If you were to press play on a random selection of American pop hits from the 1960s and 70s, you’d have a surprisingly high chance of landing on a song written by Carole King. What’s more remarkable is that you might not even realize it. For many, her name is synonymous with the landmark 1971 album Tapestry, a defining work of the singer-songwriter era. But listening to a broader collection of her work reveals a fascinating story—not of one career, but of two distinct, equally influential chapters in music history.
The first chapter begins in the fast-paced world of New York’s Brill Building, where King, alongside her then-husband and lyricist Gerry Goffin, became a hit-making powerhouse for other artists. This wasn’t about personal expression; it was about craftsmanship. A quick look at the playlist shows the sheer range of their output. They penned the earnest plea of The Shirelles’ “Will You Love Me Tomorrow,” the youthful optimism of Bobby Vee’s “Take Good Care Of My Baby,” and the sophisticated yearning of The Drifters’ “Up on the Roof.” They could deliver dance crazes like Little Eva’s “The Loco-Motion” and even provide grittier material for bands like The Animals with “Don’t Bring Me Down,” proving their ability to adapt to nearly any voice or style.
But then, something shifted. As the 60s gave way to the 70s, the focus in popular music turned inward, favoring a more personal and authentic voice. This cultural change set the stage for King’s second career: stepping out from behind the curtain and into the spotlight. The playlist captures this transformation perfectly. Suddenly, we hear King’s own warm, unadorned voice on tracks like “It’s Too Late” and “So Far Away.” The songs, now with her own lyrics, feel more intimate and reflective. The production is stripped back, centering on her expressive piano playing, creating a direct connection with the listener that felt entirely new.
Perhaps nothing demonstrates the unique strength of her songwriting better than the way her compositions became signature anthems for other legends. Aretha Franklin’s definitive 1967 performance of “(You Make Me Feel Like) A Natural Woman” had already cemented the song as a timeless classic years before King would record her own version for Tapestry. Then, in the very same year her solo album became a phenomenon, James Taylor’s comforting rendition of “You’ve Got A Friend” became an equally iconic, chart-topping hit. It’s a rare artist who can not only define an era with their own voice but also provide the material for other great artists to do the same.
Exploring this collection of songs is like walking through a gallery where the same artist is responsible for both the grand, public murals and the quiet, personal portraits. From the effervescent pop of The Chiffons’ “One Fine Day” to the introspective mood of her own title track, “Tapestry,” the common thread is an undeniable gift for melody and a deep understanding of human feeling. Carole King wasn’t just a singer who wrote her own material; she was a foundational architect of pop music who, when the time was right, simply decided to build a home for herself.
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