domingo, 31 de enero de 2016

187º-Richard Carpenter Net Worth-



 


Richard Carpenter Net Worth

Net Worth $ 10 Million

Born on: 15th Oct 46 
Born in: United States 
Marital status: Married 
Occupation: Musician 

Richard Carpenter net worth is estimated at $10 million. Carpenter, known as one half of the brother/sister duo the Carpenters  is an American pop musician. Richard Carpenter net worth came from their album releases beginning in 1987 as well as from his hit singles. Richard began as pianist of the Trio along with his sister Karen with the drum and friend Wes playing the tuba and bass in 1965. He and sister Karen went on and finally signed with A&M Records on April 22, 1969 recording the "(They Long to Be) Close to You" which climbed to #1 on the Billboard Hot 100, staying there for a month, this started the accumulation of Richard Carpenter net worth . With the name “The Carpenters”, Richard and Karen have composed many songs like Yesterday Once More, Only Yesterday, Goodbye to Love, and Top of the World, these were icing on the cake to Richard Carpenter net worth . Richard Carpenter who is also known as a record producer, arranger, pianist and keyboardist, and occasional lyricist, and composer has helped in the productions of the documentaries Close to You: Remembering the Carpenters in 1997 and Only Yesterday: The Carpenters Story in 2007.

Family & relationships
  • Mary Carpenter Wife
  • Mindi Karen Carpenter Daugther
  • Tracy Tatum Carpenter Daughter
  • Collin Paul Carpenter Son 

miércoles, 27 de enero de 2016

184º-Carpenters -Crítica del álbum Collected-






  • Compañía: Universal
  • Número de Discos: 3
  • Año: 2013
  • Fecha de lanzamiento: 17 de mayo de 2013


En los últimos años, esta ha sido una de las mejores recopilaciones sobre la obra del dúo que han aparecido en el mercado. Si queréis volver atrás en el tiempo y revivir su música de la forma en que sonaba cuando fue publicada originariamente, con las mezclas originales colocadas en el orden exacto en que estaban en la época en que se lanzaron las grabaciones por primera vez, con un gran trabajo de masterización, este es vuestro disco. Es también una forma inmejorable de introducirse en su música teniendo una perspectiva más o menos global del tipo de grabaciones que hacían.

lunes, 25 de enero de 2016

182º-Some Kind of Lonely Clown-



Some Kind of Lonely Clown: The Music, Memory, and Melancholy Lives of Karen Carpenter (hardback) Hardcover – October 16, 2015


by Joel Samberg (Author)

This is the HARDBACK version. "This book brings back so many lovely and amusing memories of a sadly missed friend. She was unique and irreplaceable in so many ways. Joel has been thorough in his research, and his love and respect for Karen shine through. Love and thanks for the fun and the magic of her musical soul." -Petula Clark "An insightful look at the life of Karen Carpenter, a singing hero of mine. I had the pleasure of opening for the Carpenters in 1975, but it was more exciting that they recorded several of my songs, particularly 'Solitaire,' which featured a breathtaking Karen vocal accompanied by Richard's magnificent orchestration. Mr. Samberg's book is a worthy tribute to her everlasting legacy as one of the great vocalists of all time." -Neil Sedaka The popularity of the Carpenters-Karen in particular-has never really waned. In fact, when you consider the online presence, documentaries, tributes and other projects, you might even say that an unofficial Carpenters revival has been brewing for years. Many remember the velvety voice that helped the Carpenters sell 100 million records, but not everyone knows that beyond the gifted singer was also a love-starved romantic, conflicted sister, obedient daughter, unpredictable jester, modest millionaire, optimistic dreamer, wannabe mother, emotional wreck, generous friend, and melancholy clown. How is it that someone whose stardom lasted just a dozen years, and who might have given it all up in a heartbeat, is still so beloved and still fascinates more than three decades after her untimely death?.

domingo, 24 de enero de 2016

181º-Legends In Concert-Carpenters-




Product Details

  • Actors: Carpenters
  • Format: Multiple Formats, Color, NTSC
  • Language: English
  • Region: All Regions
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Import
  • DVD Release Date: May 5, 2015
  • Run Time: 51 minutes

sábado, 23 de enero de 2016

180º-Time magazine article-



How Karen Carpenter’s Death Changed the Way We Talk About Anorexia


  • Jennifer Latson @JennieLatson  Feb. 4, 2015

Feb. 4, 1983: Musician Karen Carpenter dies at 32 from health complications related to anorexia



Karen Carpenter performing in 1971  
After being called chubby as a teenager, Karen Carpenter began dieting. When she slimmed down from 145 to 120 lbs., her friends and family praised her weight loss. It was only after her weight continued to plummet, dropping to a skeletal 90 lbs. in the mid-1970s, that they realized her health was in jeopardy.
The lead singer of The Carpenters, the Grammy-winning band she’d formed with her brother, died on this day, Feb. 4, in 1983, of heart failure related to her years-long struggle with anorexia. She was 32.
Carpenter’s death raised awareness of the dangers of eating disorders, which had until then been little publicized or understood. For a generation of women who saw Twiggy as an icon of the ideal body shape, it also proved — as TIME concluded in 1989, when summing up the moral of a docudrama about Carpenter’s life — that it was, in fact, possible to be too thin.
Carpenter was the first celebrity casualty of an eating disorder, according to Randy Schmidt, the author of Little Girl Blue: The Life of Karen Carpenter. After her death, however, other public figures shared their own struggles with anorexia and bulimia, most notably Princess Diana.
Two years after Carpenter’s death, a group of doctors and therapists who specialized in treating eating disorders lobbied the Food and Drug Administration to ban over-the-counter sales of the vomit-inducing drug ipecac, which Carpenter had reportedly been taking to keep from gaining weight — and which had overtaxed her already weak heart.
Her therapist told the New York Times he believed tens of thousands of American women, desperate to lose weight, were abusing ipecac, “a drug that was not known until very recently as an abusive drug.” Ipecac had long been used to purge the stomachs of poisoning victims, but its repeated use led to heart problems and muscle weakness.
Whether from ipecac or from malnourishment alone, Carpenter was so weak by the mid-’70s that she could do little more than lie down between shows. Her exhaustion forced the band to cancel a 1975 European tour while she slept 14 to 16 hours a day, according to Schmidt’s biography.
While everyone around her was worried, no one knew exactly how to help. Schmidt quotes Carpenter’s bandmate John Bettis on their misguided attempts to nurse her back to health. “Anorexia nervosa was so new that I didn’t even know how to pronounce it until 1980,” Bettis told the biographer. “From the outside the solution looks so simple. All a person has to do is eat. So we were constantly trying to shove food at Karen.”
Their efforts were in vain, however. Audiences gasped when Carpenter emerged onstage in silky sleeveless dresses, Schmidt writes; concerned fans feared she was dying from cancer. While her voice, a lush contralto, stayed strong, critics took note of her increasingly bony frame.

Variety review of one performance, cited by Schmidt, complained, “She is terribly thin, almost a wraith, and should be gowned more becomingly.”

jueves, 21 de enero de 2016

178º-The Carpenters: Now-






Now

The Carpenters



Now 

Now when it rains I don't feel cold 

Now that I have your hand to hold 

The winds might blow through me 

But I don't care 

There's no harm in thunder if you are there and



Now 

Now when we touch my feelings fly 
Now when I'm smiling I know why 
You light up my world like the morning sun 
You're so deep within me we're almost one

(*) And now

All the fears that I had start to fade 
I was always afraid love might forget me 
Love might let me down 
Then look who I found

And now, now 
Now when I wake there's someone home 
I'll never face the nights alone 
You gave me the courage I need to win 
To open my heart and to let you in 
And I never really knew how until now 
No, I never really knew how until now

Repeat (*)


Recordamos aquí la que fue la última sesión de grabación del dúo, en abril de 1982, que tiene por protagonista a esta hermosa balada en la línea de sus primeros años. Fue compuesta por Roger Nichols y Dean Pitchford. Esta incluida en el disco de octubre de 1983 Voice Of The Heart.

miércoles, 20 de enero de 2016

177º-Made In America-







Released June 16, 1981
Recorded 1981
Genre Pop
Length 40:22
Label A&M
Producer Richard Carpenter


Richard and Karen Carpenter were at a crossroads professionaly and personaly in 1980. Richard had succesfully conquered his addiction to qualudes, and after two years of being away from the recording studio (the last time was for 1978's "CHRISTMAS PORTRAIT" album) he was itching to get back to work. Karen, however had spent much of 1979 in New York, recording a solo album with famed producer Phil Ramone and Billy Joel's band, still not facing her anorexia, still growing thinner. It had been Three years since "PASSAGE", their last pop effort, and the future of the group was up in the air. The negative reaction from A&M brass and Richard towards Karen's album further clouded things, as Karen was torn and put on the spot. After months of behind the scenes turmoil and horsetrading, Karen reluctantly shelved the album and decided to reaffirm her commitment to The Carpenters, electing to record a new album with Richard.

Work began on the album that would become "Made In America", however, Karen's whirlwind romance and marriage to scumba...er, Real Estate developer Tom Burris further delayed work on the LP, which ultimately was not finished until 1981. Taking over a year to record, "MIM" was also the most expensive record the duo produced in their 12 year run. However, upon listening to the album, one must ask themselves where all that time and money went, because the album is not the best work RC & KC did. Not to say this is a bad album. On it's own merits, it is a well produced, well crafted collection of well written and sung pop songs. However, compaired to the past work of these two, it overall is a disappointment.

Now, There are many reasons for this. After three years of being away from the studio, Richard was not at the top of his game, and he had fallen further out of touch with what fans and the public at large wanted. Karen, who was struggling both with her anorexia and a nightmare of a marriage (read the new KC biography "LITTLE GIRL BLUE" to see how bad it was. That Tom Burris was some piece of work.), was not in any real shape to be devoting time to recording, yet she put on a brave face and pushed ahead. The albums biggest problem though is that it seems to play things too safe. After the commercial failure of the experimental "PASSAGE", A&M and Richard decided to go back to the Carpenters "roots". Instead, the overall result falls short of even the halcyon days of "CLOSE TO YOU", and sounds generic and bland at times.

However, there ARE some moments of the old Carpenters brilliance to be found.. The albums biggest hit "Touch me when we're dancing" is a sensual confection wrapped in a great vocal performance by Karen and Richard with a great sax solo by Bob Messinger (it also was to be their first and last top 20 hit of the 1980's). "Strength Of a Woman" is one of Karen's sexiest vocal performances outside of her solo album with a great hook. The country tinged lament "When it's Gone" is a whistfull, well sung lyric that Karen seems to feel as she sings, and knowing the state of things in her life at the time, she likely is. The strength of those three tracks virtualy save this album. The others range from the okay upon first listen ("I want you back in my life", "Those Good Old dreams" to the disposable (Beechwood 4-5789, a favorite of Karen's, but it is no "Please Mr. Postman") The rest are not very memorable and do not stick with you after you put the LP or CD away.

Unfortunately, "Made in America" would be the last Carpenters album released in Karen's lifetime. I believe that if things had turned out differently, The Carpenters would have made another great album, and would have regained their footing. Sadly, it was not to be. As a final musical statement, "Made in America" is a anticlimax to a storied career. If your a fan, it still is a must-have. However, don't expect to find yourself listening to this over and over as you would other albums in their catalogue.



martes, 19 de enero de 2016

176º-Crítica del álbum Karen Carpenter-






  • Lanzamiento: 8 de Octubre de 1996
  • CD de audio
  • Número de discos: 1
  • Formato: Importación
  • Sello: A & M




Con la llegada de la música Disco, Richard decidió hacer un parentesis, para ordenar sobre todo ciertos aspectos de su vida privada. En 1979 Karen se embarcó en el proyecto de un disco solista, mientras su hermano estaba internado en una clínica para recuperarse de su adicción a las drogas. Como productor de este disco fue contratado Phil Ramone, un famoso productor neoyorkino quien era ampliamente conocido como productor de Billy Joel. Las grabaciones se realizaron a fines de 1979 y a comienzos de 1980. El resultado de esta serie de sesiones de grabación fue un álbum que fue presentado a la A&M en 1983, sin embargo debido a que su sonido era muy diferente al de los Carpenters, la disquera decidió aparcar el lanzamiento del disco.

Las cintas del álbum solista, contrariamente a lo que se ha dicho en la prensa, no fueron encontradas en la colección de animales de peluche de Karen, sino en el archivo de la A&M Records. Mas de 16 años después de su grabación, A&M presentó el 8 de Octubre de 1996 en los Estados Unidos “Karen Carpenter”, una colección de 12 temas.

Durante un descanso en las giras de los Carpenters y la agenda de grabación, Karen no quiso permanecer inactiva y se trasladó a Nueva York donde comenzó a grabar con Ramone. A pesar de que ambos estaban extasiados con el producto final, Richard y los ejecutivos del sello no gustaron del producto. 

Ramone admite que en la selección del material a grabar, el y Karen hicieron la decisión de experimentar con música y estilos a diferencia de los discos tradicionales de los Carpenters. Así, Karen Carpenter fue retratada por primera vez como la mujer de al lado en vez de cómo una niña. Phil recuerda la experiencia comentando "Fue como sacar a alguien de Disneylandia y ponerlo en el mundo real." 

De las 20 canciones del actual álbum Karen Carpenter, 11 fueron eligidas originalmente para el LP engavetado de 1980. La pieza extra ("Last One Singin' the Blues") esta sin mezclar, e incluye una conversación entre Karen y los músicos, quienes tocaban en la banda de Billy.

Se ha insistido a lo largo de los años en el hecho de que Karen buscaba con esta grabación alejarse del sonido habitual de las grabaciones realizadas al calor y bajo el soporte de su hermano, pero lo cierto es que no se observa un gran cambio de rumbo en el resultado final, salvo por el hecho de que algunas de las piezas, son muy pegadizas e incluso bailables, pero no acaban de cuajar del todo. Podemos hablar de una buena colección de canciones en las que sin embargo ninguna llega a destacar, excepción hecha de algunos momentos brillantes, como el cierre vocal en la balada All Because Of You, o el pegadizo estribillo de My Body Keeps Changing My Mind. Un frustrado intento de iniciar una carrera en solitario con el que sin embargo la cantante quedo muy satisfecha personalmente, y una herida incurable por el fracaso del proyecto, que contribuiría a debilitar aún más su ya quebrantada salud.



lunes, 18 de enero de 2016

175º-Passage (The Carpenters album)-








Released 23 September, 1977
Recorded 1977 at A&M Studios, Los Angeles
Genre Pop, jazz, easy listening, adult contemporary, country, experimental
Length 39:39
Label A&M
Producer Richard Carpenter/Associate Producer - Karen Carpenter



"Passage", released in 1977, would be the last Carpenter album to be relased until "Made In America" in 1981. After this album, both Karen and Richard were spent emotionally and physically and needed a break from the constant touring and studio recording. Richard would go into detox at The Menninger Institute in Topeka, Kansas, to kick prescription sleeping pills, while Karen would cut a solo album with Phil Ramone in New York and begin therapy for her ever deeper descent into anorexia nervosa.

The rock critics of 70's viewed the Carpenters' music as nothing more than sugar sweet filler material, best suited for elevators. While their fans bought their albums at a frantic pace, I believe Richard Carpenter produced "Passage" as an attempt to silence the critics and show that he and Karen could produce more than just "sugar songs for the masses". And so, thus we have "Passage", an album that was made to showcase the diversity of the Carpenter sound. There are some very different non-typical Carpenter songs on this eclectic album. First, there is the 7-plus minute extraterrestrial "Calling Occupants of Interplanetary Craft", then an exploration into Broadway with Karen's lush rendition of "Don't Cry For Me Argentina". Three singles were released from the album, "Occupants", the jazzy "All You Get From Love Is A Love Song", and the jaunty county tune "Sweet Sweet Smile". A Carpenter album would not be complete without a sweet ballad or two, and this album has two: "I Just Fall In Love Again", and "Two Sides".

Again, it is not your typical Carpenter fare, but it certainly holds its own musically, and of course, Karen's vocals are unequalled. If you are looking for the love ballads that made the Carpenters famous, this album may disappoint you. However, you also may be surprised at the diversity of the Carpenters sound, and appreciate this album for what it is - a change of course for the brother and sister act."Passage" initially was not a commercial success, but has gone on to become a CLASSIC of sorts being known as The Carpenters' most diverse and experimental album.

The album opens with a triumph of robust jazz inflections on Michael Franks' "B'wana She No Home". The song was recorded live in the studio, so you get the full effect of the musical jam between Pete Jolly's keyboard and Tom Scott's flute. Tony Peluso adds some ripping guitar riffs throughout the song. Karen's vocal is bold and seductive. This is a style which should have been further investigated by The Carpenters.

The recording is full of one highlight after another. There is not one loser on this set. "Don't Cry For Me Argentina" is no exception. Peter Knight (who orchestrated The Moody Blues' "Days Of The Future Passed" album) orchestrated and arranged "Don't Cry For Me Argentina". Karen's reading of the song is flawless, it's as if it was written especially for her to sing. She soars on every note reaching each to perfection. She tells the story as if she lived it herself with a convincing emotional urgency. The Carpenters have recorded the definitive version of this song, they were even televised during the recording which was shown on news stations across the U.S. in 1977.

The album's most exciting moment is "Sweet, Sweet Smile", which was written by Juice Newton (Queen Of Hearts). The song moves along with an infectious upbeat bounce and once again Tony Peluso shines with his guitar chords. It reached #6 on the Country Music Charts in 1978.

"I Just Fall In Love Again" and "Two sides" are the album's ballads. Both are outstanding and should have been released as singles. "Two Sides" is the favorite track on the album according to a voting poll. ...

The LP closes with a very unlikely song for The Carpenters to record. It's a space song written by Canadian prog-rock group Klaatu. Klaatu recorded the song using synthesizers, while The Carpenters used all real instruments to create the other worldly effect. Again Peter Knight did the outstanding orchestration and arrangement. "Calling Occupants" was so well recorded that The Carpenters recieved a Grammy nomination for it in the U.S. and it reached the top ten in the U.K. The song opens with guitarist Tony Peluso portraying a confused DJ who is taking a song request from an alien. The song is an amazing work of art all the way through. Leon Russell (author of the songs "Superstar", "A Song For You" and "This Masquerade") provides futuristic keyboard parts and Tony Peluso's fuzz guitar solo just sends you out of this world. But above all is Karen's pristine crystal clear stellar vocal, she's right at home with this offbeat song. Others like Olivia Newton-John or Barbra Striesand would have never been able to pull it off effectively - but Karen Carpenter has a youthful versatility in her voice which is very evident on the album "Passage".

This recording was a considerable departure for the siblings and contained experimental material such as the Klaatu cover "Calling Occupants of Interplanetary Craft" single—which reached #32 in the US but was a top ten hit in much of the world. Ironically, the album's release predated Steven Spielberg's similarly themed film Close Encounters of the Third Kind by one month. Nonetheless, the album was the group's first to fall short of gold standard in the US. This is the only Carpenters album (aside from their Christmas albums) not to contain a Richard Carpenter or John Bettis song.

"Passage" may not have reached the top of the charts, but it is a musical triumph and has grown to be recognized as The Carpenters' most daring effort. 




"As a result of both “Horizon” and “A Kind Of Hush” not containing a “sell-through” single (Postman had been released approximately nine months prior to “Horizon’s” release) neither album fared as well, sales or chart-wise, as their predecessors; “Horizon” No.14 and “A Kind Of Hush” No.33.  I was hardly surprised then, when I heard from Jerry Moss, relating his concern about relatively lackluster sales by A&M’s biggest worldwide record sellers…us.  As an owner’s eyes fall on the manager when a fine baseball team doesn’t perform as expected, so the eyes of the record company fall on the producer when a successful artist’s record sales falter.  This, by the by, is the way it should be, so I was perfectly willing to let someone else take over my role; it would be a lot less work for me and, as previously mentioned, I was not 100% myself. The problem was, not one major producer would sign on; radio was not quite as friendly at that time to our type of sound and to be honest, my track record on the whole was a tough act to follow. Accordingly, I remained producer, but I did try to approach this new project from a different angle, hence my selection of songs for this album made “Passage” a bit of a departure from our previous recordings. I am still fond of every song on this album, but will mention the history of two:
Don’t Cry For Me Argentina -  This song was submitted to us by the publisher, and I immediately felt it was perfect for Karen, though now I feel differently, as I believe the song doesn’t linger long enough in a lower register, a great area for Karen’s voice.  We contacted England’s late, great Peter Knight to orchestrate the song, and two others on “Passage”. Peter flew to Los Angeles to conduct the L.A. Philharmonic for the recording. (Due to a contractual agreement their name was not allowed in the credits, hence the credit of the “Overbudget Philharmonic”.) Between the 100 plus member “Phil” and the 50 voice Gregg Smith Singers, the recording session had to take place on the A&M Sound Stage, and was wired into Studio D. It was an experience I’ll never forget.
Calling Occupants of Interplanetary Craft (The Recognized Anthem of World Contact Day) - I heard this song on Canadian group Klaatu’s debut album and couldn’t resist recording it. (Lyrics such as these don’t come along every day!) Peter Knight penned the creative orchestration to my arrangement. In addition to the guitar work, Tony Peluso reprises his role as a befuddled D.J.. This performance must be fairly convincing for following its release, we received numerous letters wanting to know when in fact, World Contact Day was scheduled!".


-Richard Carpenter





domingo, 17 de enero de 2016

174º-A Kind Of Hush Review-






Released June 11, 1976
Recorded 1976
Genre Pop, easy listening, adult contemporary
Length 34:00
Label A&M
Producer Richard Carpenter/Associate Producer - Karen Carpenter


A Kind of Hush is the seventh studio album by American popular music duo The Carpenters. It was released in June 1976.
By the time of the album's recording, Richard Carpenter's addiction to sleeping pills had begun to affect him professionally, and he blames this for the album being, in his opinion, sub-par. All three excerpted singles became hits. "There's a Kind of Hush (All Over the World)", a cover of a 1960s song by Herman's Hermits, broke both the UK Top 30 and US Top 20, as well as topping the adult contemporary chart. "I Need to Be in Love" hit number 25 in the US and number 36 in the UK."Goofus" was only a minor success, stalling at number 56 on the Billboard chart, though it did crack the adult contemporary top 10.
John Bettis called "I Need to Be in Love" the favorite lyrics he ever wrote for Karen Carpenter. "If there was ever anything that came out of my heart straight to Karen I would say that that was it, and I was very proud of it for that." Richard Carpenter recalled that the song "became Karen's favorite Carpenters song". However, this album was also the first not to have Karen playing drums at all and top Los Angeles session drummer Jim Gordon played the drums on this album.
The album, despite its gold certification and a high UK chart placing, was a commercial disappointment in the US where its chart peak was outside the Top 30.The CD has been out of print since 2006 except in the Japanese market.

AllMusic Review by 

The formula behind the Carpenters' albums was starting to get fairly routine -- a hit single and an oldie or two (which sometimes was the single) surrounded by some well-produced soft pop/rock, driven by electric piano, strings, and a guitar solo or two cropping up. "There's a Kind of a Hush" and "Breaking Up Is Hard to Do" are the two most memorable tracks on this pleasant, well-sung, and well-played, but basically bland, album, A Kind of Hush. There are virtues here -- "You" has a good guitar solo by Tony Peluso, and the vocals on "Sandy" are radiant, but this record was where the real rot began to set intothe Carpenters' fortunes, in terms of remaining connected to rock. Instead of covering Leon Russell's or Carole King's contemporary material, they're doing songs like "Can't Smile Without You" -- the latter is very sweetly sung by Karen Carpenter, and gets a lyrical but spare arrangement from Richard Carpenter, but they needed something more credible to the under-30 audience (and especially material that, if not attractive to guys in that age range, at least wouldn't make them self-conscious about listening to it with their girlfriends) on this album, and it wasn't here. If you close your eyes, it's possible to imagine Captain & Tennille, not to mention Debby Boone, taking lessons from this release, although Karen's voice was still beyond comparison with any of them.



"As I have written elsewhere, I believe that the Carpenters’ explosive worldwide success in 1970 was too much, too soon for us; we were young, naïve and ultimately ill-equipped to handle properly all that was required of us.  Karen, though 3 ½ years my junior, dealt with many career problems better than I, although some feel that these, combined with a perceived weight problem contributed to her developing anorexia nervosa.  As a result of all of this, I inadvertently got myself addicted to prescription sleeping pills as early as 1975.  As I did not take any of these during the day, I was able to function well for quite some time, but by 1976, and the making of “A Kind Of Hush” – and the two albums that followed – I now feel I was not at my best, and am not pleased with some of the material chosen, such as Goofus, and Breaking Up Is Hard To Do.

Three songs, however, do stand out for me:  I Need To Be In Love with its soaring melody and melancholy John Bettis lyric; this became Karen’s favorite Carpenters song. One More Time by Lewis Anderson, a lovely combination of music and lyric, and Sandy, a lilting original that is perfect for Karen’s voice".


-Richard Carpenter  



sábado, 16 de enero de 2016

173º-Crítica del álbum Horizon-






Fecha de publicación: 6 de junio de 1975
Artista: The Carpenters
Discográfica: A&M Records
Género: Pop, Adult contemporary, Easy listening


Horizon es el sexto álbum consecutivo en obtener la certificación de platino por Los Carpinteros dúo musical estadounidense. Fue grabado en A & M Records (principalmente en Studio " D " por medio de la tecnología de grabación de 24 pistas , 30 Dolby , y se registró a 30 pulgadas por segundo). Los Carpinteros pasaron muchas horas experimentando con diferentes sonidos, técnicas y efectos.
El álbum ha sido certificado Platino por la RIAA. Fue un éxito particular en el Reino Unido y Japón, donde encabezó las listas y acabó convirtiéndose en uno de los álbumes más vendidos de 1975 en esos países.

El primer single del álbum, "Please Mr. Postman" (lanzado unos siete meses antes), se convirtió en el mayor éxito del álbum y también uno de los mayores éxitos de Los Carpinteros de todo el mundo. Alcanzó el puesto # 1 en los Estados Unidos, Australia, Canadá y Sudáfrica, así como el puesto # 2 en el Reino Unido e Irlanda. Esta canción cuenta con Karen en la batería y Tony Peluso a la guitarra. El siguiente single, "Only Yesterday", fue también un éxito, llegando a US No. 4, oro UK # 7, Canadá # 7 y fue certificado en Japón. La canción también ganó el prestigioso premio Grand Prix en Japón. Un tercer single, "Solitaire", alcanzó el puesto # 15 en los EE.UU. y el top 40 en varios otros países de todo el mundo. Según Richard, a Karen Nunca le gustó especialmente la canción.

"Desperado" fue grabada originalmente por The Eagles en 1973 para el álbum del mismo nombre. Varios otros han grabado esta canción incluida Linda Ronstadt, Bonnie Raitt, y Kenny Rogers. Debido al hecho de que la canción ya era bien conocida, A & M decidió no lanzar la canción como un single. "I Can Dream, Can't I" es una interpretación de 1949 de las hermanas Andrews, y fue escrita originalmente en 1937. Karen y Richard contrataron a Billy May, quien ha trabajado con artistas como Frank Sinatra y Nat King Cole, para ayudar a orquestar la canción. La canción cuenta con la Orquesta de Billy May. John Bahler está en el coro de cantantes de fondo. En el momento de la salida al mercado de Horizon, el letrista John Bettis indicó que "(Estoy atrapada entre) el adiós y el te amo" era su mejor colaboración con Richard Carpenter.

Stephen Holden de Rolling Stone aclamó Horizon, al que calificó como "El álbum más sofisticado musicalmente de Los Carpinteros hasta la fecha”.



viernes, 15 de enero de 2016

172º-Crítica del álbum Now & Then-






Fecha de publicación: 1 de mayo de 1973
Artista: The Carpenters
Discográfica: A&M Records
Género: Pop


Este es uno de los mejores álbumes de Los Carpinteros. Es cierto que no tiene una larga duración. La primera mitad incluye cinco canciones enteras, una de los cuales es un tema instrumental. 

La segunda está -aparte de 'Yesterday Once More'- enteramente compuesta por unas mezclas de éxitos de épocas pasadas, pero lo que tenemos aquí es una buena dosis de diversión. creo que esto es lo más divertido de escuchar.

En la primera mitad, está el éxito 'Sing', que no puede ser considerada una gran canción, pero fue un éxito por una razón; es muy audible. Luego está su versión jazz de "This Masquerade", que es preciosa, y predice la dirección que tomará su música a finales de la década. El tema instrumental antes mencionado, 'Heather', podría considerarse de relleno, pero en realidad es muy bueno. El optimista tema 'Jambalaya (On The Bayou)', que fue un éxito en el Reino Unido y los Países Bajos, es muy divertido, con argumento en torno a una celebración en el Sur profundo. 'I Can not Make Music' es una muy buena canción sobre la decepción y la soledad. Luego, está el mega-hit "Yesterday Once More", que es hermoso, y un popurrí de clásicos de los años 60, incluyendo a los Beach Boys con “Fun, Fun, Fun", a The Crystals con “Da Doo Ron Ron”, y a The Chiffons con ''One Fine Day”. Creo que funciona bien, y es muy bueno escuchar esas canciones con el sonido de The Carpenters.

Con todo, este es un buen disco para cualquier persona interesada en Los Carpinteros. Buenas canciones, gran forma de cantar por parte de Karen (especialmente en "This Masquerade", "I Can not Make Music" y "Yesterday Once More"), y arreglos de las canciones magníficos por parte de Richard. Sin embargo, se advierte que el tono es bastante ligero y optimista a lo largo del álbum, y si se prefieren las baladas graves y lentas, mejor dedicar una escucha a Horizon o A Song For You en su lugar.



jueves, 14 de enero de 2016

171º-Crítica del álbum A Song For You-







Fecha de publicación: 22 de junio de 1972
Artista: The Carpenters
Discográfica: A&M Records
Género: Pop


"Podría decirse que es nuestro mejor álbum, y no sólo a causa de las muchas buenas canciones; sino por los arreglos, el trabajo vocal, la diversidad de temas y la presentación. Después de haber sido presionados por el tiempo mientras grababamos "Carpenters", me aseguré de que efectivamente se reservaba el tiempo suficiente para su sucesor. Me gustaría referirme a la historia de dos de las canciones de un álbum que produjo un buen número de singles de éxito.
"Goodbye To Love" Me inspiré para escribir las primeras líneas de la canción mientras veía una película de 1940 de Bing Crosby "Rhythm On The River”, en la que se menciona una canción llamada "Goodbye To Love", pero nunca más se supo de ella. Escribí el final coral de esta pieza durante mi visita a Londres a finales de 1971, y completé la mitad de la canción a principios de 1972, momento en que John escribió la letra. Mientras me entregaba a componer me imaginé un solo de guitarra melódico y sabía quién sería el guitarrista que quería usar. En el 71 en una de nuestras primeras giras ofrecimos a Mark Lindsay abrir el show. Su grupo de apoyo fue llamado "Instant Joy" y fue dirigido por un joven guitarrista llamado Tony Peluso, cuya forma de tocar cautivó nuestros oídos. Pedimos a Tony que tocara con nosotros en "Goodbye to Love". El resultado, en mi opinión, es uno de los solos de guitarra más grandes de todos los tiempos. Posteriormente Pedimos a Tony que se uniera a nuestro grupo en las giras, y él estuvo con nosotros durante muchos años. Esta grabación causó un poco de revuelo por personas de todas las tendencias. Nuestros detractores escucharon ese final en solitario más bien grandilocuente y pensaron que tal vez poseíamos un poco más de talento de lo que habían pensado previamente. Por el contrario, algunos de nuestros fans estaban indignados y pensaban que nos habíamos "vendido". Cuando las aguas se calmaron, sin embargo, la canción se convirtió en un éxito, aterrizando en el Top 10 tanto en los Estados Unidos como en el Reino Unido.


"Top Of The World" Tengo que admitir que minusvaloramos el potencial de esta canción. Después de terminarla, nos pareció que era un buen tema nada más. No pasó mucho tiempo, sin embargo, para que pensaramos de otra manera. La respuesta a la canción interpretada en concierto fue abrumadora. Fue sacrificada del álbum en Japón y fue disco de oro. Lynn Anderson hizo una versión usando mis arreglos y se fue al número 2 en las listas de éxitos del país. Ciertas estaciones de radio en los EE.UU. fueron poniendo la canción solo por las peticiones del público. Finalmente lanzamos el registro, con algunas revisiones, a finales de 1973. Se fue al número 1".


-Richard Carpenter



miércoles, 13 de enero de 2016

170º-Carpenters Review-







Released May 14, 1971
Recorded 1970–71
Genre Soft rock, traditional pop
Length 31:26
Label A&M
Producer Jack Daugherty Productions



Review by a faithful follower:

Known as the "Tan album" by Carpenter enthusiasts, the simply named "Carpenters" sets the tone and standard for all Carpenters music to follow.

Released in 1971, "Carpenters" contains five huge hits that were played over and over again on top-40 AM radio; I know this because I heard the songs myself and fell in love with them! Just a teen at the time, I could relate emotionally to the Carpenters music and lyrics. The "Tan album" was a big hit for Richard and Karen Carpenter. Richard's unique musical arrangements frame Karen's pitch-perfect vocals in such a way that the blend is absolutely heavenly.

Starting with the soulfully mournful "Rainy Days and Mondays", the album has no dull moments. Richard Carpenter displays his vocal talents in two songs, "Saturday" and "Drucilla Penny", and although both songs are lively and pleasing, the album clearly excels when Karen rich voice is highlighted. Her voice is so lovely, clear, and expressively distinctive, your ears will thank you for the treat! Karen is superb in "Let Me Be The One", "For all We Know" and "Bacharach Medley" where she sings a pleasing rendition of five Burt Bacharach standards. Karen also shines in two other little known songs, "(A Place to) Hideaway", and "One Love"; both have become personal favorites of mine. Had the two been released as singles in the ballad driven music of the early 1970's, both would have been top-40 hits. Again, enough praise cannot be expressed for Karen's heartfelt rendering of these songs and others.

Two other songs must be mentioned and praised. The mega-hit, "Superstar" is fourth on the playlist of this album. Although other vocal artists have tried to record this mournful song, Karen sets the standard with her recording. It is a song to treasure because of Karen's vocal perfection and interpretation. No one else even comes close to Karen's effort. Closing out the album is the tear-jerker, "Sometimes". Richard's arrangement of this song begins with almost a minute and 30 seconds of piano instrumental, with Karen then beginning her expressive vocal. Anyone not touched to the soul by this song probably does not have a soul to touch! I guarantee you will listen to it again and again, and you will examine your own heartfelt feelings and your personal relationships as well. It is that influential a song. The words were written by Henry Mancini's daughter, Felice Mancini, and put to music by Mancini. You won't forget it.

I own all the Carpenter albums, but I return again and again to the "Tan album" for its simple muscial purity and satisfying sound. It is a must for all Carpenter fans.  




"With the success of “Close To You” and “We’ve Only Just Begun” our schedule was not quite as relaxed as it had previously been and I did not have as much time to write or listen to material. Thankfully, I lucked into several very strong songs.
“For All We Know” -  Karen and I were in Toronto in November, 1970 to open the show for Engelbert Humperdinck. We had one night off before opening and our manager Sherwin Bash suggested we see the film “Lovers And Other Strangers”. We enjoyed the film and noticed the song “For All We Know”, which we recorded upon our return home. It went gold, peaking at No.3 and subsequently won an Oscar for Best Song of 1970. The bass work of veteran studio musician Joe Osborn on this track should be commented upon, not only for his effortless fluidity in performing the descending bass line, but the subtle syncopations he inserts helping to make this recording as strong as it is.
“Rainy Days And Mondays” -   Nichols and Williams sent a demo of this song to us. Two listenings and I decided it was perfect for Karen and me. This recording remains a favorite of many Carpenters’ fans. Not only is it a strong piece of writing, but I purposefully kept the arrangement rather sparse in order to showcase Karen’s remarkable reading of the song. Keep in mind that Karen was a few weeks shy of turning 21 when she cut this lead, a performance that sounds way beyond her years. Though I never thought that “Rainy Days and Mondays” ever got her “down”, Karen did state in an early interview that whenever she sang it she “slipped into a different world”.
“Superstar” -  Karen and I came home from the studio relatively early one evening in early ’71. She went to bed, but I tuned in “The Tonight Show”. The host, Johnny Carson, was championing a then relatively unknown performer named Bette Midler. One of the songs she sang was “Superstar”. It was quite a bit different than what my arrangement turned out to be, but I knew it could be a hit. As the lyric never mentions the word “Superstar”, I had to quiz a few people about it to find out its name in order to get a lead sheet or recording. It turned out that Leon Russell and Bonnie Bramlett had written it for Rita Coolidge and the Joe Cocker “Mad Dogs and Englishmen” recording and tour. The album was on A&M and I owned a copy of it, but never got around to playing it. I opened the album, familiarized myself with the piece and constructed my arrangement; a perfect song for Karen and the “Carpenters’ sound”. Another favorite of Carpenters’ buffs and certainly of mine. Once again, Joe Osborn’s imaginative fills in the intros add an extra element of effect to the recording and Hal Blaine’s drumming in the “hooks” demonstrates why he was the top studio drummer in town. The “Carpenters” album also features “Hideaway”, a beautiful song by Randy Sparks, who is best known for his group “The New Christy Minstrels” and another of his songs, “Today”. Before Karen and I started out on our own, we were in the aforementioned group “Spectrum”. Randy hired us (a very rare booking) to perform at his club Ledbetters. He opened the show and “Hideaway” was one of the songs he sang. I liked it immediately and never forgot it. “One Love” is a song John and I wrote in 1967 while we were employed at Disneyland as the piano/banjo act at “Coke Corner”. Originally called “Candy”, it was written for a waitress of the same name in “Coke Corner”, who caught all four of our eyes.  The album closes with “Sometimes”, a touching Felice Mancini lyric written for her parents and set to music by her father, Henry.
The aforementioned Bacharach/David medley is also included, but not in its original form, which had additional songs, as well as longer versions of some that remained, and ran almost fifteen minutes.  In early 1970 we were asked to guest on several nationally syndicated T.V. shows (Della Reese, Virginia Graham et al.)  They wanted the medley, but not longer than five or six minutes.  This involved heavy editing as well as speeding up the remaining tunes.  A year later, running out of time to record, I decided to include the shortened medley in the album.  For the rhythm track, instead of studio musicians, I used Karen and our group who, after having performed it countless times on stage, got it in one take.  Karen and I then did all the vocals, which sound terrific and no doubt contributed to our winning a Grammy for “Outstanding Performance by a Duo, Group or Chorus” for this album.  My regret is that we didn’t, I guess couldn’t, take the time and record the entire medley at the proper tempos, along with an orchestration I had fashioned.  What’s on the album is very polished, but just too fast". 


-Richard Carpenter