Carpenters Celebrate the Christmas Season

A long-standing family tradition is to not decorate the house or play Christmas music until the Friday after Thanksgiving. And not just any Christmas music is played. Karen and Richard Carpenter's classic Christmas Portrait is always the first to open the season. 

So, to open the season, here are my reviews on the two Christmas discs from my favorite duo.
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Richard and Karen Carpenter's Christmas Portrait was the culmination of the longest wait ever for a full length Christmas recording. Not just of the decade but by any recording artist. From the 1970 release of their first holiday recording Merry Christmas Darling, fans waited and waited for the Carpenters to complete an album full of old favorites and new songs dedicated to the season. The gorgeous song written by Richard and Frank Pooler achieved instant standard status upon first play, with Karen's deep and warm vocals played against Richard's lush arrangements and Frank's romantic lyrics. It was constantly on my turntable.

The near decade in between the single and the album had been far from unkind, however, with the duo turning out hit after hit. Things began to slow after the release of The Singles: 1969 - 1973, but Karen and Richard were still quite productive. A new arrangement of the seasonal classic "Santa Claus is Coming to Town" came in 1974 along with an appearance on Perry Como's Christmas special. (Find it and watch Karen perform "It's Impossible"- one of her most tender readings of a song ever!) "Please Mr. Postman" ended '74 as a worldwide smash.

Horizon arrived in 1975, with A Kind of Hush coming the following year. Although both discs contain some of their best individual recordings ("Only Yesterday", "Solitaire", and Desperado" from the first, and "I Need to Be in Love" and "One More Time" from the latter), neither produced the sales of years previously.

The duo's next album in 1977, Passage, was not the large hit they wanted and their career so desperately needed. The result was fun, playful, and largely uninspired. Even die-hard fans like myself started to move on to other interests.

I discovered that in the midst of recording Passage, the Carpenters were also beginning to record for another project at the same time this eclectic album was forming. Perhaps both the A&M Records executives and Karen and Richard expected the Christmas recordings to be completed in time for a 1977 release, as their second television special "The Carpenters at Christmas" was to air in early December.

Above- the photos that inspired Robert Tanenbaum's beautiful portrait

My personal life was taking a dramatic downturn as well. My post high school life had been an interesting mix of fear, loneliness, increasing depression, and anticipation. I began to search for greater meaning in life than what I could see. After years of looking into various world religions- and after a near disastrous automobile accident shortly after seeing the Carpenters in Las Vegas- I found myself at an evening gathering at Calvary Chapel Costa Mesa. A young evangelist, Greg Laurie, presented the truth to me as shared in the Bible: I was a sinner, a broken man, and the only way to a relationship with God and a restored life was through faith in Jesus Christ. God Himself reaching down to man and not man's efforts to reach Him. What a difference it made to hear about a god who loved his creation.

My heart jumped as I chose to make a decision to embrace Jesus and his sacrifice on the cross. I knew I'd have to live differently, and I was ready. As I prayed for a new beginning, I hoped for the best. The result was better than I ever expected. For the next six months, my depression was replaced with hope and joy. My friends and family could not believe the transformation. Neither could I!

Christmas was very different that year. Finally, all those hymns made sense- and watching and listening to Karen sing them touched me deeply. By this point, I was also smart enough to understand a Christmas album had to be coming soon.

As the following year progressed, many good things began to happen in my life. My job situation improved greatly, I formed some deep friendships, and even though life was more back to normal with expected ups and downs, I had peace and hope. Guess my faith "stuck", and I'd never go back to my old life.

On the musical front, things were fairly uninteresting. I was thrilled to finally hear something new from Karen and Richard. "I Believe You" was a terrific little single that got next to no airplay, but my lengthy wait was finally rewarded again when the Christmas Portrait album hit the shelves. Couldn't wait to get it home! Little did I know the album would end up being one of my favorites by them and a very personal one- one that would always touch me deeply.

Finally, the album was out of the sleeve and on the turntable. I patiently listened through the opening songs. Finally Karen came in singing "Frosted window panes"...

I was mesmerized. What an introduction Richard designed for his favorite vocalist! Thirty-two years later, hearing her opening to "Christmas Waltz" still signals the beginning of the season, and Christmas Portrait is the traditional first disc played in our house. (And one played only after Thanksgiving!)

The album, continued to sparkle. Hearing the Carpenters band sing on "Sleigh Ride" was great fun! The new single "Christmas Song" made famous by Nat King Cole and recorded by seemingly thousands of other vocalists, was a natural choice for Karen's voice. It was at that moment of first hearing it that I realized Karen was the new voice of Christmas for my generation. Considering the millions of copies sold, I am sure I am not alone in this assessment.

Richard was oft-quoted for his influences being the "3Bs" (the Beatles, the Beach Boys, and Burt Bacharach) but here on their first Christmas release, it is clearly Spike Jones, the 40s bandleader with his group, the City Slickers. (Does the name sound familiar? Remember their newer live show or the 1st TV special?) Check out Spike's holiday albums in its various rereleased forms, and you'll find similar song choices, medleys, and arrangements. That said, Richard's genius is evident here. Between the arrangements of Peter Knight and the concept of the album, not including his terrific playing throughout, Richard's contribution is unmistakable. This album is as solid and strong as any of their previous work, and it holds it own against any modern day releases.

There are plenty of additional gems on the disc. One of my personal favorites is "First Snowfall/Let It Snow". The playful arrangement is quite fun but when Karen's voice is overdubbed on the former and she emotes on the phrase "if you really hold me tight" on the latter, it's pure magic. Next, Richard's "Carol of the Bells" is stunning. The newly rerecorded "Merry Christmas Darling" is made even more beautiful by Karen's softer vocal approach. And it just keeps getting better. The disc's closing "Ave Maria" reveals how powerful and under control her voice was. It also shows how unmatched it is by those vocalists of her day and those of ours. How many other artists have dared to perform such a demanding piece?

Christmas Portrait was an instant success and became a radio staple for the decades. Beginning with the following season, recording artists began to mine the gold found by the recent success of Karen and Richard, and they recorded their own holiday albums. As with their earlier work, others once more followed the duo's instincts and groundbreaking lead.

Since Karen's untimely death, "I'll Be Home for Christmas" has taken on a poignancy stronger than its already heartfelt lyrics. Her passing means the end of an era. Beyond the later release of "An Old Fashioned Christmas" in 1984, there is not much Carpenters material left other than television show recordings, and the chance for additional Christmas albums is gone. Over and over again, Richard has started and stopped work on his own collection of holiday tunes. Will we ever see it? If only in my dreams...

Whereas the gorgeous and definitive Christmas Portrait has been rightfully so been described by Richard Carpenter as his sister's first solo album, An Old Fashioned Christmas feels more like his first solo album with Karen guesting.

After Karen's tragic passing in 1983, I knew the days of the Carpenters were sadly over. Instinctively, I expected greatest hits compilations, perhaps one disc of unreleased material, and an eventual solo project from Richard. An Old Fashioned Christmas came as a surprise to me when it was released in the fall of the following year. The beautiful Voice of the Heart album had only been in release for a year, but I suppose it made sense to Richard and the executives of A&M Records to release another disc so soon.

In my memory, I recalled multiple but unused songs being recorded for Christmas Portrait when it was first intended as a double length album. I was still quite surprised and very delighted to find Richard had finished work on a second volume of Christmas music. It had to have been a very difficult labor of love for him.

It was still a season of vinyl then, even though compact discs had made their way into the market. There was no accompanying disc to be found for this release- only chrome tape for the cassette release- therefore, my first view of the album cover was large in scale as well as being wonderful to behold. It was another artistic take on the Norman Rockwell look and feel of the first disc's cover, but as with the music it contains, not nearly as charming or effective. I do appreciate the slight nod to Karen's well known love of Disneyland, as the elf on the right wears a pair of Mickey Mouse ears!

Similarly to the 1978 album, Richard begins the proceedings with a crisply sung "It Came Upon A Midnight Clear". After a quite lengthy choral and instrumental medley that includes slivers of Richard's vocals, the title song arrives, offering sweet sentiments but a fairly mundane melody, arrangement, and performance. Written in 1984 for this collection, An Old Fashioned Christmas is a nice composition with long time lyricist John Bettis, but it is not a classic to be cherished.

Immediately thereafter, Richard's stunning instrumental reading of "O Holy Night" begins. It is a powerful piece of music masterfully played. This is my favorite Christmas song, and few singers effectively capture the substance and drama of the lyrics.

Richard's performance of it is so well done, I do not miss the words. In fact, it seems to bring me to a place of worship for the God who became Man for our sake. Not many instrumentals have that effect on me! In fact, for his part, it's Richard's skills as pianist that are his strength here throughout the album.

After about fifteen minutes of music, Karen finally steps in. When her warm, gorgeous voice comes in on "Home for the Holidays", showcasing her lower register. It's in that deep part of her range that reminds no other singer can compare to her! Hearing Karen, the game instantly changes, reminding the listener this is a Carpenters album! She immediately brings a cheeriness, a buoyancy to the disc but also an instant and underlying sadness as we remember she is gone. The tune is quite charming but brief at a length of just over two minutes. Here is the pattern of this album: lots of Richard, little of Karen. By necessity, on an album comprising roughly 49 minutes of music, Karen's vocals make up only about 18 minutes total!

Richard's next instrumental medley is a bright blending of "Here Comes Santa Claus", "Frosty the Snowman", "Rudolph the Red-Nosed Reindeer", and "Good King Wenceslas". It feels fresh and sparkling, in direct contrast to the somberness of the next number, Karen's intimate and yearning "Little Altar Boy".

On the vinyl version of the album, this song ends "Side One". It also emotionally divides the collection with its stark, desperate lyrics. Karen's touching plea for intercession and ultimate redemption for her lost life burned in my ears from first listen. When a vocalist whose personal life held inner turmoil and ended in tragedy, these lyrics take on a haunting, new significance. "Little Altar Boy" is the spiritual equivalent of the duo's earlier "Goodbye to Love". She quietly screams to be noticed and loved.

Thankfully, "Side Two" begins with the triumphant "Do You Hear What I Hear?" In contrast to his vocals elsewhere, Richard sounds absolutely confident and terrific. Yet, this is ultimately a command performance by Karen. As the music builds to its crescendo, Karen's singing matches the song, ending in a powerful presentation of the last word, "light". For a vocalist known for her intimate, warm, soft voice and nuanced phrasing, this last note reminds us she was in control of that gift. Here, she belts it out with the best.

If we've heard Karen, it means it is once again time for Richard. "My Favorite Things" seems an odd choice and is not one of my favorite selections.

"He Came Here For Me". It is a testament to Richard's knack for finding great material that this song was ever recorded. Again, Karen goes to the lower end of her range to good effect. To my ears, the overall result is not as strong as "Little Altar Boy", but I so appreciate the richness of the lyrics:

"Born in a stable He came here for me
born of a virgin He came here for me
God's only son come to set the world free,
born of God's love and He came here for me.
Savior, of the world I praise thee

Jesus, Lamb of God, I pray to thee, hear me
As I praise thy birth bend down thy ear and hear my prayer
Over a stable a star shone so bright,
guiding three wise men who rode through the night
He was called baby Jesus, He came here for me,
Born to this world, then He died here for me."

From the sacred to the secular, Karen and Richard follow up the previous selection with their 1974 recording of "Santa Claus is Coming to Town". This slower dreamy version perfectly shows off their skills. Richard's terrific arrangement allows Karen to take center stage. In contrast to the original release, the saxophone solo has been entirely reimagined. For the record, I enjoy each saxophone solo for different reasons. On this take, it brings a smooth jazz feel to the song, very appropriate and contemporary for its inclusion a decade later. (Just a side note here: I loved watching Karen and Richard perform this on Perry Como's Christmas special. She looks great!)

What can I say about "What Are You Doing New Year's Eve?" I was smitten at first listening! The 1940's produced some of my most loved recordings, and I had long thought Karen and Richard should be doing these kinds of classics. The inclusion of "I Can Dream Can't I?" on the Carpenters' masterpiece album "Horizon" confirmed I was right. Certainly, there are stronger performances on this holiday collection, but this romantic piece is my personal favorite. It is the perfect match of singer, song, arrangement and production.

After three vocals in a row by Karen, Richard's selections from "The Nutcracker" are a great way to draw near to the album's end. Somehow, he makes this sound new, even though the music has been heard for decades. Just beautiful.

The album's closer, "I Heard the Bells on Christmas Day", was a song I did not remember and one that took me awhile to appreciate. "Lower register" and perfectly sung- check. Well arranged and produced- check. But what was it about the song that I just didn't like? Took years for me to figure it out. The song signifies the end of an era for me. Really, for all of us.

Television outtakes, aside, there would be no more Christmas music from the duo. Karen and Richard's holiday themed television specials would not see release. Richard's long discussed solo Christmas album would be started, delayed, and ultimately shelved. (In 2002, he would go on to give two songs to Japanese vocalist Seiko Matsuda: "Christmas Turned Blue" and "December Morn".)

In my opinion, the Carpenters and Christmas go together. Christmas music means Carpenters albums. Karen's is the voice of the season, and "Christmas Portrait" is always the first disc played in our home when I control the player. It will always be that way. The second disc is good too, but regardless of its many charms, it is a patchwork project.

Thankfully, even though "An Old Fashioned Christmas" would be their last holiday release, Richard had more Carpenters music ahead for their fans- and in some ways, for posthumous releases, the best was yet to come.
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This post is only one piece in a series focusing on Karen and Richard Carpenter, a review of their many albums and the impact of their music on my life. If you'd like to read the entire series, begin here.

Thankful for the Gift of Jesus!

Tis the season to be thankful! And I am. Are you? We have so much to thank God for! If nothing else, the gift of life. I'm still here, and so are you. God has placed us in this particular place and time for His purposes. We get to be part of His plan to introduce people to the gift of His Son, Jesus Christ, the only payment for our sins, the only way to heaven. What a wonderful opportunity- and I am thankful to be part of something bigger than myself.

(Art copyright This Northern Girl.)

Balancing Act

Don't you just love this piece of concept art by legendary Imagineer Marc Davis? I sure do. Pirates of the Caribbean continues to be the masterpiece attraction at any Disney park- from Disneyland to Shanghai Disneyland and most everywhere in between, Pirates continues its reign as the most beloved and admired theme park icon.

The image also reminds me of the delicate balancing act between art and commerce. The suits have to do this well- and when they do, they have a runaway success on their hands. All you have to do is watch the crowds entering California Adventure 2.0 and heading toward Cars Land and Radiator Springs Racers to see great art can bring great rewards.

Will Walt Disney World's New Fantasyland pull in the crowds as well? Will it be strong enough to do battle with the boy wizard next door at Islands of Adventure? Probably not. But it can serve as a good starting point to a re-imagined Walt Disney World. A resort that once again returns to amazing its guests and providing experiences not available anywhere else. A place where great customer service is only bested stunning surroundings. To bring the current state of the resort back to the highest standards of earlier decades? That would be a hat trick- but one that must be done.

(Art copyright The Walt Disney Company.)

Cruising in Cars Land

Thanksgiving isn't even here yet, but the suits at Disneyland and Walt Disney World have already begun their Christmastime transformation of the parks. Living in Denver, I do not dream of a White Christmas. It happens often enough.

What I am dreaming about is another visit to a Disney park. Nope, it's not the beautiful but net-filled Animal Kingdom. It's not even the home of the original Twilight Zone Tower of Terror- Disney's Hollywood Studios. Nor Epcot, nor the New Fantasyland found at the Magic Kingdom.  You've guessed it by the photo- it's Disney California Adventure 2.0 and the stunning Cars Land.

Zooming through Ornament Valley on Radiator Springs Racers is what I want to be doing just about now. Eating some Caramel Banana Brioche at Flo's V8 Cafe and cruising along Buena Vista Street with my wife.  That is what would give this day a perfect ending! Guess it means the Imagineers have done their job!

(Photograph copyright Mark Taft.)

Sharpest Weapon Known to Man

For the word of God is alive and active. Sharper than any double-edged sword, it penetrates even to dividing soul and spirit, joints and marrow; it judges the thoughts and attitudes of the heart. Nothing in all creation is hidden from God’s sight. Everything is uncovered and laid bare before the eyes of him to whom we must give account.

Hebrews 4:12-13

A Little Halloween Treat

It's hard to give out candy via a blog, so how about a piece of pretty rare concept art??? 

Imagine if you will, a walk through version of the Haunted Mansion!  This was actually planned by the Imagineers at one point in time, but as with some things in all Disney parks, attraction capacity necessitates changes. So, the little walk through Haunted Mansion became a ride on a Doom Buggy. (Speaking of that, do go to Doombuggies.com - an amazing site.)

This piece of concept art was first shown as part of the 50th Anniversary display in Disneyland's Opera House.

Naturally (supernaturally?), the walking tour would brought us to the infamous ballroom. What a thrill it would have been to walk the house and explore it on our own! 

Perhaps a new Mansion would use a trackless system, and the riders could tour different rooms at random. Just think of the repeatability factor! Or on a smaller scale more in line with a holiday makeover, maybe one day Sleeping Beauty Castle could be given a Halloween makeover...

(Art copyright The Walt Disney Company.)

Too Cool for Words

(Art copyright The Walt Disney Company.)

Disneyland Resort's New Crowning Jewel: Cars Land

California Adventure's incredibly fantastic Cars Land and the equally impressive attraction Radiator Springs Racers together form the new gold standard for Disney theme parks. There is nothing like it- and it alone is worth a trip to Southern California and the Disneyland Resort whether or not the film is appealing.

I was skeptical even after reading the glowing trip reports. After all, this is the same company that has been given us "attractions" like "Monsters Inc. Laugh Floor" and "Stitch's Great Escape", not to mention the original mess of California Adventure 1.0. However, since my visit last week, I have been converted. Seeing is believing... and I am not a huge fan of the Cars films.

From the measure of a single "E Ticket" attraction, the geniuses at work in Imagineering have not created anything this incredible since the opening of the Indiana Jones Adventure. When combined with an entire land just as well designed, you'd have to go back to Disneyland in its prime days of the mid to late 1960s to find an end result equally as inspired; a time when the gorgeous New Orleans Square, the Pirates of the Caribbean, and a brand new dazzling Tomorrowland seemed to be revealed within months of each other.

Let me put it a different way. My son-in-law and I bought a park hopper pass, and we stayed twelve hours in the parks, from opening until the start of World of Color. Less than two were spent at Disneyland. This trip, we preferred to spend our single day at California Adventure. In the past, that never would have happened.

The park opened at 8:00am, and we arrived at the gate 45 minutes earlier with tickets in hand. Heading straight for the Fast Pass line for Racers, those golden tickets brought us a ride at 8:40, so we immediately walked to the regular queue while crowds were light.

Walking down the main drag of the town, I was stunned by the attention to detail and the scale and scope of the whole project. Totally immersive, encompassing in every sense. The exact opposite emotion of my first visit to this little park in 2001. 

Rounding the corner, our wait for the first ride was a total of 27 minutes. It flew by as the sights at every turn absorbed it quickly. The Bottle House was a particularly beautiful addition to the queue, unexpected and delightful. We finally reached the front of the line and anxiously awaited our vehicle.

There's nothing like the first time on any new Disney attraction. It cannot be repeated. My view of the attraction rarely strays from what I first experienced. The expectation was high, the experience just as powerful.  

For those unfamiliar with the attraction, Radiator Springs Racers, breaks down nicely into three segments: a slow sightseeing tour of Ornament Valley, a dark ride portion inside the main show building, and a high speed family thrill ride to conclude the journey. A little something for everyone and a potent combination where the sum of the parts creates an entirely satisfying whole. No spoilers here, but I will say I was happy to get right back in line for my second ride. 

We hadn't eaten before arriving at the resort because I wanted to breakfast at Flo's V8 Cafe. So worth the delay! Walking in, Motown tunes created a warm buzz and retro vibe. I ordered the delicious and fairly priced Caramel Banana Brioche, one of the tastiest things I've ever eaten at the resort- on par with the Creme Brûlée French Toast at Goofy's Kitchen. We sat outside in the morning sun with the cars of Racers hugging the track in front of us every few seconds. 

I still couldn't believe the view. Everywhere I turned, the gorgeous rock work and loving attention to detail stunned me.  I was totally drawn into the story, the environment, the feel; surprised I really was in a theme park, specifically California Adventure. The Imagineering dedication to excellence paired with the generous budget created something that will draw me back for years. Yes, Cars Land will be a hit for generations to come- long after the namesake movie is a memory. We exited through the entrance from Pacific Wharf, turning around for a new glance. The long view, the short view and all in between. I swore I was in Arizona on Route 66 with California within sight. Words are not enough.

Pirates of the Caribbean was next up as last year it was closed for refurbishment. My son-in-law had never seen it. Yet, we walked by Mater's Junkyard Jamboree, and we couldn't resist the fifteen minute long line. So glad we did! For a ride considered one for little kids, a minor addition, it was a blast. We laughed through our entire dance. And I didn't see one single face without a smile on it, young or old. A surprise hit.

So, it was back to Disneyland. The close proximity of the two parks is a big plus at the West Coast resort. In short order, we covered Pirates, Haunted Mansion, Big Thunder Mountain Railroad, Matterhorn Bobsleds, Pinocchio, and Buzz Lightyear's Space Ranger Spin. Briefly, Pirates looked and sounded the best it had in years. The bayou was dark, and no ceiling could be seen. All the effects worked beautifully. The Bobsleds were a painful ride, but the snow storm has finally returned. Tomorrowland looked awful with worn paint, making the old as dirt buildings look every bit their age. Hopefully, Iron Man will bring a fresh focus. Back to California Adventure we went, less than two hours in Walt's original park.

Heading back into California Adventure, we took time to explore Buena Vista Street. What a wonderful new "first act" for the park. At opening the Sunshine Plaza and entryway was almost a joke, a quick and easy, "trendy" attempt at something new. Only the Sun Icon and the California Zephyr train housing restaurants and shops hinted at any creativity. It's boring no longer. Instead, the area is warm, charming, and full of places to explore. The shops are full of unique attraction-specific merchandise. For the first time since my original visit, I actually purchased a variety of souvenirs and wished I had more money to burn. Incredible. 

Loved the Walt and Mickey statue as well as Oswald's. The Red Car Trolley adds much to the area, and the lush landscaping truly brings guests into another place and era. The Carthay Circle Theater brought just the right touch of elegance. Was this really the same park that Disney geeks firmly rejected in 2001? 

To make a long story very short, lunch was Chinese, dinner of Clam Chowder at the Wharf. We were able to explore every corner of Cars Land and do just about every attraction in the park, ending the day with a nighttime ride on Radiator Springs Racers (Single Rider Line, fifteen minutes. Even better at night!) The lighting ceremony at Cars Land was a treat. The new land is as strongly themed and every bit as impactful as anything Disney has ever built. It was a near perfect day.

Is California Adventure now the perfect park? No. The weaknesses are still there, with Hollywood Land and Paradise Pier exposing the faults found at the park circa 2001.  Will those areas be addressed? Hopefully so. 

As things now stand, I'd place California Adventure as a stronger American park than Disney's Hollywood Studios and Disney's Animal Kingdom. There's a big difference between the three: the new Adventure feels like a complete stand-alone, full day worthy Disney park. The other two remain half day parks. You can still tell where the suits have stopped short of excellence, and where they have continued to let those parks rot. Would Cars Land help save the park formerly known as Disney-MGM? Absolutely. Should it be built? Absolutely not!

I have no idea when my next visit to California will occur. However, I can say with full confidence that the new California Adventure will be where I spend my entire Disney day. Cars Land is a well deserved smash, a true labor of love. I cannot wait to ride Radiator Springs Racers again. Congratulations, Imagineers!

(Photographs copyright Mark Taft.)

Make Way for the Future Today

The future is now, and I am happy about it! Marvel's witty and cynical Iron Man is headed to Disneyland's Tomorrowland, a place in which he fits perfectly.

Let's face it: as it now stands, Tomorrowland is a mixed bag of themes and eras. Iron Man and Stark Expo could be the perfect unifying factor.  With a little bit of ingenuity and imagination, the exteriors of existing attractions could be "retro-fitted" into an area where "a look backwards at a look forward" provides the answer to bringing it all together. Sort of an EPCOT Center-ish Future World of the previous century. The buildings from the 60s could finally be resurfaced with a look that complements the feel and theme without revealing its shortcomings and reduced budget that plagued Tomorrowland '98.

Some Disney purists are in an uproar over this... but I think Walt himself would be happy that something cohesive is coming to the world of the future. Count me in.

Refresher Course: Space Mountain 101

Space Mountain. Long before The Twilight Zone Tower of Terror or Carsland and its Radiator Springs Racers, this single attraction was the motivating reason to visit  Disney theme park.

The Space Mountain name alone evokes excitement for theme park fans all over the world. Whether it is the classic, iconic structure found in Florida, California, and Tokyo; a similar takeoff placed in a Tomorrowland that almost feels kid drawn in Hong Kong; or the stunning, elegant Jules Verne styled masterpiece in Paris, the sheer sight of the mountain makes visitors run toward it once the rope drops. For this generation, blasting off through the universe has become a right of passage into the teenage years, but for the very earliest Disney fans, this wasn't always the case.

A slice of thrill.

Walt Disney had long passed away when Space Mountain debuted at Florida’s Magic Kingdom in 1975. The thrill ride was part of a slew of much needed additions for Tomorrowland. Like most all of the early classic attractions, however, its roots came from Walt himself many years before, and this ultimate thrill adventure was initially planned for his beloved original park in Anaheim.

A bigger slice!

America’s obsession with space travel provided the perfect timing for an attraction such as this. The future fascinated Walt. He loved science, space exploration, and new technologies. In addition to being an under appreciated businessman as well as a dreamer, fortunately, Walt was also a doer, and he assembled a team that could dream and create with him.

As discussions continued with the team, concept art for Walt’s Space Port, as it was originally named began to emerge. Many different looks were considered before settling on the timeless exterior familiar with fans in the States, and Imagineers Herb Ryman and John Hench each came up with designs that would be somewhat merged for the final result. Plans for Disneyland’s new Tomorrowland of the sixties included the attraction, but other priorities took precedence, leaving Florida to open the attraction a couple of years before it finally hit California soil.



Once the design was settled upon, a detailed model was built, giving the Imagineers a chance to view how the attraction would fit into the Magic Kingdom.

Upon its opening, Space Mountain became an instant fan favorite and theme park classic. "The blessing of size” as Walt said with regards to his Florida project, enabled the Imagineers to create a dual tracked Space Mountain for the younger Magic Kingdom park. With its thrills, the experience was a strong bid for the youth market who found much of the Magic Kingdom park too tame and lame with its emphasis on slow moving attractions and cabaret shows like Tropical Serenade (Enchanted Tiki Room), Country Bear Jamboree, and The Mickey Mouse Revue. The trend setting Mountain transformed into a park staple, with pale imitations created all over the world in an attempt to capitalize on its success. Even if you are not a Disney fan, chances are you know the name, probably recognize its timeless form, and are well aware of the adventure within. Another Walt inspired masterpiece.

The more recent refurbishing meant a change in the music and a nifty new attraction poster, but the ride itself remains fairly rough compared to when it first debuted. Long time fans know park maintenance is not a strong suit at the Florida parks. The New Fantasyland could be bringing some changes to that as the Imagineers prepare for a fresh invasion of visitors eager to see the most exciting addition to the Magic Kingdom in twenty years. 


Back at Disneyland, the success of the attraction meant one had to be built in Anaheim. That park’s smaller footprint demanded a similar but much smaller mountain back in California, bringing with this change a single track, different loading zone, and a much tighter flight course.

Prior to the opening of California Adventure, it was possible to enter the parking lot area by Space Mountain with your car, and since I lived nearby, I took advantage of the opportunity to drive by very often. When the attraction finally opened in 1977, I was among the first in line to take flight. And what a line it was! At one point, the queue snaked down Main Street and the hours passed as flights were on then off during its test period. The experience was quite the rush at opening with the atmosphere much darker, the rockets faster, and the journey unfamiliar. 

One of the earliest renderings of the attraction- for Disneyland.

In the late 90's as part of the New Tomorrowland, a newly bronzed Space Mountain came alongside the most recent addition, Rocket Rods, as well as a couple of cloned attractions from Florida. The revised land was not a success, and the mountain soon returned to its glistening white version.

Recent holiday themed experiences mean this mountain changes to Ghost Galaxy every Halloween, given those in charge a reason to keep things in top working order. Debates continue as to which mountain in which State provides the better experience but both are beloved and appreciated for their differences.


With much cash to burn and carte blanche access to the plans from Imagineering, the Japanese investors had the ability to hand pick from two differently designed Disney kingdoms, giving their guests a very interesting version of the first overseas park Tokyo Disneyland. Surprisingly, even with access to the larger Florida version, the Japanese chose the California’s much smaller attraction as the one to be duplicated. When the park opened in 1983, visitors found this space journey to have an entirely different feel, a blending of both American parks and few unique elements at opening. 

But the best was yet to come when a Disneyland was planned for the world's most beautiful city, Paris.

To experience Space Mountain, European fans had to trek to the Sunshine or Golden States for a Disney vacation experience or head to Japan. Once Disneyland Paris added their own space adventure, guests were shocked and delighted. Debuting in 1995, the iconic white mountain was replaced by a gorgeously themed and wonderfully executed Jules Verne inspired adventure... that began outdoors!

Originally planned as Discovery Mountain, the attraction inside was as different from its cousins as was its exterior: the open air loading station sends its rockets into a smoke-spewing cannon as guests are launched upwards into the mountain. The views over Discoveryland are amazing, but they are nothing compared to the thrills found inside!

The track layout included multiple inversions- the first for a Disney park anywhere- and the inclusion of a majestic musical score to accompany the journey. This new twist on an old favorite brought in the crowds. Some could even debate it saved the resort. It certainly did bring in the crowds.

Although the exterior building concepts remained largely the same, the Imagineers presented several different ideas for what was to be built inside the mountain. In addition to Space Mountain, ideas ranged from a Nautilus adventure including a restaurant inside the submarine, to a unique use of the technology that makes The Twilight Zone Tower of Terror so popular for an additional attraction themed to a different Jules Verne novel.

(For more information and concept art, track down the wonderful book Disneyland Paris, From Sketch to Reality by Alain Littaye and Didier Ghez.)

Upon our first visit to Disneyland Paris in 1998, Space Mountain: De la Terre à la Lune, and Phantom Manor were at the top of my must-do list. I must say, I did not expect every corner of the park to be as beautiful as it was.

Once I finally entered the queue and hopped aboard the vehicle, the ride was as wonderful and thrilling as I had imagined it would be! I couldn’t wait to ride it again and promptly returned to the queue for another trip. In its own unique way, viewing the mountain and watching the Columbiad cannon send explorers on their journey was as compelling as seeing the beautiful Eiffel Tower. I couldn’t take my eyes off the attraction. 

Beautiful during the day and absolutely spectacular at night with its magnificent lighting, this Space Mountain was the ultimate execution of the trendsetting concept. Period. Until a "reintroduction".

When we visited the park once more in 2007, we were shocked to find that the original theme had given way for "Mission 2". It was a poor design and marketing choice, as much of the stunning set pieces and effects had disappeared as well as the original majestic theme music. Perhaps it will return one day.

The opening of the first Disneyland in China, Hong Kong Disneyland (2005), provided an opportunity for building yet another version of the Magic Kingdom classic. Due to budget adjustments and misguided opinions of what should constititute the park, it remains short on attractions, even though Grizzly Gulch and the upcoming Mystic Manor will bring a more complete experience. The famous Space Mountain, however, was a must for opening day. The setting of the Chinese Tomorrowland is more akin to a Saturday morning cartoon than previous versions, but the mountain itself is a near duplicate of California's. In a new take on the mountain's use and design, it also houses an attraction based on the main character from Lilo and Stitch.

Where will the next other worldy mountain show up? Some folks are still sure it will be in Shanghai Disneyland, but only the Disney executives truly know- and all bets say the centerpiece Tomorrowland attraction will be based on Tron: Legacy. For all the questions we may have, one thing is certain. Space Mountain in all its incarnations, will continue to thrill and fascinate millions of guests looking for a chance to explore the universe and then return safely home!

(All concept art and Tokyo Disneyland photos copyright The Walt Disney Company; all other photos by Mark Taft)