Chris Mills
That was funny....like the dark vomited up
Despite not being 100% Richard still manages to produce a great album, he didn't need replacing, just needed a well earned rest.
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Thanks for the explanation, starting to make some sense now. Wish they could have done the same for AKOH.It has an "apparent" effect. In this case, you're probably listening specifically for the high frequencies, since that's what's largely denied you in the other recordings. With just a couple of DB boost in the COLLECTION disc, you "think" that the highs are better because they are simply louder. Adjust the two to the same level and you'll likely hear no difference.
Despite not being 100% Richard still manages to produce a great album, he didn't need replacing, just needed a well earned rest.
That would be me, but in pieces as the first Carpenters album I ever heard was the Singles 1974-78 CD, and that disc starts with the "Passage" track 'Sweet, Sweet Smile', goes through a couple oldies in 'Jambalaya' and 'Cdn't Smile' before hitting another Passage track, "All You Get From Love Is A Love Song", and then of course the disc closes with the Passage album cut of "Calling Occupants". As I think about it, 1/4 of the Singles 74-78 album comes from "Passage". ("Horizon" just edges out "Passage" because of 'Happy', otherwise they are tied in terms of Singles.). "A Kind Of Hush" is represented by only 2 singles and 'Can't Smile', while we also have Singles from "A Song For You" and "Now & Then".Agreed, and you know it's funny how we as human beings get caught up in the comparison game. If we didn't have all of the previous Carpenters albums to compare to and this was the first thing we ever laid ears on, I think many of us would have been thinking "Where did THESE guys come from?!?". It still would have been a thrill to hear their sound, Karen's voice and all that incredible production value spinning around on that piece of vinyl!
After "Passage", 'I Believe You' sounds like something off of "Horizon" or AKOH.Out of the last 4 non-seasonal albums released in Karen's lifetime, HOR, AKOH and MIA sound pretty much the same, although MIA did have "Back In My Life Again" which did sound like an 80's extension of "Passage". Otherwise the rest of the album is comparable to AKOH (with Beechwood being the remake song and 'Dancing' being MIA's 'I Need').Honestly, I find "Honolulu" pretty weak.
DualDisc was dead the minute it was first released. I had a computer drive that could not read the discs. No problem on the Oppo. But, it was a stupid idea, to make a disc that could likely not work in the average CD player. In some cases, the surround side wasn't even lossless--it was Dolby Digital. Ugh. Or their idea of "high-res" was 16-bit, 48kHz. Um, nope. Total disaster, that format. Good riddance.
I'm OK with DVD-Audio to a point...the high-res is good, but the idea of having to use a TV and a menu to play a music disc was, and still is, stupid. SACD doesn't have that problem. But it's all a moot point here since all digital plays from a server through a streamer.
Surround pretty much died commercially also. There are a few "fan" releases for some of the really popular albums (Pink Floyd, Rush, etc.) but for the most part, just about all of the music-buying public doesn't care, or even has equipment to play it back. New surround mixes are expensive to create, for something that will never pay for itself. I like the few I have but to be honest, adding two or three more channels of tube amplification for something as trite as surround sound is stupid when I'd use it maybe a couple of days a year (as I don't do home theater, and don't have a separate system set up that can do surround).
I've had Barry Maniloiw's 50's album for the past decade and it's played fine on any CD or DVD player I've put it in.
Without seeing the tape legend itself, we really don't know what they assigned where, what was recorded to 2 tracks stereo on the instrumentation vs. mono on the master etc., so it's really a guess as to truly how many tracks were used for what. I know that by '74, a typical master tracking assignment for a Carpenters session would consist of running 2 tracks for acoustic piano, 4 for drums, 1 for bass, 3 for strings (subbed down - violins/violas/celli), 4 for backing vocals, and then a whole lot of track sharing from there forward with regard to guitars, percussion, woodwinds, lead vocal doubling, solos and so on. So you can see how different things can vary from session to session, depending on the arrangement.
As one who was a music director for a mega church for almost 10 years, I get what you're saying about the "live" environment. But even then, most house systems (at least as far as church auditoriums go) are set up mono to begin with. A lot of the larger churches are running stereo mixes now, but even then your stemming is going to look a bit different for that environment than it will in a commercial studio application, never mind 40 years ago, on 2-inch 24-track analog!
Indeed. I was just reading the liner notes for the 1998 YOM CD set, and it mentioned that both Richard and Peter Knight were nominated for a Grammy in 1978 for "Calling Occupants".Despite not being 100% Richard still manages to produce a great album, he didn't need replacing, just needed a well earned rest.
Indeed. I was just reading the liner notes for the 1998 YOM CD set, and it mentioned that both Richard and Peter Knight were nominated for a Grammy in 1978 for "Calling Occupants".
In this case it was the Carpenters who were nominated for " Best Arrangement Accompanying Vocalist(s)".Richard was nominated more times than carpenters. he was also nominated for SING.
I agree! I really like 'Honolulu City Lights'. It's one of my favourites.^^A dissenting vote here, as I really love Honolulu City Lights !
I heard it on the radio in--was it 1987 ?--and, immediately fell in love with Karen's interpretation.
Richard :" While on vacation in Honolulu in 1978...recorded the song and were eventually going to
release it..." (Anthology Liner Notes).
Beautifully produced song, imho !
Indeed. I was just reading the liner notes for the 1998 YOM CD set, and it mentioned that both Richard and Peter Knight were nominated for a Grammy in 1978 for "Calling Occupants".