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DISCID=76093f08
DTITLE=Carpenters / Passage
DYEAR=1977
DGENRE=Rock
TTITLE0=B'wana She No Home
TTITLE1=All You Get From Love Is A Love Song
TTITLE2=I Just Fall In Love Again
TTITLE3=On The Balcony Of The Casa Rosada + Don't Cry For Me Argentina
TTITLE4=Sweet, Sweet Smile
TTITLE5=Two Sides
TTITLE6=Man Smart, Woman Smarter
TTITLE7=Calling Occupants Of Interplanetary Craft
EXTD=Originally Released October 1977\nCD Edition Released \nRemastere
EXTD=d CD Edition Released December 8, 1998\n\nAMG EXPERT REVIEW: Pass
EXTD=age is surprisingly ambitious, almost experimental by the standar
EXTD=ds of the Carpenters -- there are no Richard Carpenter-authored s
EXTD=ongs, a first for the duo, and what is here seems an almost consc
EXTD=ious effort to sound different from their prior work. That includ
EXTD=es the ornate versions of "Don't Cry for Me Argentina" and "Calli
EXTD=ng Occupants of Interplanetary Craft," both arranged by Peter Kni
EXTD=ght (best known for his work with the Moody Blues on Days of Futu
EXTD=re Passed). The Evita song, which comes complete with its surroun
EXTD=ding musical material, is so much more elaborate than anything el
EXTD=se on the album that it seems completely out of place. Richard ev
EXTD=idently had what he felt were good reasons for choosing to record
EXTD= Klaatu's piece of space rock ersatz, and it is hard not to luxur
EXTD=iate in Karen Carpenter's enunciation of the lyrics, but overall 
EXTD="Calling Occupants of Interplanetary Craft" is one of those '70s 
EXTD=records that is truly embarrassing to be caught listening to toda
EXTD=y, a pop culture Jimmy Carter-era artifact on a par with pet rock
EXTD=s. The album also has its unusually playful side, represented by 
EXTD=the country number "Sweet, Sweet Smile" and the Calypso piece "Ma
EXTD=n Smart, Woman Smarter," although the latter doesn't work at all 
EXTD=and neither track would ever find a place even on a "volume three
EXTD=" of the best of the Carpenters. Much more memorable was "All You
EXTD= Get from Love Is a Love Song," which also had more of a beat tha
EXTD=n one was accustomed to in the duo's music, and the dark, melanch
EXTD=oly-tinged "Two Sides." The effort was admirable even if most of 
EXTD=the results aren't memorable or essential.  -- Bruce Eder\n\nAMAZ
EXTD=ON.COM CUSTOMER REVIEW\nToo Bad, But A Noble Effort, January 27, 
EXTD=2007\nReviewer: Maestroh "A.A., A.A.S.,B.M.E.,Th.M." (Ph.D. Textu
EXTD=al Criticism)\nThey owned the charts from 1970 to 1975. The only 
EXTD=competitor they had in the 'most likely to get a hit' category wa
EXTD=s Elton John. Then came the 'superb' Horizon and the 'sublime' A 
EXTD=Kind of Hush. And then came this eclectic work that gave the Carp
EXTD=enters the best and worst of all worlds. \n\nTheir last top twent
EXTD=y hit was "There's A Kind of Hush," which went to #12 in May 1976
EXTD=. That would have been a good achievement for almost anybody else
EXTD=. But the Carpenters were now in a slump from which they never re
EXTD=covered. \n\nAccording to the inside liner notes of this album, t
EXTD=hey spent a whopping three months on it. When you consider that t
EXTD=hey spent 18 months on Horizon, perhaps the record company was in
EXTD= a hurry. But the simple truth is that by 1977, time was passing 
EXTD=the timeless duo by. Indeed, the album's name "Passage" signifies
EXTD= what happens as the 'hit' Carpenters were replaced by the lounge
EXTD= crew in Las Vegas. It happens to everybody, and the sun began to
EXTD= set on Karen and Richard with this recording. After hitting #12 
EXTD=in 1976, they had only one more top twenty, a #16 "Touch Me When 
EXTD=We're Dancing" in 1981. They charted a couple of songs from this 
EXTD=record, but the result was a colossal disappointment. \n\nIt is t
EXTD=oo bad because in many ways, "Passage" is the Carpenters' most am
EXTD=bitious and creative record of all. They run the gauntlet from co
EXTD=mmerical to classical to jazz to science fiction, all in the cour
EXTD=se of only nine songs. \n\nThis CD does have the best cover of an
EXTD=y Carpenters recording. It disdains the traditional Carpenters lo
EXTD=go and is rather colorful in opposition to the covers preceding i
EXTD=t. Indeed on this album, everything about the Carpenters has chan
EXTD=ged. It is the only Carpenters recording to not have ONE SINGLE s
EXTD=ong written by Richard Carpenter. \n\nThe first mistake was nothi
EXTD=ng short of colossal: Karen Carpenter turned down 'You Light Up M
EXTD=y Life' after being offered it as a single by her boyfriend (and 
EXTD=later California Lt Governor) Mike Curb. That song went to Debby 
EXTD=Boone, who promptly turned it into the #1 song of the entire deca
EXTD=de of the 1970s, ten weeks at number one. But the Carpenters had 
EXTD=other matters. \n\nThe album kicks off with the Michael Franks wr
EXTD=itten "B'wana She No Home." Your guess is as good as mine as to w
EXTD=hat that phrase means. The top-selling single on the album follow
EXTD=s, "All You Get From Love Is A Love Song," written in 1973 by Ste
EXTD=ve Eaton. It sounds so much like their past stuff that you'd swea
EXTD=r Richard and John Bettis wrote it, but they didn't. The song pea
EXTD=ked at #37 in the summer of 1977. The next song showed how fortun
EXTD=es could turn on the Carpenters. For years, they had made hit-aft
EXTD=er-hit releasing lesser known tunes by others like Ruby and the R
EXTD=omantics. Karen did the better read on "I Just Fall In Love Again
EXTD=," but it was Anne Murray two years later who got the #1 hit with
EXTD= it on the country charts. Side one ends with a nine-minute opera
EXTD=tic piece from the Andrew Lloyd Weber-Tim Rice opera "Evita." The
EXTD= song is a familiar one - "Don't Cry For Me Argentina," a smash h
EXTD=it but not for Karen. \n\nSide two kicked off with then unknown J
EXTD=uice Newton's "Sweet, Sweet Smile," reminiscent of their shot at 
EXTD="Jambalaya" in 1973 and proof that Karen and Richard could sing c
EXTD=ountry well, too. It was another single but flopped. A better rel
EXTD=ease would have been the next song, "Two Sides," written in 1972 
EXTD=by Scott Davis. Richard called it his personal favorite on the re
EXTD=cording, and it sounds eerily similar to some of their later tune
EXTD=s like the "Lovelines" album. "Man Smart, Woman Smarter" is a cal
EXTD=ypso tune celebrating feminism - proof that while the Carpenters 
EXTD=might have been behind on the socialist bandwagon (Evita), they w
EXTD=ere also out to lunch on the feminist movement that was then flam
EXTD=ing out into the disco era. The last song, "Calling Occupants of 
EXTD=Interplanetary Craft" was probably chosen because 1977 was the ye
EXTD=ar of "Star Wars" and the beginning of the sci-fi craze. Tony Pel
EXTD=uso reprised his role from the "Now and Then" recording as 'confu
EXTD=sed DJ.' He is contacted by aliens and the song launches. It is p
EXTD=robably the most creative song on the album, a single, and a lack
EXTD=luster hit. \n\nThe age of the Carpenters and the years on the ro
EXTD=ad were now beginning to take their toll. "Passage" stands as a m
EXTD=arker of time when the Carpenters passed from the scene. It is en
EXTD=joyable but not for those who are not familiar already with their
EXTD= obvious talent. I give it three stars. \n\n\n\nAMAZON.COM CUSTOM
EXTD=ER REVIEW\n"Passage" is Differnt Fare for Richard and Karen , Aug
EXTD=ust 2, 2005\nReviewer: James Koenig "Konedog4" (Fergus Falls, MN 
EXTD=United States)\n\n"Passage", released in 1977, would be the last 
EXTD=Carpenter album to be relased until "Made In America" in 1981. Af
EXTD=ter this album, both Karen and Richard were spent emotionally and
EXTD= physically and needed a break from the constant touring and stud
EXTD=io recording. Richard would go into detox at The Menninger Instit
EXTD=ute in Topeka, Kansas, to kick prescription sleeping pills, while
EXTD= Karen would cut a solo album with Phil Ramone in New York and be
EXTD=gin therapy for her ever deeper descent into anorexia nervosa. \n
EXTD=\nThe rock critics of 70's viewed the Carpenters' music as nothin
EXTD=g more than sugar sweet filler material, best suited for elevator
EXTD=s. While their fans bought their albums at a frantic pace, I beli
EXTD=eve Richard Carpenter produced "Passage" as an attempt to silence
EXTD= the critics and show that he and Karen could produce more than j
EXTD=ust "sugar songs for the masses". And so, thus we have "Passage",
EXTD= an album that was made to showcase the diversity of the Carpente
EXTD=r sound. There are some very different non-typical Carpenter song
EXTD=s on this eclectic album. First, there is the 7-plus minute extra
EXTD=terrestrial "Calling Occupants of Interplanetary Craft", then an 
EXTD=exploration into Broadway with Karen's lush rendition of "Don't C
EXTD=ry For Me Argentina". Three singles were released from the album,
EXTD= "Occupants", the jazzy "All You Get From Love Is A Love Song", a
EXTD=nd the jaunty county tune "Sweet Sweet Smile". A Carpenter album 
EXTD=would not be complete without a sweet ballad or two, and this alb
EXTD=um has two: "I Just Fall In Love Again", and "Two Sides". \n\nAga
EXTD=in, it is not your typical Carpenter fare, but it certainly holds
EXTD= its own musically, and of course, Karen's vocals are unequalled.
EXTD= \n\nIf you are looking for the love ballads that made the Carpen
EXTD=ters famous, this album may disappoint you. However, you also may
EXTD= be surprised at the diversity of the Carpenters sound, and appre
EXTD=ciate this album for what it is - a change of course for the brot
EXTD=her and sister act.  I like the album for its diversity and recom
EXTD=mend it to you as well.  -- Jim "Konedog" Koenig \n\n\n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nA CLASSIC IN IT'S OWN WAY, May 14, 2003\nRevi
EXTD=ewer: cdmusicline "cdmusicline" (Fullerton, CA United States)\n"P
EXTD=assage" initially was not a commercial success, but has gone on t
EXTD=o become a CLASSIC of sorts being known as The Carpenters' most d
EXTD=iverse and experimental album. \nThe album opens with a triumph o
EXTD=f robust jazz inflections on Michael Franks' "B'wana She No Home"
EXTD=. The song was recorded live in the studio, so you get the full e
EXTD=ffect of the musical jam between Pete Jolly's keyboard and Tom Sc
EXTD=ott's flute. Tony Peluso adds some ripping guitar riffs throughou
EXTD=t the song. Karen's vocal is bold and seductive. This is a style 
EXTD=which should have been further investigated by The Carpenters. \n
EXTD=The album is full of one highlight after another. There is not on
EXTD=e loser on this set. "Don't Cry For Me Argentina" is no exception
EXTD=. Peter Knight (who orchestrated The Moody Blues' "Days Of The Fu
EXTD=ture Passed" album) orchestrated and arranged "Don't Cry For Me A
EXTD=rgentina". Karen's reading of the song is flawless, it's as if it
EXTD= was written especially for her to sing. She soars on every note 
EXTD=reaching each to perfection. She tells the story as if she lived 
EXTD=it herself with a convincing emotional urgency. The Carpenters ha
EXTD=ve recorded the definitive version of this song, they were even t
EXTD=elevised during the recording which was shown on news stations ac
EXTD=ross the U.S. in 1977.\nThe album's most exciting moment is "Swee
EXTD=t, Sweet Smile", which was written by Juice Newton (Queen Of Hear
EXTD=ts). The song moves along with an infectious upbeat bounce and on
EXTD=ce again Tony Peluso shines with his guitar chords. It reached #6
EXTD= on the Country Music Charts in 1978. \n"I Just Fall In Love Agai
EXTD=n" and "Two sides" are the album's ballads. Both are outstanding 
EXTD=and should have been released as singles. "Two Sides" is the favo
EXTD=rite track on the album according to a voting poll. ...\nThe albu
EXTD=m closes with a very unlikely song for The Carpenters to record. 
EXTD=It's a space song written by Canadian prog-rock group Klaatu. Kla
EXTD=atu recorded the song using synthesizers, while The Carpenters us
EXTD=ed all real instruments to create the other worldly effect. Again
EXTD= Peter Knight did the outstanding orchestration and arrangement. 
EXTD="Calling Occupants" was so well recorded that The Carpenters reci
EXTD=eved a Grammy nomination for it in the U.S. and it reached the to
EXTD=p ten in the U.K. The song opens with guitarist Tony Peluso portr
EXTD=aying a confused DJ who is taking a song request from an alien. T
EXTD=he song is an amazing work of art all the way through. Leon Russe
EXTD=ll (author of the songs "Superstar", "A Song For You" and "This M
EXTD=asquerade") provides futuristic keyboard parts and Tony Peluso's 
EXTD=fuzz guitar solo just sends you out of this world. But above all 
EXTD=is Karen's pristine crystal clear stellar vocal, she's right at h
EXTD=ome with this offbeat song. Others like Olivia Newton-John or Bar
EXTD=bra Striesand would have never been able to pull it off effective
EXTD=ly - but Karen Carpenter has a youthful versatility in her voice 
EXTD=which is very evident on the album "Passage".\n"Passage" may not 
EXTD=have reached the top of the charts, but it is a musical triumph a
EXTD=nd has grown to be recognized a The Carpenters' most daring effor
EXTD=t.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nEclectic and adventurous wi
EXTD=th a few detours..., July 11, 2001\nReviewer: A music fan\nThis i
EXTD=s easily the Carpenters most stylistically diverse and self-consc
EXTD=iously "sophisticated" and "eclectic" work. You get lite reggae, 
EXTD=pop, showtunes, country-pop etc.\nAt the album's center is the in
EXTD=tegrity and versatility of Karen's voice. She soars on "I just fa
EXTD=ll in love again" (which stands up next to Dusty Springfield and 
EXTD=Anne Murray's versions), pulls off Michael Franks' funny "B'Wana 
EXTD=She No Home", is quite convincing on "Don't Cry For Me Argentina"
EXTD= and on "Calling Occupants Of Interplanetary Craft", well . . . i
EXTD=ts so over the top does singing really matter?\n\nOther than thos
EXTD=e songs and the sleek "All You Get From Love Is A Love Song" you 
EXTD=get cutesy numbers like "Sweet, Sweet, Smile" and "Man Smart, Wom
EXTD=an Smarter" and some filler. These types of "ditties" are of cour
EXTD=se the fatal flaw of most of their albums which undermine Karen's
EXTD= interpretive gifts just to keep things "lite". As usual the prod
EXTD=uction is clean and smooth and everything ticks along nicely, but
EXTD= it would be stronger with a few more songs. For example an R&B s
EXTD=ong or a standard would be interesting.\n\nAlas, this is more coh
EXTD=esive and enjoyable than most of their similarly hodgepodge album
EXTD=s, because there's enough good material to compensate for occasio
EXTD=nal lapses in taste. I would recommend purchasing the "Yesterday 
EXTD=Once More" compilation if you enjoy their music becuase that give
EXTD=s you the most thorough and accurate and overview without a lot o
EXTD=f fluff.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Guilty Pleasure, Nove
EXTD=mber 5, 1999\nReviewer: A music fan\nBeing old enough to remember
EXTD= this album when it was first released, I had the album on vinyl 
EXTD=and later cd, then it went out of print. A lot of people don't ev
EXTD=en remember the album was indeed released on cd in 1986. I never 
EXTD=liked the mastering of this disc and the remaster does do it some
EXTD= justice, although it's still not as well remastered and sonicall
EXTD=y enhanced as the other re-releases. That aside, this album is on
EXTD=e of my guilty pleasures. I've bucked horns with other Carpenters
EXTD= fans about this album and one thing is abundantly clear, this bo
EXTD=dy of work is not a favorite. It was too much a turn away from th
EXTD=eir earlier work and the established fans were not ready for it. 
EXTD=The Carpenters recorded a jazz rock piece penned by the talented 
EXTD=Michael Franks, the song titled "B'wana She No Home," a tune that
EXTD= explains a master-servant problem, some people cried "racist." N
EXTD=ext up an attempt to capture the upbeat sound of the disco sevent
EXTD=ies gave us "All You Get From Love Is A Love Song" which was an i
EXTD=rresistable hit, "Sweet Sweet Smile" introduced us to upcoming st
EXTD=ar Juice Newton, "Calling Occupants" showcased Richards arranging
EXTD= and comic ability, he alone was the alien "voices" multiplied by
EXTD= the Carpenters trademark vocal overdubbing. In later remixes Ric
EXTD=hard would add an echo to Karen's voice as well as a "doubling ef
EXTD=fect" on the final verse. Two songs find us in Carpenters territo
EXTD=ry, probably added to ensure listeners that their trademark sound
EXTD= would never be comprimised and for the simple fact Karen's vocal
EXTD=s were perfect. "Two Sides" and "I Just Fall In Love Again" are t
EXTD=hose two tunes. Anne Murray would cover "Fall In Love" but never 
EXTD=reach the majestic reading made by Karen. Karen was full aware th
EXTD=e soviet anthem "Don't Cry For Me Argentina" would raise eyebrows
EXTD= but listen to her performance. I feel it is just as commanding a
EXTD=s "Superstar." Harry Belefonte usually stands on his own, not man
EXTD=y people have the stones to cover his work, but the Carpenters di
EXTD=d. This is the one tune you have to be in the mood for. Trying to
EXTD= interpret all the layers of instruments will give you listening 
EXTD=fatigue. Weird vocal snatches, a cuckoo clock, sounds of a plane 
EXTD=crash, it's too much but when you're ready for it, it's a blast. 
EXTD=The album cover itself gives a idea of what you're in for, the cr
EXTD=azy colors and notes on a music bar, the cover design and the mus
EXTD=ic defies the mark of time. Don't tell anybody you like this albu
EXTD=m, it's our secret.\n\n\nHalf.com Details \nContributing artists:
EXTD= Lee Ritenour, Leon Russell, Ray Parker, Jr., Tom Scott \nProduce
EXTD=r: Richard Carpenter \n\nAlbum Notes\nThe Carpenters: Richard Car
EXTD=penter (vocals, acoustic & electric pianos, keyboards); Karen Car
EXTD=penter (vocals, drums).\n\nAdditional personnel: Dennis Heath, Wi
EXTD=lliam Feuerstein, Jonathan Marks (vocals); Lee Ridenour, Jay Gray
EXTD=don (acoustic guitar); Tony Peluso, Ray Parker, Jr. (electric gui
EXTD=tar); Vince Charles (steel guitar); Larry McNealy (banjo); Bobby 
EXTD=Bruce (fiddle); Gayle Levant (harp); Tom Scott (flute, tenor saxo
EXTD=phone); Earl Dumler (oboe); Jackie Kelso (tenor saxophone); David
EXTD= Luell, Kurt McKettrick (baritone saxophone); Pete Jolly, Tom Hen
EXTD=sley, Leon Russell (piano); Larry Muhoberac (electric piano); Joe
EXTD= Osborn (bass); Ron Tutt, Ed Green (drums); Jerry Steinholtz, Kin
EXTD=g Erickson (congas); Wally Snow, Tommy Vig (percussion); Julia Ti
EXTD=llman, Carlena Williams, Maxine Willard, Gregg Smith Singers (bac
EXTD=kground vocals).\n\nEngineers: Ray Gerhardt, Roger Young, Dave Iv
EXTD=eland.\n\nIncludes liner notes by Tom Nolan.\nDigitally remastere
EXTD=d by Richard Carpenter.\n\nEasily the strangest item in the Carpe
EXTD=nters' extensive catalogue, 1977's PASSAGE was a concerted effort
EXTD= to steer away from the siblings' public image as purveyors of ea
EXTD=sy-listening pop. All of the Carpenters' albums feature examples 
EXTD=of Karen's stunning interpretive powers. The songs covered here i
EXTD=nclude "B'wana She No Home," Andrew Lloyd Webber's "On the Balcon
EXTD=y of the Casa Rosada/Don't Cry For Me Argentina," reggae standard
EXTD= "Man Smart, Woman Smarter," and--perhaps most bizarrely--a strai
EXTD=ght-forward cover of Klaatu's just plain weird "Calling Occupants
EXTD= of Interplanetary Craft." Somehow this final oddity managed to b
EXTD=ecome a top-ten hit! The album was remastered by Richard Carpente
EXTD=r in 1998 as part of a general overhaul of the Carpenters' A&M ca
EXTD=talogue. A limited-edition Japanese version features 32-bit digit
EXTD=al remastering and an LP-style slipcase.
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