⭐ Official Review Carpenters Royal Philharmonic Review and Comments Thread

How would you rate Carpenters with the Royal Philharmonic Orchestra?

  • ⁕⁕⁕⁕⁕ (Best)

    Votes: 38 36.5%
  • ⁕⁕⁕⁕

    Votes: 47 45.2%
  • ⁕⁕⁕ (Average)

    Votes: 16 15.4%
  • ⁕⁕

    Votes: 1 1.0%
  • ⁕ (Worst)

    Votes: 1 1.0%
  • Did not listen to this album yet

    Votes: 1 1.0%

  • Total voters
    104
Man...I’m just getting started. More later but I have to say I never really liked “Baby, its you” but now I am totally in love with it. The new mix and recording brings it to life for me. All in all Karen’s voice is really right out there on every track of this album. You really can hear the emotion.

I always liked "Baby It's You", but the version on this album has blown me away. I have teared up every time I've listened to it so far.
 
I have purchased three CD's of this work along with the version on iTunes (which is the only version I have listened to so far, but burned a CD so I could listen in my car). The CD from Amazon has arrived however the CD's from UMe have not arrived as of yet. I will keep one CD for me, but I'm giving one to my son (27 yrs old) who grew up listening to me listen to the Carpenters, and my best friend who lives in California whom I will be paying a surprise visit to next month in the OC. Can't wait to get his take on this because he's one who God has given the ability to play anything by ear on the piano. I have many fond memories of sitting in a music classroom with him at Vanguard University in Costa Mesa many late nights (after we would sneak) in playing around on the piano for hours.

On a side note I mentioned in another thread on this website that I will not be able to attend the 50th Anniversary event in SoCal in April due to an event I'm committed to here in Nebraska that same week. After hearing this new piece of work and reading all of the positive reviews here I really feel bad that I will not be able to attend and get the opportunity to meet as many of you who will be able to attend.
 
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After ten or so listens in the past 24 hours (I didn't get much work done yesterday!), I can now say this is my favorite Carpenters album of all. At the risk of sliding into hyperbole, I wouldn't be surprised if it comes to represent the pinnacle of Richard's career.
I agree with you. Richard is a musical genius. What s living tribute to Karen and their career.
 
I think that line is doubled in the original recording and here it is not doubled. Maybe its the same lead just not doubled?[/QUOTE
Reading through the Carpenters Complete Resource I wonder if this is the SCAD surround sound vocal. I Believe You also has a different vocal starting around the 46 second mark that I've not heard before which again, reading the wonderful CCR, sounds like it may also be the SCAD surround sound version.

Finally listened to the album in it's entirety. Wonderful stuff. I have a few reservations about the choir but the new instrumental intros and links are the highlight for me (as well as Karen's clearer sounding vocals). Richard's arrangements in these parts are really moving (particulary the I Need To Be In Love guitar one that begins For All We Know - that one really got to me). I love the trumpet in Goodbye To Love! It's fantastically uplifting. I wasn't sure This Masquerade could be improved upon but somehow Richard has managed it. I like the remixing of some of the backing vocals in some of the songs too (with the possible exception of the chorus backing vocals in Touch Me When We're Dancing where they seem a bit sparser and it don't quite gell so well to my ears). Can we give Richard an honorary knighthood? Now if he could just use the RPO on Love Me For What I Am, adding some dramatic strings to accompany Karen's "You've got to....", that would be fantastic.
 
...particulary the I Need To Be In Love guitar one that begins For All We Know - that one really got to me
I didn't catch the "I Need to be in Love" guitar phrase until you pointed it out! To my ears it sounds like it then goes into a short phrase from "Now" before "Hurting..." starts. From a narrative perspective that makes sense: The longing to be in love, finally finding someone, and then the hope for a lifetime of love. I really enjoy all these musical references that Richard has sprinkled throughout.
 
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Yet another strong review:

SPILL ALBUM REVIEW: CARPENTERS – CARPENTERS WITH THE ROYAL PHILHARMONIC ORCHESTRA



Carpenters
Carpenters With The Royal Philharmonic Orchestra
Universal Music
RATING_4_of_5.jpg

In recent years, there has been a spate of music reissues by acts from the classic rock and pop era of the late 20th Century. Box sets, outtakes, bootlegs, extended jams – just when you think you’ve heard it all, here comes a new(ish) release from the Carpenters: Carpenters with The Royal Philharmonic Orchestra.

Why the Carpenters, and why now? The pristine writing, arranging and producing by Richard Carpenter, and flawless lead vocals and solid backbeat from sister Karen Carpenter were mandatory listening for anyone who tuned in to pop radio in the 1970s. Their place as MOR giants in pop music history seemed clear and well-defined.

Flash-forward over four decades. The Carpenters’ music begins to garner new popularity. Chart success in the U.K. for the 2016 compilation album The Nation’s Favourite Carpenters Songs, and the best-selling 2017 release of the 12LP box set Carpenters Vinyl Collection got the ball rolling. Add to that the nearly six million people who watched this fall’s season opener of “American Horror Story: Apocalypse” – which featured the Carpenters’ 1977 cover of Klaatu’s, “Calling Occupants of Interplanetary Craft (The Recognized Anthem Of World Contact Day)” – and we’ve got a mini-revival on our hands.

All that being said, the time was right for this project. Richard Carpenter, the album’s producer, arranger and conductor, took the original recordings and embellished them with expanded orchestral accompaniment. In many ways, Carpenter is finally fulfilling his original vision for his pop act. In the promotional literature for this album, he notes that the original recording of the song, “‘Close To You” called for a sparse string arrangement, and that he would have liked to have had more players, for a richer sound, had he been given the resources.

The changes in this recording are often subtle. In many cases, fans might be hard-pressed to hear the differences between the old and the new. Songs like “Close To You” do sound fuller, and on many of the other songs, the original recorded sounds appear to be more forward in the mix, which also creates a newfound freshness.

Carpenter has added new introductions to some songs, as well as orchestral and choral passages between others, to varying effect. The Spanish-influenced guitar intro which precedes “For All We Know” is a lovely addition, and the song’s melodic hook (played on oboe) absolutely shines. In other cases, such as “Top Of The World”, the orchestral refurb seems to add little to the original version.

Overall, Carpenters with The Royal Philharmonic Orchestra makes for interesting listening. If the Carpenters are your jam, you will love it. Give the gift of love songs this holiday season!

SPILL ALBUM REVIEW: CARPENTERS - CARPENTERS WITH THE ROYAL PHILHARMONIC ORCHESTRA | The Spill Magazine
 
Since hearing the reworked I Just Fall In Love Again, it’s made me realise me that a) the mixing on Passage was muddy after all and the tracks are capable of being massively improved and b) I would love to hear B’Wana She No Home cleaned up in the same way.
 
I'm glad I'm not the only one that heard the phaser type effect over Superstar. I noticed it right away. It sounds like some sort of error. It's something I've never heard before on the other versions, and I don't think it's just over her vocal. It's even more pronounced at times over moments with heavy cymbals. You can especially hear it when listening through headphones. It sounds to me like she's almost underwater at times or gargling. It's something unique to this album. What I'm hearing is not present on the YOM album or other mixes.
I've not noticed that. I'll have another listen. Just noticed a funny crackle at 58 secs on This Masquerade. Is this simply the age of the original tracks and the fact that everything is so up front and clear? This track credits Karen on her own on drums which is rather nice as it's always been one of the main highlights of the song for me.
 
Having listened to the new CD a couple of times I thought I would say a few words here. I’m not one for making many comments but after hearing the CD feel moved to do so. Having been a Carpenters fan since aged 13 (I’m now in my mid 50’s) I thought I had heard all there was to hear but as others have said this CD is simply wonderful. Admittedly there are parts I’m not so keen on but it really does bring Karen’s voice front and centre and you could almost believe she had been with Richard in the studio. Over the years I’ve sometime found it hard to listen to the Carpenters music because of the sadness of Karen’s untimely passing and must admit to being teary eyed listening to this CD but overall I feel Richard has done himself and his sister proud and I hope he gets the credit he deserves for, in his own words, this labour of love.
 
YouTube a few weeks back the same mixes as the tracks on iTunes? Is anything different from the iTunes tracks to the physical CD?
 
So I made a playlist of the new album in my Amazon Prime music library, and just for fun, I removed “Merry Christmas Darling,” for non-holiday playing, to see how it flows:
  1. “I Just Fall In Love Again” flows nicely into “Baby It’s You,” in terms of song-to-song flow, but...
  2. ...on the Amazon streaming version, the last vocal note of “Merry Christmas Darling,” the “...ing” phrase, kicks-off the strings for “Baby It’s You.” I’m wondering if the iTunes or CD flow is better (after removing “MCD”) and would be grateful to hear from folks on this.
And my apologies to those who find it sacrilege to remove the Christmas track, but I’m preparing for listening in July, 2019...
 
`The latest technology was employed to make right a number of blemishes and oversights in the original recordings that have been haunting me for years. To wit, key instruments in several of the songs were slightly out of tune and were not noticed by us until the records were either mixed or released;`

had to copy and paste the above, as the thread is locked.

As I`m not a musician and probably wouldn't `hear` what Richard is talking about, but as anyone got any examples from any of the albums to which he is referring, because as a listener, I don`t think I`ve ever picked up on anything EVER.
I think either in the same write-up or another review, I read something about A/C effecting Karen` voice as well, creating a `rumble in what we hear`.

I`m listening to this album again, for the second time tonight, even as I type and I`m still blown away :)
to read all the reviews posted is simply fantastic and shows the recognition it honestly deserves.
I never thought that voice of Karen`, could possibly sound any better than it has, but my lord ............... makes you wonder on the quality of music in another 50 years doesn't it :)
 
Over the years I’ve sometime found it hard to listen to the Carpenters music because of the sadness of Karen’s untimely passing and must admit to being teary eyed listening to this CD

there are grown men on here who have been reduced to tears listening to Karen, including me, twice the first time I listened, so I wouldn't be too embarrassed about that, I think it just shows the effect that beautiful voice has on us and say`s a lot about her skill as a singer!
I`m 56 and listen to them almost everyday and after all this years, she still gets me filling up, but more so as I`ve got older and I wonder whether that is because as we do get older, I think our appreciation of the lyrics and the voice is different, so we hear it differently from when we were younger, because lets face it, when your young, you `hear` the music, but may not `listen` to it :)
 
So I faced the person I discussed before and I gotta tell you honestly....this album has literally saved my sanity this week. It came at the PERFECT time and that's no coincidence as a life long fan. Ok but back to more thoughts. This is the work of a self reflective man in his 70s now. The culmination of decades of wresting and grappling with what to do with himself next. It's deep stuff and it's heard for those who understand art and self expression. It's always Karen's story about "what could cause anorexia? etc". but I've always been interested to get to know how this has affected HIM!!!! My appetite for more of his writing now since hearing the new interludes and instrumentals between songs makes me wonder....could he allow himself to create more? I say if he wants to live the fabulous retired life, etc, have it it!!!!! But after hearing this I can't help but feel that HE has more to say. Maybe I just want to hear MORE NEW. NEW NEW NEW. It's incredible orchestral writing. I just wonder.
 
Just checked iTunes again and the latest album has dropped to #40, while remaining steady at #3 on the Pop Chart. Interestingly the Carpenters are also at #26 (Gold) and #101 (Singles 1969-1973) on the Pop Chart in iTunes, don't recall seeing them even listed previously, perhaps it's the coattails effect of the new album?
 
I have only gotten as far as For All We Know, so far... I actually teared up during that one. It sounds new again. I also teared up at the segue & beginning lines to I Need To Be In Love. Knowing it was Karen's favorite, and hearing the lush intro.... well - I hadn't been counting the minutes for this like I had as a kid (for the new records), but now, I think I am just as excited after all. Stunning. #savoringeachmoment
I teared up, too, as For All We Know began! My favorite so far I believe...
 
Since hearing the reworked I Just Fall In Love Again, it’s made me realise me that a) the mixing on Passage was muddy after all and the tracks are capable of being massively improved and b) I would love to hear B’Wana She No Home cleaned up in the same way.

That's why I was so looking forward to hearing Those Good Old Dreams. Thanks to Chris May we know that this vocal and Rainbow Connection were tracked on the same day yet sound poles apart, partly in the delivery, but largely due to the mix. I love her tgod vocal but imagine it with this treatment. Oh well...Maybe a nice little bonus someday.

And btw...pretty much echo everyone else's thoughts here in that I loved the album. As always that ruddy choir sound god awful but they occupy about 3 % of the running time so who cares. The metallic effect in superstar is grating (pun intended) and a couple of additions may be a little too muzak (the flutes taking the guitar licks in YOM). But he's done a stellar job. 4.5/5.

A couple of times I grew dewy eyed..often by his gorgeous segueways, but particularly during the final track when I realized that I'd never, probably, here anything new from my favourite group ever again.

I also felt respect but also a degree of sadness for Richard who's spent 35 years revisiting these same 20 songs....but never this uniquely.....he did his sister proud.

Neil
 
I also felt respect but also a degree of sadness for Richard who's spent 35 years revisiting these same 20 songs....but never this uniquely.....he did his sister proud.

Neil

Being the torchbearer is hard work. I'm beginning to see that more clearly now.
 
A couple of times I grew dewy eyed..often by his gorgeous segueways, but particularly during the final track when I realized that I'd never, probably, here anything new from my favourite group ever again.

I also felt respect but also a degree of sadness for Richard who's spent 35 years revisiting these same 20 songs....but never this uniquely.....he did his sister proud.

Neil

A few have mentioned the segue into "For All We Know" in particular. That is the one that brings tears to my eyes. Not only the notes from "I Need To Be In Love" at the beginning, but the intro notes to "For All We Know" beginning so beautifully before the percussion kicks in. It's so sweet and nostalgic.
 
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