2000 & BEYOND

The Legendary Demos, Carole King (Rockingale/Concord) April 2012

I will be the first to admit that while I was not excited by the news of the release back in Feb/March-- I already own dozens of 'bootleg' demos and I long for new material, or, at the very least, a release like Lionel Richie's current smash which pairs him with today's country stars dueting on new versions of his hits-- I am impressed with the packaging and how Nathaniel Kunkel 'restored' the tracks. Mr. Kunkel has done an incredible job of getting rid of the hisses, and other sounds of deterioration on the bootleg versions. These versions are very clean. So clean in fact, that the old demos don't sound like the artifacts they are -- artifacts that belong in the Smithsonian or at very least, The Rock and Roll Hall of Fame.

	"Artifacts of such importance, these demos belong in the Smithsonian, or, at least, The Rock and Roll Hall of Fame"

I love all the "Tapestry" demos --and at first I couldn't fathom why they would have been included since the versions on "Tapestry" were already like demos. Glad to admit, I was wrong. Love the "Tapestry" demos especially "Way Over Yonder." Carole's vocal, especially on this demo, sounds more self-assured and stronger than the version which ultimately made it on her 1971 release.

"Pleasant Valley Sunday," is sung so clearly that I can make out all of the lyrics for the very first time, even though I've heard the Monkee version thousands of times. One woman in a no-frills demo studio is able to make this demo sound as robust as the ultimate full-band master release which the Monkees released in 1967. This demo, and Carole's piano playing which serves as a blueprint for the producer of the master on how to arrange the final track, has so many nuances to it. The piano playing suggests many more musical instruments. How can she make her piano suggest bass, drums, etc.?

Her performance and arrangement on "(You MakeMe Feel Like a) Natural Woman" is the the blueprint for Aretha's version as well as her own version which closed out "Tapestry." All three versions stand on their own -- the true trademark of a classic song.

Carole's performance of "So Much Love" foretells her future success as a vocalist. In fact, this might have been one of the demos which landed her an offer from Atlantic Records in 1967 to become a solo recording artist. "Just Once in My Life"- technically not in Carole's vocal range -- still manages to convey so much passion and longing. Of all the old demos included, "Yours Until Tomorrow," one of the only Goffin-King songs not to become a hit during the early 60s, is fast becoming my favorite.

Timed with the publication of her memoir, "A Natural Woman," the release of these demos after so many years and requests by fans, is the perfect bookmark for the beginning of a career which would grow to influence so much of music history.

A Holiday Carole Shines (Rockingale/Concord) November 2011

" In December I will be,
a baubled bangled Christmas Tree"

So sang Carole King, whimsically, on " Chicken Soup With Rice,"the highlight of her 1975 Maurice Sendak " Really Rosie"collaboration. That landmark children's album marked a spirited departure in material, style, and performance from her earlier more somber Ode albums. It's with that same joie de vivre that Carole King approaches the 12 songs on her just released " A Holiday Carole."[Hear/Concord Music].

Too busy writing her memoir, " A Natural Woman,"Our Miss King turned the creative " reins"over to her daughter Louise Goffin to not only write the original songs on the album, but, also oversee production. Louise, a long celebrated singer/songwriter,rises to the occasion and delivers us a Carole King album, that, even though there are no Carole King compositions and only a few tracks on which she plays piano is as true to the artist's vision as anything Carole herself might have produced.

I guess the fact that Louise was born shortly after Carole left a recording studio back in 1960, might account for the fact that she is totally at home in the recording studio. Louise proves to be as talented as her mother and father (Gerry Goffin) in crafting and producing songs which perfectly complement her clients. Louise takes out a whole new pallet of musical colors and makes this album sparkle and shine, as much as, well, a baubled bangled Christmas tree.

The more one listens to each track, the more you'll hear hidden dubs, instruments, and flourishes, which breathe new life into seasonal songs we've all heard a million times.

The first electric guitar rift of the opener, the classic, " My Favorite Thing"lets you in on the fact that you're about to hear a seasonal album unlike any you've heard before. The jazz-tinged arrangement, as well as Carole's sly vocals, brings back the groove of " It's Too Late"and " Only Love is Real."The arrangement of " Carol of the Bells"is as original as any I have ever heard. Carole knows her vocal limitations and wisely allows a choir handle the frenetic vocals on this one.

While Carole does a fine job singing the traditional fare included (" Sleigh Ride,"" Have Yourself a Merry Little Christmas,"and " Do You Hear What I Hear?,"it's the original and offbeat choices which makes this one holiday album you should check out. " Everyday Will Be Like A Holiday"wisely capitalizes on the type of mournful, yet, celebratory ballad for which Carole first rose to stardom as a recording artist. The Joni Mitchell like jazz arrangement of "Chanukah Prayer" finds three generations of talent coming together: grandmother, mother, and son. The latin-tinged " Chirstmas Paradise,"upbeat " Christmas in the Air"and haunting closing ballad, " New Year's Day"are as catchy and memorable as anything you'd find on radio today were you to listen to it. Does radio even still exist?

" New Year's Day"stands a good chance of becoming a holiday classic in its own right. Though she didn't write it, this Louise Goffin/Guy Chambers collaboration would fit in on any of Carole's many past collections.

Oddly enough, my favorite track on the album is Carole's version of Wham's " Last Christmas"which is only available on the Target exclusive version of the album. Carole's take on this one is pure Brill Building/girl group gold.

Though she may be approaching 70, her talents are still as timeless and winning as when she, as a teenager from Brooklyn, stormed the world of American pop music and forever changed it.

Love Makes the World (Rockingale/Koch) September 2001

Carole King plays to her strengths on Love Makes the World, her first album of new material since 1993. Gone are the "message songs" that had dragged down some of her prior efforts. The only journey Carole embarks on with this new release is musical in nature. She's not out to sell us anything but her brand of romantic optimism -- the trademark of her best works. And I'm buying.

It's not surprising that Carole, universally regarded as one of the last century's most prolific pop songwriters would begin this new millennium with a release that focuses on her favorite subject matters: love, friendship, and the powers of believing in oneself. But, while the themes might be familiar, these songs are brought to us in fresh, lush, "of the moment" aural surroundings.

Carole and co-producer Humberto Gatica utilize the latest in recording technologies to update her sound without sacrificing any of the warmth that informed her earlier classic albums. On the delicious "I Wasn't Gonna Fall in Love," for example, Carole layers 24 tracks of distinct vocals, resulting in one of the best vocal arrangements I've heard in quite some time. Mixed in with the brilliant solos by Wynton Marsalis, the last half of the song is pure pop delight. The piano is also haunting.

An example of all elements coming together to create a perfect recording that would put most current Top 40 fare to shame. From the first notes of the lead-off song, "Love Makes the World," to the end, Carole invests 100% of her energy and talents into each song, even one or two that aren't deserving . Nothing about this album seems rushed or slapped together. In fact, it's the unifying, distinctive production style that keeps this collection together so well. While not all songs are produced by King/Gatica, it would be hard to distinguish which ones weren't.

Track by track highlights: "Love Makes the World" --co-written and produced by PopRox., who first teamed with Carole on the Tarsha Vega/King "Rooftops," sets both the lyrical, musical, and production tone of the 11 songs that follow. Not as cutting edge or urban-tinged as "Rooftops," "LMTW" takes Carole's romantic philosophy and distills it in a whirling arrangement that uses conversational vocal layering to great results. It brims with infectious joy and wonder. You simply can't stop humming it!

"You Can Do Anything"--the second track, finds Carole generously allowing the spotlight to shine on Kenny "Babyface" Edmond. His silky smooth vocals are featured almost as prominently as Carole's own vocals. Slow, rhythmic mostly acoustic sounding arrangement will likely appeal most to Carole's earlier fans. From the first time I heard this song, lyrically, it reminded me of "The Girl Who Used to Be Me," the Patti Austin sung theme from the film "Shirley Valentine." Both are beautifully rendered adult meditations on the affects of aging on one's self-esteem and views.

"The Reason." --if you had any doubts as to why Carole would opt to cover such a recent hit (Celine Dion's 1997 version) on this 2001 release, they'll disappear as soon as you hear the opening notes. Quite different. Celine is back for a visit, sounding more relaxed and spontaneous than on her own records. Carole's vocal may be a bit too raw for some of her more sedate fans, though. Still, even when she seems vocally out of her league, I admire her for even attempting the demands of the song.

"I Wasn't Gonna Fall" -- Carole Bayer Sager and Carole's best collaboration to date. Instant classic. Might take some time, but, this is one that will not go un-noticed.

"I Don't Know" finds Carole, getting funky in this seemingly extemporaneous humorous romp (with male vocal support supplied by Paul Brady, Mark Hudson, and Nashville-based Gary Burr. Reminds me of the type of pop pairing that Ronstadt/Neville ("When Something is Wrong With My Baby") created on the Cry Like a Rainstorm album. Tongue in cheek, sort of echoing back to Carole's own "I Don't Believe It" in which she flirted with Danny Kortchmar singing the part of her suitor.

The first piano chords of the sixth track sound like those on "Oh No Not My Baby." Wait'it is "Oh No Not My Baby." Carole delves back into the Goffin/King goody bag for the first time in over 20 years to remind us of whence all this musical genius came. The piano and Charles Larkey's bass, sorely missed on more recent King recordings, add darker textures to the song. Maybe the woman shooting down rumors of her lover's infidelity isn't so sure anymore? Ah, growing older does make us a little less trusting.

'It Could Have Been Anyone' was the precursor to 'Anyone at All.' Interesting to hear the first version of the You've Got Mail theme song beloved by so many.

"Monday Without You" if somewhat derivative in its arrangement, does manage to rank up there with the best of King's up tempo numbers. Vocally, she's up to the challenge here. I never even bothered to check out the Wilson Phillips version of this song a few years ago, but, I can't imagine that they performed it nearly as well. Steve Tyler adds just the right touch of frenzy in the background vocals.

'An Uncommon Love,' the closest thing on this collection to a message song, is delivered from a more personal level, so it doesn't sound preachy. Kd Lang duets here.

"You Will Find Me There" is by far my favorite track on the album-- vintage King. Slow, devotional profession of undying friendship and loyalty. I get chills each time I hear it. Damn, sometimes I have to play it over and over -- I have trouble getting to the last two tracks.

"Safe Again" -- The lyrics of the whole song don't live up to the promise of the title. A yearning for the innocence of youth, it's opening line veers a little too close to the cloying territory of "Simple Things" lyrics. It's purposely child-like in its arrangement'sort of the dark, flip side to 'Anyone at All' in sound, if not, words.

"This Time," another one of my favorites, is similar in theme to "You Will Find Me There," but, its arrangement and use of layered vocals is more contemporary in sound. A nice, heart -felt ending to Carole's latest romp through the musical landscape she knows so well. In fact, it's a landscape in pop/rock that she has pioneered better than anyone else. In 'This Time,' Carole tells her significant other 'This time I mean to stay.'

Hopefully, this is a promise that Carole King, the recording artist, will make to her fans: 8 years would be too long to wait for a follow-up to this album.

My Rating: A-

The Living Room Tour (Rockingale) July 2005

Carole King's new double-CD chronicle of her hugely successful 2004 Living Room Tour finds the singer-songwriter at the top of her performing game: after one listen it would be hard for anyone to believe that this is a person who back in 1970 when she first stepped out into the spotlight as a performer was reticent about giving live concerts due to stage fright.

For over forty years, Carole has been comfortable behind the scenes, first as one of pop music's most celebrated songwriters. Since her 1971 classic Tapestry and its many successful follow ups, she has proven herself, over and over again, in the recording studio. With the Living Room Tour, she proves herself to be one of the most natural, relaxed, entertainers of her generation. Some believe her infrequent concert tours over the years is why those curmudgeons who control the Rock and Roll Hall of Fame induction process have yet to induct her as a performer [she was inducted as songwriting partner of Gerry Goffin in 1990), well, they should give this live album a close listen and then try to justify not including King, the performer, into to their hall of fame.

Yes, most of her male peers tour year after year, rarely taking a break, yet, without all those years of practice'King who last toured over 12 years ago, steps front and center, into the spotlight and is so at ease and in touch with her audience that you would swear she toured every year too.

And whether it's after attending one of her 2004-05 live concerts, or after a listen to this deluxe new career retrospective, you too will feel like you are right there in the living room of one of America's most treasured composers/performers. This woman blows the whole fourth wall concept to smithereens!

Over the years, I've often envied those people who were lucky enough to call themselves friends of Ms. King'could you imagine hanging out in Carole's living room as she played those melodies? Film director Hal Ashby, a former Laurel Canyon neighbor of Carole's back in the 70s, told a reported that he would sit in his home contemplating his next film project as the sound of Carole King playing her songs would waft through the air. How wild! This new cd gives the listener the same 'up close and personal' experience.

From the whimsical opening number, 'Welcome to My Living Room''in which she warns the audience that she might forget some her lyrics since 'I'm 62''you can sense that something once in a lifetime is about to take place. She takes chances throughout the show, some of which, are captured here on record, for example, when she reaches for a high note that is out of reach, or as you can hear her tired breaths during the very emotional rendering of 'Lay Down My Life' 'one of the best songs she's written since the 70s, but, that's all part of the charm.

Carole's followers have long admired her honesty and lack of pretensions ' both personal and musical--she became a superstar back in 1971 in spite of herself' and with some of these recordings, you get to hear her singing, strained at times, but, she's giving the song her all and that, more than any vocal pirouettes you might get from a Celine or Shania, makes the performance of the song soar ' the aforementioned 'Lay Down My Life' and 'Wishful Thinking''are examples.

My biggest thrill listening to the album is hearing how Carole makes her piano take on the role of other instruments. On 'Peace in the Valley''recorded in '72 and revered by fans like me for its subtle back and forth interplay/arrangement of piano vs. percussion (Ms. Bobbye Hall), she manages to suggest the interplay of both piano and congas. How could 'Jazzman' work without Tom Scott's sax solo from the 1974 #1 hit single ' no need to worry ' Carole's scatting takes the place of the horns. Hard to describe: you'll just have to listen. How could Carole perform 'Being at War With Each Other' solo ' the 1973 recording is literally a swirling symphony suite of strings ' well, once again, you won't even notice that she's not being backed by an orchestra ' her piano playing and vocals are so versatile that she can intimate just about any instrument.

Of course, she does get strong musical support from her long-time musical director Rudy Guess (who co-produced this album), and co-writer/guitarist Gary Burr. To their credit, they give 'Smackwater Jack' new life and Carole has an easier time of conjuring the Monkees on 'Pleasant Valley Sunday' thanks to their backup. Gary Burr duets beautifully with her on 'Loving You Forever''a simply stated, but, heartily delivered country-tinged love song.

And regardless of how many times, you've heard 'It's Too Late,' 'Natural Woman.' Or 'You've Got a Friend''you haven't really heard them, until you've heard them on this album... how anyone could make you feel like you're hearing the '67 classic 'Natural Woman' for the first time, is what old fans have always known as the magic of Carole King. Judging by its pre-orders on Amazon.com where it's been hovering at #2 for the week before its release, a lot of new fans are about to discover it as well. (Rockingale/Concord/Hear Music)

My Rating: B

Contact:Bob/Webmaster

This site is neither affiliated or endorsed by Ms. King, her record/production companies, nor her management. It represents one fan's tribute to his favorite singer and songwriter.

Contact:Bob/Webmaster

This site is neither affiliated or endorsed by Ms. King, her record/production companies, nor her management. It represents one fan's tribute to his favorite singer and songwriter.