Eagles' Glenn Frey: May He Rest in Peace.

Glenn Frey of the Eagles has passed away. What a gifted man, a talented artist. Hotel California remains one the best odes to life in the Golden State with it melodic guitar solo and biting lyrics. The Heat is On instantly brings me back decades, and James Dean rocks me to this day. It is the mournful, gorgeous Desperado, sung by Karen Carpenter, that showcases the array of his talent. It's an iconic take on an iconic tune. Rest in Peace.

Keith Urban's Ode to the Johns in His Life

Gotta say I just heard the new single by Keith Urban, and it is an instant classic! The upbeat, playful tune is titled "John Cougar, John Deere, John 3:16". Not in the least bit preachy, in spite of the Biblical reference in the name. 

Keith's been away since 2013, and with his stint on American Idol coming to an end, it's time for him to focus solely on the music once again. 

For me, his 2009 album, Defying Gravity, was one incredible disc! Chock full of great songs- everything from "Kiss A Girl" to "Hit the Ground Runnin'" captured the fun of country music. I even found a bit of the Eagles and their California meets Arizona stylings in the underrated "Only You Can Love Me This Way".

Radio.com has this great but short interview with Keith about his new album and particularly his new single:

“It’s a great feeling to be back in the studio shaping a new album,” Urban said in a press release about the song. “‘John Cougar, John Deere, John 3:16’ was sent to me a few months ago by one of the songwriters and I loved it immediately—loved it so much that right before I walked out on stage at the Ryman (Auditorium) for CRS a few months back, I thought I’d play the song solo acoustic to see what the audience thought.

“Flash forward and there’s no doubt that their response that day helped make it the first single from what will be my next album.”

“John Cougar, John Deere, John 3:16″ was written by Shane McAnally, Ross Copperman and Josh Osborne and co-produced by Dann Huff and Urban. Urban said that the song “resonated deeply” with him the movement he heard it.

“It’s the poetic use of the three Johns and what each represents to me,” he said.

Totally Hot House Cleaning

The time had come. I had amassed so many CDs, that it was time to be brutal and donate those I really wasn't listening to any longer.   The space for storing discs had run dry, so the pressure I placed on myself was something to act on. 

It was clear that I was storing hundreds of discs but never listening to them. A pattern of not enough time and no longer not enough money either to keep building my collection. The books would be next, but this was a good first step.

In the 80's and 90's, I had become kind of a completest when it came to my favorite artists. Or even one hit wonders- mainly artists discovered on American Idol and such. (Here's looking at you, Elliott Yamin.)

Starting slowly with one box, I picked out discs no longer listened to by America, Gloria Estefan, George Benson, Amy Grant, Michael Bublé  Doobie Brothers, the Eagles, Olivia Newton-John, and more. So many more. Sure, I kept many Greatest Hits packages and every disc by Karen and Richard Carpenter, of course. But for every one I kept, I offloaded seldom listened to discs by Sting, Ambrosia, Neil Diamond, Michael Jackson, various soundtracks and compilations...even some Beatles.  I am sure among the 160 or so discs I donated, there are some gems serious collectors will be wanting.

The aftermath was a sense of release, a bit of sadness for letting go some of my history (isn't it amazing that we music fans associate so much of pieces of our life- good and bad- to our favorite songs?) and ultimately, more space in my life. 

Welcome to the Hotel California

The album and the band who created it are both American classics. The Eagles' masterpiece Hotel California continues to be heard all over the world even almost 35 years after its initial release.

Just heard the title track in the gym today, and it sounded as fresh as ever. Glenn Frey, Don Felder, and Don Henley composed it, Henley sang lead, and Joe Walsh and Don Felder traded off blazing guitar parts to make it sting. Terrific! Also heard today the older, rawer James Dean, a tribute to the film star. Another track that jumps with playfulness. It has the same zing as the Beatles' Daytripper.

Various personnel made up the band over the years, each bringing a special something to the mix. Following up the landmark album would be tough, but the addition of Timothy B. Schmit in 1977 brought us one of the most beautiful ballads they ever recorded, I Can't Tell You Why.

Turning New Tricks

Taking an old and tired but respected torch song and turning it into the next James Bond 007 theme is just one trick in Michael Bublé's latest bag. His Cry Me A River startles after hearing the same tune recorded by Olivia Newton-John a few years back on her Indigo disc. Who could ever have guessed the song could sound like this! An instant favorite once the jolt wears off.

The disc brims with cuts expected like Georgia on My Mind, which would do Ray Charles justice, and the title song orginally recorded by Van Morrison. However, it is the unexpected choices and arrangements that make the collection stand out.

Haven't Met You Yet surprises with its horn section similar to that found on Fleetwood Mac's Tusk. The following two songs move this album into greatness: All I Do is Dream of You sparkles while the gorgeous Hold On picks up on the relationship where his classic Home left off.

One of the biggest acts of magic is David Foster's production. Just when you think Michael needs a new producer and all you'll get another stylistic retread from past albums, David pulls off a remake of the Eagle's classic Heartache Tonight with such pananche. It's enough to make the listener think the tune always had this much swing. As fun as the arrangement and production are, it is the vocals of this new age Rat Packer that takes it to a new level.

The fun continues on- including an old song from Sandra Bullock's movie Two Weeks Notice: Baby (You've Got What it Takes) sounds absolutely terrific. The unexpected island influenced vocals on Startdust also startle, but ultimately the song is not as successful as with the opening cut. Lastly, the bonus cut, Whatever It Takes with Ron Sexsmith, surprises with its bromance anthem- maybe crossing over as a blatant bid for play at gay clubs. It is, in fact, a very tender song of hope with their voices playing beautifully against each other. Right about now, whether straight or gay, we all need a little hope.

In a tight economic market, gaining new listeners may be the biggest trick of all- and with a #1 debut on the Billboard charts, Crazy Love has just enough magic moments to pull it off.

The Axe

Gotta say, I've had India.Arie and her beautiful version of the Eagles' The Heart of the Matter going through my head...

It is only a tree. Just a tree, nothing more, but one of great sentimental value. The tree our kids climbed and the one we watched grow over the last couple of decades.

We were thrilled for new next door neighbors to finally move in after the house had been vacant for two full years. We'd seen folks moving in boxes bit by bit. Actually, we'd seen a huge extended family moving in. Hadn't yet had a chance to welcome them to the cul d' sac, but we thought we'd wait until they didn't look so busy. And until all the relatives had gone home.

Last Saturday, while we were enjoying some time with friends in our home, my wife had briefly ducked out to get something in our car. The pained look on her face was accompanied by the words, "There's a man in our tree with an axe, and he's cutting it down." I was not thrilled.

Walking outside, I found the a man in his late fifties sitting in our tree chopping away at the branches around him. Politely but quite loudly to get his attention, I told him "Enough- get out of our tree!" In broken English, he replied that the branches were hitting his roof. My response was a firm "That's fine to cut them off at the property line, but you cannot get in my tree, on my lawn, directly by my front window, and cut them off at the trunk." I was not happy, but the damage was done as he climbed down. "I wish you would have talked to me. I would have been glad to help you. I just wish you would have let me know what you wanted to do." An even older man in his late seventies quietly looked at me and lowered his head. We went inside.

My wife cried tears of sentimentality- old memories clashing with the new reality. I was just mad. I felt violated. Bullied. Overlooked. Yet, I have to say, if anyone thinks there is no God, let me tell you, I was a monument to the power of Him working through me in the area of self control. In days of old, I would have pulled him out of that tree, yelled colorful words, and called an attorney to file a lawsuit. Trust me, God is real and active! I returned inside to our guests.

Several hours later, once our friends had departed, I journeyed outside to view the damage. Our neighborly lumberjack was gone as was the entire family. The craftsmanship was shoddy. The poor tree looked slaughtered with one third of it cut off, stumps left like shards of glass from the trunk. I walked inside, stewed a bit and burst into tears once I sat down in our living room.

A couple of hours passed by. We decided that it was just a tree, and our relationship with our newest neighbors was more important to us. A young man drove up, parked his car, and walked directly to the remains of the tree. My wife and I stepped out to greet him. He probably didn't know what to expect. Instead of anger, what came out of me was a gentle hello. His response was shocking. "Please forgive me for what happened. I am so sorry my father did this to your tree. I had no idea he was planning to do anything. I am so sorry. How can I fix this?"

Our new neighbor was actually the young man now in front of me. My reply was gentle, too, as I was surprised by Eric's response, "Just fix the cuts so they are smooth and prepare the tree afterwards. We never have to speak of this again." Then, I extended my hand and smiled. "Welcome to the neighborhood." We went on to have a very nice conversation about them moving into the area.

In hindsight, the issue wasn't the offense. It was how I would react to it. I had every right to feel violated and angry, but the damage was not reversible. Would I choose to forgive or hold a grudge and never move on? The heart of the matter was forgiveness. Would I practice what I preach? Would I grow beyond this and value relationship over my rights and my anger? For once, the answer was "yes".

The "Horizon" Review: The Carpenters Masterpiece

Elegant, ageless perfection- and way ahead of its time to be fully appreciated. Horizon is the culmination of the Carpenters' illustrious career and in some ways, the beginning of the end of it.

By the time 1973 had ended, Karen and Richard had permanently made their mark on the American music scene and the international one as well. Between chart-topping sales of Now and Then and The Singles 1969-1973, the smash successes of Yesterday Once More and Top of the World, the Carpenters were embraced by music fans around the world. The following year was a continuation of this spectacular chart success amid a hugely successful tour. However, chart success this year was paid at a high price.

A lame remix of I Won't Last a Day Without You made it to the Top Ten solely on the momentum of its predecessors. Its release confirmed that there was a lack of creativity happening for the duo. In their defense, no one else could have kept up the pace they had set for themselves. Nonetheless, what other wisdom or reason was there in taking a song from 1972- from an old album no less- and making it a single in mid-1974?

Their next two releases vaguely confirmed the creative slump: Richard and Karen's unique take on Santa Claus is Coming to Town kept the pump primed for an upcoming Christmas project. Additionally, they retreated into remake territory by releasing Please Mr. Postman as their last single release of the year.


In hindsight, my first listen to the remake of this Motown and Beatles hit, on Los Angeles station 93KHJ, was telling: It was the first time I was not 100% sure this was Karen on lead vocals. The recording of her voice seemed a bit fast and a little too sweet to my ears. Was this just a one-off placeholder or an audio taste of the next album? Ultimately, it didn't matter to me. The record was fun! I eagerly purchased this and each new release, happily waiting for them as they arrived.

December 21st Billboard ad celebrating Postman- a worldwide smash.

Closing out the year near the top of the charts, it was very frothy and playful- but a large step backwards in terms of establishing the scope of their artistry. By the end of January 1975, Postman was indeed a Number One hit all over the world. What would come next? The answer was a song many fans consider among their best. The fourth single release of a Carpenter/Bettis tune was among their strongest: Only Yesterday. Finally a truly new song- and a great one at that.

With a distinctive opening drum line, engaging, heartfelt lyric, and a mesmerizing vocal introduction by Karen, I was captivated by it at first listen. (And almost 35 years later, I still am.) My love for this song was made even stronger by the addition of their layered vocals, Tony Peluso's guitar solo, and the song's climactic ending. Only Yesterday had a fresh and very different sound, yet it seemed familiar as well. Just stunning. Couldn't wait to buy it. Once in my hands, the single was a visual treat as well. The sleeve of the 45 was as well done as the music it contained, with a brand new and very contemporary logo front and center. Karen and Richard had clearly moved on from days of old.

March 29th ad in Billboard magazine announcing the arrival of the new single.

History had taught me that a new single meant a new album was coming soon enough, and I was right. Horizon arrived in early June, just as school was ending. I left campus as quickly as I could, dashing off in my old Ford Mustang to the nearest Licorice Pizza record store. Once I entered my favorite music stop, I didn't have to search hard to find the album. It was nestled underneath a large Horizon poster. Picking up the LP, I just stared at the cover. Beautiful photography, very grown up and sophisticated. Certainly not thrown together. Nor did the brother and sister duo look as if they were lovesick teens.

Flipping the album jacket over, I surveyed the songlist. An earlier television appearance on the Perry Como Christmas Special left me hoping It's Impossible would be included on the new album. It was not to be. As I continued to read, I discovered to my dismay that there were only ten songs on this newest release and two of them were under two minutes in length. Was this another Tan album? No matter, the recording was mine, and the wait was over. 

From purchase to turntable was just under an hour, a combination of well-timed traffic lights and a lead footed driver. 

The anticipation was killing me! Arrived home and ran to my room. By now, I had my own stereo, complete with Altec-Lansing speakers as tall as they came. Plugged in my earphones, took the disc out of its paper sleeve, sat down, and closed my eyes to focus. I was set to go.

May 31st ad announcing the new forthcoming album.

The first ever listen to a new Carpenters album is a treat that I never took for granted. (And how I wish there were many more ahead!) This day was no different. Hmm, Richard's piano simply opened the album as Karen started in, "Morning opens quietly..." She sounded wonderful, warm but full of confidence and a little melancholy- my favorite type of Karen recording. That melacholy in her voice perfectly matched the growing somberness in my heart.

Just as I was getting used to Aurora, it was over, and the opening bars of Only Yesterday began. Soon enough I discovered a nice little surprise. Richard had given us an extended version of his latest masterpiece, making me enjoy the song even more than I had previously. I have always appreciated these little touches that seemed to be just for us fans, as if it was his way of saying "Thank you for waiting- I'm thinking of you." Be it special packaging, reprising songs thus creating bookends, or extended versions of the hits, these were the extra touches that helped make each Carpenters album an event.

A gentle harmonica opened the next song, perfectly signaling the end of one tune and the beginning of another. Desperado was a gutsy and surprising choice. Both the Eagles and Linda Ronstadt had recorded their own versions, yet Richard's arrangement and Karen's strong delivery on this song created the new standard to beat. This clearly seemed to be the Carpenters' way of informing their critics they were not going anywhere, and yes, they could hold their own with their contemporaries. Point well proven- and reviews of the disc by even the most diehard critics almost begrudgingly admitted these were in deed the facts. How I smugly relished reading those reviews!

Celebrating Postman's success in Billboard.

A different and weightier version of Postman was next up. This was not the single version; it seemed more in tune to the feel of the album. The inclusion of the song broke the mood of the disc and seemed like a concession to A&M's sales and promotion team. Placing it on the album reinforced Karen and Richard's love for the oldies but almost instantly dated an otherwise timeless accomplishment. Seeming an immature choice, it was only in hindsight I realized they were still in their twenties given the richness of their accomplishments.

Desperado was one surprise on this album, but it was certainly not the only one to be found here. I Can Dream Can't I? came right after their Motown sidetrip. It was quite jarring in contrast, but beautifully reestablished the mood. I loved the song instantly because of Karen's use of her lower vocal range. The stunning arrangement was true to its era, and Karen performed the song as if she was its queen. My grandfather was a drummer during the Big Band years, and this style of music was usually found on their radio. I was very familiar with many of those smoky classics, but this was a new one for me.

"Songbook" albums continue to be very popular, but this 1940s gem was delivered almost a full decade before Ms. Ronstadt herself decided it would be leading edge to record an album of such elegance. Once more leading the way. By its inclusion, Karen and Richard proved they were equals with the best performers of decades past as well as on par with any current act. This choice of song and its execution only magnified my musical respect for them. Frankly, I was dazzled by the performance, and in later years wished, as did Richard, that the duo would have recorded more songs from that season of time. Side One was now finished, and I turned the disc over for more.

Ad for Solitaire. An easy direction to take

but a very poor execution for a stunning classic.

A performer with a reenergized career provided Richard and Karen with the next selection. Neil Sedaka (along with writer Phil Cody), whose range of hits ran from Calendar Girl to Breaking Up is Hard to Do, composed what should have been a modern day classic: Solitaire. Taken from his recent compilation album of songs made famous in England, Karen makes his song hers and gives the listener a vocal ending that stands among her best. Richard's arrangement is at once stark, rich, and compelling. Solitaire is a powerful performance- and one that I wanted to hear in concert. Although I saw Karen and Richard perform live in 1976, 1977 and 1978, probably because of their infamous rift with Sedaka, they never chose to perform it. It would have been a treat. In fact, my initial appreciation of this song was so strong, Solitaire was the first one selected for a repeated listen once I completed hearing the album.

Discovering another entry in a rather quirky Carpenters tradition, I found this excellent album contained its own "sequel" recordings. In the same manner that Saturday followed Rainy Days and Mondays and Druscilla Penny followed Superstar with alternative views on the previous story, Happy followed Solitaire, continuing on with its card playing metaphors. While it is a pleasant and upbeat selection, it is one that always felt quite rote in comparison to what came before or after it. I enjoyed it and knew it well as it was the flipside to the new single, but it was never a big favorite. As with Postman, this song also timestamps the album. Richard's use of synthisizers placed it firmly in the 70s, although his up front use of them came prior to the pop recordings of Gary Wright, Alan Parsons Project and their peers. Again, Richard's song selection and arrangements were ahead of his time.

Horizon Tour Booklet photo scan by Harry at the A&M Corner.

The next two songs more than made up for this temporary and slight shortcoming. (I'm Caught Between) Goodbye and I Love You and Love Me for What I Am were excellent. I sat there and just soaked in what was surrounding my ears. On both, the production is pristine, the arrangements superb and Karen's vocals outstanding. Gorgeous! In Los Angeles, both these songs became FM radio favorites in the soft rock arena. (In particular, Karen seems to make Love Me for What I Am a demanding but desperate personal plea, something not lost on listeners hearing the song after her death.) As Love Me concluded, once again, Tony Peluso's guitar rang out, with the duos multi-tracked vocals making a majestic closing statement to another outstanding album. The reprise song Eventide ended the disc, sharing the melody of Aurora but with a different and fitting lyric.

My initial response was to turn the record over starting it again, but instead, I skipped back to Solitaire just to hear Karen's amazing closing vocal line one more time. Eventually, I did start back at Side One while I took in the wonderful album design, beautiful photography, and production credits.

As it turned out, Horizon, was not the sales hit the duo or label expected it to be. After Only Yesterday ran its course, A&M tried to make a radio hit of a remixed Solitaire. Unfortunately, it was much too serious a song to become an end of summer smash, falling short of the top twenty on the national charts.

It was during the making of Horizon that Karen's health and Richard's enthusiasm and creativity continued to decline. Even worse, their public image took an unexpected hit because of their concert fiasco with Sedaka. Trouble had been brewing for quite awhile, and now it was here. The next couple of albums reflected a quiet desperation to recapture chart hits and creative joy. I was oblivious to what was to come.

For this listener, Horizon was and remains the duos finest work to date. The album may have less youthful energy and experimentation compared to their earlier work, but it shows the duo at the top of their craft! Karen's voice is prominent and intimately strong (perhaps recorded the best ever compared to any other album), but it also becomes the hook which highlights the incredible craftsmanship of Richard's work. Four decades later, Horizon is still stunning and beautiful, a perfect late night listen, both delicate and substantial. Any true masterpiece reflects but also defines its artist. This album does both and is a work ahead of its time. Showcasing Karen and Richard as vocalists, musicians, song writer, arranger and producers, Horizon is at once contemporary without being trendy, timeless and elegant- also perfectly describing the artists that created it.

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This is part of a continuing series on the albums of Karen and Richard Carpenter. There are so many stand alone posts highlighting different aspects of their career, recordings, rare photographs, and life that I've lost count. 

2025 Note: Below is the list of my "Revisited /Fresh Look" the more extensive reviews than my initial ones a decade earlier. Each have different photos and clippings and focus on various aspects of each disc's creation, promotion, and public reaction.

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

The Singles 1974 - 1978

Christmas Portrait

Karen Carpenter (The Solo Album)

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