Favourite Instrumental Break

[newvillefan]

I'm amazed nobody (yet) has picked the guitar solos in "Goodbye to Love."

When I first started the thread I did wonder how long it would be before someone mentioned this one. It’s testament to their musical prowess that so many other songs - including obscure album tracks - were mentioned first.

 

[Nemily]

For me it would be the instrumental break on crystal lullaby. Anyone else?

This was also one of the other songs that I thought of for this topic. This song was written back in 1967 in their Spectrum days but wasn’t recorded until 1972 and then was remixed in 1987. The break with Earl Dumler on oboe is epic.

Another one, maybe not so much as an instrumental break, but more of a long outro (I hope that counts here) is Somebody's Been Lying'. This is a lush orchestral arrangement performed by a high caliber of musicians. Check out the dreamy one minute and 5 second outro that seamlessly landscapes Karen’s elegantly restrained and unfeigned interpretation of this beautiful song.

 

[Martin Medrano]

This was also one of the other songs that I thought of for this topic. This song was written back in 1967 in their Spectrum days but wasn’t recorded until 1972 and then was remixed in 1987. The break with Earl Dumler on oboe is epic.

Another one, maybe not so much as an instrumental break, but more of a long outro (I hope that counts here) is Somebody's Been Lying'. This is a lush orchestral arrangement performed by a high caliber of musicians. Check out the dreamy one minute and 5 second outro that seamlessly landscapes Karen’s elegantly restrained and unfeigned interpretation of this beautiful song.

I've heard the outro before and i really enjoy it. Another instrumental break for me would be from and when he smiles that one just makes me feel happy.

 

[JohnFB]

Another one, maybe not so much as an instrumental break, but more of a long outro (I hope that c,ounts here) is Somebody's Been Lying'. This is a lush orchestral arrangement performed by a high caliber of musicians. Check out the dreamy one minute and 5 second outro that seamlessly landscapes Karen’s elegantly restrained and unfeigned interpretation of this beautiful song.

I like this a lot (although I can see where some might think it's a tad too long).

My favorite outro is, of course, the one at the end of SUPERSTAR, where just after her final "I love you, I really do." the orchestral strings swell in volume and then quickly go silent for a few seconds, and then return softly, with a gentle run up the scale by the harp. Stunning! Especially after and in stark contrast to the hard drive of the chorus repeat. The best version of this is on the RPO recording. Just simply brilliant orchestration! There's a nice echo of this pattern somewhat at the end of YOU'RE THE ONE, but it's not so perfect or dramatic.

 

[AM Matt]

"Bacharach/David Medley" from 1971 when the instrumental break of "Always Something There To Remind Me" when someone is sayin' "yippie" or "yeehaw"!!!

 

[newvillefan]

"Bacharach/David Medley" from 1971 when the instrumental break of "Always Something There To Remind Me" when someone is sayin' "yippie" or "yeehaw"!!!

Those yeehaws were always so cringeworthy and they even did them in concert. Karen was one of the worst culprits. Forced enjoyment.

 

[AM Matt]

Herb Alpert & The Tijuana Brass song "Freight Train Joe" (from 1966 "S.R.O.") had someone laughing (while Julius Wetcher was playing the marimba) in that song but I did liked the instrumental. That song reminds me of the Faygo pop commercials!! (laughs)

 

[Kyle Thomas]

"Goodbye to Love" has to win it for me, as it's my favorite Carpenters song.

But gosh, I really love the guitar solo in 'Tryin' to Get the Feeling Again' also. It just kicks that song into a gear that moves from sadness to desperation/anger.

 

[Another Son]

At the moment, I would choose one of Bob Messenger's delectable flute or sax solos above Tony Peluso's guitar. I really like Tony's work but I love Richard's arrangements and Bob's performances during the flute pieces.

I think I"ll go for the instrumental breaks in 'It's Going to Take Some Time', 'Road Ode' and 'Rainy Days and Mondays'.

.... and Tim Weisberg contributed with flute performance on 'It's Going to Take Some Time'.

 

[John Adam]

I’m listening to All You Get From A Love Song on holiday in the sunshine and it struck me that this is without doubt my favourite instrumental break out of Carpenters’ entire catalogue. It has a great sax solo and percussion and those beautiful, summery backing vocals with Julia Tillman, Carlene Williams and Maxine Willard, augmented by Karen singing right up towards the top of her range in her head voice. Why the song didn’t chart higher than it did is beyond me (but that’s a different thread altogether).

Which is your favourite…and why?

Your choice is also my #1 choice. It's just a great non-ballad song that always makes me smile!
I also like the instrumental break in Trying To Get The Feeling Again, which I think Richard nailed perfectly.
Then of course, Goodbye To Love..........

 

[newvillefan]

I also like the instrumental break in Trying To Get The Feeling Again, which I think Richard nailed perfectly.
Then of course, Goodbye To Love..........

Another one I’d forgotten aboht. That guitar solo, doubled in the second half, is amazing!

 

[Vinylalbumcovers]

At the moment, I would choose one of Bob Messenger's delectable flute or sax solos above Tony Peluso's guitar. I really like Tony's work but I love Richard's arrangements and Bob's performances during the flute pieces.

I think I"ll go for the instrumental breaks in 'It's Going to Take Some Time', 'Road Ode' and 'Rainy Days and Mondays'.

.... and Tim Weisberg contributed with flute performance on 'It's Going to Take Some Time'.

He played the lower flute part but the solo is indeed Bob Messenger.

Ed

 

[newvillefan]

The emotion is taken right out of it and while her performance here isn't bad by any means, it probably could have been amazing if she'd have just sung the song with a few punches here and there.

I never really rated her voice if I’m honest. Her range isn’t that wide and she sounds like she was a heavy smoker. On this particular track her vocal is drenched in echo, probably to cover the many punch ins. I love the song and arrangement so I just look past the joins.

 

[Carl]

I’m going to go with The Uninvited Guest. Something about the instrumental break that still gets me every time I hear it. Haunting in a way ? Anyone’s thoughts ?

 

[Nemily]

I’m going to go with The Uninvited Guest. Something about the instrumental break that still gets me every time I hear it. Haunting in a way ? Anyone’s thoughts ?

Haunting and lovely. A nice Pedal Steel Guitar always tugs at my heartstrings. That Pedal Steel Guitar was done by Jay Dee Maness, however I am not sure if the Guitar part was Tim May or Tony Peluso.

 

[Vinylalbumcovers]

I never really rated her voice if I’m honest. Her range isn’t that wide and she sounds like she was a heavy smoker. On this particular track her vocal is drenched in echo, probably to cover the many punch ins. I love the song and arrangement so I just look past the joins.

Be glad you can. I can hear them so clearly that I just can’t hear past them anymore.

IMHO, this is fine, I guess, but it’s thoroughly overproduced. By this point in Richard’s career, he’d felt more was more for many years and he did that here too. His need for orchestrations on everything sent each track straight into the elevator. The track actually has some nice muscle to it until the strings sweeten things up and too much.

Further, Pamela was not the right lyricist for him as her Hallmark tendencies sank everything she touched. That lyric on “Say Yeah!” is just…. Anyway, this tune wasn’t gonna get him on Pop radio. Dusty brings some edge but the endless vocal editing undercuts her every emotion and the track is too square and polite for 1987 Pop radio. So it went for the entirety of that album, really.

Ed

 

[John Tkacik]

Bob Messenger on "A Song For You" and "Santa Claus Is Coming To Town".

 

[Chris Mills]

Guitar solo played by Tony Peluso on the track Where Do I Go From Here?

 

[JohnFB]

Guitar solo played by Tony Peluso on the track Where Do I Go From Here?

Tony's solo tales off and soars ala GOODBYE TO LOVE, elevating this sadly beautiful song into an outstanding "power ballad".

 

[Proudofyou]

Piano solo in This Masquerade

 

[Geographer]

In my nearly 21 years on this forum, I believe this is the first time I agree with about everyone's choices. I can't pick a favorite. I love everyone's choices here. Great thread!!

 

[theninjarabbit]

Hopping back in to say that I love everyone's responses here. It's hard to pick one for myself. The entire "A Song For You" album is swimming with fantastic instrumental breaks (It's Going to Take Some Time, the title track, Goodbye to Love, Crystal Lullaby/Road Ode come to mind here). I also enjoy "Another Song" for its segues and "Rainy Days and Mondays" has a great saxophone solo I keep coming back to.

As another note, as someone mentioned outros, my favorite will always be "Close to You". I had just gotten a copy the LP from my neighbor, when I was first becoming a die-hard fan, and I put it on the turntable. The song had reached its end, and I was like, "wait...it's not over??". I was absolutely floored by the song roaring back. One of my treasured memories as a fan.

 

[Sabar]

For me it would be the instrumental break on crystal lullaby. Anyone else? Another one would be the instrumental break on reason to believe.

I like the instrumental break on Crystal Lullaby too. It perfectly illustrates that a good instrumental break doesn't need to be fancy. If you have a great melody--which this song does--you can just play the melody.

 

[Murphy]

Definitely the sax break on "Santa Claus Is Coming To Town", but only the original version on the single. I absolutely hated when they substituted that Vegas-lounge sound on the album.

 

[newvillefan]

Definitely the sax break on "Santa Claus Is Coming To Town", but only the original version on the single. I absolutely hated when they substituted that Vegas-lounge sound on the album.

Another member of this forum always described that original sax solo as sounding like Bob Messenger was stumbling down a flight of stairs while recording it, something that always cracked me up.

The original take is great for the novelty value and Bob does a nice take, but it’s a rare mis-step for me (pardon the pun) - it doesn’t mesh as well with the original backing track, whereas the 1984 recording dovetails beautifully. I think Richard made the right decision to re-record it.