Carpenters Revisited: A Fresh Look at Live in Japan

Note: Today marks the 38th anniversary of the passing of Karen Carpenter. As part of Carpenters, she and brother Richard created some of the most beloved recordings of the 1970s and 1980s. Below is a continuation of my series reviewing each album as it was released. I'm up to the 1974 album, Live in Japan. Enjoy!

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It is ironic that the very first live Carpenters album was recorded and released in a country other than their homeland where Karen and Richard first became well known. The in concert collection Live in Japan also occupies a very interesting space in their career as well as in the story of how the duo's music impacted my life. It is a snapshot in time not easily forgotten. As exciting as it was to find this two disc collection, truth be told, it is one of their albums I listen to the least. Maybe the very least.

Recorded in Osaka in 1974 during their Japanese tour, it was finally released on March 7 the following year. In contrast to most of their U.S. releases to that point in time, this is one stunning album cover! Against a crisp black background, the famed Carpenters logo in red and the title of the album in blue made for an eye catching presentation. Both Karen and Richard seem absorbed in the music each in their own unique way. He is intense and focused on the keyboard, while Karen seems in another world, conveying a story in the words sung.  

The longest wait ever from purchase to first listen.

Back to the beginning of it all. Honolulu, Christmas Day in 1975. Where my parents once struggled to make ends meet, they now were flush with cash due to a change in career a few years earlier. This resulted in something I'd never have dreamt: a trip to Hawaii as a Christmas present. Not just any quick trip, however. My parents, my sister, and me for three weeks on three islands in fairly deluxe accommodations. More than enough time to fall in love with the islands, easy living, and the tiki culture. I'd been to Kona Hawaii restaurant in Garden Grove many times prior and enjoyed the food and atmosphere. Of course, Disneyland's tropical Adventureland held the Enchanted Tiki Room whose music captivated me. So, I was well primed for the vacation of a lifetime. 

Landing in Honolulu on Christmas Day was only the beginning. Several days later, while visiting the Ala Moana Mall in Honolulu to do some souvenir shopping, my eye caught the local record store. I never could resist a stop at one. Straight to the Pop section, I found the divider labeled "Carpenters", unexpectedly yielding treasure. I had not seen or heard of "Live In Japan".  

I quickly grabbed the one copy in the bin. Flipping over the album to the back, the song lineup was fairly expected aside from the different song list for the Oldies Medley and the fact there were no songs from Horizon which had been released earlier in the year. It took me awhile to figure out that the album was older than I thought and not a recent release. Anyway, being this album was discovered during week one of our trip, it would be two whole weeks more before I would listen to it. Pure torture, but I had Hawaii to explore, so I think I was happily distracted.

An album poster inside. 

Both Karen and Richard looked relaxed and rather comfortable

in their traditional Japanese kimonos.

I was in love with the island life and didn't want to go home and back to school even if it was my senior year, but I did have a consolation prize waiting for me. The first of two discs was finally on the family stereo. At first I thought something was wrong with the vinyl. There were electrical sounds, a bit of a sound check, and finally the audience stirring. Then, at last- "Ladies and Gentlemen, the Carpenters". The opening notes of "Superstar" burst forth. As I said earlier, this was the real moment of truth: Would the one and only Karen Carpenter sound as wonderful live as she did on record or was their sound just Richard's genius and pure studio wizardry? 

I was not disappointed. 

An almost full song trio of Superstar, Rainy Days and Mondays, and Goodbye to Love came to life, revealing I had not been wrong. It all seemed so easy for her, so effortless. The band's expertise was, honestly, solid but secondary to The Voice. Karen in control of her gift, fully  confident and relaxed, and it showed. A sweet sounding Top of the World was followed by an ambitious take on Help, closing Side One of four. With barely 15 minutes or so on one side, I was rather surprised  by its brevity. Intended as solely a release for the Japanese market, I'm sure the time limitations of the highest quality vinyl to ensure the best sound possible came into play.

Mr. Guder opened the flip side of the first disc. In later years, I'd come to appreciate the artistry of the song, but at 17 years old, I was expecting something very different. After five well received if not chart topping albums, playing songs from their early days seemed a bit odd. Maybe even - gasp- self-important. This songs rather blunt and unflattering lyrics unveil youthful arrogance, but performing it did give the Carpenters band a chance to show off their gifts, particularly Bob Messenger and his brilliant flute solo. I'll contrast my earlier thoughts to say I have always appreciated the time Richard and Karen took to publicly acknowledge the men behind them. Like most things of value, it is usually a team effort. Pride and humility coexist in the best of us, yours truly included.

Cover of the 4 track Jambalaya EP.

The question lingered. Where was A Song for You, This Masquerade, or Baby It's You? The possibility of songs I wanted to hear seemed endless, and it was a surprisingly strong but not tender sounding version of Close to You that came next. It's the same song but not nearly as effective as what was accomplished in the studio. There's a lightness and angelic sound that must have been difficult to capture live. Still, Karen and Richard sound great, and the band does a more than credible job at the impossible to duplicate background vocals.

Jambalaya was also enthusiastically received by those in attendance, this time with instant hand clapping to the beat. (I now know the single was a big hit in Japan and the U.K., but it isn't a favorite of mine- even after all this time. See my Now & Then review.) To make things even worse, Karen's "C'mon!" encouraging the audience to greater response is awkward at best. I find audience participation songs rather strange, but it is what it is. Tony Peluso's guitar is strong as usual and a bit different than the single. So is Doug Strawn's saxophone work, making the live version worth the listen. Letting the band stretch and play some different notes and variances was a wise move by Richard for the sake of the listeners. I already had the definitive studio recordings, and I wasn't expecting sonic duplicates of what I'd already come to know and love. Regardless, this popular country tune was followed by a very nicely done Yesterday Once More and a faithful but mesmerizing Hurting Each Other. The second side of the first album was complete. Again, short in the number of minutes, but at least, it was good.

Photographer unknown.

On to the second record. A ten song Oldies medley with Tony again playing the disc jockey comprises the entire side here. Beginning with Little Honda, the band rocks it- and Richard's vocals are energetic and spot on. It's a good if not perfect match of song, arrangement, and vocalist. Interestingly, during this particular live medley, Karen is one of several vocalists and almost equal to everyone else in representation. This doesn't mean I was left wanting, though. 

 Karen's deep, warm, rich tones and vocal perfection are in the spotlight on End of the World and on the charming, (Could there be a better word for this song? I think not.), Johnny Angel. This particular song loses a bit when compared to the studio as she logistically can't duplicate her own light as air layered backing vocals. In contrast, Da Doo Ron Ron lets Karen play and rock at a whole new level. The band certainly had fun with this tune, and you can tell the audience did as well. Leader of the Pack is very awkward with its spoken word approach. This should have been replaced with something better, but at least it was a fresh listen.

Comedian Pete Henderson was also on the tour and on the medley, providing a different set of vocals to more fondly remembered songs. Runaway is his standout performance and features a searing guitar solo by Tony "the Bone" Peluso, his best of several found on the album. That said, it should have been Richard singing lead here instead of Pete. Why? One of the best numbers on this side of vinyl features his singing front and center. Daddy's Home is just great any way you dissect it.

By his own admission, Richard is merely a passable vocalist, yet given the right song and arrangement, he's pretty darned good and can create a solid, enjoyable record. Post Now & Then, Richard's never again the lead singer on Carpenters records (Christmas albums aside) and rarely prominent in the background vocals. Was this decision a mistake? Perhaps. On the other hand, it seems Richard used later albums to showcase Karen as the incredible once-in-a-lifetime talent that she was as well as focus on his production skills. It's certainly a tradeoff, leaving fans of the first several albums disappointed but perhaps those of Horizon and the Music, Music, Music selections pleased.  

Shuboom and Book of Love with their vocal stylings by the band keep the mood upbeat and light-hearted, showcasing the variety of styles found in early rock and roll. The final cut, Johnny B. Good features neither Karen or Richard but another lead by Pete with guitar by Tony. For a few minutes, it's easy to forget this was the concert of a band labeled "Easy Listening" by their critics. Still, I find the song an odd choice as I think Karen and Richard should have been the focus of the last song. Upon first listen, I was honestly shocked by how the medley was all put together. A mix of good and bad. Pete's a fine vocalist but he's not Richard, and this is a Carpenters album after all.

Looking good!

The last side of Live in Japan begins with Sing. I'd grown to love the simplicity of it and didn't expect anything special, so hearing Karen perform it partially in Japanese was delightful.  It was also an honoring and savvy gesture toward their huge fan base in the Land of the Rising Sun. The power of that kind of personal touch and the loyalty it inspires can't be underestimated.

This promo shot formed the basis for the new

Carpenters silhouette first seen on the

Only Yesterday single.

Three fan favorites comprise the end of the show. Sometimes is simple and lovely. Certainly even more so poignant since Karen's passing and the end of the duo. Richard's playing is elegant and understated. Karen matches the style with the maturity of those singers twice her age. It may have only been her interpretation of the lyrics, but part of the skill she possessed in executing her craft was conveying she fully believed if not lived the content. This seemingly effortless ability endeared her to me and to generations of listeners all over the world.

We've Only Just Begun was next and the one to make me a fan. I love the version here, but it seems to me that Karen may even have shown a slight side of being self-impressed as she plays with the phrasing of the lyrics. Certainly, by this point in her career she was used to hoards of adoring fans, records selling by the millions, and industry accolades.  Maybe she was becoming aware of just how good she was. I could be playing arm chair psychiatrist here. Perhaps she just tried something new. 

The encore choice of For All We Know ends it all. Another lovely and sensitive performance. After a little over an hour, it was over. The culturally reserved crowd was as appreciative as I was. The album came off the record player and back into the sleeve, leaving me deep in thought.

I found myself realizing I now had to see them live for myself. Little did I know, that was coming sooner than I expected... along with a chance to meet Richard and Karen backstage.

Front and center where she belonged.

For a season, I played these discs quite a bit and even purchased them on other formats. Eventually, I grew rather tired of performances that seemed lesser copycats of what could be found on the studio versions. Even the innovative Oldies Medley wore out its welcome, leaving me to select Now & Then when I wanted to hear it. It wasn't live albums in general. It was this particular live album.

In chronological order, the Live in Japan disc caps off the end of an incredible era. Unbeknownst to all, behind them would be the golden years of success never to be seen again. The events of 1975 and 1976 would uncover how stressful their career had been and the toll it took on their personal lives. One inopportune choice by the duo further exacerbated the downhill slide of their sales and popularity in the States. 

This isn't to say the quality of their art would decline, but the change in their success levels would alter Karen and Richard's confidence. The next album would be one considered a fan favorite and artistic triumph for decades to come- even if the months after its release brought some controversy: Horizon. 

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This is part of a continuing series of posts on the albums of Karen and Richard Carpenter. There are also numerous stand alone posts highlights different aspects of their career, recordings, and life. 

Below is the list of my "Revisited /Fresh Look" reviews and then those initial reviews from a decade earlier. 

My Revisited / Fresh Look at the albums:

Offering / Ticket to Ride
Close to You
Carpenters 
A Song for You 

Now & Then

The Singles 1969 - 1973

My Initial Reviews of the albums:

Offering/Ticket to Ride

Close to You

Carpenters

A Song for You

Now & Then

The Singles 1969-1973

Live In Japan

Horizon

A Kind of Hush

Live at the Palladium

Passage

The Singles 1974-1978

Christmas Portrait

Made in America

Voice of the Heart

An Old Fashioned Christmas

Time (Richard Solo)

Lovelines

Karen Carpenter (Solo)

As Time Goes By