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Official Review [Single]: 19. "THERE'S A KIND OF HUSH"/"(I'M CAUGHT BETWEEN) GOODBYE AND I LOVE YOU" (1800-S)

Which side is your favorite?

  • Side A: "There's A Kind Of Hush (All Over The World)"

    Votes: 21 42.9%
  • Side B: "(I'm Caught Between) Goodbye And I Love You"

    Votes: 28 57.1%

  • Total voters
    49

CraigGA

Well-Known Member

At 12:06 begins JOHN Davidson singing A Kind Of Hush In 1967 similar as Karen did about 10 years later.? In the live version at London Paladium 1976.
 

GaryAlan

Well-Known Member
RIP Les Reed
Les Reed obituary
Excerpt:
----

Songwriter who wrote huge hits for the stars of the 60s and 70s
"Reed got the idea for another hit when he was talking to a friend, Tony Phillips, about how his (not very busy) acting career was going.
Phillips told him, “There’s a kind of hush all over the world.”
“Can I use that?” asked Reed and Phillips replied, “Be my guest.”
There’s a Kind of Hush was a hit for Herman’s Hermits in 1967 and an international success for the Carpenters in 1976.
----
More:
www.udiscovermusic.com/news/death-of-les-reed-writer-delilah-its-not-unusual-dozens-more/
www.theguardian.com/music/2019/apr/17/les-reed-obituary
 

newvillefan

I Know My First Name Is Stephen
I think Randy Schmidt wrote in an interview once about hearing Interpretations when it first came out in a record store when you could go in a booth and hear an album with headphones. He remembered being moved to tears hearing it, probably in part due to this gorgeous gem being buried for so many years and having a part of Karen's soul feel like it's being exposed more.
I had the exact same experience in a record store in Munich in 1994.
 

Greg

Member
Hush is very pretty and inoffensive but I rarely play it. I like the supreme mellowness of Karen's vocal, and I like the smooth funkyness of the sax but that's about it. The arrangement is actually interesting musically but I suppose the reason it falls a little flat for so many of us is it just feels a tremendous waste of Richard and Karen's talents at that time.

CBGAILY is very pretty too. I think the verses are gorgeous, but I never felt the chorus melodically lived upto the promise of the verses, and the key changes felt incongruent - all excepting the much cited 'devil in the deep blue sea' conclusion. But Karen's delivery is stunning and to other lesser artists it may be considered a classic. But Horizon probably only needed Love Me For What I Am and another contrasting choice in place of Caught, though it gets my vote in the poll.
 

CraigGA

Well-Known Member
Hush is very pretty and inoffensive but I rarely play it. I like the supreme mellowness of Karen's vocal, and I like the smooth funkyness of the sax but that's about it. The arrangement is actually interesting musically but I suppose the reason it falls a little flat for so many of us is it just feels a tremendous waste of Richard and Karen's talents at that time.

CBGAILY is very pretty too. I think the verses are gorgeous, but I never felt the chorus melodically lived upto the promise of the verses, and the key changes felt incongruent - all excepting the much cited 'devil in the deep blue sea' conclusion. But Karen's delivery is stunning and to other lesser artists it may be considered a classic. But Horizon probably only needed Love Me For What I Am and another contrasting choice in place of Caught, though it gets my vote in the poll.
I understand your points but ICBGAILY is one of my favorites and I can understand your comment but to me it does not negate the song. It’s one of the reason that I Love Horizon!
 

GDB2LV

Well-Known Member
Especially the quad mix. I’ve listened to it about a dozen times in the last week. Beautiful!
 

Brian

Well-Known Member
On the thread for the album, "A Kind of Hush", there's a lot of talk at the moment about the hit potential of various songs from the LP and the performance of the actual singles.

I just had a look to see which songs were keeping Carpenters' single, "There's A Kind of Hush (All Over the World)" from rising higher on the American Top 40 the week it peaked. On April 26th, 1976, the songs above 'A Kind Of Hush', (and there were one or two biggies that have forged their way into history), were:-

Number 12:- Carpenters, 'There's A Kind of Hush'. 11:- Captain & Tennille, 'Lonely Night (Angel Face)', 10:- Elvin Bishop, 'Fooled Around and Fell In Love', 9:- Queen, 'Bohemian Rhapsody', 8:- Peter Frampton, 'Show Me the Way', 7:- John Sebastian, 'Welcome Back', 6:- Dr. Hook, 'Only Sixteen', 5:- The Commodores, 'Sweet Love', 4:- The Sylvers, 'Boogie Fever', 3:- Maxine Nightingale, 'Right Back Where We Started From', 2:- Belamy Brothers, 'Let Your Love Flow', and NUMBER 1:- Johnnie Taylor, 'Disco Lady'.

My memory of the American Top 40 in 1976 is that there were a lot of light, easy-listening songs, not that different in genre from Carpenters' 'There's A Kind of Hush', at the top of the charts throughout the year, and there were. However, the week that 'There's A Kind of Hush' peaked, around half of the songs above it just happened to be rock-edged songs at the top, whether ballads or up-tempo, (apart from 'Lonely Nights', 'Only Sixteen', 'Let Your Love Flow', 'Sweet Love', 'Boogie Fever' and 'Disco Lady').

Of the songs above 'There's A Kind of Hush' on the charts that week, I particularly like 'Lonely Night', 'Fooled Around and Fell in Love', 'Bohemian Rhapsody', 'Show Me the Way' and 'Welcome Back' and, help me, 'Boogie Fever' and I don't mind 'Right Back Where We Started From' and 'Let Your Love Go'. I usually like soul, but I don't think much of the Commodores' or Jonnie Taylor's songs.

I think you can see why all of the Top 11 peaked above 'There's A Kind of Hush'. Each song has more character, insistence and grit. I think that anyone could be forgiven if they said Carpenters' offering was a bit bland and characterless, devoid of highs, lows and excitement, with Karen almost singing without expression, although I loved the song in its day. It was definitely my favourite song on the chart at the time.
 

Jarred

Well-Known Member
On the thread for the album, "A Kind of Hush", there's a lot of talk at the moment about the hit potential of various songs from the LP and the performance of the actual singles.

I just had a look to see which songs were keeping Carpenters' single, "There's A Kind of Hush (All Over the World)" from rising higher on the American Top 40 the week it peaked. On April 26th, 1976, the songs above 'A Kind Of Hush', (and there were one or two biggies that have forged their way into history), were:-

Number 12:- Carpenters, 'There's A Kind of Hush'. 11:- Captain & Tennille, 'Lonely Night (Angel Face)', 10:- Elvin Bishop, 'Fooled Around and Fell In Love', 9:- Queen, 'Bohemian Rhapsody', 8:- Peter Frampton, 'Show Me the Way', 7:- John Sebastian, 'Welcome Back', 6:- Dr. Hook, 'Only Sixteen', 5:- The Commodores, 'Sweet Love', 4:- The Sylvers, 'Boogie Fever', 3:- Maxine Nightingale, 'Right Back Where We Started From', 2:- Belamy Brothers, 'Let Your Love Flow', and NUMBER 1:- Johnnie Taylor, 'Disco Lady'.

My memory of the American Top 40 in 1976 is that there were a lot of light, easy-listening songs, not that different in genre from Carpenters' 'There's A Kind of Hush', at the top of the charts throughout the year, and there were. However, the week that 'There's A Kind of Hush' peaked, around half of the songs above it just happened to be rock-edged songs at the top, whether ballads or up-tempo, (apart from 'Lonely Nights', 'Only Sixteen', 'Let Your Love Flow', 'Sweet Love', 'Boogie Fever' and 'Disco Lady').

Of the songs above 'There's A Kind of Hush' on the charts that week, I particularly like 'Lonely Night', 'Fooled Around and Fell in Love', 'Bohemian Rhapsody', 'Show Me the Way' and 'Welcome Back' and, help me, 'Boogie Fever' and I don't mind 'Right Back Where We Started From' and 'Let Your Love Go'. I usually like soul, but I don't think much of the Commodores' or Jonnie Taylor's songs.

I think you can see why all of the Top 11 peaked above 'There's A Kind of Hush'. Each song has more character, insistence and grit. I think that anyone could be forgiven if they said Carpenters' offering was a bit bland and characterless, devoid of highs, lows and excitement, with Karen almost singing without expression, although I loved the song in its day. It was definitely my favourite song on the chart at the time.
I really think if the song had a stronger hook/arrangement (vocal and otherwise) two songs like Hush and INTBIL could have been bigger. Hush on record should have had that slow, sensual start that Karen sang for it in London at least, and INTBIL could have been reworked to create something devastating.

I still can’t believe the title track which is weak as hell gets to a solid #12, but a sparkling gem like “All You Get FLIALS” only ONE year later stalls at 35. The public was seriously way to fickle.
 

newvillefan

I Know My First Name Is Stephen
I still can’t believe the title track which is weak as hell gets to a solid #12, but a sparkling gem like “All You Get FLIALS” only ONE year later stalls at 35. The public was seriously way to fickle.
I’ve always wondered that too. What a difference a year made.
 

GaryAlan

Well-Known Member
I will reiterate what I wrote on another thread:
Nothing wrong with the Carpenters recording of
There's a Kind of Hush.
Take that vinyl-45, crank up the volume, listen intently....there is a lot happening in this terrific song.
Yes, I love All You Get From Love is a Love Song, for different reason,
but, referring to There's a Kind of Hush as..... "weak as h_ll"..... is just not accurate.
The chart position of the respective singles signifies virtually nothing except "mass appeal."

I never considered Close To You as a "strong" song, and yet it went to #1....
 

Jarred

Well-Known Member
I will reiterate what I wrote on another thread:
Nothing wrong with the Carpenters recording of
There's a Kind of Hush.
Take that vinyl-45, crank up the volume, listen intently....there is a lot happening in this terrific song.
Yes, I love All You Get From Love is a Love Song, for different reason,
but, referring to There's a Kind of Hush as..... "weak as h_ll"..... is just not accurate.
The chart position of the respective singles signifies virtually nothing except "mass appeal."

I never considered Close To You as a "strong" song, and yet it went to #1....
Bland as hell then. It’s just not strong enough vocally or musically to sustain repeated interest. Reedy all around. And I think Close to You, the recording is much richer all around than Hush, from the vocals, to the arrangement, to the sentiment. And I don’t think you’ll be banned for spelling out “hell”.
 

GaryAlan

Well-Known Member
Another plug for one of my favorite Singles:
February 28, 1976, The cover of Record World.
"Carpenters, THERE'S A KIND OF HUSH (ALL OVER THE WORLD) (prod. by Richard Carpenter) (Glenwood, ASCAP).
A song that should be familiar from Herman's Hermits' chart success in 1967 is given a pleasant arrangement and
a saccharine sweet vocal by Karen. This is the kind of record that finds the duo at the peak of
interpretative talent. A&M 1800."
 

GaryAlan

Well-Known Member
^^The thing I appreciate about the Record World review of Single There's A Kind of Hush,
is the phrase "interpretive talent."
There is a lot of dischord expressed over selecting another "oldie" to record at that juncture.
However, I have maintained, since 1976, that the arrangement that Richard gives to the song is BRILLIANT.
Karen, of course, is flawless in her reading. In other words, interpretive talent from Richard and Karen.
A great, catchy, single for 1976. Sorta wish Richard was more enthusiastic about it (especially,
considering how much he loves the later recorded song "Now," which pales in comparison).
 

newvillefan

I Know My First Name Is Stephen
However, I have maintained, since 1976, that the arrangement that Richard gives to the song is BRILLIANT.
It’s never been a Carpenters track I’ve been particularly enamoured with, but I absolutely love the backing vocals in the last 25 seconds of the song, overlaid with the castanets and saxophone as it runs to its fade out. Just gorgeous.
 

tomswift2002

Well-Known Member
I heard the original Herman’s Hermits recording for the first time a few months ago. I thought there was something missing from that arrangement that the Carpenters added. I wasn’t sure if it was the vocals or something else, but there was something missing.

“(There’s) A Kind of Hush” was also the very first Carpenters 45 that I owned and found it at a thrift store in Winnipeg. Even though there was no planet sleeve, the record was very quiet.
 

John Adam

Well-Known Member
The single "(There's) A Kind Of Hush" is like "Please Mr. Postman" being a harmless piece of pop meant for the radio. "Ticket To Ride" has a lot more depth than the above, but the other two are so much fun! I think "Hush" is one of the best mid/uptempo songs they ever did. :)
 
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