CAROLE KING: PEARLS: SONGS OF GOFFIN AND KING (1980)
1) Dancin' With Tears In My
Eyes; 2) Locomotion; 3) One Fine Day; 4) Hey Girl; 5) Snow Queen; 6) Chains; 7)
Oh No Not My Baby; 8) Hi De Ho; 9) Wasn't Born To Follow; 10) Goin' Back.
Behold, this is a wonderful record — ten
amazing songs with nary a single moment of filler, probably the single most
consistent and potentially mind-blowing new album produced by Carole since Tapestry, and, in fact, the
consolidated power of these songs might even outweigh the collective power of Tapestry. There is a catch, though, and
it will be quickly understood with a single glance at the track listing: most
of these songs are re-recordings of old classics, written by Carole King and
Gerry Goffin in the Sixties for other artists. In other words, a desperate
last-minute scramble for a commercial resuscitation — an implicit admittance of
the fact that Carole has all but run out of songwriting stamina, and has no
other choice but to resort to the cheap trick that forever brands the artist as
a «washed-up has-been».
It does serve as an impressive testament to the
immeasurable former powers of the Goffin/King duo — after two major flops in a
row, Pearls made it all the way up
to No. 44, and gave Carole her last success of any importance on the singles
chart (in the form of ʽOne Fine Dayʼ, formerly recorded by The Chiffons).
Considering that Brill Building material was about as far removed from the
trends and fashions of 1980 as Renaissance music, it just goes to show how the
best-of-the-best of commercial pop music is capable of transcending all chronological
borders — not to mention that it is actually a very nice experience to hear
Carole King sing her own song with her own charismatic voice. But ultimately it
is still a one-time experience that belongs in 1980, and nothing can alter the
status of The Chiffons' version as forever set in stone.
There are almost no attempts here to make the
songs significantly different from what they were in the first place — on the
contrary, the intention is to capture the original vibe as best as possible, to
ensure that nothing gets lost in the attempt to gain something else.
ʽLocomotionʼ twists with the same verve as in the Little Eva version; ʽChainsʼ
has the same youthful perkiness as the Cookies version (maybe even a bit more,
what with the sped-up tempo and an accappella take on the first chorus);
ʽHi-De-Hoʼ has the same pleasant, lazy, nonchalant attitude as the Blood, Sweat
& Tears version; and ʽWasn't Born To Followʼ, with a loud and proud banjo
in the lead, has the same mix of earthiness and romanticism as it has in The
Byrds' interpretation.
A few of the included songs merit this more
than others because their original incarnations may have faded out of memory —
ʽHey Girlʼ, for instance, was the only big hit for Freddie Scott; and the
stuttering waltz ʽSnow Queenʼ, originally released by Carole for her
long-forgotten «The City» project in 1968, is also encountered rather
unfrequently, although it is more of an introspective and atmospheric tune
than a catchy pop hit in essence. And if I understand this correctly, ʽDancing
With Tears In My Eyesʼ, opening the album, is actually a new song by the two — an interesting one at that, incorporating
bits of disco into what is essentially a very traditionally-oriented R&B
number and showing that there were at least a few tiny sparks of songwriting
left, though not enough to kindle a proper fire. On the other hand, while I
totally understand the logic of closing the album with a rendition of ʽGoin'
Backʼ ("I think I'm goin' back to the things I learned so well in my youth"
— why, sure you are!), I do have to remind everybody that Carole had already recorded
this song on her first proper solo album, so it's a bit of overkill.
Anyway, an official thumbs up for this album is
impossible — it isn't even live, and nostalgic / customer-baiting re-recordings
of classics without at least a reinterpretation angle are the equivalent of
thriving on cheat sheets. The best thing I can say is that the arrangements and
the production are tasteful, and that Carole sounds as if she was having real
fun with the idea, rather than just lifelessly sitting it out because somebody else
hoisted it on her. But even strict completists should probably first ensure
that they have all the originals in their collections before moving on to this
palliative record.
This is really a very charming little record. I had heard “One Fine Day” on the radio first, of course. I think it’s better than the Chiffons’ single — it’s actually more upbeat. But I originally bought it because I wanted Carole’s own versions of the last three tracks, since I didn’t know of the existence of “Writer” or The City at the time. The production is stronger and the tempos perkier than on her original versions, so that’s a plus. She was emulating the covers by The Byrds and BS&T a bit, perhaps. This was also the first time that I heard “Snow Queen”. I can’t quite figure why anyone (BS&T, The Association, The Tokens, or even The City themselves) thought that this could have been a hit single. The melody and the lyrics are too strange. I do like the song quite a bit. I can take or leave the rest, although I question whether a woman of her should be singing a song like “Locomotion”, even if she did write it. Still, the album is the only one after “Tapestry” that I care to listen to the whole way through. She could have easily done a sequel or three.
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