And, here it is straight from Rolling Stone--as if this review even deserves to be read, but, here it is anyway : A Song For You Carpenters A&M 3511 Released: June 1972 Chart Peak: #4 Weeks Charted: 41 Certified Gold: 7/10/72 While the Carpenters' music is not particularly compelling, its lack of pretension lends it a bland integrity that is uncommon for middle-of-the-road pop music. The basis of this integrity is Karen's singing, which grows more assured with each album. She is especially strong in her lower register, and she shows the potential of developing into an interesting stylist. The musical value of Richard's contribution to the Carpenters phenomenon, however, is another matter. The best that can be said for most of his arrangements is that they provide adequate support for Karen's voice and have a recognizable stamp. What they lack is a sense of dramatic structure or interpretive style. The formula that Richard applies to his own songs, he applies to everyone else's as well. This is a shame, since many of the Carpenters' records begin strikingly but then fail to gather momentum. The most obvious way in which this happens is that, time and again, the clarity of Karen's vocal line is interrupted or joined by multi-tracked "choral filler," which tends to drain a song of its personality. It is the same fault that weakened countless pop records in the Forties and Fifties. Five songs are authored or co-authored by Richard. They vary in emotional range from cotton candy to ice milk, the best of them being the current single, "Goodbye To Love." Richard sings solo on two cuts -- "Piano Picker" and "Crystal Lullaby." His voice is pleasant enough, but he seems to be afflicted with a very noticeable lisp. One cut, "Flat Baroque," features Richard on the piano playing in a style that can only be described as Peter Neromanque. The title cut, Leon Russell's "A Song For You" is far and away the album's finest moment. It is a great song that is rapidly achieving the classic status it deserves, and Karen communicates its poignancy with effortless serenity. The Carpenters have done well by Leon in the past, their version of "Superstar" standing as perhaps their finest record to date. Unfortunately, the album doesn't contain any other very strong material. "Hurting Each Other," which preceded "Goodbye to Love" as a hit single, does not approach the level of the Carpenters' first hits. Karen's interpretation of Carole King and Toni Stern's "It's Going To Take Some Time" shows only that the song requires Carole's personal touch in order to work. "Bless the Beasts and Children," title song of the movie, has lavish production values going for it, and nothing else. Mention should be made of Bob Messenger's pleasant flute and tenor sax breaks on "Road Ode" and "A Song For You," respectively. If the Carpenters are to grow with their audience, they will need more of this sort of instrumentation. But above all, they will need to be more discriminating in their selection of material. Karen is capable of giving us considerably more than tiny sugar valentines. - Stephen Holden, Rolling Stone, 10/12/72.