The music of Richard and Karen Carpenter is woven throughout my life story. These Revisited / Fresh Look reviews of each of the Carpenters albums is not just about the creation of the music each one contains, its promotion and chart success or Karen and Richard's lives behind the music. They are also about my life in Southern California during its heyday in the 1970s. These must have struck a nerve with readers because they are some of the most popular on the blog. Lastly, there's one more story which I'll talk about toward the end. It's one that surprised me and added to the "What If?" side of the duo's career.
The next album in my Carpenters Revisited: A Fresh Look series is the fan favorite holiday disc, Christmas Portrait. It was actually released a few weeks earlier than The Singles 1974-1978. Both were released in 1978, but The Singles album was a U.K. only issue and just available as an import elsewhere. When I was following up my review of Passage with the next one that would come after, I realized nobody wanted to read about a Christmas album in March. So, I took a bit of creative license and swapped the order. If you want to read it, here is my Revisited / Fresh Look review of the U.K. exclusive collection.
It's truly Christmas Once More.
Almost 50 years later, Carpenters Christmas songs are still appreciated by fans of all ages. As I write this, Christmas Once More is a brand new Carpenters collection combining the favorites from the duo's two holiday albums. Additionally, the Dolby Atmos version of the beloved Have Yourself A Merry Little Christmas was released in the new format a year ago. Karen is brought to the forefront, and the results remind listeners what a rare and distinct vocal gift she really had.
In the new album's notes, Richard says, "“With Karen’s marvelous leads,” combined with an oversize studio orchestra and chorus, terrific arrangements, and timeless music, Christmas Portrait was, and is, an almost incomparable Christmas album.” As we'll see, Richard's assessment is thoroughly accurate.
With all that said and without further delay, let's jump right in to the Carpenters holiday classic Christmas Portrait.
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The original Christmas Portrait album was released October 13, 1978.
It reached its peak on the December 9 issue of Billboard at #178. Not a hit first go around. But it did chart again decades later in 2020 at #56!
From a low charting album when it was first put out to an enduring beloved collection. What was the journey Christmas Portrait took?
Christmas Portrait is not a product of its time. At it's core, the album is actually a product of the 1940's and early 50's designed by two young artists who just happened to be signed to a record label in 1969 and had their most impactful years during the 1970s.
In the public's mind, the origins of their holiday album begin with the release of the original version of the Merry Christmas Darling single in late November 1970, but in truth, it begins even earlier.
The lyricist Frank Pooler reached his formative teen years at the same time as World War II was impacting the globe. The hits songs during this time were from the great crooners of the day who also seemed to have a soft spot for Christmas music. These included Judy Garland's Have Yourself A Merry Little Christmas, White Christmas by Frank Sinatra and Bing Crosby, and many, many others. Beloved non-holiday themed hits became American classics too: As Time Goes By, Night and Day, I Love You for Sentimental Reasons, I've Got a Crush on You, and I Don't Want to Walk Without You, among many others.
During this time, Frank was smitten by a young woman and wanted to communicate his desire to be with her during the holidays. The melody he wrote didn't feel quite right and the relationship was not to be. But Frank liked the eloquent words he crafted, so he held onto them for another twenty years before they were handed off to a talented young university student. His name was Richard Carpenter.
Teen Richard and the racks and racks of records.
Richard's parents, particularly his father Harold, were music lovers. His record collection spanned the years of popular music, and Harold's son listened to these intently.
Along with the radio's latest hits, these records formed the soundtrack of their lives. Richard absorbed every important detail of the records, becoming obsessed with music trivia and could recall it all with ease. Later, he'd start figuring out the mechanics behind how these records were made in the studio. It would serve him well. Once his strong interest in the piano took hold, as well as Karen's later passion for playing the drums, it was evident that a career in music would be what the Carpenter siblings would pursue.
Richard and Karen were part of various musical groups, including one that was slowly gaining popularity in the Los Angeles area. They entered Cal State University Long Beach where they were instructed by the choral director- Frank Pooler. He was impressed with the young genius, and it didn't take long before Richard would put his own music to Franks lyrics for Merry Christmas Darling. In 1966, there was no record deal for their group, but Richard never forgot the song.
When A&M Records signed the Carpenters in 1969, the first order of the day was getting a hit. Their remake of the Beatles' upbeat Ticket to Ride was a mid-chart ballad. It was a good start, but it was nothing compared to what would happen with their second single.
Label founder Herb Alpert handed Richard a lead sheet for a little known Burt Bacharach tune They Long to Be Close to You. Richard's arrangement and their performance of it - in particular Karen's lead and the duo's spectacular stacked background vocals- made it a song that careers are built on. Close to You was Number One for four weeks on the Billboard charts in 1970, receiving constant airplay all over the country.
The Carpenters next chart hit may have stalled at Number Two, but We've Only Just Begun was still getting lots of airplay when the new holiday single Merry Christmas Darling was recorded and finally released at the end of the same year. It too was all over the radio.
Billboard magazine ad for Merry Christmas Darling.
Due to Richard's creativity being at its peak, the end of the record was as distinctive as its beginning. Karen and Richard's layered vocals- now a trademark of their sound- recalled their breakout hit, evoking Christmas choirs and cups of peppermint hot chocolate. With another brilliant arrangement that was never trendy, the record stood out in a very good way. Merry Christmas Darling became an instant classic almost 25 years after it was first written. The song has been covered often, but the end results cannot match the one by the original artists.
Karen and Richard's third hit, For All We Know, would come just a bit later in January. It too would reach the Top Five with more to come. Make no mistake about it- The Carpenters were hotter than hot!
Christmas greetings in 1972.
Fans and critics instantly realized Karen's voice and Richard's lush arrangements were perfectly suited for Christmas music. People were just thrilled with the possibility. Critics continued to label their music as not worthy of attention. They bemoaned their art for a few reasons. Karen's singing voice had no grit or snarl like that of Janis Joplin or Grace Slick. Two, Richard's arrangements were refined and also quite complex- much more akin to artists from decades in the past; and Three, the duo did not look like Rock and Rollers. Ultimately, critics were threatened by a potential culture change that Karen and Richard could bring. They were right. The Carpenters ushered in a whole new genre of softer hits and paved the way for artists such as Bread, James Taylor, Anne Murray, and Carole King.
Of course, the duo themselves knew this pairing of their strengths with Christmas music was right from the beginning. Karen and Richard had wanted to create a full length seasonal collection at some point in their career, but more Christmas music would have to wait. There was way too much touring to do and future albums to write, arrange, and produce.
Merry Christmas Darling was a radio hit for the new several years. After many smash records, a handful of chart topping albums, and sold out concerts all over the world, this Richard Carpenter / Frank Pooler song was followed by another holiday record. Finally.
A collectable!
So smooth!
The duo's mid-decade release of a slow boil, jazzy version of Santa Claus is Coming to Town was pure perfection. Karen's sultry vocal atop Richard's shimmering arrangement transformed a kid focused ditty to a sophisticated, adult friendly confection. Smooth jazz before the genre was coined such a thing.
Nice clean copy of TV Guide's close up.
When they performed the new song on the Perry Como Christmas Show, it was evident a full length album just had to be made. The duo's Santa Claus and the trio of Richard, Karen, and Perry performing each others hits were the highlight of the show. A Christmas album would be a perfect pairing of that once in a lifetime voice with music written to celebrate Christ's birth and all the season's cheer.
But the timing was still off.
With the cast.
Karen and Richard's next project in 1975 would be the incredible Horizon (my review here), a fan favorite further pushing off a chance at a full length seasonal collection. After Horizon, it was the less than stellar but beautiful A Kind of Hush in 1976 that hit the record store shelves. In contrast to Horizon, I found it under the bins displaying the latest hit albums. Airplay and sales began to slow at an increasing rate.
On the set of the first Christmas television special.
Tracks for a full length Carpenters Christmas collection began to be laid down in earnest in late 1977. Their first holiday themed television special would be broadcast that same year, but the accompanying album was not even close to being completed. Besides, Passage had just released. Karen and Richard wanted - and their career needed - a strong hit on Top 40 radio. The album, and everyone who wanted a Christmas disc from the duo, would have to wait one more year.
Karen and Richard on the set of the 1977 television special.
As sophisticated as the Santa single was, the ABC network television special, "The Carpenters at Christmas" had its ups and downs. Be that as it may, I was glued to the tube. Karen and Richard were once again saddled with some very nice people but absolutely no one that would make their television special a must-see event. Guest stars included Kristy McNichol and Harvey Korman. It was just one more image downgrade when the duo really could have used a boost.
Unfortunately, the last time.
By the time 1978 rolled along, I was just finishing my classes to enter my new career in the travel industry. A large firm with branches in Huntington Park and La Mirada hired me. We were so busy, the year flew by. My dream of going to Japan was about a year away, but in the interim, I would get addicted to helping people plan their business trips and vacations. As I did my research, I learned so much about other cultures all over the world that it did not take long for me to realize that I would be hooked on traveling for life.
In the midst of all my busyness, I did once again trek to Las Vegas to see my favorite duo. Of course, I did. They were at the MGM Grand Hotel in September. This would be my second time there. The venue was larger than the Riviera, the meal much better, and the prices certainly much higher. Still not even close to today's prices, but it was worth every dollar I spent.
The new show built on the bones of the 1976 one, but with a few new songs slid in. This included Don't Cry for Me Argentina and a very well done and unexpected "bonus" segment.
This show began with the Flat Baroque intro, then There's a Kind of Hush. Just when I thought it would be the very same show, Karen and Richard sang Thank You for the Music. A nice surprise that gave me hope there would be a new material in the mix.
Next up was I Need to Be in Love flowing into a beautiful When I Fall in Love. I fully expected to hear this on an album soon as in their hit making years, they rarely ever did songs that wouldn't show up on a disc sooner or later. Even more than the beautiful I Can Dream, Can't I? from Horizon, hearing Karen sing this classic love song made me realize they really needed to record a full disc of standards. It would never happen. A couple of years later, they would actually record one, but the rare piece of vinyl would only be given out as a special gift to close friends and family.
The rest of the show remained close to the Palladium line up, Don't Cry for Me Argentina - and maybe Star Wars/Close Encounters aside, with one significant and delightful change. There was a brief foray into Christmas music. It all ended with Merry Christmas, Darling.
By this point in her career, Karen had matured as a performer and was seemingly more than confident out in front. She was charming and quite engaged with her audience, and she knew how to communicate with them and put on a great show. As Karen crooned the last line of their first Christmas hit, she held out her open palm off to her side at shoulder level. Just then snowflakes fell from the sky gently landing on it. This was just perfect- beautifully capturing the magic of the season.
Little did I know there would be much more Carpenters Christmas to come... or that it would be the last time I would travel to Las Vegas to see them perform. Nor would anyone else go to the desert to see them. Richard would cancel the remaining scheduled shows and never again return to Sin City's stages. His addiction had a firm grip on him, and something had to give. No one beyond the duo's closest friends and business acquaintances knew it had already had its impact on the very first Carpenters Christmas collection.
He and Karen had a few things in common.
Four years after the second holiday single, in November of 1978, the third one finally arrived. This one would be used to promote the long awaited album. It was a song first performed on their earlier television special: a faithful rendition of Nat King Cole's iconic Christmas Song (Chestnuts Roasting on an Open Fire).
The gorgeous 1945 song by Bob Wells and Mel Tormé suited Karen's lush voice beautifully. If there was ever a doubt in anyone's mind that Karen Carpenter was a crooner of the finest tradition, her rendition of this classic put the debate to rest. With Richard's tasteful and restrained arrangement, their version of it remains one of the duo's finest recordings.
Not only would Carpenters fans get a third Christmas song with this single, the flip side would hold a brand new vocal on Merry Christmas Darling. In place of her original with the darker, huskier voice, now we'd find Karen's vocal more refined and creamy. From this point forward, the original release of the song would be much harder to find, becoming a collector's item. In the fan community, the debate would continue as to which version is better. I certainly appreciate both, but as I'd soon find out, it was very clear the older version would feel out of place on the Christmas Portrait album.
Fans and radio programmers - if they were waiting at all- had to be wondering what would be next for Karen and Richard. The 1978 pop release of I Believe You did not make a dent on radio playlists or set the charts charts ablaze. The record- solidly in the Adult Contemporary genre with a very old school feel - was an undebatable flop. With that, a lot of pressure was resting on the upcoming Christmas Portrait to keep the duo in the limelight.
Christmas albums were not the norm in the 1970's, so releasing one was as big a risk if not more so than Passage the year before. If Karen and Richard did something so traditional, would they ever again be taken seriously in the pop world? Perhaps not, but Richard knew instinctively that his sister would knock it out of the park and in the midst, they created an enduring classic as the public would respond favorably.
From very first song to final completion, the seasonal album was twelve years in the making. Certainly, the longest wait for any album ever. However, it was worth it! If Nat King Cole's Christmas album was the record to buy in his generation, the new Christmas Portrait was the one to buy in Karen and Richard's era.
As originally planned, Portrait was supposed to be a worldwide double disc release, but for some reason, that idea was thrown out by the executives at A&M Records. Years later, fans would get the remaining tracks due to circumstances no one ever wanted to face.
November 11 Billboard ad.
This Billboard ad also promoted their 1978 television special of the same name.
As it stands, Christmas Portrait is a disc that pulls at all the heart's emotions: longing, joy, falling in love, playfulness, worship, and hope. Was the album simplistic schmaltz- as critics often thought of the duo's music- or was it full of sincere emotion?
From 1977 but used later for many Christmas compilations.
It was the Tower Records on Beach Blvd. in Buena Park, California that had the new Carpenters album. With about a thirty minute drive each direction from Huntington Beach, it was well worth the time and gas to pick up their latest. I knew the area well as Knott's Berry Farm was just up the street, and I'd spent many Summer nights there riding the rides and hanging out on its dance floors.
Norman Rockwell's "Triple Self Portrait".
For the February 13 edition of the Saturday Evening Post.
The clear inspiration for the front cover of Christmas Portrait.
What a classy package! I found the album toward the back wall of the store where they displayed the top selling and recently released 45s.
The album cover itself looks to an earlier time, bringing to mind the perfect Christmas holiday. That blend of warmth, joy, and nostalgia but without the high stress, rushed schedules, and weird relative interactions.
Artist Robert Tanenbaum created the look. Taking inspiration from Norman Rockwell, a piece of parchment paper replaces the mirror, and the artist is Old Saint Nick.
Tanenbaum is known for designing movie posters for several genres, with his art for A Christmas Story becoming one of his best known pieces. Years later, he would later do another album cover for Richard for the 1984 release An Old Fashioned Christmas. It is very well done, but it is difficult if not impossible to top the work he created for the Carpenters first holiday album.
This may be one of the few times that those of the A&M Records art department got it right. Tanenbaum's cover exactly represented the music inside, and Karen and Richard looked great. Her image comes from the Passage photograph sessions while Richard's comes from those taken for A Kind of Hush.
The artist signing a poster in 2023.
A beautiful, high quality photo.
What did I think of the album once I placed it on my turntable?
With tunes both sacred and secular, I loved Christmas Portrait at first listen, but the ones with reverent lyrics had the most impact this time. When I first heard this album upon its release, it had been about one year since I decided to follow Jesus and his ways with everything in me. The meaning of the season really made sense- finally. The coming of Jesus to earth was the next step in God's plan to redeem people by sending a savior. He would love the world by choosing to die on the cross for the sins of broken men and women, exchanging his life (a ransom) to set us free.
It's a perfect photo for a Christmas album,
but this picture was actually taken in the U.K. in 1976.
When Richard sings "O Come O Come, Emmanuel!", he's referencing one name for Jesus, and then talking about him ransoming Israel, meaning both the people who were looking forward to this savior as well as all who would put their faith in Him for all generations going forward. God Himself is our example when it comes to forgiveness. He takes action to bring it about to all who would come to Him. Christmas is truly a season to celebrate!
The piano based Overture comes after Richard's opening introduction.
It's only upon close inspection of the album's very detailed liner notes that listeners can tell Richard had much less impact on the design of the disc than one might initially think. And much less than he wanted.
Richard had repeatedly told interviewers that his influencers were the "3Bs" (the Beatles, the Beach Boys, and Burt Bacharach). Yet on this album, it is first and foremost Spike Jones, the 40s bandleader of the City Slickers. (Does the name sound familiar? It should. View their mid-70s live show or the very first Carpenters television special.) Check out Spike's holiday albums in its multiple forms, and you'll find his albums and Christmas Portrait share quite similar song choices, medleys, and arrangements.
Digging deeper, we find that old friends Peter Knight (from Passage) and Billy May (I Can Dream, Can't I?) did most of the arranging on these beautiful tunes. This isn't to say Richard was totally uninvolved in the album's creation, only that his influence was much less than he originally planned.
Such an incredible resource!
Bah, humbug?
Back to the album and the overture. It's quite pretty and appropriate in length, but what comes next would set the tone for the rest of the disc.
Richard is without a doubt a genius and gifted in so many ways. But the truth is, to the general public, Karen's distinctive voice is why most people listen to their recordings. As producer of this album, Richard has framed her voice in the loveliest of ways. Additionally, the disc's sonic quality is equally as wonderful, perhaps only surpassed by the incredible luster of the album Horizon.
I had never heard Christmas Waltz before. Wow! During my very first listen, I was taken with it from beginning to end. When the strings come in as Karen sings "It's that time of year when the world falls in love", I am instantly in a holiday frame of mind. The sweeping instrumental break is just beautiful, and unlike their use on I Need to Be in Love and later on several songs from the Passage album, the inclusion of the choir (The Tom Bahler Chorale) actually belongs on these Christmas songs. The mood is festive, and you can hear the pure joy in Karen's voice as she sings. It's evident she loved the season.
When my girls were very little, my wife and I would dance with them to this number. I have such happy memories of doing that!
I will admit that It's Christmas Time does almost nothing for me, but Sleep Well, Little Children is magnificent. When Karen goes into "Lullaby Mode" (as she does on Hush's beautiful I Have You), the innate warmth of her personality comes across as deeply as her tones. Life is full of trade-offs, and I do wish for her sake that Karen would have had the happy marriage and children she so desired.
Four weeks later, the album was now Gold!
This Billboard ad also promoted their 1978 television special of the same name.
I'll risk losing some readers here, but Have Yourself A Merry Little Christmas is just not a favorite. It may be Karen's personal favorite of all the seasonal songs she recorded, but even after almost 50 years of hearing it, I just cannot get into it. Yes, she sounds incredible on it. Karen always does. There's something about the record's arrangement, instrumentation, and production that makes it lacking in my eyes. It seems out of place, even quite maudlin, bringing the mood down.
Giving it its due, perhaps it was with this song that an underground appreciation of Karen's vocal skill began to emerge beyond the fans. My understanding is the Judy Garland version of it is iconic. But then again, I'm not really a fan of her either- she's a "neutral" in my book, so maybe the whole thing is just lost on me. That said, I'm glad people enjoy it, and I'm willing to listen to differing opinions on any issue.
The original sleeve.
The first version of the song is not found on Christmas Portrait -
or on any Carpenters Christmas disc.
After the very heavy ballad, a light and breezy, upbeat Santa Claus is Coming to Town cuts through the intensity. Starting off with the choir, Karen comes in for the second half of the song. I wasn't looking in depth at the back side of the album yet, so I was surprised to find that the 1974 Christmas single was not coming on. In fact, the original version of the elegant reimagining would not appear anywhere.
Richard says in his hurry to put the album together, he forgot he had not included it. I'd chalk it up to years of a hectic schedule of touring and recording and television appearances. The man was juggling so many details of the duo's career, you can't blame him for missing this one. Richard rarely gets his due for just how much work he put into the Carpenters career and then the group's legacy. I do think that began to change in the 21st Century, however.
Side One ends with two very strong cuts: The Christmas Song and then the staple of most Christmas Eve worship celebrations, Silent Night.
When I was a little boy, my grandmother would take me to midnight mass with her, and we would sing this song. In spite of being raised "Jack Catholic"- Christmas and Easter services only- I can say without a doubt, I felt the presence of someone bigger than you and I, the very Almighty. (Decades later, as a more Protestant leaning Christian, I had that same overwhelming sense of the presence of God the first time I entered Paris' iconic Notre Dame cathedral. That story is a very, very interesting one. I may tell it someday.)
Certainly, like most Americans, I heard Silent Night as a kid. It never had its full impact on me until the year I heard Karen's take on this album. As I said, the year earlier, I had first become a follower of Jesus, so of course, the words certainly took on new meaning. Jesus, Lord at thy birth indeed. But hearing my favorite singer perform it was a listen at an entirely different level. Even to this day, her performance of it touches me like no other.
Making great use of her incredibly beautiful, world famous lower register, Karen sings it perfectly. But she also sings with such emotion that I've often wondered if it took her back to her childhood as well. The Carpenter family history tells their father Harold's family included descendants that were missionaries in China in the early 1900s.
It must be told here that Peter Knight, not Richard, arranged this. Unlike Don't Cry for Me Argentina or even I Just Fall in Love Again, he shows a fair amount of restraint here, never overshadowing the vocal or the lyrical intent. The recording is all the better for it. It is the perfect recording of a timeless song.
Is it even possible that Side Two of Christmas Portrait could be as good or even stronger than what was found on the first side? Maybe. I was so interested to see if Karen could pull off her performance of Ave Maria (which closes the album) when / if it was ever done live. Little did I know I'd have my chance to find out.
It would be twice that year that I would have the honor of seeing Karen and Richard perform in concert. On December 3, the Pacific Terrace Theatre in Long Beach, California would host my favorite duo for a short program of Christmas music long with the Cal State University Long Beach Choir. The afternoon was dubbed a Winter Festival. Carpenters were the guest stars, so we had to sit through the choir first. Nothing at all against them, but they were not who I came to see.
This image is not mine.
I found it years ago on the A&M Corner site and tried to clean it up a bit.
My girlfriend and I had pretty good seats, and since the venue was laid out so well, I could get a good look at my favorite singer. Karen was noticeably thinner. Her already defined features seemed sharper than normal, and she appeared to have a hollowness to the area around her eyes. Karen sounded as good as I expected she would, but she just did not look right. The sparkle in her eyes was missing. Richard seemed out of sorts as well, and in an odd move substituted the Star Wars Medley in place of instead of something in the Christmas vein. Readers of the Legacy book would get the full story behind this choice.
As expected, Merry Christmas Darling was a hit, and Silent Night was just stunning. True to what I really expected, Karen nailed Ave Maria. Of course she did. No Auto Tune, no trick of the sound board. She was just that good.
You can see Bob Messenger next to Karen.
This would be the last time I would see Karen and Richard in concert. It also was their last public performance in the U.S. aside from their concert on the A&M Records lot in 1981 to promote their Made in America album.
The photos that inspired Robert Tanenbaum's beautiful cover portrait.
You'd think I was about to have a wonderful, joyful Christmas with December beginning by seeing the duo, but instead I'd experience just the opposite any way you looked at it. If you've read my review of The Singles 1974 - 1978, you may already have guessed what I'm going to write next. But if not, here goes...
My long time girlfriend and I happily married in mid-December of 1978. Looking back, we were much too young, but a much bigger surprise awaiting me would lead us to a crashing end. The ceremony was sweet and seemed like a good beginning to a long life together. However, the disastrous and painful honeymoon brought me home in a very different frame of mind. One that made me doubt my future and question my faith.
Since it was Christmas, I came home, and held it all in. My sister instinctively knew there was trouble. I avoided the tougher questions, lying to her and every family member who asked. I wasn't about to ruin the holidays because I was hurting and confused.
Behind the smile, she was falling apart, and so was I.
I'll finish out my story here even though it does go into the next year.
The new year began, but it was more of the same and the distance grew more between us. It was Valentine's Day morning that I awoke to find a shocking note on the bed. My new young spouse had decided to end our marriage and walked out. In her eyes, it was a big mistake. She was gone, never to return.
A week later, after one of heavy drinking, confusion, depression, and desperation, I met my parents. There I discovered the reason behind her departure: my young bride had begun a romantic relationship with my favorite aunt. Through their series of poor choices, our extended family was hit hard. Two marriages (the other with two children) were destroyed and relationships between family members strained, to say the least.
After useless attempts to work things out, I accepted my newfound state. Forgiveness nagged at me. How could I forgive her? But then how could I choose not to forgive her when I had been forgiven of my many sins by someone who paid the price in my place?
I had received it all so freely, and it cost me nothing, but it cost Jesus his life. A test- a big test. Certainly, I had to offer forgiveness to her. God demands it of those who follow Him.
Richard celebrates his birthday during the filming
of the Christmas Portrait television special.
My next dilemma was deciding whether or not to make it all public. You see, back then in California, I could have gotten an annulment if I shared in court that she was gay. After much prayer, I decided it was not my story to tell. It was hers, and I did not want to be the one to break the news to her wonderful family. I took the divorce and decided to trust God with my future. But Valentine's Day would never be the same.
Eventually, I would forgive her, but it was hard work and a deliberate decision on my part. I had to work to do this over and over again. But it did happen even if it took some time.
From Meet the World blog.
Karen and Richard's names are written in the mouse head graphic.
With their recording schedule and television appearances, Karen and Richard were very, very busy people! Mid-November, Karen would get to geek out a bit when the duo appeared on The Wonderful World of Disney television show to celebrate Mickey Mouse's 50th birthday. She sang to a special version of We've Only Just Begun, and then just to make it even more sweet, Karen sang Close to You but changed the key line to M-I-C-K-E-Y M-O-U-S-E.
Stardom brought its privileges to Richard as well. He was the special guest lecturer for the University of Southern California's "Popular Music Industry" class. It was quite an honor, but it couldn't compete with Richard's chance to fulfill a life-long dream when in 1974, he appeared solo with the Boston Pops Orchestra.
There would be one more solo appearance by a Carpenter in 1978.
On December 11 in the U.K.- Karen personally signed 1,000 albums!
From Music Week U.K. December 16, 1978
While the Carpenter's fortunes in the U.S. had dramatically changed in the prior few years, it was still strong in Japan and in the U.K.
Europeans would get the new Christmas Portrait released along with a second greatest hits disc, The Singles 1974 - 1978 (My review here includes rare ads and more.) It was a U.K. exclusive but could be found a few weeks later at Licorice Pizza back in the States.
Karen and Richard were invited over to appear on the Bruce Forsyth's Big Night Christmas show as part of a promotional tour. Richard would decide not to go as his addiction was now truly out of control, but Karen continued on without her brother and went with their band. Her health had clearly worsened. She was painfully thin, almost skin and bones.
She works hard for the money.
The label spent over half a million dollars USD to promote the new hits album on radio, with in store displays and more. Ever the trouper, while in London in a famous record shop, Karen signed almost 1,000 copies of the Singles album with a personal greeting. Needless to say, it was a very Happy Christmas for those fans.
A painfully sick Karen sings "Happy Christmas, Bruce!"
On the Big Night television special, Karen would perform a lively take on Please Mr. Postman and a heartbreakingly beautiful version of I Need to Be in Love. Perhaps her best version it of ever. There were also plenty of Christmas tunes as the show aired on December 24. She even sang a duet with her host on "Winter Wonderland" / "Silver Bells" / "White Christmas". Bruce's voice was fine but Karen was still in great form. She looked horrible as the mental illness continued to dominate her body, but Karen's trademark voice was gorgeous as ever.
Once again, Karen changed the lyrics to one of their hits to suit the event. Merry Christmas, Darling ended without the big layered vocals that defined the hit record. Instead, her final line became "Merry Christmas, Brucie!", a sweet touch that brought a huge smile to his face.
Read it all.
All the promotion pushed The Singles 1974-1978 to the top end of the charts, peaking at Number Two early in 1979. At the top position was the unstoppable Grease soundtrack. The new Singles album was quite a success for one made up of all previously released material. Yet, on the other hand, the brand new Christmas Portrait seemed to miss their charts entirely.
What would be the reaction in the U.S.A. to the new holiday album?
The whole of Christmas Portrait was contained
in this later released two disc collection.
The accompanying U.S. television special, Carpenters: A Christmas Portrait landed on the tube on December 19- just in time for the very last week of the peak shopping time. Certainly, this would increase sales of the album and perhaps the new single. The television show was certainly little help.
An old school screen star to go along with music from another era.
Karen and Richard were again saddled with second tier guest stars with the exception of Gene Kelly. But at that point, he was much better known to an older crowd. (Xanadu would come a couple of years later.) Jimmy and Kristy McNichol, Georgia Engle, and clever illusionist Peter Pitt were not be the strongest of calling cards for the popular, younger, viewers.
In some ways, the American Christmas show did a better job than the U.K. did in hiding Karen's vanishing body, but perhaps not. The truth was known to those who worked with her.
Regarding Karen, Assistant Director Jim Cox had this to say in a November 2022 YouTube discussion, "As I said I was the associate director, and we had Gene Kelly on as a guest. During a rehearsal Gene wasn't there, and I stood in for him. The script called for him to lift her up on his arms. Well I did and couldn't believe how light she was. Sad."
The TV Guide ad.
The special opened with the charming Christmas Waltz, and Karen's other showstoppers were the classics Silent Night and later Ave Maria, which was the last musical number on the show.
Oddly, neither of Richard's two big numbers appeared on the album: a nice version of Toyland and a medley of songs from The Nutcracker.
In a move that was quite ahead of the times, the television special included a segment where the cast discusses Christmas music and traditions from other cultures. Karen's vocal on her duet with Georgia Engle, a German language version of Silent Night, is especially lovely.
No, it's not my copy.
The handwriting on the label is Karen's.
Dialogue on the show is more than passable and much better than what was found on Space Encounters earlier in the year. Strangely sweet was an appearance by Richard and Karen's parents, Harold and Agnes. There were plans to have the parents and their famous offspring sing Irving Berlin's Play A Simple Melody. The recording never made the show, but it is circulating somewhere on the internet. I've heard it once. Surprisingly, Agnes had a very nice voice, somewhat similar to Karen's but not quite as distinctive, rich, or refined. Decades after Karen's death, the lyrics bring an especially sweet and sentimental flavor to the production. I will not lie- hearing it brought me to tears.
As beautiful as the songs on Side One are, I think it's the assortment of songs on the second side that most helped Christmas Portrait become the holiday standard that it did.
The opener, Jingle Bells, is a silly song made even sillier by the very playful arrangement. It is one of a small number that we hear Richard sing and one of the few times we hear the stacked vocals that identified the duo's sound. It's a fun listen that sets up the next selection well.
The First Snowfall / Let It Snow! Let It Snow! Let It Snow! may have some expected instrumental clichés, but when Karen's lead is doubled on the former, it is a delight to listen to. As the song transitions to Let It Snow! (x3), Karen plays with her voice to great effect. It's the nuance of the line "But if you'd really hold me tight, all the way home, I'd be warm" where Karen melts the snow on a harsh winter's night. I do wish they had recorded a full length version of the song. Karen's personal life may have been lacking a life long partner, but you would never know it as she could convincingly communicate it. Surprisingly, Let It Snow! is one of few times on this album that the joy of being in love is expressed.
From an up front and center kind of perspective, Richard has been rather absent on this album. On the next selection, Carol of the Bells, he takes the spotlight. His playing is crisp and assured. Providing some variety to what has come before it, the song is perfectly situated on the album giving Richard the attention he deserves. It's a great piece of ear candy. Back on the Como special a year earlier was the only time you could see him play it.
In the research for this Fresh Look review, I listened to the album and watched the specials over and over. Something caught my attention that I had not noticed in the past 50+ years.
During their years of their greatest popularity, Richard is visibly more relaxed and certainly more confident when Karen is the focus and he is playing the piano but not the sole center of attention. You can watch it for yourself on Perry Como special. Although his playing is excellent on Carol of the Bells, Richard comes off a bit stiff. Later, when he and Karen are together doing Santa Claus or as part of the incredible trio on the Carpenters / Como Medley, Richard has more fun with it all. It is almost as if his confidence on stage decreased in direct proportion to Karen's confidence gaining strength.
Richard was forced to grow as a performer once Karen was gone, but it is unfortunate as he is an incredibly talented man, the consummate musician, and quite funny and charming in his own way. Karen may have hid behind her drums in their early days, but Richard clearly hid behind his piano as well.
Christmas Portrait 8-Track version.
After this instrumental number by Richard, the duo's holiday standard Merry Christmas Darling is finally heard. It may be a sacrilege to some fans, but if I had to pick, I much prefer the newer, sultry, and softer version found on the new album over the 1970 original single.
Karen sounds looks great here and sounds terrific.
As with their career making Close to You, Richard was brilliant to realize the song's ending needed something special. The stacked vocals finish off the song perfectly. As with most records by the duo, it's been covered by many artists, but no other one can match the sheer beauty of what Karen and Richard accomplished.
What did Karen think of Merry Christmas Darling?
Broadcast on Christmas Eve that year, here's part of a promotional interview she recorded on Los Angeles radio station KIQQ just after the Cal State Long Beach Winter Festival: (Thanks to Nemily on the A&M Corner discussion boards for bringing this to our attention once again.)
"'Merry Christmas Darling' I think, is a little extra special to both of us, because Richard wrote it, and the lyrics were written by the choral director at Long Beach State choir, where we went to school, Frank Pooler. Frank was very helpful in our college days, when we were trying to get a contract and constantly missing classes and everything. He was the only one down there who actually understood what we were after, and he stood behind us all the way. We just did a benefit at Long Beach State, for a scholarship fund, and we did it with the choir and the whole thing, and we did "Christmas Darling" and he just "glows" every time we do it….. I think it's my favorite, because it's really close to me."
The Billy May arranged I'll Be Home for Christmas follows. It's one that's also true to the era of the original as recorded by Bing Crosby in the 1940's. This beautiful song is now recorded by the woman most suited to sing it. Like most of the well known Christmas songs on the album, the Carpenters version is one of many. But Karen owns it now with her perfect interpretation.
There's an innate sadness to this song, making it quite a melancholy listen. Much like Rainy Days and Mondays, Karen delivers it with a convincing, wistful longing. I loved this record the first time I heard it, and I still do to this day. However, after her passing in 1983, I never hear it the same way. I have a difficult time listening to her sing "I'll be home for Christmas if only in my dreams". I think her fans feel the same way. Some years it really chokes me up a bit. Just imagine what Richard must feel every time this comes on the radio!
If you're reading this and you're estranged from family or friends, make sure to go visit them and make amends. Time goes by much too quickly, and tomorrow may not happen for you.
Unlike more modern albums where the artist leaves out songs of a spiritual nature, in particular historic Christianity, Karen and Richard included the reverent Christ is Born. It was unknown to me prior to this album. I find it a pretty standard sounding hymn of the time, but hearing her sing King of Heaven, Son of God elevates it. So does the ending where Karen belts out a very powerful "Hallelujah!"
After two serious songs in a row, the mood lifts in a different way. Karen celebrates with an upbeat Winter Wonderland, followed by the choir's take on a quirky Silver Bells. (Why do I hear Herb Alpert's trumpet on this?) But it's all a set up for perhaps the most popular Christmas song ever recorded: White Christmas.
Given the era that movie and it's titular song became famous, it is only appropriate that Billy May arranged it. There's something special when Karen sings these songs that were famously recorded in the same key by the great crooners of the time they were written.
Whether it was Nat King Cole, Bing Crosby, Frank Sinatra or Perry Como, because Karen could hit those low notes with ease, it gave her heartfelt delivery of these classics an instant sincerely that was evident in their original incarnation. You believe her when she sings every word because she does. It's not just an exercise in creating an album to market at the holidays.
Richard confirms this is the Musical Legacy book: "Karen was always in the Christmas spirit, and she was looking forward to this project probably more than anything else we did because it was Christmas music."
Karen's incredible vocal of Ave Maria shines.
The last cut of the album is one I love, but it's one I have problems with- and not for the reason you may think. Ave Maria is a stunning vocal piece without question. (Isn't Karen's last deep note on "nostrae" just a killer?) That said, it strikes me as a bit of grandstanding. We hard core fans know Karen could sing just about anything put before her and often on the very first take. At this season in time, the general public may have forgotten that as the duo had fallen out of favor and mostly off the radio and the sales charts.
Was the inclusion of Ave Maria an attempt by Richard (and perhaps by Karen as well) to get the attention of the public and critics and turn the tide back in their favor? All pure speculation on my part. Was it all to help Karen finally get recognition as the greatest vocalist of her generation. The spectacular album Horizon was partly designed for this purpose, and it showcased Karen's voice more than any other skill or talent else on the album. So, why not Ave Maria?
Hail Mary, full of grace,
the Lord is with you.
Blessed are you among women,
and blessed is the fruit of your womb,
Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death.
Amen.
Above is the translation into English. Regardless of your view on the song's theology, its sound, or Karen's incredible performance of it, Ave Maria has a majestic presentation. The ending builds to a goosebump inducing close. With its real chill factor, Ave Maria is a befitting way to complete the album.
When I finished listening to Christmas Portrait, I turned it over and played it again. And again- and there on out until it was actually Christmas. As much as I really disliked most of Passage on first listen, my reaction was entirely the opposite on this disc. It's become one of my very favorite albums.
Christmas 1982.
I'm close to the end now, but I've one last story to tell. I wrote at the beginning of this review of Christmas Portrait that in addition to the Carpenters story and my personal story, there was an additional one to be told. Be warned, I'm going out on a limb, so be kind.
Here it is: Christmas Portrait the Musical.
How did I come up with this idea? I don't know. Honestly, Grease aside, I'm not a fan of musicals or even the theater by most accounts. Give me a movie or a great television series. Even better, give me a fantastic album to put on the turntable. Thinking way out of the box, Christmas Portrait might have made a great long form video, a promotional tool of sorts to help push sales of the album. Much like Olivia Newton-John's Physical project a couple of years later.
So here's where this thought began. Unlike most holiday albums in the Pop world, after playing the album for decades, this year I realized that Christmas Portrait is really a concept album. It's a disc that plays from beginning to end as one incredibly cohesive work, and it needs to be listened to as such. This is an underlying, maybe even unrealized, part of its mass appeal.
Perhaps this is why Richard also subconsciously forgot about Santa Claus is Coming to Town the single. It just did not fit in his mind's idea of what the album should be.
That said, here is my silly idea meant for nothing but pure speculation, something fun to be added to the Carpenters reimagined history. Here goes:
It's a tale of childlike wonder to maturity, innocence to romantic love to spiritual fulfillment. A Midwest family, a father and a mother and their daughters celebrate the holiday together before he is enlisted in the military.
O Come O Come Emmanuel starts the show and the Overture begins.
The first scene opens and the family is waltzing together, enjoying the season. The sleigh ride actually takes the father to the train station, where he kisses his wife and daughters goodbye. He's off to fight in World War II. She puts her daughters to bed, trying to maintain her composure and saying prayers with them. Then she slowly walks outside and under the stars sings "Have Yourself A Merry Little Christmas". One scene ends.
The next opens with the playful, upbeat Santa Claus. Weeks and months fly by and then the mother sings The Christmas Song as the season approaches. Bad news comes knocking at the door. He's been killed in action. The mother struggles to make sense of it all and leans on her girls and her faith. The girls join her for Silent Night.
It's time for intermission.
The next scene opens. This time, years have passed and the eldest daughter is enjoying her romance with a young man soon also off to war, this time Korea. Jingle Bells, First Snowfall/ Let It Snow! Carol of the Bells ushers in Merry Christmas Darling as a montage plays just after they separate. On the other side of the world, on the other side of the stage, he sings I'll Be Home for Christmas.
Bad news strikes again, and he is lost. The mother tries again to put tragedy in perspective, singing Christ is Born. In despair, the daughter packs up and moves somewhere new to start afresh. Somewhere warm where she can build a new life.
Last scene. The daughter is now in California, dreaming of days gone by. Winter Wonderland leads to White Christmas. She walks down the street and enters an old church. A woman singing the final song looks knowingly at her, and they both bow their heads in prayer.
The daughter stands, now a bit refreshed and walks outside where she bumps into a young man... and her next chapter begins.
As I said, it is a silly idea, but much worse concepts have made it to stage and screen. There's a piece of me that can relate to the story. Hardship at times has made me question what I believe, but I always return back to the foundations of my faith because I remember God never promised his followers an easy life. In fact, just the opposite. Besides, I have only ever found lasting hope and peace in Jesus Christ. Your mileage may vary.
To give this show album greater appeal beyond Christmas songs, four songs from Voice of the Heart can easily come into play. The recurring song is Look to Your Dreams. It's at the beginning, and a reprise of it closes out the story. Ordinary Fool is a natural and even musically fits in with the era. You're Enough brings some cheerier emotion, while Now says it best. The words by Roger Nichols and Dean Pitchford need only the slightest tweaking: "Now when it rains, I don't feel cold" becomes the more appropriate "snows", and thunder transforms to "storm clouds".
Someone call Richard. Get me an agent. Again- Just kidding.
From The Wall Street Journal, December 2021.
Returning to the original question:
How did Christmas Portrait move from a low charting album in late 1978 to a perennial holiday classic, one that charted on Billboard at Number 56 almost 40 years later?
One- Karen's Death. It's crass but true. Unfortunately, the old adage of "You don't know what you've got til it's gone" applies here. It seemed that on February 4, 1983 forward just about everyone jumped on the "Karen was an incredible vocalist / I loved their records" bandwagon.
The posthumous Voice of the Heart contained sentimental flavors that mirrored textures found on the duo's first Christmas album. This disc perfectly set the stage for the release of An Old Fashioned Christmas the following year... and the comparisons between the two, which further elevated Portrait.
Two- Content and Performance. Neither are trendy, and while that may have worked to Karen and Richard's disadvantage as their chart success slowed, it was a strength that helped ensure their legacy.
Three- Ongoing Releases and Remixes. Christmas Portrait in its various releases has never gone out of print. The first CD was the "Special Edition", a mix of Christmas Portrait and the 1984 An Old Fashioned Christmas. Then, there's the Time-Life collection from 1992 called Christmas with the Carpenters. Richard has worked hard to keep their music legacy alive, and this is part of what makes it happen. Even the famous West German release of the album with a completed version of Ave Maria and the choir plays a part in keeping it alive.
Look, like many of you, I find it is very difficult to keep track of each time Richard remixes a song. But once it is discovered that this has happened, we hard core fans swarm to find it.
Four- Inclusion in Greatest Hits Collections and Boxed Sets. The definitive Merry Christmas Darling has made it on to the duo's various collections including Gold (US version), the first boxed set From the Top, and the revised one The Essential Collection.
In 2018, the Carpenters with the Royal Philharmonic Orchestra release included Merry Christmas Darling as well. Who knows what compilation is next? Although it may be frustrating for fans who listen through an entire disc and end up hearing holiday music, adding them keeps the Carpenters Christmas music in front of new audiences.
One of a couple of Christmas videos.
Five- Video Releases and Television Broadcasts. This is certainly more common in the U.K. and in Japan, but even in the States, viewers can find the Carpenters Christmas specials and more. Gotta love PBS.
Superfan and artist Chris May.
Six- The Fans. Simply put, whether we're radio programmers, in the media, part of a tribute band, or regular folks not in the industry, we play the albums and our friends and family hear them. Great music is great music that stands the test of time.
“Karen is a magic, natural, resource” said John Bettis
during a Heathrow airport interview with Adrian Love.
(Richard Carpenter and John Bettis were interviewed
on his LBC Radio show Love in London, broadcast on 24th October 1975.)
.
Seven- The Christmas Holiday Itself. We will never fully get away from the Christmas holiday. The Bible says that God has set eternity in the hearts of men, and that little baby sent to earth is part of His eternal story that has endured for generations. Artists of all types long to express that truth in what they create. Music that endures is part of it.
Billboard's December 9, 2023 Holiday Albums.
Christmas Portrait is an enduring favorite with 244 weeks on the chart!
Christmas music, Richard's arrangements and Karen Carpenter's voice were made for each other. As I did earlier, I can only dream of so much more. Unfortunately, Christmas Portrait was also the last truly great album recorded by the duo during Karen's lifetime. They had a career to rebuild, but it would not be easy. The coming year had many challenges for Karen and Richard. And I had my own life to rebuild as well.
Listen to Karen talk about the album with L.A. radio station KIQQ.
And check out Billy Rees' amazing YouTube channel!
In a career tragically cut short, the beautiful Christmas Portrait stands alongside Close to You, A Song for You, and Horizon as albums that best represent the craftsmanship of the Carpenters. A pretty impressive line-up, I'd say.
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I've given my next Revisited / Fresh Look some thought. Instead of skipping four years to review Made in America, I'm going to do a deep dive on Karen's solo album. The plan is to post the article on February 4, 1983 only because I want it to be available in case it would draw in a new generation of fans. What I'm discovering as I research is just fascinating. And it's changed some of my perspective on this hotly debated project.
Special thanks to all my friends at the A&M Corner discussion boards. Your comments, rare findings, and interview material have made this review even richer. Even more thanks to my wonderful wife and kids who have put up with my Carpenters music obsession decade after decade. You are a blessing from God in so many ways!
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This is part of a continuing series on the albums of Karen and Richard Carpenter. There are so many stand alone posts highlighting different aspects of their career, recordings, rare photographs, and life that I've lost count.
Below is the list of my "Revisited /Fresh Look" reviews and then my initial ones a decade earlier. Each have different photos and clippings.
My Revisited / Fresh Look at the albums:
My Initial Reviews of the albums:
