![]() ![]() ![]() The resulting product shocked A&M executives as well as Richard. That was just more of the same sound as in years past.īy most accounts, Karen and Phil worked well and hard together. This made for one very interesting disc- something that couldn't be said for the duo's 1978 single " I Believe You". The sensual jazz grooves and rock textures played excellently against her silky voice. Work was under way with a diverse selection of songwriters and Billy Joel's backup band set to go in the studio. His work with many popular artists of the day made him a savvy choice ensuring a fresh approach and sound. ![]() Phil Ramone, known as The "East Coast Quincy Jones" signed on as producer for Karen's album. It would be a nice break in between Carpenters projects while injecting new life into their career. Her album would have changed perceptions of the duo as well as establishing her as a versatile vocalist. Yet, professionally, Karen's instincts were right on the money. It was a very risky move professionally and relationally for Karen to move away from the sister and brother team, perhaps always tainting Richard's view and acceptance of her album. Ultimately, perhaps even reluctantly, Richard gave his blessing to the solo project. Yet how this must have damaged their relationship as well as dented Richard's already low confidence regarding his future in an industry he loved. As with many other armchair counselors and professional ones as well, after the fact of her death, I did see her move as a cry for help as well. While he struggled with his demons, she was in a sense moving on without him. In Richard's defense, this must have hurt him deeply. The resulting cover is another testimony to the inept minds at A&M Records when it came to marketing the duo.ĭuring Richard's stint in rehab, Karen decided the time was right to record without him. Karen never looked more compelling, beautiful, and contemporary. Take a look at the photo below from which this cover was designed. Disc in hand at last, I couldn't wait to play it.īefore I talk about the art within, let's begin with the obvious comment most any fan would make: The album cover is just horrible, almost as if it were designed to make buyers bypass it and the music inside. Eventually, it really was a go, and I had the treasured piece in my possession. Finally.Īs with all pending releases, I watched the Billboard magazine articles and called A&M Records several times to confirm the release date. Richard must have known that eventually it would all leak out, so along with a change of heart about the recordings, Karen Carpenter's one and only solo album finally saw the light of day. Selected cuts appeared on Lovelines and the boxed set From the Top, but collectors on the inside had copies of her work that were passed around from person to person. The release of Karen's album was alternatively denied and approved, seemingly dependent on the mood of Richard from year to year. ![]() Fans were grateful, but the unreleased Holy Grail was Karen's solo recording. Obviously it was a tricky task to balance commerce and good taste, but under the steady and well thought out leadership of Richard Carpenter, albums by the duo now included a new Christmas collection and various compilations of all sizes. Far away from California, where any Carpenters news seemed to come from in the years after her death. ( You can follow this series of album reviews beginning here.)īy 1996 when this disc was finally released, my family had relocated to Denver, living in the area for about seven years. I've reviewed all the albums of Karen and Richard Carpenter up until this point in time, but I can think of no better tribute to my favorite vocalist. On the 30th Anniversary of the passing of Karen Carpenter, it seems most appropriate to offer my review of her one and only solo album. ![]()
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