As I continue the series and take a "Revisited / Fresh Look" at the Carpenters 1977 album Passage, I'm going to approach the review much like Karen and Richard did in making it. Very differently. In the liner notes, Karen says "We really had fun with this album." I'm going to have a bit of fun as well as I continue to weave their music as the soundtrack to my story growing up in Southern California during the height of their popularity. A good amount of fun is needed as the timeframe discussed here is also a season of deep personal reflection. Be forewarned that I'm going to be as transparent as I've ever been about my life, "warts and all" as they say. But back to my fresh look at this very different Carpenters album.
Passage does contain some playful moments, but this isn't to say the collection is lacking substance, that the duo didn't put a lot of work into it, or even that the many decisions surrounding its creation and release weren't important. In fact, the very opposite is true. Passage came at a time of personal as well as career crisis and reevaluation, and the end result is a fascinating record with an equally fascinating history.
Blurred vision? You're not the only one.
Huntington Beach in the mid to late 70s was still mostly a sleepy hangout for surfers and a place ignored by tourists. It was a great place to live! Prices were relatively low for beach access property (under $100K), and life seemed simple. But like most dreams looking back, nothing could be further from the truth.
From the outside, I was hanging in there, but in reality, I was pretty rudderless. Work, driving the coast and hanging at the beach took up a lot of my time. Drugs, liquor, and trouble were easy to find if I wanted. I did smoke a joint once, but I hated the burning sensation, so that was that. I had no idea what was next or what path to take in front of me. The same seemed to be happening with my beloved musical duo.
Karen and Richard began 1977 with an appearance on The Tonight Show. It wasn't the choice of going on the Steve Martin hosted talk show that was a poor career move, it was the their decision to perform From This Moment On. As far as the conversational portion of their appearance was concerned, they were both funny and very likable. Only when they executed their musical selection would the duo fully betray what they had just accomplished as interesting guests. With its classical music inspired song, they clearly communicated to radio and the record buying public that the Carpenters were not in tune with the current musical landscape. For artists that were very involved in every aspect of their career, it also revealed that strategically, Karen and Richard were not on top of their game.
A great song selection for the occasion.
Their next time on the television would be much better. For the 25th anniversary of friend Dick Clark's iconic American Bandstand, Karen and Richard opened the tribute by performing their signature tune, We've Only Just Begun. No doubt a befitting choice for this, but the next appearance on the tube is a head scratcher from just about every way you look at it- all except for one.
On March 2, Olympic darling figure skater Dorothy Hamill (another of manager Jerry Weintraub's clients- bingo- there it is!) hosted her own event for Canadian television, The Dorothy Hamill Winter Carnival Special. Karen and Richard appeared meeting the carnival's mascot, riding the dogsleds, and performing an odd vaudevillian musical number Make Me Laugh.
After years of being global superstars turning out hit album after hit album, and hit single after hit single, this choice is just plain strange. Horizon showed them at their mature best, but A Kind of Hush took them out of the pop/rock mainstream. They needed to rebound, and Make Me Laugh was just another step in the wrong direction. So, what in the world was going on with them and these strange song selections for rather high profile television appearances? What kind of image were they trying to project? Who would they "be" for the next album? Something had to change as sales of their albums were now trending downward.
Once the upcoming album would be released, it seemed as if even the promotion experts at A&M Records were at a loss as to how to present them in the best light possible.
It was a long wait for a brand new single. Very long. The ill considered decision to release Goofus at the end of the previous summer meant it was about nine months before the next one would arrive. These were the days before I discovered Billboard, so I had no idea what was going on. The official fan club information was rather light on the subject. That was fine with me as my life had to continue on a new path. Something just had to change. I was headed nowhere fast.
I was now out of high school for almost a year, running a printing press and delivering computerized bowling league sheets for one my father's growing businesses. My daily journeys took me from Laguna Hills all the way to Tustin, Seal Beach, Carson, La Mirada, and Pico Rivera among other stops. Needing to drive California's 605 freeway took me right past Downey. Of course, from time to time, I would pull off the highway and drive to the Carpenters homestead to see if I could get a glimpse of Karen or Richard. (That never did happen, but I did see the van with the logo in the driveway more than once or twice.)
Full page ad from the May 14 issue of Billboard.
The US single looked just like the ad, giving no hint of what was to come.
Mine was a tough year made even worse by two automobile accidents. The first happened when the engine seized and my old car came to an immediate and unexpected stop during rush hour on the 605. I was in the middle lane, and cars were flying past trying to avoid me. I couldn't get out. I was stuck. Keeping my eye on the rear view mirror thinking I'd hop out and get to the emergency lane, it was a no go. Looking up once again, I saw a huge freight truck coming at me. The thought hit me to put my car in neutral to minimize the impact by being pushed forward. As I braced for the inevitable, thankfully I discovered a mid-size sedan crashed into me instead. The truck had apparently swerved out of the way. I was certain my life was spared even though my car was beyond repair.
The impact caused some physical pain, but the accident threw me into months long depression as I recovered. With depression already being a struggle, I did not need this. My long time friends had moved on as they were both older and in college or younger and still in high school. Months prior to this accident, I had just quietly dumped a newer group of acquaintances who were into some very heavy partying and all the excesses that went with it. That just wasn't the life I wanted. All said, my support system didn't exist, and I was very alone. Once more, music became my refuge.
One day on my delivery route, I was in the city of Whittier and drove past a local Wherehouse records. Even though it was pretty early in the day, since I hadn't had lunch, I got out to see if there was anything new in the racks. Not expecting anything, I struck gold.
There it was, a new single by my favorite group. There were only a handful of copies of All You Get From Love is a Love Song, but I quickly grabbed one. The label of the 45 said it was a tune by Steve Eaton. Hadn't heard of him. Once
I was out of the store and back in my car, the realization hit. I had
to wait until I got off work at 5:00pm to go home and listen to it. I had no idea if the record was a ballad or an upbeat number. The basic black background with red Carpenters logo gave no clue as to what it would be like. I turned on the radio hoping to hear that voice again, but I was out of luck. Needless to say, a new Carpenters song was all I could think about the rest of the day.
With a brassy swing and all around happy vibe, the brand new record had a fresh sound, one I hadn't heard from Karen and Richard in a few years. Beyond Postman and the upbeat oldies from Now & Then, listeners have to go all the way back to those jazz flavored cuts from their very first album to hear this kind of joyful abandon. The record was worlds apart from the beautiful but measured Horizon and just as far from the generally lighter weight menu of songs on A Kind of Hush.
A&M's best selling artists took awhile to find.
Once I got past an opening that reminded me a bit too much of Lonely Night (Angel Face) by Captain & Tennille, I found it to be one of the Carpenters most engaging records since Only Yesterday. Punctuated by a great Tom Scott saxophone solo and a percussion line that sticks in your head, the record just sparkles. For all the recording's charms, and there are many, Karen's relaxed and playful vocals are the main hook on All You Get From Love. Throughout the entire crisp production, it's Karen at her buoyant best. How could you not love it?
That was the question Richard and Karen had to be asking when the single did not perform as expected. Radio was still wide open for many genres of music, but they had some stiff competition for airplay. On the Rock and Pop side, the Eagles masterpiece Hotel California played alongside Stevie Wonder, KC and the Sunshine Band, and the light disco song of the Bee Gees' 19 year old brother Andy Gibb. His infectious breakout hit I Just Want To Be Your Everything was gaining steam very quickly. (For the record, I loved it.) All were simultaneous hits.
A Kind of Hush photo appears on this sheet music.
For artists considered Adult Contemporary, things were a mixed bag.
Looking back, I discovered when All You Get From Love debuted solidly on the chart at #77 on May 21, Barbra Streisand hit at 33 with her first song since the mega-smash A Star is Born, My Heart Belongs to Me. While Barry Manilow continued his hot streak, Helen Reddy's great You're My World wasn't the chart success of her past singles- even with her brave choice of a brand new producer. By the time the new Carpenters release peaked at #35 on July 2 and then fell rapidly off the charts after a measly nine weeks, label mates the Captain & Tennille were dead in the water at #61 with their beautiful single Come In From The Rain. After just six weeks on the charts, they quickly followed it with a hits collection.
Karen's friend Olivia Newton-John had similar results during this time. She debuted her Making A Good Thing Better album (including her own version of Don't Cry For Me Argentina), but Olivia fared no better. The album and its singles were also not as well received as her previous efforts. As with the Captain & Tennille, Olivia's first greatest hits album was released just months after her new studio collection. Around this same time, the previously red hot Neil Sedaka flopped with not one but two George Martin produced singles, the weak and squarely middle of the road Amarillo and the much better but still made for Adult Contemporary radio, Alone at Last.
Perhaps radio had just moved on from Karen and Richard. Soon enough, I would wonder if I had as well.
Just a few days after their new single's debut on the Hot 100, Karen and Richard recorded Don't Cry For Me Argentina with a cast of seemingly thousands including two old friends. The well publicized May 24 media event in Los Angeles - which I never saw on television-had zero impact on sales or radio play for the single. In fact, I only heard All You Get From Love on the air a handful of times myself over the course of its run. I was shocked. The record was modern, very fresh, and loads of fun. If I was disappointed, I can only imagine what was going through the minds of Karen and Richard, the Carpenters team, and the suits at A&M.
My love for their sound was not contingent on their popularity, the amount of airplay they got, or even their sales. I was certain the duo would once again play Las Vegas, and I was definitely planning for it. I needed a boost. Thoughts of suicide occasionally entered my mind, but I dismissed them after thinking it through. I was very afraid of blood, especially my own, and I really didn't want to hurt my family. Nor did I really want to do this when it came down to it. So I held out for a better future regardless of how painful the past was and how hopeless I felt about a future. Years later I would discover these self-destructive thoughts were more common among teens than I realized. I just couldn't shake the deep sense of worthlessness and the steady, ongoing depression I felt.
Something had to change. I needed some new perspective and decided to fulfill a life long dream of seeing Japan. I'd studied the country and its culture in 4th Grade, becoming quite infatuated with all things Japanese. When I called up the local travel agency, I discovered there was no way my meager salary would make an expensive trip like this possible. After giving it some thought and doing a little research, I enrolled in a year long program at a travel agent school, realizing that working for an agency- it should have been an airline instead - would give me the opportunity to travel there at a fraction of the cost.
Backstage at MGM Grand, 1977.
Much to my delight, I discovered Karen and Richard were playing at the MGM Grand beginning the end of June and concluding their time there just before my birthday. I couldn't think of a better gift to give myself, and I knew just who to bring with me. My sister was such a great traveling companion and always up for an adventure. Plus, it was because of her boldness that she and I got to meet Karen and Richard backstage the prior year.
The show was much the same as the performance we saw before with two notable exceptions - first, the inclusion of Don't Cry For Me Argentina. The world famous Evita song was beautifully performed as expected, but unfortunately, it was introduced by a bit of schtick. Oddly, Karen introduces the tune by asking Richard's permission to sing it, only serving to reinforce the idea that she was just an ingenue, merely another color on her brother's palette. Honestly, Karen's plea and explanation sounded as canned as it was. Quite a contrast and a definite lapse in the more relaxed conversation she had with the audience during the rest of the show. There was no Balcony on the Casa Rosada preface. Karen seemed to sing to a prerecorded segment as the orchestra had not yet been revealed. The end result was as perfect a vocal performance as you'd imagine.
The second interesting tidbit was the exclusion of All You Get From Love is a Love Song from the set list. As the duo's latest single, I fully expected to hear it live. It would have made a great opening number with its slower intro much like the live version of There's a Kind of Hush. But it was not to be. In fact, thinking about it, I'm not sure they ever performed it in concert. Such a (dirty old) shame.
Karen seemed much thinner than the year before. Noticeably so. But she was as energetic and charming as ever, and she still sounded incredible. I was glad to go see them and expected there were many more years of shows ahead. Little did I know there would only be a few left before she'd be gone.
After
seeing Karen and Richard in Las Vegas, we stopped overnight
in a smaller motel to catch some rest before the drive home. Early that
morning, I found my sister by the pool, talking to some guy. Being curious, I went down there. As it worked out, this guy was
also named Mark. He was my age and from Lake Oswego in Oregon. On his
way home for a short trip to see his parents, he lived in
Long Beach with his grandmother while studying law at the Cal State Long Beach. We hit it off quite well. Discovering we were only about a 15- 20 minute
drive from one house to the other, Mark and I decided to get together
once we all arrived back home.
A couple of weeks went by, and Mark and I connected again. He was funny and smart, and we just clicked, having quite a bit of fun hanging out, going to the beach, driving around, and staying out much too late with the girls we met. But we also stayed out of bigger trouble.
Just a week before the album came out, a brand new and very strange single, Calling Occupants of Interplanetary Craft was released to radio. I saw it on a list of new releases at a local record shop. I didn't know what to think except perhaps that someone was playing a joke or had mistyped some other artist's song title next to the duo's name. I discovered this wasn't the case.
What would be the reaction to a new Carpenters song that had nothing to do with love? It was just so out of character. So unexpected.
(The make, model, and color of my car, but this is someone else's photo.)
Cruising
the California highways, especially Pacific Coast Highway (always refer
to it as PCH if you want to sound like a local) was more than just a
guilty pleasure. I was free behind the wheel. Top down, music on -
usually Karen and Richard or Earth, Wind, and Fire- and the smell
of the ocean made for an intoxicating combination. (It still does.) I
was rarely happier than when I was behind the wheel, at the beach bodysurfing, or at Disneyland.
As you're probably guessing, here's where accident number two occurs. It
was the very end of September, and the perfect early Fall weather made for a
great time to go for a drive. My sister and I hopped in my Fiat X1/9 to
drive to Tower Records on Beach Blvd. She was always a sport
about hanging out with me when she wasn't with her boyfriend now
husband. About ten minutes from our destination, a drunk driver flew over the concrete planter center divider and hit us about 30 degrees
from head on.
We were shaken but not badly hurt. My car was hauled off, and my sister and I waited for our folks to pick us up and take us home. I would be without transportation for several weeks as they rebuilt the front end and fixed the frame and alignment. Mark came to the rescue, taking me out regularly after work. He was a godsend- but the accident was a game changer.
I was rather perplexed by reading the song list.
The upcoming album was finally released. To say the least, the cover of Passage was nothing like what I expected. Once it was in my hands, I turned it over to read the song list only to discover neither were its contents. What in the world was going on? I was confused by what I saw and further confused by what I'd soon hear.
From Music Week UK.
The music industry found itself alternately praising Karen and Richard and ultimately questioning what was going on. The new disc was a huge departure from the past. Reviews from both sides of the Atlantic and beyond were very interesting to say the least.
I'd discover Billboard magazine with this album, but prior to that, I was always reading the Los Angles Times for its music reviews and information. Unexpectedly, the paper's rock/pop music critic Robert Hilburn, long harshly critical of the duo, praised them for taking risks. He honestly seemed to appreciate if not even enjoy the end result. Although not about the Carpenters in particular, Hilburn had this to say when reevaluating his career including his many interviews with the Rock elite:
"Interacting with those figures, I
came to appreciate the tremendous toll that rock can take on an artist's
personal life; how there is often far more drama off-stage than on. In
the end, all it takes to be a star is luck and a commercial sound, which
explains why we have so many mediocre hit-makers. To be a true artist,
you need enormous talent, fierce ambition, an original vision and an
unyielding toughness. I saw some artists triumph because they were tough and others die because they weren't tough enough."
Yes, Karen and Richard had enormous talent, fierce ambition, a very original vision, and an unyielding toughness. On the outside.
Author Ray Coleman, the former editor of the U.K.'s music industry magazine Melody Maker and a big fan of the duo, revealed in his book The Carpenters: The Untold Story that 1977 was the first year Richard went into the hospital for detox, and he did so more than once. (Good for him, by the way!) By this point, Karen was thinner than ever. All of this was off my radar as personally, I was also at a breaking point.
Great candid shots of Richard, but his issues were coming to the surface as well.
The album was released at the end of September with a positive review by Billboard in their October 8 issue. Different industry magazines also gave Passage its due. Record World called it "noteworthy for the way it branches out in material and production"; and Cash Box said "...this is a milestone Carpenters album... A breathless ride on the gossamer wings of Karen's magic-carpet vocals with Richard's steady navigation through new and familiar territory." Magic carpet vocals? I like that!
A rather interesting Billboard review.
That same week the new alien focused single debuted on the Hot 100 charts at a very respectable #71. This was the very week the Star Wars movie theme was at the top of the charts. Not a bad start.
A very nice shot of Karen.
One Monday night, my buddy Mark decided to pick me up and with my permission, take me somewhere I hadn't been in years- church. I was open to all things spiritual and had investigated Buddhism. I liked the serenity it promised, but for me, it never delivered it. Walking into Mark's church, I was surprised to see several hundred people my age come together with a band on stage that looked like a bunch of rock and rollers.
I was intrigued. As I mentioned, I was raised "Jack Catholic", meaning we went to services on every Christmas Eve with my grandmother and sometimes on Easter if the mood struck us. That night, it didn't even feel like a church. It was more like a really happy family reunion but without the sometimes weird dynamics. (And I love them, but boy, did my family have issues!)
Expecting a high church environment and a lot of hymns, the music was actually pretty rock and roll. I was shocked but even more so when this young guy a few years older than me got up on to the stage afterwards. I was not prepared for what he had to say.
Would be perfect if the album was titled Made in America.
After living with years of depression due to a variety of reasons but mainly from being a small child who was repeatedly sexual abused by a relative, I saw no value in my life, no future, and no good plan. Shame was like a dark cloud over me. I was filled with anger and hate toward that relative, toward myself, and toward people who seemed to have an easy life. This young pastor said that Jesus was a loving friend who would never leave me, and he would give me strength, peace, and a life worth living. His words hit to the core of my being. Jesus was God in the flesh. And he alone was the payment for my rebellion, my brokenness, my anger, my sin. He paid it all by dying on the cross in my place because of his great love for me and this broken mankind. If I would trust him, I'd not only receive a promise of life with him for eternity (instead of the Hell I deserved), I'd see him work on my behalf through the struggles in life.
But there was a catch for receiving this free gift- and it was a big one.
In the studio recording Argentina. A very rare photo!
Jesus said, “Whoever wants to be my disciple must deny themselves and take up their cross daily and follow me. For whoever wants to save their life will lose it, but whoever loses their life for me will save it. What good is it for someone to gain the whole world, and yet lose or forfeit their very self?" These verses out of the book of Luke (chapter 9) revealed it all. Jesus wasn't an "add on" to my life. I could receive his life, but I'd have to give up my own to follow him wholeheartedly. My preferences would have to give way to his.
Could I really do this? Could I surrender my life to this Jesus person who promised me eternal life in heaven in exchange for my own? His words as recorded in the Bible were clear- "I am the Way, the Truth, and the Life. No one comes to the Father but by me." He made it so simple and easy to understand. Jesus wasn't being exclusive. He was making things crystal clear and easy to understand out of His great love for mankind. We each had a choice. This young pastor, Greg Laurie, was just communicating something Jesus had already made clear hundreds of years ago. (The recently released movie Jesus Revolution is about this church and this era in Southern California.)
When the offer came to make a decision and receive this gift, a million thoughts went through my mind. But I knew deep inside me something had to change in a big way. I couldn't ignore this mysterious drawing I felt in my heart to give the creator of the universe a try.
Karen on the awards show circuit later in the year.
My heart was pounding, but I decided to say yes that night. With my permission, some folks gathered around me to join me in prayer as I spoke up and asked Jesus to forgive me, love me, and to be the one I'd trust going forward. I'd made such a mess of my life by this point in time, that I was pretty broken. What did I have to lose? Nothing.
It's even nice in black and white.
I wasn't sure what to expect by taking these steps and praying. Almost immediately, I felt this warm sense of hope as more than a few tears rolled down my cheeks. I finally felt free- and clean. I knew I'd gained a fresh start, and for the very first time, I was hopeful about my future.
This one seems like a candid shot.
For the next six months, I steadily walked in peace with a light heart. My depression subsided. Six whole months! That was a new thing. Most importantly, I there was this growing understanding deep inside that I no longer had to live like a victim, but instead, I could walk in victory moving beyond what was meant to destroy me. I could choose to move beyond my circumstances and not stay stuck in the past. Sure, it would be a battle at times- and it still is - but the truth was, God loved me. I wasn't promised an easy life in exchange, but I was loved and now understood God was always there for me. He really was. Now, I had value, and I had hope.
Above images from GDB2LV
on the A&M Corner forums.
Look closely at the acetate.
In an odd sense, with a fresh start in my life, with my next listen to Passage, I soon realized my musical heroes were going through a transformation all their own. I kept going back to the album again and again and again, trying to give it another shot. Certainly, Richard, manager Jerry Weintraub, and A&M Records had a larger picture game plan in mind. Didn't they? Didn't he?
With the emergence of very different types of popular music, mentally I understood he and Karen had to move on from the past to keep things fresh. But could I really accept this new reality, this new Carpenters 2.0? I wasn't sure I could. Yet, they had earned the right to try new things. Would radio and especially their fan base follow them into previously uncharted territory?
It was Karen's voice that initially kept me listening to this disc.
With this latest album, the truth was hard to accept and even harder to admit: Aside from a couple of cuts, I just didn't like Passage. Even the packaging was not to my taste (no photos!), but I had to admit the cover art by Lou Beach was stunning. Of course, I still loved Karen's voice. I certainly wasn't alone in that opinion. Critics could lambast them for everything from wardrobe choice to song selection, but very rarely would they take aim at the quality of her warm tone, unique timbre, and obvious skill.
Enlarge this September 17 Billboard article and read it. Interesting facts revealed.
Not surprisingly, it was only after Karen's death in 1983 that I truly began to reaccess this unorthodox Carpenters disc. When the well of new music has stopped, you're forced to give old records a new listen.
A very nice color combination.
One of the great things about writing these "Revisited / Fresh Look" reviews is that I must listen to the album I'm writing on a few hundred times so I'm not missing something, all the while researching to make sure my facts are correct. Once I published my review on Live at the Palladium earlier last year, the listening and research began.
Did my original thoughts on the Passage album change? Read on.
Did my original thoughts on the Passage album change? Read on.
With the bloom off the sales rose, Richard in a no-win situation. 
Another custom label. Incredible artwork.
It's been 45 years since the original release of Passage, so instead of going into detail about my original thoughts on each song, I'd like to focus on my evaluation of it after almost five decades of listening to it. Why? Like a good amount of life, our perspectives on events, thoughts about people, and our likes and dislikes change as the years go on. Musically, I've grown to appreciate artists and recordings I wouldn't even bother with when I was younger. I certainly didn't understand Passage then, but perhaps I have a more well-rounded perspective now. Let's begin from the top- but don't worry- I'll weave in trivia and random thoughts as I go song by song.
Demanding to be heard!
As an opening cut, B'wana She No Home shocks long time listeners to Karen and Richard's music. There's absolutely nothing even remotely similar to this recording in their vast catalogue, and that is a very large part of its charms.
Let's begin by discussing the most instantly recognizable aspect of any Carpenters tune: Karen's vocals. Her phrasing is crisp, to the point, and uncluttered by the slightest nuance of warmth or approachability. Gone are those long, beautiful whole notes. In its place, Karen sings much higher but certainly not sweetly, yet she sounds assured and utterly fantastic. Her expectations of the hired help are crystal clear. She's direct, business-like and blunt. You can hear Karen on the edge of being condescending as she refers to this housekeeper as "Honey". In short, you just do not want to mess with this woman.
The music surrounding Karen is no less incredible and surprising.
B'wana is quite a sophisticated affair- indulgent and luxurious, playful, and smart. There's an appropriately icy smooth flute solo by Tom Scott that matches Karen's vocals and her biting Joan Crawford approach to the lyrics. The heat in the recording comes from the blazing sax work (also by Tom Scott) alternating with some of the best piano work to be found on any comparable jazz album. Karen and Richard's fellow New Haven Connecticut native Pete Jolly rocks the keys in a manner that straddles jazz and rock much in the same way that Kenny Kirkland does on Sting's live version of Bring on the Night which would come years later in 1986. The percussion and congas on B'wana create a solid backbone for the magic we hear. The album's liner notes make mention that this is one recording that was done live in studio, and you can hear it in the end result as each musician plays off each other.
While some fans have considered this piece, (and even this album,) too little of Karen and Richard, a closer listen reveals the duo giving us some of their best background vocals albeit in a very different style. Bold, unexpected and energetic, Karen and Richard sound invigorated, alive, and invested. It would be right at home on Steely Dan's jazz rock album Aja- which was actually released around the same time as this Carpenters album.
This is clearly not A Kind of Hush Volume 2.
On an album that is brimming with musical diversity, this selection is the revelation on the collection, a musical tour de force. As the main producer, Richard brought together exactly the right players to make this brand new Michael Frank's song shine, and Karen provides an unexpected, commanding performance which highlights her varied skills and range. While the record rarely makes it on one of my many homemade Carpenters compilations, B'wana She No Home is a song I just love, and I find myself hitting "Repeat" over and over again before the disc ever moves on to the next cut.
Karen's 350, honey!
In keeping with the "fun" spirit, I'm going to play with an idea for a promotional video that Carpenters fan "goodjeans" first described on the A&M Corner discussion boards. Suggesting a B'wana video along the lines of Belinda Carlisle's "Mad About You" showing Karen "all coiffed and sexy,
driving thru S Cal in her 350. A bitch on wheels video would have been
great."
Here goes one more piece from a sometime armchair quarterback: The video I describe would have been a great opportunity for Karen and Richard to do a send up on their image as well as address the idea that Karen was some kind of mindless puppet in Richard's hands.
The video opens with Karen in her Beverly Hills mansion addressing a line up of the hired help. Only the back of their heads are shown as she walks past them barking instructions. She heads out the door and hops in her 350 for a day out with the gals. Clearly enjoying the fruit of her career and fame, it's time for lunch on the swanky Rodeo Drive patio with her friends. (Perhaps even cameos with some of her more famous ones.) There's drinks and lots of laughs. A hot jazz band plays behind them. Paparazzi flash their cameras. Men walk by and flirt with her but Karen pays them no mind. By this point, as the music plays, fans watching the video are beginning to wonder where Richard is.
After lunch, it's time for some shopping. When Karen goes to put her multiple bags in the trunk, at just the right moment, it flies open, and we see Richard tied up in a lot of rope as he voices the single word "B'wana" before she closes him back in and takes off down the road. This total lampooning their image would show a great sense of humor and clearly communicate the old days are gone.
One aspect of the selection and recording of B'wana that I've come to appreciate is this: As the first cut, the song totally dispels the idea that these songs are autobiographical, making the album immediately unique from those that came before or after it. In fact, there's not a single Carpenter / Bettis tune on Passage. Most likely, the duo's recordings were never autobiographical aside from a few selections. This is a testament to Richard's exacting, overall perfect song selection and Karen's intimate and nuanced delivery that the records feel so personal. There's so little of Richard on this tune, but according to the liner notes, he did arrange and orchestrate. I wonder if it surprises (or perhaps even saddens) him that many Carpenters fans consider B'wana the most successful song on the album.
Rare shot of Richard with his glasses on.
In reading many of the books, articles, and interviews since Karen's death, Richard shares that they were looking for a fresh sound at the hands of a new producer. They were this close to working with Joe Wissert, the mastermind behind Boz Scaggs' incredible Silk Degrees album. On the female side of things, Joe also produced great songs by Helen Reddy- including Ain't No Way to Treat a Lady, and her version of Leon Russell's Bluebird. The possibility for a different and very compelling collection was certainly there. But, getting cold feet, Joe eventually backed out and left the producer's job back in Richard's weary but capable hands.
The press kit- with a photo from A Kind of Hush???
He was certainly burned out as some of his other duties fell by the wayside. Inside the press kit for Passage Richard admits, "I had two years worth of material that had been submitted piled up in my music room, and, apart from looking awful, I figured I'd better catch up on it."
Finding great material was something he usually excelled at, and it is the foundation of a great album. The lukewarm response to A Kind of Hush proved that when the material is weaker, the end result suffers.
The plan for Passage put this very talented man in a difficult position.
Based on the extensive recording dates compiled by Chris May in the Musical Legacy book, B'wana was recorded April 15 and 17, just a few days after similar session work was completed for All You Get From Love is a Love Song. In my mind, this signals that Richard was very serious about coming back with a different take on their sound after the negative reviews and rather disappointing sales of A Kind of Hush- even if it came at his expense.
When no one dared signed on as producer, Richard had a very tough decision to make: Continue on as always or take some desperate measures and attempt to resurrect their decreasing radio play and shrinking sales. In his mind, this meant less of his style and imprint and more from others. Thinking long term for their career, what a selfless path forward he chose. Kudos to him for doing the hard thing!
A new producer may not have been necessary. B'wana hints that maybe
a different vocal arranger and a more varied rotation of session musicians would have given the duo the fresh sound they desired. The artistic choices Richard and Karen chose brought back the
energy and sparkle found on their earliest two albums, making listeners discover the Carpenters anew. Mission accomplished.
U.K. Radio promotional disc.
Coming right after B'wana, the first single from the album sounds almost sparse in comparison, but it's not at all. A closer listen reveals the All You Get From Love is crafted with one hook following another. With slightly
revised lyrics from the original, Richard's arrangement took a pleasant sounding piece
from writer Steve Eaton and turned it into one of the best upbeat songs in the
duo's entire catalogue. It still sounds as bright and modern and engaging today as it did in 1977.
Years later, All You Get From Love would remind me of the style of Rock the Boat, the much loved hit by The Hues Corporation in 1974, but with its lyrical antithesis. Both records use nautical imagery, but the Carpenters tune focuses on love lost instead of love gained.
My favorite shot of the duo in sessions with Harry Langdon.
One more proof showing that different vocal arrangements can make a big difference in the Carpenters sound, here the duo sounds revitalized, very contemporary but not in an "Adult Contemporary" way. This is due in part to renowned session singers Maxine Waters Willard and Julia Waters Tillman joining Karen and Richard, adding just one more layer to their own unique wall of sound. Lastly, Maxine later appears on the Carpenters Made in America album on Strength of A Woman. Additional research gave me one more piece of music trivia to share with my music trivia loving oldest son: the sisters also provided backup up vocals, playing the role of the Supremes (who were in reality missing) on Diana Ross' epic Someday We'll Be Together, one of my all time favorites from any genre and in any decade.
definitely with mixed results.
The opening notes of the third selection, I Just Fall in Love Again, held promise. This brand new song gave Karen a wonderful set of lyrics to interpret, and as expected, she doesn't fail to draw in the listener.
Lyricists Gloria Sklerov and Harry Lloyd's delicate words are full of yearning. They are just made for Karen to sing, and her interpretation is conversational but soul-bearing. Perhaps for the first time ever on a Carpenters recording, the lyrics provide clear sexual overtones without being explicit: "Dreaming, I must be dreaming or am I really laying here with you?" At least for the first two minutes of the song, I'm mesmerized, and then sadly, it all falls apart.
So why isn't the song undeniably successful?
There's a plethora of photos from this shoot.
The orchestration is the culprit. It gets bombastic. Englishman Peter Knight is certainly gifted, but he overloads the song with excess from every angle, forgetting the music is there to serve the artist and not the other way around. Taken on its own, this dreamy, symphonic tidal wave is absolutely gorgeous- truly stunning - but on a recording meant to highlight one of the world's most loved vocalists, the listener ends up remembering all the strings and Tony Peluso's guitar instead of Karen’s incredibly intimate performance (this is until she follows the swell of the orchestra).
Adding to this beautiful mess is the background choir. Once again, it's a mistake, revealing someone did not learn from the misstep of its use on the previous album's centerpiece, I Need to Be in Love. All said, when I hear the record, the individual parts are stunning, but when placed together, it just doesn't work to create an iconic number.
Ultimately, the length of the album's first ballad was not the only factor in it being overlooked as a single. There are many beautiful moments on I Just Fall in Love Again, but oh what a record it could have been.
Just when you think the whole production of Passage could not grow any larger or be more in your face, here comes On the Balcony of the Casa Rosada, the operatic introduction to the Evita standard Don't Cry For Me Argentina. Two friends of the duo make an appearance on the song. Dennis Heath is the first voice we hear, playing the announcer. Wes Jacobs shows up in the orchestra, playing on two consecutive Carpenters albums.
Karen and Richard with Dennis Heath (taken Christmastime 1982).
At Richard's request, the Casa Rosada/Argentina recording was one of three selections Peter Knight would orchestrate for the latest album. Only one is of the three is fully successful- and Argentina suffers from the same excesses as I Just Fall in Love Again.
With old friend Wes Jacobs during the recording of Argentina.
Karen starts out beautifully, but by the end of the production in those last defining 50 seconds, she's once again dominated by the orchestration and the background vocals. She holds her own when compared to the numerous artists who have recorded it, including Karen's good friend Olivia Newton-John. In spite of her performance, Knight's artistic choices kill its opportunity to be the standard by which all others are measured. I've grown to appreciate the selection as the years have passed, but I definitely have to be in the right mood for it... especially with the Casa Rosada intro.
Brazilian promotional disc.
I never invited them in
Though it seemed to the world they were all I desired
They are illusions
They're not the solutions they promised to be
The answer was here all the time
I love you and hope you love me"
The break in Karen's voice as she then sings the title is a masterful performance. Sure, she would often be the clown on camera, but Karen proves once again that on record, she could break our hearts as well.
After the four very different songs on side one of Passage, I definitely did not know what was to come when turning the vinyl over. Each cut was just so different from the ones before it.
Sweet Sweet Smile for the Latin market.
On traditional Carpenters albums, Richard took a very intentional approach on each album, viewing individual songs as part of a whole that was perfectly designed to work together and create a mood. Conversely, this album with its many styles, feels disjointed, choppy, even just thrown together. It's certainly not a casual listen. The disc requires your attention. In hindsight, I believe the album's sequencing was an intentional choice on Richard's part to keep things unexpected, allowing the listener to evaluate each song on its own.
One of my favorite ads ever for a single by Karen and Richard.
The new album certainly caused listeners some "what on earth were they thinking" moments, but I vividly remember Sweet Sweet Smile being the one new song I instantly loved. And I still do.
There's an authenticity in Smile that transcends the fluffier Jambalaya from the Now & Then album. Nothing's tongue in cheek here. With the infectious bass and guitar, joyful banjo, and honest-to-goodness fiddle, their recording of this previously unrecorded Juice Newton tune is so much fun, it's just impossible to resist. Karen- who picked the tune to record- pours it on like back in her earlier days, singing with pure delight. The spunky background vocals only add to the party. You just can't help but sing along...and hit the "Repeat" button.
Smile is not a pop version of a country song. It is a country song and a very good one at that.
The Country chart the same week as the article above.
With minimal promotion from A&M Records, the third single and last from Passage made the Billboard Hot Country Singles Top 10 even if it only landed mid-chart on the Hot 100.
...and again in 1973.
When A&M realized they had an unexpected hit on their hands and in a market the duo had never before conquered, they took advantage of the opportunity. Creating a promotional Country Collection disc, Smile was accompanied by Jambalaya, Top of the World, and the duo's first recorded country song, Reason to Believe.
Talk circulated that Karen and Richard would record a country album next. When asked about that plan, Karen said, "We
wanted to cut something else country. We discussed it with the Company.
They said that would be terrific, but, then all of a sudden everybody
leaned on us for a country album, at which point Jerry Moss almost lost
his hair. I mean, let's face it, our first priority has to be to get a
pop album. That is the most important, but, we definitely want to try
country again. We love and enjoy doing country music."
Whether it was in fact A&M's Jerry Moss, manager Jerry Weintraub, or someone else that put a stop to recording an album like this, they did the right thing. Not only would the Carpenters be difficult to sell as country artists, it just isn't who they were.
Let's have some fun and play "What if?" With the duo was looking for a way to be seen with fresh eyes as well as being well received at radio, I would taken them back to their very beginning. Instead of a country collection, imagine a jazz pop flavored promotional disc. Included could have been This Masquerade, A Song for You, and an extended Our Day Will Come, along with B'wana She No Home. They could have even tossed in Caravan and Iced Tea for some historical perspective. Perhaps even adding in the moody, previously unreleased Ordinary Fool recorded just a year earlier.
Image wise, a Jazz/Smooth Jazz take would have been a much easier sell. The Smooth Jazz genre was just heating up, with George Benson leading the way. His take on the Carpenters This Masquerade was made his own, and it went to the upper end of the mainstream pop charts. This late night radio sound is perfect for Karen's voice. As well as offering the Carpenters a greater variety of songs and styles to choose from for future recordings, this would have been a good and natural fit.
Following Sweet Sweet Smile, the understated Two Sides snuggles nicely against it, offering a plaintive take on a relationship gone sour. Hints of the subtle beauty found on Hush and Horizon are few and far between on Passage, but there's plenty to be found here.
The line up of musicians on this number is among the most interesting of all selections on the album. Beginning with the always great Joe Osborn on bass and Richard himself on the electric piano, we've got drums played by Ed Greene, then best known for playing on Barry White records.
There's not one but four guitars featured here, giving the song its very elegant wall of sound. First up, Jay Graydon on acoustic guitar. He's found on many early pop hits by the Jackson5 and in the 80's on those by Al Jarreau among many, many others. Next, famed jazz guitarist Lee Ritenour makes one of his earliest recording appearances here. The pedal steel guitar is played by the one and only true country artist on the tune, Jay Dee Maness, Not to be lost by any means, fan favorite Tony Peluso plays electric.
Don't miss this: It is a testament to Richard's creativity that he brings together players from very different genres (pop, rock, jazz, R&B) to create a very solid and convincing country song.
The layers of guitars, the bass, gentle drums, and piano create a mood that could be mistaken for a lullaby. Not a single instrument fights for center stage, even if the steel guitar is most noticeable. It's the contrary lyrics that provide the bite in the story. Karen's self-duet on the words "You and me, babe" comes with an edge not heard on any previous recordings. There's a conundrum brewing, but we can guess there is not going to be a happy ending.
The lack of overall showiness is in the song's favor as the focus stays on Karen's impeccable gift of interpretation- another great storytelling performance. But the ambiguity in the lyrics is matched by the end result. That same muted presentation leaves the record without a strong and memorable hook, relegating it to an album cut.
Two Sides can be an easily overlooked song, but when Karen signs off with "goodbye" at the tale's end, it's as if we are hearing mournful angels in the distance as she rides off into the sunset. An ethereal moment to be sure and one of the collection's best.
It's now time to talk about the one song on Passage that I just don't care for. The sole oldie but not a goodie on the collection, is a strange tune recorded by numerous folks over the decades and with varying lyrics, some of which are very politically incorrect. Man Smart Woman Smarter first it hit big with Harry Belafonte in the mid-1950's, but it has been covered numerous times by artists as diverse as Roseanne Cash and sung in live sets by the Grateful Dead.
Following the rather traditional sounding Two Sides, the next song seems out of place even on this very eclectic collection. Rather than the elegance and sophistication of B'wana or the countrified charm of Sweet Sweet Smile, the duo's take on Man Smart is clunky, harsh, and cluttered. Even with the legendary Leon Russell on piano and highly respected jazz saxophonist Jackie Kelso as part of this all star band, the recording is a misfire.
Just a disaster.
(Can the song get any worse? Yes actually, when it was performed with Suzanne Somers on the Carpenters Space Encounters television show the following year. This slice of the television special is cringe worthy.)
Robert Palmer's 1976 version of Man Smart Woman Smarter features more prominent use of the steel drums, giving it a more island feel than that of Karen and Richard's, but there's no denying more than a good dose of inspiration was found from Palmer's record. 
Tough years around 1977, but he is still a musical prodigy!
The Passage Foreplay sampler.
I absolutely love the Carpenters versions of these songs, but stop and listen to the originals of Make Believe It's Your First Time, (Want You) Back in My Life Again, Prime Time Love, the ABBA hit Thank You For The Music, and yes, as I'd sadly discover years later, All You Get From Love Is A Love Song. Not much changed between the initial release and the Carpenters rendition.
The whole of Passage sounds very assured which is quite ironic as behind the scenes, Richard's self confidence in his strengths was at an all time low. As revealed on this cut, he started to rely more heavily on other artist's design and structure for a song as the foundation of the Carpenters version. Perhaps this is the reason that the excellent Musical Legacy book has the least amount written on Passage of all the albums Richard discusses.
From my friends at the A&M Corner.
The song's All-Star band doesn't even save the record. Unless I'm determined to listen to the album all the way through, I skip Man Smart Woman Smarter every outing. According to what I read on the A&M Corner forum about this particular number, it seems I am not alone in my assessment.
The last song on Passage is undoubtedly its strangest but also one of its most commercially successful. Calling Occupants of Interplanetary Craft (The Recognized Anthem of World Contact Day) was a song no one could have predicted to be recorded by Karen and Richard let alone be an international hit.
Extravagent
showstopping songs with out of the ordinary topics were
always in the lexicon of rock and roll. They first came to prominence in
the 1960s as drug induced creations became popular. Ambitious, lengthy, atmospheric, and progressive, they usually had odd lyrics to match their out of the ordinary musical structure.
The Beatles had hit after hit during their psychedelic period. The Peter Knight orchestration of Nights in White Satin gave the Moody Blues their signature record in 1967, and Procol Harum had major success with A Whiter Shade of Pale. Just a year later, actor Richard Harris mined a huge hit with the Jimmy Webb tune MacArthur Park. By the time Led Zeppelin released the epic Stairway to Heaven in 1971, the precedent had long been set for this type of non-traditional radio single. And it has been here to stay ever since.
Written by its two of its three members, John Woloschuk and Terry Draper, Canadian group Klaatu was the first to record Occupants. It became a success partially due to a journalist's question of whether or not they were actually the reunited Beatles.
Comparisons with the Carpenters set aside, Klaatu's version is actually very good! Perhaps even equally successful. Clearly different than what Richard envisioned for their version, it is more psychedelic, more synthesized and less symphonic. Specifically, the Beatlesque vocals are an incredible piece of ear candy. Richard apparently agreed, telling an interviewer, "I loved it the first time I heard it."
This time, Richard reimagines the Klaatu song to great success.
Once listeners gets past the whole disc jockey introduction (and its sleek, shimmering jingle), the Carpenters play Occupants straight, giving the record a deeply foreboding tone. Beneath Karen's dry and clinical vocals, there's a consistent uneasiness about what may lay ahead. Richard's alien vocals are an unexpected touch, prominent, and very effective.
The
recording does drag a bit at opening, but once Richard's mini piano solo hits, the build up to the climax works perfectly. Magnificent
backing vocals, perfectly placed trumpets and Tony Peluso's searing fuzz guitar bring it all to a satisfying conclusion. Not a synthesizer to be found.
Peter Knight's vision in grandiose orchestration actually works very well here, strengthening the record, unlike what happens with I Just Fall in Love Again or Argentina. Those soaring strings drown out most everything else, and the intensely dramatic choral arrangement emphasizes the impending doom. All fully appropriate here and truly quite beautiful.
(Thanks, Rick!)
Even the band members of Klaatu were impressed: "They were much taken with our endeavor and decided to record "Calling
Occupants" with a full orchestra and choir… much to our delight.
Actually, Terry and I were both fans of the Carpenters long before this.
Karen's beautiful voice and those lush arrangements and those chromatic
chord progressions...Actually, we see it, or should I say, we hear it…
as the ultimate compliment. This song is unlike anything that The
Carpenters had attempted previously and they nailed it. I think their
version is more accessible than ours… more mainstream…"
It was a particular thrill for band member Terry Draper: "I was a closet Carpenters fan, in fact...When she sang my song, it was a highlight of my musical life."
Klaatu members show a nice note from Karen and Richard.
In a very kind gesture, upon the release of the new album, Karen and Richard sent the band a pressing of Passage with a personal note: "We've been observing your group! Thank you for your music."
Putting some thought into getting additional sales from the highly edited single, for the flip side, Richard reworked the previous album's Can't Smile Without You. Adding clarinets and a different vocal piece, it was an incentive for a more traditionally minded Carpenters fan or completists to put down their hard earned cash. The resulting work is certainly different, but it sounds choppy and poorly mixed.
Calling Occupants was given a radio-friendly
single edit, but it just doesn't give all Richard's hard work its due. The album version is the masterwork. For this, his peers in the industry rightly nominated him in the "Best Arrangement Accompanying Vocalist(s)" category, but Richard lost out to Ian Freebairn-Smith for his work on Barbra Streisand's smash "Love Theme From A Star Is Born (Evergreen)".
There was an even longer, extended introduction that was put together for the record. It included segments of KC and the Sunshine Band, A&M's Chuck Mangione, a Spanish language broadcast, Gospel radio, and a nice slice of Andy Williams crooning We've Only Just Begun. It's hard to find as clearance to use the segments was probably denied and the project abandoned, but it is out there.
With a history
of magnificently designed singles, I can't really rate Occupants high on any
list of my favorites, but that doesn't take away its worth, quality, or value. Many fans in the U.K. would argue with me, as in a 2016 poll, the alien themed record landed at Number 5 in a list of the nation's Carpenters favorites.
Take two.
The record was a solid but not spectacular hit in the States. In different parts of the world, it became one of the duo's strongest sellers in years. Breaking into the Top Ten in the U.K., it even hit Number One in Ireland. Occupants was a consistent part of radio in Australia and New Zealand, earning them Karen and Richard fans and the respect of critics. The single also made a strong showing in Canada and landed in the Top 20.
This last success could in part be due to the country's broadcasting law established in 1971. To receive a license to broadcast, the Canadian
Radio-Television and Communications Commission required stations to dedicate at least 30% of their programming content to Canadian artists. The Carpenters were obviously not Canadian, but the members of Klaatu, who were, would certainly benefit from it.
Surprisingly, A&M was on top of promoting the new single with an elaborate and expensive music video. The Carpenters mini movie featured visual images by artist Andrew Probert, well known for his art in the world of science fiction. In the Fall of 1977, it would be played only in international theaters, including as the opening to Star Wars, which was still in high demand a full six months after its May release date. With Steven Spielberg's new film Close Encounters of the Third Kind coming around the same time, science fantasy was hot, in a sense giving Occupants indirect promotion.
Promoting the album at Los Angeles' TenQ radio.
Karen and Richard went to the local Los Angeles radio stations to push the album and their more artistically mature image. In addition to a stop at KRQQ (above photo), they also gave an extensive 25 minute interview to the legendary Wink Martindale at KMPC radio. Of course, Richard is as brilliant as ever and Karen equally charming.
In spite of their success at promoting their new sound, it seemed as if their manager undermined their efforts
by contrasting this out of image album release by following it with a very traditional
television Christmas special featuring definite old school co-stars and an old time approach. Unlike their first special's guest, a very hot John Denver, there was no one in it to draw a hip crowd. The following year, image problems were made even worse with the duo's worst television special: an alien themed Space Encounters show- a bad premise made worse by cheesy effects, cartoon inspired aliens, bad dialogue, and more B grade celebrities lending support to it all.
Striking color combination!
But you just couldn't blame the Carpenters label, management, or anyone else, when this quote by Richard is used to begin the text in their press kit. Sometimes, they were just their own worst enemies! Explaining their image, he says:
"We were the first brother/sister act since Fred and Adele Astaire. People didn't know how to approach it, and a lot of pictures went out looking more like a sweetheart type of thing. That had a lot to do with it."
Who? This is Rock and Roll, not the 30's, or 40's so why bring this up with influencers for a "here, now and what's next" focused industry? The statement comparing themselves to the Astaires may be true, but it was definitely self-defeating and out of touch. Certainly a misstep of communication toward pop and rock fans and Top 40 radio as well. Unfortunately, this line was repeated more than once or twice in their career by both siblings, much to the detriment of their image.
(The full press kit interview follows.)
In spite of interviews such as this available to those forming public opinion, and especially those who stated opinions before actually listening to anything Carpenters, Passage was rather well reviewed.
It's a project for listeners with an open mind. Naysayers and fans alike.
Fresh beginnings.
For the survival of their career - maybe even for each of them personally as well- Karen and Richard had to break free from the past.
I did the same. Sure, there's been lots of hardship, disappointment, and betrayal in my life, but I do not regret my decision to follow Jesus down that new path.
Gold- but worth so much more.
The album barely broke into the top half of the music charts in the U.S.A., and it failed to go gold upon its initial release. There was much greater acceptance and sales of it in both the U.K. and Japan.
Yet, like all good things, the risk was worth it. Modern, ambitious, and with a never-a dull-moment energy, Richard and Karen gained some critical respect, new listeners, and perhaps a new lease on life. Years later, even die-hard fans would come to appreciate what the duo has achieved.
With its wide range of guests artists and a no holds barred approach,
Passage would mark a few firsts: there's no Karen on drums, not a single Bettis/Carpenter composition, and it is the very first time the upbeat songs on a Carpenters album were stronger and much more memorable than the ballads.
Richard must love the album cover as well.
Passage would mark a few firsts: there's no Karen on drums, not a single Bettis/Carpenter composition, and it is the very first time the upbeat songs on a Carpenters album were stronger and much more memorable than the ballads.
It is as
if the duo threw away the rule book as to what made a great Carpenters album... and made a very interesting one instead.
By tossing the old ways aside, the artistry of what they'd accomplished with their previous discs was strengthened and not diminished. This album makes you look backwards with even greater appreciation and respect- especially for Richard's numerous talents.
At
first I felt cheated. It didn't feel like a Carpenters disc, but now years
later, I enjoy it for the fresh sound and diversity- proving something I'd always believed: Richard and Karen could
successfully create in almost any genre if they wanted.
Often
a recording artist's most interesting albums are the ones made once they are
free from trying to maintain or grow huge record sales, long after
releasing their career notable hits. Perhaps there is just a new freedom to create, explore, and experiment. Maybe creating music is just fun again.
Passage is a work Karen and Richard could be proud of!
Listening
to it is akin to going to the Museum of Contemporary art when
you're really a fan of French Impressionists; some you'll like, some you
won't. You may even grow in appreciation of what the artist accomplished, but you certainly won't walk away indifferent.
What would come next? For me, there would be many changes- one I never expected- and just a few more opportunities to see my favorite musical duo. For Karen and Richard, they'd continue working as hard as ever. Fans of their traditional sound would be thrilled by one of the most beloved albums of their career, Christmas Portrait. The way there is another step in a very interesting journey.
------
Much
thanks to everyone who contributed the images above, particularly to my
friends at the A&M Corner forums. The community there is just
incredible, warm and authentic. Thank you for being who you are and for
allowing me be who I am.
----------------
This is the latest review of Carpenters albums in chronological order beginning with Offering / Ticket to Ride. I've
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.
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 was honored to be interviewed for Randy L. Schmidt's excellent Carpenters: An Illustrated Discography.
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:
Mark, thank you for all the effort, research, thought, and care to write this comprehensive, insightful blog on Passage. The fact that you dove deep into your personal life and experiences, including your spiritualism, coming-of-age snippets in southern California, and struggles with depression, enhances the piece so much so that it begs undivided attention. I am not only impressed but moved. I am probably the same age as you. I can relate to much of your story. An escape from my own struggles was always Carpenters' music. It was exciting when a new Carpenters' single was played on the radio. You always complement your blog with amazing photos, promotional ads, articles, etc., some of which I am seeing for the first time. Thank you for everything, Mark! Bravo!
ReplyDeleteThank you so much, Jamesj75!
ReplyDeleteI appreciate the feedback. As you can imagine, it can be hard to share such a personal story, but what is the struggle worth unless we can help others with the triumph that can come from it? If one single person is encouraged and even one life saved, I will consider my transparency worth it.