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I don't have any information about the style or arrangement on "Don't Leave Me"-but it's definitely not a jazz piece.Richard loves jazz-but he absolutely doesn't like this particular recording.THAT Real Love was the first one I thought. Mr. J, could you tell us about the style of "Don't Leave Me". Jazz? Something else?
"Real Love" was listed in the Mook-along with several other Passage outtakes.Wow! I had no idea Carpenters cut 'Real Love'. I wonder why it's not included in the Mook listing. I'm sure it's not the only tune from the studio vaults that's not listed.
You inspired me, A&M Retro!Richard has ALL of these recordings. So sad they're just sitting on a shelf. Maybe someday.....
Another possibility for the 50th Anniversary , per Little Girl Blue, page 57: "Three very distinct arrangements of
Close To You were put to tape, the first with Karen singing in a style similar to that of Harry Nilsson.
the second attempt brought in a different pianist..."
Again, the question is: Do these alternative takes exist?
Another possibility for the 50th Anniversary , per Little Girl Blue, page 57: "Three very distinct arrangements of
Close To You were put to tape, the first with Karen singing in a style similar to that of Harry Nilsson.
the second attempt brought in a different pianist..."
Again, the question is: Do these alternative takes exist?
Alternate takes give fans a different, fresh perspective on an existing work. Beatles 'Anthology' was exactly that, and rabid fans (myself included) bought it all. And that was a total of 6 CDs! It's AWESOME. Hearing Carpenters alternates would be a fascinating listen. The original versions aren't going anywhere. It would be a very welcome addition to the Carpenters recorded history.
The dance mixes idea is a weird concept-how would you take a bunch of torch songs & standards and turn them into dance songs? I couldn't imagine something like "I Can Dream,Can't I" or "For All We Know" with a dance beat attached to it.While I like the idea of stripped-down acoustic tracks I don't think that'll ever happen. Richard's big talent, after all, is arranging and orchestrating; so for him to toss out all that stuff would be probably that last thing he'd want to do.
As for "dance" mixes with today's hot producers........I think he would throw up at that idea. It worked well on Herb Alpert's Whipped Cream album but I just don't think the Carpenters music is right for that kind of treatment. I could be wrong.
Those demos were all cut during the same session as "You'll Love Me" in May 1967.Richard has the master tapes for the nine tracks recorded in that session.On page 45, of Little Girl Blue: 1967 "Spectrum cut several demos at United Audio Recording Studio, including,
All I Can Do, All Of My Life, Another Song, What's The Use and Candy (later became One Love).
If these recordings exist, it would be quite interesting to hear them.
Does any one have further information regarding these recorded demos?
I couldn't imagine something like..."For All We Know" with a dance beat attached to it.
I may be in the minority here - but I think 'Leave Yesterday Behind' is a little piece of magic... It's a unique little melody and I think Karen's interpretation of the lyric is as usual, intimate and quite lovely. Is it a top 5 - maybe not, but I loved hearing something new for that all important "first" time again.I wonder what these unreleased recordings sound like if the best of them sound like "Leave Yesterday Behind." I kinda believe Richard. I honestly think no vocal is still shelved that are in the same caliber as Where Do I Go From Here or You're the One.
Imagine no longer:
The vocals don't start until 2:28 - almost the entire length of Carpenters "For All We Know".
Harry