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Post by Rick Henry on Oct 19, 2007 10:06:58 GMT -5
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Post by YesterdayOnceMore on Oct 19, 2007 10:52:16 GMT -5
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Post by Rick Henry on Oct 21, 2007 9:47:46 GMT -5
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Post by YesterdayOnceMore on Oct 25, 2007 22:13:45 GMT -5
Crescent Noon is an incredible tune. Richard and John Bettis wrote this one, and listening to it, and to Karen's pleading-sounding vocal just almost makes one want to cry....the harmonies in this song help so much to actually describe what is going on with the lyrics. John and Richard were both very much in sync on the sounds and words of this song, and then of course Karen carries the whole thing off with pinnache! Mr. Guder has always been, and continues to be, a fave for me. I like the catchy tempo - I like the story (boy, who HASN'T worked for, or at least known a "Mr. Guder" in their life)? I know I was working for a Mr. Guder when this came out, and I could actually use HIS last name, cause it was two syllables, too. One of my very favorite things with this song is the ping ponging choral vocals at the end. The baa baa daa baa's. Its reminescent of Bach for voices. It is well done, and well executed. Karen's drums are so fun on this song, too. She's so tasteful, and can do so much on those tubs of hers. I Kept On Loving You is a very good Richard Carpenter solo tune. I don't like the way that Richard (or Karen, for that matter) said the word "cry" when they sang....it was that Northeastern accent, I suppose, that stayed with them....Cry came out criah....other than that, I like this little diddy - I like the way it starts with guitar rhythm, and gradually builds and builds, and when we get to the world LOVIN YOU....and that big fat fun chord on those two words....a major 7th, of course! Another Song is great, intricate, and well done. I like the tempo - different than all the rest...very jazz influenced, and the vocals are super. "...the warmth of you has gaw-aw-aw-awn...." It is so incredibly great to hear a one syllable word broken up into four...and those CHORDS. Vocally, I think this song is really wonderful - Karen's vocals again on this one are steady, and sure. It's not a real easy song to sing, that's for sure. And it just wouldn't be the same sung without those awesome harmonies. But, it's not overdone, either. Less is more. Proven well with this number. Thanks for letting me write my thoughts on this album. Hopefully, I can do the other albums a bit more timely. Anxious to read more, now, from you Enigma, and you, Rick, Dreams, and you, too - wj7! Tim
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Post by Rick Henry on Oct 25, 2007 22:38:00 GMT -5
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Post by GoodOldDreams on Oct 26, 2007 4:20:21 GMT -5
It is interesting to note that my music listening habits and experiences have changed over the years. In the days of vinyl LPs, I used to listen a record on the stereo from start to finish, preserving the song order and overall concept of an album and providing a snapshot of the development of the artist at any given moment in time. Now that current digital technology allows me to put my music onto the home office computer, I tend listen to the play list alphabetically, which scrambles the song order among different albums and forces me to consider each song more as an individual piece of work rather than part of a collection. Because of my long personal history with the earlier records, I still have a special fondness for the freshness and ambitiousness of the first four or five of the Carpenters' albums, and find myself still anticipating the next song according to the original order on the album rather than the alphabetized listing.
WE'VE ONLY JUST BEGUN
Starting out with a light, easy, breezy feeling, "We've Only Just Begun" is awash with the ebb and flow of glorious layers of vocal harmonies throughout the song. The lyrics "white lace and promises" and "before the rising sun we fly / so many roads to choose / we start out walking and learn to run" form a montage of sheer poetry, vital spirit and optimism. The ramped-up key signature changes return to the warm, quiet embrace of Karen's reflective vocals "...and when the evening comes..." While this song has been performed by many groups and artists, I think Karen and Richard's treatment of this song remains unique and particularly outstanding.
LOVE IS SURRENDER
Buoyed with a lively, catchy rhythm, "Love Is Surrender" is one of few songs in which Karen and Richard trade lead vocals, and to great effect. The only mystery to me is why Richard threw in an exclamation of "whoa" at 1:13 --- what was the intent here?
MAYBE IT'S YOU
The simple piano riffs at the beginning of "Maybe It's You" is reminiscent of the trickling of water, while the orchestral and vocal buildup after "rising on the shore the ocean came..." reminds me of the dramatic crashing of waves against boulders on a beach. This is a masterful synergy of lyrics, vocals and instrumentation where musical form follows content and function.
REASON TO BELIEVE
I like how Richard retains the folk/country feel to Tim Hardin's "Reason To Believe" and improves on it. Particularly outstanding are the resonant, bell-like tones of the synthesizer/keyboard, Karen's lock-step drumming which leads into each verse, and the vocal harmonies in the phrases "SOMEONE LIKE YOU makes it hard to live without somebody else / SOMEONE LIKE YOU makes it easy to give..." as if an echo is answering itself as it ricochets around.
HELP
There is a very raw and visceral feel in how the Carpenters treat "Help", adding urgency to the message of the lyrics. The vocal harmonies stay unabated in the upper registers to add tension and energy, and the hard-rockin' sound is a dramatic contrast to the song to follow...
(THEY LONG TO BE) CLOSE TO YOU
It surprised me when I first learned that Richard was ambivalent about "(They Long To Be) Close To You" --- either it would be a hit or an utter flop, no in-between. However, it is understandable when put into perspective. The quiet opening of the song sets it apart from many others--- it either is too subtle to be noticed or makes you stop and pay close attention. Structurally, the song is full of repetitive chords in tandem, which can easily make or break a song. However, Richard's artful shift of the tempo to a shuffle, his skillful arrangement, and ethereal vocal harmonies help to enhance the enchanting qualities of the song. Initially Richard seem to have very little affinity for "Close to You", and find it difficult to incorporate it into a medley of Bacharach-David tunes for a benefit show. Given this and Herb Alpert's insistence, it is to Richard's credit that he is able to rise to the occasion and breathe life into a dubious, then little-known song by one of his musical mentors and make it a classic. It is an even greater honor that Burt Bacharach admitted that he was never able to nail down the arrangement effectively himself.
BABY IT'S YOU
Another great song awash with the ebb and flow of vocal harmonies is "Baby It's You." I like how the woodwind answers Karen's first two lines in the song, and how she stretches out the word "I'M" when she breaks out in full force (as if in pain, desperation and denial) when she sings "it doesn't matter what they say I'M going to love you any old way...." I personally like the Carpenters' rendition of this song better than the original hit versions by the Shirelles and the Beatles. The Carpenters' arrangement is simply the most beautiful and expressive.
I'LL NEVER FALL IN LOVE AGAIN
With clever lyrics and progressive layering of vocal harmonies, "I'll Never Fall In Love Again" deserves greater recognition. Karen's lead vocal is full of attitude and toughness, and appropriately so for the humorously bittersweet lyrics, as the vocal harmonies in the background soar to a fevered pitch. This is a highly creative and technical gem.
CRESCENT NOON
"Crescent Noon" is a haunting tapestry of pensive words and beautiful music. Karen's wistful vocals are measured against Richard's contemplative piano work.
MR. GUDER
"Mr. Guder" has an interesting treatment with lovely flute interludes and vocal embellishments reminiscent of Baroque music and chants, an unexpected treat considering the scathing and acerbic commentary of the lyrics. I KEPT ON LOVING YOU
"I Kept On Loving You" is a breezy, pleasant piece that features some of Richard's best lead vocals.
ANOTHER SONG
"Another Song" is an unusual potpourri of different musical styles --- lullaby, ballad, religious chant, improvisational jazz. The lyrics on lost love is the common thread that weaves these pieces together.
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Post by Rick Henry on Oct 26, 2007 9:35:23 GMT -5
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Post by Rick Henry on Oct 26, 2007 13:37:09 GMT -5
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Post by Rick Henry on Oct 27, 2007 22:04:29 GMT -5
Okay this will take a bit of effort on my part... but I do wish to comment on some of what both Tim and Dreams have said here... I've tried not to read everybody's thoughts on this subject so far, though I have read some. In listening to Close To You through the headphones, and really trying to take it all in, I found I was pretty blown away again, just like the first time I listened to this as a compilation. I recall that there were some things that were done in this album that I didn't know Carpenters could do, or would do. (that is, the first time I listened to it). Here's the track listing again: 1. We've Only Just Begun (3:04) 2. Love Is Surrender (1:59) 3. Maybe It's You (3:09) 4. Reason To Believe (3:02) 5. Help (3:02) 6. (They Long To Be) Close To You (4:34) 7. Baby It's You (2:50) 8. I'll Never Fall In Love Again (2:56) 9. Crescent Noon (4:09) 10. Mr. Guder (3:17) 11. I Kept On Loving You (2:13) 12. Another Song (4:22) Yes, Tim this album does show a broad scope of the multi-talents of Karen and Richard. For such a young band they showed much depth and versatility. I can't really think of any other pop band on the music scene during this time that had such a broad scope of musicianship. We've Only Just Begun To Live..... Karen sings this one so beautifully. The vocal harmonies are outstanding in this song. I like the Together....together build Richard did. Thought the trumpets were certainly a nice touch, too. Nice and crisp, and not over done. It starts off simply - it builds nicely, then it ends with the same simplicity as it began with. Such a beautiful song - and to think, it was a bank commercial. A bank commercial of all things. I also really enjoy the trumpet part in this song... it really gives the song a certain pulse. The trumpet reminds me of what we hear in "let Me Be The One" from their next album. LOVE IS SURRENDER.....oh my goodness....what a neat song. (I know, I'm showing my age). Richard's little scale melody on the keyboard/played in thirds, is a cute touch, then comes all this HARMONY. It's a beautiful song - meant to be a Contemporary Christian song but Richard's ability to turn a song into something he wanted to play was evident once again. Again, just a bit of tasteful trumpet licks. Nice. And Karen gets to use her upper register a bit on the last "care." Ah and we must not forget the outstanding driving percussion work which is the backbone of this song. Maybe It's You, maybe it's me....maybe it's just the constant rhythm of the sea.....Sung so beautifully and sweetly. Sometimes it's even difficult, even after all these years, to pick out all the parts. For example, I'm hearing a bass vocal in the OOOO's that I hadn't heard, or at least paid much attention to before. Interesting.... And the strings....not overdone in this song. Less is more. You mention the bass vocal... that one thing quite spectacular of Carpenters is the range of vocals they used in their hamonies. And along with the bass vocal goes the understated bass guitar (which is hidden in the background) which adds to the effect of the streaming vocals. HELP - I LOVE THIS SONG. I always liked the way the Beatles did this, but I recall when I heard this song with Richard's arrangement, and Karen's voice...well, I used to really turn up the volume on this one - what with the Hammond B3/leslie being used, and the rest of the arrangement, etc. I just think, still, it's such a fun tune, and the vocals have so much crisp rhythm to them, as well as that flourish that only they could pull off so well. Karen's drums were exciting to listen to - and she actually got to do some fill work here. Fun, fun song. Same with me this is one I would always turn up and play louder than the others. My sister also liked Carpenters' version of this song. With the rockin' harpsichord and great bass guitar chords Carpenters really turned this into a great early 70's psychedelic pop sort of sounding song. A+ for this effort. Crescent Noon is an incredible tune. Richard and John Bettis wrote this one, and listening to it, and to Karen's pleading-sounding vocal just almost makes one want to cry....the harmonies in this song help so much to actually describe what is going on with the lyrics. John and Richard were both very much in sync on the sounds and words of this song, and then of course Karen carries the whole thing off with pinnache! This is easily my favorite song from the album. It's a dark song with mournful overtones and a peak of optimism for a new life (morning light) ahead. Mr. Guder... One of my very favorite things with this song is the ping ponging choral vocals at the end. The baa baa daa baa's. Its reminescent of Bach for voices. It is well done, and well executed. Karen's drums are so fun on this song, too. She's so tasteful, and can do so much on those tubs of hers. Yes, any song with Karen's drum work is a special treat. I also love that vocal interplay. It was done so spectacularly... and again what other group out there at the time was so daring as to try something like that... and do it so well. Parts of the vocal remind me quite a bit of some of Manhattan Transfer's work. This is a great off-beat jazz-pop tune. I Kept On Loving You is a very good Richard Carpenter solo tune. I don't like the way that Richard (or Karen, for that matter) said the word "cry" when they sang....it was that Northeastern accent, I suppose, that stayed with them....Cry came out criah....other than that, I like this little diddy - I like the way it starts with guitar rhythm, and gradually builds and builds, and when we get to the world LOVIN YOU....and that big fat fun chord on those two words....a major 7th, of course! I must say, even though I jab at Richard more than I should, I really do like this tune and unlike other Richard leads this song does not take away or bring down the momentum of the album. Another Song is great, intricate, and well done. I like the tempo - different than all the rest...very jazz influenced, and the vocals are super. "...the warmth of you has gaw-aw-aw-awn...." It is so incredibly great to hear a one syllable song broken up into four...and those CHORDS. Vocally, I think this song is really wonderful - Karen's vocals again on this one are steady, and sure. It's not a real easy song to sing, that's for sure. And it just wouldn't be the same sung without those awesome harmonies. But, it's not overdone, either. Less is more. Proven well with this number. Another Song is really about the music... this is truly a musician's song. It's quite a well developed number and not what you would expect to hear on a pop record. Carpenters were full of surprises with this album and "Another Song" was the crowning touch. As you mentioned, Tim, the vocals are outstanding. the interweaving of vocals along with the interplay of instruments makes this song a real masterpiece. Thanks Tim for participating... you always add great insights to the conversation. It is interesting to note that my music listening habits and experiences have changed over the years. In the days of vinyl LPs, I used to listen a record on the stereo from start to finish, preserving the song order and overall concept of an album and providing a snapshot of the development of the artist at any given moment in time. Now that current digital technology allows me to put my music onto the home office computer, I tend listen to the play list alphabetically, which scrambles the song order among different albums and forces me to consider each song more as an individual piece of work rather than part of a collection. Because of my long personal history with the earlier records, I still have a special fondness for the freshness and ambitiousness of the first four or five of the Carpenters' albums, and find myself still anticipating the next song according to the original order on the album rather than the alphabetized listing. I hear what you're saying Dreams. My listening habits have changed somewhat also. Although I put my songs on a random rotation so they're all mixed up and I have thousands of songs on my computer. Although, I do also play entire CD's while on the computer... so I really don't miss out on the "album" experience. Though, lately I listen to internet radio more than anything else when I'm on the computer. As a matter of fact Pop Goes The 70's is playing Joe Cocker's "You Are So Beautiful" right now. WE'VE ONLY JUST BEGUN Starting out with a light, easy, breezy feeling, "We've Only Just Begun" While this song has been performed by many groups and artists, I think Karen and Richard's treatment of this song remains unique and particularly outstanding. I agree with you here. Carpenters put a pulse into the song. Most of the remakes I've heard don't have that pulse that verve. Carpenters put and energy into it and brought it alive. LOVE IS SURRENDER Buoyed with a lively, catchy rhythm, "Love Is Surrender" is one of few songs in which Karen and Richard trade lead vocals, and to great effect. The only mystery to me is why Richard threw in an exclamation of "whoa" at 1:13 --- what was the intent here? Again I just love this little rhythmic number with it's strong percussion. I think the exclamation Richard throws in at 1:13 gives the song an extra sort of youthful energy... I really like that part it kind of livens things up even more... good little extra touch. I also like the vocal trade off between karen and Richard... great job on this short and unassuming song. MAYBE IT'S YOU The simple piano riffs at the beginning of "Maybe It's You" is reminiscent of the tricking of water, while the gradual orchestral and vocal buildup to "rising on the shore the ocean came..." reminds me of the dramatic crashing of waves against boulders on a beach. This is a masterful synergy of lyrics, vocals and instrumentation where musical form follows content and function. This has to be one of the best descriptions for this song that I've ever read. I may use this in other publications on Carpenters songs... I'll email you on that one Dreams. Yes, the music and the lyrics of this song do lend themselves to the feel of the ocean. REASON TO BELIEVE I like how Richard retains the folk/country feel to Tim Hardin's "Reason To Believe" and improves on it. Particularly outstanding are the resonant, bell-like tones of the synthesizer/keyboard, Karen's lock-step drumming which leads into each verse, and the vocal harmonies in the phrases "SOMEONE LIKE YOU makes it hard to live without somebody else / SOMEONE LIKE YOU makes it easy to give..." as if an echo is answering itself as it ricochets around. Thank you Dreams... I also enjoy the way Karen's drum work leads into each verse and vocal harmonies. Another very well arranged song. (THEY LONG TO BE) CLOSE TO YOU It surprised me when I first learned that Richard was ambivalent about "(They Long To Be) Close To You" --- either it would be a hit or an utter flop, no in-between. However, it is understandable when put into perspective. The quiet opening of the song sets it apart from many others--- it either is too subtle to be noticed or makes you stop and pay close attention. Very well worded Dreams. It's obvious people listening to music in the 70's chose to stop and listen. People really needed some optimistic reflection in the 70's and Carpenters gave us that. BABY IT'S YOU I personally like the Carpenters' rendition of this song better than the original hit versions by the Shirelles and the Beatles. The Carpenters' arrangement is simply the most beautiful and expressive. I have to agree that Carpenters do the superior rendition of this song... it's Karen's deep and mature vocal and Richard's outstand rich and fully developed musical arrangement which makes it stand out above the others. by the way one other group had a hit with the song... in 1969 the group named Smith took the song to #5 on the billboard chart. They actually had the biggest hit with it. Shirelles took it to #8 in 1963 and Beatles released their 1963 recording of the song in 1995 and it reached #67. I'LL NEVER FALL IN LOVE AGAIN Karen's lead vocal is full of attitude and toughness, and appropriately so for the humorously bittersweet lyrics, as the vocal harmonies in the background soar to a fevered pitch. yes, I just love it when Karen gives us that attitude. I guess that's why I love her solo album so much. CRESCENT NOON "Crescent Noon" is a haunting tapestry of pensive words and beautiful music. Karen's wistful vocals are measured against Richard's contemplative piano work. What more can be said... this is truly a masterpiece amongst masterpieces. Thank you Dreams for you participation. I always learn a little something from your comments.
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Post by smoothie2 on Oct 30, 2007 9:40:33 GMT -5
interesting proposal....I'm working on it folks....good input so far by all
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Post by smoothie2 on Nov 1, 2007 14:22:35 GMT -5
CLOSE TO YOUI have gathered my thoughts...although I didn't review each song as most of you have. However, decidedly, Cl. to You is my fave album of all. It was also my first of the C's records I owned about 1972. What I have done was put down thoughts about the songs which even through time, they remain my least faves on the album (but, believe me, there's not a lot to Dislike...) I'LL NEVER FALL IN LOVE AGAIN In listening to this one again, I will admit that I do like it somewhat more than I used to. I think that the reason for this these days is because we have the magical world of recorded television shows. I love seeing Karen and Richard singing and laughing and etc. on all those tv and live concert recordings. It's like having someone tell you about Las Vegas and then actually seeing it for yourself. I recall hearing it first by D. Warwick and it was (is) an okay song. Of course, summing it up>>>>KAREN, KAREN, RICHARD, RICHARD, MORE KAREN! My fave part is the harpsicord or electric piano, or whatever that is that comes through near the last of the song. wonderful harmony. The song itself has a bit of humorous play, and I think that's neat. (what do you get when u kiss a guy, you get enough germs to catch pneumonia, after you do, he'll never phone 'ya) and love only brings you lies, pain and sorrow.... Karen sings it boldly and with a lot of feeling as always. CRESCENT NOON>>> Very beautiful soulful song. I do admit to skipping over it at times, since it's rather depressing. Musically, it indeed is one of the Carps. best efforts. Great imagery. Poetic. The "ebb and flow" of the consistent piano. Like a slow dance. Over -the-top Harmony. The song and the way they sing it, truly is a big indicator of what splendid artists these people were (are). ANOTHER SONG>>>> ::)Another Awesome song. It's like 3 songs rolled into one. Best vocals ever. Truly a joy to listen to. Many different instruments used or so it seems which sets it apart from all the other songs. All through the yrs., I have been known to listen to about 1/2 the song... because my interest slacks off some about midway, afterthe vocals , even tho I appreciate the tremendous energy put into it. When the synthesizer (I guess that's what that is) takes over with kind of wacky out of control thing...is when often i turn it off. However, when i do go ahead and listen to it, I find it very beneficial to my ears.. Overall, ANOTHER SONG is a very clever and wise choice for the album to conclude because it carries a bit of "out-of-control" link or edge there that none of the other songs seem to have. A great "release" song. All the rest are well known "hits", whereas ANOTHER SONG is unpredictable, jazzy and as a result captures even more fans with it's variety of sounds. so, there it is....i can comment on all the other songs, but, I'm late on this thread, and actually, like things to move on if someone wants.
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Post by YesterdayOnceMore on Nov 1, 2007 15:41:17 GMT -5
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Post by smoothie2 on Nov 1, 2007 20:40:40 GMT -5
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Post by Rick Henry on Nov 1, 2007 20:55:04 GMT -5
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Post by smoothie2 on Nov 1, 2007 23:27:14 GMT -5
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