The Carpenters, fronted by the iconic Karen Carpenter and her brother Richard, remain one of the most beloved musical duos in history. Their songs, characterized by Karen’s velvety vocals and Richard’s masterful arrangements, have soundtracked generations. While their Singles 1969-1973 compilation is often hailed as their magnum opus, the depth and breadth of their discography extend far beyond their greatest hits. Albums like 1972’s A Song for You reveal a consistent quality, where album tracks rival the singles in brilliance. This exploration delves into some of the finest examples of The Carpenters Songs, showcasing their enduring appeal and musical innovation.
20. Road Ode (1972)
From the A Song for You album, “Road Ode” paints a vivid picture of a musician wearied by the relentless demands of touring. It’s a poignant and relatable theme, even within the Carpenters’ typically polished and comforting soundscape. The track subtly captures the exhaustion and longing for home that often accompanies life on the road, adding a layer of depth to the album beyond its more well-known singles. It stands as a testament to the Carpenters’ ability to explore diverse emotional territories within their signature style.
19. Another Song (1971)
Ending their self-titled 1971 album, “Another Song” is a surprising and thrilling departure from the Carpenters’ usual sound. Venturing into unexpected psychedelic territory, the track unravels into a jam session featuring distorted guitar and almost atonal electric piano improvisations, all driven by frantic drumming. This experimental piece showcases a side of the Carpenters rarely heard, proving their musical versatility and willingness to push boundaries, even within their established pop framework. It remains a unique and fascinating anomaly in their discography.
18. If I Had You (recorded 1980, released 1989)
“If I Had You” offers a glimpse into a lost Carpenters album, Karen Carpenter’s unreleased 1980 solo project. Recorded the year before her passing and intended for a solo album that her label shelved, this track, eventually unveiled posthumously, highlights the perplexing nature of that decision. “If I Had You” takes Karen’s signature melancholy and infuses it with a smooth, shiny funk makeover. It’s a compelling blend of her established style with a contemporary sound, leaving listeners to wonder what might have been had this album seen the light of day during her lifetime.
17. Touch Me When We’re Dancing (1981)
Following a hiatus marked by Richard Carpenter’s struggles, Made in America (1981) represented a cautious return for the duo. However, the single “Touch Me When We’re Dancing” was anything but hesitant. This track gracefully incorporates subtle disco influences into the Carpenters’ luxurious sound, demonstrating their ability to adapt and evolve while retaining their core identity. It’s a gentle yet irresistible invitation to the dance floor, showcasing their enduring knack for crafting sophisticated and accessible pop music.
16. It’s Going to Take Some Time (1972)
Alt text: The Carpenters performing live in Japan in 1974, showcasing Richard at the piano and Karen singing, highlighting their international popularity.
“It’s Going to Take Some Time,” co-written by Carole King, a songwriter known for her contemporary edge, presents a refreshing take on heartbreak. Unlike many Carpenters songs that delve into the depths of romantic sorrow, this track portrays Karen picking herself up after a failed relationship. It’s a subtly empowering anthem of resilience, delivered with Karen’s characteristic warmth and sincerity. The song offers a less frequently heard perspective from the Carpenters, focusing on recovery and moving forward rather than lingering in heartbreak.
15. Aurora/Eventide (1975)
By the mid-1970s, the Carpenters’ albums sometimes leaned towards formulaic structures, interspersed with filler tracks. However, within albums like Horizon (1975), gems like “Aurora” and “Eventide” emerged. These two versions of the same song, framing the album, exemplify the Carpenters’ enduring ability to create moments of fragile beauty even amidst potentially predictable album structures. “Aurora/Eventide” is a testament to their consistent artistry, demonstrating their capacity to craft exquisite melodies and harmonies that transcend album filler accusations.
14. I Won’t Last a Day Without You (1972)
Paul Williams, a songwriting talent who later penned “Evergreen” and contributed to Daft Punk’s Random Access Memories, played a crucial role in the Carpenters’ songwriting success. After the Carpenters covered Williams’ “We’ve Only Just Begun,” originally an advertising jingle, their collaboration flourished. “I Won’t Last a Day Without You” stands as a prime example of their fruitful partnership. This bittersweet ballad perfectly encapsulates the Carpenters’ signature blend of melodic beauty and emotional depth, solidifying Williams’ place as a key songwriting collaborator.
13. All I Can Do (1969)
“All I Can Do” reveals the Carpenters’ jazz-infused roots, a facet often overshadowed by their pop hits. This song, unlike anything else in their catalog, layers Swingle Singers-esque harmonies and features an electric piano solo over a complex 5/4 rhythm, propelled by Karen’s dynamic drumming. Remarkably, its experimental nature foreshadows the sound of late-90s band Stereolab, highlighting the Carpenters’ surprising avant-garde inclinations and their willingness to experiment beyond mainstream expectations.
Alt text: Karen and Richard Carpenter featured in the TV series “Make Your Own Kind of Music” in 1971, showcasing their early television appearances and youthful image.
12. There’s a Kind of Hush (1976)
Karen Carpenter herself acknowledged the manufactured “cutesy” image associated with the duo, protesting it was unsustainable. While their upbeat songs might have contributed to this perception, they often lacked the emotional weight of their ballads. “There’s a Kind of Hush,” despite its rounded edges and undeniably charming melody, exemplifies this dichotomy. It’s a testament to the Carpenters’ ability to craft irresistible pop songs, even when those songs might not fully represent the depth of their artistic capabilities. The track’s charm is undeniable, even if it hints at a simplification of their broader musical talent.
11. This Masquerade (1973)
The Carpenters rarely produced mediocre music. Their 1973 album Now and Then exemplified this, swinging between questionable choices, like the children’s choir-backed “Sing” and a jarring cover of Hank Williams’ “Jambalaya,” and moments of exquisite beauty. “This Masquerade,” their interpretation of Leon Russell’s song about a faltering relationship, falls firmly into the latter category. Their version is gorgeously drowsy yet imbued with a subtle darkness, transforming the song into a quintessential Carpenters masterpiece of melancholic beauty.
10. (They Long to Be) Close to You (1970)
Richard Carpenter’s arranging skills, often overshadowed by Karen’s iconic vocals, are undeniable. Influenced by Brian Wilson’s sonic landscapes of the Pet Sounds era, Richard crafted arrangements that were both sophisticated and accessible. “(They Long To Be) Close to You” is a prime example of his genius. This gentle epic builds with swelling harmonies and cinematic strings, showcasing Richard’s ability to create lush and emotionally resonant soundscapes that perfectly complement Karen’s voice. The arrangement elevates the song to an unforgettable listening experience.
9. Calling Occupants of Interplanetary Craft (The Recognized Anthem of World Contact Day) (1977)
In 1977, amidst the fervor of Star Wars and Close Encounters of the Third Kind, the Carpenters covering an eight-minute song about alien invasion by Klaatu, a Canadian Beatles-esque band, might have seemed less outlandish than it does today. “Calling Occupants of Interplanetary Craft” is undeniably richly melodic and, in retrospect, completely ridiculous in its concept. Yet, Karen’s vocal performance imbues it with a strange and unexpected emotional resonance, transforming a novelty song into something surprisingly moving. It’s a testament to their ability to find sincerity even in the most unusual material.
8. Ticket to Ride (1969)
The Carpenters’ rendition of The Beatles’ “Ticket to Ride” fundamentally altered the song’s mood. By slowing down the tempo, they transformed its breezy bitterness into languid sorrow. Today, their version resonates as an unintended eulogy for the 1960s, akin to “Let It Be” or “Bridge Over Troubled Water.” It captures the wistful melancholy that followed the decade of thrilling musical innovation, suggesting a poignant closing chapter to that era. Their interpretation offers a completely new emotional dimension to the well-known Beatles classic.
7. For All We Know (1971)
“For All We Know” takes a more cautious approach to budding romance compared to the optimistic exuberance of “We’ve Only Just Begun.” The chorus line, “love may grow, for all we know,” carries a subtle shrug of uncertainty, adding a layer of realism to the romantic narrative. Both beautifully written and exquisitely arranged, the song features a cor anglais weaving around Karen’s vocal, creating a delicate and intimate atmosphere. It portrays the tentative nature of new love with sensitivity and musical sophistication.
6. We’ve Only Just Begun (1970)
“We’ve Only Just Begun” boasts a remarkably circular history. Originally composed for a US bank advertisement and sung by Smokey Roberds, the Carpenters opportunistically covered it, transforming it into a massive hit. Its enduring appeal is evident in its current use in a UK bank ad, albeit in a contemporary “sad-acoustic-indie” style that pales in comparison to the Carpenters’ version. Their rendition remains the definitive version, alternating between joyous celebration and tender intimacy, showcasing their mastery of emotional nuance.
5. Hurting Each Other (1971)
Perhaps the most profound showcase of Karen Carpenter’s extraordinary vocal talent, “Hurting Each Other” highlights her unshowy yet deeply sorrowful delivery. She infuses the ostensibly upbeat opening lines with a palpable sadness, and the subtle drop in temperature at the end of the chorus, as she sings “without ever knowing why,” is genuinely chilling. Her vocal performance transcends mere technical skill, conveying raw emotion with a velvet-smooth texture, making it a truly unforgettable listening experience.
4. Yesterday Once More (1973)
“Yesterday Once More,” a sublime homage to oldies radio, functions as the Carpenters’ less verbose counterpart to Don McLean’s “American Pie.” It’s a song about enduring fandom and the perceived loss of innocence in US pop music throughout the 1960s. The lyric “the new decade feels rather sad, so much has changed” encapsulates a sense of nostalgia and cultural shift. The track perfectly captures the bittersweet feeling of reminiscing about a bygone era of music and innocence.
3. Rainy Days and Mondays (1971)
“Rainy Days and Mondays” resonates as a beautiful and empathetic portrayal of what feminist Betty Friedan termed “the problem that has no name”—the listless emptiness experienced by 1970s housewives, often medicated with Valium. Karen’s vocal delivery shifts seamlessly between resigned misery and glassy indifference (“nice to know somebody loves me”), creating a striking contrast with the song’s warm and comforting musical arrangement. This juxtaposition underscores the hidden anxieties beneath a seemingly placid surface.
2. Superstar (1971)
Karen Carpenter, seemingly an unlikely figure to embody the role of a lovelorn groupie, delivers an astonishing performance in “Superstar.” She fully inhabits the lyric’s complex exploration of the blurred boundaries between artist and fan, rendering all previous versions, including Delaney and Bonnie’s original, almost irrelevant. Her interpretation is so complete and emotionally resonant that it becomes the definitive version, showcasing her unparalleled ability to connect with and convey the nuances of a song’s narrative.
1. Goodbye to Love (1972)
Alt text: The album cover for The Carpenters’ “Goodbye to Love” single, featuring a close-up of Karen Carpenter, highlighting the song’s iconic status.
Given the Carpenters’ often saccharine image, the inclusion of a distorted guitar solo in “Goodbye to Love” was considered a bold move. However, “Goodbye to Love” itself is a risky and daring song for them. While much of their appeal stemmed from wrapping sadness in smooth arrangements, the sheer despondency of “Goodbye to Love”‘s lyrics rivals even Joy Division in its bleakness: “No one ever cared if I should live or die… all I know of love is how to live without it.” Karen’s vocal performance is a masterclass in restraint, her eerie calmness amplifying the song’s profound emotional impact. Dismissing the Carpenters as simply “easy listening” is to overlook the raw emotional power and artistic depth of tracks like “Goodbye to Love,” a truly awesome record that tops the list of the carpenters songs.
In conclusion, exploring the carpenters songs beyond their well-known hits reveals a rich tapestry of musical innovation, emotional depth, and vocal brilliance. From experimental tracks like “Another Song” to heart-wrenching ballads like “Goodbye to Love,” the Carpenters’ discography offers a rewarding journey for any music lover. Their enduring legacy is a testament to their timeless melodies and Karen Carpenter’s unforgettable voice.
