⭐ Official Review Carpenters Royal Philharmonic Review and Comments Thread

[leadmister]

Got my Target CD today. PMP was fantastic.

Spoiler

Richard's decision to drop the beat in the 2nd verse and put the staccato strings in there was brilliant. Not much different sounding otherwise besides the drums, which were probably beefed up by Gregg Bissonette like with YOM and TTR. I don't think the drum tracks needed to be messed with unless there were issues with the master tracks, but I'm not complaining, just observing.

 

[Mark-T]

Even though it seems odd on the album, I love what he did to Postman! So much fun!

 

[John Eidsvoog]

Several of you have remarked on the piccolo trumpet added to "Goodbye to Love". Is there any chance that this is an homage to the Beatles and their use of it?

When Richard first played that trumpet lick on the piano, I thought it was interesting. I think his idea was to outline the harmonic progression underneath it. Perhaps in his mind he was thinking of Penny Lane and Abbey Road, but he didn't mention it. Also, the original plan was that the trumpet line would come in the 2nd time (only) of the repeated section. I was a bit surprised to hear it come in right away and I think it works better the 2nd time, but I imagine a decision was made to shorten the ending.

 

[jaredjohnfisher]

I've been comparing it to other versions (the second singles album and 40/40). I'm not hearing the distortion on these, just on the RPO album. It's most pronounced when Karen sings "love" (3.11) and "time" (3.18). It's not much of a distortion and I don't notice it without headphones!

Yes, same distortion I mentioned hearing in verses of Superstar. Disappointing.

 

[Mark-T]

When Richard first played that trumpet lick on the piano, I thought it was interesting. I think his idea was to outline the harmonic progression underneath it. Perhaps in his mind he was thinking of Penny Lane and Abbey Road, but he didn't mention it. Also, the original plan was that the trumpet line would come in the 2nd time (only) of the repeated section. I was a bit surprised to hear it come in right away and I think it works better the 2nd time, but I imagine a decision was made to shorten the ending.

I love what he did to it! Thank you, John, for joining in on the conversation.

 

[John Eidsvoog]

I hope @John Eidsvoog can share our joy with Richard.

I will do that, although you should know that I only see him when he calls me for some work. We're only in touch professionally, not socially.

 

[leadmister]

Yeah, my initial reaction was, "Ooh! What's this?" and I immediately thought BEATLES!

 

[Mark-T]

@John Eidsvoog , just curious- any mention of the Feliciano type guitar intro to For All We Know? That song really stands out anew for me.

 

[John Eidsvoog]

@John Eidsvoog , just curious- any mention of the Feliciano type guitar intro to For All We Know? That song really stands out anew for me.

Ha ha...no mention at all. It was a complete surprise to me. There was never any discussion of that intro. The last I was involved with this project was September 24 for a string pickup session at Capitol Records. I haven't seen or talked to Richard since.

There are a few other surprises to me on other songs as well.

 

[Mark-T]

Thank you, John. I know I speak for many when I say, we'd love to hear any and all thoughts you have on the project. As for me, I'd LOVE a special Christmas Portrait edition of K&R with the RPO. A match made in heaven!

 

[Proudofyou]

Well I just can't get enough of that pic trumpet solo. I keep listening to it over and over. in fact, I can't stop playing the entire album.

 

[John Eidsvoog]

Here are some pictures you might enjoy. This one was taken at the end of the last session. Left to right:
John Eidsvoog, orchestrator
Julie Eidsvoog, music copyist
Nick Patrick, producer
Matt D'amico, executive producer from Universal
Richard Carpenter
Richard Sidwell, music librarian

Abbey Road studio 2, the iconic room where The Beatles recorded often. My wife, Julie, is in the foreground. The stairs lead to the control room and provide a lot of exercise going up and down. This session was strings only.

The full Royal Philharmonic Orchestra playing the Overture.

 

[no1kandrfan]

I'm a bit confused about the dialogue regarding different tracks for YOM snd TTR. I downloaded the tracks from iTunes when they were first available, and the piano intro for YOM was there, and the piano for both did not sound re-recorded to me.

I received CD's from Amazon and Japan, and they mirror what I downloaded.

Where exactly can I find YOM without the piano intro, and re-recorded piano tracks for TTR and YOM?

 

[John Eidsvoog]

Thank you, John. I know I speak for many when I say, we'd love to hear any and all thoughts you have on the project. As for me, I'd LOVE a special Christmas Portrait edition of K&R with the RPO. A match made in heaven!

I'm glad that this album is providing so much enjoyment for the fans here. I approach it from a little different perspective. I was very close to this music, first hearing Richard dictate the notes on the piano, then hearing it in my head as I put all the notes in the scores, and then hearing the sound of the orchestra in the studio as it was being recorded. That was my last memory of it as I was not part of the mixing or mastering.

So to me it was a bit of a letdown to hear the orchestra sitting so far back in the mix after hearing the full sound in the studio. But I realize to Richard and the fans, Karen is the number one concern and everything else is secondary.

Overall, I think it's a great album and I'm honored to have been part of it.

 

[Portlander]

The lead in for "Hurting Each Other" is genius and "Baby It's You" never sounded so good and would be a hit if we were back in the 70's. Overall, Richard has created a pop masterpiece in my opinion. He accomplished this with classy intros, a few subtle changes, and some clever surprises while never compromising Karen's timeless vocals. I have not been this proud to be a Carpenter fan since "Touch Me When We're Dancing" put the duo back in the Top 20 in 1981!

 

[Proudofyou]

I'm glad that this album is providing so much enjoyment for the fans here. I approach it from a little different perspective. I was very close to this music, first hearing Richard dictate the notes on the piano, then hearing it in my head as I put all the notes in the scores, and then hearing the sound of the orchestra in the studio as it was being recorded. That was my last memory of it as I was not part of the mixing or mastering.

So to me it was a bit of a letdown to hear the orchestra sitting so far back in the mix after hearing the full sound in the studio. But I realize to Richard and the fans, Karen is the number one concern and everything else is secondary.

Overall, I think it's a great album and I'm honored to have been part of it.

That is very interesting to hear. I find myself wanting more and more of the interludes and transition music. Was there more of that was cut? I think it adds to the story of the album (however one interprets that). It's fantastic stuff.

 

[Vinylalbumcovers]

Considering that the average dynamic range of these tracks is about 8db or so, that is certainly compressed a lot more to what was done in the 1980s. Even the Hi-Res version of the album has the same dynamic range as the regular redbook CD. The overall mastering considering the loudness level is good, but certainly the result is not as dynamic as it would have been if this release has been done before the loudness wars.

I think it sounds great. I really do. It's got a fantastic sheen on it that none of their other output has. I'm just not bothered by it at all in this case. I don't use programs to check for dynamic range and the like; I just use my ears. The album is very pleasing to my ears in a way that none of their other output is. The "Remastered Classics" versions of the albums have compression on them and it's audible. There's "pumping" in "Close to You" that has never been pleasant. I was looking for it here too and can't hear it. That's a vast improvement. The whole thing is a bit brighter but it was needed. At least that's what my ears are telling me.

We also have to remember that there's more going on these tracks than the original versions so more space in the sonic spectrum has been taken up.

Ed

 

[John Eidsvoog]

That is very interesting to hear. I find myself wanting more and more of the interludes and transition music. Was there more of that was cut? I think it adds to the story of the album (however one interprets that). It's fantastic stuff.

There was a baroque style (flute, oboe, bassoon, harp, string quartet) piece Richard wrote, which we called F Minor Intro. It was going to be in front of either Superstar or This Masquerade. It must have been scrapped.

The intro to "I Just Fall In Love Again" was something Richard kept working on but never finished in time. It was supposed to be with full orchestra. I gave Richard a draft copy of the score and he seems to have used it after all with woodwinds and piano. It sounds like a couple of light bass drum hits are in there, too. He may have grabbed them from another track.

 

[Proudofyou]

There was a baroque style (flute, oboe, bassoon, harp, string quartet) piece Richard wrote, which we called F Minor Intro. It was going to be in front of either Superstar or This Masquerade. It must have been scrapped.

The intro to "I Just Fall In Love Again" was something Richard kept working on but never finished in time. It was supposed to be with full orchestra. I gave Richard a draft copy of the score and he seems to have used it after all with woodwinds and piano. It sounds like a couple of light bass drum hits are in there, too. He may have grabbed them from another track.

Thanks so much for sharing. This is making my night. I just love how technology has a way of bringing like minded people together and we can discuss our interests (and jobs) in real time. Best regards and Happy Holidays to you.

 

[Kacfan]

The only thing I had to rewind three times, as I couldn’t believe how out of place it sounded, was the opening drum riff. It sounds like it was done on a child’s drum kit.

I am probably one of the least musical people on this forum so please take my comment with a grain of salt - the drum riff sounds to me like orchestra drums. As in when you hear drums in a symphony or an opera, they have this sound. I got an email finally from CDJapan yesterday saying that my cd has shipped . Imagine my shock (happy shock!) to find it arriving today ! I know Australia is closer to Japan but still that was quick! I love the new postman. I had not really appreciated it before but having karen’s Lead more up front and having that middle section when she is almost singing Acapella with the orchestra behind her really made it enjoyableZ. And the woo’s at 1.04 and 1.50 are a lovely surprise - I eve heard them like that before , and it reminds me of when they do the song live and Karen joins the backing vocals at those points .

On another note, I wish someone in japan could put the new I just fall in love again into a tv series or a movie soundtrack like they did with I need to be in love . It would be perfect . This version is so good and it deserves more publicity !! Although the fact that it has been a major bit associated strongly with another artist probably means it won’t work as well as I need to be in love .

 

[Rick-An Ordinary Fool]

Latest promotional update from Richard in Tokyo, Japan:

Richard Carpenter on Instagram: “Japan has been amazing, I will be on live television later today! Looking forward to sharing all about the new album …”

Wow, I love seeing this.

 

[Rick-An Ordinary Fool]

Yes, same distortion I mentioned hearing in verses of Superstar. Disappointing.

Oh no your kidding?

 

[jaredjohnfisher]

Oh no your kidding?

Already discussed on pages 5 and 6 of this thread.

 

[Rick-An Ordinary Fool]

Already discussed on pages 5 and 6 of this thread.

Sorry I won't tag anymore till I read all the way through.

 

[Vinylalbumcovers]

Sorry I won't tag anymore till I read all the way through.

I hear nothing on that tune that bothers me in the slightest, honestly.

Ed