Horizon
By Carpenters
| . | . | . | . | . | . | . |
| |||||||||||||||||||
Track listing
Show track credits
- A1 Aurora 1:30
- A2 Only Yesterday 4:10
- A3 Desperado 3:35
- A4 Please Mister Postman 2:48
- A5 I Can Dream Can't I 4:46
-
arranger, orchestration
-
bass
-
drums
-
keyboards
-
vibraphone
-
guitar
-
- B1 Solitaire 4:40
- B2 Happy 3:50
- B3 (I'm Caught Between) Goodbye and I Love You 3:58
- B4 Love Me for What I Am 3:28
- B5 Eventide 1:27
- Total length: 34:12
Rate/Catalog
Catalog
Set listening
Review
To rate, slide your finger across the stars from left to right.
14 Issues
11 Reviews
Pure class. The way Karen treats "I Can Dream, Can't I" (an old tune associated with The Andrew Sisters) are among the greatest performances of the so-called AOR-phenomena of the 1970's.
Their last peak where the album holds together through and through this a must in the collection of any non-biased music-lover. Of whom there thankfully are many here on RYM - hello out there!
Their last peak where the album holds together through and through this a must in the collection of any non-biased music-lover. Of whom there thankfully are many here on RYM - hello out there!
Published
ADVERTISEMENT
From the album-sleeve cover to the music covered on the record, this is pure pathos: The dream-voice of your second-grade teacher telling you that maybe everything is going to turn out alright.
Published
-
A1
Aurora
-
A2
Only Yesterday
-
A3
Desperado
-
A4
Please Mister Postman
-
A5
I Can Dream Can't I
-
B1
Solitaire
-
B2
Happy
-
B3
(I'm Caught Between) Goodbye and I Love You
-
B4
Love Me for What I Am
-
B5
Eventide
A Peaceful Awakening from a Soft Dream
Considering the turmoil that was present throughout the entirety of The Carpenter's career, it's baffling to be embraced by the soft and dreamy touch of Horizon. Horizon, from the first notes to the last, act as the sweet lover who wakes you up with the smell of eggs and bacon; the album captures that oh-so-fleeting feeling of awakening from a sweet dream and feeling the sun as it opens your restful eyes. Horizon doesn't ask much of the listener, however, Richard Carpenter, through his tasteful and inviting arrangements, and Karen, through her voice which is able to range from an affectionate lullaby to a penetrating belt, as well as the numerous mixing engineers, give the listener an escape into a velvet fantasy world.
In typical Carpenter fashion, this album is populated by both traditional covers, as well as originals. The former of which is highlighted by the smooth, jazzy "I Can Dream, Can't I?", as well as maybe the greatest version of "Please Mr. Postman" of all time. The most notable of the originals include the infinitely loving, "I'm Caught Between Goodbye and I Love You" as well as the surprisingly psychedelic "Happy", which features an unexpected yet welcome synthesizer aside, however even the best dreams can be unpredictable.
It would also be wrong to not mention "Only Yesterday". The use of double track and studio-effects only strengthens the powerful vocal delivery of Karen Carpenter, which may be one of the best performances of the career.
While the lyrical content of the album may not be incredibly stimulating, or ask much more than that of a typical pop record, the album find its peace and beauty in its stability and relatability.
While Horizon will never top Rolling Stone's or Pitchfork's "greatest albums" of the 70s lists, or anything remotely close, the album is perfect in what it is. Inoffensive, yet not boring. Loving, but not overbearing. Possibly the greatest collect work of The Carpenter's career, Horizon forgoes complexities and allows you to rest in its tranquil presence.
Published
One of the most successful albums in the U.K. in 1975, in retrospect it seems to have been the duo's high-water mark both artistically and commercially.
By now, they had honed their smooth, honeyed production sound to perfection with some nods along the way to the mid-70's MOR pop which the Captain and Tennille would pick up from them and run all the way to the top of the American charts starting at about this time.
The album starts and ends with two brief, light reverie-type pieces as pretty sounding as their names of "Aurora" and "Eventide".
Included are two big hit singles, "Please Mr. Postman", in a way a reversion to their earlier custom of recording a Beatles song, although this one was probably better known as an early 60's number one hit for the Marvelettes and the wonderfully zingy "Only Yesterday". In the States they also scored a top 20 hit with their version of Neil Sedaka's rather cloying, self-pitying ballad "Solitaire".
My own favourite track here is the gorgeous "Happy", unaccountably tucked away on the flip side of "Only Yesterday", inadvertently bringing about a high-quality double-sided 45.
Elsewhere there's a respectful and respectable cover of Eagles' "Desperado" although it's surprising not to hear Karen go for the big note at its climax and rather sing through it instead.
"I Can Dream, Can't I?" however, she sings beautifully in a lovely 30's-stye reproduction making you wish they'd turned her loose on a full album's worth of American Songbook standards long before it came into vogue for other artists like Linda Ronstadt and Rod Stewart.
The last two full tracks before the end are interesting in that they have Karen sing in both from the position of a passed-over lover, but more assertively than usual.
"(I'm Caught Between) Goodbye And I Love You" catches her halfway to the door but not sure whether to leave while "Love Me For What I Am" sees her on her way downstairs, suitcase in hand and on her way to a waiting cab. Both are fine lush ballads, the latter, especially trying for the heights of their masterpiece "Goodbye To Love" but rather abandoning the attempt at the final base camp.
Looking at the album sleeve here reminds me of the Beatles' tired-looking expressions on "Beatles For Sale" with Karen's downward glance particularly telling, especially in retrospect. Just compare it, say, with their innocent, enthusiastic expressions on the sleeve of "Close To You" just five years earlier. That said, there are still a couple of gems on this otherwise solid album with any cracks in their "perfect" partnership still difficult to discern at this stage.
By now, they had honed their smooth, honeyed production sound to perfection with some nods along the way to the mid-70's MOR pop which the Captain and Tennille would pick up from them and run all the way to the top of the American charts starting at about this time.
The album starts and ends with two brief, light reverie-type pieces as pretty sounding as their names of "Aurora" and "Eventide".
Included are two big hit singles, "Please Mr. Postman", in a way a reversion to their earlier custom of recording a Beatles song, although this one was probably better known as an early 60's number one hit for the Marvelettes and the wonderfully zingy "Only Yesterday". In the States they also scored a top 20 hit with their version of Neil Sedaka's rather cloying, self-pitying ballad "Solitaire".
My own favourite track here is the gorgeous "Happy", unaccountably tucked away on the flip side of "Only Yesterday", inadvertently bringing about a high-quality double-sided 45.
Elsewhere there's a respectful and respectable cover of Eagles' "Desperado" although it's surprising not to hear Karen go for the big note at its climax and rather sing through it instead.
"I Can Dream, Can't I?" however, she sings beautifully in a lovely 30's-stye reproduction making you wish they'd turned her loose on a full album's worth of American Songbook standards long before it came into vogue for other artists like Linda Ronstadt and Rod Stewart.
The last two full tracks before the end are interesting in that they have Karen sing in both from the position of a passed-over lover, but more assertively than usual.
"(I'm Caught Between) Goodbye And I Love You" catches her halfway to the door but not sure whether to leave while "Love Me For What I Am" sees her on her way downstairs, suitcase in hand and on her way to a waiting cab. Both are fine lush ballads, the latter, especially trying for the heights of their masterpiece "Goodbye To Love" but rather abandoning the attempt at the final base camp.
Looking at the album sleeve here reminds me of the Beatles' tired-looking expressions on "Beatles For Sale" with Karen's downward glance particularly telling, especially in retrospect. Just compare it, say, with their innocent, enthusiastic expressions on the sleeve of "Close To You" just five years earlier. That said, there are still a couple of gems on this otherwise solid album with any cracks in their "perfect" partnership still difficult to discern at this stage.
Published
ADVERTISEMENT
Another insanely lovely Carpenters album. This one sounds exactly like that cover - it is misty and sad. Richard Carpenter has publicly stated that during the recording of this album was when Karen's health began to deteriorate. It seems overwhelmed with soft-focus pathos - even a poppy, upbeat single like 'Only Yesterday' has something mournful about it. They do a pained reading of 'Desperado' which comfortably sits next to Linda Ronstadt's. The hit off this was 'Please Mr. Postman', the kind of oldies throwback that they could put together in their sleep. It's a great cover and was deservedly a hit, but sounds like an upbeat single included to sell the album, rather than something that sustains the tone and tempo of the rest of the songs. Richard's arrangements are ornate and sophisticated, they were the biggest band on A&M at this point, and one of the biggest pop bands in the world.
Published
Carpenters never were an album act. I can see no other reason why Horizon, like almost all Carpenters albums, features a couple of pointless covers beside the high quality originals. "Please Mister Postman" even was a (hit) single. "I Can Dream Can't I" represents the kind of big band entertainment that I am not looking for while listening to a Carpenters record; even that can still be considered an experiment, but while these two tracks are preceded by a version of the Eagles song "Desperado", the whole thing feels just bland. Maybe the U.S.American mid-1970s (further listening: Captain & Tennille) were still more like the mid-1960s, relying on the singles market and still not paying real attention for original songwriting, while UK was a different story already.
Anyway, the small classic "Only Yesterday" is a great pop song. "Solitaire", a Neil Sedaka / Phil Cody song previously released by Tony Christie, Andy Williams et alia, was yet another single, and to me it sounds all right. On the album it is followed by "Happy", which is my favourite number on the whole album. "Love Me for What I Am" is also very nice, while "(I'm Caught Between) Goodbye and I Love You" is not much worse, and the opening and closing fragments ("Aurora" and "Eventide" respectively) are quite fine as well. So, Horizon once again has ingredients of a really good album, but the result is not at all as good as it might be.
Anyway, the small classic "Only Yesterday" is a great pop song. "Solitaire", a Neil Sedaka / Phil Cody song previously released by Tony Christie, Andy Williams et alia, was yet another single, and to me it sounds all right. On the album it is followed by "Happy", which is my favourite number on the whole album. "Love Me for What I Am" is also very nice, while "(I'm Caught Between) Goodbye and I Love You" is not much worse, and the opening and closing fragments ("Aurora" and "Eventide" respectively) are quite fine as well. So, Horizon once again has ingredients of a really good album, but the result is not at all as good as it might be.
Published
As bland and conventionally schmaltzy as the cover artwork suggests.
Post-1973 Carpenters are better left unheard...
Post-1973 Carpenters are better left unheard...
Published
Votes are used to help determine the most interesting content on RYM.
Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term.
Vote down content which breaks the rules.
Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term.
Vote down content which breaks the rules.
Catalog
26 Apr 2024
15 Apr 2024
13 Apr 2024
8 Apr 2024
5 Apr 2024
-
A1
Aurora
-
A2
Only Yesterday
-
A3
Desperado
-
A4
Please Mister Postman
-
A5
I Can Dream Can't I
-
B1
Solitaire
-
B2
Happy
-
B3
(I'm Caught Between) Goodbye and I Love You
-
B4
Love Me for What I Am
-
B5 Eventide
4 Apr 2024
3 Apr 2024
1 Apr 2024
24 Mar 2024
23 Mar 2024
21 Mar 2024
18 Mar 2024
11 Mar 2024
3 Mar 2024
28 Feb 2024
Contributions
Log in to submit a correction or upload art for this release