Post by Rick Henry on Oct 8, 2003 22:20:03 GMT -5
"Passage" is one of my top 4 favorite of all Carpenters albums.
By the time "Passage" was released I had already been enjoying the Carpenters for about six years. But it wasn't really until late 1974 when I first heard "Please Mr. Postman" that I became a true fan. "Postman" was such a huge hit, it was played everywhere. Months later in '75 the album "Horizon" was released and I played it like crazy. Every song was truly strong enough to be a single. It was a sophisticated album which brought the Carpenters sound to the next level.
1976 brought "A Kind Of Hush", of course I already knew the wonderful hit singles "There's a Kind Of Hush" and "(I Know) I Need To Be In Love", but was immediately taken by the offbeat songs "Goofus" and "Boat to Sail".
Next came what I felt was a true masterpiece and a diverse work of art. The Carpenters outdid themselves from the album cover to the informative liner notes to the eclectic choice of songs. Critics and radio DJ's were saying that "Passage" would bring The Carpenters back into the top ten. The album received favorable reviews by the critics. But for some reason after all the hoopla the album failed to catch on, peaking just outside the top 40 in the U.S. Things were different abroad. The album was a solid hit in England and Japan.
Here is my song by song review:
B'WANA SHE NO HOME: Written by mellow jazz artist Michael Franks (Franks had hits with "Popsicle Toes" (1975) and "The Lady Wants To Know" (1977) - he wrote all his songs).
This is one of my all-time favorite Carpenters songs. It marked a great growth in the spectrum of The Carpenters' musical landscape. It is jazz rock and pop fused together to create a wonderfully full sound encapsulated with Karen's smooth yet authorative vocal.
I especially like the lyric "I don't care if you drive my 350 honey, don't let 'em steal my chrome". that line is followed by some cool jazz guitar chords at 2 minutes and 46 seconds in the song. and right after Karen sings "Long as you leave me alone" at 2 min. 56 sec. comes a few more inventive and progressive guitar chops. I'm a true fan of great guitar work and The Carpenters employed only the best. I most enjoy the free jam feel of the song. It's almost like being there live, but it was recorded in the studio.
This song is the epitome of "cool".
ALL YOU GET FROM LOVE IS A LOVE SONG: Steve Eaton wrote this song. I accidentally found his single release of the song in a used record bin in L.A. in 1978 so I bought it out of curiousity. Eaton's version is not as peppy as the Carpenters, but was still fairly decent.
The Carpenters added a great beat and rhythm. It surely wasn't disco but it was a new groove for The Carpenters. The Carpenters were heading into the late 70's in style. I loved this song right from the first time I heard it and I admit I did overplay this one.
I JUST FALL IN LOVE AGAIN: A classic Carpenters power ballad. It soars. I feel regardless of the length it should have been a single. Others at that time period were releasing songs longer in time and got a lot of airplay. Most of Elton John's hits were 4 and a half to five minutes long.
Orchestrated by Peter Knight. Knight also worked on the album "Days Of The Future Passed" by the Moody Blues. The song is complete with a classic Tony Peluso guitar solo. I really loved the slight edge Peluso brought to the Carpenters sound. This is one of Karen's loveliest and most compelling vocals. She sang in a richness and maturity which was soulful and full bodied. No other vocalist at the time really even came close to Karen's finesse and originality. A+
ON THE BALCONY OF THE CASA ROSADA / DON'T CRY FOR ME ARGENTINA - The recording of this song became a news media event. It was hailed as the largest recording session ever in the history of popular music. I beleive there were over a hundred people present to record the song. With William Feuerstein as Juan Peron and Jonathan Marks as Che the song opens with a cultural operatic reading which leads into what is probably the Carpenters' most compelling recording. Karen sings this classic composition with assuredness and perfection. She pronounces each word with care and clarity. Richard's arrangement leads you to believe you are actually living the moment. This certainly is the definitive recording of a song which has been recorded by many.
SWEET SWEET SMILE - The song opens with a funky rhythmic electric guitar played by Tony Peluso. a few seconds into the song Peluso is joined by the band which includes Tomm Hensley on tack piano, Larry McNealy on Banjo (the banjo adds a truly great c&w experience to the song), Bobby Bruce on fiddle, Ron tutt on drums and Joe Osborn on bass guitar. The arrangement is full and uptempo.
"Sweet Sweet Smile" received a fair amount of radio airplay in 1978 and several expected it to reach the top ten. And it did reach the top ten, but on the country music charts where it peaked at #6. Since 1978 "Sweet Sweet Smile" has remained a popular favorite being used in country and western cowboy clubs for line dances and has also remained a favorite amongst Carpenters fans.
Written by Juice Newton and her husband Otha Young. Newton later went on to have a string of hits including, "Angel Of The Morning", "Queen Of Hearts", "The Sweetest Thing (I've Ever Known)" and "Love's Been A Little Bit Hard On Me".
TWO SIDES: A guitar lover's treat! With a mild country flavor this song showcases an array of very well placed and performed guitars. Included are two acoustic guitars (one played by Lee Ritenour), a magnificent pedal steel guitar and, Tony Peluso's ever captivating electric guitar.
There are several qualities which set The Carpenters in a category above many of their contemporaries. I feel Richard Carpenter's creative use of all types of guitars is one such attribute which adds depth and energy to their music.
Equally as strong as the music is the lyric. "Two Sides" speaks of coming to terms with a relationship which just isn't working out and having the strength to say "Goodbye". And even more capitivating than the lyric is the general placement of each word. It is pieced together with patience and thought. It touches on all the different emotions one feels in such a situation.
And above all this is Karen's once again triumphant vocal. She sings with soul and complete self confidence. You get the feeling she really means every word she's saying.
MAN SMART WOMAN SMARTER: I mainly like this song because it displays an almost tongue in cheek side of The Carpenters, yet maintaining a seriousness about producing quality music.
This song has an interesting history.
*Harry Belafonte first brought this song to fame in the late forties as a calypso tune. Alan Lomax also recorded the song around the same time.
*In the mid 1950's the song was performed on television's "I Love Lucy" by a band comprising of Lucy, Ricky, Little Ricky, Ethel and Fred.
*From almost the time they began touring in the late 60's and throughout their entire career, The Grateful Dead performed this song in concert always with joyous response from their audience.
*In early 1977 Robert Palmer made his debut on the singles chart with "Man Smart...".
*In the late 90's reggae artists Chaka Demus and Pliers cover the song.
The Carpenters took the song and turned it into a rocker that hints with tongue in cheek humor. The song has an impressive display of drums, including congas and steel drums. We are again treated to Tony Peluso's energetic electric guitar and Leon Russell ( writer of "Superstar", "A Song For You" and, "This Masquerade") bangs on the piano (I like Russell's off center approach).
The song jolts along with an extended jam style instrumental solo at the end with crazy sound effects switching back and forth between the left and right channels of the stereo speakers. This is quite an interesting almost alternative music effect. The Carpenters score again with diversity and a heart of experimentation.
I'll be back to finish reviewing the rest of the album...
By the time "Passage" was released I had already been enjoying the Carpenters for about six years. But it wasn't really until late 1974 when I first heard "Please Mr. Postman" that I became a true fan. "Postman" was such a huge hit, it was played everywhere. Months later in '75 the album "Horizon" was released and I played it like crazy. Every song was truly strong enough to be a single. It was a sophisticated album which brought the Carpenters sound to the next level.
1976 brought "A Kind Of Hush", of course I already knew the wonderful hit singles "There's a Kind Of Hush" and "(I Know) I Need To Be In Love", but was immediately taken by the offbeat songs "Goofus" and "Boat to Sail".
Next came what I felt was a true masterpiece and a diverse work of art. The Carpenters outdid themselves from the album cover to the informative liner notes to the eclectic choice of songs. Critics and radio DJ's were saying that "Passage" would bring The Carpenters back into the top ten. The album received favorable reviews by the critics. But for some reason after all the hoopla the album failed to catch on, peaking just outside the top 40 in the U.S. Things were different abroad. The album was a solid hit in England and Japan.
Here is my song by song review:
B'WANA SHE NO HOME: Written by mellow jazz artist Michael Franks (Franks had hits with "Popsicle Toes" (1975) and "The Lady Wants To Know" (1977) - he wrote all his songs).
This is one of my all-time favorite Carpenters songs. It marked a great growth in the spectrum of The Carpenters' musical landscape. It is jazz rock and pop fused together to create a wonderfully full sound encapsulated with Karen's smooth yet authorative vocal.
I especially like the lyric "I don't care if you drive my 350 honey, don't let 'em steal my chrome". that line is followed by some cool jazz guitar chords at 2 minutes and 46 seconds in the song. and right after Karen sings "Long as you leave me alone" at 2 min. 56 sec. comes a few more inventive and progressive guitar chops. I'm a true fan of great guitar work and The Carpenters employed only the best. I most enjoy the free jam feel of the song. It's almost like being there live, but it was recorded in the studio.
This song is the epitome of "cool".
ALL YOU GET FROM LOVE IS A LOVE SONG: Steve Eaton wrote this song. I accidentally found his single release of the song in a used record bin in L.A. in 1978 so I bought it out of curiousity. Eaton's version is not as peppy as the Carpenters, but was still fairly decent.
The Carpenters added a great beat and rhythm. It surely wasn't disco but it was a new groove for The Carpenters. The Carpenters were heading into the late 70's in style. I loved this song right from the first time I heard it and I admit I did overplay this one.
I JUST FALL IN LOVE AGAIN: A classic Carpenters power ballad. It soars. I feel regardless of the length it should have been a single. Others at that time period were releasing songs longer in time and got a lot of airplay. Most of Elton John's hits were 4 and a half to five minutes long.
Orchestrated by Peter Knight. Knight also worked on the album "Days Of The Future Passed" by the Moody Blues. The song is complete with a classic Tony Peluso guitar solo. I really loved the slight edge Peluso brought to the Carpenters sound. This is one of Karen's loveliest and most compelling vocals. She sang in a richness and maturity which was soulful and full bodied. No other vocalist at the time really even came close to Karen's finesse and originality. A+
ON THE BALCONY OF THE CASA ROSADA / DON'T CRY FOR ME ARGENTINA - The recording of this song became a news media event. It was hailed as the largest recording session ever in the history of popular music. I beleive there were over a hundred people present to record the song. With William Feuerstein as Juan Peron and Jonathan Marks as Che the song opens with a cultural operatic reading which leads into what is probably the Carpenters' most compelling recording. Karen sings this classic composition with assuredness and perfection. She pronounces each word with care and clarity. Richard's arrangement leads you to believe you are actually living the moment. This certainly is the definitive recording of a song which has been recorded by many.
SWEET SWEET SMILE - The song opens with a funky rhythmic electric guitar played by Tony Peluso. a few seconds into the song Peluso is joined by the band which includes Tomm Hensley on tack piano, Larry McNealy on Banjo (the banjo adds a truly great c&w experience to the song), Bobby Bruce on fiddle, Ron tutt on drums and Joe Osborn on bass guitar. The arrangement is full and uptempo.
"Sweet Sweet Smile" received a fair amount of radio airplay in 1978 and several expected it to reach the top ten. And it did reach the top ten, but on the country music charts where it peaked at #6. Since 1978 "Sweet Sweet Smile" has remained a popular favorite being used in country and western cowboy clubs for line dances and has also remained a favorite amongst Carpenters fans.
Written by Juice Newton and her husband Otha Young. Newton later went on to have a string of hits including, "Angel Of The Morning", "Queen Of Hearts", "The Sweetest Thing (I've Ever Known)" and "Love's Been A Little Bit Hard On Me".
TWO SIDES: A guitar lover's treat! With a mild country flavor this song showcases an array of very well placed and performed guitars. Included are two acoustic guitars (one played by Lee Ritenour), a magnificent pedal steel guitar and, Tony Peluso's ever captivating electric guitar.
There are several qualities which set The Carpenters in a category above many of their contemporaries. I feel Richard Carpenter's creative use of all types of guitars is one such attribute which adds depth and energy to their music.
Equally as strong as the music is the lyric. "Two Sides" speaks of coming to terms with a relationship which just isn't working out and having the strength to say "Goodbye". And even more capitivating than the lyric is the general placement of each word. It is pieced together with patience and thought. It touches on all the different emotions one feels in such a situation.
And above all this is Karen's once again triumphant vocal. She sings with soul and complete self confidence. You get the feeling she really means every word she's saying.
MAN SMART WOMAN SMARTER: I mainly like this song because it displays an almost tongue in cheek side of The Carpenters, yet maintaining a seriousness about producing quality music.
This song has an interesting history.
*Harry Belafonte first brought this song to fame in the late forties as a calypso tune. Alan Lomax also recorded the song around the same time.
*In the mid 1950's the song was performed on television's "I Love Lucy" by a band comprising of Lucy, Ricky, Little Ricky, Ethel and Fred.
*From almost the time they began touring in the late 60's and throughout their entire career, The Grateful Dead performed this song in concert always with joyous response from their audience.
*In early 1977 Robert Palmer made his debut on the singles chart with "Man Smart...".
*In the late 90's reggae artists Chaka Demus and Pliers cover the song.
The Carpenters took the song and turned it into a rocker that hints with tongue in cheek humor. The song has an impressive display of drums, including congas and steel drums. We are again treated to Tony Peluso's energetic electric guitar and Leon Russell ( writer of "Superstar", "A Song For You" and, "This Masquerade") bangs on the piano (I like Russell's off center approach).
The song jolts along with an extended jam style instrumental solo at the end with crazy sound effects switching back and forth between the left and right channels of the stereo speakers. This is quite an interesting almost alternative music effect. The Carpenters score again with diversity and a heart of experimentation.
I'll be back to finish reviewing the rest of the album...
