LOS ANGELES—Karen and Richard Carpenter may well surprise a lot of people with the release of their new A&M album Passage.
The duo concedes that it’s their most diverse album yet, touching all bases of the musical spectrum from the reggae-sounding “Man Smart (Woman Smarter)” to the orchestral “Don’t Cry for Me Argentina” from the rock opera Evita.
Says Richard Carpenter: “On this album we let the musicians stretch out more on the solos. We usually build an album from the bass, piano and drums, but are now incorporating brass, percussion and congas. We used more musicians to get a better feel.”
The most elaborate undertaking on the album is “On the Balcony of the Casa Rosada/Don’t Cry For Me Argentina,” which includes the services of the entire Los Angeles Philharmonic Orchestra and the Gregg Smith Singers. By the time the tracks were ready to be laid down, 162 performers had assembled on the A&M soundstage.
“When we brought in all these pieces we didn’t know if it would work,” says Richard. “But we wanted to do it in a big way. And we wanted an orchestra which plays all the time rather than studio musicians.”
Other tunes covered include such diverse material as Michael Franks’ [“B’wana She No Home,”] Klaatu’s spacey “Calling Occupants of Interplanetary Craft” and “I Just Fall in Love Again,” another big orchestra production.
Other luminaries contributing include Leon Russell on piano, saxophonist Tom Scott and King Errisson on congas.
“Because of the arrangements,” says Richard, “there is a more sophisticated sound. I feel that little has actually changed except maybe compared with some of the older albums.”
Adds Karen: “When choosing a song, the melody must fit me first although the lyrics are also important.”
Karen, since the past two albums, has ceased playing drums to allow her to concentrate on singing. “Richard wanted a stronger sound,” she says, “and I no longer have the strength.”
Karen’s singing has also taken on an air of refinement since the earlier albums. “I used to oversing,” says Karen. “I was too loud. I’m able to feel a song now.”
Under the guidance of manager Jerry Weintraub, the Carpenters will begin making selective television appearances. They will have their own Christmas special this year and contemplate one or two specials every year.
“Jerry got us the TV deals,” says Karen. “He’s thinking more longrange. Before, we would just record and tour. Now TV is locking up a lot of time.”
The Carpenters, however, are shying away from what some call the traps of a possible weekly variety show of their own. “We don’t want to overexpose or exhaust ourselves. It would be impossible doing a weekly. If we did we’d have to sacrifice everything else,” says Richard.
“TV might cause a brief spurt in album sales, but our own show would have to be done right,” he adds.
Both Karen and Richard concede that their somewhat wholesome image has made for “closet Carpenter freaks.”
“There are a lot of fans who kind of hide the fact they like the Carpenters,” says Karen. Nevertheless, they receive stacks of mail from young people thanking them for straightening out their lives and giving encouragement through such songs as “Top of the World” and “We’ve Only Just Begun.”
“We like appealing to all ages,” Karen says. “Everyone from young kids to their grandparents come to our shows.”
What lies ahead for the Carpenters? Karen says she would like to do a film musical while Richard is eyeing other acts to produce.