What A Find! The Supremes Sing Holland/Dozier/Holland

Who doesn't love Motown and the classic songs of the 1960's? For many families growing up in that era, Motown was the party sound for every kind of gathering. Founder Berry Gordy put together an astonishing collection of artists and surrounded them with an equally impressive roster of songwriters and musicians. Long before Michael Jackson and the Jackson5, artists from Smokey Robinson to Steve Wonder to The Temptations and the Four Tops, the men of the company created instant classics like Tracks of My Tears, My Girl, and my favorite, Signed, Sealed, Delivered.

The women were no less impressive! Mary Wells' My Guy was a smash, and I just loved the songs by Tammi Terrell and Marvin Gaye. Ain't No Mountain High Enough, Ain't Nothing Like the Real Thing, and You're All I Need to Get By were iconic and recorded by many other artists for decades.  (Want to read my favorite Motown remakes, look here.)

All said, it was easily The Supremes, led by Diana Ross, that I heard most often. My aunts played them non-stop, and it seemed I grew to know every word to every song. The ones written by brothers Brian and Eddie Holland with Lamont Dozier were the catchiest of the bunch to be sure.

So, you can imagine my surprise when I found this old album for a dirt cheap price (less than $10). And one in pristine condition no less! Merry Christmas to me!

Yesterday: The Beatles Invasion- 50 Years

In honor of the 50th anniversary of the Beatles invasion, here are just a few of my favorite tunes by the group that changed musical history:

• "I Saw Here Standing There"- I grew up on Motown, so unbelievably, I did not know the Beatles music as theirs until after 1970. This song, among the first I'd heard with knowledge, stands out for its playful, youthful vibe- the power of boy sees girl. And isn't that the fun part of Rock and Roll?
• "Day Tripper" - The opening notes are instantly recognizable, the melody sinks into your brain and never leaves. 
• "The Long and Winding Road" - Sentimental and symphonic, the pure emotion of the piece overwhelms me at times. If there was any doubt Paul McCartney and John Lennon would be legends, this puts the argument to rest.
• "Back in the USSR" - I just love to listen to this as I run! With its lyrical tongue in cheek tribute to the Beach Boys, the song is just Fun, Fun, Fun.
• "Yesterday" - no explanation needed, is there?

Gather 'Round for Elliott Yamin

Due today only in Japan, Elliott Yamin's third album of R&B hits the stores. I wondered how long it would be before he had to shop for a label stateside. His first album was a hit, but Fight for Love seemed to disappear before it really began. The third place winner of American Idol (Season Five) may have hit his plateau. His take on Moody's Mood for Love made viewers into voters by the millions, so maybe its time for a smooth jazz album full of classic Motown and 70s soul jams to put him back on the charts. Anyone ready to get his studio recording of A House is Not a Home? I am!

Rod Stewart's Soulbook Lacks

In spite of a few wonderful cuts, Rod Stewart's excursion in 60s Motown territory is a bust. Rod's vocals lack depth, the song choices are mostly uninspired, and the production lacks spark. Like his Songbook collections from the past, there are guest artists (including Mary J. Blige and Jennifer Hudson) aplenty to push things along. Unfortunately, they add nothing to the ride.


Highlights: My Cherie Amour, the Stevie Wonder ode to young love given a very warm harmonica treatment, as well as a wistful reading by Rod. The other bright spot is the closer. The Temptations' Just My Imagination. When it first came on, I exclaimed "This was what I was waiting for!" The arrangement mainly sticks to the original and the result is charming and soulful. Exactly what everything else on this disc is lacking.

(If you're looking for something similar but much better, check out Michael McDonald's discs like Soul Speak, Motown, and Motown 2. Stronger performances, better arrangements- just richer.)

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

Motown at 50: An American Musical Institution

Today, 50 years ago, one of the greatest musical labels ever was born. In so many ways, Motown has no peer. It's story is fascinating, and it is ongoing. And the tale continues far beyond the race and heritage perspective. The legends endure, and the artists and musicians associated with it have a right to be justifiably proud of their acheivements.

Instead of rehashing the story, go here to the source: Motown's official site. As for this blog, I'll let the numbers prove my point.

The Supremes: Twelve Number One Songs
Classics Hits include You Can't Hurry Love; Someday We'll Be Together; Where Did Our Love Go; Stop! In the Name of Love

Diana Ross: Six Number One Songs

Classic Hits include Ain't No Mountain High Enough; Love Hangover; Theme from "Mahogany"

Odds and Ends: "The Bodyguard" movie was originally planned for Diana Ross and Ryan O'Neil.

The Temptations: Four Number One Songs

Classic Hits include My Girl; Just My Imagination; Papa Was a Rolling Stone; The Way You Do the Things You Do

Odds and Ends: The classic Frank Sinatra hit "Night and Day" is one of the Temptations best love songs. Much better than the original.

Stevie Wonder: Nine Number One Hits

Classic Hits include Superstition; Sir Duke;You are the Sunshine of My Life; I Wish; My Cherie Amour; Signed, Sealed, Delivered

Odds and Ends: Prime album cuts- "Knocks Me Off My Feet". Best remake of his song: Peter Frampton, covering "Signed Sealed Delivered"

The Miracles (and Smokey Robinson): Two Number One Hits

Classic Hits include Shop Around; Tracks of My Tears; I Second That Emotion; Tears of a Clown; Ooo Baby Baby
Odds and Ends: Best Overlooked album- "Smoke Signals"; prolific songwriter

Four Tops: Two Number One Hits
Classic Hits include I Can't Help Myself (Sugar Pie Honey Bunch);Bernadette; Reach Out (I'll BeThere); It's the Same Old Song; Standing in the Shadows of Love

Gladys Knight and the Pips: One Number One Hit
Classic Hits include Neither One of Us; I Heard It Through the Grapevine; If I Were Your Woman; If Loving You is Wrong

Commodores: Two Number One Hits
Classic Hits include Brick House; Three Times a Lady; Still

Lionel Ritchie: Five Number One Hits
Classic Hits include Truly; All Night Long; Hello

Jackson5: Four Number One Hits
Classic Hits include Never Can Say Goodbye; I'll Be There; ABC; I Want You Back
Marvin Gaye: Three Number One Hits
Classic Hits include I Heard It Through the Grapevine; Let's Get It On; How Sweet It Is to be Loved By You; What's Going On; Mercy Mercy Me (The Ecology)

Various Artists and Songs You Know By Heart: Mary Wells (My Guy); Martha Reeves and the Vandellas (Dancing in the Streets, Jimmy Mack, Heatwave); Rare Earth (I Just Want to Celebrate); Contours (Do You Love Me?); Marvelettes (Please Mr. Postman, Beechwood 4-5789); Boyz II Men (The End of the Road); Rick James (Superfreak), Edwin Starr (War); Jimmy Ruffin (What Becomes of the Broken Hearted); etc. etc. etc.

Thank you, Berry Gordy, for creating an American institution! Case closed.

Best Motown Remakes

After talking about the best Beatles' remakes, let's turn the tables and talk about the best Motown remakes. This label defined the 60s, and their songs started my love for music. There were plenty as artists of all types mined gold from the Detroit label's catalogue. Now, my top five, in no particular order...

1. "More Love" - This Kim Carnes hit covered Smokey Robinson's original smash. The perfect match of song and artist, as her gravelly voice and inspired arrangement produced a major hit in 1980. As convincing a performance as her later hit "Bette Davis Eyes".
2. "You Can't Hurry Love" - Phil Collins. Don't get me wrong: I love the original by the Supremes. But Phil's version brings great snap to this old favorite. Plain old fun. Great backing vocals and a typically hot rhythm track. From 1982.
3. "How Sweet It Is To Be Loved By You" - Another James Taylor megahit, one that defined 1975 and my summer pleasures. The definitive version of the song.
4. "Signed, Sealed, Delivered" - During the "Frampton Comes Alive" tour, I ate up every note the man played. He split his set into two halves, an acoustic first half, and an electric second. This Stevie Wonder classic was his closing encore. It was so good, I turned to my friend and said, "This would make a great single!" And it was- from the 1977 album "I'm In You".

Maybe I need more than five remakes! " Heatwave" and "Tracks of My Tears" by Linda Ronstadt are two of my favorites. But then again, the playful "Please Mr. Postman" by the Carpenters sounded so fresh to me that I didn't even realize it was Karen singing the lead at first listen! David Bowie and Mick Jagger swung to "Dancing in the Street" while Toni Tennille belted out a new take on "Shop Around". Lastly, could Michael McDonald's "I Heard it Through the Grapevine" be any better? Not in my book! And as they say "The hits just keep on comin'!" at least as long as artists discover what a treasure chest of classics sit in the Motown vault. Thanks, Berry Gordy, for starting an American institution.