A Rolling Stones Classic Hits a Big Milestone

Celebrating the 50th anniversary of Sticky Fingers

While fans of The Rolling Stones may have different opinions which is the best album by the ‘Greatest Rock and Roll Band in the World’, I think most agree Sticky Fingers ranks among their top records. If I would have to pick one, it would be this gem that was released on April 23, 1971. This Friday marks the 50th anniversary of the record by a band that has existed for some 59 years and whose key songwriters became childhood friends in 1950. It’s just mind-boggling!

Sticky Fingers, the ninth British and the eleventh American studio album by the Stones, was the first they released under Rolling Stones Records. Mick Jagger, Keith Richards, Mick Taylor, Bill Wyman and Charlie Watts decided to form their own label in 1970 after the band’s recording contract with Decca Records had expired. Ten additional Stones albums appeared on that label until its discontinuation in 1992 when the Stones signed to Virgin Records.

The Rolling Stones in 1971 (from left): Charlie Watts, Mick Taylor, Bill Wyman, Keith Richards and Mick Jagger

Sticky Fingers also had a few other firsts. It became the Stones’ first studio album without any contribution from founding member Brian Jones who had been fired in June 1969 over his increasingly erratic behavior due to drug use. As we know, the story didn’t end well. Less than one month thereafter, Jones was found dead in his swimming pool – yet another great music talent tragically lost to drugs! Moreover, Sticky Fingers introduced the iconic tongue and lips logo of Rolling Stones Records, which has appeared on all Stones albums ever since.

The album’s original cover art work depicting a close up of a jeans-clad male crotch with a visible outline of a penis was conceived by none other than Andy Warhol. Unlike many fans assumed, it wasn’t Jagger’s crotch. Instead, Warhol “superstar” Joe Dallesandro claims to have been the model, though apparently this hasn’t been confirmed. Initial editions of the cover had a working zipper and perforations around the belt buckle that opened to reveal a sub-cover image of cotton briefs. Following complaints from retailers that the zipper damaged the actual vinyl records during shipping, the zipper was slightly pulled down toward the middle of the record to minimize the problem. Later reissues eliminated the working zipper and simply showed the outer photograph of the jeans.

In terms of the music, Sticky Fingers marked a return to a more basic and traditional Stones sound that mostly relied on guitar, bass, drums and percussion provided by the band’s key members: Mick Jagger (lead vocals, percussion, rhythm guitar), Keith Richards (guitar, backing vocals), Mick Taylor (guitar), Bill Wyman (bass) and Charlie Watts (drums). Long-time collaborators included Bobby Keys (saxophone) and keyboarders Billy Preston, Jack Nitzsche, Ian Stewart and Nicky Hopkins. The album was produced by Jimmy Miller, who had started to work with the Stones for Beggars Banquet from December 1968 and produced all of their albums until Goats Head Soup released in August 1973.

Time for some music. Unless otherwise noted, all tracks are credited to Jagger and Richards. Here’s the opener Brown Sugar. Songfacts notes that while the tune comes across as “a fun rocker about a guy having sex with the black girl,” the lyrics written by Jagger are actually “about slaves from Africa who were sold in New Orleans and raped by their white masters.” The Stones recorded the tune in Sheffield, Ala. in early December 1969 and performed it for the first time live during the fateful Altamont Speedway concert on December 6 that same year. Brown Sugar backed by Bitch also became Sticky Finger’s lead single on April 16, 1971.

Wild Horses is one of my long-time favorite tunes by the Stones. Referencing the liner notes from their 1993 compilation Jump Back, Wikipedia quotes Jagger: “I remember we sat around originally doing this with Gram Parsons, and I think his version came out slightly before ours. [It did, in April 1970 on The Flying Burrito Brothers’ sophomore album Burrito Deluxe – CMM] Everyone always says this was written about Marianne [Faithfull – CMM] but I don’t think it was; that was all well over by then. But I was definitely very inside this piece emotionally.” Added Richards: “If there is a classic way of Mick and me working together this is it. I had the riff and chorus line, Mick got stuck into the verses. Just like “Satisfaction”, “Wild Horses” was about the usual thing of not wanting to be on the road, being a million miles from where you want to be.” Wild Horses, with Sway as the B-side, was also released separately as the album’s second single on June 12, 1971.

Another highlight on Side One of Sticky Fingers is Can’t You Hear Me Knocking. At 7 minutes-plus, this is an unusually long track for the Stones. One of the song’s distinct features is a lengthy saxophone solo by Bobby Keys. Rocky Dijon and Billy Preston contribute percussion and organ, respectively. “Can’t You Hear Me Knocking” came out flying,” Richards said, as quoted by Rolling Stones fan site Time Is On Our Side. “I just found the tuning and the riff and started to swing it and Charlie picked up on it just like that, and we’re thinking, hey, this is some groove. So it was smiles all around. For a guitar player it’s no big deal to play, the chopping, staccato bursts of chords, very direct and spare.”

This brings me to Side Two of the album. The first track I’d like to highlight here is Bitch, a tune with a great guitar riff and horn line. Like many other songs on the album, the Stones recorded it at the Stargroves estate in Hampshire, England, using their mobile recording unit. Songfacts points out Mick Jagger had multiple relationships, so the tune is not about Marianne Faithfull or any other specific woman for that matter. It’s safe to assume the song’s lyrics could not be written today without triggering a political fire storm. “When we were doing Bitch, Keith was very late,” recalled recording engineer Andy Jones, according to Time Is On Our Side. “Jagger and Mick Taylor had been playing the song without him and it didn’t sound very good. I walked out of the kitchen and he was sitting on the floor with no shoes, eating a bowl of cereal. Suddenly he said, Oi, Andy! Give me that guitar. I handed him his clear Dan Armstrong Plexiglass guitar, he put it on, kicked the song up in tempo, and just put the vibe right on it. Instantly, it went from being this laconic mess into a real groove. And I thought, Wow. THAT’S what he does.”

Next up is a track I’ve come to increasingly love over the years, even though it’s not a traditional Stones rocker: Dead Flowers. Nowadays, I would go as far as calling this must-play tune for every bar band my favorite Stones song – so much for a guy who used to dismiss country as hillbilly music for the longest time! Recorded at Olympic Studios in London in April 1970, Dead Flowers was written during a time when the Stones were embracing country and Richards’ writing was influenced by his friendship with Gram Parsons. “The ‘Country’ songs we recorded later, like “Dead Flowers” on Sticky Fingers or “Far Away Eyes” on Some Girls are slightly different (than our earlier ones),” Jagger observed, per Rocks Off: 50 Tracks That Tell the Story of The Rolling Stones, a 2013 book by Bill Janovitz. “The actual music is played completely straight, but it’s me who’s not going legit with the whole thing, because I think I’m a blues singer not a country singer – I think it’s more suited to Keith’s voice than mine.” Be that as it may be. What I particularly love about Dead Flowers are the great guitar fill-ins by Richards and Taylor throughout the song.

Let’s wrap things with one more tune: Moonlight Mile, the album’s excellent closer! Another track recorded at Stargroves at the end of October 1970, Moonlight Mile came out of an all-night session involving Jagger and Taylor. Notably, Richards was absent for the recording of this tune, so Taylor handled all guitar work. Songfacts also calls out contributions from Jim Price (piano) and Paul Buckmaster (string arrangements). “That’s a dream song,” Jagger reportedly said in 1978. “Those kinds of songs with kinds of dreamy sounds are fun to do, but not all the time – it’s nice to come back to reality.” BTW, even though Richards was nowhere to been when the tune was recorded, it still was credited to Jagger and him.

Sticky Fingers became the first Stones album to top both the U.S. and the UK albums charts. Based on a January 2020 article by news and entertainment outlet The Talko, it is the band’s best-selling record with about 21.7 million units sold, followed by Let It Bleed (21.3 million) and Aftermath (19.6 million). Sticky Fingers was ranked at no. 63 in Rolling Stone’s 2003 list of The 500 Greatest Albums of All Time. While it lost some ground in the most recent revised list from September 2020, it still came in at a respectable no. 104. Sticky Fingers was also inducted into the Grammy Hall of Fame in 1999.

Given the album’s significance, you might think the Stones are celebrating the 50th anniversary with a major reissue. Not so. Instead, in early December, the band announced on Twitter a Red Limited Edition LP: Introducing… the Sticky Fingers Stones Red Limited Edition LP. 500 will be available in the Stones Carnaby  Street store from Thursday Dec 3rd & 500 available online later that day at 8pm GMT / 12pm PST. Sign up for reminders: https://the-rolling-stones.lnk.to/StonesSignUpSo. More Stones Red to come! While at first sight, this may be a bit disappointing, it’s important to remember that Sticky Fingers already saw a reissue in 2015. Plus, there’s Sticky Fingers Live At The Fonda Theatre 2015, a great 2017 release the Stones put out as part of their From the Vault series.

How about a little encore? Ask and you shall receive, and it’s a true gem: a killer rendition of Can’t You Hear Me Knocking from the aforementioned Sticky Fingers Live At The Fonda Theatre 2015, which captures a gig before a relatively tiny audience of 1,200 people. It marked the opening of the Stones’ two-month Zip Code Tour in 2015 and also celebrated the above noted Sticky Fingers reissue. The band was truly on fire that night. I would argue that performance reaches the level of the legendary Get Yer Ya-Ya’s Out. If you haven’t seen this clip before and dig the Stones, I’d highly encourage you to watch it. This is rock & roll at its best!

Sources: Wikipedia; Songfacts; Time Is On Our Side; The Talko; Rolling Stones Twitter feed; YouTube

Great Covers, B.r.u.c.e. Style

Over his nearly 50-year recording career, Bruce Springsteen has amassed an enormous catalog. He could easily fill up his 3 to 4-hour shows he routinely plays with just his own songs and still not even perform half of the tunes he has written over the decades. Yet The Boss has always liked to mix up his sets with covers. Why? I think it’s because Springsteen loves great music and to honor the artists behind it.

The latest reminder is The Live Series: Songs Under Cover Vol. 2, a new album released on March 5 as part of Springsteen’s ongoing series of concert releases. It’s available via digital download at https://live.brucespringsteen.net and on music streaming services. With The E Street Band, Springsteen has the perfect group of road-tested warriors to back him. Just like Tom Petty’s Heartbreakers used to do, these guys can play anything. The new album triggered the idea to do a post on covers, B.r.u.c.e. style.

In the Midnight Hour

I couldn’t think of a better tune to kick things off than with a Stax gem. Here’s Springsteen’s version of In the Midnight Hour. Apparently, this was captured at Nassau Veterans Coliseum on Long Island, N.Y. in 1980 during The River Tour. Written by Wilson Pickett and Steve Cropper, the song was first recorded by Pickett, one of my favorite Stax artists, and appeared in June 1965. It also became the title track of Pickett’s second studio album that appeared in the same year.

Who’ll Stop the Rain

Who’ll Stop the Rain is one of my long-time favorite tunes by Creedence Clearwater Revival. Written by John Fogerty, the track was included on the band’s fifth studio album Cosmo’s Factory from July 1970. It’s one of the covers included on Springstreen’s new live release. This was recorded at London’s Wembley Arena in June 1981. Great version. I love the sax work by “The Big Man” Clarence Clemons – just wish his solo would have been longer!

Sweet Soul Music

Here’s an amazing version of Sweet Soul Music, another soul classic. Co-written by Sam Cooke, Arthur Conley and Otis Redding, the tune was recorded at FAME Studios in Muscle Shoals, Ala., and first released by Conley in 1967. Bruce Springsteen & The E Street Band were on fire that night in Stockholm, Sweden in July 1988. It was around the same time I saw Springsteen first in Frankfurt, Germany. I will never forget that show. Springsteen and the E Street Band belted out one cover after the other for more than one hour. Technically, I guess this was the encore. If I recall it correctly, they also played Sweet Soul Music in addition to gems like In the Midnight Hour, Land of a Thousand Dances and Shout. It was just unbelievable!

Highway 61 Revisited

Bob Dylan’s Highway 61 Revisited is another highlight from Springsteen’s latest live release. For this rendition at Shrine Auditorium in Los Angeles in December 1990, Springsteen got a little help from his friends Jackson Browne and Bonnie Raitt. It really doesn’t get much better! Written by Dylan, Highway 61 Revisited became the title track of his sixth studio album from August 1965. Check this out – this is to die for!

Twist & Shout/La Bamba

This fantastic medley of Twist & Shout and La Bamba was captured during the Human Rights Now! Tour, a series of 20 benefit concerts conducted in 1988 to raise awareness of Amnesty International during the year of the 40th anniversary of the Universal Declaration of Human Rights. Twist & Shout, co-written by Bert Berns and Phil Medley, was first recorded and released by American R&B vocal group The Top Notes in 1961. La Bamba, a Mexican folk song, became broadly popular in 1968 through the amazing rendition by Ritchie Valens – one of the artists who died in that plane crash near Mason City, Iowa in the early morning hours of February 3, 1959, together with Buddy Holly.

Rockin’ All Over the World

Let’s wrap up this post with another John Fogerty classic that became the title track for Status Quo’s 10th studio album from November 1977, and a huge hit for the British boogie rockers. Fogerty originally recorded Rockin’ All Over the World for his self-titled sophomore solo album that came out in September 1975. Bruce and the boys played the song during a gig at Olympiastadion in Helsinki, Finland in July 2012. As Springsteen said, “let’s do it right – alright!” Man, would I have loved to be there!

Source: Wikipedia; YouTube

Some Wise Words From Sir Paul

This morning, I came across a recent tweet from Paul McCartney. It links to a blog post on his website. When asked by a woman via Twitter whether he had any advice how to deal with difficult situations where everything in the news paints a bleak picture of the future, Paul said the following:

I’ve always been an optimistic person, because I don’t like the alternative! I find that even when you go through crisis after crisis, you still come out the other end, and no matter how bad you’re feeling it can often work out OK.

Something I’ve learned is that life’s good, really, but we often screw it up. So I try to tell myself and other people that if we can just work on not screwing it up, it’s going to be better for us and everyone else. I always try and see the good side – the silver lining – and if you’re lucky, it arrives.

I remember as a kid, I would hear old women on the housing estate where we used to live saying ‘ohh me rheumatism, ohh me arthritis, ohh it’s killing me, it’s terrible!’ And I thought well, it’s not going to get any better if you talk like that! I know life’s difficult for a lot of people, but I think a positive thought is often a great help. You’ve got to train yourself not to think the worst.

With Covid, it’s awful. You’ve got to look for the good side, and even though we’re all restricted right now, you’ve got to say – ‘well, on the other hand it gives me loads of time to do all the stuff I wanted to do’. And even though we can’t hug our friends like we wish we could, there will come a time when we’ll be able to, and I have a feeling it’ll be even better than ever.

Also asked whether music could lift up humanity’s spirit and perseverance, he added:

Yeah, definitely. I think music is a great healer. I think that you can be feeling terrible, then put on a piece of music you like and get swallowed up by it. You can go in into the mood of the music and it’s a magical thing. I remember once, again when I was a kid, I was hanging out with my mate from school and I had a headache, and we put on an Elvis record – ‘All Shook Up’ – and at the end of the record I didn’t have the headache! So, I’ve always believed in that power.

Sure, I can see some folks being a bit cynical about the blog post and dismiss it as a gimmick to stay engaged with fans. The intro of the post also mentions Paul’s new album McCartney III. Plus, saying COVID gives you plenty of time to do things you had wanted to do but couldn’t do could come across as being a bit tone-deaf, especially to people who don’t have the luxury of a job that allows them to work from home. I view it differently.

To start with, given Paul’s mega success, he really doesn’t need to resort to any gimmicks to stay connected to his audience. It’s safe to assume his financial wellbeing doesn’t depend on sales of McCartney III. When noting extra time for things because of the pandemic, Paul is really talking about himself. In fact, he likely wouldn’t have done a new album, had it not been for COVID. To me, there’s also no question music can have a positive impact on how you feel. It has done so time and again in my case! But most importantly, I believe Paul when he says he’s a positive guy. It’s very much reflected in many of his songs. Here’s one that comes to mind.

While John Lennon contributed some of the lyrics and the tune was credited to Lennon-McCartney, wrote most of Getting Better. The Beatles recorded the song for their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band released in May 1967.

Sources: Wikipedia; Paul McCartney website; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part IX

We’re almost there. Tomorrow is the 10th anniversary of Carole King’s Tapestry, her iconic album from 1971, which I’ve been celebrating with this series over the past eight days. Up to now, I’ve explored all of side A, i.e., I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder, and the first three tracks on side B: You’ve Got a Friend, Where You Lead and Will You Love Me Tomorrow. Next up: Smackwater Jack.

Smackwater Jack is Tapestry’s second tune Carole co-wrote with Gerry Goffin. Unlike Will You Love Me Tomorrow, Smackwater Jack wasn’t released until Tapestry. It’s a great mid-tempo bluesy rocker. Rolling Stone’s Jon Landau called it an “uptempo shuffle.” In particular, I dig the piano work including Ralph Schuckett’s electric piano, and Danny Kortchmar’s electric guitar. Also, as a retired bassist, I have to call out Charles Larkey’s great bassline.

In addition to its music, Smackwater Jack stands out lyrically. It sounds less personal and less emotional than the other tunes on Tapestry. This doesn’t make it any worse; in fact, I think it’s a great outlaw story told in a very cinematic fashion you could picture in a Western movie.

Check out this excerpt from the lyrics: …The account of the capture/Wasn’t in the papers/But you know, they hanged ol’ Smack right then/Instead of later/You know, the people were quite pleased/’Cause the outlaw had been seized/And on the whole, it was a very good year/For the undertaker…

Smackwater Jack also appeared separately as Tapestry’s second single, paired with So Far Away. Like the album’s first single It’s Too Late/I Feel the Earth Move, Billboard treated it as a double A. It peaked at no. 14 on the Hot 100.

Interestingly, Quincy Jones covered Smackwater Jack as the title track of his studio album that also appeared in 1971. I had not been aware of this. I can’t say I like it as much as Carole’s original version. Still, I think Jones deserves credit for making the tune his own by giving it a funky soul vibe – check it out!

Sources: YouTube; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part VIII

Part VIII of my 10-day celebration of Carole King’s Tapestry is bringing us close to the album’s 50th anniversary day, which is this Wednesday, February 10. The previous parts have featured all of side A – I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder – and the first two tracks of side B, You’ve Got a Friend and Where You Lead. Next up is the third track on the B side, and it’s a true standout: Will You Love Me Tomorrow.

Also sometimes known as Will You Still Love Me Tomorrow, this beautiful ballad is one of two tracks on Tapestry, co-written in 1960 by Carole and her then-husband and lyricist Gerry Goffin. It was first recorded and released by American girl group The Shirelles that same year. The song became their first no. 1 single in the U.S. on the Billboard Hot 100. It also climbed to no. 4 in the U.K., giving them their biggest hit there. Will You Love Me Tomorrow became the breakthrough hit for Goffin-King.

On the Tapestry version, James Taylor not only provided acoustic guitar but also backing vocals. Oh, and there was another prominent backing vocalist: Joni Mitchell. The vocals of the three artists beautifully blend, making the tune one of the outstanding gems on Tapestry.

According to Songfacts, apparently because of its perceived sexual lyrics, Will You Love Me Tomorrow met with some resistance from radio stations, but not enough to stop it from becoming a huge hit – absolutely laughable, especially from today’s perspective!

Songfacts also notes Shirley Alston, the lead vocalist of The Shirelles, initially dismissed the song as “too Country and Western”. But producer Luther Dixon reassured her the group could adapt the tune to their style. He also asked Carole and Gerry to add strings and speed up the tempo. They did and the rest is history.

Tapestry producer Lou Adler, who also owned King’s record company, explained, as quoted by Songfacts: “The only thing we reached back for, which was calculated in a way, which of the old Goffin and King songs that was hit should we put on this album? And, that’s how we came up with ‘Will You Still Love Me Tomorrow.’ I thought that song fit what the other songs were saying in Tapestry. A very personal lyric.” Interestingly, Carole’s version of Will You Love Me Tomorrow was not released as a single.

Sources: Wikipedia; Songfacts; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part VII

On to part VII of my mini-series celebrating the 50th anniversary of Carole King’s iconic Tapestry album that’s coming up in just a few days on February 10. So far, the previous parts have highlighted all six tunes of the record’s A-side, I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder, as well as the first track on side B, You’ve Got a Friend. Next up: Where You Lead.

Where You Lead is a nice mid-tempo soft rocker. Carole composed the music; her collaborator Toni Stern provided the lyrics, the second such tune on Tapestry. According to Songfacts, While it is a love song rather than an inspirational song, the lyrics are inspired by the Biblical Book of Ruth.

Songfacts also notes Carole subsequently decided to drop the tune from her set list, feeling uncomfortable singing about following a man around. “After I recorded it for the ‘Tapestry’ album, we women decided that we didn’t actually need to follow our men anymore,” King said in a 2004 interview.

In the early 2000s, Where You Lead became the theme song to the U.S. TV series Gilmore Girls, for which Carole re-recorded the tune with adapted lyrics, sharing vocals with her daughter Louise Goffin, who also is a singer-songwriter with 10 published solo albums to date.

Sources: Wikipedia; Songfacts; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part VI

This is part VI of Ten Days of Tapestry, a celebration of the upcoming 50th anniversary of the legendary Carole King album released on February 10, 1971. Parts I-V covered the six tracks on the record’s A-side: I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder. On to side B!

The opening track of the B-side is one of Carole’s best known tunes, mainly because of James Taylor’s great cover: You’ve Got a Friend. It’s yet another track with beautifully written lyrics by Carole who also composed the music.

When you’re down and troubled/And you need some love and care/And nothing, nothing is going right/Close your eyes and think of me/And soon I will be there/To brighten up even your darkest night…Such a great pick her upper!

As quoted by Songfacts, Carole said the song “was as close to pure inspiration as I’ve ever experienced. The song wrote itself. It was written by something outside of myself, through me.”

Notably, You’ve Got a Friend never became a hit for Carole. Instead, it was the aforementioned great cover by her friend James Taylor that topped the Billboard Hot 100 in 1974, giving him his only no. 1 single in the U.S. to this day. Taylor, who played guitar on Tapestry, was working on his third studio album Mud Slide Slim and the Blue Horizon in parallel and recorded the tune for that album.

Sources: Wikipedia; Songfacts; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part V

On we go with the next installment of my series celebrating the 50th anniversary of Tapestry, the signature album by the great Carole King. Parts I through IV featured the first five tracks of the record’s A-side: I Feel the Earth Move, So Far Away, It’s Too Late, Home Again and Beautiful. This brings me to Way Over Yonder, one of my favorite tunes on the album.

Way Over Yonder is the sixth and last track of Tapestry’s A-side. It’s another beautiful ballad solely written by Carole. This tune always puts me at ease with its mellow music and the lyrics. Way over yonder/Is a place that I know/Where I can find shelter/From a hunger and cold/And the sweet tastin’ good life/Is so easily found/A way over yonder, that’s where I’m bound…

One of the musical standouts on this track is the amazing tenor saxophone solo by Curtis Amy. There’s just so much feeling behind it. James Taylor is playing acoustic guitar. Last but least, the backing vocals by Merry Clayton still give me the chills. So good!

Sources: Wikipedia; YouTube

Ten Days of Tapestry

A legendary album turns 50 – part IV

This is part IV of my series to celebrate the 50th anniversary of Carole King’s Tapestry album, which is coming up on February 10. The three previous parts covered the first four tunes on side A: I Feel the Earth Move, So Far Away, It’s Too Late and Home Again. Here’s the fifth track aptly titled Beautiful.

Citing Carole’s 2012 auto-biography A Natural Woman, Wikipedia notes she did not consciously attempt to write “Beautiful” but it came to her spontaneously. It stemmed from her realization while riding the New York City subway that the way she perceived others reflected how she herself felt. She has also stated that because it came to her spontaneously, she initially didn’t realize some of the professional details of the song, such as the lack of rhyme in the refrain, which if she was writing the song consciously she would have included.

Beautiful was covered by Barbara Streisand, among other artists. She recorded it for her 1971 studio album Barbra Joan Streisand. Beautiful also became the title track of the musical Beautiful: The Carole King Musical. It started with a try-out in San Francisco in October 2013 before moving to New York’s Broadway where it was shown from January 2014 until October 2019. There was also an original production in London from February 2015 to August 2017. In addition, there have been various tours of the musical in the U.S., UK and Australia.

Sources: Wikipedia; YouTube