![]() Karen had an extraordinary voice, the kind you wanted to hear over and over again. HB: Probably because I kept insisting she was the natural voice for the group, not the drummer. JW: Why were her parents so insistent on her playing the drums? She loved the drums, which helped her a great deal as a singer in terms of her time and tempo. ![]() Karen liked to hang around a lot at A&M because I was always there recording for Herb. JW: Did Karen ever play on those recording sessions? HB: I said, “Karen is a fine drummer, but there’s some things you have to know about playing in a studio, and you can only learn those things by spending years there and listening back to hear what’s right and what’s not working.” There are different rules for maneuvering. It’s like the difference between driving a little car and a semi-truck. If a song calls for something a little heavier, you turn the sticks around so you’re using the thicker end. You also have to develop a 510Xlbi7PoL._SL500_AA300_technique of playing in your own little zone of space. With all those mikes, you can’t be wailing away or you’ll hit one of the stands. But in the studio, at least back then, before the digital recording age, you didn’t do that. Most 61JIM7Y+N6L._SL500_AA300_drummers are used to knocking the hell out of their set. HB: As a drummer, you’re sitting in a room at your kit in a tight space, and the mikes are highly sensitive. Playing in the studio is completely different.” But she doesn’t have the studio experience. Her mother said, “I’ve seen many drummers on TV, and Karen can play just as good as they can.” Karen played the drums, and her mother didn’t like that I was playing on the session and not her. ![]() JW: Her parents must have been quite domineering. Reading up on Hal Blaine and came across this interview on Karen Carpenter:
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