closed the album out with CTY. That segue is so magical.

It reminds me of when I saw Herb live and he only did about 30 seconds of "Rise" as part of a medley.

That's such a tease. Funny. I'm going to see him later this year. I literally cannot wait.

 

[Jack A.]

I saw it kind of as a bookend because they closed the album out with CTY. That segue is so magical.

You’re totally right. I’m blind.

 

[CraigGA]

At the moment, what comes to mind is the dramatic and melodic sweep of the electric guitar as it leads up to the last chorus of Karen singing And, oh I just Fall In Love Again. Its rhythm and structure is almost repeated and most notable (although is consistent through the song) in one form or another until the end of the song.

Craig

 

[goodjeans]

"Only Yesterday" when the sax solo runs into the guitar solo and then feeds into strings and then back to Karen's voice.

 

[David A]

There are just so many to choose from!

Indeed! I'll have to think on this some more but right now, there are so many flitting about in my head that I cannot pick one. Compliments to Richard on making this such a difficult question!

 

[Mike Blakesley]

I love the two five-note piano riffs in "Close to You" that lead from the bridge into the third verse (right after "eyes of blue"). I know Richard did not come up with them -- they were a Bacharach invention and were included in Dionne Warwick's original recording. Herb Alpert liked those riffs enough to use them in his own demo recording, and then he suggested to Richard that he keep them in the arrangement, but do whatever he wanted otherwise. I think that small touch is just one of the things that give that song its vast appeal.

 

[Mark-T]

The string lines in “One More Time” are killer good.

 

[CraigGA]

I love the two five-note piano riffs in "Close to You" that lead from the bridge into the third verse (right after "eyes of blue"). I know Richard did not come up with them -- they were a Bacharach invention and were included in Dionne Warwick's original recording. Herb Alpert liked those riffs enough to use them in his own demo recording, and then he suggested to Richard that he keep them in the arrangement, but do whatever he wanted otherwise. I think that small touch is just one of the things that give that song its vast appeal.

The pattern of the intro reappears a few other times as I try to remember the accompaniment. Angels got together and promised to create a dream come true.

 

[Faithful Fan]

I love the cascading waterfall piano intro to WOJB that Richard added in live performances.

 

[Harry]

I also love the album-enders on the first two albums for the extended instrumental sections.

"Nowadays Clancy..." and "Another Song".

 

[Brendon McMahon]

I love the poignant opening of Where do I go from Here? It's perfect.

 

[Nemily]

Throwing some love to two great oboe hooks in the epic For All We Know (Jim Horn) and the enchanting Crystal Lullaby (Earle Dumler).