On Sunday, I went to a small outdoor concert, my first live music event in more than one and a half years, featuring a Carole King tribute act. On my way back home, I listened to Tapestry: Live in Hyde Park, a live and video album from September 2017, capturing King’s performance at London’s Hyde Park on July 3, 2016. The above clip of It’s Too Late is from that gig.
Admittedly, this isn’t the first time I’ve posted about It’s Too Late and the Tapestry album, on which that tune first appeared. If you’re a more frequent visitor of the blog, you know how much I dig Carole King. If I could pick only one singer-songwriter, it would probably be her.
So why do yet another post? To start, I think it’s a great tune that certainly can be highlighted more than once. More importantly, I feel this is a particularly nice rendition of one of my favorite Carole King songs.
Obviously, Carole’s voice has changed, but I think it’s aged beautifully. I love the overall soulfulness of this version, to which the great backing vocalists undoubtedly contribute. I also like Carole’s piano work and the guitar solos by who I believe is Danny Kortchmar, one of the original studio musicians from the Tapestry recording sessions.
Last but not least, the clip acknowledges how much I love live music and how much I’ve missed it during this dreadful pandemic. Sunday was a small start to what hopefully will be more concerts over the summer months and beyond.
America’s vocal harmonies and smooth folk rock sound make for one of the best ’70s greatest hits compilations
On Monday, I found myself listening to America. I realize the trio has been dismissed by some critics as a Crosby, Stills & Nash knockoff. If anything, frankly, I would consider sounding like one of the best harmony-singing bands of all time as a compliment. But that may just be me. In any case, I’ve loved America’s music for many years and always enjoy revisiting it.
My listening experience made me want to post about the album that started my America journey as a nine- or 10-year-old back in Germany: History: America’s Greatest Hits. Then, I nebulously recalled a previous musing about their first compilation from November 1975. Checking my blog revealed a post from September 2018. Yes, I sometimes have to search my own stuff to remember what I previously wrote! 🙂
When it comes to old posts, sometimes, I wish I had written them differently. My views may have evolved. I also guess there’s a certain learning curve here. In this case, I was happy to see that I continue to fully stand behind each word I wrote almost three years ago. Therefore, I decided to do something I rarely do: Re-publish a previous post.
– Re-Post –
I was nine or 10 years old when I listened to History: America’s Greatest Hits for the first time. The album grabbed me right from the beginning. It was one of the vinyl records my older sister had, which among others also included Carole King’sTapestry; Crosby, Stills, Nash & Young’sDéjà Vu; and Simon & Garfunkel’sGreatest Hits – all albums I dig to this day.
Recently, I rediscovered History. To me, it’s one of the best greatest hits compilations I know, which were released in the ’70s. Others that come to my mind are Neil Young’sDecade, Eagles’Their Greatest Hits (1971-1975), Santana’s Greatest Hits, Steely Dan’sGreatest Hits and the aforementioned Simon & Garfunkel album. There are probably some others I’m forgetting – in any case, it’s not meant to be a complete list.
I recall reading somewhere that America were dismissed by some as a Crosby, Stills, Nash & Young knock-off. While I generally don’t think highly of music critics in the first place, I feel this notion is silly. Yes, America’s three-part harmony vocals are reminiscent of CSN/CSNY, but this doesn’t make them a copycat or somehow bad artists! On the contrary, if anything, the vocal similarity to CSN/CSNY is a huge accomplishment – after all, there aren’t many bands that can harmonize like CSN/CSNY did! On to History.
Released in November 1975, History encompasses America’s 11 most successful singles at the time, plus an edited take of Sandman from their December 1971 eponymous debut. In addition to that album, History includes material from four additional studio records: Homecoming (November 1972), Hat Trick (October 1973), Holiday (June 1974) and Hearts (March 1975).
History opens with one of my favorite America tunes: A Horse With No Name from their debut album. It was written by Dewey Bunnell, who formed America with Dan Peek and Gerry Beckley in London in 1970. The three had met there in the mid-’60s as high school students whose fathers were stationed on a nearby U.S. Air Force base.
A Horse With No Name became America’s most successful single topping the Billboard Hot 100. It also stirred some controversy due to the similarity of Bunnell’s voice to Neil Young, and what some viewed as mediocre lyrics. Coincidentally, the song knocked Young’s Heart Of Gold off the Billboard Hot 100 top spot. I really don’t care whether it sounds like Young, who by the way is one of my favorite artists. With its two chords and killer harmony vocals, this tune simply gives me goosebumps each time I hear it.
Ventura Highway, another Bunnell composition, is from the Homecoming album. When I listen to this song and close my eyes, I can literally picture myself in an open convertible driving on the Pacific Coast Highway 1 from L.A. up north to San Francisco. I actually did that trip in 1980 as a 14-year-old, together with my parents. Even though we had a lame station wagon as a rental, not some hot convertible, it was an unforgettable experience! Ventura Highway became a top 10 Billboard single for America, reaching no. 8 and no. 3 on the Hot 100 and Easy Listening charts, respectively.
Another beautiful tune is Lonely People, which was credited to Dan Peek and his wife Catherine Peek. The song was written a few weeks after their marriage. An obituary in TMR that appeared in the wake of Peek’s death in July 2011 at the age of 60 quotes him: “I wrote it probably within a month of getting married to my long-lost love Catherine…I always felt like a melancholy, lonely person. And now I felt like I’d won.” America initially recorded Lonely People for their fourth studio album Holiday. It topped the Billboard Easy Listening chart and peaked at no. 5 on the Hot 100.
One of my favorite songs on History written by Gerry Beckley is Sister Golden Hair. Recorded for America’s fifth studio album Hearts, the tune also became the band’s second no. 1 on the Billboard Hot 100. The lyrics were inspired by Jackson Browne. In this context, John Corbett’sAmerica Revisited quotes Beckley: “Jackson Browne has a knack, an ability to put words to music, that is much more like the L.A. approach to just genuine observation as opposed to simplifying it down to its bare essentials… and it was that style of his which led to a song of mine, “Sister Golden Hair,” which is probably the more L.A. of my lyrics.” I guess this means in addition to CSN/CSNY, America also stole from Browne – unbelievable!
The last song I’d like to call out is the final track on the History compilation: Woman Tonight. It’s another tune from the Hearts album and was written by Peek. Released as the third single, it charted within the top 50 in the U.S.
History was produced by none other than George Martin, who had started working with America on their fourth studio album Holiday. Martin also remixed the first seven tracks on History, which he had not produced originally. The compilation became a huge success in the U.S., giving America a no. 3 on the Billboard 200. In October 1986, the Recording Industry Association of America certified the album 4X Multi-Platinum.
Since History, America have released 12 additional studio albums, 10 live records and numerous other compilations. Now in their 51st year [updated from original post – CMM], America continue to perform, featuring co-founders Beckley and Bunnell. Peek left the band in May 1977, long before his death, after he had renewed his Christian faith.
– End of Re-Post –
Apparently, America will be touring the U.S. starting in late summer. According to their current schedule listed on their website, things are set to kick off in North Bethesda, Md. on August 13. Some of the other gigs include Hyannis, Mass. (Aug 27); Mulvane, Kan. (Sep 11); Lawrence, Kan. (Sep 25); Reno, Nev. (Oct 2), Mankato, Minn (Oct 22); and San Antonio (Nov 14). The last currently listed show is Sarasota, Fla. (Nov 21). I saw America once in the late ’90s on Long Island, N.Y., and they sounded fantastic.
Sources: Wikipedia; TMR; John Corbett: “America Revisited”, AccessBackstage.com, May 29, 2004; RIAA Gold & Platinum certifications; America website; YouTube
The other day while driving in my car, I caught a cool program on SiriusXM, Classic Vinyl (Ch. 26) titled the “Top 50 Albums Turning 50.” Hosted by former Doors guitarist and drummer Robby Krieger and John Densmore, respectively, it was a countdown of records that came out in 1971, as voted by listeners. Once again, this reminded me what an outstanding period the early ’70s were for music, and I’m not only talking about classic rock. The radio show also triggered the idea for this post. While I don’t want to call this a series, I have a funny feeling I’ll do more about 1971, now that I’ve been bitten by the bug.
The amount of great albums released in 1971 is mind-boggling, especially from today’s perspective. It’s a true gold mine! Some artists and bands like Johnny Cash, Carole King, Faces and Yes released even more than one record. Following are my top five albums turning 50 this year. I’m not great at ranking, so I’m listing my picks in no particular order. Live records and debuts are excluded, since I’m contemplating separate posts for these categories. I guess it’s another way to admit that if you love early ’70s music, summing up 1971 with just five albums is mission impossible!
The Who/Who’s Next
As my favorite album by The Who, including Who’s Next in this short list was a no-brainer. The fifth studio album by the British rockers appeared on August 14, 1971. It came out of Lifehouse, another rock opera Pete Townshend had conceived as a follow-up to Tommy. Eight of the nine songs from Who’s Next had initially been written for Lifehouse. Additional tracks from the abandoned project were subsequently released as singles and appeared on other Who and Townshend (solo) records. Except for My Wife, which was penned by John Entwistle, Townhend wrote all tracks. I pretty much could have highlighted any song from the album. Here’s Bargain, which according to Songfacts is an homage to Indian spiritual master Meher Baba. Townshend believed in his message of enlightenment, which also influenced songs like Baba O’Riley and See Me, Feel Me. “Bargain” refers to losing all material goods for spiritual enlightenment.
Folks who follow the blog or know me otherwise won’t be shocked by this pick. When it comes to the singer-songwriter category, Carole King will always remain one of my all-time favorite artists. Tapestry, released on February 10, 1971, is her Mount Rushmore in my book. A couple of months ago, leading up to the 50th anniversary date, I devoted a 10-part series to the album (“Ten Days of Tapestry”, see final part here, which includes links to all previous installments). Therefore, I’m keeping it brief here. Tapestry’s great opener I Feel the Earth Move was solely written by King, like most other tracks on the album.
Led Zeppelin/Led Zeppelin IV
Led Zeppelin IV and Stairway to Heaven marked the start of my Led Zeppelin journey. While they were an acquired taste, Led Zeppelin have become one of my favorite rock bands. To me, their fourth studio album, which came out on November 8, 1971, remains one of the most exciting ’70s rock albums, though I’ve also come to really dig their other records. Instead of the obvious tune Stairway, which I would select if I could only choose one classic rock song, let’s do Rock and Roll. It’s the record’s only tune credited to all four members of the band. In addition to Robert Plant, Jimmy Page, John Paul Jones and John Bonham, Rock and Roll features Rolling Stones co-founder Ian Stewart on keyboards.
The Rolling Stones/Sticky Fingers
Speaking of the Stones, Sticky Fingers is another must-include on my top five short list of the greatest albums released in 1971. You can read more about my favorite Stones album in this recent post I published a few days ahead of the April 23 50th anniversary date. Here I’d like to highlight a track I did not call out in that post: Sway, which also became the b-side of the album’s second single Wild Horses, released on June 12, 1971. The slower blues track features some sweet slide guitar action by Mick Taylor. Another factoid worthwhile noting is the song marked Mick Jagger’s first electric guitar performance on a Stones album. Oh, and there were some notable backing vocalists: Pete Townshend, Ronnie Lane (of Small Faces and Faces) and Billy Nichols, an American guitarist and songwriter who first came to prominence during the ’60s for his work with Motown.
With so many great albums that were released in 1971, it’s tricky to keep this list to five, but that’s what I set out to do, at least for now. Meddle was the sixth studio album by Pink Floyd, which appeared on October 31, 1971. It foreshadowed the band’s mid ’70s masterpieces The Dark Side of the Moon and Wish You Were Here, especially on the 23-minute-plus track Echoes. While I was tempted to feature this epic track, I think it’s safe to assume very few readers would listen. Instead, let’s go with the opener One of These Days. The characteristic pumping bass line was double-tracked, played by bassist Roger Waters and guitarist David Gilmour. The instrumental is credited to all members of the band, which in addition to Waters and Gilmour included Richard Wright (organ, piano) and Nick Mason (drums, percussion). The only spoken line in the song, the cheerful and digitally warped “One of these days I’m gonna cut you up into little pieces,” was spoken by Mason.
This is it – today, exactly 50 years ago, on February 10, 1971, one of greatest records in pop history was released: Tapestry by Carole King. As such, we’ve come to the final part of my series to celebrate this iconic record. Perhaps some readers will breathe a sigh of relief, after having seen Carole King-related posts from me for the past nine days in a row! 🙂
To quickly recap, during the previous nine parts, I’ve covered all of side A – I Feel the Earth Move, So Far Away, It’s Too Late, Home Again, Beautiful and Way Over Yonder – and most of the B-side, i.e., You’ve Got a Friend, Where You Lead, Will You Love Me Tomorrow and Smackwater Jack. This leaves two tracks: The album’s title song and (You Make Me Feel Like) A Natural Woman.
I’ll leave it up to Carole to comment on the title track: “It is typical of the magic that seems to surround that album, a magic for which I feel no personal responsibility, but just sort of happened, that I had started a needlepoint tapestry a few months before we did the album, and I happened to write a song called ‘Tapestry,’ not even connecting the two up in my mind,“ she explained during a recorded 1972 conversation with producer Lou Adler, as quoted by Songfacts. “I was just thinking about some other kind of tapestry, the kind that hangs and is all woven, or something, and I wrote that song. And, you being the sharp fellow you are, (giggles), put the two together and came up with an excellent title, a whole concept for the album.”
(You Make Me Feel Like) A Natural Woman is a tune Carole King and Gerry Goffin wrote together with input from Atlantic Records producer Jerry Wexler. It was first recorded and released by the amazing Aretha Franklin in 1967. One of Franklin’s signature songs, it peaked at no. 8 in the U.S. on the Billboard Hot 100.
Apparently, the tune was inspired by a chance encounter between Gerry Goffin and Jerry Wexler. Songfacts again quotes Lou Adler: “Last year (2007) I spoke to Jerry Wexler at his home in Florida, and he told me the story that Gerry was coming out of a building in New York, (Goffin now remembers it as an Oyster House), and Jerry Wexler is passing in a car, and yells out, ‘Why don’t you write a song called ‘Natural Woman’?’ They felt the title was so distinct and so important to the song that they gave him a piece of it.” Certainly a nice way to earn a credit!
(You Make Me Feel Like) A Natural Woman is yet another track from Tapestry that never became a single. I guess in this case, it’s understandable – after all, who could possible trump the Queen of Soul. Here’s Aretha Franklin’s incredible cover.
According to this Los Angeles Timesstory, Tapestry was recorded in just three weeks. Carole and her studio musicians worked pretty quickly, recording two to three tracks per day. Adler noted the album’s studio budget was only $22,000.
Tapestry is one of the most successful albums in pop history. It topped the Billboard 200 for 15 consecutive weeks and to this day holds the record for most consecutive weeks at number one by a female solo artist. Altogether, Tapestry was listed on this chart for 318 weeks between 1971 and 2011, including 302 weeks consecutively from April 10, 1971 to January 15, 1977. It took until 2017, until English songwriter and vocalist Adele beat that record with her album 21.
Tapestry has been certified13x Multi-Platinum by the Recording Industry Association of America (RIAA), as of February 5, 2021, meaning it has reached at least 13 million sold copies. The album won four Grammy Awards in 1972, including the particularly prestigious Album of the Year. In Rolling Stone’s most recent 2020 list of the 500 Greatest Albums of All Time, Tapestry was ranked at no. 25.
The above Los Angeles Times article also noted Carole was largely indifferent about the popularity Tapestry had brought her. While she went on to release 15 additional studio albums, she didn’t tour behind her records or do much else to promote her music.
One exception happened in 2010 when Carole teamed up with James Taylor for an international tour – that’s the one I missed, for which I could still kill myself! “It worked extremely well,” Taylor told the L.A. Times. “Then at the end of it, when everybody’s saying, ‘Keep the big ball rolling,’ Carole says, ‘No, let’s quit while we’re still ahead.’ And she walked away.”
On March 4, 2004, Tapestry was among 50 recordings that were added for 2013 to the National Recording Registry of the Library of Congress. Recordings added to this registry are selected to be preserved in the Library of Congress, since they are considered to be “culturally, historically, or aesthetically important.” Some of the other additions for 2013 included Sgt. Pepper’s Lonely Hearts Club Band (The Beatles), At Folsom Prison (Johnny Cash), What’s Going On (Marvin Gaye) and Born to Run (Bruce Springsteen).
Sources: Wikipedia; Songfacts; Los Angeles Times; RIAA website; Library of Congress website; YouTube
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’sJon 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!
Part VIII of my 10-day celebration of Carole King’sTapestry 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 Tomorrowmet 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.
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.
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.
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!
This is part IV of my series to celebrate the 50th anniversary of Carole King’sTapestry 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.