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DISCID=79082f0a
DTITLE=Carpenters / Horizon
DYEAR=1975
DGENRE=Rock
TTITLE0=Aurora
TTITLE1=Only Yesterday
TTITLE2=Desperado
TTITLE3=Please Mr. Postman
TTITLE4=I Can Dream Can't I
TTITLE5=Solitaire
TTITLE6=Happy
TTITLE7=Goodbye And I Love You
TTITLE8=Love Me For What I Am
TTITLE9=Eventide
EXTD=Originally Released June 1975\nCD Edition Released March 1986\nRe
EXTD=mastered CD Edition Released December 8, 1998\n\nAMG EXPERT REVIE
EXTD=W: The Carpenters were one of the more ubiquitous and successful 
EXTD=acts of the early and mid-'70s. Songs like "Close to You" and "Ra
EXTD=iny Days and Mondays" make the shortlist of pop classics of the '
EXTD=70s. Unfortunately their 1973 retrospective, 1969-1973, might hav
EXTD=e wrapped up their commercial careers too soon. This 1975 effort 
EXTD=seems to be willing to explore sad emotions with the blithe songs
EXTD= appearing almost as an afterthought. Although it would sound the
EXTD= death knell for many efforts, with Karen Carpenter's pitch-perfe
EXTD=ct and sorrowful voice, it's actually a nice fit, and an emphasis
EXTD= on the duo's subtext. The beautifully arranged "Aurora" sets the
EXTD= album's ambiance. "Eventide," a continuation of the melody and t
EXTD=heme, shows up later in the album. The covers, "Desperado" and "P
EXTD=lease Mister Postman," have the duo adding nothing new to the tra
EXTD=cks. A more convincing take on the standard "I Can Dream Can't I"
EXTD= was co-arranged and orchestrated by the legendary Billy May. The
EXTD= track, despite the depressing horn and backing vocal arrangement
EXTD=, has Carpenter's empathy and tone ringing clear. Another cover, 
EXTD="Solitaire" written by Neil Sedaka and Phil Cody, is melodramatic
EXTD= but a great match for Carpenter's voice. The originals, includin
EXTD=g "(I'm Caught Between) Goodbye and I Love You," are competent bu
EXTD=t not magical, and that fact diminishes the effort. Although some
EXTD= might be put off by the sorrow or bust ethos of this, Horizon ga
EXTD=ins its strength from strong production values and, of course, Ka
EXTD=ren Carpenter's singular gifts as an interpreter.  -- Jason Elias
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nIntrospective and Retrospective
EXTD=, January 26, 2007\nReviewer: Maestroh "A.A., A.A.S.,B.M.E.,Th.M.
EXTD=" (Ph.D. Textual Criticism)\nThe turning point in the history of 
EXTD=the Carpenters from smash pop success to 'Las Vegas night club si
EXTD=ngers' probably began on a stage on in Las Vegas in 1975 when Kar
EXTD=en Carpenter, horribly weak from anorexia nervosa and the previou
EXTD=s six years' worth of touring and recording, collapsed onstage. I
EXTD=n an interview in "A&M Compendium," conducted by music critic Tom
EXTD= Nolan, an interview with the Carpenters indicated that the album
EXTD= was going to be very ambitious, slick, and overdubbed. The mater
EXTD=ial also stretched from the new Carpenter composition ("Only Yest
EXTD=erday") to their last number one ("Please Mr. Postman"), to a rem
EXTD=ake of an Andrews Sisters song from 1949, "I Can Dream, Can't I."
EXTD= \n\nIn retrospect, the sad end of the Carpenters is lived out on
EXTD= this album. Much of this is anachronistic, reading back into 197
EXTD=5 what later happened, but there is an element of truth there. Th
EXTD=e opening and closing songs, "Aurora" and "Eventide," have a somb
EXTD=er timbre and use the same music but with different lyrics. "Only
EXTD= Yesterday," the first solid musical track on the album, turned o
EXTD=ut to be their last top five single, peaking at #4. "Desperado," 
EXTD=a remake of the Eagles ballad, followed and was above average. "P
EXTD=ostman," their final number one, was a remake of the same song by
EXTD= the Marvellettes, and showed a tried and true Carpenter signatur
EXTD=e: remake something somebody else did and get rich doing it. But 
EXTD=in the other cases - at least with singles - they did songs that 
EXTD=were relatively obscure. "It's Going To Take Some Time This Time"
EXTD= was written by Carole King but hardly anyone had heard of it pri
EXTD=or to the Carpenters. "Hurting Each Other" was a small hit for Ru
EXTD=by and the Romantics, and for Pete's sake, "We've Only Just Begun
EXTD=" was a commercial for Crocker Bank. "Superstar" was done by a nu
EXTD=mber of singers before Karen took it to #2. But in "Postman," the
EXTD=y picked a sixties tune and brought into the 1970s. The last song
EXTD= on side one is "I Can Dream, Can't I," a foray into the big band
EXTD= sounds that became synoymous with their TV specials in the late 
EXTD=1970s. \n\nSide two opens with a song virtually everybody now kno
EXTD=ws, "Solitaire." Clay Aiken redid it, but he couldn't tie Karen's
EXTD= shoes. "Happy" is an upbeat follow-up and the last 'happy' song 
EXTD=on the album. "Caught Between Good-bye and I Love You" by John Be
EXTD=ttis and Richard and "Love Me For What I Am" are sad love songs. 
EXTD="Eventide" rounds out the collection. \n\nThe problem is that thi
EXTD=s work, while ambitious and in full stereo, does not show the pep
EXTD= or excitement of "A Song for You" or "Now And Then." It marks th
EXTD=e beginning of a slump from which the Carpenters never recovered.
EXTD= In terms of sales, it actually did rather well, going gold (thei
EXTD=r sixth straight record to do so upon initial release). The album
EXTD= marks time and fatigue as exemplified by both Richard and Karen.
EXTD= The songs are good and they deserve applause for a noble effort.
EXTD= But perhaps it isn't their fault. It is ours because they did so
EXTD= well when they sounded so fresh that the change - albeit a sligh
EXTD=t one - is welcome but not the most welcoming TO the listener. \n
EXTD=\nThe Carpenters made their name on optimistic love songs like "W
EXTD=e've Only Just Begun," "Top of the World," and "Close To You." Su
EXTD=re, they had a few sad hits - "Superstar" and "Rainy Days" and fo
EXTD=r that matter, "Hurting Each Other" - but their genre focused on 
EXTD=the happy. Even "For All We Know" showed optimism. But starting w
EXTD=ith this album, Richard and Karen turned almost exclusively to pe
EXTD=ssimism and sadness for their hit songs. Even the non-hits that w
EXTD=ere commercial sounding like "Two Sides" on the "Passage" album w
EXTD=ere sad. \n\nThis is for Carpenters fans, but if you've never hea
EXTD=rd them, this is NOT the CD to get. Start with "A Song for You" o
EXTD=r "Now And Then." \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Turning Poi
EXTD=nt, November 4, 2006\nReviewer: TopDawg689 "topdawg689" (Palm Spr
EXTD=ings, CA USA)\nThis recording marks a turning point for The Carpe
EXTD=nters. At this point, they were both well into their 20s, and the
EXTD= songs have a more mature subject matter (e.g. "I'm Caught Betwee
EXTD=n Goodbye and I Love You"), as do the arrangements (strictly ball
EXTD=ads, except fo the song "Happy"). This recording also features th
EXTD=e first of many ventures of The Carpenters into the world of old 
EXTD=standards ("I Can Dream, Can't I?"), at which they had a magic to
EXTD=uch. Some of Karen Carpenter's finest singing is on this recordin
EXTD=g. She gives flawless readings of "Desperado" and "Solitaire" (es
EXTD=pecially that last sustained low note!). The arrangements are pri
EXTD=me, notably "Only Yesterday", with that subtle castanet touch!\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nA (mostly lovely) mixed bag, June 1
EXTD=6, 2006\nReviewer: R. Binns (Oak Harbor, WA)\n"Horizon" was a tur
EXTD=ning point in the recording career of the Carpenters--a more soph
EXTD=isticated sound more suited to Karen's rich and warm voice. But t
EXTD=he album was rather short, and some of the songs just weren't up 
EXTD=to the standards expected by their fans, which was reflected in t
EXTD=he sales of the album, which was their slowest selling album up t
EXTD=o that point. \n\nThe opening "Aurora" and the closing "Eventide"
EXTD= (The same melody with different lyrics) nicely bookend the album
EXTD=, and Aurora provides the first hint that this was not the averag
EXTD=e Carpenters album. "Only Yesterday" follows; this beautiful and 
EXTD=uptempo song begins as a dolorous, downbeat ballad before seguein
EXTD=g into the cheerful refrain. The cover of "Desperado" is well don
EXTD=e, but ultimately it is lost between the flashy tracks before and
EXTD= after it. "Please Mr. Postman" is infectuously happy fluff; it h
EXTD=as absolutely no depth, but is irresistable while it's playing an
EXTD=d will have you singing along with Karen. The big-band era "I Can
EXTD= Dream, Can't I?" reveals the new depths of Karen's voice, and th
EXTD=e small jazz combo ensures that she is the focus of the listener.
EXTD= The third and final single from this album, "Solitaire" begins t
EXTD=he second half of the album on a (metaphorical) high note. The re
EXTD=maining full tracks ("Happy","I'm Caught Between Goodbye and I Lo
EXTD=ve You", and "Love Me for What I Am") are all less-than-captivati
EXTD=ng songs that greatly benefit from Karen's reading and Richard's 
EXTD=arrangements.\n\n\nAMAZON.COM CUSTOMER REVIEW\nMagnificent Voice,
EXTD= Wonderful Arrangemtents & Production., October 3, 2005\nReviewer
EXTD=: PEAM (Pen with Ears & Mind). (Australia)\nThis is where it all 
EXTD=came together for Richard and Karen Carpenter. Richard as produce
EXTD=r and arranger had every track perfectly tailored for sister Kare
EXTD=n. Most tracks were set to showcase Karen's unique, strong, rich 
EXTD=and beautiful lower register. It's hard to tell here who was the 
EXTD=genius in the team - I suspect both Richard and Karen were unusua
EXTD=lly gifted. On many songs Karen holds 'E' below 'middle C' long a
EXTD=nd strong - a note that few recorded women could even reach. Marv
EXTD=el at the opening notes of "Only Yesterday', the final vocal tone
EXTD= of "Solitaire", the note that Karen holds at the end of "(Caught
EXTD= Between) Goodbye and I Love You". What a rich, colourful tone of
EXTD= voice - I've never heard anything comparative. It's hard to choo
EXTD=se a stand-out track - My favourites are "Aurora", "Only Yesterda
EXTD=y", "I Can Dream Can't I?', "Solitaire", "Happy", "Caught Between
EXTD= Goodbye and I Love You"., "Love Me for What I Am" and "Eventide"
EXTD=. Even recordings rejected from the project, such as "Tryin' to G
EXTD=et the Feeling Again", which later surfaced on the "Interpretatio
EXTD=ns" album, were incredible and have massive emotional impact on t
EXTD=he listener. Maybe one stunning thing about the "Horizon" album, 
EXTD=apart from Karen's voice, the harmonies and the arrangements, is 
EXTD=the surreal effect of the tracks "Aurora" and "Eventide". The sta
EXTD=rk beauty of Karen's voice is highlighted by the arty lyrics and 
EXTD=the simple arrangement with just Richard on piano. Rarely did Car
EXTD=penters record songs that weren't straight love songs - and on th
EXTD=ese two tracks they showcase two of their most beautiful recordin
EXTD=gs ever. On "I Can Dream Can't I", Karen and Richard show that th
EXTD=ey could master the 'old standards' perfectly - a talent that the
EXTD=y again later highlighted on recordings of "Little Girl Blue", "I
EXTD= Wonder Why" and "When I Fall in Love". ("I Can Dream Can't I" wa
EXTD=s originally recorded in the 1930s by The Andrews Sisters). The p
EXTD=romotional team for A&M also seemed to (FINALLY) get it together 
EXTD=for the release of the "Horizon" album. Karen was shown in all he
EXTD=r beauty, looking casual and hip, on the album cover photo, inner
EXTD= sleeve picture, and related promotional photos and posters. It w
EXTD=as also around this time that Karen's anorexia nervosa first beca
EXTD=me apparent to the public, although the seeds for it had no doubt
EXTD= been maligmant for years before. Shortly after the release of "H
EXTD=orizon", concert tours had to be cancelled due to Karen's ill-hea
EXTD=lth, and this brilliantly talented lady, 5 foot 4 in height, with
EXTD=ered to a tragic five and a half stone. The moral of this album -
EXTD= have confidence in the beauty that you have to offer the world. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nWhen every bit of hope is gone,
EXTD= sad songs say so much, June 2, 2005\nReviewer: Angie Engles (Col
EXTD=umbia, MD United States)\nEven though I consider HORIZON to be a 
EXTD=solid, unforgettable Carpenters' album, I hardly ever listen to i
EXTD=t, not because I don't like it, but because this album is often p
EXTD=ainful emotionally. With the exception of the breezy, (almost) ha
EXTD=ppy "Please Mr. Postman" most of the songs attack your heart and 
EXTD=leave you incredibly sad. Part of that, of course, has to do with
EXTD= Karen Carpenter's tragic death and the temptation to "read" into
EXTD= the feelings we think she must have been experiencing during her
EXTD= struggle with anorexia nervosa. The gloomy cover (perhaps a resp
EXTD=onse to criticism of their previously "cheesy" album photos) cert
EXTD=ainly doesn't help. \n\n"Love Me for What I Am" can especially pu
EXTD=ll at the listener because it eerily echoes what many women with 
EXTD=eating disorders go through: a non-verbal plea to be accepted and
EXTD= loved for who they want to be, not who they SHOULD be. I am prob
EXTD=ably guilty of reading WAY TOO much into this track, but I can't 
EXTD=shake the idea that this song resonated with Karen more than some
EXTD= of the other ones. "Solitaire," while an incredibly beautiful so
EXTD=ng, doesn't share the same intensity. I remember reading years ag
EXTD=o that Karen didn't particularly care for this Neil Sedaka-penned
EXTD= song. \n\nThe sadness also seeps into songs you would think woul
EXTD=d be perkier ("Happy" and "Only Yesterday" are both supposed to b
EXTD=e about the transformation of successful love yet hang wearily in
EXTD= the air.) One of the great things about Karen's voice was how it
EXTD= automatically lent dignity to even the most silly of songs (this
EXTD= applies to later albums such as "Made in America" and "Voice of 
EXTD=the Heart"). Her great legacy includes the talent she had for giv
EXTD=ing layer (and sometimes irony) to each song she recorded. No oth
EXTD=er Carpenters album illustrates just how great and mature Karen w
EXTD=as as a vocalist AND that, given more time and credit from harsh 
EXTD=critics, she would have been known more for being a classy, first
EXTD=-rate singer than for being the victim of a devastating disease. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nTheir Best Work, April 19, 2003
EXTD=\nReviewer: Mark (Raleigh, NC United States)\nFrom several differ
EXTD=ent perspectives, these are some of the finest recordings the Car
EXTD=penters have ever made. This album stands out in my mind because 
EXTD=of the warmth and presence of Karen's voice. Her lower register i
EXTD=s showcased beautifully here. The audio quality is exceptional (e
EXTD=specially given the fact that it was recorded way back in 1974!).
EXTD= The arrangements are rich and smooth and it shows that this was 
EXTD=a work of art that was not rushed or thrown together. Not many ar
EXTD=tists nowadays create music this high in overall quality. My only
EXTD= disappointment is that the album is relatively short. But it was
EXTD= to be released on vinyl so that's the reason. On a technical not
EXTD=e, this is the first Carpenters album that was recorded using a 2
EXTD=4 track recorder running at 30 inches per second. Their previous 
EXTD=albums were recorded on tape traveling at 1/2 that speed so this 
EXTD=album marked a big improvement in the quality of their recordings
EXTD=. Get it and enjoy it!\n\n\nHalf.com Details \nProducer: Richard 
EXTD=Carpenter \n\nAlbum Notes\nThe Carpenters: Richard Carpenter (voc
EXTD=als, keyboards); Karen Carpenter (vocals, drums).\n\nAdditional p
EXTD=ersonnel: Tony Peluso, Bob Bain (guitar); Thad Maxwell, Red Rhode
EXTD=s (steel guitar); Gayle Levant (harp); Earl Dumler (oboe, English
EXTD= horn); Tom Morgan (harmonica); Bob Messenger (tenor saxophone); 
EXTD=Doug Strawn (baritone saxophone); Pete Jolly (keyboards); Frank F
EXTD=lynn (vibraphone); Joe Osborn, Joe Mondragon (bass); Jim Gordon, 
EXTD=Alvin Stoller (drums); Jackie Ward, Mitch Gordon, John Bahler, Ge
EXTD=ne Merlino (background vocals).\n\nDigitally remastered by Richar
EXTD=d Carpenter.\n\nThis 1975 album is one of Karen and Richard Carpe
EXTD=nter's best. A languorous cover of The Eagles' "Desperado" and a 
EXTD=version of the Marvelettes' classic "Please Mr. Postman" display 
EXTD=the duo's impressive interpretive skills. But the songwriting tea
EXTD=m of Richard Carpenter and John Bettis wrote most of the album. T
EXTD=his pairing had already proven themselves with hits like "Top of 
EXTD=the World," "Yesterday Once More," and "Goodbye To Love." The Car
EXTD=penters' most successful track on HORIZON was the enormous hit "O
EXTD=nly Yesterday." Richard's orchestrations and arrangements here ar
EXTD=e among his best, and of course sister Karen is in excellent voic
EXTD=e throughout, her melancholy, dusky alto sounding as pure and war
EXTD=m as ever.\n\n\nROLLING STONE REVIEW\nHorizon, the Carpenters' mo
EXTD=st musically sophisticated album to date, smoothly adapts the spi
EXTD=rit of mainstream Fifties pop to contemporary taste. While not an
EXTD= emotionally compelling singer, Karen Carpenter has developed int
EXTD=o a fine vocal technician, whose mellow interpretations of the Ea
EXTD=gles' "Desperado" and Neil Sedaka's "Solitaire" evidence professi
EXTD=onalism on a par with such Fifties stars as Jo Stafford and Rosem
EXTD=ary Clooney. Richard Carpenter has also grown into a highly skill
EXTD=ed producer/arranger of easy-listening music. Against the careful
EXTD=ly structured sound of the Carpenter formula, wherein Karen's sol
EXTD=os burst in and out of diaphanous multiharmonies, Richard has imp
EXTD=osed more elaborately orchestrated textures than before and wisel
EXTD=y mixed them at a level that doesn't distract attention from Kare
EXTD=n's intimately mixed singing.\n\nFor the Carpenters' many fans, H
EXTD=orizon offers their recent hits, "Only Yesterday" and "Please Mis
EXTD=ter Postman" (a diluted pastiche of the Marvelettes' 1961 hit tha
EXTD=t's nonetheless pleasant). I much prefer, however, the short, ide
EXTD=ntical mood pieces, "Aurora" and "Eventide" that serve as the alb
EXTD=um's bookends, and most of all the Carpenters' lovely remake of t
EXTD=he Andrews Sisters' 1949 hit, "I Can Dream Can't I." Beautifully 
EXTD=orchestrated and coarranged by Billy May, one of the finest studi
EXTD=o band leaders and arrangers of the Fifties and Sixties, "Dream" 
EXTD=is such a gem of updated schmaltz it makes me wish that veteran m
EXTD=asters of the studio like Gordon Jenkins, Ray Ellis, Nelson Riddl
EXTD=e and Percy Faith would be encouraged to collaborate with other b
EXTD=est-selling MOR acts of the Seventies. (RS 194 - Aug 28, 1975) --
EXTD= STEPHEN HOLDEN
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