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It started the year before with Passage. The logo on the bottom of the back cover instead.
Been meaning to respond to your replies to my question why the original logo wasnāt used on the album. What I meant to ask was why didnāt they use the original logo on the front cover, across the top? Where did this ānewā, alternate logo come from and why was it used? Maybe they didnāt think the sharp official logo went with the drawing on the cover. It would be fun to see what it would have looked like with the official logo.
The Christmas Portrait cover was designed to look like the cover of a vintage "The Saturday Evening Post" magazine, complete with a Norman Rockwell style illustration. The font used for the word "Carpenters" is very similar to the font that the Post used for its masthead.For CP I think it was more artistic choice and what would be eye catching.
The Christmas Portrait cover was designed to look like the cover of a vintage "The Saturday Evening Post" magazine, complete with a Norman Rockwell style illustration. The font used for the word "Carpenters" is very similar to the font that the Post used for its masthead.
There was probably a mock-up done with a large logo, and Iām trying to picture it, and I think it wouldāve made the cover too busy looking, or with Santaās cap and the top of the easel, too much of the logo wouldāve been hidden. As it is, part of the āTā is hidden by the easel. Also with how they have āChristmas Portraitā and āA&Mā in between those two bars reminds me of old newspaper front pages from the 1800ās and early 1900ās.
Whereas you look at āAn Old-Fashioned Christmasā and there is plenty of space above the picture. Again, the logo only intrudes on the picture frame a little bit.
Did you really mention Crystal Gayle? Thank You! I thought maybe it was just me. I love Anne Murray of course, but there's something special in Crystal's voice that makes it so very listenable - it doesn't mesmerize like Karen's but it grabs your attention and holds it - it's what? So, light and sweet and, yes, pretty..when the song is good she's very right to hear...Hell, I'll even admit to liking Doris Day's voice on some Standards.I don't celebrate christmas, infact it drives me nuts. Thank god I live alone so I don't have to pretend. But I do put on Anne murray, Crystal Gayle and of course the Carpenters xmas albums. It's the only time you can really play them without your neighbours thinking you've gone mad playing them in June!
Here is a video creation by artist Chris Tassin that is SO worth repeating this season, he did such an excellent job at visuals for this holiday classic song. I love this, thanks Chris if your out there!!!!
Watch it in 1080p resolution, it's breathtaking!!
during this time, there was a successful design company called GRIBBET that used this design theme on album covers. there were many, but i clearly remember a dolly parton cover.
"Breathtaking" and "utterly beautiful" indeed! Among many other examples, her lower register reading on this 2nd verse from "Where Do I Go..." is amazingly gorgeous (especially the 2nd half with the words "bright" and "go") and always comes to my mind when talking about this aspect of her "basement-level" vocalizations:Funny how you find little nuances in songs you have heard countless times. Just the sheer breathtaking quality of Karen's vocals on I'll Be Home For Christmas. I was listening to it today. That first "you can count on me"". It's the "me" in that lower register. I never appreciated how utterly beautiful that sound is.
Lover's plans
Like fallin' leaves on windy days
Flutter past and they fly away
I thought I knew you oh so well
And I need you now
I need to feel you in the night
I need your smile so warm and bright
I wish my mind could let you go
John
"Breathtaking" and "utterly beautiful" indeed! Among many other examples, her lower register reading on this 2nd verse from "Where Do I Go..." is amazingly gorgeous (especially the 2nd half with the words "bright" and "go") and always comes to my mind when talking about this aspect of her "basement-level" vocalizations:Funny how you find little nuances in songs you have heard countless times. Just the sheer breathtaking quality of Karen's vocals on I'll Be Home For Christmas. I was listening to it today. That first "you can count on me"". It's the "me" in that lower register. I never appreciated how utterly beautiful that sound is.
The thing is, nowadays, many more people subscribe to streaming services, than buy digital downloads from places like iTunes. That is, if they even feel the need to pay for music at all. UMe has pretty much all the Carpenters albums that are in print, including "Christmas Collection" and "Christmas Portrait: Special Edition", up on YouTube, where anyone can listen to them for free. They have to sell downloads for lower prices than they used to be able to get, if they hope to entice at least a few sales.At 176 on iTunes, only $6.99. I think UMe is selling catalog albums at discounted prices so they have to pay less royalties after they were sued. Great for the consumer, not so for the artists.
Funny how you find little nuances in songs you have heard countless times. Just the sheer breathtaking quality of Karen's vocals on I'll Be Home For Christmas. I was listening to it today. That first "you can count on me"". It's the "me" in that lower register. I never appreciated how utterly beautiful that sound is.
Oh man, Iāve always noticed that āmeā - she drops that word into a bottomless pit of despair. A perfect example of an artist truly bringing her own interpretation and storytelling gifts to a set of a very old standard lyrics. The whole performance is filled with such yearning and at times it sounds like sheās on the verge of tears.
^^Some years, the song makes me well up a little.
Yes you nailed it Jarred. Ave Maria is quite moving and that bell intro is brilliant. I've instructed my spouse if there is to be any kind of "service" for my demise, Ave Maria as sung by my favorite vocalist of all time is to be done over whatever sound system is available. And the B-side will be Crescent Noon.Each year I find myself particularly emotional during the transition from White Christmas to Ave Maria. I donāt know if I could yet explain it fully, but something in that music has me feeling Karenās loss and sheās not even singing. Maybe itās the resonance of Karenās performance of WC where sheās longing for a time that she once knew (the past is more comfortable than the future which she conveys will only be darker), or a connectivity of the tones/meanings between the two songs. Itās so strange. The whole album is an emotionally varied experience with possibly different feelings on different listens (as the best artists are capable of), and that small, quiet passage does the same. Anyone else have that reaction?