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Half a century ago, Carole King – one of the great songwriters of the 1960s – stepped out from behind the scenes and stepped into the spotlight to record one of the most popular albums of all time Decades later we still can’t get it out of our heads

The songs poured out of her one by one, a waterfall of tender devotion, teenage anxiety and existential yearning.Some were works of inspiration and others came at some point, but they always came to be. Simple machines of immense sophistication deliver ineradicable hooks, those of Wisdom and melancholy are permeated by her tenth year in business, she had written or written a variety of top 20 hits, and her songs were recorded by the Beatles, Dusty Springfield, Bobby Vee, Aretha Franklin, and the Animals, some of which became immediate Even so, all was not well. After a long estrangement, she was divorced from her spouse and creative partner. She was suddenly a single mother of two and a soloist. Then Carole King turned 26

Have we talked enough about the miracle of Carole King? How much should you talk about a miracle? But try to imagine it: Carol Klein, a 5-foot-2 teenage girl from 1957 before she had a reason to consider changing her name, was the precocious and smart but well mannered daughter of a firefighter and a theater-loving housewife who grew up on the outskirts of Brooklyn – the weird Byzantine parts near Coney Island where immigrants and children of immigrants after WWII gathered to make a better life (or any life) for their descendants, now she is 15 years old and takes the long subway ride to Manhattan to play her songs for Jerry Wexler and Ahmet Ertegun – the all-knowing, powerful Atlantic Records heads responsible for discovering Ray Charles, Solomon Burke and other legends. p>

She doesn’t have an appointment. She didn’t call ahead for fear of rejection. The elevator ride to the Atlantic offices on West 56th Street is incredibly slow and is getting rid of her nerves by the second. When she finally comes out, she can just ask a distracted secretary, “Is there anyone here who can hear my songs?” At this moment, Wexler and Ertegun accidentally leave their joint office and enter the reception area Ein Wunder

At least twice a year like clockwork there is a moment when I realize: Wait a minute – Carole King wrote this song too? Maybe this happens to you too You probably know she wrote “Natural Woman” and “The Loco-Motion” “Or maybe not?” “You have a boyfriend”? “Crying in the rain”? “Wasn’t born to be In any case, a good rule of thumb is that if you hum a familiar tune from the last 60 years and wonder who wrote it, then there are short Vegas chances that the answer is Carole King

In this regard, she is less of an entertainer than an element: her ubiquity is subtle You may not know how Carole King influenced your life and how you feel memories and experiences of the world, but for everyone who plays music, films or consumed little television, she undeniably King used to say to confidants, employees and label bosses: “Please, believe me, I don’t want to be a star. And by that she meant a high-profile supernova for which the press and the public were an endless obligation no month-long tours or constant speculation about her comings and goings and her most intimate moments. Above all, she longed for stability and longevity

It’s 1960 and the Shirelles, fresh from the hit “Tonight’s the Night,” are the hottest girl group in the world. Carole King and her husband-writing partner Gerry Goffin are just two of many songwriters at Don Kirshner’s Aldon Publishing The writers work in booths, competing for hearing, desperately trying to get the next dance craze or novelty hit. Kirshner prevails over King: “The Shirelles need a follow-up, and I want you to write it! Come on baby – do it for me! “Maybe that’s how Kirshner speaks to all of his writers, but King takes it to heart

“Will you love me tomorrow?” is a trembling and strange composition, not entirely rocker and not entirely ballad. The mood is based heavily on the “racing records” that King was first set as a small child by DJ Alan Freed. But there is also something of the cotillion ball inside there’s an uncomfortable feeling about what’s going on in the song – a bit of Everlys, a bit of Nabokov, oddly enough – or maybe revealing – the lyrics are actually Goffin’s contribution, while King provides the music and the arrangement, the finished version of the Shirelles is a Shirley masterpiece Owens’ vocals split the difference between debutante and dealmaker

In her 2012 memoir, A Natural Woman, King wrote of an agreement she and Goffin had made that allowed him to quit his job as a chemist for good after one of her compositions sold a million copies on Not 50000 A Million This is what Depression-Age Parents were in 1960. The duo had already written several hits, and there was every reason to believe they’d have the motive, opportunity, and ability to write more on the Spot Jack Antonoff is holding down a day job “just in case”

One story goes that the day “Will you love me tomorrow?” Don Kirshner himself made a million in sales and jumped into a limo to pick up Gerry after his last day in the lab. For the rest of his life, Goffin joked about this moment: “It’s the last time I had a real job” or joked he?

The heartbreak of her breakup with Goffin reflected the pain of her own parents’ divorce When Goffin announced his intention to move to LA without her the ground trembles under King

Here’s the pain: wrap up those happy memories from their West Orange, New Jersey home that made up for the lack of proximity to Manhattan with their state-of-the-art stereo that the couple played their demos on in their home, “Workspace Your Daughters frolic and frolic and occasionally break in and destroy ongoing progress or make it even more charming

Even the Bad Times The time he decided to “expand his mind” and all the ill-advised, unsupervised acid journeys that followed His escalating paranoia and self-harm to her agonizing decision to abandon shock therapy when she went to psychiatry Leaning on her and nothing else seemed to work She was 23 The doorbell on the old house plays a misrepresentation of “Will you love me tomorrow?” Always an open question, for better or for worse

Tapestry is such a remarkable collection of songs that are so instantly engaging that it is easy to miss the improbability of their success. King had two commercial flops: First, a rather depressing collaboration with Danny Kortchmar and her second husband Charles Larkey followed called The City, whose one LP (1968, Now That Everything’s Been Said) made a band-style swing at Gravitas and didn’t map out their underrated solo debut, 1970s Writer Inevitably, both releases had excellent material, but none suggested it that King would soon emerge as a stand-alone commercial powerhouse Something was wrong

Nothing is switched off on tapestry Everything clicks Basically, King is a soul and gospel singer From the first piano phrases of “I Feel the Earth Move” to the breathtaking and economical reading of “(You make me feel like a natural woman)”, which culminates the record is Tapestry Aretha as a theater camp, a mix of sui generis that channels both King’s immigrant roots and a deep love for R&B in the early ’70s there was a lot of denominational soft rock – too much, if we’re objective, King undoubtedly benefited from the Emergence of this genre as a popular force, but tapestry is in no way soft.It has what it takes, the wit and the groove to coincide with the classic records Rod Soul and the Rolling Stones released in the same year: every image tells a story and sticky fingers

Consider the insinuated minor chord verse of the deep blue “It’s too late” that lingers and emerges like a penetrating storm before exploding into the ecstatic resignation of its Billie Holiday-worthy choir, or the pyrotechnics adjoining Broadway by “Beautiful,” which combines the uplifting spiritual mantras of the Gospel with the whimsical melodies of Gilbert and Sullivan. These are songs so familiar to us that it can be difficult to remember that someone actually had to think about it to do this

When Jerry Wexler approached Carole King in 1967 to write a new single for Aretha Franklin, her first impulse was to feel overwhelmed and intimidated. After all, Aretha wrote a lot of her own material, and also … it was Aretha It was like offering a song to a deity. But when King sat down at the piano, those chords came to her so easily that she knew they were right. Wexler, the genius, had already realized what King certainly couldn’t have There was no one more like Aretha than Carole

By cosmic coincidence (a miracle?), Tapestry was recorded at the same time and in the same studio as Joni Mitchell’s Blue

The newly minted couple Joni and James Taylor added harmonies to a slowed, shrewd rendition of “Will You Love Me Tomorrow” – an excavation of past hopes and profound pain that rhymes with the psychological exorcism of Mitchell’s Blue on an eerie scale

With all the aesthetic overlap and their vaulting genius, King and Mitchell are, if not polar opposites, then at least polarities Endlessly practical, Carole, who was born and raised on the east coast, with her commitment to stability at the expense of reason, and Mitchell with her wanderlust in the West Canada and their deadly heightened skepticism And yet both play here – personally impulsive and without answers – literally the same piano

In a way, this is the microcosm of the 1960s story: the tension between King’s Eisenhower-bordering traditionalism and Mitchell’s I-Wish-I-Had-a-River-I-Could-Skate-Away-On tendency to the suddenly kaleidoscopic possibilities that are shaped by the prosperity of the post-war period Where once a continuum of place and station with several generations had been an insoluble economic reality, the speed of escape was suddenly all too attainable What is gained and what is lost when we have access to freedom have, assert our own identity and leave expectations behind? This is the central question at the heart of Tapestry and Blue

“I’m on a lonely road / And I travel, travel, travel, travel”, the tired first couplet goes to Blau’s opening track “All I Want”. The first words on tapestry are: “I feel the earth sinking moved my feet I feel the sky falling down”Joni is a traveler and Carole is a passenger, but the turbulence and entropies are just the same. Buy a ticket and go

Tapestry is a work of such self-affirmation that it can be difficult to reconcile what subsequently happened to King: the catastrophic decision to take in and eventually marry the marginal hooker Rick Evers, his pathological jealousy, and that Talentless music star cravings would result in him wiping her off and beating her – unforgivably, heartbreakingly – repeatedly throughout their relationship, King eventually rallied the resources to leave in 1978, and Evers died of a drug overdose shortly after that he did not want her divorce move out or, God forbid, do something worse might be considered a godsend for King Compassionate on failure, she probably wouldn’t see it that way, although King admits in her memoir, “In hindsight, I should probably have asked Rick these two questions” Why do you live in your van? ” And “Do you happen to be psychotic?”


Yet, this horrific episode also explains something about tapestry with its majestic Songs of Resilience.In some ways, precocious songwriting genius Carole King was always at the forefront, leading the indictment for the shy and self-critical Carol Klein and the perfect family Carole King was a fictional character, a superhero costume that was dressed for occasions like taking the elevator at Atlantic Records at the age of 15, and anyone who never felt like a fictional character was probably never a woman who competed in a male dominated industry

Fifty years after its release, tapestry remains a living, living wonder. For so many of us, it tells the ups and downs, the good and bad choices, and the seemingly insensitive patterns of life that we desperately and confusedly weave together as I feel me when I hear it

I’m on a lonely road and travel, travel, travel But I have a friend

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Carole King

World news – CA – Seven threads from tapestries: Carole King’s masterpiece 50 years later

Source: https://www.theringer.com/music/2021/2/10/22275263/carole-king-tapestry-50th-anniversary