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Carly Simon is classic rock?

semoochie said:
OK, I see the problem. The single version fades out a minute early just after the freeform part begins. It isn't as noticeable as the musical ending in The Carpenters' "Goodbye to Love" which seems to go on forever and reminds the listener that they are actually a Rock band after all!
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There is no single version of "Sandman" in the United States. The only time it was on a 45 was as the B-side to "A Horse With No Name" in three countries---the UK, France and Australia.

But, checking further, it looks like that's the version (early fade) that got used on their Greatest Hits album, "History".

The big difference between "Sandman" and "Goodbye To Love" is that this was from America's debut album---this was part of who the band were from the jump. "A Horse With No Name" showed off the Neil Young influences. Warners chose "I Need You" as the follow-up single, which seemed to cast a die. If "Sandman" had been the follow-up, either full-length or edited in the middle to allow the guitar at the end, the next album ("Homecoming") might have had a harder edge.

"Goodbye To Love" was from Carpenters' fourth album, was their tenth single, all but two of which had gone top five and Richard Carpenter wanted to rebel against the image that they had that---was pretty much accurate. They weren't a rock band, had never done anything like this before, and never did again.
 
michael hagerty said:
There is no single version of "Sandman" in the United States. The only time it was on a 45 was as the B-side to "A Horse With No Name" in three countries---the UK, France and Australia.

But, checking further, it looks like that's the version (early fade) that got used on their Greatest Hits album, "History".

The big difference between "Sandman" and "Goodbye To Love" is that this was from America's debut album---this was part of who the band were from the jump. "A Horse With No Name" showed off the Neil Young influences. Warners chose "I Need You" as the follow-up single, which seemed to cast a die. If "Sandman" had been the follow-up, either full-length or edited in the middle to allow the guitar at the end, the next album ("Homecoming") might have had a harder edge.

"Goodbye To Love" was from Carpenters' fourth album, was their tenth single, all but two of which had gone top five and Richard Carpenter wanted to rebel against the image that they had that---was pretty much accurate. They weren't a rock band, had never done anything like this before, and never did again.
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On the Carpenters' documentary that runs on PBS, the guitarist said he originally did the solo that "stayed out of the way, befitting a Carpenters song". Richard told him to redo it and really let loose.
 
gr8oldies said:
On the Carpenters' documentary that runs on PBS, the guitarist said he originally did the solo that "stayed out of the way, befitting a Carpenters song". Richard told him to redo it and really let loose.
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My parents really liked the the Carpenters. Little girls younger than me loved Donny Osmond.
 
michael hagerty said:
Another case of an act making a conscious choice to do something against type. But then, the Osmonds got on the pop charts in the first place by ripping off the Jackson 5 with “One Bad Apple”.
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Ripping off black musicians didn't start with Donny. The music industry used the Beatles to push great black artists off the pop charts before that.
 
CTListener said:
Poor Carly Simon is out there somewhere begging to get back into this discussion!
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I don't think Carly Simon is so poor. Her music as well as the Carpenters still get airplay to this day. What you don't hear is what we called bubblegum.
 
Harvey_Dogg said:
Ripping off black musicians didn't start with Donny. The music industry used the Beatles to push great black artists off the pop charts before that.
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The point wasn't about ripping off Black musicians, it was about adopting a sound that's not yours to get a hit record. That's what they did with "Crazy Horses" and I pointed up "One Bad Apple" to show that this was not the first time the Osmonds had done it.

As for White artists pushing Black artists off the pop charts, the practice began well before the Beatles, who, as I understand it, were paying tribute to the Black artists who got pushed off the charts in favor of White cover records in the 1950s. They (the Beatles) genuinely loved Chuck Berry and Little Richard :

 
michael hagerty said:
The point wasn't about ripping off Black musicians, it was about adopting a sound that's not yours to get a hit record. That's what they did with "Crazy Horses" and I pointed up "One Bad Apple" to show that this was not the first time the Osmonds had done it.
! Black
As for White artists pushing Black artists off the pop charts, the practice began well before the Beatles, who, as I understand it, were paying tribute to the Black artists who got pushed off the charts in favor of White cover records in the 1950s. They (the Beatles) genuinely loved Chuck Berry and Little Richard :

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Correct! Black artists created rock n roll in the first place and the practice started in the 50's. Before that there were very famous black artists in standards, jazz, and big bands.
 
CTListener said:
I'm sure you know she was never poor, and I never intended my post to be taken that way. She's from the Simon -- as in Simon & Schuster -- family. Major money.
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I saw Carly Simon on Finding Your Roots on PBS. We love that show.
 
Hard core rock artist or not, Carly Simon sure could sing! I don't mind that AOR or Active Rock is male dominated, but it would be nice to see more Amy Lees or Ann Wilsons produce content suitable for the format. Sure, The Pretty Reckless has a female lead, but she's more of a screamer than a singer LOL. But yeah, Carly had/has a great set of pipes. (Haven't heard her recently.)
 
Who do you think is earning more revenue -- Carly Simon from her dozens of albums and 35 years of hits, or Richard Carpenter from "Merry Christmas Darling" being playing over and over again every holiday season?
 
kevtronics said:
Who do you think is earning more revenue -- Carly Simon from her dozens of albums and 35 years of hits, or Richard Carpenter from "Merry Christmas Darling" being playing over and over again every holiday season?
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Richard. And not just from play of "Merry Christmas Darling". Carpenters has a rabid fan base that will buy everything that comes out. There are actually more compilation albums than there were original studio LPs.

Also, Carly may have recorded for 38 years, but there weren't anything close to 35 years of hits. Her 2005, 2007 and 2008 albums all peaked in the top 15, but that was at a time when physical media sales were really low. It didn't take a lot to make the chart, or even make the upper reaches of the chart.

So going back to when there were actual sales happening, her last album to peak above #60 was 1987's "Coming Around Again", which peaked at #25 and was the best chart performer since 1978's "Boys In The Trees", which peaked at #10. Everything in that nine-year gap peaked between #36 and #88.

Her last Top 10 single was "You Belong To Me" in 1978. Her last Top 20 was "Coming Around Again".
 
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Mediafrog+ said:
Of course that was really an ELO combination; it starts out sounding like a straight performance of the beginning of the symphony then suddenly segues into a very high energy cover of the Berry hit.
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I heard "Roll Over Beethoven" on my car radio this morning. I happened to be traveling through an area with an oldies station that plays a lot of 50s and only the good stuff from the 60s.
 
semoochie said:
OK, I see the problem. The single version fades out a minute early just after the freeform part begins. It isn't as noticeable as the musical ending in The Carpenters' "Goodbye to Love" which seems to go on forever and reminds the listener that they are actually a Rock band after all!
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And shouldn't. The Carpenters are easy listening. I never liked the guitar on that song. Also, I never heard it until it was on standards radio. When their songs were popular I didn't even know who they were.
 
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