tomswift2002
Well-Known Member
I think Barry Manilow’s reworked words are very clunky and even more clumsy.Honestly, I just think the lyrics are clumsy and probably not as pleasing to heard sung.
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I think Barry Manilow’s reworked words are very clunky and even more clumsy.Honestly, I just think the lyrics are clumsy and probably not as pleasing to heard sung.
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.
Does anyone on the forum have a high resolution scan of this single cover, I’m looking specifically for a copy of the black circular image containing the drawing of Richard and Karen. It’s for a project which requires this image to be laser-etched onto glass, hence the need for a high res version.
Any help at all would be appreciated!
See if this will do. If you need a larger size, let me know.
BEAUTIFUL!I remembered today that I never actually got back to this post and explained why I wanted the above image. In the end, I was advised by the manufacturer not to use it as the place I’d intended for it would have obscured the unit mechanism behind the glass, but I thought I’d share a couple of images of the end result anyway.
These are custom built, and based on the original Wurlitzer bubbler “dome top” design. (In 1973, Wurlitzer sold its jukebox brand to a German company and closed the North Tonawanda factory. The former Wurlitzer complex today hosts a business park, contractors' supply store, storage, offices, restaurants and a Platter's Chocolate factory). I believe there are only two companies left in the world who manufacture these from new, one is in Leeds, England (who built mine) and the other is in Los Angeles, CA.
Mine is filled with 70 original vinyl 45 singles that I spent months tracking down in various second hand record stores, mostly late 50s and early 60s Doo Wop and Pop hits. But there are two notable exceptions that I had to have, and which are in keeping with the era and jukebox sound:
How High The Moon/The World Is Waiting For The Sunrise - Les Paul and Mary Ford (1951)
Beechwood 4-5789 - Carpenters (1982)
Looks amazing, Newvillefan. That image of Karen and Richard would have looked incredible on the unit. I must admit, the workings look spectacular, though, so I can understand why you didn’t put it on. Choosing the singles to include must have been fun, but challenging. Great project! Happy listening!I remembered today that I never actually got back to this post and explained why I wanted the above image. In the end, I was advised by the manufacturer not to use it as the place I’d intended for it would have obscured the unit mechanism behind the glass, but I thought I’d share a couple of images of the end result anyway.
These are custom built, and based on the original Wurlitzer bubbler “dome top” design. (In 1973, Wurlitzer sold its jukebox brand to a German company and closed the North Tonawanda factory. The former Wurlitzer complex today hosts a business park, contractors' supply store, storage, offices, restaurants and a Platter's Chocolate factory). I believe there are only two companies left in the world who manufacture these from new, one is in Leeds, England (who built mine) and the other is in Los Angeles, CA.
Mine is filled with 70 original vinyl 45 singles that I spent months tracking down in various second hand record stores, mostly late 50s and early 60s Doo Wop and Pop hits. But there are two notable exceptions that I had to have, and which are in keeping with the era and jukebox sound:
How High The Moon/The World Is Waiting For The Sunrise - Les Paul and Mary Ford (1951)
Beechwood 4-5789 - Carpenters (1982)
Yep....Happy should have been released instead of Solitaire, I reckon it would've cracked the top ten.48 years ago today, Horizon was released. This album contains one of the most, IMO, underrated songs they released, Happy. I find myself listening to this album more during the summer months for whatever reason and it’s really the Carpenters at their best. Happy 48 years to Horizon.
Yep....Happy should have been released instead of Solitaire, I reckon it would've cracked the top ten.
Yep....Happy should have been released instead of Solitaire, I reckon it would've cracked the top ten.
I think Happy would have done much better on the charts. It's a favorite of so many, including me, and everyone I've introduced it to loves it.
I would say the contrary on my part. I like that part of the song because i really like drums and percussion in general. Also i really do like the song too.repetitive “falling in love/falling in love with you/falling in love/falling in love with you”, punctuated by the over-enthusiastic tom-tom drumming of Jim Gordon really starts to grate after a while.
True, Stephen...and you know I adore AYGFLIALS...but the fall in their popularity in the 18 months between summer '75 and spring '77 was astounding.I think we all know that releasing ‘Solitaire’ as a single was a big mistake but I’ve never understood the appeal of ‘Happy’ as a potential single. Yes it’s a more uptempo song, but not by much. And that repetitive “falling in love/falling in love with you/falling in love/falling in love with you”, punctuated by the over-enthusiastic tom-tom drumming of Jim Gordon really starts to grate after a while.
It might have scraped top 30 back in 1975 but I very much doubt top 10. Look at the perfect pop appeal of ‘All You Get From Love Is A Love Song’, yet it only reached #35 in the US.
I'm with you on Happy. I enjoy the trippy instrumentation, synthesizer etc. It represents another development in their music which might have been developed further in other songs while retaining the core harmonic vocal sound. It is more interesting to me than Solitaire although I really appreciate the later.I would say the contrary on my part. I like that part of the song because i really like drums and percussion in general. Also i really do like the song too.
I remembered today that I never actually got back to this post and explained why I wanted the above image. In the end, I was advised by the manufacturer not to use it as the place I’d intended for it would have obscured the unit mechanism behind the glass, but I thought I’d share a couple of images of the end result anyway.
These are custom built, and based on the original Wurlitzer bubbler “dome top” design. (In 1973, Wurlitzer sold its jukebox brand to a German company and closed the North Tonawanda factory. The former Wurlitzer complex today hosts a business park, contractors' supply store, storage, offices, restaurants and a Platter's Chocolate factory). I believe there are only two companies left in the world who manufacture these from new, one is in Leeds, England (who built mine) and the other is in Los Angeles, CA.
Mine is filled with 70 original vinyl 45 singles that I spent months tracking down in various second hand record stores, mostly late 50s and early 60s Doo Wop and Pop hits. But there are two notable exceptions that I had to have, and which are in keeping with the era and jukebox sound:
How High The Moon/The World Is Waiting For The Sunrise - Les Paul and Mary Ford (1951)
Beechwood 4-5789 - Carpenters (1982)