⭐ Official Review [Album]: "VOICE OF THE HEART" (SP-4954)

HOW WOULD YOU RATE THIS ALBUM?

  • ***** (BEST)

    Votes: 19 17.8%
  • ****

    Votes: 39 36.4%
  • ***

    Votes: 39 36.4%
  • **

    Votes: 7 6.5%
  • *

    Votes: 3 2.8%

  • Total voters
    107
The Billboard Pieces are greatly appreciated!
My question, as usual,
Why has Richard Carpenter changed his perspective,so greatly, on these songs--since 1983 ?
(As detailed on the Carpenter Website in reference to the Album).
Does he feel the same regarding other post- Voice of The Heart -material?
I wonder why Sailing on the Tide was not recorded earlier than 1977 ?
"You're Enough" is quite a great song.
In fact, the Album is quite good, overall.
 
The Billboard Pieces are greatly appreciated!
My question, as usual,
Why has Richard Carpenter changed his perspective,so greatly, on these songs--since 1983 ?
(As detailed on the Carpenter Website in reference to the Album).
Does he feel the same regarding other post- Voice of The Heart -material?
I wonder why Sailing on the Tide was not recorded earlier than 1977 ?
"You're Enough" is quite a great song.
In fact, the Album is quite good, overall.
Off hand I'd say because his grief was new and raw in 1983.
 
Interesting, in the above Billboard Article,
the reasoning for the cancellation of the "20/20" Television interview.
I always thought the Good Morning America interview was quite painful.
Back in 1983, it ran on two separate mornings, as a first and a second part.
I was transfixed to the tube on those mornings, simply to catch those interviews.
Certainly, I was in tears. (Well, I've been reprimanded since then,as Men don't cry....).
Where is the line drawn? How to decide between "GMA" and appearing on "20/20" ?
After all is said and done, I thought watching GMA was too painful.
Then, as Now.
 
True, but 20/20 was ostensibly more of a journalism-driven program. I know that's highly debatable, but at least that was my feeling in comparison to Good Morning America, which was more of a morning "chat" program and generally took a more positive approach. GMA was sympathetic, I thought, to the family's plight, which is part of why it's so painful to watch. Reading between the lines of what Richard said, I got the impression that 20/20 was trying to dig up dirt in the early research interviews. Perhaps that's where Agnes's opening line, quoted in Randy's book, came from. Certainly 20/20 was among the first TV "news" shows (and hardly the last) that specialized in "gotcha" tabloid-style journalism (as compared with 60 Minutes, which, at least back then took its journalistic responsibilities as seriously as its ratings). It could be that the family felt that's where such interviews were headed. If that was the case (and this is pure conjecture on my part), then naturally the family would want nothing to do with it.
 
I had forgotten these details regarding
Ordinary Fool
:
Richard Carpenter...
" Karen and I recorded it in 1976 while working on our "A Kind Of Hush" album. "
Originally it was recorded the way we did virtually all our recordings, bass, piano, drums and a "work lead" so, as you know,
the drummer and bassist could hear the melody while reading their charts. Karen was not that taken with the song and it did not make the album.
Then, in 1983, I put together an album of outtakes from various years that I felt were pretty decent songs, if not hits, and
"Ordinary Fool", obviously, was one of them. I always felt the song perfect for Karen's voice and even though it is a work lead, it's flawless,
so I completed the chart, adding strings, winds, brass and a tenor sax solo by John Phillips.
The result remains one of my favorite Carpenters recordings and I feel if Karen could hear it a few times now, her opinion of it just might change."

My only observation regarding this fantastic Carpenters' masterpiece:
I wonder what the original work lead would sound like without the later additions.
 
Coleman, page 231--in a footnote state s:
"Peter Knight first worked with Richard Carpenter on an Overture for the Boston Pops project in 1974."

"Look To Your Dreams" was composed in 1974, and at Karen's request recorded in 1978.
I wonder if it had been Richard's intent-- all along-- to have Peter Knight arrange this song?
Or, had it been recorded fresh in 1974, would Richard Carpenter have given his arrangement ?
Did he (Richard) even have the song 'in mind' before Karen insisted ("urge") it be recorded in 1978 ?
Then, in 1978, was it simply second- nature for him to hand over arranging duties to Peter Knight?
 
Addenda to previous query:
Does the sentiment expressed (below) by Richard Carpenter extend to the song
Look To Your Dreams ?

Richard Carpenter:
"All these years later, I feel differently; the songs are outtakes, and though I still feel that Ordinary Fool is a good vehicle for Karen
and a good piece of arranging and production on my part, ...
we would have turned our attention to the new songs (along with some standards, no doubt) and not thought of these tracks again.
Out of the two recorded in 1982, only Now would have made any bona fide follow-up to "Made In America"."
 
Listening to this album, Voice of the Heart,
I must say the Carpenter/Bettis compositions are
some of my all-time favorites--
At The End of A Song ("...recorded during Made In America sessions." Newsletters)
Look To Your Dreams ( "..tracked during 1978 Portrait sessions, recorded shortly after." Treasures CD)
You're Enough ( "....recorded April 1982" Richard Carpenter Website).

Sailing On the Tide....great Tony Peluso tune.
Ordinary Fool....outstanding Paul Williams tune.

Karen's vocals on You're Enough sound much better (stronger,deeper) than the
weaker vocals (and anemic arrangement) on 'Now'---both from April 1982.
(The rubbing guitar string in 'Now' really 'rubs' me the wrong way.)

I enjoy Two Lives ("work lead" Anthology) and Prime Time Love.
I'm not sold on Your Baby Doesn't Love You Anymore--although, it has it's moments.

On the whole, I like this album.
 
Coleman, page 231--in a footnote state s:
"Peter Knight first worked with Richard Carpenter on an Overture for the Boston Pops project in 1974."

"Look To Your Dreams" was composed in 1974, and at Karen's request recorded in 1978.
I wonder if it had been Richard's intent-- all along-- to have Peter Knight arrange this song?
Or, had it been recorded fresh in 1974, would Richard Carpenter have given his arrangement ?
Did he (Richard) even have the song 'in mind' before Karen insisted ("urge") it be recorded in 1978 ?
Then, in 1978, was it simply second- nature for him to hand over arranging duties to Peter Knight?
Peter didn't start recording with K&R until 1977-I don't think Richard intended to have him do that arrangement until 1978.

K&R already had Peter,and a full orchestra,in the studio working on Christmas Portrait-it was then that they decided to get several other orchestral tracks done at the same time.A&M had to fly Peter over to LA(from London) for these sessions-K&R wanted to get as much recording done while they had him on hand.
 
Last edited:
And, of course, my question is:
Since this is Richard Carpenter's composition from 1974,
Why did Richard Carpenter not do the arrangement on his own song?
(Whether it be in 1974 or 1978).
Given his personal problems in 1978, I understand (for 1978) Peter Knight's involvement.
But, that same answer does not hold true for 1974....when the song was written.
When Look To Your Dreams was written in 1974,
How is it that there was no arrangement for the tune
somewhere in the creative juices, in his mind, at that time ?
 
And, of course, my question is:
Since this is Richard Carpenter's composition from 1974,
Why did Richard Carpenter not do the arrangement on his own song?
(Whether it be in 1974 or 1978).
Given his personal problems in 1978, I understand (for 1978) Peter Knight's involvement.
But, that same answer does not hold true for 1974....when the song was written.
When Look To Your Dreams was written in 1974,
How is it that there was no arrangement for the tune
somewhere in the creative juices, in his mind, at that time ?

It's not uncommon for songwriters to jot down either a skeleton of an idea, whether it be music or lyrics - or both, then stick it away. He may have been inspired to write it, however not felt it fit some of the other material choice for that particular time period. I think the fact that they were recording Portrait and Peter was right there, that they may have been going thru other material for potential upcoming releases and decided to record it. Not uncommon. :)
 
That makes sense Chris, and your thoughtful reply is appreciated,
Be that as it may, seems as if Richard and John did more than a skeleton--in 1974--
the song was written at Karen's behest, specifically for a " cross between a standard and a show tune." (Coleman page 327)
"Evidence of Karen's keen ear for a memorable song, dates back to 1974 when Karen asked Richard and John to write..." (ibid.)
and,
Treasures: Richard Carpenter..."I realized Karen was right.".

Thus, my initial question remains a mystery:
We know Why Richard did not record the song until 1978 (Karen reminded him of the song, and "urged of its recording in 1978").
We know Why he kept it off of an Album during Karen's lifetime. ("..Richard felt it was not contemporary enough...").
We still do not know Why Richard did not arrange his own completely written song in 1974,only to hand over the arrangement
duties to Peter Knight in 1978.
 
We still do not know Why Richard did not arrange his own completely written song in 1974,only to hand over the arrangement
duties to Peter Knight in 1978.

I know this doesn't definitively answer your question, but I wouldn't read into it. This is completely common in the business, and especially with the way Richard operated. It literally could have come down to "Hey, we have the orchestra, the right arranger for a show-tune/standard crossover - no idea where it will see the light of day, but let's finish it" kind of thing. Knowing Richard to the extent that I do, I wouldn't be a bit surprised if this was a last minute decision since all the ducks were in a row, to simply record it and get it out of the way. Again, I realize this doesn't answer your question and I can certainly ask Richard the next time I speak with him, but doubtful there was any profound meaning or reason behind it.
 
Parenthetically,
I only dwell on the question because I really believe it is an
Outstanding Composition by Richard Carpenter !
And, to have it 'sit' in obscurity from 1974, well, that does puzzle me.
Thanks, again, Chris !
 
Parenthetically,
I only dwell on the question because I really believe it is an
Outstanding Composition by Richard Carpenter !
And, to have it 'sit' in obscurity from 1974, well, that does puzzle me.
Thanks, again, Chris !

Totally agree! And who knows, there could have been any number of undisclosed reasons, so your inquiry is certainly a valid one. It's interesting that it ended up on VOTH as the closing track. Kind of autobiographical for Karen with regard to her musical endeavors.
 
And, leading to my commentary:
Richard Carpenter:
" All these years later, I feel differently; the songs are outtakes, and though I still feel that Ordinary Fool is a good vehicle for Karen and a good piece of arranging and production on my part, had Karen lived, we would have turned our attention to the new songs (along with some standards, no doubt) and not thought of these tracks again. Out of the two recorded in 1982, only Now would have made any bona fide follow-up to "Made In America"."


Thus, I wonder if Look To Your Dreams would ever have appeared on an album (had their career resumed recording new albums).
 
Noticing the Notes for Make Believe It's Your First Time, regards to the Voice of The Heart album,
as taken from the Essential Collection:
"...I set out to arrange the song for the album on which we were starting production (Made In America)
...track recorded with Karen's Work Lead...
this was (Voice of The Heart), with the exception of 'Now', a collection of outtakes from various years..."

My question:
Was not the song Your'e Enough recorded in April of 1982, along with Now ?
Isn't Now a work lead?
How does one distinguish between "an outtake" and " a work lead" ?
My two cents....You're Enough is not an outtake....it is a superb song.
My two cents....Now may be a work lead, sung flawlessly, but it is an outtake.
 
Addenda to previous query:
Does the sentiment expressed (below) by Richard Carpenter extend to the song
Look To Your Dreams ?

Richard Carpenter:
"All these years later, I feel differently; the songs are outtakes, and though I still feel that Ordinary Fool is a good vehicle for Karen
and a good piece of arranging and production on my part, ...
we would have turned our attention to the new songs (along with some standards, no doubt) and not thought of these tracks again.
Out of the two recorded in 1982, only Now would have made any bona fide follow-up to "Made In America"."
That makes sense Chris, and your thoughtful reply is appreciated,
Be that as it may, seems as if Richard and John did more than a skeleton--in 1974--
the song was written at Karen's behest, specifically for a " cross between a standard and a show tune." (Coleman page 327)
"Evidence of Karen's keen ear for a memorable song, dates back to 1974 when Karen asked Richard and John to write..." (ibid.)
and,
Treasures: Richard Carpenter..."I realized Karen was right.".

Thus, my initial question remains a mystery:
We know Why Richard did not record the song until 1978 (Karen reminded him of the song, and "urged of its recording in 1978").
We know Why he kept it off of an Album during Karen's lifetime. ("..Richard felt it was not contemporary enough...").
We still do not know Why Richard did not arrange his own completely written song in 1974,only to hand over the arrangement
duties to Peter Knight in 1978.

Richard wanted a string arrangement and orchestra on "Look To Your Dreams"-and he chose a veteran orchestrator to do the job.
 
Thanks, Mr. J.,
I must add, though, I am unable to fathom the reasoning for the lapse in time (1974-1978):
both for the arrangement and the recording---both being accomplished in 1978,
but (apparently) only done because of the urging of Karen Carpenter at that time.
In other words, had Peter Knight not been working with Karen on Christmas Portrait in 1978,
would this Richard Carpenter composition ever have been arranged and recorded ?
Indeed, Treasures CD states "...after putting the finishing touches on the song for inclusion in Voice of The Heart...."
Richard Carpenter also says that the "other songs--excepting Now--- would not have been thought of again"
Thus, it still seems to me the song would not have seen the light of day had their career continued forward.
As I say, a great song, and therefore my puzzlement.
 
December 18,1983, Hollywood The Evening News,Robin Welles:
"The album is a mix of the new and the old. And, it is one of the best
the Carpenters have ever put out. Ranging from Karen singing a very
bluesy Ordinary Fool to the pop/jazz/rock Prime Time Love, which is enhanced
by the solos of Tom Scott and John Phillips.
Karen couldn't have wished for any better monument."

Source:
https://news.google.com/newspapers?...AIBAJ&sjid=9zANAAAAIBAJ&pg=1446,1874525&hl=en
 
Another question for those with technical knowledge of the issue :
On my
Voice of the Heart CD,
along with many other early cd pressings,
there is the Logo/subtitled
"Audio Master Plus Series".

Thus, I wonder as to what exactly this term implies ?
 
The A&M AUDIO MASTER PLUS SERIES began life as a series of audiophile LP pressings on premium vinyl. In the late '70s, normal vinyl material had suffered from oil shortages and the use of recycled material. Very often you'd find flecks of paper from old record labels contaminating the surface of a brand new vinyl record.

A&M began making their series of audiophile pressings to:
(a) distinguish these premium records from general ones
(b) to charge a few dollars more for each one to make up the cost of the premium vinyl

In the early '80s, of course, CDs began to be manufactured, and as CDs were thought to be "perfect sound forever", A&M lumped just about every CD pressing into its AM+ (Audio Master Plus) series. So on most '80s A&M CDs, you'll see the logo.

AM+.jpg

Harry
 
Last edited by a moderator:
"Ordinary Fool" is such a great song, and a highlight of this Album.
Also, Paul Williams and Ella Fitzgerald give wonderful renditions;
I simply can't forget the words from Richard Carpenter, regarding Voice of The Heart,
that none of the songs--save 'Now'--would have been "...thought of again."
(Notwithstanding the song was "...misplaced in A&M's Tape Library..delighted we found it. " (ref:1983 Interview.)
 
Back
Top Bottom