Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
For a time in the 1970s, Tapestry was the album to have under your arm, especially if you wanted, or needed, to show off some serious and sensitive right-on dude vibes with, um, the ladies. In those far off and distant days, as well as being, for real, a stellar album, transforming the shy Brill Building hit song machine into a credible songwriter of some rather more finesse than had been earlier appreciated, Carole King became, in an instant, a feminist icon, appealing across the range of an increasingly politicized gender awareness. While this may have neither been her aim or intention, the timing was perfect, the world ready and aching for singer-songwriters able to intelligently bare their emotions over some gentle laid back Laurel Canyon arrangements.
But let’s not forget quite how impressive the King legacy had been, prior to Tapestry. She wrote, or co-wrote, often with first husband, Gerry Goffin, 118 Billboard hits, making her the prime successful female songwriter of the latter half of the 20th century. Songs that have become standards, songs with a longevity that have you remembering the words immediately, after decades, prompted by a single note. Songs like “Will You Still Love Me Tomorrow,” “Take Good Care of My Baby,” “Goin’ Back,” and many many more, with versions aplenty in any genre you might wish to pick, if usually prime pop fodder in their initial iterations, with King herself far from the spotlight. (OK, she had also had a crack at performing, in 1962, with her gauche and affecting “It Might As Well Rain Until September,” which was a hit, but the world then preferred her songs performed by sassy girl groups and tight-shirted medallion men crooners.)
Divorcing Goffin in 1968, and wearying of the world of processing chart hits for others, King moved to L.A., to Laurel Canyon, arriving much the same time as a bevy of like-minded individuals, Her goal: to revive her own career as a performer, having put it on hold earlier thanks to the undoubted success of being a go-to writer. With neighbors like James Taylor and Joni Mitchell, this was to be a fertile breeding ground for King. With an earlier album disappointing the charts, in cahoots with Taylor and much of his backing band, Tapestry slowly came together, coming out in 1971, with one of its songs already a massive hit. James Taylor’s “You’ve Got a Friend” was huge, and Taylor made sure all knew who had written it, many perhaps surprised that it was the same writer of all those 60s chart-toppers. The fact that King chose also to include a couple of those early songs, reworked and reenvisioned, amongst the newer material gave the ideal crossover between her old audience and a massive new audience. Tapestry stormed to the number one slot of the album charts, staying there for upward of three, nearly four, months. The two lead singles each hit the top of their respective chart. Acclaimed by all, and grabbing four Grammys in 1972, it has notched up 25 million sales and counting, remaining on the chart for an astonishing 313 weeks, a record only surpassed by Pink Floyds’s Dark Side of the Moon.
So, then, what of Tapestry Revisited? Coming nearly a quarter of a century later, in 1995, the idea was to recreate Tapestry with a roster of the great and good of the day. However, rather than remembering the idea and the ambience of the original, with its mood of getting it together in the country, here it was if the older and earlier King was being celebrated, as the artists chosen came, largely, from the pool of pop royalty rather than from singer-songwriters plowing any similar farrow at that time. So we get the Bee Gees, Celine Dion, and Rod Stewart, he then at the peak of his satin and sashes ridiculousness. But, fair play, if the job required was to draw a new attention to the songs and their writer, this it would certainly be capable of doing.
Although Tapestry Revisited went gold, it peaked at #53 and few would put it above the original. But it has its moments.
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