这一年的大事，就是集合了50名格莱格·史密斯合唱团成员和整个洛杉矶交响乐团共同表演也许是有史以来流行大碟的最庞大的现场演出，凯伦成功演唱威伯·莱斯的歌剧“伊娃”选段。演出受到媒体的广泛关注，成为整场亮点，也造就了卡朋特第8张专辑，那时为止是他们最多元的大碟。 by Bruce Eder Passage is surprisingly ambitious, almost experimental by the standards of the Carpenters -- there are no Richard Carpenter-authored songs, a first for the duo, and what is here seems an almost conscious effort to sound different from their prior work. That includes the ornate versions of "Don't Cry for Me Argentina" and "Calling Occupants of Interplanetary Craft," both arranged by Peter Knight (best known for his work with the Moody Blues on Days of Future Passed). The Evita song, which comes complete with its surrounding musical material, is so much more elaborate than anything else on the album that it seems completely out of place. Richard evidently had what he felt were good reasons for choosing to record Klaatu's piece of space rock ersatz, and it is hard not to luxuriate in Karen Carpenter's enunciation of the lyrics, but overall "Calling Occupants of Interplanetary Craft" is one of those '70s records that is truly embarrassing to be caught listening to today, a pop culture Jimmy Carter-era artifact on a par with pet rocks. The album also has its unusually playful side, represented by the country number "Sweet, Sweet Smile" and the Calypso piece "Man Smart, Woman Smarter," although the latter doesn't work at all and neither track would ever find a place even on a "volume three" of the best of the Carpenters. Much more memorable was "All You Get from Love Is a Love Song," which also had more of a beat than one was accustomed to in the duo's music, and the dark, melancholy-tinged "Two Sides." The effort was admirable even if most of the results aren't memorable or essential.