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My dear friend, novelist and showbiz historian Richard Tyler Jordan, endeared himself to me many years ago by admitting his boundless affection for The Carpenters. I asked him to comment on them for this review, and he wrote the following: "Karen's alto voice, with its deep resonance, round tones, and amazing breath control, continues to enthrall me. One cannot help but stop and pay attention when she sings. And, one immediately knows to whom that distinctive voice belongs! The Carpenters' "sound" was unique and, thirty years after some of these recordings were made, they stand the test of time. Which, by definition, makes them classics. Modern pop music has never been graced with a more accessible and hauntingly beautiful voice than Karen's. She left an extraordinary legacy. Thank God, Karen and her brother Richard were here."

I used to amuse my high school girlfriends by doing an impersonation of Karen covering John Denver's "Thank God I'm a Country Boy." It wasn't particularly hip circa 1977 to admit to liking their music (punk had begun to yawp, and the Talking Heads were poking around the corner), so I'd emphasize the goofiness of some of their covers, but I did and still do cherish their early material. My favorite Carpenters' tune is "Bless the Beasts and the Children," the theme of which vexes me to this day-that terrible things can happen to kids and animals. The song is a lullaby, about the most tender little tune in Creation, but it just breaks my heart. Also putting baseline cracks in my aorta is "We've Only Just Begun," recorded in 1970 as a Crocker Bank commercial. Such a sunny slice of optimism it was, capturing the idealism of young American couples everywhere. My 10-year-old self hoped that, one day, I'd get married the way the young couple did in those commercials and ride off to happily ever after in a Volkswagen Beetle. Instead, my third favorite, "Goodbye To Love" wound up my theme song many too times to mention-even with the dated guitar solo. I outgrew the sentiments of a typical Carpenters' song by the time I was 13, but revisiting their music with the release of THE ESSENTIAL COLLECTION has rekindled my now unabashed fondness for them.

The early works on the first disc (1965-1970) of this four-disc set place concern The Carpenters' roots as a SoCal jazz trio (they won the Hollywood Bowl Battle of the Bands in 1966), driven by Richard's bebop sensibilities as keyboardist and arranger. You don't expect The Carpenters' canon to kick off with a Duke Ellington instrumental, but it does, and what "Caravan" (1965) lacks in trademark Carpenter vocals it makes up for in 15-year-old Karen Carpenter's spirited drum solo (she barely had a learner's permit on the instrument). The next song, "The Parting of Our Ways," (1966) sounds like it was recorded in someone's basement bathroom, but Karen unveils her voice, sticking to her lower register--so surprisingly clear and rare for a teenager. Early, otherwise undistinguished songs like "You'll Love Me" and "All I Can Do"(both from 1967) careen between the sunny, Southland pop of the early '60s and the dizzy, harmonic cascades of the Swingle Singers, remarkable for their chronicle of Karen's vocal development.. Fortunately, The Carpenters were able to attract interest in their music during a banner era for such deeply registered chanteuses as Cass Elliott, Spanky McFarlane, Grace Slick, Dusty Springfield, heck, even Cher. At the same time, Richard was cultivating a most tasteful ear for vocal textures and complimentary instrumental arrangements. Richard Carpenter's lead singing on "Your Wonderful Parade" (1968) is more than workmanlike. He was, to be sure, a better back-up singer than a frontman, but part of his success in arranging for Karen's voice was his unerring judgment in complementing Karen's voice with winds (the clarinet in "We've Only Just Begun" (1970), the English and French horns in "Superstar" (1971)), gentle keyboards, and his own harmonies. The duo signed with A&M Records, and superstardom was just a few singles away.

One of the pleasant surprises on Disc 1 is a hilariously scripted interview with L.A. deejay Sam Riddle (Sam Riddle! Now, THERE'S a name I haven't heard in 30 years!), which Richard thoughtfully corrects in the accompanying booklet for the sake of historical accuracy. It's clunky, kind of like listening to Cecil B. DeMille debrief the stars with corny plugs about their next films at the end of Lux Radio Theater, but Karen comes across as so warm and friendly that it matters not. Their version of "Get Together" (1970) sounds like the Youngbloods processed through a New Seekers' blender. "Love is Surrender" (1970) shows us the Carpenters finally hitting their stride and their successful sound. The first hits, "Close to You," "We've Only Just Begun," "For All We Know"-all from 1970-close out the first disc.

Discs 2 (1971-1973) and 3 (1974-1978) cover the hits territory, which require little in the way of review. If you don't love The Carpenters' music, you won't enjoy them (and that's your loss, Bub, because it puts you in the company of such perennial malcontents as Elizabeth Wurzel, who idiotically described the duo as having "one of the most undistinguished successful music careers ever."). If you do love the music, Discs 2 and 3 alone justify putting out for the set. Oddities on Disc 2 include an Oldies Medley (I ask you, is there a blander word in the English language than medley? I mean, think about it: vegetable medley-bleah!) from 1973 that finds Karen bopping along (albeit snuggly and safely under her seatbelt) on "Fun, Fun, Fun," while a disturbingly hyper DJ calls the shots. Richard's vocals on "Dead Man's Curve" are uncannily spot on.

There's also a really weird cover of "Jambalaya (On The Bayou)" (1973). Imagine if they'd only covered the Stones' "Start Me Up." (Think about Karen singing the last line of that song, kids.) Disc 3 includes a Japanese Chocolate Commercial, some sacred and Christmas pieces, as well "Calling Occupants of Interplanetary Craft (The recognized Anthem of World Contact Day)" from 1977. What brought that song on? Well, back then, avowed UFO-spotter Jimmy Carter was the President-you may recall his being attacked in a rowboat by a swimming rabbit (and no, I'm not making this up). The '70s saw a mini-UFO hysteria in the middle of the decade, and not even The Carpenters were safe from its clutches.

Disc 4 (1978-1997) sees us through the end of their string of hits (with 1981's "Touch Me When We're Dancing"). Could Karen Carpenter have had a second act in her vocal career? Oh, unquestionably. After listening to her go womano a womano with Ella Fitzgerald herself ("Karen/Ella Medley"-yeah, there's that "M" word again-from 1980), there is no doubt that she would have found new fans in recording pop standards the way Carly Simon, Linda Ronstadt, Rod Stewart, and--most recently--Boz Scaggs have-and most certainly with Richard as her Nelson Riddle. Sadly, Karen Carpenter succumbed to heart strain brought on by her eight-year battle with anorexia nervosa in 1983. She was 33 years old, and the shocking photos of her emaciation dragged that medical condition out of the closet, likely saving countless young women from a similar fate. It is a disease particular to perfectionist personalities, and it stole from us one of the most perfect voices in recording history.

The four-disc set-over four hours of music--comes with a fine-looking booklet full of photos and Richard's commentaries on each selection, which include some really interesting details. For example, the "Karen/Ella Medley" posed a particular problem for Richard because he and his sister were studio-centric artists, while Ella Fitzgerald recorded without prerecorded tracks or even headphones. How to match up these two first-class songbirds? Only Richard, with his uncompromising ear, can tell, because excellence is clearly a hallmark of his music. It's also interesting to note how Richard stuck loyally by his session players throughout the duo's career: lyricist John Bettis, bassist Joe Osborn, guitarist Tony Peluso. The back of the booklet includes pictures of all of the duo's album covers. At the close of the booklet's introduction, Richard speaks, I think, for us all when he writes, "Lastly, I thank Karen-not only for the many years of enjoyment her voice has brought me-but for the pleasure of her company."

1) The Richard and Karen Carpenter Performing Arts Center is located at Long Beach State College (CSULB) in Long Beach, California.

2) "For All We Know" won the Best Song Oscar in 1970 for the movie "Lovers and Other Strangers."

3) "Bless the Beasts and the Children" was nominated for the Best Song Oscar in 1971 (it was the title song of the movie)-alongside Coven's "One Tin Soldier" from "Billy Jack"--but both songs lost to Isaac Hayes' "Shaft." ("You're damn right!)

4) Did you get that on tape? In 1972, President Nixon hosted the Carpenters for a White House photo op and gifted Richard with golf balls and cuff links and Karen with a gold powder compact, all stamped the Presidential seal. He called them "young America at its best." Even Elvis didn't get a gold powder compact when he visited Tricky Dick.

5) The song "Because We Are In Love" was composed for Karen's 1981 wedding to Orange County real estate developer Thomas Burris, Jr.

6) July 4, 1974: The Carpenters made the cover of Rolling Stone magazine.

7) During her battle with anorexia nervosa, Karen Carpenter (5'4") at one time weighed only 80 pounds. Richard's comments in People Magazine, from the year of her death, 1983: "Although her voice was never affected, you could hear gasps from the audience when she came onstage, and there was considerable mail from fans asking what was wrong. Eventually, though, my parents and I realized that there was nothing we could do except state what was on our minds. We never knew how to help her."

8) Todd Haynes, director of FAR FROM HEAVEN, got his start with a small film titled SUPERSTAR, which depicted the life and death of Karen Carpenter enacted with Barbie dolls. Richard Carpenter successfully sued to block distribution of Haynes' film, which Haynes insists is not intended to poke fun at the Carpenter tragedy.

Carpenters' Links:

http://web.singnet.com.sg/~tonytay/carp.htm (A fine and informative fan page.)

http://www.carpenterarts.org/ (The official site of the performing arts center at Long Beach State.)

http://www.karencarpenter.net/ (Over 400 pictures of those crazy kids.)

http://www.vex.net/~paulmac/carpenter/ (Complete with adorable, pulsating hearts and an extensive listing of their awards.)

www.the-carpenters.com (The official website of . . . Mike and Ann Carpenter. You don't need to go there.)

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