Discussion in 'A Song For You: The Carpenters Forum' started by Chris May, Jun 1, 2013.
I find it strange that the review lists Eventide as a top cut, when it's identical to Aurora
Technically it's not identical. Lol
I always thought the title of this Carpenters album might have been inspired by the jazz album series A&M introduced in early 1975:
"From 1974–1978 the (Horizon Records) label became a subsidiary imprint of A&M Records for issuing jazz." - Wikipedia
Or it was inspired from "I Can Dream, Can't I?".
Hi Chris May, with Karen Carpenter credited as Associate Producer of HORIZON what area of focus would she be involved in ....perhaps?
One search online brought up this description of record producer:
"A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process".
There's no evidence that Karen ever did any of that, aside from maybe voicing her opinions on songs or arrangements. I always thought the credit was a token gesture to her from her brother and/or the label.
Yeah Stephen, I too saw it as a token gesture. Yet she received that token on several albums. I've gleaned over millenia that RICHARD had his fingers in everything. Right down to Karens phrasing. Just would like to think Karen Carpenter had a say in the mix at some point. No wonder she enjoyed her solo sessions.
I've seen references to Karen being the one who contacted some of the musicians invited to play on their albums (such as calling Tony Peluso, before he joined the touring band, to contribute to "Goodbye to Love"). I assumed that was her main contribution, although it could also refer to her serving as another set of ears after Richard had guided the principle tracking. I doubt it was entirely token.
Good answer. I wonder what specifics in a studio setting that Karen had her hands associated with.
Wow. I've never once thought of Karen's Associate Producer role as token. Although Richard called the shots, Karen was completely involved with the creative process. As the years went by, I think her role increased due to Richard's illness, plus the fact that she knew so much more about the ways of the studio by that point. An example of this would be her solo album, in which she definitely played a big part in song selection, etc.
No doubt Karen also had quite a lot of input with the vocal stacking/harmonies (she had a say on Hurting Each Other, for example). Also, being a drummer, she must have had input on the "sound" of the rhythm section and how the drums were mixed perhaps.
After watching Ron McMaster speak about mastering (his last name says it all!), I had a thought about Horizon. I wondered if its total (short) length had anything to do with Richard; purposely limiting its length so that it could be mastered with the very best sound.
Doing some desktop publishing today for a job due in two weeks. Tune on i-tunes, and Horizon comes up. What beautiful sounding collection. Karen sounds amazing! With Richard's powerful arrangements, they created a modern masterpiece.
I think that HORIZON was the best album they created during Karen’s lifetime. The next best was CHRISTMAS PORTRAIT.