PORTUGUÊS
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5. The A&M Phase (1975-1977)
Carnes/Ellingson penned "LOVE COMES FROM UNEXPECTED PLACES", not only won the prestigious 1977 American Song Festival, but also swept to victory in Japan's Tockyo equivalent that year.
Carnes' career made another slight surge forward when David Arlene, A&M
producer for Rita Coolidge, caught Kim's vocal on a demo of a song she had
written called "You're A Part Of Me." That led Herb Alpert and
Jerry Moss's A&M signed Carnes and broght out her next two albums:
"Kim Carnes" (1975) and
"Sailin'"
(1976). When Kim recorded her debut A&M album in 1975, she was pregnant with her son Collin.
Mixing Carnes/Ellingson originals with a brace of outsiders, namely
"Somewhere In The Night" (Will Jennings/Richard Kerr) and
"Waiting For The Pain To Go Away" (Stephen Dorff/Milton Brown), the eponymously-billed
"Kim Carnes" was overseen from behind the glass partition by Mentor Williams, whose production c.c. already included Dobie Gray's expressive triumph,
"Drift Away". Among the musicians giving their all - in addition to Dave - were David Foster (piano, clavinet, Fender Rhodes), Jim Keltner (Drums), Dean Parks (Guitar) and Mike Utley (keyboards/Synthesizers).
The Billboard reviewer wrote about "Kim Carnes" LP:
"A fine-quality debut by a fem writer-singer, who pens and performs her songs with great beaty and feeling. No instant AM impact jumps out all you here. But the music and the Mentor Williams production provides a highly mellow listening experience. The minority of upbeat lyrics make a curiously effective contrast to her usual ton, which seems to be a cheerful acceptance of melancholy. Best
cuts:
Bad Seed, You're A Part Of Me
, It Could Have Been Better."
Once More the American press was generally fulsome in its praise of Ms. Carnes' melodic effort, and Stateside two 45s were pulled to consolidate radio play,
"You're A Part Of Me" and, subsequently, "Bad Seed". The formed, althought missing out on a berth in Billboard mazine's Hot 100 Pop chart, nevertheless reached a very respectable No. 32 on its Adult Contemporary sister.
One fun fact: in March 19, 1976, Kim was the guest of "Mike
Douglas Show". Another guest was Bette Davis! On that occasion,
when Davis heard Carnes' voice, she exclaimed: "something's
wrong with your voice."
A potent of things to come, in 1978 Kim would recut the number in duet with Genne Cotton and belatedly savour its scaling the Pop Top 40 and Country 100/ Back to February '76 A&M's British offshoot issued the
11-track "Kim Carnes".
Returning to the studios - Muscle Shoals in Sheffield, Alabama to be precise - to commite her third LP,
"Sailin'" (released in january 1977), to magnetic oxide, Kim was now blessed with not one but two producers in the vastly-experienced Jerry Wexler and his frequent shotgun rider Barry Beckett, the last-named of whom doubled on the eighty-eights.
"There were no personality conflicts between me and Kim Carnes when Barry and I produced SAILIN' at the Shoals. Kim's album yielded no hits but was tremendously satisfying nonetheless. I don't think I've ever enjoyed greater rapport with a singer. With Kim in the studio and me in the booth, the good feelings flowed back and forth almost mystically. A nod of my head and she understood what I was saying where I was pointing her. She's a fine musician, her sultry voice a marvelous instrument."
- Jerry Wexler admitted in his book "Rhythm And The Blues: A Life In American Music" (1993 - J. Wexler/David Ritz).
David Hook (Bass), Roger Hawkins (Drums/Percussion), Pete Carr (Lead & Acoustic Guitars/Dobro), Jimmy Johnson (Eletric Rhythm & Acoustic Guitars) and Tom Roady (Percussion) completed the main instrumental line-up, augmented as necessary by such luminaries as David Grisman (Mandolin), Blackie Schackner (Harmonica) and the Muscle Shoals Horns.
The result was a Country-leaning beaty, once blending Carnes' blueprints with a welcome 'outsiders' in Van Morrison's
"Warm Love" and the lilting "It's Not The Spotlight" (Barry Goldberg/Gerry Goffin).
"Spotlight" was a hit in Brazil and the single sold more than 15.000 copies in 1981 because it was a
TV theme of jeans Cuckier;
The Billboard reviewer wrote about "Sailin'" LP:
"Carnes' album demonstrates further a remarkable singing and songwriting talent. Her raspy and course voice reflects white gospel roots on many cuts which works ell on Van Morrison's
WARM LOVE and other cuts. Besides a unique voice, Carnes shows strength with lyrics and melodies with eight of the 10 songs original compositions with Dave Ellingson. Excellent production by Jerry Wexler and Barry Beckett. Suppor by Muscle Shoals Horns and some fine backup musicians makes this an outstanding effort. Best cuts: SAILIN', LOVE COMES FROM UNEXPECTED PLACES, WARM LOVE, IT'S NOT THE SPOTLIGHT."
The Carnes/Ellingson penned
"Love Comes From Unexpected Places", not only won the prestigious 1977 American Song Festival, but also swept to victory in Japan's
Tockyo equivalent that year and was covered by no less an industry giant Barbra Streisand and the cut went
platinum. Seven years later Kim and Barbra would duet on
"Make No Mistake, He's Mine".
Carnes' explained her lack of solo sucess: "It's timing... being with the
right label, the right producer, the right manager. All of these years I've
never had anybody make sure that everything was coordinated and done right
at the right time. Musically, it was always there, but if you don't have a
chance, no matter how good the music is."
While Carnes continued to struggle in her singing career, things were heating up for songwriting do-music executives were frequently engaged by the new compositions the singer introduced in her demos, ofen suggesting that big-name clients record them. In 1977 José Feliciano recorded the Carnes-Ellingson ballad
"Love Comes From Unexpected Places" ("Sweet Soul Music" LP). Andy Williams recorded the duo's
"Sailin'", and other clients included Melaine, Nancy Sinatra,
Rita Coolidge, Tata Vega, Marie Osmond and Arthur Hurley & Gottlieb.
Kim contributed a cover version of "Long, Long Time" to "Heroes" soundtrack in 1977. As a backing singer she recorded with Tina Turner ("Acid Queen" LP - 1975), Bobby Goldsboro ("Butterfly For Bucky" LP - 1976), Andy Williams ("Andy" LP - 1977),
Rita Coolidge ("Anytime, Anywhere" LP - 1977) and The Ventures.
Naturally, Kim wanted to move on to bigger and better things. Her ideas were
ever changing and she didn't want to be forced into maintaining the same musical
style indefinetely. She didn't want to be stifled by any limitations A&M might
place on her to record another album in the same manner as "Sailin'".
Many recod companies compel their stars to follow up a successful album with the
same type of material to capitalize on the popularity of the first. Kim didn't
want this to happen to her. Carnes felt she could do better at another record company and switched to EMI America.
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KIM CARNES: celebrities have recorded her songs.
