CONTROL DE CRUCERO ADAPTATIVO (ACC) (si está

“The Right Girl” (King), “Goin’ Wild” (King). 45 rpm phonodisc. ABC-Paramount 9921, 1958.

“Babysittin’” (King), “Under the Stars” (Gerry Goffi n, King). 45 rpm phonodisc. ABC-Paramount 9986, 1959.

“Short Mort” (Gerry Goffi n, King), “Queen of the Beach” (Goffi n, King). 45 rpm phonodisc. RCA 7560, 1959.

“Oh Neil” (Gerry Goffi n, Howard Greenfi eld, Neil Sedaka), “A Very Special Boy” (Goffi n, King). 45 rpm phonodisc. Alpine 57, 1959.

“It Might As Well Rain until September” (Gerry Goffi n, King), “Nobody’s Perfect” (Goffi n, King). 45 rpm phonodisc. Companion 2000, 1962. Also issued as Dimension 2000, 1962.

“School Bells Are Ringing” (Gerry Goffi n, King), “I Didn’t Have Any Summer Romance” (Goffi n, King). 45 rpm phonodisc. Dimension 1004, 1962.

“He’s a Bad Boy” (Gerry Goffi n, King), “We Grew up Together” (Goffi n, King). 45 rpm phonodisc. Dimension 1009, 1963.

“A Road to Nowhere” (Gerry Goffi n, King), “Some of Your Lovin’” (Goffi n, King). 45 rpm phonodisc. Tomorrow 7502, 1966.

“Snow Queen” (Gerry Goffi n, King), “Paradise Alley” (King, David Palmer). The City (Carole King, keyboards and vocals). 45 rpm phonodisc. Ode 113, 1969. “That Old Sweet Roll (Hi-De-Ho)” (Gerry Goffi n, King), “Why Are You Leaving?”

(King, Toni Stern). The City (Carole King, keyboards and vocals). 45 rpm phonodisc. Ode 119, 1969.

“Up on the Roof ” (Gerry Goffi n, King), “Eventually” (Goffi n, King). 45 rpm phonodisc. Ode 66006, 1970.

“It’s Too Late” (King, Toni Stern), “I Feel the Earth Move” (King). 45 rpm phonodisc. Ode 66015, 1971.

“So Far Away” (King), “Smackwater Jack” (Gerry Goffi n, King). 45 rpm phonodisc. Ode 66019, 1971.

“Sweet Seasons” (King, Toni Stern), “Pocket Money” (King). 45 rpm phonodisc. Ode 66022, 1972.

“Brother, Brother” (King), “It’s Going to Take Some Time” (King, Toni Stern). 45 rpm phonodisc. Ode 66026, 1972.

“Bitter with the Sweet” (King), “Been to Canaan” (King). 45 rpm phonodisc. Ode 66031, 1972.

“Believe in Humanity” (King), “You Light Up My Life” (King). 45 rpm phonodisc. Ode 66035, 1973.

“Corazón” (King), “That’s How Things Go Down” (King). 45 rpm phonodisc. Ode 66039, 1973.

“Jazzman” (King, David Palmer), “You Go Your Way, I’ll Go Mine” (King, Palmer). 45 rpm phonodisc. Ode 66101, 1974.

“Nightingale” (King, David Palmer), “You’re Something New” (King, Palmer). 45 rpm phonodisc. Ode 66106, 1975.

“Only Love Is Real” (King), “Still Here Thinking of You” (Gerry Goffi n, King). 45 rpm phonodisc. Ode 66119, 1976.

“Hard Rock Café” (King), “To Know that I Love You” (King, Rick Evers). 45 rpm phonodisc. Capitol 4455, 1977.

“One Fine Day” (Gerry Goffi n, King), “Rulers of this World” (Goffi n, Barry Goldberg, King). 45 rpm phonodisc. Capitol 4864, 1980.

Notes

I

NTRODUCTION

1. Robert Christgau, “Carole King: Five Million Friends,” Newsday, November 1972. Reprinted in Christgau, Robert, Any Old Way You Choose It (Baltimore, MD: Penguin Books, 1973).

2. Welcome to the NREPA Network , http://www.nrepanetwork.org, Accessed July 29, 2005.

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1

1 . Although the actual Brill Building was located at 1619 Broadway in Manhattan, and although much of the publishing activity was centered around companies located in the building, some were housed in other offi ce buildings in the immediate vicinity. For example, Aldon Music, where Gerry Goffi n and Carole King worked, had its fi rst offi ces across the street from the Brill Building at 1650 Broadway.

2 . Virginia L. Grattan, “King, Carole,” American Women Songwriters (Westport, CT: Greenwood Press, 1993).

3 . Ron Fell, “Carole King: Rewriting Her Legacy,” The Gavin Report, April 21, 1989, p. 2.

4 . Brian Gari, notes for The Colpix-Dimension Story, Two compact discs, Rhino R2–71650, 1994.

5 . Discussion of King’s own 1950s and 1960s recordings can be found in the chapter “Before Tapestry. ”

6 . A secondary dominant chord tends to pull the music—and the listener— toward the chord that follows. Unlike the dominant chord, which sounds as if it will lead back to the tonic chord (the principal key center of the song, built on the fi rst scale-step), a secondary dominant pulls in the direction of some other chord.

7 . Fred Bronson, The Billboard Book of Number 1 Hits, 5th ed. (New York: Billboard Books, 2003), p. 83.

8 . “King as Queen?,” Time 98, July 12, 1971, p. 52.

9 . James E. Perone, Carole King: A Bio-Bibliography (Westport, CT: Greenwood Press, 1999), p. 3.

10 . Al Kasha and Joel Hirschhorn, “Anatomy of a Hit: ‘Up on the Roof,’”

Songwriter Magazine 5, March 1980, pp. 14–15.

11 . One of the unfortunate ironies of Nyro’s career was that this talented singer- songwriter, who wrote songs that were signifi cant hits for the 5th Dimension and Blood, Sweat and Tears, among others, only had one Billboard Top 100 single—this composition by Gerry Goffi n and Carole King.

12 . Not to be confused by the better-known British band of the same name of the early 1960s.

13 . Reproduced in Roy Carr and Tony Tyler, The Beatles: An Illustrated Record (New York: Harmony Books, 1975), p. 25.

14 . Ian Inglis, “‘Some King of Wonderful’: The Creative Legacy of the Brill Building,” American Music, Summer 2003, p. 222.

15 . Incidentally, both the lasting power of “I’m Into Something Good” and the song’s adaptability to male and female singers is confi rmed by its appearance in a tele- vision commercial for Cheerios cereal that was aired in late 2005.

16 . Aniko Bodroghkozy, Groove Tube: Sixties Television and the Youth Rebellion (Durham, NC: Duke University Press, 2001), p. 72.

17 . Andrew Sandoval, Liner notes for Pisces, Aquarius, Capricorn & Jones Ltd., Compact disc reissue, Rhino R2–71793, 1995. Sandoval quotes former Monkee Michael Nesmith as crediting Douglas with creating the riff and then teaching it to Nesmith, who plays lead electric guitar on the track.

18 . Chip Douglas, quoted in Andrew Sandoval, “Song Stories,” liner notes for The

Monkees Music Box, Four-compact disc set, Rhino R2–76706, p. 54.

19 . Carole King, Liner notes for The Living Room Tour, Rockingale Records RCD2–6200–2, 2005.

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HAPTER

2

1 . King’s liner notes to her 2005 album The Living Room Tour describe Goffi n as such. Carole King, Liner notes for The Living Room Tour, two compact discs, Rockingale RDC2–6200–2, 2005.

2 . Although the title is often given as “Wasn’t Born to Follow” (on the

Easy Rider soundtrack album, for example), this release includes the personal pronoun “I.”

3 . The fact that Blood, Sweat and Tears’ recording of “Hi-De-Ho” made it to No. 14 on the pop charts is signifi cant and speaks both to the strength of the song and the band’s jazzy arrangement of it, considering the irreparable harm to their standing within the rock community that had just been done by their U.S. State Department- sponsored concert tour of Europe. The tour placed the band in the unfortunate posi- tion of appearing to support the U.S. war in Vietnam, thereby alienating part of their potential audience base.

4 . Danny “Kootch” Kortchmar, Preface to the liner notes for Now That

Everything ’ s Been Said, Compact disc reissue, Ode-Epic-Legacy EK-65851, 1999.

5 . These acoustic guitar fi lls are best heard in 1968–1970 Taylor songs such as “Carolina on My Mind,” “Fire and Rain,” and “Country Road.” Incidentally, Carole

King played piano on James Taylor’s December 1969 recording sessions for the last two songs.

6 . Photographer Jim McCrary explains the rumpled, startled look of King’s cat on his Web site: “I moved the Cat on the pillow from accross [ sic ] the room into my shot.” Jim McCrary, Presenting . . . Samples from a Half-Century of Works by Jim

McCrary, Photographer, “Carole King,” http://www.jimmccrary.com/pages/page3/

index.htm, Accessed February 15, 2006.

7 . Melissa Mills, “ Writer, ” Rolling Stone no. 69, 29 October 1970, pp. 46ff. 8 . Jon Landau, “Records: Carole King, Writer, Tapestry, ” Rolling Stone no. 81, April 29, 1971, pp. 40–41.

9 . “Recordings of Special Merit: Writer,” Stereo Review 26, February 1971, pp. 119–120.

10 . Ibid.

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HAPTER

3

1 . Betty Friedan, The Feminine Mystique (New York: Norton, 1963).

2 . Shulamith Firestone, The Dialectic of Sex: The Case for Feminist Revolution (New York: Morrow, 1970).

3 . The Boston Women’s Health Book Collective, Our Bodies, Ourselves: A Book

by and for Women (New York: Simon and Schuster, 1971).

4 . Susan Brownmiller, Against Our Will: Men, Women, and Rape (New York: Simon and Schuster, 1975).

5 . Debra Michals, “From ‘Consciousness Expansion’ to ‘Consciousness Raising’: Feminism and the Countercultural Politics of Self,” in Peter Braunstein and Michael William Doyle, eds., Imagine Nation: The American Counterculture of the 1960s and

’ 70s (New York: Routledge, 2002).

6 . “Library,” The Offi cial Carol Kaye Website, http://www.carolkaye.com/ www/library/index.htm. Accessed December 23, 2005.

7 . Robert Christgau, “Carole King: Five Million Friends,” Newsday, November 1972, reprinted in Robert Christgau, Any Old Way You Choose It (Baltimore: Penguin Books, 1973).

8 . These albums were remastered from the original master tapes at half the nor- mal speed, which resulted in greater audio fi delity and less compression of volume range. The vinyl that was used for these records was of higher quality than what was routinely used both at the time of the albums’ original release and at the time the audiophile recordings were issued.

9 . See, for example, Dave DiMartino, et al., “The Record That Changed My Life,” Musician, no. 192, October 1994, p. 42.

10 . James E. Perone, Carole King: A Bio-Bibliography (Westport, CT: Greenwood Press, 1999).

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HAPTER

4

1 . Liner notes to Music, 33–1/3 rpm phonodisc, Ode 34949, 1971.

2 . Specifi cally, the melodic progression of the lowered seventh scale step, sixth scale step, fi fth scale step, and its associated harmony echoes too closely keyboard and rhythm guitar fi gures of “Get Back.”

3 . “Albums: Rhymes & Reasons, ” Melody Maker 47, November 18, 1972, p. 25.

4 . Stephen Holden, “Records: Rhymes & Reasons, ” Rolling Stone no. 121, 21 December 1972, p. 61.

5 . Ellen Wolff, “ Rhymes & Reasons, ” Crawdaddy no. 21, February 1973, p. 72. 6 . Speaking of Toni Stern’s writing, her lyrics for the Tapestry track “It’s Too Late” feature a slightly less subtle use of internal rhymes. They don’t get in the way as much as King’s internal rhymes on Rhymes & Reasons , as there is so little obvious use of this kind of rhyme scheme on Tapestry.

7 . “Albums: Rhymes & Reasons, ” Melody Maker 47, November 18, 1972, p. 25. 8 . Although the term agape love often carries specifi cally Christian connotations, I use the term in its more general meaning of a general all-embracing brotherhood- and-sisterhood-of-humankind love.

9 . Aaron Fuchs, “ Fantasy, ” Crawdaddy no. 29, October 1973, pp. 76ff. 10 . Stephen Holden, “Records: Fantasy, ” Rolling Stone no. 140, August 2, 1973, p. 48.

11 . John Borgmeyer, “Singer-Songwriters: Rock Grows Up,” The Greenwood

Encyclopedia of Rock History, vol. 4 (Westport, CT: Greenwood Press, 2006), p. 108.

12 . Stephen Holden, “Records: Fantasy, ” Rolling Stone no. 140, August 2, 1973, p. 48.

13 . Ibid.

14 . The canto section is that which most closely resembles American pop song. Here, the lead vocalist sings a composed melody that sets the basic text of the song. The montuno section features improvisation, both lyrical and melodic, by the lead singer.

15 . “Deputy Parks Commissioner T. Mastroianni Lauds King Cleanup,” New York

Times, June 14, 1973, p. 46.

16 . Timothy White, “Sadly, The Times They Are A-Changin’,” Billboard 111, August 14, 1999, p. 5.

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HAPTER

5

1 . The compact disc reissue comes with a sticker on the jewel case with excerpted quotes such as “A kid’s album even grown-ups can love. A.” ( Entertainment Weekly ); “Best of 1999.” ( Child Magazine ); and “One of the best children’s albums ever made.” ( Los Angeles Times ). Really Rosie, compact disc reissue, Ode EK 65742, 1999.

2 . Leslie Tannenbaum, “Betrayed by Chicken Soup: Judaism, Gender and Performance in Maurice Sendak’s Really Rosie, ” Lion & the Unicorn 27, September 2003, pp. 362–376.

3 . Dave Marsh, “Records: Simple Things, ” Rolling Stone no. 247, September 8, 1977, pp. 113–114.

4 . “Pop Albums: Simple Things, ” Melody Maker 52, July 30, 1977, p. 14. 5 . Richard C. Walls, “ Simple Things, ” Creem 9, November 1977, pp. 67–68. 6 . Robert Stephen Spitz, “Too Pooped to Pop?,” Crawdaddy no. 77, October 1977, p. 63.

7 . Don Heckman, “Carole King: Optimistic Craftsmanship,” High Fidelity /

Musical America 27, October 1977, pp. 142ff.

8 . Don Heckman, “Carole King: Optimistic Craftsmanship”; Robert Stephen Spitz, “Too Pooped to Pop?”

9 . In representing musical form, letters are used to label the various sections, with contrasting letters representing contrasting musical material. In a conventional Tin Pan Alley pop song, the structure is often statement-repeat-new section-original statement, or A-A-B-A.

10 . Carole King, Liner notes to Welcome Home, 33–1/3 rpm phonodisc, Capitol SW-11785, 1978.

11 . Ibid. 12 . Ibid. 13 . Ibid. 14 . Ibid.

15 . Tom Smucker, “Riffs: Bring Back the Hack,” Village Voice 24, October 29, 1979, p. 65.

16 . Susan Hill, “Touch the Sky,” Melody Maker 54, September 15, 1979, p. 28. 17 . I deliberately refer to this as King’s “newfound” vocal style because, although

Simple Things and Welcome Home incorporated the country-rock genre, never was it

so pervasive and never before did King sing as a fully committed country-blues-rock singer.

18 . For example, Rolling Stone critic Don Shewey suggested as much in his review of the album. See Don Shewey, “Records: Pearls: The Songs of Goffi n and King, ”

Rolling Stone no. 323, August 7, 1980, p. 50.

19 . See, for example, Don Shewey, “Records: Pearls: The Songs of Goffi n and

King, ” Rolling Stone no. 323, August 7, 1980, p. 50; and Paul Grein, “Closeup,” Billboard 92, May 31, 1980, p. 60.

C

HAPTER

6

1 . One of the more telling reviews of Pearls came from Creem ’s Jim Feldman, who wrote, “No doubt King never should have left the Brill Building for California. I wouldn’t object to a few more albums like this one.” Jim Feldman, “ Pearls: The

Songs of Goffi n and King, ” Creem 12, September 1980, pp. 58–59.

2 . Stephen Holden, “Records: One to One, ” Rolling Stone no. 370, May 27, 1982, p. 62.

3 . Lonnie Williamson, “King Sings, But Is No Fan of Public,” Outdoor Life 173, January 1984, pp. 64ff.

4 . See, for example, “ Speeding Time, ” People Weekly 21, February 6, 1984, p. 17. 5 . “ Speeding Time, ” People Weekly 21, February 6, 1984, p. 17.

6 . Sam Sutherland, “ Speeding Time, ” High Fidelity 34, March 1984, p. 78. 7 . Joel Vance, “ Speeding Time, ” Stereo Review 49, April 1984, p. 88.

8 . Elfman, incidentally, started out as the drummer for the new wave rock band Oingo Boingo.

C

HAPTER

7

1 . In casual conversations in the late 1990s, when I was writing my reference book, Carole King: A Bio-Bibliography , with several female college-age students who mentioned that A League of Their Own was one of their favorite movies, the King song emerged as one of the more memorable parts of the fi lm.

2 . The CD’s insert includes the words “a black king,” but King sounds as if she sings the word “kid.” The “king” in the printed lyrics could be a typographical error, or a reference to the Rodney King beatings. Carole King, Colour of Your Dreams, compact disc, King’s X Records/Rhythm Safari Records P2–57197, 1993.

3 . Sprechstimme (German for “speech-song”) was a singing style associated with expressionistic/12-tone Austrian composers such as Arnold Schoenberg and Alban Berg in the early twentieth century. In this style, the singer would consciously slide between pitches. The reader who is unsure about the connection between this hallmark of German Expressionism and the vocal style of Bob Dylan’s vocal style should listen to Dylan’s 1965–1966 output.

4 . Manning, Kara, “Recordings: Colour of Your Dreams, ” Rolling Stone no. 659, 24 June 1993, pp. 80ff.

5 . Carole King, Liner notes to Colour of Your Dreams, compact disc, King’s X Records/Rhythm Safari Records P2–57197, 1993.

6 . This, again, even though King’s liner notes seem to suggest that it is a col- lection of individual songs that were not necessarily intended to go together as a concept album.

7 . Charles Donovan, Review of In Concert, All Music Guide, http://www.allmusic. com/cg/amg.dll?p=amg&sql=10:kr6ibkg9jakn, Accessed 28 February 2006.

8 . See, for example, Ellen Futterman, “ Tapestry Revisited: A Tribute to Carole

King, ” St. Louis Post-Dispatch 16 November 1995, p. GO 9; and Geoffrey Himes,

“Reprise Packages: Two New Tributes That Don’t Measure Up,” Washington Post 24 January 1996, p. B7.

9 . Carole King, Liner notes to Love Makes the World, compact disc, Rockingale/ Koch Records CD-8371, 2001.

10 . Carole King, Liner notes for The Living Room Tour, two compact discs, Rockingale RDC2–6200–2, 2005.

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