Honestly, it’s wild. Here we are in 2026, and you can still walk into a coffee shop or turn on a random "timeless classics" stream and hear that velvet voice. Karen Carpenter had this way of singing that made you feel like she was telling you a secret, didn’t she? It wasn’t just the "soft rock" label people slapped on them to be dismissive. It was the technical perfection of Richard’s arrangements clashing with the raw, almost haunting melancholy in Karen’s delivery.
If you’re looking for the top 10 songs of Carpenters, you aren’t just looking for chart positions. You’re looking for those moments where the music actually shifts the air in the room.
They had three Number 1 hits on the Billboard Hot 100, sure. But their legacy is deeper than a trophy shelf. It’s in the way they turned "greeting card" lyrics into high art. Let's get into the tracks that actually matter, from the bank commercials that became anthems to the "groupie" songs that redefined the power ballad.
1. (They Long to Be) Close to You
This is the big one. The breakthrough. Interestingly, Burt Bacharach and Hal David had this song kicking around for years. Dionne Warwick did it. Herb Alpert even tried a version but hated how he sounded on it.
Then Richard Carpenter got his hands on it.
He slowed it down. He added those iconic multi-tracked "wah-wah" backing vocals—which, by the way, took about 47 takes to get perfect. When it hit the top of the charts in 1970, it didn't just make them stars; it gave the world the definitive version of a song that had been "waiting" for Karen's voice.
2. We've Only Just Begun
You know this started as a bank commercial? Seriously. Paul Williams and Roger Nichols wrote it for Crocker National Bank in California. Richard saw the ad on TV, called up Williams, and asked if there was a full song.
There wasn't. So they wrote one.
The result is probably the most famous wedding song in history. It’s hopeful, it’s lush, and it showcases that "basement" range Karen was famous for. Even though it peaked at Number 2 and never quite hit Number 1, it’s arguably their most recognizable "signature" track.
3. Superstar
This song is heavy. Originally titled "(Groupie) Superstar," it’s written from the perspective of a woman obsessed with a rock star who has moved on. It’s lonely. It’s desperate.
Richard heard Bette Midler sing it on The Tonight Show and knew Karen would nail it. He was right.
But here’s the kicker: Karen supposedly wasn't a huge fan of the lyrics. She actually sang the "long distance" line instead of "sleep with you" because the original was a bit too risqué for their "squeaky clean" image. That contrast—the clean image versus the gut-wrenching sadness in her voice—is exactly why this song ranks so high on every list of the top 10 songs of Carpenters.
4. Rainy Days and Mondays
"Talkin' to myself and feelin' old."
Karen was only 21 when she recorded that line. Think about that. Most 21-year-olds are trying to conquer the world, but Karen was singing about a weariness that felt decades older.
Written by the Paul Williams/Roger Nichols powerhouse duo, this track features a killer harmonica solo by Tommy Morgan. It’s the ultimate "mood" song. It captured a specific kind of suburban existential dread that nobody else was talking about in 1971.
5. Yesterday Once More
Richard and John Bettis wrote this as a tribute to the oldies radio they grew up with. It’s meta, really. A song about songs.
It’s also their biggest-selling single worldwide. In Japan and the UK, this thing was massive. The "sha-la-la-la" hook is catchy, but underneath it, there’s a deep nostalgia. It’s a song about looking back and realizing the "good times" are gone, which—given the duo’s later history—feels incredibly poignant now.
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6. Goodbye to Love
This track caused a bit of a scandal. Why? Because Richard decided to put a fuzzy, distorted guitar solo right in the middle of a "soft" ballad.
He hired Tony Peluso and told him to "burn it up."
The Carpenters’ fans were actually offended. They sent hate mail! They thought the duo had "sold out" to rock and roll. But Richard was basically inventing the "Power Ballad" before it was a thing. Without "Goodbye to Love," we might not have the epic ballads of the 80s. It was a bold, experimental move that proved Richard wasn't just a "pretty melody" guy.
7. Top of the World
This is the one that everyone can hum. Funnily enough, they didn't even think it would be a hit. It was just an album track on A Song for You.
Then Lynn Anderson covered it and had a country hit. Richard looked at the charts and went, "Wait a minute, we should probably release our version."
They re-recorded it with a slightly punchier sound, and it flew to Number 1 in 1973. It’s one of their few genuinely "happy" sounding hits. No hidden sadness here—just pure, jubilant pop.
8. For All We Know
This one won an Oscar. It was originally written for a movie called Lovers and Other Strangers.
The Carpenters’ version is a masterclass in breath control. If you listen closely, you can hear Karen’s intake of breath between phrases. Most producers back then (and certainly now) would edit that out. Richard kept it in because it made the song feel human. It’s a song about living in the moment because "tomorrow may never come," a sentiment that hits much harder in hindsight.
9. Solitaire
Neil Sedaka wrote this, but the Carpenters made it haunting. It’s about a man who shuts himself off from the world, and Karen’s delivery is cold—in the best way possible.
Richard later admitted he wasn't sure if the song was right for Karen, and Karen herself wasn't crazy about it at first. But the public disagreed. It’s a fan favorite because it leans into that "darker" side of their discography. It’s not "easy listening." It’s "intense listening."
10. Calling Occupants of Interplanetary Craft
Okay, let’s talk about the weird one. In 1977, they covered this song by the prog-rock band Klaatu.
It’s nearly seven minutes long. It has an "alien" intro. It involves a 160-piece orchestra and choir.
Is it a little campy? Maybe. But it shows how much Richard wanted to push boundaries toward the end of their peak. It’s a massive, sweeping "Recognized Anthem of World Contact Day." It’s weird, it’s ambitious, and it’s a essential part of the top 10 songs of Carpenters because it breaks the "wholesome" mold completely.
Why These Songs Still Matter (The "Deep Cuts" Argument)
If you ask a hardcore fan, they’ll tell you the hits are only half the story. The Carpenters were experts at the "A-side" but their albums are littered with gems like "This Masquerade" or "A Song for You."
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What made them special wasn't just the catchy hooks. It was the technicality. Richard used a click track to sync vocals before it was industry standard. He overdubbed Karen’s voice so many times it sounded like a heavenly choir of Karens.
But you can’t overdub soul.
Karen’s struggle with anorexia nervosa is a well-documented tragedy, but it’s often used to "explain" her voice. That’s a mistake. Her voice wasn't sad because she was sick; she was a brilliant technician who knew exactly how to interpret a lyric to make it hurt. She was a drummer first, which gave her a sense of timing that most singers only dream of.
Actionable Insights for Your Next Listen:
- Listen for the "Basement" Tones: In songs like "We've Only Just Begun," pay attention to Karen's lower register. Most female pop stars of the era were pushed to sing high and "breathy." Karen stayed low, where the richness was.
- The "Richard" Factor: Don't ignore the arrangements. In "Rainy Days and Mondays," listen to how the piano and harmonica play off each other. It’s a dialogue, not just a backing track.
- Check Out the 2018 Orchestral Remixes: If you want a "modern" take, the Carpenters with the Royal Philharmonic Orchestra album is actually a great way to hear Karen’s isolated vocals with updated, cinematic backings.
The top 10 songs of Carpenters aren't just relics of the 70s. They are masterclasses in production and emotional delivery. Whether you’re a first-time listener or a lifelong fan, there’s always something new to hear in those harmonies.
To really appreciate the technical side, try listening to the original vinyl pressings or high-fidelity remasters on a good pair of headphones. You'll hear the subtle layers of Richard's orchestration that usually get lost on a standard phone speaker.