A ‘ Beautiful’ legacy
Carole King’s artistic tapestry spans generations, artists and stages
Carole King’s “Tapestry” was more than a decade old when it first entered my consciousness.
I first remember seeing it in one of my dad’s album crates, wondering who that hippie woman was sitting next to a cat. The edges were frayed. The cover was worn and dusty. To teenage eyes in the ’90s, it looked, well, old.
But that changed once I actually listened to the songs inside the sleeve. “Tapestry” is one of those albums that seems to have always been around, a collection of songs that signify moments in time.
Several of those songs are featured in “Beautiful,” the Tony-winning musical about King’s early life. The touring version of the Broadway show opens Tuesday and runs through June 5 as part of Broadway at the Hobby Center.
“Beautiful” follows King’s rise to stardom and touches on her songwriting partnerships with husband Gerry Goffin, Cynthia Weil and Barry Mann, which resulted in big hits for other artists. She eventually became a solo force, channeling heartbreak and friendship into sentimental songs that literally provided the soundtrack for the lives of a generation of listeners.
“Beautiful” was nominated for nine 2014 Tony Awards, winning best actress for Jessie Mueller. Her sister, Abby, plays the role in the national tour.
The bulk of my early exposure to “Tapestry” was through cover versions by female pop stars who were very much influenced by King’s ease and magic with melody.
There’s arguably no better marriage of singer and song than Aretha Franklin’s original recording of “(You Make Me Feel Like) A Natural Woman.” It was written by Goffin and King. Producer Jerry Wexler, who suggested the title to King, also is credited on the song and presented the song to Franklin, who made it a pop and R&B hit in 1967.
King also recorded it for “Tapestry.” But Franklin’s version remains the gold standard by which all female vocalists are judged.
Franklin, King, Mariah Carey, Shania Twain and Gloria Estefan performed it together for 1998’s “VH1 Divas Live” concert. This was a moment of awe for
me, a true battle royale. The subtle attempts to outdo each other made it even more delicious. There was country crossover star Twain, putting in a valiant effort next to vocal powerhouse Carey, looking for any moment to leap into the vocal double-dutch game.
Franklin, of course, reigned supreme. All hail the queen.
Celine Dion’s effortless belting was a perfect match for King’s emotive lyrics. Dion released a 1995 solo version of “Natural Woman” and included another King song, “The Reason,” on 1997’s “Let’s Talk About Love.”
Estefan, who has always cited King as an influence, covered “It’s Too Late” for 1994’s “Hold Me, Thrill Me, Kiss Me” covers album. Estefan stayed faithful to the original’s warm, melancholic tone — save for a Santanaesque guitar break. The entire album, in fact, was a nice primer for several retro pop hits.
Several young stars have tried their hand at King classics. Each with some success. It’s in those performances that the true power of King’s art is illuminated. Her pop sentiments, which seemed dusty to the uninformed, still carry striking emotional weight.
Kelly Clarkson was just a Texas girl with a dream when she solidified her “American Idol” win with a showstopping version of “Natural Woman” in 2002. The bowler hat. The fan who runs on stage and hands her a rose. And that mind-blowing whistle note. It was perfection and remains one of the show’s greatest moments.
Bilingual pop singer Martika amped up “I Feel the Earth Move” for her 1988 debut album. Her version was much more frenetic and fast-paced. I still remember seeing Martika perform it at AstroWorld’s Southern Star Amphitheater, singing along with a group of sweaty teenagers.
Another young star, Mandy Moore, included the song on 2003’s excellent “Coverage” album. Moore’s version was more faithful to the original but still managed some modern flair.
Supreme teen queen Debbie Gibson’s self-produced 1995 album, “Think With Your Heart,” found her in singer-songwriter mode and included a sweet cover of “Will You Love Me Tomorrow?” Though Gibson fell out of favor with mainstream audiences once she hit drinking age, she continued churning out albums and remains underrated as a stylist and performer.
“Think With Your Heart,” and 1996’s excellent “Deborah,” owe clear debts to the King sound. And both probably earned triple-digit plays in my portable CD player.
Leslie Grace was 18 when her bilingual cover, “Will You Still Love Me Tomorrow,” became a huge radio hit. It incorporated elements of bachata, topped Billboard’s Tropical Songs chart and introduced King’s lovelorn prose to a new generation of fans.
“Beautiful” the musical takes it a step further. It promises to dig into the writing sessions and reallife sentiment behind the music, uncovering even more of the colors inside an intricately woven pop tapestry.