(They Long to Be) Close to You

We’ll be hearing four interpretations of the Burt Bacharach/Hal David song, (They Long to Be) Close to You. The performers include the 1950s definition of handsome and talented actor, Richard Chamberlain; the Queen of Blue-Eyed Soul, Dusty Springfield; tooth paste commercial duo, The Carpenters, and Black Moses, Isaac Hayes.

Bacharach and David wanted to increase their brand and bank accounts by collaborating with Richard Chamberlain, one of the biggest TV stars of the era. Chamberlain was no novice to recording. He had proved himself as a singer in both television and film roles and previous records were hits. Despite earlier success, the single was a dud. In fact, the B-side Blue Guitar was the hit; so the song was shelved.

Richard Chamberlain (1963)

A year later, Dusty recorded the song but didn’t release it until her 1967 US released album The Look of Love. Either Chamberlain’s warble was the distraction, or you are distracted now because you’re rubbing the fingers you sprained while rushing to mute the volume during Chamberlain’s version. Regardless, I hope you enjoy Dusty’s great singing and arrangement.

Dusty Springfield (1967)

Here’s the version everyone knows, thanks to Richard Carpenter’s arrangement. When The Carpenters were signed to A&M Records, they were mentored by the company’s founder Herb Alpert. According to Richard, Herb gave him the score, but Richard didn’t like it. What was he going to do? Toss it into his boss’s face? Anyway, Richard created two elements that have been popularly accepted as essential to the song: the opening piano section and over-dubbed trumpet in the bridge. The song shot to Number 1 on the Pop charts, won a Grammy, and was the biggest selling song for A&M up to that time.

Also, many people, including me, forget Karen Carpenter was a drummer, a good drummer. Here’s a wonderful performance with her behind the kit.

The Carpenters (1970)

The last interpretation is baby-making music, people, by Hayes and his studio band, The Bar-Kays. It was another component of Hayes’ annus mirabilis: this song reached Number 22 on the Pop charts, made the album a cross-over hit, and the Shaft soundtrack was about to be released.

Isaac Hayes (1971)