Fans of Karen and Richard Carpenter, of famous 1970s group The Carpenters, are distressed that the musical siblings’ family home in Downey, California, will be demolished by its current owners, despite its symbolic meaning.

Perhaps one particular fan best puts in words the feelings of many others: “This house is our version of Graceland. They were such a huge American act in the '70s. So many people loved them.”

These are the words of Jon Konjoyan, a 57-year-old Toluca Lake music writer and promoter who is leading a campaign to save the remaining original house from destruction, the Los Angeles Times reports.

The siblings’ former family home, famously immortalized on the cover of the 1973 album “Now & Then,” belonged to the family from 1963 to 1997, when Richard Carpenter sold it, a year after his mother’s death.

The five-bedroom house, located in Downey, south of Los Angeles, included an adjoining section where an office and recording studio were. The adjoining house has already been demolished. The current owners wish to bring down the main house as well, because they’ve grown tired of fans constantly gathering there, poking around and leaving floral tributes.

While both Karen and Richard moved out of the house as young adults, their parents remained there until Harold Carpenter's death in 1988 and Agnes Carpenter's in 1996, the Los Angeles Times reports.

The current owners of the compound are fed up with the house’s evergreen attraction for Carpenter fans. While they initially empathized with the admirers and allowed them into the house, even giving away items left behind by Richard Carpenter, it eventually became tiring.

“Honestly, it became horrible, not only for us but for the neighborhood,” Jessica Parra, whose parents own the house, told the paper, explaining that fans “peek in windows and take pictures.”

The family also does not appreciate having their home turned by city officials into an historic landmark, as fans would have it.

Karen Carpenter, who suffered from anorexia for many years, collapsed in the recording studio in 1983, shortly before her death, perhaps adding to the construction’s emotional value for aficionados.