Carole King: Worst to Best

Carole King is an iconic songwriter and singer, who's body of work has shaped the world of music today. She is one of my personal favorites, so I decided to rank her albums based on their significance to me personally. My boyfriend also created a ranking, so I will be including his rank number and his thoughts (italicized) on each album under my own. 

Click to watch the ranking on YouTube!

#17: Colour of Your Dreams (1993)

Colour of Your Dreams is nothing new for songwriting legend Carole King, besides the fact that it's generally forgettable. The slick, adult-contemporary production and slow moving soft rock tempos are definitely not the color (or colour) of my dreams. 

My favorite tracks: Friday's Tie-Dye Nightmare, Do You Feel Love, Colour of Your Dreams)

(#17) Unfortunately for Carole, this album sounds way too slick and cheaply produced. Colour of Your Dreams falls flat for me and is an extremely forgettable chapter in Carole’s discography.

My favorite tracks: Wishful Thinking, Friday’s Tie-Dye Nightmare, Just One Thing

#16: Simple Things (1977)

While certainly not an awful album, Simple Things, I feel, lacks clarity. What's the concept here? Where is she going? The abstract pretty album cover and Carole's new backing band (and new record label), hints that Carole is onto something new and exciting, but the music fails to deliver. While there are some nice mid-70's rock textures, the album lacks variety. Simple Things was King's first in a stretch of albums many consider "the lost years," and I can see why. 

My favorite tracks: Simple Things, Labyrinth, You're the One Who Knows

(#7) With Simple Things, Carole proclaims from the beginning “Simple things mean a lot to me!”. She sounds rejuvenated and embraces a more contemporary sound with a great band. Those guitars! While it may sound dated to some, Simple Things is a different kind of Carole. Don’t expect to hear Tapestry here.

My favorite tracks: Simple Things, Hold On, God Only Knows

#15: Touch the Sky (1979)

Far from her best work, Touch the Sky finds Carole embracing a country flair. This album was recorded in Texas with an entirely new band, and Carole only plays piano on a few tracks, making Touch the Sky a hard record to enjoy, as a Carole King fan. That said, some of the country experimentation is fun, although not suited for King's vocals. 

My favorite tracks: Seeing Red, Move Lightly, Good Mountain People

(#13) Touch The Sky finds Carole going way too far in the country direction at times. In comparison to its predecessors on Capitol Records, the album is not as enjoyable and naturally flopped pretty hard. Also, Carole doesn’t sound like she’s into the album at all. 

My favorite tracks: You Still Want Her, Crazy, Move Lightly

#14: Welcome Home (1978)

Welcome Home was released a year before the aforementioned Touch the Sky and is unsurprisingly relatively low on my list. This album simply lacks everything that makes a Carole King album great, as many of he songs were co-written with her abusive husband Rick Evers, and King's piano playing is nowhere to be found. I'm not sure who Carole is welcoming "home," but it surely isn't herself. Nevertheless, there are some silly, catchy songs, but this is certainly not a highlight in King's body of work. Rick Evers died shortly before the release of the album. 

My favorite tracks: Disco Tech, Main Street Saturday Night, Morning Sun

(#10) Welcome Home is essentially a continuation of Simple Things in that it has a similar sound, but it falls short occasionally. Some of the songs are just weird coming from Carole, such as “Ride The Music” and “Disco Tech”. The album is still enjoyable in small doses, but it was almost destined to be Carole’s first commercial failure.

My favorite tracks: Main Street Saturday Night, Sunbird, Morning Sun

#13: Writer (1970)

A fine debut, Writer includes some classic songs like Child of Mine, which was previously performed by Billy Joe Royal, and the Drifters’ hit single, Up On the Roof. Beyond some good songwriting, Writer doesn't offer much. Carole isn't known to be a great vocalist, but here her voice sounds exceptionally thin and controlled. Same goes for the skeletal, rickety production. 

My favorite tracks: Raspberry Jam, To Love, Spaceship Races

(#9) Writer finally saw Carole stepping out and making a name for herself as a singer, instead of just a songwriter. With Lou Adler at the helm again after Carole’s album as part of the group The City, the production is reminiscent of his work with the Mamas and the Papas. However, you can start to hear the blueprint for Tapestry and the albums that followed, especially in the song “Goin’ Back”. Carole would continue to evolve, as would Lou Adler’s production into the 1970s, making for a much better musical legacy.

My favorite tracks: Goin’ Back, Raspberry Jam, Up On The Roof

12: Love Makes the World (2001)

This is a refreshing album in King's discography. Of all of her later work, Carole's voice sounds best here, and is complemented by the warm, sometimes slick production. Some of the harsher tracks sound a bit forced, and Celine Dion's appearance seems strange to me. Overall, Love Makes the World is a solid final album for such an accomplished artist. 

My favorite tracks: Love Makes the World, Monday Without You, I Don't Know

(#16) While Love Makes The World is substantially better than the dumpster fire known as Colour of Your Dreams, it’s still not good. With Carole going more for an R&B-flavored/adult contemporary mixture that Barbra Streisand was doing at the same time, the tracks are boring at times. The title track is great and I wish Babyface did more of the album, but Carole’s voice sounds way over-processed to the point it’s harsh. With this being Carole’s most recent non-holiday studio album, it’s a sad end to her legacy.

My favorite tracks: Love Makes The World, You Can Do Anything, Oh No Not My Baby

#11: Speeding Time (1983)

1983’s Speeding Time was a bit of an experimental project for Carole King, as it was the first album that featured synthesizers (it was the 80’s, after all). Carole composed the music at her cabin in rural Idaho on a synthesizer, then had an orchestra actualize the music in LA. At the last minute, she decided to keep the synthesizer parts and layer it on top of the strings. She regrets this, she reveals in her memoir. She has also said “that album has some of the worst tracks I’ve ever written,” which is reflected in the fact that it was her first record not to chart at all. Still, there are some great moments on this record, and I think that the 80's were a difficult time for Carole's generation to fit in, so much of the criticism was inflated at the expense of praise for the newer acts. While it's definitely no Tapestry, Speeding Time is an interesting and sometimes rewarding listen.

My favorite Tracks: Chalice Borealis, Dancin', Alabaster Lady 

(#12) When I first listened to Speeding Time, I was absolutely appalled. Lou Adler did THIS?! The production sounded so flat and drab. After repeated listens and ignoring the extremely dated album artwork, I can honestly say this album isn’t as bad as I thought it was. “Computer Eyes” features probably Carole’s worst lyrics EVER, but once you get past that mess, the tracks begin to improve. “One Small Voice” and “Standin’ On The Borderline” in particular are some of the better synthesized tracks on the album. However, Carole sounds much better on tracks like “So Ready For Love” and “Alabaster Lady” when she’s actually playing the piano. It’s dated as hell, but still a good listen.

My favorite tracks: Alabaster Lady, So Ready For Love, Standin’ On The Borderline

#10: City Streets (1989)

City Streets is a more actualized version of Speeding Time, and is undoubtedly a step in the right direction. This is a more personal album for Carole, with raw, rough guitars to match (yes, there's still some synths). This is the closest thing to a Carole King rock n' roll album, and is definitely more engaging than her other works from this period. 

My favorite tracks: City Streets, Sweet Life, Legacy

(#15) City Streets isn’t all that bad. It sounds very of-the-time for the late 80s and Carole seems to be much more into the material. This is probably her most pop-sounding album with songs like “Legacy” and “City Streets” and it definitely fares better than the two albums that came after it. 

My favorite tracks: Legacy, Down To The Darkness, Sweet Life

#9: Thoroughbred (1976)

Thoroughbred was Carole King’s final album for Ode Records. Many consider it to be her last great album. It would also become her final Adult Contemporary chart-topper, thanks to “Only Love Is Real,” the compelling lead single. Stylistically, Thoroughbred has classic and minimal production provided by Lou Adler. There's a Space Between Us, one of Carole's best songs (in my opinion) is on this album.

My favorite tracks: Only Love is Real, There's a Space Between Us, Ambrosia

(#14) I hate to put Thoroughbred so low but it honestly has to be the weakest link in her original Ode run. Lou Adler even stated in the liner notes for a Carole CD collection that this album was when the spark was gone between him and Carole, and I can definitely tell. The album itself is just boring and sounds very much like I’m listening to the same song over and over again. The only true standout is what became Carole’s final #1 single, “Only Love Is Real”, which I feel is one of her best compositions. Everything else, however, falls flat. 

My favorite tracks: Only Love Is Real, I’d Like To Know You Better, It’s Gonna Work Out Fine

#8: Wrap Around Joy (1974)

Much like her previous album, 1974’s Wrap Around Joy, saw another change in direction. This time around, a jazz flavor. Despite having very mixed reviews, with singles like Jazzman (No. 2, pop) and Nightingale (No. 1, US AC), the album quickly flew up the charts to number one. Like the title implies, Wrap Around Joy reflects an upbeat attitude, differing from the heavier, more philosophical nature of her last two projects. Wrap Around Joy was King’s most instrumentally diverse project thus far, with many fans and critics hailing it as her best album since Tapestry.

My favorite tracks: Nightingale, You're Something New, Jazzman

(#4) Wrap Around Joy is a step in the right direction. After the slight misstep with Fantasy, Carole goes back to doing what she does best. The album is arguably one of Carole’s most consistent and the band is great. At times, you can hear a 60s influence in the production which works as a reminder of her roots. It’s a feel-good album and there’s nothing wrong with that!

My favorite tracks: Nightingale, You Gentle Me, Sweet Adonis

#7: One To One (1982) 

In 1982, Carole King gave us One To One. Unlike her recent works like Welcome Home and Touch the Sky, this album harkens back to her earlier works in terms of sound. The title song, co-written with Cynthia Weil, peaked at No. 40, which was a pleasant surprise for Carole. Many critics said this project was disjointed and unorganized, but it has endured to become a fan favorite. This release was also accompanied by an extensive documentary by the same title, as well as a brief tour. Carole King produced One To One alongside Mark Hallman, giving it a refreshing and clean sound. A criminally underrated record. 

My favorite tracks: One To One, Read Between the Lines, It's a War

(#5) If Pearls was Carole testing the waters with a more pop-sound production, One To One is Carole jumping right in. I’d say the charts reflect this with “One To One” being another moderate hit after a dry spell, save for her version of “One Fine Day” from Pearls. The album, her first for Atlantic, finds her working with Mark Hallman yet again. It’s hard to think that this is the same man that produced Carole’s so-so album Touch the Sky. However, the album is full of live instruments before computers took over and songs like “It’s a War” and “Little Prince” sound great.

My favorite tracks: One To One, It’s A War, Lookin’ Out For Number One

#6: Pearls: Songs of Goffin and King

On this album, Carole looks back at songs she and Gerry Goffin wrote in the 1960’s like The Locomotion, One Fine Day, Oh No Not My Baby and other classics, as well as a new song composed by the two, Dancin’ With Tears in My Eyes. Her third album produced by herself and Mark Hallman, her new renderings of these songs are silky, tasteful and timeless. The single, One Fine Day, peaked at number 12, making it her highest charting pop single since 1974’s Nightingale.

My favorite tracks: Snow Queen, Dancin' With Tears in My Eyes, One Fine Day

(#11) Pearls finds Carole back in more familiar territory after going basically country with the previous album. With all Goffin-King compositions, she easily works her way through her own songbook with huge hits like “One Fine Day” (arguably the best track on the album that was a huge hit) and “Oh No Not My Baby” (which unfortunately flopped). However, this album is played much too safe and could be seen as a desperate ploy to remind the public who she is.

My favorite tracks: One Fine Day, Dancin’ With Tears in My Eyes, Oh No Not My Baby

#5: Music (1971)

Music, released just a few months after the game-changing Tapestry, once again, proved that Carole King, the singer, wasn’t going anywhere. With similar styling and production as Tapestry, Music quickly climbed up the charts to number one and was certified Gold nearly a week after its debut. The main difference of these two albums is the introduction of new instrumentation and songs co-written by Carole and Toni Stern. Those who did not love the demo-like quality of Tapestry will prefer this project. My only complaint is that sometimes her voice just doesn't hold up to the grand statements and lush music on the record. 

My favorite tracks: Carry Your Load, Sweet Seasons, It's Gonna Take Some Time

(#1) Anyone who will read this will likely want to crucify me for putting Music at #1, but let me just defend myself. While I love Tapestry (along with the rest of the world), I feel like Adler and King really perfected why everyone loves Tapestry with Music. You’ve got the personal “Brother, Brother”, the gliding “Sweet Seasons”, and what would become a hit for the Carpenters “It’s Going To Take Some Time”. This album is drum-heavy, but the polishedness enhances the sound of the album. Tapestry walked so Music could run, musically speaking. 

My favorite tracks: It’s Going To Take Some Time, Sweet Seasons, Brother, Brother

#4: Now That Everything's Been Said (1968)

Before Writer, Carole King was in a band, The City, with Danny Kortchmar and then husband Charles Larkey. The result was Now That Everything's Been Said. In her memoir, Carole said she considers this her first solo album, despite its release under The City name, so I am including it in my ranking. This is truly is one of King's strongest albums, with the earthy, warm tones of the late 60's. The songwriting is on par easily with that of Tapestry. The best part of this album, for me, is Carole's raw vocals. She isn't afraid to roar and and holler a little bit, and I really wish she carried this no-holds-barred style into her 70's work. 

My favorite tracks: Snow Queen, Victim of Circumstance, Now That Everything's Been Said 

(#8) Now That Everything’s Been Said is essentially a Carole album in that she’s singing the whole thing. It’s slightly better than the follow-up Writer and the title track is rather catchy. It’s really not any inclination of what was to come, but it’s great on its own. 

My favorite tracks: That Old Sweet Roll, Now That Everything’s Been Said, Victim of Circumstance 

*these next three albums are interchangeable in terms of how much I enjoy, but for the sake of this ranking, here we go! 

#3: Rhymes and Reasons (1972)

Possibly Carole's most personal and atmospheric album, Rhymes and Reasons is true product of Laurel Canyon. Despite mixed reviews from critics who were expecting another Tapestry, what makes this album so great is that she was not trying to replicate Tapestry this time. Most songs are laidback, with subtle drums and a looming bass line, and of course Carole's iconic piano work. Rhymes and Reasons feels like you're sitting in Carole's living room as she tests out new, original songs (many written with the talented Toni Stern), or if you found yourself lounging in a small piano-bar in the early 70's. 

My favorite tracks: Peace in the Valley, Been To Canaan, I Think I Can Hear You 

(#2) Yes, I’m putting this one above Tapestry as well. With Rhymes & Reasons, Carole continues evolving and moving further away from that Tapestry sound. Adding even more drums from Music, tracks like “Peace in the Valley” move along at a nice pace and the lyrics seem more personal than ever. Carole seems to be really enjoying herself here and feels the material.

My favorite tracks: Peace in the Valley, Been to Canaan, Bitter with the Sweet

#2: Fantasy (1973)

On many days, this record is better than Tapestry. There is really no other Carole King album like Fantasy. Rather than an album, Fantasy presents itself as a song cycle, with each track bleeding into one another. Most Carole King fans would not expect her to open up an album with the lines "in Fantasy I can be black or white, a woman or a man," but this isn't just another Carole King record. This is her only concept album, and her only project dedicated to social issues and social justice. Of course, she's no Angela Davis, but King's social commentary is decent, especially for a white, upperclass, heterosexual woman. She is trying to speak her mind, but there are times when it comes off as sloganeering, but other times it is quite moving. Fantasy is also the only album of hers where she wrote all of the lyrics herself and wrote most of the music herself, which is impressive. King also makes the R&B-flavored music on many of the tracks work for her as well. 

My favorite tracks: Believe In Humanity, You've Been Around Too Long, Haywood

(#6) Understanding that Fantasy is essentially a concept album is important. I appreciate the fact that Carole tried to branch out and make music that is more socially-conscious, but it comes off as trying too hard at times for me. “I’m just like you, doing the best I can do to make my stride” she proclaims during one of the more memorable tracks “You’ve Been Around Too Long”, but it comes off as somewhat deaf considering at that point Tapestry had been on the Billboard 200 charts for over 2 years and would continue to be on the charts for another four (!!!) years. The music itself is enjoyable however and songs like “Corazón” and “Weekdays” are catchy. 

My favorite tracks: You’ve Been Around Too Long, Weekdays, Corazón

#1: Tapestry (1971)

Tapestry yielded 4 Grammy awards for King, and has gone on to become one of the best-selling albums of all time, spending 5 weeks at number one and remaining on the charts for over 300 weeks straight. None of this surprises me. Tapestry is a near perfect album, and is exemplary of the "less is more" approach. A creative mix of Brill Building toe-tapping hits and Laurel Canyon earthiness, Tapestry is a great place to start when exploring Carole King's discography. My only critique of this album is that it consistently overshadows the rest of Carole King's prolific work. 

My favorite tracks: I Feel the Earth Move, Tapestry, (You Make Me Feel Like) A Natural Woman

(#3) The magnum opus. The record-breaker. Tapestry is the album that will forever keep Carole King in the history books and somewhat at the forefront of the music industry (along with making her money for the rest of her life). It’s got all those tracks you know, such as the #1 hits “I Feel The Earth Move” and “It’s Too Late”. There’s not much more I can say about this album that hasn’t already been said, but it’s extremely solid. There’s a reason at least a majority of the tracks have been covered countless times: they’re beautifully written. Unfortunately, I always feel like the album is extremely overrated (and that’s not to say it doesn’t live up to its status) and it forces better albums (in my opinion) such as Music and Rhymes & Reasons to be significantly dwarfed in comparison. 

There you have it. What do you think? Do you agree/disagree with my ratings? Leave a comment below or use the bar to the right to leave me a message. Thank you for reading!