Carpenters: Horizon CD Track Listing

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Carpenters Horizon (1975)
Originally Released June 1975\nCD Edition Released March 1986\nRemastered CD Edition Released December 8, 1998\n\nAMG EXPERT REVIEW: The Carpenters were one of the more ubiquitous and successful acts of the early and mid-'70s. Songs like "Close to You" and "Rainy Days and Mondays" make the shortlist of pop classics of the '70s. Unfortunately their 1973 retrospective, 1969-1973, might have wrapped up their commercial careers too soon. This 1975 effort seems to be willing to explore sad emotions with the blithe songs appearing almost as an afterthought. Although it would sound the death knell for many efforts, with Karen Carpenter's pitch-perfect and sorrowful voice, it's actually a nice fit, and an emphasis on the duo's subtext. The beautifully arranged "Aurora" sets the album's ambiance. "Eventide," a continuation of the melody and theme, shows up later in the album. The covers, "Desperado" and "Please Mister Postman," have the duo adding nothing new to the tracks. A more convincing take on the standard "I Can Dream Can't I" was co-arranged and orchestrated by the legendary Billy May. The track, despite the depressing horn and backing vocal arrangement, has Carpenter's empathy and tone ringing clear. Another cover, "Solitaire" written by Neil Sedaka and Phil Cody, is melodramatic but a great match for Carpenter's voice. The originals, including "(I'm Caught Between) Goodbye and I Love You," are competent but not magical, and that fact diminishes the effort. Although some might be put off by the sorrow or bust ethos of this, Horizon gains its strength from strong production values and, of course, Karen Carpenter's singular gifts as an interpreter. -- Jason Elias\n\n\nAMAZON.COM CUSTOMER REVIEW\nIntrospective and Retrospective, January 26, 2007\nReviewer: Maestroh "A.A., A.A.S.,B.M.E.,Th.M." (Ph.D. Textual Criticism)\nThe turning point in the history of the Carpenters from smash pop success to 'Las Vegas night club singers' probably began on a stage on in Las Vegas in 1975 when Karen Carpenter, horribly weak from anorexia nervosa and the previous six years' worth of touring and recording, collapsed onstage. In an interview in "A&M Compendium," conducted by music critic Tom Nolan, an interview with the Carpenters indicated that the album was going to be very ambitious, slick, and overdubbed. The material also stretched from the new Carpenter composition ("Only Yesterday") to their last number one ("Please Mr. Postman"), to a remake of an Andrews Sisters song from 1949, "I Can Dream, Can't I." \n\nIn retrospect, the sad end of the Carpenters is lived out on this album. Much of this is anachronistic, reading back into 1975 what later happened, but there is an element of truth there. The opening and closing songs, "Aurora" and "Eventide," have a somber timbre and use the same music but with different lyrics. "Only Yesterday," the first solid musical track on the album, turned out to be their last top five single, peaking at #4. "Desperado," a remake of the Eagles ballad, followed and was above average. "Postman," their final number one, was a remake of the same song by the Marvellettes, and showed a tried and true Carpenter signature: remake something somebody else did and get rich doing it. But in the other cases - at least with singles - they did songs that were relatively obscure. "It's Going To Take Some Time This Time" was written by Carole King but hardly anyone had heard of it prior to the Carpenters. "Hurting Each Other" was a small hit for Ruby and the Romantics, and for Pete's sake, "We've Only Just Begun" was a commercial for Crocker Bank. "Superstar" was done by a number of singers before Karen took it to #2. But in "Postman," they picked a sixties tune and brought into the 1970s. The last song on side one is "I Can Dream, Can't I," a foray into the big band sounds that became synoymous with their TV specials in the late 1970s. \n\nSide two opens with a song virtually everybody now knows, "Solitaire." Clay Aiken redid it, but he couldn't tie Karen's shoes. "Happy" is an upbeat follow-up and the last 'happy' song on the album. "Caught Between Good-bye and I Love You" by John Bettis and Richard and "Love Me For What I Am" are sad love songs. "Eventide" rounds out the collection. \n\nThe problem is that this work, while ambitious and in full stereo, does not show the pep or excitement of "A Song for You" or "Now And Then." It marks the beginning of a slump from which the Carpenters never recovered. In terms of sales, it actually did rather well, going gold (their sixth straight record to do so upon initial release). The album marks time and fatigue as exemplified by both Richard and Karen. The songs are good and they deserve applause for a noble effort. But perhaps it isn't their fault. It is ours because they did so well when they sounded so fresh that the change - albeit a slight one - is welcome but not the most welcoming TO the listener. \n\nThe Carpenters made their name on optimistic love songs like "We've Only Just Begun," "Top of the World," and "Close To You." Sure, they had a few sad hits - "Superstar" and "Rainy Days" and for that matter, "Hurting Each Other" - but their genre focused on the happy. Even "For All We Know" showed optimism. But starting with this album, Richard and Karen turned almost exclusively to pessimism and sadness for their hit songs. Even the non-hits that were commercial sounding like "Two Sides" on the "Passage" album were sad. \n\nThis is for Carpenters fans, but if you've never heard them, this is NOT the CD to get. Start with "A Song for You" or "Now And Then." \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Turning Point, November 4, 2006\nReviewer: TopDawg689 "topdawg689" (Palm Springs, CA USA)\nThis recording marks a turning point for The Carpenters. At this point, they were both well into their 20s, and the songs have a more mature subject matter (e.g. "I'm Caught Between Goodbye and I Love You"), as do the arrangements (strictly ballads, except fo the song "Happy"). This recording also features the first of many ventures of The Carpenters into the world of old standards ("I Can Dream, Can't I?"), at which they had a magic touch. Some of Karen Carpenter's finest singing is on this recording. She gives flawless readings of "Desperado" and "Solitaire" (especially that last sustained low note!). The arrangements are prime, notably "Only Yesterday", with that subtle castanet touch!\n\n\nAMAZON.COM CUSTOMER REVIEW\nA (mostly lovely) mixed bag, June 16, 2006\nReviewer: R. Binns (Oak Harbor, WA)\n"Horizon" was a turning point in the recording career of the Carpenters--a more sophisticated sound more suited to Karen's rich and warm voice. But the album was rather short, and some of the songs just weren't up to the standards expected by their fans, which was reflected in the sales of the album, which was their slowest selling album up to that point. \n\nThe opening "Aurora" and the closing "Eventide" (The same melody with different lyrics) nicely bookend the album, and Aurora provides the first hint that this was not the average Carpenters album. "Only Yesterday" follows; this beautiful and uptempo song begins as a dolorous, downbeat ballad before segueing into the cheerful refrain. The cover of "Desperado" is well done, but ultimately it is lost between the flashy tracks before and after it. "Please Mr. Postman" is infectuously happy fluff; it has absolutely no depth, but is irresistable while it's playing and will have you singing along with Karen. The big-band era "I Can Dream, Can't I?" reveals the new depths of Karen's voice, and the small jazz combo ensures that she is the focus of the listener. The third and final single from this album, "Solitaire" begins the second half of the album on a (metaphorical) high note. The remaining full tracks ("Happy","I'm Caught Between Goodbye and I Love You", and "Love Me for What I Am") are all less-than-captivating songs that greatly benefit from Karen's reading and Richard's arrangements.\n\n\nAMAZON.COM CUSTOMER REVIEW\nMagnificent Voice, Wonderful Arrangemtents & Production., October 3, 2005\nReviewer: PEAM (Pen with Ears & Mind). (Australia)\nThis is where it all came together for Richard and Karen Carpenter. Richard as producer and arranger had every track perfectly tailored for sister Karen. Most tracks were set to showcase Karen's unique, strong, rich and beautiful lower register. It's hard to tell here who was the genius in the team - I suspect both Richard and Karen were unusually gifted. On many songs Karen holds 'E' below 'middle C' long and strong - a note that few recorded women could even reach. Marvel at the opening notes of "Only Yesterday', the final vocal tone of "Solitaire", the note that Karen holds at the end of "(Caught Between) Goodbye and I Love You". What a rich, colourful tone of voice - I've never heard anything comparative. It's hard to choose a stand-out track - My favourites are "Aurora", "Only Yesterday", "I Can Dream Can't I?', "Solitaire", "Happy", "Caught Between Goodbye and I Love You"., "Love Me for What I Am" and "Eventide". Even recordings rejected from the project, such as "Tryin' to Get the Feeling Again", which later surfaced on the "Interpretations" album, were incredible and have massive emotional impact on the listener. Maybe one stunning thing about the "Horizon" album, apart from Karen's voice, the harmonies and the arrangements, is the surreal effect of the tracks "Aurora" and "Eventide". The stark beauty of Karen's voice is highlighted by the arty lyrics and the simple arrangement with just Richard on piano. Rarely did Carpenters record songs that weren't straight love songs - and on these two tracks they showcase two of their most beautiful recordings ever. On "I Can Dream Can't I", Karen and Richard show that they could master the 'old standards' perfectly - a talent that they again later highlighted on recordings of "Little Girl Blue", "I Wonder Why" and "When I Fall in Love". ("I Can Dream Can't I" was originally recorded in the 1930s by The Andrews Sisters). The promotional team for A&M also seemed to (FINALLY) get it together for the release of the "Horizon" album. Karen was shown in all her beauty, looking casual and hip, on the album cover photo, inner sleeve picture, and related promotional photos and posters. It was also around this time that Karen's anorexia nervosa first became apparent to the public, although the seeds for it had no doubt been maligmant for years before. Shortly after the release of "Horizon", concert tours had to be cancelled due to Karen's ill-health, and this brilliantly talented lady, 5 foot 4 in height, withered to a tragic five and a half stone. The moral of this album - have confidence in the beauty that you have to offer the world. \n\n\nAMAZON.COM CUSTOMER REVIEW\nWhen every bit of hope is gone, sad songs say so much, June 2, 2005\nReviewer: Angie Engles (Columbia, MD United States)\nEven though I consider HORIZON to be a solid, unforgettable Carpenters' album, I hardly ever listen to it, not because I don't like it, but because this album is often painful emotionally. With the exception of the breezy, (almost) happy "Please Mr. Postman" most of the songs attack your heart and leave you incredibly sad. Part of that, of course, has to do with Karen Carpenter's tragic death and the temptation to "read" into the feelings we think she must have been experiencing during her struggle with anorexia nervosa. The gloomy cover (perhaps a response to criticism of their previously "cheesy" album photos) certainly doesn't help. \n\n"Love Me for What I Am" can especially pull at the listener because it eerily echoes what many women with eating disorders go through: a non-verbal plea to be accepted and loved for who they want to be, not who they SHOULD be. I am probably guilty of reading WAY TOO much into this track, but I can't shake the idea that this song resonated with Karen more than some of the other ones. "Solitaire," while an incredibly beautiful song, doesn't share the same intensity. I remember reading years ago that Karen didn't particularly care for this Neil Sedaka-penned song. \n\nThe sadness also seeps into songs you would think would be perkier ("Happy" and "Only Yesterday" are both supposed to be about the transformation of successful love yet hang wearily in the air.) One of the great things about Karen's voice was how it automatically lent dignity to even the most silly of songs (this applies to later albums such as "Made in America" and "Voice of the Heart"). Her great legacy includes the talent she had for giving layer (and sometimes irony) to each song she recorded. No other Carpenters album illustrates just how great and mature Karen was as a vocalist AND that, given more time and credit from harsh critics, she would have been known more for being a classy, first-rate singer than for being the victim of a devastating disease. \n\n\nAMAZON.COM CUSTOMER REVIEW\nTheir Best Work, April 19, 2003\nReviewer: Mark (Raleigh, NC United States)\nFrom several different perspectives, these are some of the finest recordings the Carpenters have ever made. This album stands out in my mind because of the warmth and presence of Karen's voice. Her lower register is showcased beautifully here. The audio quality is exceptional (especially given the fact that it was recorded way back in 1974!). The arrangements are rich and smooth and it shows that this was a work of art that was not rushed or thrown together. Not many artists nowadays create music this high in overall quality. My only disappointment is that the album is relatively short. But it was to be released on vinyl so that's the reason. On a technical note, this is the first Carpenters album that was recorded using a 24 track recorder running at 30 inches per second. Their previous albums were recorded on tape traveling at 1/2 that speed so this album marked a big improvement in the quality of their recordings. Get it and enjoy it!\n\n\nHalf.com Details \nProducer: Richard Carpenter \n\nAlbum Notes\nThe Carpenters: Richard Carpenter (vocals, keyboards); Karen Carpenter (vocals, drums).\n\nAdditional personnel: Tony Peluso, Bob Bain (guitar); Thad Maxwell, Red Rhodes (steel guitar); Gayle Levant (harp); Earl Dumler (oboe, English horn); Tom Morgan (harmonica); Bob Messenger (tenor saxophone); Doug Strawn (baritone saxophone); Pete Jolly (keyboards); Frank Flynn (vibraphone); Joe Osborn, Joe Mondragon (bass); Jim Gordon, Alvin Stoller (drums); Jackie Ward, Mitch Gordon, John Bahler, Gene Merlino (background vocals).\n\nDigitally remastered by Richard Carpenter.\n\nThis 1975 album is one of Karen and Richard Carpenter's best. A languorous cover of The Eagles' "Desperado" and a version of the Marvelettes' classic "Please Mr. Postman" display the duo's impressive interpretive skills. But the songwriting team of Richard Carpenter and John Bettis wrote most of the album. This pairing had already proven themselves with hits like "Top of the World," "Yesterday Once More," and "Goodbye To Love." The Carpenters' most successful track on HORIZON was the enormous hit "Only Yesterday." Richard's orchestrations and arrangements here are among his best, and of course sister Karen is in excellent voice throughout, her melancholy, dusky alto sounding as pure and warm as ever.\n\n\nROLLING STONE REVIEW\nHorizon, the Carpenters' most musically sophisticated album to date, smoothly adapts the spirit of mainstream Fifties pop to contemporary taste. While not an emotionally compelling singer, Karen Carpenter has developed into a fine vocal technician, whose mellow interpretations of the Eagles' "Desperado" and Neil Sedaka's "Solitaire" evidence professionalism on a par with such Fifties stars as Jo Stafford and Rosemary Clooney. Richard Carpenter has also grown into a highly skilled producer/arranger of easy-listening music. Against the carefully structured sound of the Carpenter formula, wherein Karen's solos burst in and out of diaphanous multiharmonies, Richard has imposed more elaborately orchestrated textures than before and wisely mixed them at a level that doesn't distract attention from Karen's intimately mixed singing.\n\nFor the Carpenters' many fans, Horizon offers their recent hits, "Only Yesterday" and "Please Mister Postman" (a diluted pastiche of the Marvelettes' 1961 hit that's nonetheless pleasant). I much prefer, however, the short, identical mood pieces, "Aurora" and "Eventide" that serve as the album's bookends, and most of all the Carpenters' lovely remake of the Andrews Sisters' 1949 hit, "I Can Dream Can't I." Beautifully orchestrated and coarranged by Billy May, one of the finest studio band leaders and arrangers of the Fifties and Sixties, "Dream" is such a gem of updated schmaltz it makes me wish that veteran masters of the studio like Gordon Jenkins, Ray Ellis, Nelson Riddle and Percy Faith would be encouraged to collaborate with other best-selling MOR acts of the Seventies. (RS 194 - Aug 28, 1975) -- STEPHEN HOLDEN
This misc cd contains 10 tracks and runs 34min 57sec.
Freedb: 79082f0a
Buy: from Amazon.com

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