Discussion in 'A Song For You: The Carpenters Forum' started by Harry, Nov 26, 2018.
I put sad faces but they didn’t show up.
He may not have in the past due to technology limitations, however the RPO album seems to be comparable in production to “Christmas Portrait”, “Christmas Portrait Special Edition” and to a lesser extent, “An Old-Fashioned Christmas”. With CP & CPSE, both albums play like a symphony, where the music flows into each track, rather than an album of just one track after another (AOFC seemed to have short snippets reminiscent of CP, but it was also divided) and a pause between tracks. Same with RPO.
Also, according to the Copyright information, Universal considers the RPO album a Studio album, and not another compilation if remixes.
It clearly isn't a studio album though as these are not 'new' songs (and many of them are little different from their original versions). Strictly speaking, it may not be a straight compliation either, but I'd never classify it as another studio album. That's like saying The Singles 1969-1973 should be considered a studio album because it has a couple of segues, a mini-overture at the start and a couple of re-recordings, and I don't think anyone would claim that that was the case.
I think of it as an augmented Carpenters compilation.
From the point of view of the Royal Philharmonic Orchestra, it's a studio album.
Probably a repeat, but, Richard Carpenter and Associated Press,
in any event, his goals are clearly explicated regards RPO project:
Can I say that I continue to just LOVE this album? All the new embellishments make me listen to it as if I've never heard these songs before. And Karen's voice is SO crisp and clear and intimate. Thank you, Richard, for doing this project!
On second thought, there's truth to this idea.
I was used to Carpenters being a relatively quiet music experience, and prefer analogue to digital in many cases.
It's not that there's anything wrong with production... the mix is something I'll have to get used to.
When the Beatles went digital, music critics found it jarring to hear parts clearer than before.
It's a different experience. I'm the type of music consumer than will sit and listen to the product.
Perhaps forgetting that some people may have these songs on in the background and not be so attentive.
If this album came on at a gathering or played on a car ride I may not be so quick to notice which version it is.
At the end of the day, it's the same songs we all know and love.
I wish I hadn't been so reactive on the topic.
There are some moments and certain songs where this new take on them works quite well.
The decisions made by Richard and Nick Patrick came as a surprise. I really didn't know what to expect.
I love this project! It’s alternative mixes are among the best on most of them. I still like the Top Of The World 1973 mix best, and the one used in Dark Shadows, but for everything else I prefer these mixes. I like the originals too but these showcase many things tweaked, fixed, and new that I find I cannot do without. I still like the SACD best but these follow a close 2nd place! I especially like Rainy Days and Monday’s and Superstar! They come alive for me. And, as I have mentioned before, I Just Fall In Love Again is fresh and refreshing. This Masquerade has a great last minute and the older recordings finally have a fresh appeal, not just a remixed one. Ticket To Tide and Goodbye To Love finally have an appeal to me that I had yet to feel until this release. If it does not appeal to you, rearrange your sound system and you will see what I mean. I tuned mine all over again from EQ to speaker distribution using tools found in the receiver/speakers. I changed wires and HDMI and digital audio cables. I found it was long overdue for I can hear things never before felt or heard. If there is another, I feel Richard will take a wider field of orchestral swell. It’s a perfect match to me!
And, to me, analog has its place but this project shows how digital is king!
I am grateful for the RPO release. Just because there are these new versions of these songs doesn't mean the originals cease to exist!! I don't get all the "it should have been left alone crap" that many people have toward remixes and reworkings of songs. I LOVE that I have several versions of these songs to listen to. It is a wealth of choice over just having one version. Again, if someone doesn't like a remix, they don't have to listen to it.
I am grateful for any release. Needless to say, all opinions on this topic are equally valid.
Some remixes I love (for ex: Please Mr. Postman, bonus on RPO),
others not so much. But, as Richard Carpenter himself says:
we can (and, I do) return to the originals.
Fans have a surfeit of material to choose from,
which explains why Gold cd is on the charts (9 countries today),
whereas the RPO has fallen off the charts (as of today, 9pm).
Forgive me if this had already been discussed...but does anyone else wonder why the choice was made to use the blatantly synthesized string figures in the middle of “Baby It’s You?” Do we know if this was another example of something he decided to add after he had already left the UK and it was too late to have the figures recorded by the orchestra? Don’t get me wrong, I love the musical idea. It’s quite dramatic. I’m just wondering why not use real strings, since he was there with the orchestra anyway.