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Ab
HI-RES32,49 Fr.
CD23,49 Fr.

Pop - Erschienen am 1. Januar 2000 | A&M

Hi-Res
Ab
HI-RES28,99 Fr.
CD20,49 Fr.

Pop - Erschienen am 7. Dezember 2018 | A&M

Hi-Res
Die großen Klassiker der Carpenters tauchen erneut in einer köstlichen Mischung von Vokalharmonien und sinfonischen Bearbeitungen auf. Für dieses Projekt im Jahre 2018 haben die Abbey Road Studios Richard Carpenter höchstpersönlich Tür und Tor geöffnet. Nach Made in America, ihrem letzten Album aus dem Jahre 1981, liegt nun ein halb posthumes Werk vor (seine Schwester Karen verstarb 1983 im Alter von nur 32 Jahren). Es ruft eine gewisse Nostalgie hervor und erinnert zugleich daran, wie tiefgründig diese legendäre Popgruppe war, die mit dem Easy Listening flirtete, zugleich aber mit den großen Klassikern wie Close To You, Rainy Days And Mondays oder We’ve Only Just Begun in der amerikanischen Kultur der siebziger Jahre fest verankert war. Mit diesem Album wird das Erbe der Carpenters auf originelle Weise lebendig erhalten. Die Produzenten haben die Originalaufzeichnungen der Gesangspartien und die einiger Instrumentalpartien beibehalten und sie mit den funkelnagelneuen Violinen des Londoner Royal Philharmonic Orchestra neu verpackt. Auf stilvolle Art zeigen Streicher dank recht hervorragender Arrangements, wie romantisch dieser zeitlose Pop sein kann. © Clotilde Maréchal/Qobuz
Ab
CD17,99 Fr.

Pop - Erschienen am 1. Januar 2000 | A&M

Ab
CD20,49 Fr.

Lounge - Erschienen am 13. Oktober 1978 | A&M

Ab
CD27,49 Fr.

Lounge - Erschienen am 15. Januar 1984 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 19. August 1970 | A&M

Hurriedly put together in the wake of the success of the title song, and containing the follow-up hit "We've Only Just Begun," Close to You is a surprisingly strong album, and not just for those hits. Richard Carpenter's originals "Maybe It's You" and "Crescent Noon" are superb showcases for Karen Carpenter's developing talent, the latter a superbly atmospheric, hauntingly beautiful art song of the kind that Judy Collins was doing well at the time, and gorgeously arranged. There's also a Swingle Singers-style number, "Mr. Guder," showing off their paired vocal talents and more of Richard's arranging talents. Karen's singing on "Reason to Believe" isn't so much somber as it is passionate, as she emphasizes the melancholy component in the song more than most versions. Their version of "Help" lacks the inventiveness of "Ticket to Ride," although it has some pleasing vocal flourishes. The finale, "Another Song," tries hard for a serious rock sound, especially in Karen's animated drumming, but it's her voice that stands out. Released amid the political turmoil of 1970, in the wake of the Cambodian incursion, Kent State, and the conservative backlash against the antiwar forces, there was no way that the rock press or the most politically active listeners were going to appreciate this record, but the fact that it had two huge hit singles and earned a gold record award raised their ire against the Carpenters, a problem that would dog the duo for most of its career. But the public bought, and kept on buying. © Bruce Eder /TiVo
Ab
HI-RES28,99 Fr.
CD20,49 Fr.

Pop - Erschienen am 7. Dezember 2018 | A&M

Hi-Res
Die großen Klassiker der Carpenters tauchen erneut in einer köstlichen Mischung von Vokalharmonien und sinfonischen Bearbeitungen auf. Für dieses Projekt im Jahre 2018 haben die Abbey Road Studios Richard Carpenter höchstpersönlich Tür und Tor geöffnet. Nach Made in America, ihrem letzten Album aus dem Jahre 1981, liegt nun ein halb posthumes Werk vor (seine Schwester Karen verstarb 1983 im Alter von nur 32 Jahren). Es ruft eine gewisse Nostalgie hervor und erinnert zugleich daran, wie tiefgründig diese legendäre Popgruppe war, die mit dem Easy Listening flirtete, zugleich aber mit den großen Klassikern wie Close To You, Rainy Days And Mondays oder We’ve Only Just Begun in der amerikanischen Kultur der siebziger Jahre fest verankert war. Mit diesem Album wird das Erbe der Carpenters auf originelle Weise lebendig erhalten. Die Produzenten haben die Originalaufzeichnungen der Gesangspartien und die einiger Instrumentalpartien beibehalten und sie mit den funkelnagelneuen Violinen des Londoner Royal Philharmonic Orchestra neu verpackt. Auf stilvolle Art zeigen Streicher dank recht hervorragender Arrangements, wie romantisch dieser zeitlose Pop sein kann. © Clotilde Maréchal/Qobuz
Ab
CD30,99 Fr.

Pop - Erschienen am 10. Februar 2004 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 9. November 1973 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 19. August 1970 | A&M

Hurriedly put together in the wake of the success of the title song, and containing the follow-up hit "We've Only Just Begun," Close to You is a surprisingly strong album, and not just for those hits. Richard Carpenter's originals "Maybe It's You" and "Crescent Noon" are superb showcases for Karen Carpenter's developing talent, the latter a superbly atmospheric, hauntingly beautiful art song of the kind that Judy Collins was doing well at the time, and gorgeously arranged. There's also a Swingle Singers-style number, "Mr. Guder," showing off their paired vocal talents and more of Richard's arranging talents. Karen's singing on "Reason to Believe" isn't so much somber as it is passionate, as she emphasizes the melancholy component in the song more than most versions. Their version of "Help" lacks the inventiveness of "Ticket to Ride," although it has some pleasing vocal flourishes. The finale, "Another Song," tries hard for a serious rock sound, especially in Karen's animated drumming, but it's her voice that stands out. Released amid the political turmoil of 1970, in the wake of the Cambodian incursion, Kent State, and the conservative backlash against the antiwar forces, there was no way that the rock press or the most politically active listeners were going to appreciate this record, but the fact that it had two huge hit singles and earned a gold record award raised their ire against the Carpenters, a problem that would dog the duo for most of its career. But the public bought, and kept on buying. © Bruce Eder /TiVo
Ab
CD20,49 Fr.

Pop - Erschienen am 1. Mai 1973 | A&M

Ab
CD83,49 Fr.

Pop - Erschienen am 15. Oktober 2002 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 27. September 2005 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 27. September 2005 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 9. Oktober 1969 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 6. Juni 1975 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 1. Januar 1997 | A&M

Ab
CD17,99 Fr.

Pop - Erschienen am 1. Januar 2000 | A&M

Ab
CD20,49 Fr.

Pop - Erschienen am 11. Juni 1976 | A&M

The formula behind the Carpenters' albums was starting to get fairly routine -- a hit single and an oldie or two (which sometimes was the single) surrounded by some well-produced soft pop/rock, driven by electric piano, strings, and a guitar solo or two cropping up. "There's a Kind of a Hush" and "Breaking Up Is Hard to Do" are the two most memorable tracks on this pleasant, well-sung, and well-played, but basically bland, album, A Kind of Hush. There are virtues here -- "You" has a good guitar solo by Tony Peluso, and the vocals on "Sandy" are radiant, but this record was where the real rot began to set into the Carpenters' fortunes, in terms of remaining connected to rock. Instead of covering Leon Russell's or Carole King's contemporary material, they're doing songs like "Can't Smile Without You" -- the latter is very sweetly sung by Karen Carpenter, and gets a lyrical but spare arrangement from Richard Carpenter, but they needed something more credible to the under-30 audience (and especially material that, if not attractive to guys in that age range, at least wouldn't make them self-conscious about listening to it with their girlfriends) on this album, and it wasn't here. If you close your eyes, it's possible to imagine Captain & Tennille, not to mention Debby Boone, taking lessons from this release, although Karen's voice was still beyond comparison with any of them. © Bruce Eder /TiVo
Ab
CD20,49 Fr.

Pop - Erschienen am 1. Januar 1981 | A&M