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The Carpenters: Making The Leap From Singles to Surround Sound

Mark Smotroff looks at the best and most original Carpenters’ singles re-releases



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About
a year ago, one of my music buddies and music making co-conspiritors (ie. we
play in bands and write songs together) who is particularly fond of
“sunshine pop” told me a strange story about a recording he was
seeking. Friends often come to me with requests but this one seemed odd as it
involved one of the biggest selling pop acts of all time. He explained that he
was having trouble finding a compilation in the digital world of the original single mixes of hits by The
Carpenters. Most of the collections apparently feature remixed and updated
versions of the hits, not re-recordings but different approaches to the mixdown
that read unfamiliar to some people who remember a certain sound they heard on
the radio back in the day.

Now,
whether you like the Carpenters or not is not really relevant here, but you
should keep reading because this story gets kind of interesting. And, perhaps,
you just might be intrigued enough to actually go back listen (as I did) more
closely to what Richard and Karen Carpenter accomplished during their run up
the charts — a lush blend of pop music that arguably picked up and carried the
mantle of rich harmonies (alongside other confections like The 5th Dimension, The
Partridge Family, The Cowsills, and even The Archies – really!) after The Beach
Boys and Crosby Stills & Nash became FM radio staples and until later
groups like Abba took hold of the torch. 

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The
appeal of The Carpenters’ music is apparent from a 20/20 hindsight historical
perspective — something I could not fathom as a little kid in the midst of it
all. The Carpenters hit it big just as the whole Hippie / Free Love movement
imploded. Icons like Hendrix, Joplin and Morrison were dead as were MLK and RFK.
Nixon seemed more powerful than ever. A generation transitioned into the 70s
with minds blown on drugs and bad news, friends lost to senseless war in
Vietnam. The promise that they could “change the world” with music
was rescinded. The once unstoppable Beatles even broke up. It had to be a harsh
bummer of a reality check the first time people heard John Lennon sing on his
1970 solo album: “And so dear friends, you’ll just have to carry on… the
dream is over.”
 

Accordingly,
The Carpenters were probably a breath of sobering positivity for many,
reassuring cotton candy soothing heavily frayed nerves. Stellar melodies,
outstanding production and easy-to-digest flavors. They were like an old friend
at the bar. Those were the days, indeed. 

I grew up hearing the Carpenters plastered all
over the radio as a kid so I never felt need to buy their records. Frankly, for
the most part it, was decidedly uncool to admit you liked them back then (ah,
peer pressure). Its a bit of a shame as little did I know that Carpenters’
records featured many members of The Wrecking Crew, the very same musicians who
played on recordings by The Byrds, The Beach Boys, Simon & Garfunkel, and
many many others. Knowing this today, I have dug fairly deep into the
Carpenters music while looking into this mystery of the missing single mixes.
 

Over the year I picked up six (count ’em, 6!)
different Carpenters collections, most of which sound fairly similar. The Singles 1969-1973 collection is
dramatically revised, with lovely segues and reprises that create a lovely
listening experience unique to that album. But, given the segues, its not really the actual singles some fans
want.

I found a promising three CD collection out of
Europe which was supposed to have original single mixes on it, only to learn
after it arrived — again, reading fan comments online — that someone had put
the kabosh and recalled it,  reissuing it
with the newer approved mixes.

Mine was the reissue. Dang. 

Then I read about the updated Singles 1969-1981 collection, which promised to be non-segued
single-type tracks and which also came in an SACD edition with a brand new 5.1
surround sound mix by Mr. Carpenter. This proved ridiculously elusive, with
only pricey versions available on places like eBay for upwards of $100 a pop.
Really! Go check it now and see what you find. I was astounded.

This past April I found a “bargain” used
version of the SACD at Amoeba Records (in LA) for a mere $25 — it has some
minor scuffs on it but is otherwise perfect and plays just fine. Score! Finally
I would get to hear the elusive but highly regarded surround mix of The
Carpenters’ hits. I was not disappointed.

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In fact, I like the surround mix so much I have
more or less stopped caring about the
original single mixes — with apologies to my friend John who started me on
this quest —  because 5.1 surround is
clearly the way to listen to this music. The densely layered vocal and lush
orchestral arrangements envelope you, like jumping into a huge vat of
marshmallows ready to make a huge batch of Smores. It is soft, warm, sweet and
oh so tasty.

All of this makes me wonder however WHY this
recording is so painfully out of print? Obviously, there are legions of loyal
Carpenters fans who would love to hear these mixes on their home theater systems.
Why not re-release it on SACD or Blu-ray Disc with a bonus DVD including videos
(and the surround mixes as well) for those who prefer to watch while they
listen? 

You can download the higher (than CD) resolution
48 kHz/24-bit stereo tracks of this collection via HDTracks.com, on sale now
for $17.98. I haven’t heard them but I would assume they are similar to the
high resolution stereo layer on the Singles
1969-1981
SACD.

Whatever the case, until that magical
“original singles” collection comes out someday, you should seek out
the Singles 1969-1981 collection on
CD — or SACD if you have surround sound playback capabilities — or HDTracks
download. It is probably the best balance of hits and value — not too long and
presenting individual tracks all on one disc for a reasonable price.


Mark Smotroff is a freelance writer and avid
music collector who has worked for many years in marketing communications for
the consumer electronics, pro audio and video games industries, serving clients
including DTS, Sega, Sony, Sharp, AT&T and many others. Mark has written
for EQ Magazine, Mix Magazine, Goldmine/DISCoveries Magazine,
BigPictureBigSound.com, Sound+Vision Magazine and HomeTechTell.com.  He is also a musician / composer who’s songs
have been used in TV shows such as Smallville and Men In Trees as well as films
and documentaries. Mark is currently rolling out a new musical he’s written.
www.smotroff.com

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