In order to support their new album and the earlier one, Made in America, Karen and Richard Carpenter took to the road for a series of smaller venue concerts that fully displayed their incredible talents both individually and collectively. It was very different than their last full tour, when the show was captured on the U.K. disc, Live at the Palladium.
OK. If you'd read this far, you're probably a die-hard Carpenters fan and realize this never took place! Sadly, Karen had passed early in 1983 with the disc Voice of the Heart being released later in the year.
While discussing my upcoming Fresh Look/Revisited article for the next in the series, Live at the Palladium, a friend and I got into a great little talk about what could and should have been the new concert style and line-up of songs. Something very different than what came before it years back.
So now, sit back, relax, and go back in time with me to the concert that should have been but never will be...
Beginning with a new instrumental introduction, a very brief overture made up of three of their biggest hits, we hear Karen's voice from off stage- "I've been so many places in my life and time..." She lingers on the lyrics as she walks out to thunderous applause with the lights also showcasing Richard. Once it dies down, Karen continues with a full version of the iconic Leon Russell tune, A Song for You, as the audience claps wildly. Karen and then Richard welcomes the audience. No gimmicks or lines written for them. Natural, heartfelt, personal.
The pace picks up as the duo launches into their latest single, Kiss Me The Way You Did Last Night, and then follows it with the next single to be released, the new Carpenter/Bettis ballad, In Love Alone. A smartly styled version of the old Roberta Flack and Donny Hathaway classic, Where is the Love, follows. No duet, just Karen on lead with Richard's superb backing vocals. It's breezy and light, the perfect album cut. It wouldn't be a Carpenters concert without Karen performing her old favorite, I Need to Be in Love.
Next to come, a short look backward. Richard introduces a newly constructed mini Bacharach Medley- the one he originally wanted to do before Burt changed it up at the last minute back in 1970. It's got a full length take on A House is Not a Home. Karen hasn't lost her touch caressing a lyric!
With the next upbeat number complete- the one where Karen is finally on the drums, she departs as the room shifts to a late night jazz
cafe. The lighting slowly changes to a soft blue color and three background singers appear off to the side. Richard loosens his bow tie, and the band takes on an instrumental number. Showcasing each player as he introduces them, this break gives Karen time to change. She comes back in a period appropriate outfit that's also contemporary but not trendy. Classy and elegant befitting the duo's superstar status.
Beginning with In the Wee Small Hours, the room goes quiet as Karen begins. It's from their upcoming Great American Standards disc due in a few months. Moving on to This Masquerade, Richard shows off his skills at the keyboard. The last two songs in the set display the duo's strengths- incredible vocals by Karen and top notch production by Richard: Ordinary Fool and I Can Dream Can't I? Once Dream begins, the lighting changes once again and the curtain goes up to reveal of the full orchestra that's been behind them all along.
A new Hits medley wows the audience before the crowd departs. We've Only Just Begun indeed!
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2025 Note: This is part of a continuing series on the music and lives 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, the more extensive articles than my initial ones a decade earlier. Each have different photos and clippings and focus on various aspects of the individual disc's creation, promotion, and public reaction.
My Revisited / Fresh Look at the albums:
My Initial Reviews of the albums:
