Live at the Palladium

[Mark-T]

Just listening to this as I work.

I know it's been maligned for a syrupy approach to their talents including the canned dialogue.

Regardless, I find I love this album and treasure it with every listen.
The orchestra is wonderful, Richard sounds good, and Karen just comes alive. Everything from the "thank you" in the background on S'Wonderful medley to the opening slow boil of There's a Kind of Hush. I love it.
By the time they do the hits medley and the conclusion of WOJB, I'm darned near choked up.

Live in Japan doesn't come close terms of artistry or in generating this emotion...

 

[Chris Mills]

Although unable to recreate the Carpenters studio sound on stage, it was Karen's vocal performance that stood out. Karen gave 100% effort during the live shows, especially so during their stint at the Palladium.

 

[Rick-An Ordinary Fool]

I finally got the Japan SHM-CD of Palladium to replace my original Pickwick CD and I'm really happy I got it, I just love the longer intro version of "From This Moment On"
I play this one much more than I play the Live in Japan.

 

[Rick-An Ordinary Fool]

While we are talking about the Live at the Palladium, here are some newspaper articles from the UK about those shows....how about a flashback in time? I thought you all might like to see these, I wonder why Coming Thru The Rye/Good Vibrations did not make it to the LP of Live at the Palladium? (see last article) However I knew Richard filled in for John Denver's lead.

NOV 27, 1976

AUG 28, 1976

Sept 18, 1976 (Looks like the shows sold out well before they took place, 42,000 people in 11 shows.

Nov 27, 1976

 

[GaryAlan]

Joe Layton, the fellow responsible for re-vamping their stage show, also was responsible for
Bette Midler's "extravaganzas" (to quote one source). That tidbit, I found fascinating.
However, until I do acquire the SHM-CD of the Palladium Concert , I will have to withhold my opinion
of a cd comparison.
Otherwise,
my Japanese vinyl of Live in Japan (1974) sounds awesome in comparison to the Japanese pressing of Palladium (1976).
"Theatrics Overshadow Carpenters' Music", as one review stated, pretty much echoes my sentiment.

 

[Chris Mills]

The Palladium shows were about having a good time.....variety & entertainment on a very high level.....so full of energy you felt drained ........physically. But that's not what I wanted........saw George Michael live with his Symphonica live tour produced by Phil Ramone.........felt drained at the end.......but drained emotionally......spot the subtle difference between the two live performances??

 

[Chris Mills]

While we are talking about the Live at the Palladium, here are some newspaper articles from the UK about those shows....how about a flashback in time? I thought you all might like to see these, I wonder why Coming Thru The Rye/Good Vibrations did not make it to the LP of Live at the Palladium? (see last article) However I knew Richard filled in for John Denver's lead.

NOV 27, 1976

AUG 28, 1976

Sept 18, 1976 (Looks like the shows sold out well before they took place, 42,000 people in 11 shows.

Nov 27, 1976

Where did you get these clippings from? Melody Maker or New Musical Express? Oh My God.....I'm going back in time.....feeling really strange.

 

[Chris Mills]

I finally got the Japan SHM-CD of Palladium to replace my original Pickwick CD and I'm really happy I got it, I just love the longer intro version of "From This Moment On"
I play this one much more than I play the Live in Japan.

What do you mean?........there is a longer version out there???

 

[newvillefan]

What do you mean?........there is a longer version out there???

I think what Chris means is that the piano intro of the live version of the song is a full four bars longer than the studio version from 1980. Odd song. Never did get what they thought was so special about it. It's so old fashioned and outdated.

 

[ullalume]

I think what Chris means is that the piano intro of the live version of the song is a full four bars longer than the studio version from 1980. Odd song. Never did get what they thought was so special about it. It's so old fashioned and outdated.

I always thought the 4 bars were added simply to allow Karen, after another of her costume changes, time to get centre stage.

 

[Chris Mills]

I can sleep easy tonight knowing that I did not miss anything........Goodnight

 

[ringves]

Sorry, but I couldn't let Stephen's comment re: "From This Moment On" go unchallenged. "Never did get what they thought was so special about it. It's so old fashioned and outdated."

What's so special? Think about these points:

First point - It's a Cole Porter song. In general, the sophistication of his lyrics is unmatched by most songwriters.

Second point - The arrangement makes use of a Bach prelude to showcase not only Richard's prowess as a pianist, but also Karen's ability to focus on a melody at odds with the accompanying instrumentation. And she "nails it!"

I played the live version of this recording for a cousin of mine who is a professional musician. Regarding Karen's performance on this song, he made this observation: "The arrangement leaves nowhere for the vocalist to hide. Any flaw in the performance - if there were any - would be painfully obvious."

This recording may not be "single-worthy" or hummable, but we should still be able to appreciate it for the musicianship that it demonstrates. And THAT'S why it's special.

 

[newvillefan]

What's so special? Think about these points:

First point - It's a Cole Porter song. In general, the sophistication of his lyrics is unmatched by most songwriters.

Second point - The arrangement makes use of a Bach prelude to showcase not only Richard's prowess as a pianist, but also Karen's ability to focus on a melody at odds with the accompanying instrumentation. And she "nails it!"

I played the live version of this recording for a cousin of mine who is a professional musician. Regarding Karen's performance on this song, he made this observation: "The arrangement leaves nowhere for the vocalist to hide. Any flaw in the performance - if there were any - would be painfully obvious."

This recording may not be "single-worthy" or hummable, but we should still be able to appreciate it for the musicianship that it demonstrates. And THAT'S why it's special.

All fair points and I'm not disagreeing with you that it's an exceptionally difficult song to pull off. It requires entire octave jumps between one note and the next, something few singers could pull off with such effortless ease. What I was trying to say was that whilst it showcases her vocals (and Richard's piano-playing prowess), it just doesn't set the world on fire for me at all. For want of a better word...it just sound boring. There are other songs in their canon which I feel the same about - 'Solitaire' being a prime example. Mastered with complete vocal control, but makes me reach for the fast forward button every time.

 

[Rick-An Ordinary Fool]

Sorry, but I couldn't let Stephen's comment re: "From This Moment On" go unchallenged. "Never did get what they thought was so special about it. It's so old fashioned and outdated."

What's so special? Think about these points:

First point - It's a Cole Porter song. In general, the sophistication of his lyrics is unmatched by most songwriters.

Second point - The arrangement makes use of a Bach prelude to showcase not only Richard's prowess as a pianist, but also Karen's ability to focus on a melody at odds with the accompanying instrumentation. And she "nails it!"

I played the live version of this recording for a cousin of mine who is a professional musician. Regarding Karen's performance on this song, he made this observation: "The arrangement leaves nowhere for the vocalist to hide. Any flaw in the performance - if there were any - would be painfully obvious."

This recording may not be "single-worthy" or hummable, but we should still be able to appreciate it for the musicianship that it demonstrates. And THAT'S why it's special.

Exactly why I LOVE this song and the older I get (starting my 50's now yikes) I grow to appreciate it more and more. It's a rather short song but has a powerful punch. I'll never forget when Interpretations VHS tape arrived, I believe I picked it up at Peaches Records and Tapes, I could finally put an audio performance to a video act. This song and video is yet another example of the ability Karen had to hold her notes. I forget which video shows it best but either Interpretations or the Live at Palladium but Karen is so cool....when she is holding her notes out or singing this long verse in 1 breath, she turn and smiles like yeah you heard it and it sounded hard (you thought it was hard and amazing) but this was easy peeasy for Karen, she smiles like I'm in my element and I love it or look what I just did (but without bragging) I love watching that video because not only do I love that song but the performance is steller. Richard doing what he does best and Karen singing like no other singer could accomplish with such ease.

I also love the mono version on CD.

 

[MissK]

Exactly why I LOVE this song and the older I get (starting my 50's now yikes) I grow to appreciate it more and more. It's a rather short song but has a powerful punch. I'll never forget when Interpretations VHS tape arrived, I believe I picked it up at Peaches Records and Tapes, I could finally put an audio performance to a video act. This song and video is yet another example of the ability Karen had to hold her notes. I forget which video shows it best but either Interpretations or the Live at Palladium but Karen is so cool....when she is holding her notes out or singing this long verse in 1 breath, she turn and smiles like yeah you heard it and it sounded hard (you thought it was hard and amazing) but this was easy peeasy for Karen, she smiles like I'm in my element and I love it or look what I just did (but without bragging) I love watching that video because not only do I love that song but the performance is steller. Richard doing what he does best and Karen singing like no other singer could accomplish with such ease.

I also love the mono version on CD.

Let me try it. Ahem....."you've got the sweet lips to ki-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-ss me goodnighT". Nope. Can't do it.
Seriously, this is a brilliant arrangement of this American classic done by Ken Welch expressly for the C's. He and his wife were hired to revamp the live shows in 1976.
I read somewhere (don't ask where) that Richard has never allowed the publication of this arrangement. But then, why should he? There isn't another pop singer on the planet, then or now, who can do it justice like Karen. Absolute perfection.

 

[Toolman]

I heartily endorse the right of anyone to love "From This Moment On," and enjoy that it gets such support. I completely agree that it's a technical masterpiece, but I've never felt that the arrangement suits the lyrics at all. I think those of you endorsing it are exactly right about why it became part of their late-'70s act...it demonstrated the superb technical skills of both Karen and Richard, and I admire it for that. I still feel that it makes for a pretty creepy love song. Imagine "We've Only Just Begun" with the same treatment, and maybe you'll follow why I don't love this song as they performed it. I admire the extraordinary talent that it took to pull off the performance, but it's not something I really want to listen to very often. On "Palladium" and every other compilation it appears, I tend to skip it, and was always disappointed when they trotted it out on one of their TV appearances instead of spotlighting their current single or album.

 

[Harry]

Yeah, I tend to align with newvillefan and Toolman here regarding "From This Moment On". The way the song is arranged and performed is absolutely magnificent, but those parts don't quite make up a whole. There are no goosebumps in the record for me. No soaring harmonies or string arrangements. No rhythm tracks to get your feet tapping.

That said, in the right frame of mind, I can enjoy the track. It's not something I'd skip - and like Chris-An Ordinary Fool, I prefer the version on the international release of INTERPRETATIONS (the 21-track version) rather than the re-done US release. The first release had Richard's piano part locked in the center channel with Karen's vocals echoing in stereo above it all. For the US release of INTERPRETATIONS, Richard redid his piano part in a stereo fashion. You can hear him slow down just slightly in the intro as he was attempting to get his tempo correct for Karen's vocal start. In the Canadian/UK version, his tempo is quick and constant.

And I understand the puzzlement as to why this particular and peculiar track was trotted out on so many occasions. I guess they thought it was a good showpiece for them, and something they could perform without any other musicians backing them.

Harry

 

[Jeff]

It's the last phrase 'from this moment' and especially the 'ooooooooooooooooooooooon' that I'll stay tuned for. Perhaps RC was showcasing arrangement range. Although I'm not positive he arranged that now that I think of it. Unsure if Nelson Riddle or P. Knight or whoever? I'm puzzled as well at the 'trotting out' of this tune. I wish the soundtrack and restored remastered blueray of MMM would see the light of day. Those sessions so significant and brilliant by both siblings. From gathering the what-nots a rather short ala CarpenterS circa '71 album could easily be filled with the 1980 recordings including those for 'personal' posterity. Nice way to round out a release and showcase the technical, sophisticated GRAMMY winning duo without the schtick of specials gone by. In retrospect I would nom and watch the EMMY go to MMM. Certainly up to and perhaps beyond Liza with a Z and such. My next seek and find is the shm PALLADIUM as the many lps and abundant Pickwick cd's I've accumulated sound canned...like they need a little tlc.

(love ya Liza)

Jeff

 

[A&M Retro]

I also love the 'kiiiiiiiiiiiiiiiissss' line from the Palladium recording, especially. Karen's note hold on that word is otherworldly. Just undeniably perfect.

 

[Mark-T]

I wonder if Karen realized how difficult this would be for others to sing- or if she just did it not knowing how extraordinary her gift was.

 

[arthowson]

I met Richard backstage at the inaugural performance at the CSULB Carpenters center. It was the first time Karen's performance was aired. Richard playing "live" below her and him cut out of the video. Never forget the night. i was a few seats over from Peggy Lee. I was 24 years old and drove my 1979 VW Camper down to LA from north of San Francisco. Dressed in my rented tux. It was a night to remember. Someone said "Hi Agnes" and I corrected them and said she was not "accustomed to people half her age calling her by her first name…" Memories.

Always wondered why Richard changed the piano opener on From the Top. It's a little shorter than the Pickwick recording.

 

[CraigGA]

The newspaper clipping said something about a BBC TV Special one week before the Palladium album release. Is that available anywhere? I like the entire album and wish more was on it! From This Moment On is one of my favorites! How many other vocalists topping the charts could have held their own against the piano going all over the world on the keyboard with no orchestration or doubling of melody line! It is outstanding and fits with the Warsaw Concerto as classical pieces for contemporary entertainment that identified who they are as they traveled through their life of music.

Craig

 

[Rick-An Ordinary Fool]

I always thought this album was just a little too short, 45 mins for a live album seems short, it's missing like 1 or 2 more songs. They should have included a upcoming song they are working on for future record, sorta like a teaser of what's to come soon, like 'Sweet Sweet Smile'

 

[Rumbahbah]

The BBC TV special from 1976 was shown in BBC4 after one of their repeats of the 'Only Yesterday' documentary a few years ago. I forget the exact setlist but it did feature both 'I Need to Be in Love' and 'Close to You' in the Spike Jones style, both of which were omitted from Live at the Palladium. Even if they didn't want to include all the 'schtick' elements of the show on the live album, it's strange they left off 'I Need to Be in Love' when there was plenty of room to include it.

 

[A&M Retro]

Yeah, I agree. The omission of 'I Need To Be In Love' made no sense at all. They also excluded 'Good Vibrations/Coming Through The Rye'. But that song was performed, as well, on the British tour. Ray Coleman mentions it in his review of the revamped '76 show. He called that song 'a horror of horrors'.