Carpenters Revisited: A Fresh Look at Horizon

With what is surely to be the longest article in the series, today I continue on with my "Fresh Look / Revisited" project, reviewing the albums of Richard and Karen Carpenter. What follows was in the making since I had published the review for the duo's Live in Japan in February of last year.

Mike Cidoni Lennox and Chris May's Carpenters: The Musical Legacy was reread several times for the chapter regarding Horizon. The incredible volume focuses on Richard's thoughts about their music, their image, and their lives, including his reflections on this fan favorite. If you've read Randy L. Schmidt's thoughtful Carpenters: An Illustrated Discography (of which I was honored to be interviewed for on the A Kind of Hush album), you'd know Horizon was the most requested album to discuss. Like the others before, my in depth review of their 1975 release comes from a fan focused perspective. It represents a moment in time of my life in California, a season when the music of Karen and Richard had its greatest impact.

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A standout among their many albums, the pinnacle of the duo's creative abilities, a disappointment to some, a brilliant masterpiece to others, a turning point in their success and in their personal lives. The design and execution of Horizon, its content, its chart success - and the season in time surrounding it - is arguably the most fascinating of all stories in the Carpenters rich career and history. Does the story eclipse the swirl of events surrounding the making of Karen's solo album? Does the music contained within endure? Read on and then decide. 

One sole question seemed to guide the creation of Carpenters sixth disc of entirely new material: How do you follow up a blockbuster album filled with one exquisite, iconic, recording after another? The feat of creating the next release after The Singles 1969-1973 seemed to weigh heavy on the hearts and minds of A&M Records best selling artists- particularly the duo's creative architect Richard. Yet, it seemed that their management and the suits at the label, all who were used to one mega smash album after another (and the substantial paychecks they collected at the duo's expense), turned a blind eye to what needed to be done to ensure the success of the album and their career. What Karen and Richard needed was a strategic plan for continued success, but no one at the label or their management was there for them. 

                                        

Mining the past once again.

With a gap just over two years between the release of Now & Then and Horizon, hardcore fans like me were ready for something new as we'd been trained to expect a new album every year.  To hold us over, Richard slightly embellished an old Paul Williams number from A Song For You as he just wasn't happy with the material he was finding. To be sure, this was a very odd decision from A&M's best selling artists.

Nice but the timing was wrong.

In contrast to what happened with Top of The World a year earlier, the record was not as strong a single.  I Won't Last A Day Without You barely missed Billboard's Top Ten. I certainly wondered what might have been going on for them to release yet another older song, but least they were on the stations again. My thinning patience was rewarded later in November of that the year when not one but two singles were released, Please Mr. Postman and Santa Claus is Coming to Town.

Playfulness at its best.

Smiling faces but not for the forthcoming album's cover.

The two singles couldn't be more different, each showing the diversity of talents from both Karen and Richard. Postman was snappy and playful, an oh so irresistible piece of ear candy featuring Karen on the drums. Pure bubblegum perfection impeccably executed. 

Smooth jazz meets Christmas.

In contrast to Postman (along with its flip side This Masquerade), Santa was an extremely elegant record, one of Richard's most brilliant arrangements. It's smooth jazz flavored, ultra sophisticated production featured a very sensual vocal lead by Karen, making it sorely missed by fans when Christmas Portrait would finally see its release. 

The performance of Santa on television's Perry Como Christmas show in the U.S. only cemented their reputation as contemporary masters of their craft. Appearing with the acclaimed Como solidified Carpenters less than cool status with the rock and roll crowd, but it immediately placed Karen on par with the iconic American vocalists of the century as she performed so effortlessly alongside the beloved older singer. The torch from one generation to the next was passed at this very moment. The event must have been a strong recurring thought as Richard produced their next full length album. Not a bad move on their part in creating a legacy that would endure.

Ad for USC Night at Disneyland on December 19, 1974.

Check out the line-up of artists.

Postman hit the top of the Billboard charts in early January along such notables as Elton John, Stevie Wonder, Paul McCartney and Wings, and the soon to be star Barry Manilow. 

Nice line up of speakers.

In late February, the 25th to be exact, Richard part of a guest panel to speak at ULCA-Billboard sponsored "The Business of Music". Fellow artists Jackie DeShannon and Frank Zappa were also on tap. In a rather embarrassing move, Richard's desktop nameplate read "Piano player for the Carpenters". Even a casual fan- let alone the industry's leading news magazine- knew much better than that. The next single would show him to be the excellent songwriter, arranger, producer, and vocalist that he truly was. 

UK's Music Week ad, April 5, 1975

The seemingly long wait for a new single after the Motown remake would drag on with it finally come two months later. When new single arrived, the recording would become one of their career milestones, showcasing their art at its finest.

Orange County's Wallich's Music City in Costa Mesa was the first place to carry the Only Yesterday single. I was surprised it was not Licorice Pizza or Tower Records as they were both pretty reliable in being the place to go for just released 45s and LPs. By this point in time, I lived in Garden Grove, so it wasn't that far a drive. It didn't matter how far away I had to go. After one solitary listen to it on the radio, I just had to add Only Yesterday to my collection immediately. 

The sound of the single was at once very contemporary but also with a slight nod to the past. There is a bit of a Ronettes tribute here. Using the Be My Baby type drum / percussion intro to kick it off, Karen's opening note on her first word "after" instantly identified the artist. No one on radio at the time (or since) sounded like she did, and no one but Karen could deliver those deep supple notes. There's an old newspaper adage "Don'y bury the lead (story)." In other words, begin with what is most important. Richard instinctively understood Karen was a unique stylist and the most recognizable aspect of the duo's records. His choices played to her strengths, and her voice was the ultimate hook.  

Lots of reason to smile. Only Yesterday is an amazing record!

Only Yesterday oozed atmosphere, centering on her incredible tones, leaving them front and foremost, the star of it all. The lyrics emphasized those open, long rich notes that made her voice shine, grounding the entire record. There wasn't much there to distract from Karen's voice to draw you in. Just a bit of an oboe and a few guitar flourishes arriving at the exact right moments to perfectly complement her art. When everything finally came together on the chorus, it was magic. Only at this point did those trademark, glorious, multi-track vocals come into play leading to the pinnacle of the record including a two part saxophone / guitar break, at once searing, piercing, and melodious. Pure sonic delight. Pieces of it reminded me of the duo's earlier hit Goodbye to Love, even though the end result is very different. The record was in was a style never again to be duplicated by Karen and Richard or anyone else. 

The bright sparkle but rich depth of the production highlighted Richard's incredibly complex arrangements. Everyone involved from artist to band member to recording engineer was at the very top of their game. The resulting sound was just incredible. From first listen, I wanted the record to just continue a la Another Song, but this was radio, so I instinctively knew it was not possible. But I wanted more of it all. The story goes that Richard thinks this John Bettis/ Richard Carpenter song was a bit contrived, but he often underestimates his art. Fans now and then don't care. Only Yesterday was an instant Carpenters classic for their next chapter. A new era had begun, and I couldn't wait. 

This logo is worthy of the global superstars.

(Thanks to Harry at the A&M Corner discussion boards for this image.)

 

Finding the single in the racks, I instantly loved the new graphic of the duo. It wasn't cutesy or serious with even a slight nod to melancholy. It was fresh and modern and bold with a design based on a photo of the duo while touring Japan. Years later when I ran across the newer image, I was surprised to notice that aside from gracing the lower right corner of the back of the album, it would never be used again aside from the 1985 Yesterday Once More compilation. 

The photo from the Japanese tour.

It was at this point that I began calling record stores and asking about release dates for albums or pestering radio stations asking for their latest music to be played. Imports began being added to my collection, and Japan held the motherlode. Cashiers checks had to be issued back then, so this all took some planning. My innocent hobby took up more and more of my time as I poured over liner notes and music magazines. I was now a full-fledged nerd.

As I'd soon realize when the album was released, the graphic was just the beginning of something good. The photography and art direction were excellent all around. It was a very classy, well thought out,  package for the top selling artists at A&M. With a stunning cover photo by Ed Caraeff, the duo looked smartly in tune with the times, balancing a fine line between serious and moody. (The inside photo, however, reveals that the duo really needed a stylist.) The art direction by Roland Young was equally superb. This time, the label got it together in how to best present Karen and Richard. At long last.

Still photo from the video shoot for Only Yesterday.

When I finally turned over the record, I was thrilled to see another new song. Once they were established artists, the flip side of a Carpenters single would normally be one from a previously released album, Superstar / Bless the Beast and Children not withstanding. Upbeat and very bright in its approach with a twist that breaks with the past, Happy featured synthesizers quite prominently in the mix. That was new and unexpected! Karen's voice was again rich and deep, sounding very present as she scaled the songs highs and lows. 

An imperfect poster image- but a near perfect album.

When the album's release date finally arrived, buying it and absorbing its contents was the only item on my agenda. It was all I could think about. I'd love Horizon from first listen, and of course as soon as I could, I'd take off for my favorite nearby store. Walking into the small dark space that happened to be close to my favorite Chinese restaurant, I found Horizon displayed front and center with a full size poster of the cover photo hung on the primary wall. 

Where I'd normally browse a bit or even diligently go through every bin looking for something new and unexpected, instead I paid the cashier and briskly walked out treasure in hand. I couldn't get home fast enough to put it on my turntable. 

An equally awesome promotional poster

for the Japanese market.

As if to set the stage for such an excellently produced album that would showcase Karen as the premier world class vocalist, Horizon opens with the elegant Aurora. The lyrical poetry of John Bettis, who would write half of this album's lyrics, has never been more poised and pronounced. Even after listening to the album for decades (and what seemed like decades in preparation for this review), I hear the song and am instantly drawn into the listening experience that is to come. I wasn't the only one who noticed something very different here.

Billboard ad of May 31, 1975 announcing the album.

Industry reviews were generally positive with Cashbox Magazine boldly stating with this collection, "The Carpenters once again prove themselves the listen of the century."

Hyperbole aside, Horizon was clearly not just another Carpenters disc. In contrast to the album which came before or after, this is not a disc you throw on and sing along with while you're doing the laundry or driving down the road. Richard and Karen broke the mold with this one of a kind album. 

Horizon deserves to be listened to while wearing a set of expensive earphones to truly enjoy it to the fullest extent. It's a banquet for your ears, so sit back, close your eyes, and focus. Slowly take in the collection to fully appreciate the sheer artistry of what Richard and Karen have accomplished. They may have been unhappy with the end result, but sonically at least, nothing before or after it comes close, save perhaps the album with the Royal Philharmonic Orchestra. When Herb Alpert stated their sound feels as if Karen was singing while sitting in his lap, Horizon must have been the one on his mind. 

At the conclusion of Aurora and its gentle piano, the opening of Only Yesterday fits seamlessly into the mood. The closing of the duo's Spring single wants you leaving more, and the album version is a bit lengthier than the radio release, but it is still not enough. Once the harmonica kicks in for Desperado, listeners are forced to move on. But what an incredible cut it is! 

Imagine the guts it took for the Carpenters to record this modern American classic just after Linda Ronstadt and the Eagles. It was only two years from the country rock group's version before the duo tackled it and just over a year and a half after Ronstadt's appeared on her album Don't Cry Now. In lesser hands, the song could sound like a karaoke version of what came before. Not so with Karen and Richard at the top of their craft.

The full brilliance of Richard as arranger and producer comes into play here. Where the previous song had layer upon layer of vocals and instrumentation, the relative simplicity of this one allows Karen to shine in storyteller mode. Richard's restraint and consistent good taste allows the warm embrace of Karen's singular voice to play against the wintry chill of the song's lyrics and Tom Morgan's plaintive harmonica. Had Rock radio been more open minded, this understated cut would have joined their rotation. Had it been even lightly marketed to the Country stations, a hit would have easily been secured. This record stands on its own. Richard himself stated he thought Desperado was single worthy, and I fully agree. It's another in a long line of missed opportunities by the A&M and the duo's management.

Early 1975.

STOP! Please Mr. Postman (or "Please Mister Postman" as it appears on the reverse of the album cover) interrupts the sophistication of the disc. In all fairness it was a Number One hit worldwide and a very catchy tune that is difficult to get out of your head once you hear it. 

From the great VinylAlbumCovers.com

Even at 16, I knew that song sounded different the first time I heard the album version vs. the slightly faster single mix. I do love Postman in all its forms (45 release, this polished, remixed Horizon version, the Japanese remix, and the playful RPO cut of 2018), but it should have been saved for the next edition of The Singles greatest hits collection. In its place should have been a different upbeat, or at least mid-tempo, song, something more in line with Only Yesterday or Happy. (Or perhaps the earlier version of Sailing on the Tide that was recorded in 1974. The baroque styled Tryin' to Get the Feeling was recorded and thankfully lost until found years later. It was definitely not what this album needed.) This lighthearted remake just doesn't fit here- especially as the cut leading into one of the most elegant recordings of their career.

A&M Executive Jerry Moss penned this incredible letter, singing Horizon's praises to Richard.

This was a very classy thing to do.

Long before covering the Great American Songbook became popular with aging rock stars finally proclaiming their love for the enduring genre, Richard had an epiphany that his 25 year old sister was actually aligned with the century's greatest vocalists. Horizon contains their first recording from those decades' incredible songs. The resulting I Can Dream Can't I is rich, luxurious, instantly atmospheric. It is the most unexpected song on the album. 

In another break with the past, the song is also notable in one other aspect: It represents the first time on record that the background vocals were done by someone other than Karen and Richard.  

Tour booklet photo. Scan by Harry at the Corner.

Because my grandfather played drums during this era (reportedly he played a live date with a very young Ella Fitzgerald before she was discovered), and my grandmother always had the radio on to stations that broadcasted Big Band sounds, I was familiar with a good number of these classics. However, this one was new to me. The title did not give the style away, so I was quite pleasantly surprised when the arrangement revealed it. 

Much like the poetic feel of Aurora and Eventide, the opening lyrics paint a vivid and captivating picture in the listener's mind. These may have been the inspiration for the title of the album.  I Can Dream Can't I is the thematic centerpiece and emotional heart of the collection. 

True to form, the all star cast of musicians play to an orchestration by the great Billy May, placing silky gowned, white gloved, Karen front and center in an intimate downtown supper club. The house lights dim. The patrons are mesmerized by the girl singer whose rich contralto immediately commands attention, and they gladly follow wherever she chooses to take them. But it's merely an illusion... and another oversight by management. That missing promotional video would have transcended what was happening in the current decade. 

Did she even know how great a singer she was?

There are a few instances on Horizon where Karen's deepest notes are played to full effect. This is the second time on the album where she wowed me in this manner. All the way through the song, I was awed by her voice anew. It was as if I was listening to her for the very first time. Karen's voice had always invited me to escape to another place and time. But never like this. 

The sound engineering of Roger Young and Ray Gerhardt, is just beyond belief, highlighting the hard work and perfectionism of everyone involved. This record would certainly never make Top 40 radio, but it would boldly announce to anyone who was really paying attention that Karen Carpenter was not just the premier vocalist of her own generation, she was, in fact, a voice for the ages. 

Turning the vinyl over, I wasn't expecting the impact of what would come next. Following a song from the past, you'd think a perfect piece of current pop music sounds would be here to reset the mood. Not quite yet. Neil Sedaka and Phil Cody's very dark Solitaire avoids the obvious. Melancholy borders on desperate here, and everything about it reinforces the somber mood. The simple piano intro leads into one of Karen's finest performances. But I'm going to skip further thoughts on Solitaire at this point until later and move on to Happy. 

Slightly enhanced image from

The Complete Carpenters Recording Resource.

After two very serious songs, Happy lifts the mood. If you've read my original review of Horizon, you might remember that I was not fond of this record, feeling it to be a bit trite in comparison to the songs around it. I've come to change my mind. It's exactly what the album needs with its joyful ode to newfound love.

Yet, here's another instance you'd hope someone on their team would step in. With only three upbeat songs on the new album, releasing this one as the "B side" of Only Yesterday left the duo with no options but to release a ballad. Perhaps as problematic, it gave buyers one less reason to purchase the already very short album with effectively only nine songs. All this seems to prove once more that very little thought was given to Karen and Richard, and it was obvious no one seemed to care about making sure those hit singles supported the album in sales instead of detracting from them. The ill timing of their release only reinforced the critic's views that Karen and Richard were merely a singles act.

More than a twinge of country flavored sadness forms the foundation of the beautifully sung and arranged (I'm Caught Between) Goodbye and I Love You. Karen's a bit ambivalent telling her lover she's not sure what to do, and her exacting pronunciation of the lyrics is technical perfection. In that way, it loses just a tiny bit of emotional authenticity. It's not pop sounding enough to be a single, but it is also without the necessary country seasoning to be marketed to that audience. Still, I find the song hard to resist. It may be that regardless of the surroundings, Karen's voice dominates it all, drawing me in. The sparse arrangement leaves no place to hide any lapses in the quality of the individual piece parts, making Goodbye and I Love You a stunning example of expertise from each person involved.

The next song is yet one more missed opportunity. Love Me For What I Am is a powerful song! This is single material. All the elements come into play, and the bitingly direct lyric line is years beyond the fluff of Postman. In fact, Love Me For What I Am is the album's version of This Masquerade in power ballad form. The executives at A&M and the Carpenters management had another chance to present the artist as one that had matured, while still ensuring another hit single and all those hefty paychecks. Even critics as harsh as those in Rolling Stone saw in this song the growth in a group they still clearly loathed. 

If Karen was tentative regarding the prior mentioned relationship, here she makes no bones about where she stands with these John Bettis penned words. It's time to grow up, buddy. The ending of the song begins one of the most compelling pieces of music found on the entire album. Tony Peluso's guitar drives hard and the vocals soar as it comes in for an unexpectedly gentle finish after a shimmering layered vocal. 

The brilliant collection closes with Eventide, sharing the same music as Aurora. With both being the last two songs recorded for the album that took them so long to perfect, the lyrics make for a fitting end to it all:

Lying under barren skies

The light escaping

From my eyes

Below the moon

Walking down the avenue

I'm followed by

The afterglow

The velvet rose

Of evening grows

Weary to be home again

Among the faces

Of my friends

The day is done

Candles burning by the sea

Are waiting for me

Patiently

I wish the same

For you 

The duo's masterpiece- in large form.

After such a long wait, I didn't want the album to end. I turned it over and began listening again. And again. And again. Almost instantly and for decades, Horizon became and remained my favorite of all their albums. The best of both Karen and Richard are on display here, and the resulting sound of the disc is the finest in all their catalogue. Perfectly designed, the musicianship is top-notch. The songs selection is brilliant, providing Karen both lyrics of depth to wrap those velvety notes around and a variety of styles showing they could conquer most any genre. With this album Karen would be established as a world class vocalist on par with anyone her age or beyond. It was pure brilliance and foresight for Richard to present her in this way, ensuring their legacy for decades to come.

Now for Solitaire.

Draggy or brilliant or something in between?

Everything concerning this particular record creates one of the most intriguing stories in the Carpenters history, transforming the course of their art, their career, and their lives. (The song also had a huge impact on me personally.) To go back to an earlier question, how does it all to compare to the controversy and influence of the recording and immediate non-release of the Karen Carpenter solo album? Keep reading.

In happier days.

In 1974, during a tour in England, Karen and Richard joined Sedaka for a party thrown at his home. The guest list included among others,  Paul McCartney, Rod Stewart, and Elton John along with his manager. Neil's recent Laughter in the Rain was a modest hit in the U.K., and by September of that year, Sedaka signed with Elton John's new label Rocket Records hoping to have similar success back in his homeland. Karen and Richard must have liked Sedaka quite a bit as they would begin a series of activities with him both professional and charitable.

At some point, being a connoisseur of music and a lover of radio, Richard ran across Neil's version of Solitaire, tucking it back in his mind as a potential song for the next record. He is quoted as spending two weeks on the mix of the song, wanting to get it just right as he was using new techniques. The result was impressive- and divisive in more ways than one.

Smiling photo for the sheet music. A very interesting choice.

Although it is admittedly slow, there's not a hint of Easy Listening schmaltz in either Karen's phrasing or Richard's arrangement. It builds to a magnificent conclusion, with soaring strings and a stunning vocal that goes from great highs to spellbinding lows and perhaps the longest held note Karen has ever put to disc. It may be a controversial record among hard core fans, but I find it to be an absolutely exquisite piece of craftsmanship. Other singers tend to agree. Solitaire's been covered by a wide range of artists, everyone from Andy Williams to Petula Clark, Shirley Bassey to Sheryl Crow, Elvis Presley to Jann Arden tried to make it their own. Most recently, Josh Groban took his turn at the helm on his 2020 album, Harmony. 

Screenshot from Phil Cody's book, Beyond Words and Music.

The lyricist of the song, Phil Cody, said it best, "I sat down one day and I listened to all 90 versions of "Solitaire" that people have done, and of all the ones that are out there, Karen Carpenter's is still the one that is the benchmark for all the covers on that song. " His additional quote, in his book Beyond Words and Music, shown in the photo above, gives even more of his impression of the Carpenters recording. 

Sedaka himself would eventually give the duo much deserved credit for what they created with one of his signature songs. Over 40 years later in a recommendation for the book "Some Kind of Lonely Clown", by Joel Samberg, Neil would write, 

"An insightful look at the life of Karen Carpenter, a singing hero of mine. I had the pleasure of opening for the Carpenters in 1975, but it was more exciting that they recorded several of my songs, particularly "Solitaire", which featured a breathtaking Karen vocal accompanied by Richard's magnificent orchestration. Mr. Samberg's book is a worthy tribute to her everlasting legacy as one of the greatest vocalists of all time." 

Wisdom and humility can come with age. Neil would also speak of Solitaire and the Carpenters in his 2020 video here.

In between its release as a single and Sedaka's glowing review come the problems. 

The first is why this song was released as a single at all. On paper, the match sounds great. As hot as Sedaka was at the time with Captain & Tennille's breakthrough Love Will Keep Us Together and his own Laughter in the Rain hitting Number One a few months earlier, the duo's record is almost 5 minutes long. A no-no for Top 40 radio at the time and a stretch for the FM side of the dial. A better choice would have been for its flip side, Love Me For What I Am to be the "A" Side. Definitely a selection more radio friendly with its shorter length, easily accessible lyrics, and a stunning guitar solo by Tony Peluso. 

The next problem involves timing. The old school sounding ballad was serviced to radio in the middle of the Summer, which would have made a great time for Happy if it had not already been released. That made no sense. Perhaps everyone involved thought Only Yesterday would last longer on the charts than it did. If so, this would have pushed the pipe organ and guitar enhanced record into the Fall for its release, a much more timely fit for such a serious song to chart. (Although the single has more bite, I prefer the original over the single remix as I more enjoy the more prominent sweeping strings over what was later added.)

At the Riviera in Las Vegas.

Big trouble ahead.

Solitaire debuted solidly at #76 on the August 2 Billboard chart. This was encouraging for a third single, as Only Yesterday had made its debut at #74, and Postman before it at #77. By mid-August as the new single was going up the charts and nearing the Top 20, Neil Sedaka was the opening act for Karen and Richard in Las Vegas. His portion of the show was very strong with his brilliant performance, but his ego was in equally full display as he broke some industry protocol. For both reasons it seems, Sedaka was quickly fired by manager Sherwin Bash at the insistence of Richard. Aside from snide reviews of their music and appearance, the Carpenters rarely received bad press. This was an exception, and the single moved up one more week to #17 before it began its quick decline- along with the album- logging only 10 weeks on the Top 100 charts. 

When looking at the Billboard chart of September 6th, other ballads were in heavy rotation and in the Top Ten. These included Janis Ian's reflective At Seventeen and Barry Manilow's classically inspired Could It Be Magic. Both these records seemed to plod along, so Karen and Richard were not the only ones to release singles that seemed to be a bit slow and repetitive. The "Sedaka incident" must have had an effect on the chart performance of Solitaire as disc jockeys seemed all too willing to speak of the fiasco while station directors concurrently dropped the single from rotation. A perfect storm.

The Riviera's promotional folder.

The pairing was good for the audience, but a disaster for Karen and Richard.

I had heard of this on the radio, but I really did not understood its impact either short or long term. When the next fan club newsletter explained everything from the duo's perspective, and I happily took Richard's words at face value. When I met Karen backstage in 1976 at the Riviera, forgetting the drama associated with it because A Kind of Hush had just been released, I innocently mentioned Solitaire being one of my favorites. She graciously replied, "I'm glad you like it". Now, I understand her response... and I'm so sorry I poured salt in the wound. 

Karen and Terry Ellis, new godparents at the Christening for a friend's baby.

Photographer unknown.

Where was manager Sherwin Bash or even the label executives when it was first suggested the duo tour with Sedaka? Why did it take someone from a competing label to offer advice? According to Terry Ellis, Karen's boyfriend and Chrysalis Records executive, the act had not been trained in even the most rudimentary basics of performing in front of a live audience. In contrast, with decades behind him, Sedaka was known to be high energy and a force to be reckoned with. Was pairing them just human oversight or intentional sabotage? (More about their combined show here.) 

As it all played out, after his dismissal, Sedaka rode to new heights in popularity, beginning with a tour of his own, new management that made the most of the event, and the brand new single Bad Blood featuring new label head Elton John. 

When Neil's new album, The Hungry Years was released, the industry's premier magazine recognized Richard for providing the "lush string arrangements". His craftsmanship helped make the ballad version of Breaking Up is Hard to Do one of the album's standouts. Of course, the work on Sedaka's record was done during a growing friendship long before the disastrous tour. This was the first time either Richard or Karen had collaborated on record with another artist, and it would be the very last time until a partnership with singer B.L. Mitchell when Richard produced (and Karen co-produced) Where I Want to Be and a remake of Venus in 1978. 

The loss of a growing personal friendship aside, it's really unfortunate as Neil with Howard Greenfield or Phil Cody wrote some simply incredible songs that were firmly in the beloved duo's wheelhouse. This could have made a great pairing akin to the Carpenters work with Paul Williams and Roger Nichols or later with Leon Russell. Can you imagine Karen singing The Hungry Years? Absolutely. You don't need Richard's gift in choosing the perfect song for her in order to hear Karen create the definitive version.

Photographer unknown. Color corrections by Harry at the Corner.

I'm reminded of Richard's recent comment of he and Karen being "high ego but low self-esteem" here, and his temper may be what caused him to react quickly by getting Bash to fire Sedaka. 

You can't blame Richard for taking action and doing something, but his emotions got the best of him. This disastrous choice squarely falls on management's shoulders who all too often left Karen and Richard on their own to figure it all out. Not even 30 years old, they were too young to understand the long term damage the firing would bring. To handle all the stresses that came with their fame would be something that even emotionally mature adults would not be able to navigate without adequate counsel and support.  

Regardless of how the events happened, I'm sure everyone involved would have handled themselves much differently. Now decades later, hopefully amends have been made and forgiveness offered. It's a gift offered us through the Messiah of the world- the God made man in Jesus, and in the spirit of Christmas and its true meaning, it's one we can also extend to one another.

A very slim Karen.

Why have I taken so much time to speak of Solitaire and Neil Sedaka? Simply, these events amounted to a watershed moment, changing the duo's trajectory in each area of their lives.

Writer Tom Nolan, in his Rolling Stone cover story on the group in July of 1974 seemed to predict what would come into full bloom about a year later, "The Carpenters have real pressures and problems, hard feelings and confusions which few would associate with the image of the group. Richard and Karen themselves are far from fully acknowledging these feelings. They suffer under strains which even they only dimly comprehend." 

Richard lost confidence in his abilities to not only choose or write great material but also in his assuredness when it came to arranging and production. This may have reflected burnout and a temporary loss of love for what he was created to do. The albums following Horizon lacked much of the innovation and style that made the duo great. The next one seemed to be a knee-jerk reaction to perceptions about their image and the heaviness of the earlier disc and its subsequent lack of sales, or they reeked of a sense of desperation by hopping on the latest trend. Being that both siblings closely followed the sales numbers, it would be easy to see that the lower peak and mere 18 weeks Horizon stayed on the charts was a fraction of the time the previous new album  Now & Then accomplished (41 weeks). Things looked even bleaker when comparing this elegant work with their earlier hit albums. A&M dropped the ball. There's no way after their hit albums and singles, a new LP by the world renowned superstars coming off an amazing hot streak should only reach Number 13 on the charts in their home country.

Karen internalized it all and continued to plummet into the depths of anorexia. Her downhill slide was just beginning, and shortly after recent events was confined to a period of extended bed rest. A very profitable tour to Japan and the U.K. was cancelled including a Royal Command Performance for the Queen Elizabeth II of England. The damage was ongoing. Radio now had what seemed to be a valid reason to not play up their latest records.

Terry Ellis, who temporarily became their new manager, accompanied Richard on an overseas media trip to apologize. After that, it seems the duo disappeared from the public eye, although Richard ventured out to the Roxy theater in Los Angeles that October to see the opening show of Hall & Oates.

Although Horizon was an album of firsts, it was also an album of lasts:

It'd be the last time a Carpenters single would reach the Top Ten in the US with Only Yesterday being their last one to certify Gold.  This would also be the last Top 20 album for the duo in the US. From a creative angle, keeping their excellent Christmas albums in a separate category, Horizon would be the last truly great Carpenters pop album. They would continue selling strongly in the U.K. and Japan in particular, but back home, the hits would not be as easy to come by. 

On a personal note, when I first heard Solitaire, I seemed to take instant ownership of its lyrics. A long standing unrequited love of the past year added a new depth to my ongoing in and outs of depression due to abuse and the nagging belief I'd never find the girl to share life with. My dreams of being a Disney Imagineer vanished after a visit with one backstage at Disneyland, leaving me up in the air about my future. Toss in a brief time of some periodic drinking, and combined with everything else, my last remnant of hope disappeared. I struggled for the next two years to gain some ground. Even now, there are times that Horizon - and especially Solitaire - emotionally takes me to a place I do not want to go, so I am glad to have completed this review and the many hours I spent repeatedly listening to its contents. Oh, the power of great music! My life is blessed to say the least, but sadness can overwhelm me at times. At the very least, listening to this collection of fine songs makes me really miss Karen and her amazing voice and all that should have come.

Great quality large photo.

Special thanks to the anonymous sender.

Taken as an individual album, Horizon remains one of the Carpenters greatest achievements. Music historians will count this among one of their finest, taking its proper place alongside Close to You and A Song For You. The first title represents their youthful energy and musical influences; the second coming into their own; and Horizon the weary duo at the peak of knowing how best to use their God-given gifts.

Oh, the story behind their eyes.

(A rare photo- a reward for reading to the end!)

The next chapter in their musical history brings A Kind of Hush, a musical reversal of Horizon's excellence, but it is not without its depth or charms. Karen and Richard would encounter new changes and challenges ahead. So would I, but it would also be a season where I'd finally meet my musical heroes face to face. 

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This is part of a continuing series of posts on the albums of Karen and Richard Carpenter. There are also numerous stand alone posts highlighting different aspects of their career, recordings, and life. 

Below is the list of my "Revisited /Fresh Look" reviews followed by those a decade earlier. 

My Revisited / Fresh Look at the albums:

Offering / Ticket to Ride

Close to You
Carpenters 

A Song for You 

Now & Then

The Singles 1969 - 1973

Live in Japan

Horizon

A Kind of Hush

Live at the Palladium

Passage

 

My Initial Reviews of the albums:

Offering/Ticket to Ride

Close to You

Carpenters

A Song for You

Now & Then

The Singles 1969-1973

Live In Japan

Horizon

A Kind of Hush

Live at the Palladium

Passage

The Singles 1974-1978

Christmas Portrait

Made in America

Voice of the Heart

An Old Fashioned Christmas

Time (Richard Solo)

Lovelines

Karen Carpenter (Solo)

As Time Goes By