Why wasn't (Want You) Back In My Life Again a bigger hit?

[andywithaz]

It peaked at #72 on the Billboard top 100 and even peaked at 14 on the Billboard Adult Contemporary charts. To me, it's really the last song from the Carpenters that has the Carpenters sound all over it.

I can understand why Touch Me When We're Dancing was really the only hit off Made in America, but to me, Touch Me just doesn't have that magical sound of a Carpenters song. Maybe that's why it charted higher?

So why do we think Back In My Life Again wasn't a bigger hit? It's super catchy, and has the radio friendly formula of an earlier Carpenters hit. Was it too corny? That's really the only thing I can think of unless the US radio listeners were just burned out with the C's and moving on to different sounds.

 

[Vinylalbumcovers]

I don't mean to be difficult but, to me, the reason it didn't do better is rather obvious: it's not very good. To my ears, it sounds pretty desperate. The music is trendy and odd with out-of-place strings that sound like they wandered in from some other song, Karen sounds out of place on it, and the backgrounds don't even sound good.

In short, I think this one got what it deserved. Sorry to be so arbitrary but I had to be honest...

Ed

 

[Michael Hagerty]

And by 1981, having "The Carpenters' sound all over it" was exactly the opposite of what you needed to get significant airplay. Four years since the last release...five since the last hit. It's remarkable that it made the Top 15 Adult Contemporary chart.

 

[CarpentersToYou]

I'm with you, Andrew, I love it. Every single bit of it (just as I love every single bit of "Made in America.")

Many artists hit that wall off just selling to their legion of fans. It was the C's turn at that point, I guess. It still makes me think that the had so much left in them.

 

[Harry]

I like the song just fine but found myself puzzled when I first perused the track list of YESTERDAY ONCE MORE.

There was "(Want You) Back In My Life Again" as the fourth track on Disc One, right after "Rainy Days And Mondays".

Now I had bought the MADE IN AMERICA disc on day one, so I knew the song - I just had no idea it was a single or "hit" of any kind. By then, my radio station was pretty much shunning Carpenters, playing maybe "Superstar" and "Rainy Days And Mondays" and that's about it.

I do remember them playing "Touch Me When We're Dancing" as a current and dropping it like a rock immediately after its time.

I will say that the YESTERDAY ONCE MORE disc did a nice segue between "(Want You) Back In My Life Again" and "Ticket To Ride" with the wind chimes bridging the two songs.

Harry

 

[JAZZ4JEFF]

I have always loved this record. However, I am sorry to say I think for this single, the problem was with the production. It has all the hooks and melody you need. However in 1981, the sound was just way too soft and vanilla. This track always sounded like a "Doobie Brothers-esqe" record. However, is was just way too soft. The Carpenters hit making days were on the decline, and this single did not help.

On quick memory about this. I was working for KFI radio in Los Angeles at the time as an assistant in the music department. One day, Harold Carpenter called and wanted to speak to the program director. He was upset that we were not playing "Back in my life again". After I got over the shock of talking to Mr. Carpenter, I explained who I was and that I was a card carrying member of their fan club. He could not understand why the record was not getting air play.

All artists have a run. By 1981, the Carpenters were at the end of their hit making days. If you played "Back in my life again" along side other hits of 1981 (Bette Davis Eyes, "Jessie's girl", "Keep on loving you" & "the best of times") The production just does not have the same edge as other songs of the era. In fact to my ear, "goodbye to love" had a much harder edge eight years earlier.

 

[goodjeans]

I agree with the above posts. It didn't have an edge and was reminiscent of both "What A Fool Believes" and "Steal Away." Also, Karen's lead seems to be mixed at the same level as other tracks and not up front. Were they trying to lessen the sound? When Cher recorded 'Believe' after a long chart absence, and she did that vocoder stuff with her lead, someone said "they won't know that it's you." She replied, "they will." When I was in Daytona this song was 'chartbound' and many radios on the beach were playing it. Some people didn't even know it was Carpenters and loved the song.

 

[newvillefan]

Richard said in the liner notes to one of the compilation albums featuring the song, that he loved a 'good bubblegum record'. Unfortunately, I don't think that's what was turning America on in 1981. I agree that the Carpenters had probably had their day by then.

Touch Me just doesn't have that magical sound of a Carpenters song. Maybe that's why it charted higher?

See, I think it does. It's absolutely gorgeous and has all the ingredients of the classic sound, the harmonies, the sultry sax break...the only thing I would say is Karen's singing higher than she normally would.

I do remember them playing "Touch Me When We're Dancing" as a current and dropping it like a rock immediately after its time.

This I believe is primarily the reason it peaked at #16. Richard said that it was only a matter of time before they came up with something irresistible, that was too good for radio programmers to turn down, and then they'd be on their way back up. I thought 'Touch Me' fitted that bill, but by then they were at the mercy of the programmers because they were out of fashion. However irresistible, I don't think any such song would have returned them to their heyday, for the reasons we've discussed in the other thread about how their career would have progressed into the 1980s and beyond. He recorded 'Something In Your Eyes', which is a song I thought was irresistible for radio, but it still wasn't a hit.

On this particular track, Karen's buried way too low in the mix, and curiously enough, singing too high and too softly to get any value from her voice (how ironic that this was Richard's main criticism of her solo record a year earlier!). It's too lightweight and airy to my ears to make a big enough impact as a single.

Co-incidentally, the MIA liner notes also credit Daryl Dragon and Ian Underwood as having contributed 'synthesiser programming' on this track, something I believe is unique to this one song, out of the entire Carpenters recorded output from 1965 to the current day. Which kind of makes me think that had they gone with the sound of Richard's 'Time' album on their later 1980s 'Carpenters' albums, they too would have been spectacular flops. Listening back now, even putting Richard's vocal to one side, the sound is very dated (although the production values are outstanding).

 

[Rick-An Ordinary Fool]

On quick memory about this. I was working for KFI radio in Los Angeles at the time as an assistant in the music department. One day, Harold Carpenter called and wanted to speak to the program director. He was upset that we were not playing "Back in my life again". After I got over the shock of talking to Mr. Carpenter, I explained who I was and that I was a card carrying member of their fan club. He could not understand why the record was not getting air play.

I find this kinda weird that Harold would have called upset about why their record is not being played. That comes across to me as being a bit desperate. I hardly doubt that the family had to call in the past to get their songs played on the radio. It just sounded like a last ditch effect to get their records on the radio. Things must have got pretty bad after MIA was released. Thanks Jeff for sharing that, not sure I have ever heard that tidbit of info before. I bet you were a bit shocked, with Harold's voice you would know that in a hearbeat, he has a very unusual speaking voice.

I feel that maybe Richard was appeasing Karen in allowing her to sing in such a higher key for MIA, I mean he knew by that point how much her solo album meant to her and he heard it enough to know it was in a much higher key than what he would have wanted, yet most of MIA is almost that same sound from her. Didn't Richard once say that the money was in the basement regarding Karen's vocal. He knew what sold records in the past yet we have MIA that just didn't work like the older records did. So either this was his way of going in a new direction or he was trying to please Karen in using her higher vocals.

 

[Michael Hagerty]

On quick memory about this. I was working for KFI radio in Los Angeles at the time as an assistant in the music department. One day, Harold Carpenter called and wanted to speak to the program director. He was upset that we were not playing "Back in my life again". After I got over the shock of talking to Mr. Carpenter, I explained who I was and that I was a card carrying member of their fan club. He could not understand why the record was not getting air play.

I find this kinda weird that Harold would have called upset about why their record is not being played. That comes across to me as being a bit desperate. I hardly doubt that the family had to call in the past to get their songs played on the radio.

Key phrase: In the past.

But it had been four years since the last album...five since the last time there was any real Top 40 action for them...and KFI in 1981 was a Top 40 station.

And K&R were 11 years into their run on the radio...well past most acts. In fact, the list of artists making the Top 100 of 1981 who were making the charts when "Close To You" hit is pretty small:

Diana Ross

Kenny Rogers (solo---he'd been with The First Edition in 1970)

John Lennon (hey, he was a Beatle...and by '81 a martyr)

Dolly Parton (but she'd only recently crossed over to pop from Country)

Joey Scarbury (but only barely in '70)

Smokey Robinson

Neil Diamond

Barbara Streisand

Eric Clapton

Stevie Wonder

George Harrison

Santana

The Beach Boys


And of those, only Diana, Smokey, Neil, Clapton, Stevie and Santana had more than another hit or two left in their future. Apart from Santana (who should never be counted out), they all eventually ran out their string on hit radio.

Time flies. The Carpenters had a longer chart life than most.

 

[Mike Blakesley]

I think the song did poorly for 2 reasons:

1. Carpenters star was on the decline by this time. Their style had gone out of style.

Having said that --

2. The record is simply not as good as their best records. Compare it to the standouts -- "Goodbye to Love," "Yesterday Once More," "Superstar," "Close to You".... the magic is just not as magical no matter how you slice it.

Of course this is just my personal opinion but...it is just a fact that no artist makes hits forever (with the possible exception of the Beatles).

 

[JAZZ4JEFF]

Just a few more tidbits about why Harold Carpenter might have been upset.

KFI was a popular top 40 station in L.A. at the time. It was an older type of station (being on AM). A&M records did a big dinner to launch the album and KFI was in attendance (I was not invited, but would have loved to be there. I saw the pictures our music director took with K&R and I was very envious.). I would guess Harold thought if anyone in the L.A. market would play the Carpenters in 1981, it would be KFI.

My only personal experience with Harold & Agnes happened at Disneyland. When I was 18, they had a big private party for their 25th anniversary. I was working at a retail store in Tomorrowland and noticed Harold & Agnes standing in the doorway. Soon, Karen was looking for t-shirts to buy. I was way too scared to approach Karen, so I went for her parents. I had read in the fan club newsletter that they just had a big party for their anniversary. I congratulated them, told them I was a fan club member, and hoped they to have a great time. I thought since I mentioned I was a big fan, she'd bring Karen over to meet me. No such luck. I've kicked myself ever since for not approaching Karen. I was a little worried about my job, since the park was full of celebrities that night and we were told to not bother them.

 

[Calvin R Murty]

I love the song but my take on why it did not do well (as some others have said) is that she doesn't sound energetic on it, and her lead vocal was far too soft and high. Compare this song with her lead on another 'fluffy' upbeat song, Please Mr Postman - here she sounds vocally strong, alive and it was in a key that really suited her voice.

In 'Back...' her voice was buried and sometimes lost in the mix such that you couldn't make out what she was saying. But apart from that, the instrumentation and backing vocals were top notch and quite unique. I like the strings too - they were an unusual touch. I remember being on army training and letting my platoon commander listen to this song via my walkman during a break, and asked him to guess who this group was. He listened for a moment then blurted out - ABBA! [Duh!]

 

[richard_sloat]

As much as Made in America bores me, I like Back in my life again pretty much... to me it is fun and catchy.

 

[A&M Retro]

I've always loved "Back In My Life Again"....from the day I bought the album in June, 1981, to now.

I've related this story before, but I remember hearing it on a very popular A/C FM station in Kansas City called KUDL (still around today). The DJ played it, and at the end said, "That's the Carpenters with their new record....a nice new twist for them!" I heard it a few more times and that was it.

I hear the 'magic' in the song, though I agree that Karen's lead vocal is mixed too low. You can say the same for the entire album....it's almost as if Karen's leads were an afterthought, and that Richard's production took center stage. I remember thinking exactly that the first time I listened to the album.

 

[newvillefan]

I hear the 'magic' in the song, though I agree that Karen's lead vocal is mixed too low. You can say the same for the entire album....it's almost as if Karen's leads were an afterthought, and that Richard's production took center stage. I remember thinking exactly that the first time I listened to the album.

Even the same goes for the ballads where she usually would shine. Listen to 'Strength of A Woman' and her voice sounds swamped in the music and backing singers. Ironically, if you then listen to MIA outtakes like 'The Uninvited Guest' and 'Rainbow Connection', her voice is pushed right up in the mix. Very strange.

Maybe the final selection of tracks chosen just weren't given the right mixdown and sweetening that they deserved, because in 1980 her voice was definitely still there in all its glory when put in the right musical surroundings. The songs on MIA just don't do her justice.

 

[Rick-An Ordinary Fool]

Remember the video of them being interviewed right outside am studio where they discuss MIA.

 

[A&M Retro]

I agree 100%. Then again, her voice is quiet as a whisper on "KIss Me The Way You Did Last Night", as well.
So much going on in that song, though I really dig that song, too. Just wish her voice was higher in the mix.
If you ever have a chance to listen to the SACD surround mix of "Touch Me When We're Dancing", check it out. Turn the other channels down and turn the center channel up. You hear just Karen and the backup vocals of Karen and Richard with just a little bass in the background. Karen's voice sounds superb.

 

[Dave]

My own, personal view-point on this, sums up as follows:

"(I Want You) Back In My Life Again" -- Too trend-chasing... Too woefully desperate in seeking commercially-ready big hit-status... Too Top-40 sounding... Too anxiously "dance floor diva-wannabe"... (Though hopefully not entirely on Karen's behalf) Too distant & reproachful, in the sense that it was nearly-out-of-character from that CarpenterS were all about... Had Karen been such an artist, it would'a been too self-indulgent... But, buried in the excess rhythm & production, Karen's voice (& emotions) had just been too smothered & too trying to get out!

"Touch Me When We're Dancing" -- More direct & sincere... More relaxed... The honest emotions keep intact, mainly from the more direct backing, much more conversant with Karen's sentimental approach... The more-deserving attempt at the same chart-status that Richard & Karen expected a small attempt to make a dent in, in that this song was merely a humble throwback to the earlier stuff and a more earnest approach in delivering the merely similar construction & sound, though bravely updated...



Dave

 

[Jeff]

Wasn't (Want You) Back the most over-dubbed single? I seem to recall that from somewhere.

Jeff

 

[Song4uman]

If we are lucky....maybe Richard will re-mix Karen's vocals on MIA and rerelease it......

just a little sarcasm there....

 

[Song4uman]

I think the song did poorly for 2 reasons:

1. Carpenters star was on the decline by this time. Their style had gone out of style.

.

I agree. No matter how much I personally love the Carpenters....and even though others like Karen's voice....their style was no longer "in"...sad as that may be to me....

Jonathan

 

[BarryT60]

If I had to guess, I'd say it was too soft sounding... Same with TGOD... Pretty - and I was delighted with Dreams particularly when MIA was released, but felt it way too pretty for radio. Touch was - as the lead single - going to get airplay, period. I imagine, if there would have been a more powerful follow-up single released directly on the heals of Touch's peak, we'd have seen much more action. But - when you go down the track list of MIA - there aren't many songs I'd have wished to have been singles... I love the album - but considering radio at that moment in time - there aren't any other TMWWD's on the track list... Perhaps Kiss Me the Way You Did Last Night may have been a good choice - had it been included on MIA....

 

[Rick-An Ordinary Fool]

Here is the interview I mentioned earlier, it's been on u tube along time so I'm sure you have seen it already. Not sure if this was staged or he caught them in action coming out of A&M studio lot. It appears the MIA album was already done at this point. Karen looks upbeat. Richard wore that same shirt in Brazil studio interview?

http://www.youtube.com/watch?v=XA29BB16yns

Funny how DeDe asks did you change the sound on new album, Richard no it still in the same vain.

I don't know but was this the same sound as previous Carpenters albums? What did he mean?

 

[Rick-An Ordinary Fool]

Does anyone else find it odd that Richard and John Bettis only contributed 2 songs to this album? I would have thought that John would have had some awesome songs in his back pocket since it had been almost 5 yrs. Richard I can understand since he was coming off of his own problems but why so little from John Bettis?