I think he thought more of them at the time, but I got the impression that he was so worn out after finishing it that he was already thinking he wasn’t doing his best because of the strain. The lethargy and depression from both at the time really comes through here. I think Jerry felt it was safe to compliment this album because it does feel like a matured sound, something not made by the corny-imaged people he was otherwise embarrassed of. Now & Then, for example, was very juvenile in many ways and he probably shuddered at the thought of saying good things about an album like that openly.Re-reading the Musical Legacy book: there is a comment by Richard "it's all so slow."
He certainly seems displeased with this album, seemingly at variance with the letter from Jerry Moss extolling the virtues of the Horizon album.
I will today re-visit the A& M Compendium interview from late March 1975, but, if my memory serves correctly,
at that time, it seems to me, Richard was content with the song choices.
I think Barry Manilow’s reworked words are very clunky and even more clumsy.
It’s a line for me that, with another recording and singer, I would say is rather awkwardly strung together. Re-be isn’t a real “proper” phrase but there’s a simmering urgency to the arrangement and vocal that makes it feel real and lived-in. Karen as the protagonist is desperate and there’s a rush of feelings and “re-be” is something that an everyday person could say even as they know it’s not a real phrase, just like slang. Karen’s colorful, emotionally varied performance really puts it over because she sounds so invested in the narrative (why are some of her best post-1974 performances work leads, some far greater vocals than songs on the albums?). Different phrasing and tempo could make these words feel stiff, but for me sound organic in the hands of Karen’s mastery.Could you help me rediscover / the way to re-be his lover?" Not an award-winning line, IMHO.