Was There a Full 1980 Version Recorded of A Song for You?

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Mark-T

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I must say, I always enjoyed the introduction of Music, Music, Music. It's so rich. When they went into the studio, was a full length version of the Leon Russell classic recorded?
 
What we hear is all they recorded. It was designed just for the opening segment with the lengthy orchestral section that came after Karen's opening vocal, allowing them to talk over the top of it. Whilst it's in the same key as the original 1972 version, I find her vocal weaker and more 'airy' but it segues nicely into 'Without A Song' (which is in the same key also). I have often thought it would make a lovely 'overture' piece to a new hits compilation, similar to what they did with the Christmas album openers (or at worst, a bonus track on a new collection).
 
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Thanks, newvillefan. I actually like the 1980 vocal better. It seems less strident and much more relaxed. I do like the original too. The sax solo is one of the best they ever recorded.

It is a great idea to use it as an intro to a new hits collection...
 
The Song For You intro stopped me cold. 'I've made some bad rhyme' there we go again. Lower, richer, deeper as I hold my breath, savoring, wishing and lower...Oh God Karen kill me some more...and uh. Absolutely, positively the MMM sessions of on and around Karen's birthday March 2, 1980 are a fitting glorious swan song. The solo recordings from '79 and 81's MIA have a completely different feel, sound...not complaining mind you. We find at MMM a confidant Karen Carpenter killin' those vocals and taking charge of the show. Boggles this little mind that someone in the throws of death could give so freely. For those needing intro to the voice, the simple SONG FOR YOU intro speaks volumes. Then say no more, another fan is born. It is impossible not to recognize a blessed gift nor deny true art. With every note a home-run, never sharp, never flat, but dead spot on, bullseye to the soul, hook-line-n-sinker SOLD. Karen sealed the deal with every utterance. Entrancing, complex, effortless, addicting like heroin er cigarettes. It's no wonder the 15 y/o yours truly was literally dumbfounded and spellbound by her presence and quaked at her touch. I'm trembling with recall of the trembling. Before a Goddess. Undeniable. This 28y/o dynamo transported millions and her aura was kryptonite to her ever fond critter. I would liken the experience to watching Vatican City where Pope so an so goes about his flock mystically imparting his divinity. Reverence, respect was natural instinct. This encounter left an indelible impression, so much that I've often wondered why the explosive impact? Then comes this SONG FOR YOU intro topic and I have my answer once again.
 
I've always assumed that the title of that special, MUSIC, MUSIC, MUSIC came from the song of the same name that surely would have been a part of the Carpenters kids record collection in the '50s. Teresa Brewer recorded the song "Music, Music, Music" twice, once for the London label in 1950, and later for the Coral label in 1953, which was the bigger hit for her.



I remember playing that record endlessly as part of my kiddie records collection, and I'm sure that the Carpenter family must have had a copy as well. So it just seems natural to me that when they wanted to do a special with just music, the old song title must have been rattling around in their brains.

Harry
 
I've always assumed that the title of that special, MUSIC, MUSIC, MUSIC came from the song of the same name that surely would have been a part of the Carpenters kids record collection in the '50s. [...] So it just seems natural to me that when they wanted to do a special with just music, the old song title must have been rattling around in their brains.

Harry, Richard's first ever 45 was this Teresa Brewer release, so I'm sure this is where the inspiration for the TV special title came from.

"As he grew, Richard became interested in his father's extensive record collection. Even before he could read, young Richard would go through the records and listen for hours. He was able to distinguish the records by feeling the edges and grooves of each 78. His first 45 was Theresa Brewer's Dixieland-tinged "Music, Music, Music..."


Source: http://www.nytimes.com/2010/08/08/books/review/excerpt-little-girl-bue.html?pagewanted=all&_r=0
 
Good research Stephen, thanks. As a person of the same era, it seemed a natural to me.

I wonder if they ever attempted the song...

Harry
 
Speaking of re-recording, do we think any of This Masquerade was re-recorded for the special? I haven't compared syllable to syllable - but at first blush, it seems that they used Karen's 1973 recording of the lead for her Ella duet.... Anyone know if my ears deceive me? Thx~!
 
Ya know Barry, I've wondered the same thing and my ears say yep that ain't a rerecord. Breath for breath and so on.

Jeff
 
I've heard the story multiple times about baby Richard being able to identify records by feeling the grooves. While that makes for some great storytelling, is that really even possible? That just seems like one of those tall tales that parents make up to brag about how amazing and talented their children are. I just don't see how it could be humanly possible to "read" record grooves like Braille.
 
The recording of This Masquerade is actually the 1973 version... segued with the new medley selections that follow it. It fits together seamlessly, her vocals don't sound at all out of place given one song was recorded 7 years before the rest.
 
I've heard the story multiple times about baby Richard being able to identify records by feeling the grooves. While that makes for some great storytelling, is that really even possible? That just seems like one of those tall tales that parents make up to brag about how amazing and talented their children are. I just don't see how it could be humanly possible to "read" record grooves like Braille.

I have to admit to a similar talent at the same age. My parents tell me that one of my fascinations with records at the age of about 3 or 4 was to try to peel off the labels, which I was successful at doing. Then they'd ask me to play a particular record and I was able to identify it by "reading" the grooves - not feeling them - but looking at the way they reflected the light. I learned very early on that long records looked different than short records, loud records looked different from quiet records, and to be able to tell the difference between loud and quiet passages and where and how often they occurred on each 45.

I pretty much still have that ability - to look at the grooves of a record and know which tracks will be the loud ones, which the short ones, which the quiet ones, etc. If I need to find the middle bridge of a track, I can usually spot it as the record is whirling on the turntable.

My suspicions are that Richard had a similar talent - and as Will Sonnett would say, "No brag - just fact."

Harry
 
Wow Harry! I must say that I am impressed. That's quite an interesting talent. I stand corrected. Looks like it is possible.

Gee... when did I turn into such a skeptic? I must be getting old. LOL!
 
My father was also quite the "Rube Goldberg", rigging up all kinds of things out of nothing at all. A neighbor once gave us these giant transcription records from a radio station, 15-inchers, I think - too big to play on a standard phonograph. So dad had an old record player motor and platter that he removed the tone-arm from so the giant records could spin around without the tone-arm getting in the way. Then to play the record, he rolled up a piece of a file folder into a cone shape, and stuck a sewing needle through the point of the cone, suspending it somehow above the spinning giant record. The cone acted like a gramophone's horn. So we got to listen to those big records. One was a documentary about WW2 narrated by Walter Cronkite. Another had some commercials for Dentyne Chewing Gum ("..buy a pack to-day...").

Quite a thread drift we've got going here, all having nothing to do with any version of "A Song For You"!

Harry
 
Harry: I can do the same thing. Give me any Beatles, Carpenters or Billy Joel LP, and cover the label. I can tell you immediately what album it is by looking at the grooves. My fraternity buddies used to quiz me on it, and thought I was a total freak....and I didn't argue. :) I can also tell you the running order of all the major releases on those artists. In the case of Carpenters, many running times, too. LOL>>
 
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