Karen Carpenter's calm, often somber voice was the most distinctive element of their music, settling in perfectly amidst the precise, lush arrangements provided by her brother Richard. The duo's sound drew more from pre-rock pop than rock & roll, but that didn't prevent the Carpenters from appealing to a variety of audiences, particularly Top 40, easy listening, and adult contemporary. While their popularity declined during the latter half of the '70s, they remained one of the most distinctive and recognizable acts the decade produced.
The Carpenters formed in the late '60s in Downey, CA, after their family moved from their native New Haven, CT. Richard had played piano with a cocktail jazz trio in a handful of local Connecticut nightclubs. Once the family had moved to California, he began to study piano while he supported Karen in a trio that featured Wes Jacobs (tuba/bass). With Jacobs and Richard forming her backup band, Karen was signed to the local Californian record label Magic Lamp, who released two unsuccessful singles by the singer. The trio won a Battle of the Bands contest at the Hollywood Bowl in 1966, which led to a record contract with RCA. Signing under the name The Richard Carpenter Trio, the group cut four songs that were never released. Jacobs left the band at the beginning of 1968.
Following Jacobs' departure, the siblings formed Spectrum with Richard's college friend John Bettis. Spectrum fell apart by the end of the year, but the Carpenters continued performing as a duo. The pair recorded some demos at the house of Los Angeles session musician Joe Osborn; the tape was directed toward Herb Alpert, the head of A&M Records, who signed the duo to his record label in early 1969.
Offering, the Carpenters' first album, was released in November 1969. Neither Offering or the accompanying single, a cover of the Beatles' "Ticket to Ride," made a big impression. However, the Carpenters' fortunes changed with their second single, a version of Burt Bacharach and Hal David's "(They Long to Be) Close to You." Taken from the album Close to You, the single became the group's first number one, spending four weeks on the top of the U.S. charts. "Close to You" became an international hit, beginning a five-year period where the duo was one of the most popular recording acts in the world. During that period the Carpenters won two Grammy Awards, including Best New Artist of 1970, and had an impressive string of Top Ten hits, including "Rainy Days and Mondays," "Superstar," "Hurting Each Other," "Goodbye to Love," "Yesterday Once More," and "Top of the World."
After 1975's number-four hit "Only Yesterday," the group's popularity began to decline. For the latter half of the '70s, the duo were plagued by personal problems. Richard had become addicted to prescription drugs; in 1978, he entered a recovery clinic, kicking his habit. Karen, meanwhile, became afflicted with anorexia nervosa, a disease she suffered from for the rest of her life. On top of their health problems, the group's singles had stopped reaching the Top Ten and by 1978, they weren't even reaching the Top 40. Consequently, Karen decided to pursue a solo career, recording a solo album in 1979 with Phil Ramone. The record was not completed at that time (though it would be released in 1996), and she returned to the Carpenters later that year. The reunited duo released their last album of new material, Made in America, in 1981. The album marked a commercial comeback, as "Touch Me When We're Dancing" made it to number 16 on the charts. However, Karen's health continued to decline, forcing the duo out of the spotlight. On February 4, 1983, Karen was found unconscious at her parents' home in Downey; she died in the hospital shortly after due to cardiac arrest, which was later due to the strain on her heart caused by years of crash dieting caused by anorexia nervosa.
After Karen's death, Richard Carpenter concentrated on production work and assembling various compilations of the Carpenters' recorded work. In 1987, he released a solo album called Time, which featured guest appearances by Dusty Springfield and Dionne Warwick. ~ Stephen Thomas Erlewine, All Music Guide
from http://music.msn.com/artist/?artist=1607403&contenttype=artistsongs
Ave Maria
Carpenters Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Gratia plena
Dominus tecum
Benedicta tu
Inmulieribus
Et Benedictus
Fructus ventris tui, Jesus
Sancta Maria,
Maria, ora pro nobis
Nobis pecatoribus
Nune et in hora
In hora
Mortis nostrae
Amen
Amen
The above lyrics to the song Ave Maria by the Carpenters are in Latin and essentially, they are a prayer or hymn to Mary, the mother of Jesus Christ. The first part of the prayer is a greeting to Mary, Ave Maria, which translates to "Hail Mary." The next line, Gratia plena, means "full of grace," acknowledging the holy and revered status of Mary.
The next lines, Dominus tecum and Benedicta tu in mulieribus, pay homage to Mary's blessedness as the chosen one of the Lord and the most blessed among all women. The subsequent line, Et Benedictus fructus ventris tui, Jesus, is a reference to Jesus Christ, the son of Mary, who is celebrated as the Savior and Redeemer. The last few lines of the song request Mary to pray for us sinners and especially during the time of our death.
The song is a classic and iconic hymn in the Christian religion and is often played at weddings, funerals, and other religious ceremonies. The Carpenters' version of this song is among the most popular and their rendition is known for its peaceful and calming tone that inspires the listener.
Line by Line Meaning
Ave Maria
Greetings, Mary
Gratia plena
Full of grace
Dominus tecum
The Lord is with you
Benedicta tu
Blessed are you
Inmulieribus
Among women
Et Benedictus
And blessed
Fructus ventris tui, Jesus
Is the fruit of your womb, Jesus
Sancta Maria,
Holy Mary
Sancta Maria
Holy Mary
Maria, ora pro nobis
Mary, pray for us
Nobis pecatoribus
Now and at the hour
Nune et in hora
Of our death
In hora
Amen
Mortis nostrae
Our time of passing
Amen
So be it
Lyrics © O/B/O APRA AMCOS
Written by: Pietro Antonio Stefano Mascagni
Lyrics Licensed & Provided by LyricFind
@reubenkeyz5131
What I love about her voice is that her low notes are still loud and not muddy. At the same token, for an alto her upper range is pretty impressive. No pushing or shouting. Very controlled. God given talent. May she Rest In Peace.
@carolinechard7848
Couldn't have put it better myself. 👏
@robbybobbyish
Karen Carpenter was one of the most underrated voices... Her voice is one of the best that we have ever heard. Natural and pure.
@princessofarchetypes3870
exactly! - This girl can hit a wide range.
@MrErsamo
She always wanted to use her upper voice more, but as she once admitted, only half-jokingly: "The money's in the basement."
@christophmessner6450
Completely free from the usual pressing, urging, squeaking of opera singers! Just natural voice and complete piety! So wonderful!
@kingskidgirl2
Never has there been a voice that can make me so extraordinarily happy and so profoundly sad at the same time like Karen Carpenter's can. That last low note she hits brings tears to my eyes every time. What a gift she was, and is.
@RaymondHng
That last low note was an E♭3.
@davidknight4874
Bravo
@int53185
Over 35 years after her death, I shed a tear for the beauty that was Karen Carpenter.