Superstar ...
The song "Superstar" became most popular after its treatment by the
Carpenters. Richard Carpenter became aware of the song after hearing it
sung by Bette Midler on late night television. "I came home from the
studio one night and heard a, then, relatively unknown Bette Midler
perform it on the Tonight Show," he remembered. "I could barely wait to
arrange and record it. It remains one of my favorites." Karen Carpenter
had heard the early Coolidge rendition on a promotional copy of the Mad
Dogs album, but at the time she did not think that much of it.
Richard's arrangement featured an oboe line at the start, followed by Karen's clear contralto voice set against a quiet bass line in the verses, which then built up to up-tempo choruses with a quasi-orchestral use of horns and strings. Karen Carpenter recorded her vocal in just one take, using lyrics scribbled by Richard on a paper napkin. This was in fact the "work lead" normally used only to guide the other musicians through the early takes. Produced by Richard with Jack Daugherty, it was recorded with members of the "The Wrecking Crew," a famed collection of Los Angeles area session musicians. As the song's storyline was more risqué than what was typical for the Carpenters, Richard changed a lyric in the second verse from:
And I can hardly wait
To sleep with you again
To the somewhat less suggestive:
And I can hardly wait
To be with you again.[4]
The song's publisher was delighted with the lyric change, noting the previous wording had kept many other artists from recording it. (The timing of the Carpenters' first recording of the song is unclear; it is possible that Richard submitted the change to the publisher well in advance of their ultimate release of the recording, and that this influenced the other early versions.) Upon hearing the final recording, Karen Carpenter finally recognized the power of the song. She later noted: "For some reason that tune didn't hit me in the beginning. It's the only one. Richard looked at me like I had three heads. He said: 'Are you out of your mind?' When I heard his arrangement of it I fell over, and now it's one of my favorites too."[5]
The Carpenters' treatment of the song underscored the deep loneliness and sense of loss intended in the lyric, and established the song as a standard for years to come. Karen's vocal was praised for its intensity and emotional nature. When asked in a 1972 interview how she could communicate the heart of the song while lacking the personal experience it depicted, Karen replied, "I've seen enough groupies hanging around to sense their loneliness, even though they usually don't show it. I can't really understand them, but I just tried to feel empathy and I guess that's what came across in the song." In truth, Karen struggled with loneliness herself, and the personal implications of the song made it one of the three she found most emotionally difficult to sing, the other two being the previous "Rainy Days and Mondays" and the subsequent "I Need to Be in Love."[5]
The duo's rendition was included on the May 1971 album Carpenters, and then released as a single in August 1971, rising to number 2 on the Billboard Hot 100 pop singles chart (held out of the top spot by Rod Stewart's "Maggie May"), and spending two weeks at number one on the Easy Listening chart that autumn and earned gold record status.[6] It also reached number 18 on the UK pop singles chart and did well in Australia and New Zealand as well.
Richard would be nominated for a Grammy Award for Best Arrangement Accompanying Vocalist for his efforts. "Superstar" would go on to appear on two mid-1970s Carpenters live albums as well as innumerable compilation albums. For instance, it appeared on the Carpenters' 2004 SACD compilation, The Singles: 1969–1981 (not to be confused with the regular CD, The Singles: 1969–1981), as a remix of the original 1973 mix on the similarly titled compilation The Singles: 1969–1973.
The song has been featured in several movies, and both as a tribute:
In the 1995 comedy film Tommy Boy, David Spade's and Chris Farley's respective characters argue over what music to listen to on the radio (Farley's prefers heavy metal; Spade's prefers more modern rock) when they stumble upon this song. Both insist that the other should turn to another station if the song offends them; in the next scene, both of them are loudly (and emotionally) singing the song's chorus.
The song was also used in the 2007 film Ghost Rider with Nicolas Cage. In the movie, Donal Logue tries to turn off "Superstar," when Cage defends the song and states that nobody messes with Karen Carpenter. (On the Ghost Rider official soundtrack, a song is titled "A Thing for Karen Carpenter.")
Personnel
Karen Carpenter – lead and backing vocals
Richard Carpenter – backing vocals, piano, Wurlitzer electric piano, Fender Rhodes electric piano, orchestration
Joe Osborn – bass
Hal Blaine – drums
Earle Dumler – oboe
Uncredited - tambourine, harp, trumpets
Richard's arrangement featured an oboe line at the start, followed by Karen's clear contralto voice set against a quiet bass line in the verses, which then built up to up-tempo choruses with a quasi-orchestral use of horns and strings. Karen Carpenter recorded her vocal in just one take, using lyrics scribbled by Richard on a paper napkin. This was in fact the "work lead" normally used only to guide the other musicians through the early takes. Produced by Richard with Jack Daugherty, it was recorded with members of the "The Wrecking Crew," a famed collection of Los Angeles area session musicians. As the song's storyline was more risqué than what was typical for the Carpenters, Richard changed a lyric in the second verse from:
And I can hardly wait
To sleep with you again
To the somewhat less suggestive:
And I can hardly wait
To be with you again.[4]
The song's publisher was delighted with the lyric change, noting the previous wording had kept many other artists from recording it. (The timing of the Carpenters' first recording of the song is unclear; it is possible that Richard submitted the change to the publisher well in advance of their ultimate release of the recording, and that this influenced the other early versions.) Upon hearing the final recording, Karen Carpenter finally recognized the power of the song. She later noted: "For some reason that tune didn't hit me in the beginning. It's the only one. Richard looked at me like I had three heads. He said: 'Are you out of your mind?' When I heard his arrangement of it I fell over, and now it's one of my favorites too."[5]
The Carpenters' treatment of the song underscored the deep loneliness and sense of loss intended in the lyric, and established the song as a standard for years to come. Karen's vocal was praised for its intensity and emotional nature. When asked in a 1972 interview how she could communicate the heart of the song while lacking the personal experience it depicted, Karen replied, "I've seen enough groupies hanging around to sense their loneliness, even though they usually don't show it. I can't really understand them, but I just tried to feel empathy and I guess that's what came across in the song." In truth, Karen struggled with loneliness herself, and the personal implications of the song made it one of the three she found most emotionally difficult to sing, the other two being the previous "Rainy Days and Mondays" and the subsequent "I Need to Be in Love."[5]
The duo's rendition was included on the May 1971 album Carpenters, and then released as a single in August 1971, rising to number 2 on the Billboard Hot 100 pop singles chart (held out of the top spot by Rod Stewart's "Maggie May"), and spending two weeks at number one on the Easy Listening chart that autumn and earned gold record status.[6] It also reached number 18 on the UK pop singles chart and did well in Australia and New Zealand as well.
Richard would be nominated for a Grammy Award for Best Arrangement Accompanying Vocalist for his efforts. "Superstar" would go on to appear on two mid-1970s Carpenters live albums as well as innumerable compilation albums. For instance, it appeared on the Carpenters' 2004 SACD compilation, The Singles: 1969–1981 (not to be confused with the regular CD, The Singles: 1969–1981), as a remix of the original 1973 mix on the similarly titled compilation The Singles: 1969–1973.
The song has been featured in several movies, and both as a tribute:
In the 1995 comedy film Tommy Boy, David Spade's and Chris Farley's respective characters argue over what music to listen to on the radio (Farley's prefers heavy metal; Spade's prefers more modern rock) when they stumble upon this song. Both insist that the other should turn to another station if the song offends them; in the next scene, both of them are loudly (and emotionally) singing the song's chorus.
The song was also used in the 2007 film Ghost Rider with Nicolas Cage. In the movie, Donal Logue tries to turn off "Superstar," when Cage defends the song and states that nobody messes with Karen Carpenter. (On the Ghost Rider official soundtrack, a song is titled "A Thing for Karen Carpenter.")
Personnel
Karen Carpenter – lead and backing vocals
Richard Carpenter – backing vocals, piano, Wurlitzer electric piano, Fender Rhodes electric piano, orchestration
Joe Osborn – bass
Hal Blaine – drums
Earle Dumler – oboe
Uncredited - tambourine, harp, trumpets
Superstar.
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"Superstar' Originally sang and was recorded and released as a B-side to the Delaney & Bonnie single "Comin' Home" in December 1969.
Written by: R Bonnie Bramlett and Leon Russell. with a songwriting credit also given to Delaney Bramlett[1]
Category: Music
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From: Wikipedia, the free encyclopaedia.
"Superstar" is a 1969 song written by Bonnie Bramlett and Leon Russell (with a songwriting credit also given to Delaney Bramlett[1]) that has been a hit for many artists in different genres and interpretations in the years since; the best-known version is by the Carpenters in 1971.
Accounts of the song's origin vary somewhat, but it grew out of the late 1969/early 1970 nexus of English and American musicians known as Delaney & Bonnie and Friends, that involved Delaney and Bonnie Bramlett, Leon Russell, Eric Clapton, and various others. The song's working title during portions of its development was "Groupie Song."
In its first recorded incarnation, the song was called "Groupie (Superstar)," and was recorded and released as a B-side to the Delaney & Bonnie single "Comin' Home" in December 1969. Released by Atlantic Records, the full credit on the single was to Delaney & Bonnie and Friends Featuring Eric Clapton.
Sung by Bonnie, the arrangement featured slow guitar and bass parts building up to an almost gospel-style chorus using horns.
As suggested in the title, the song was the story of a groupie who holds a strong love for a rock musician. After a brief involvement he has moved on to the next town. She is alone, waiting and yearning for a return that will never come. Despite his promises to see her again, the music on the radio is all she has left. Through the chorus she pleads:
Don't you remember! You told me you loved me, baby
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you. I really do ...
But Delaney & Bonnie were not yet well known at the time, and "Comin' Home" only reached number 84 on the US pop singles chart, although it achieved a peak of sixteen on the UK Singles Chart.
"Superstar"
Single by Carpenters
from the album Carpenters
B-side "Bless the Beasts and Children"
Released August 12, 1971
Format 7" single
Recorded Early 1971
Genre Pop
Length 3:46
Label A&M 1289
Writer(s) Leon Russell, Bonnie Bramlett
Producer(s) Jack Daugherty
Certification Gold
Carpenters singles chronology
"Rainy Days and Mondays"
(1971) "Superstar"
(1971) "Bless the Beasts and Children"
(1971)
Carpenters track listing
Side one
"Rainy Days and Mondays"
"Saturday"
"Let Me Be the One"
"(A Place to) Hideaway"
"For All We Know"
Side two
"Superstar"
"Druscilla Penny"
"One Love"
"Bacharach/David Medley"
"Sometimes"
"Superstar"
Single by Sonic Youth
from the album If I Were a Carpenter
Released 1994
Format 7" single
Recorded 1994
Genre Alternative rock, noise rock
Length 4:06
Label A&M
Writer(s) Leon Russell, Bonnie Bramlett
Sonic Youth singles chronology
"Bull in the Heather"
(1994) "Superstar"
(1994) "The Diamond Sea"
(1995)
The song "Superstar" became most popular after its treatment by The Carpenters. Richard Carpenter became aware of the song after hearing it sung by Bette Midler on late night television. "I came home from the studio one night and heard a then relatively unknown Bette Midler perform it on the Tonight Show," he remembered. "I could barely wait to arrange and record it. It remains one of my favorites." Karen Carpenter had heard the early Coolidge rendition on a promotional copy of the Mad Dogs album, but at the time she did not think that much of it.
Richard's arrangement featured an oboe line at the start, followed by Karen's clear contralto voice set against a quiet bass line in the verses, which then built up to up-tempo choruses with a quasi-orchestral use of horns and strings. Karen Carpenter recorded her vocal in just one take, using lyrics scribbled by Richard on a paper napkin. This was in fact the "work lead" normally used only to guide the other musicians through the early takes. Produced by Richard with Jack Daugherty, it was recorded with members of the "The Wrecking Crew," a famed collection of Los Angeles area session musicians. As the song's storyline was more risqué than what was typical for the Carpenters, Richard changed a lyric in the second verse from:
And I can hardly wait
To sleep with you again
To the somewhat less suggestive:
And I can hardly wait
To be with you again.[3]
The song's publisher was delighted with the lyric change, noting the previous wording had kept many other artists from recording it. (The timing of the Carpenters's first recording of the song is unclear; it is possible that Richard submitted the change to the publisher well in advance of their ultimate release of the recording, and that this influenced the other early versions.) Upon hearing the final recording, Karen Carpenter finally recognized the power of the song. She later noted: "For some reason that tune didn't hit me in the beginning. It's the only one. Richard looked at me like I had three heads. He said: 'Are you out of your mind?' When I heard his arrangement of it I fell over, and now it's one of my favorites too."[4]
The Carpenters's treatment of the song underscored the deep loneliness and sense of loss intended in the lyric, and established the song as a standard for years to come. Karen's vocal was praised for its intensity and emotional nature. When asked in a 1972 interview how she could communicate the heart of the song while lacking the personal experience it depicted, Karen replied, "I've seen enough groupies hanging around to sense their loneliness, even though they usually don't show it. I can't really understand them, but I just tried to feel empathy and I guess that's what came across in the song." In truth, Karen struggled with loneliness herself, and the personal implications of the song made it one of the three she found most emotionally difficult to sing, the other two being the previous "Rainy Days and Mondays" and the subsequent "I Need to Be in Love."[4]
The duo's rendition was included on the May 1971 album Carpenters, and then released as a single in August 1971, rising to number 2 on the Billboard Hot 100 pop singles chart (held out of the top spot by Rod Stewart's "Maggie May"), and spending two weeks at number one on the Easy Listening chart that autumn and earned gold record status.[5] It also reached number 18 on the UK pop singles chart and did well in Australia and New Zealand as well.
Richard would be nominated for a Grammy Award for Best Arrangement Accompanying Vocalist for his efforts. "Superstar" would go on to appear on two mid-1970s Carpenters live albums as well as innumerable compilation albums. For instance, it appeared on the Carpenters' 2004 SACD compilation, The Singles: 1969–1981 (not to be confused with the regular CD, The Singles: 1969–1981), as a remix of the original 1973 mix on the similarly titled compilation The Singles: 1969–1973.
The song has been featured in several movies, and both as a tribute:
In the 1995 comedy film Tommy Boy, David Spade's and Chris Farley's respective characters argue over what music to listen to on the radio (Farley's prefers heavy metal; Spade's prefers more modern rock) when they stumble upon this song. Both insist that the other should turn to another station if the song offends them; in the next scene, both of them are loudly (and emotionally) singing the song's chorus.
The song was also used in the 2007 film Ghost Rider with Nicolas Cage. In the movie, Donal Logue tries to turn off "Superstar," when Cage defends the song and states that nobody messes with Karen Carpenter. (On the Ghost Rider official soundtrack, a song is titled "A Thing for Karen Carpenter.")
Accounts of the song's origin vary somewhat, but it grew out of the late 1969/early 1970 nexus of English and American musicians known as Delaney & Bonnie and Friends, that involved Delaney and Bonnie Bramlett, Leon Russell, Eric Clapton, and various others. The song's working title during portions of its development was "Groupie Song."
In its first recorded incarnation, the song was called "Groupie (Superstar)," and was recorded and released as a B-side to the Delaney & Bonnie single "Comin' Home" in December 1969. Released by Atlantic Records, the full credit on the single was to Delaney & Bonnie and Friends Featuring Eric Clapton.
Sung by Bonnie, the arrangement featured slow guitar and bass parts building up to an almost gospel-style chorus using horns.
As suggested in the title, the song was the story of a groupie who holds a strong love for a rock musician. After a brief involvement he has moved on to the next town. She is alone, waiting and yearning for a return that will never come. Despite his promises to see her again, the music on the radio is all she has left. Through the chorus she pleads:
Don't you remember! You told me you loved me, baby
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you. I really do ...
But Delaney & Bonnie were not yet well known at the time, and "Comin' Home" only reached number 84 on the US pop singles chart, although it achieved a peak of sixteen on the UK Singles Chart.
"Superstar"
Single by Carpenters
from the album Carpenters
B-side "Bless the Beasts and Children"
Released August 12, 1971
Format 7" single
Recorded Early 1971
Genre Pop
Length 3:46
Label A&M 1289
Writer(s) Leon Russell, Bonnie Bramlett
Producer(s) Jack Daugherty
Certification Gold
Carpenters singles chronology
"Rainy Days and Mondays"
(1971) "Superstar"
(1971) "Bless the Beasts and Children"
(1971)
Carpenters track listing
Side one
"Rainy Days and Mondays"
"Saturday"
"Let Me Be the One"
"(A Place to) Hideaway"
"For All We Know"
Side two
"Superstar"
"Druscilla Penny"
"One Love"
"Bacharach/David Medley"
"Sometimes"
"Superstar"
Single by Sonic Youth
from the album If I Were a Carpenter
Released 1994
Format 7" single
Recorded 1994
Genre Alternative rock, noise rock
Length 4:06
Label A&M
Writer(s) Leon Russell, Bonnie Bramlett
Sonic Youth singles chronology
"Bull in the Heather"
(1994) "Superstar"
(1994) "The Diamond Sea"
(1995)
The song "Superstar" became most popular after its treatment by The Carpenters. Richard Carpenter became aware of the song after hearing it sung by Bette Midler on late night television. "I came home from the studio one night and heard a then relatively unknown Bette Midler perform it on the Tonight Show," he remembered. "I could barely wait to arrange and record it. It remains one of my favorites." Karen Carpenter had heard the early Coolidge rendition on a promotional copy of the Mad Dogs album, but at the time she did not think that much of it.
Richard's arrangement featured an oboe line at the start, followed by Karen's clear contralto voice set against a quiet bass line in the verses, which then built up to up-tempo choruses with a quasi-orchestral use of horns and strings. Karen Carpenter recorded her vocal in just one take, using lyrics scribbled by Richard on a paper napkin. This was in fact the "work lead" normally used only to guide the other musicians through the early takes. Produced by Richard with Jack Daugherty, it was recorded with members of the "The Wrecking Crew," a famed collection of Los Angeles area session musicians. As the song's storyline was more risqué than what was typical for the Carpenters, Richard changed a lyric in the second verse from:
And I can hardly wait
To sleep with you again
To the somewhat less suggestive:
And I can hardly wait
To be with you again.[3]
The song's publisher was delighted with the lyric change, noting the previous wording had kept many other artists from recording it. (The timing of the Carpenters's first recording of the song is unclear; it is possible that Richard submitted the change to the publisher well in advance of their ultimate release of the recording, and that this influenced the other early versions.) Upon hearing the final recording, Karen Carpenter finally recognized the power of the song. She later noted: "For some reason that tune didn't hit me in the beginning. It's the only one. Richard looked at me like I had three heads. He said: 'Are you out of your mind?' When I heard his arrangement of it I fell over, and now it's one of my favorites too."[4]
The Carpenters's treatment of the song underscored the deep loneliness and sense of loss intended in the lyric, and established the song as a standard for years to come. Karen's vocal was praised for its intensity and emotional nature. When asked in a 1972 interview how she could communicate the heart of the song while lacking the personal experience it depicted, Karen replied, "I've seen enough groupies hanging around to sense their loneliness, even though they usually don't show it. I can't really understand them, but I just tried to feel empathy and I guess that's what came across in the song." In truth, Karen struggled with loneliness herself, and the personal implications of the song made it one of the three she found most emotionally difficult to sing, the other two being the previous "Rainy Days and Mondays" and the subsequent "I Need to Be in Love."[4]
The duo's rendition was included on the May 1971 album Carpenters, and then released as a single in August 1971, rising to number 2 on the Billboard Hot 100 pop singles chart (held out of the top spot by Rod Stewart's "Maggie May"), and spending two weeks at number one on the Easy Listening chart that autumn and earned gold record status.[5] It also reached number 18 on the UK pop singles chart and did well in Australia and New Zealand as well.
Richard would be nominated for a Grammy Award for Best Arrangement Accompanying Vocalist for his efforts. "Superstar" would go on to appear on two mid-1970s Carpenters live albums as well as innumerable compilation albums. For instance, it appeared on the Carpenters' 2004 SACD compilation, The Singles: 1969–1981 (not to be confused with the regular CD, The Singles: 1969–1981), as a remix of the original 1973 mix on the similarly titled compilation The Singles: 1969–1973.
The song has been featured in several movies, and both as a tribute:
In the 1995 comedy film Tommy Boy, David Spade's and Chris Farley's respective characters argue over what music to listen to on the radio (Farley's prefers heavy metal; Spade's prefers more modern rock) when they stumble upon this song. Both insist that the other should turn to another station if the song offends them; in the next scene, both of them are loudly (and emotionally) singing the song's chorus.
The song was also used in the 2007 film Ghost Rider with Nicolas Cage. In the movie, Donal Logue tries to turn off "Superstar," when Cage defends the song and states that nobody messes with Karen Carpenter. (On the Ghost Rider official soundtrack, a song is titled "A Thing for Karen Carpenter.")
Long ago
And, oh, so far away
I fell in love with you
Before the second show
Your guitar
It sounds so sweet and clear
But you're not really here
It's just the radio
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Loneliness
Is such a sad affair
And I can hardly wait
To be with you again
What to say (What to say)
To make you come again? (Oooh, baby)
Come back to me again (Oooh, baby)
And play your sad guitar
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Read more: The Carpenters - Superstar Lyrics | lyrics.wikia.com
And, oh, so far away
I fell in love with you
Before the second show
Your guitar
It sounds so sweet and clear
But you're not really here
It's just the radio
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Loneliness
Is such a sad affair
And I can hardly wait
To be with you again
What to say (What to say)
To make you come again? (Oooh, baby)
Come back to me again (Oooh, baby)
And play your sad guitar
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Don't you remember you told me you loved me, baby?
You said you'd be coming back this way again, baby
Baby, baby, baby, baby, oh, baby
I love you, I really do
Read more: The Carpenters - Superstar Lyrics | lyrics.wikia.com
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