If you think you know the whole Live at the Palladium story, I may be surprising you by including one you probably haven't heard. It was one I hadn't heard of until one incredible night of discussing the music of Karen and Richard Carpenter a few years ago.
Before you read this latest Fresh Look review, a Carpenters Revisited article about their late 1976 album, I'd recommend you first read my previous two reviews on Horizon and then A Kind of Hush to fully understand the story that surrounds this next release. Or even go all the way back to my review for Offering/Ticket to Ride where I look at them in chronological order and the impact the music has had on my life.
These days, it's
an unfortunate truth that I rarely have the time to place an album on
the turntable or pop a disc in the CD player and really listen to them. Life is just too busy. But the Palladium album follows Hush on my i-tunes as well as in order of release date, so I often listen to these collections back to back. That's a definite plus for this article.
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"Live in Concert" albums are tough. A studio recording is designed to capture the best of an artist and their current career direction as well as producing some radio friendly hits to propel sales. Conversely, a live album is designed to capture the energy and memories of a concert. Two very different things- and something especially difficult for Karen and Richard Carpenter who were first and foremost recording artists.
By many professional reviewers and at times their own management and close friends, the duo was not known for their stagecraft. In fact, the Carpenters took quite a bit of criticism for being rather bland even if they were as technically precise as they could be in replicating the sounds of their records. Richard may have wanted them to come across as much like their recordings whenever possible, but by too many accounts, this worked against the duo and their image. That said, they did begin to get better reviews once Karen was up front and center instead of behind a drum kit... and Richard's arrangements of the hits for their shows were as musically compelling as the iconic ones done for their studio recordings. He is definitely a genius.
Just a couple of years before the release of this album, they had put out Live in Japan for that country's adoring audience. It was a Japanese only release, and I never thought we'd see another concert album. Not for Japan, and definitely not for the States.
After the under-performing A Kind of Hush in the U.S.A. (just barely in the Top 40 album sales but a pretty big hit in the United Kingdom at Number 3), the duo began a European tour, making up for lost time and cancelled concerts due to Karen's hospital stint the previous year. Fans were more than happy to see them in person, particularly to see Karen recovered and sounding terrific.
To commemorate their wildly successful tour of the U.K., Karen and Richard would release Live at the Palladium at the end of the year. Back home, it would remain an import album in the U.S., as did Live in Japan before it. As expected, the second live in concert collection would eventually reach Japan many years later with some extra packaging details. Ever popular, it hit the Top 30 in the sales charts. Gotta love the Japanese.
The two disks- Live in Japan and Live at the Palladium couldn't be more different. Or my response to them.
I just wanted to see if I could pull it off
because I couldn't find a photo of the real one.
It was during the same year Hush was released (1976) that I first saw Karen and Richard in Las Vegas. They were playing at the Riviera with comedian David Brenner as their opening act. My sister and I would see two shows in one night, and I would see another show the next evening. (It was during at the end of the second show, I got to meet Karen and Richard backstage. I'll leave that story for this post. God bless my sister for making this happen.)
Opening act comedian David Brenner.
It was finally time for the first show. I was so excited to finally see Karen and Richard in person I thought the time waiting would never pass. We approached the entrance to the main showroom. After bravely offering a slight "incentive" which with my meager earnings was as much as I could afford (and I was terrified to do so), my sister and I were seated much closer to the stage than I thought we would ever be. Placed just off to the side in the center in the room, it was more than perfect! We were given a great view and in my opinion, we were placed in an optimum location for sound as well.
David Brenner was rather dirty- not even close by today's standards- but honestly pretty funny. Yet, I couldn't wait for him to exit the stage so that I'd finally see the musical duo I followed for many years.
It was certainly an eternity of waiting until the room darkened and the announcer stated, "Ladies and Gentlemen, Mr. Richard Carpenter!" To the opening drum line leading into Flat Baroque followed by a vocal intro of Only Yesterday, Richard came on stage to an enthusiastic crowd and hearty applause. Taking his place at the piano, he looked confident and happy.
A radiant Karen.
Then the moment I was really waiting for: Karen- the one and only Karen Carpenter- walked onto the stage to an absolutely thunderous round of applause. As she coyfully played with the audience during a sensual, slow boil opening to There's a Kind of Hush, her voice and charm were in full command of what was to happen. Like much of the audience, I was mesmerized. Smitten. Overwhelmed. And honestly, very emotional, close to tears with excitement.
I certainly was not alone in this. Hard core fans of the duo knew and understood Richard's incredible significance to their success, but to the more casual concertgoers, there was no doubt Karen was the star. His wide range of talents (and good humor) would be further displayed throughout the evening, but Karen's was the familiar and beloved voice we heard through the radio.
Imagine paying this little for this show.
The official fan club newsletter dated April 1976 reveals that after completing Hush, Karen and Richard took off for a Japanese tour. Later they would return home for a series on concerts that included Fresno, California- notable specifically because Helen Reddy was the opening act. She would release her own Palladium album in 1978. (The only known photo of them together would be at the Grammy awards in 1983.) Next up was Lake Tahoe, and then on to Las Vegas.
Definitely not a Rock and Roll look!
From there, it was on to Canada, the Midwest, and the East Coast before returning them once more to Las Vegas by the end of August. Giving manager Jerry Weintraub the benefit of the doubt, perhaps these dates were booked long before his tenure began, but no doubt it had to feel a bit exhausting as well as exhilarating for Karen and Richard to be back on the road. If these shows were not already booked, then the duo's new manager made a big mistake throwing them back on the road so quickly.
At least the show would be very different than their last outing.
With Ken and Mitzi Welch.
In response to the bad press with the Neil Sedaka incident of 1975, and the dreadful comparison in performances between Sedaka and the Carpenters, the duo's 1976 stage show was fully transformed. If the critics considered the latest album to show a lack of ambition, the new Carpenters show was on the exact opposite side of the spectrum- full of energy, variety, and interaction with the audience. This was mainly due to the involvement of Ken and Mitzi Welch, who spent many years writing for The Carol Burnett Show and choreographer / director / producer Joe Layton. He'd
won an Emmy award for the "My Name is Barbra" television show for Ms. Streisand and later
also directed and produced the first U.S. television special for Olivia
Newton-John.
Billboard review from July 24, 1976.
Never again would Richard and Karen be seen as boring, predictable, or unprofessional in concert. Yet, the duo couldn't win. Now, the show would be criticized by some for being too slick and one that didn't offer full length versions of their multiple hit records. Many fans seemed pleased, however. Still, their critics rarely were, and it was always easier for them to focus on what wasn't to their liking rather than the duo's significant strengths. Decades later, it would be this exact concert lineup that was often enacted by one of the many Carpenters tribute bands. (Check out this one.)
In September, by the time Goofus, their 3rd and final single from A Kind of Hush, fell off the U.S. sales charts, the duo were mid-tour and playing
to full houses across the States. By the end of October, they were beginning
their European tour. Two very special offerings would end the year with a surprise for fans in the U.K. with something very different for fans in the States.
Classy place for a classy act. This photo is real.
Playing several European countries, Karen and Richard saved the best for
last. In the U.K. alone, they performed to 42,000 adoring fans. There, the siblings and their band did something I'd never heard of before or read about until a few years ago. Unless you are an industry insider or known those in the Carpenters entourage, you probably haven't either.
When author Randy L. Schmidt asked me to help review A Kind of Hush for his book Carpenters: An Illustrated Discography, I was blessed to have a round table discussion with Randy and two great men: Patrick Summers,
Artistic and Music Director for the Houston Grand Opera and Michael Lansing, Karen's personal assistant and the sound engineer for their U.K. tour of 1976. (How I ended up with these three guys can only be described as a gift from God! I'm just an ordinary fan.)
As a roadie, Michael saw quite a bit! I'm going to try my best to retell a story that highlights not only the incredible response to the duo's tour but also Karen and Richard's stunning appreciation and graciousness. Here goes...
So pretty in person!
The Carpenters were set to play a week of shows at the famous, well loved, London Palladium which was also the host venue for the monarchy's annual Royal Variety Performance.
In addition to a charity benefit show done at the suggestion of Karen, where concert goers brought a toy in exchange for a ticket, the duo also offered a free late night performance for the city's taxi drivers. Wishing to show their appreciation for the hard work these folks who would be carting fans, media, and music critics to their shows, Karen and Richard performed their full show totally free of charge. And they requested no media coverage for doing so. Can you imagine? In this day, every word or move by a star is used as media coverage to promote "the brand". Not with Karen and Richard. This was certainly one of the many reasons the Carpenters are so well loved in the U.K. years after turning out hit after hit.
The ad for the album.
Months later back in the U.S., you can only imagine my surprise and absolute delight when I walked into my local record joint, Licorice Pizza, and discovered Live at the Palladium. The import hit the States much, much faster than the Japanese concert album ever did, and it was only a few months after the U.K. release that I found it in the bins.
The flimsy light cardboard cover did not do the disc justice. Not one bit. The colorized photo of Richard and Karen gave it the feel of a rushed release, which in actuality it truly was. It was eye-catching, however, and certainly had a fresh look compared to how their albums were marketed previously.
Turning the package over, I noticed it didn't include everything I heard them perform in Las Vegas. Missing from action were I Need to Be in Love, the Grease medley, the Spike Jones inspired Close to You, and their Don't Be Afraid/Sing audience participation number. (Nor would it include Good Vibrations / Comin' Through the Rye duet which they performed in London.) Still, the most important selections of the concert was there. I couldn't wait to hear it and in a sense relive that first night!
The Grease medley- not on the album but a blast in person!
This photo by Andre Csillag.
For a hardcore fan, the initial listen to any new Carpenters album is a treat. However when the disc contains the music of a concert you actually heard in person, it's a whole new experience. Using today's vernacular, I'll shamelessly admit that this album gave me "the feels" from the first few minutes. It still does, 45 plus years later.
Performing There's A Kind of Hush and I Need to Be in Love in Amsterdam.
I'd never seen these before.
The intro begins as I described above with Flat Baroque, a taste of Only Yesterday and then There's A Kind of Hush. For some people, it would seem strange that one of the Carpenters lesser hits would kick things off, but in the U.K., the studio album containing the song was a solid success. In the land where Herman's Hermits first made the song famous back in 1967, it made perfect sense for Karen and Richard to highlight it for their British fans. Less refined than the studio version with a brand new arrangement, Karen's relaxed and playful rendition only hinted at what was to come.
Jambalaya's next up, one I did not hear in concert. I never understood the European and Japanese audiences love for this song. Nonetheless, it's here, but to my ears it feels a bit out of place, just as it did when it first appeared on their Now & Then album. Was the very unfortunate exclusion of Karen's heartbreaking I Need to Be in Love an effort to get fans to buy the latest studio collection? Maybe the execution or recording of the iconic song was less than perfect? I do not know, but the emotional centerpiece of A Kind of Hush certainly is missed here.
With headphones on and eyes closed, I can almost see her animated and very, very happy as she pounds away, moving from drum set to drum set. Toward the conclusion of her performance, the orchestra is revealed bringing a whole new dynamic to the show. Karen brings down the house with her spirited performance before leaving the stage, introducing Richard for a time of "serious music".
December 18, 1976.
Thanks to Rick-An Ordinary Fool at the A&M Corner for this review.
These two instrumental pieces make for great concert memories, but I have to wonder what would have replaced them if Karen and Richard has chosen to sing something from their vast catalogue. On the plus side, these are pieces I heard for myself and remember quite well, so I'm pleased to have them.
When Karen finally returns from her wardrobe change, the duo sits at the piano to perform a rather baroque take on Cole Porter's famous song From This Moment On. Although this is not one of my favorites on the disc, I cannot deny what it displays. With just Richard's piano and Karen's vocal, there is nothing for them to hide behind. No stacked vocals, no strings, guitar or saxophone, oboe, or harp.
Their precision on the tune is absolutely stunning. Richard's playing is sharp, crisp, and clear. Karen is equally impressive. The last note particularly reminds me of what an outstanding vocalist she is. Her clarity and purity of tone is simply incredible. There is no other singer that comes even close. Not in her generation or those that have come since. Superlatives are just not enough. This selection also highlights an additional and obvious fact: All the duo truly needed to make great records was her voice and his piano. An "unplugged" disc would have been a great addition to their catalogue in the later years of their career.
One hit after another.
As a live album, the disc hits its obvious high peak when Karen and Richard move into their medley of well known hits. Just the choruses make up a majority of the collection, but what a line up! From Close to You to For All We Know, they move on to perform Top of the World, Ticket to Ride, Only Yesterday and I Won't Last a Day Without You. The latter Paul Williams / Roger Nichols tune sounds particularly good live, and I'm still surprised as this was not one of my favorites at the time either as an album cut or a revised 1974 hit single.
Karen didn't want to be a star, but there was no denying that's who she was.
There's an ever so brief pause in the music to give the audience a chance to respond. Then Karen and Richard and their band continue with an intimate Hurting Each Other, followed by the powerhouse combination of Superstar, Rainy Days and Mondays and the majestic Carpenter/Bettis single Goodbye to Love. We've heard this trio of songs sequenced on record together before, but in listening to it live, the impact is just mesmerizing.
Karen
seems to balance the audience acknowledgment of each song without
sacrificing the quality of her performance. Her natural warmth,
vulnerability, and intimacy shine while alternating with the raw power and
exacting control of her instrument. Chilling contrasts indeed.
In both segments of the medley, Richard hits his stride as an arranger, effortlessly it seems sequencing one smash after another in perfect harmony. Whether we like them or not, it is hard to deny that he is just brilliant at creating these. Like a loving father with his children, the strengths of each song are highlighted and never once do they distract from the ones that come before or after.
With their band mates, their friends.
Another photo by Andre Csillag.
After introducing the band and orchestra, Karen and Richard come to the front and face the audience, and toward the end while singing their signature song, We've Only Just Begun, they face each other. The sheer impact of this simple gesture is profound. Particularly hearing it in hindsight because of the tragedy coming less than a decade later, I still get choked up. In many ways, this performance feels like the duo's swan song. Substantial recording and more television was still to come, but it would all be very different than what came before.
With much applause, both the album and the show ends, always leaving me wanting more. And yes, it always leaves me thinking about what could and should have been.
Live at the Palladium captures Karen and Richard at the top of their game. They gave it their all, and I can feel it as I listen. Although it is well scripted, this is not fully a by the book performance.
Something tells me that after Karen's health scare in 1975, she and Richard began to sincerely appreciate their fans as well as their band and each other. Maybe it is a blend of thankfulness and humility. There's an emotional connection I feel from them again as I listen to this disc- something that I sensed was missing from the earlier Live in Japan, where the songs are full length but their performance feels almost strained at times as the duo tries to duplicate the perfection of their studio accomplishments.
Perhaps it is my short discussion with Karen after the performance that makes me read into it all. Maybe I just wanted to believe this because I was so moved by the evening's concert and the unbelievable blessing of meeting Richard and Karen backstage. Time, nostalgia, emotions all in play. Even in writing this, I'm transformed back to years past.
Richard and Karen released the
Palladium album to commemorate the sold out tour on December 10. Their BBC television network
special also featured the group performing the same show. Closer listening actually reveals this disc comes from a different concert than what played on BBC television. Still, with this type of publicity, the live in concert album
reached #28 on the U.K. charts, making the Carpenters gift to fans a very popular Christmas present in British households.
Back in March of 1976, Billboard magazine discussed Barry Manilow being signed to ABC for a television special.
Others artists already under contract to do the same were Captain & Tennille, Diana Ross, Olivia Newton-John, and John Denver. Although long term this may not have been good for their career, Karen and Richard were in some very good company.
Victor Borge, Karen, Richard, and John Denver.
Karen's friend Olivia Newton-John shows up to give Richard a kiss after he wins an auto race against the great Al Unser. Unfortunately, there's no musical number with Olivia. If there were, we'd all be cherishing that at this point in time.
In a poor move from a strategic standpoint, gifted pianist Victor Borge appears with Richard for a brief segment. He appeals to a much older audience, and the duo instantly loses any credibility with the younger crowd- the one currently buying albums- and radio programmers. This unfortunate pairing solidly shoved Richard back in the very limiting box much of America kept him in. Career manager Weintraub clearly forgot the end game. His job was strengthening his client's superstar status while concurrently increasing sales. In this regard, Jerry failed them miserably.
I was glued to the television set. Karen was as charming as ever, and Richard seemed like he did know how to have some fun. All said, the disaster of the Borge decision aside, the first television special was mostly a pretty good piece of image marketing.
Parts from the Palladium album do make it onto the show- the drum medley and a revised hits finale. In an interesting move, the Spike Jones version of Close to You that was wisely cut from the album shows up on the television special. In a country obsessed with ranking everything, the U.S. presentation is a big hit, earning great numbers in the Neilsen ratings for the week, landing at number 6.
The television special has zero impact on their album sales, however. A Kind of Hush does not reappear on the Billboard charts nor is a fourth single released.
By many accounts, the year was a decent one for Karen and Richard. Karen's health seemed to recover, and the Sedaka incident was now mostly behind them. Their international tour brought them to even greater heights, and the first of several television shows was a hit.
Even though their album sales were not nearly as strong as in the past, Karen and Richard had established a solid market for them to continue making and selling albums and performing in front of an audience whenever they wished to do so.
Usually I only consider studio albums when asked to rank my favorites by the duo. If included, Live at the Palladium would easily make my Top Ten. Why? Much like A Kind of Hush, it's almost impossible for me to separate this disc from the events in my life surrounding it, the bundle of emotions from seeing Karen and Richard perform live for the first time, and meeting them afterwards. It was definitely the highlight of my year.
After a stellar and unforgettable summer, I ended 1976 completing my first, my only, my last, semester
at community college. I began to drift as I couldn't decide what route
to take with my life. But I knew it was time to make a break with the past and move on into adulthood in a new way.
I had no idea change was on the horizon for the Carpenters in a big way. As I would discover in the coming year, brand new management and television specials were only the beginning.
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On the Insights blog, there are also numerous stand alone posts about Karen and Richard Carpenter highlighting different aspects of their career, recordings, and life. There's many unique photos to be found here as well. I've also written extensively about their music, album by album, and how each affected their career and my life. Since there are stories about my life mixed in, you'll also get a glimpse of what it meant to grow up in Southern California during the 70s.
Below is the list of my "Revisited /Fresh Look" reviews and those that came a decade earlier.
My Revisited / Fresh Look at the albums:
My Initial Reviews of the albums:
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