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Track List
01) I Feel the Earth Move
02) So Far Away
03) It's Too Late
04) Home Again
05) Beautiful
06) Way Over Yonder
07) You've Got a Friend
08) Where You Lead
09) Will You Love Me Tomorrow?
10) Smackwater Jack
11) Tapestry
12) (You Make Me Feel Like) A Natural Woman
13) Out in the Cold
14) Smackwater Jack (live)
01) I Feel the Earth Move
02) So Far Away
03) It's Too Late
04) Home Again
05) Beautiful
06) Way Over Yonder
07) You've Got a Friend
08) Where You Lead
09) Will You Love Me Tomorrow?
10) Smackwater Jack
11) Tapestry
12) (You Make Me Feel Like) A Natural Woman
13) Out in the Cold
14) Smackwater Jack (live)
2:59
3:55
3:53
2:29
3:07
4:44
5:09
3:20
4:12
3:41
3:15
3:58
2:45
3:19
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1971
Folk
Good Natured
Folk
---
Medium
Album
25,000,000 copies
Album Description
Available in:
Tapestry is a pop album by singer-songwriter Carole King, released in 1971 on Ode Records. It is one of the best-selling albums of all-time, with over 25 million copies sold worldwide In the U.S., it has been certified diamond by the RIAA with more than 10 million copies sold. It received four Grammy Awards in 1972, including Album of the Year. The lead single from the album, "It's Too Late"/"I Feel The Earth Move" was number 1 on the Billboard Hot 100 for five weeks. In 2003, Tapestry was ranked number 36 on Rolling Stone magazine's list of the 500 greatest albums of all time.
King wrote or co-wrote all of the songs on the album, several of which had already been hits for other artists such as Aretha Franklin's "(You Make Me Feel Like) A Natural Woman" (in 1967) and The Shirelles' "Will You Love Me Tomorrow" (in 1960). Three songs were co-written with King's ex-husband Gerry Goffin. James Taylor, who encouraged King to sing her own songs, and who also played on Tapestry, would have a #1 hit with "You've Got a Friend." Two songs were co-written with Toni Stern: "It's Too Late" and "Where You Lead".
User Album Review
By the early 70s Carole King's legendary status was already assured by her work as a staff writer in New York's Brill Building during the previous decade. However the chart fodder she'd written for bands like the Shirelles may not, on paper have made her look like a likely candidate for being in the vanguard of the denim and lace singer-songwriter generation. The truth was, that from about 1968, King had been moving away from the production line approach to her art, and plugging into the (then unusual) idea that the writer was as important as the singer, so why not combine the two? Moving to the West Coast and working with bands like the Strawberry Alarm Clock, meant that it was a groovier, hipper King that had hit the racks in 1970 with the album, Writer. But it was the following year's Tapestry that was to turn her into a household name.
What makes it so groundbreaking isn't just the deceptive simplicity and directness of the arrangements, or the sheer quality of her pop writing; it's her voice. Here, for the first time, was a mainstream female artist who wasn't singing in any affected way, just strongly and honestly. It was no surprise that one of her classic co-writes that she chose to re-visit was Aretha's (You Make Me Feel Like A) Natural Woman. These re-versions were at the heart of King's masterplan. Knowing that, underneath the metaphorical hood, these pop gems always had sturdy motors that would withstand any amount of modernisation. In the end the simple approach of piano and band never sullies any memories, in many cases improving on the originals. Will You Still Love Me Tomorrow, her most heartfelt teenage anthem (written about 60s partner Gerry Goffin), is the pick of the bunch. It was this quality that reflected the 70s ethos of stripping away all artifice and laying bare the emotions at the centre. For this reason not only did it become the best selling solo album of all time (until Michael Jackson's Thriller) but it became a cornerstone of every thinking woman's record collection.
Of course the breezy optimism of tracks like Beautiful (a calling card for the 'me' generation, if ever there was one) or the 'there-for-you' grooviness of You've Got A Friend seem a little twee in today's jaded world. And the title track's fairy tale-as-allegory cheesiness now tries the patience somewhat. Yet, Tapestry remains a classic because it never forgets the innate urban r&b understanding of great pop while it covers itself in patchouli, satins and silks.
External Album Reviews
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User Comments
Available in:
Tapestry is a pop album by singer-songwriter Carole King, released in 1971 on Ode Records. It is one of the best-selling albums of all-time, with over 25 million copies sold worldwide In the U.S., it has been certified diamond by the RIAA with more than 10 million copies sold. It received four Grammy Awards in 1972, including Album of the Year. The lead single from the album, "It's Too Late"/"I Feel The Earth Move" was number 1 on the Billboard Hot 100 for five weeks. In 2003, Tapestry was ranked number 36 on Rolling Stone magazine's list of the 500 greatest albums of all time.
King wrote or co-wrote all of the songs on the album, several of which had already been hits for other artists such as Aretha Franklin's "(You Make Me Feel Like) A Natural Woman" (in 1967) and The Shirelles' "Will You Love Me Tomorrow" (in 1960). Three songs were co-written with King's ex-husband Gerry Goffin. James Taylor, who encouraged King to sing her own songs, and who also played on Tapestry, would have a #1 hit with "You've Got a Friend." Two songs were co-written with Toni Stern: "It's Too Late" and "Where You Lead".
User Album Review
By the early 70s Carole King's legendary status was already assured by her work as a staff writer in New York's Brill Building during the previous decade. However the chart fodder she'd written for bands like the Shirelles may not, on paper have made her look like a likely candidate for being in the vanguard of the denim and lace singer-songwriter generation. The truth was, that from about 1968, King had been moving away from the production line approach to her art, and plugging into the (then unusual) idea that the writer was as important as the singer, so why not combine the two? Moving to the West Coast and working with bands like the Strawberry Alarm Clock, meant that it was a groovier, hipper King that had hit the racks in 1970 with the album, Writer. But it was the following year's Tapestry that was to turn her into a household name.
What makes it so groundbreaking isn't just the deceptive simplicity and directness of the arrangements, or the sheer quality of her pop writing; it's her voice. Here, for the first time, was a mainstream female artist who wasn't singing in any affected way, just strongly and honestly. It was no surprise that one of her classic co-writes that she chose to re-visit was Aretha's (You Make Me Feel Like A) Natural Woman. These re-versions were at the heart of King's masterplan. Knowing that, underneath the metaphorical hood, these pop gems always had sturdy motors that would withstand any amount of modernisation. In the end the simple approach of piano and band never sullies any memories, in many cases improving on the originals. Will You Still Love Me Tomorrow, her most heartfelt teenage anthem (written about 60s partner Gerry Goffin), is the pick of the bunch. It was this quality that reflected the 70s ethos of stripping away all artifice and laying bare the emotions at the centre. For this reason not only did it become the best selling solo album of all time (until Michael Jackson's Thriller) but it became a cornerstone of every thinking woman's record collection.
Of course the breezy optimism of tracks like Beautiful (a calling card for the 'me' generation, if ever there was one) or the 'there-for-you' grooviness of You've Got A Friend seem a little twee in today's jaded world. And the title track's fairy tale-as-allegory cheesiness now tries the patience somewhat. Yet, Tapestry remains a classic because it never forgets the innate urban r&b understanding of great pop while it covers itself in patchouli, satins and silks.
External Album Reviews
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