Deputy Arts Editor Xavier Barrios dives into his love for Carole King’s 1971 album “Tapestry.”
Deputy Arts Editor Xavier Barrios dives into his love for Carole King’s 1971 album “Tapestry.”
Sept. 30, I turned 20 years old. Naturally, the thing I want to do most is listen to the same music my grandma, Veronica Barrios, listened to when she was my age. Though, when I was 4 years old, I didn’t know how to spell “grandma,” so grama became the standard.
In our unassigned-yet-assigned arm chairs, we sat with the TV above the fireplace ready to watch the 2021 “Rock & Roll Hall of Fame” on Max. Despite being two years ago, I remember it vividly.
A synth-style remaster of Carole King’s “Will You Love Me Tomorrow?” played as Taylor Swift emerged from the stage. Small tapping noises came from next to me — I turned to see my grama singing in unison with Swift.
Without them, I would have never known about Carole King’s sophomore masterpiece “Tapestry.”
The record opens with the strong piano on the track “I Feel The Earth Move.” The song relies on a combination of piano, guitar and drums to replicate the nerves and vulnerability of young love. An instrumental break mid-song allows for the player’s musical ability to flourish.
Every time “I Feel The Earth Move” comes on shuffle, my grama routinely mumble-sings the lyrics. What she doesn’t know is sometimes I’ll play it just to hear her sing.
King’s vocals in the beginning of “So Far Away” drive the album’s second track as subdued instrumentals trail behind. As the song’s lyrics emotionally intensify, bass, piano and flute match her striking vocals.
As a first-generation student, college is important to myself and my family. Yet, being 1,012 miles away from home, the song usually gets skipped — sparing myself a cry.
“There’s so many dreams I’ve yet to find / But you’re so far away,” King sings.
The third track “It’s Too Late” hides a story of a drifting relationship under upbeat bass and saxophone. King’s voice control flows from plush to forceful and back again within seconds.
King has a yearning for a stationary place, and so do I. Transitioning from childhood to young adult life often exacerbates a longing for home. The shortest track on the album “Home Again” packs years of longing into 2 minutes and 29 seconds.
“‘Til I’m home again and feelin’ right / I wanna be home again and feelin’ right,” King sings.
“Beautiful” gives listeners an opportunity to trade in their tears for confidence. A song filled with self-love, King uses piano and bass to bring optimism back to the record.
Repetitive instruments and progression cause most of the songs on the album to melt into each other with very little differentiation other than lyrics. King creates a style specific to her songwriting but lacks variation in instrument choice and production.
“You’ve Got a Friend” and “Where You Lead” will forever remind me of a specific moment with my grama. Though the latter song reflects a romantic relationship, its sentiment applies to all relationships — including platonic and familial.
One time, around seventh grade, I had a dilemma. I needed to decide between going to the movies with my grama or going with my friends.
“Go with them, you’re at the age where you don’t need me as much,” Grama said.
The sentence hasn’t left my mind.
“And I would go to the ends of the earth / ‘Cause darling that’s what you’re worth,” King sings in “Where You Lead.”
King’s lyrics remind me that my grama will always be my best friend.
“Will You Love Me Tomorrow?” is both my grama and I’s favorite song on the album. The song started my fascination with King and “Tapestry.” Truthfully, I haven’t listened to much of King’s other work, out of fear nothing can beat this song.
“Tonight the light of love is in your eyes / But will you love me tomorrow? / Is this a lasting treasure / Or just a moment’s pleasure,” King sings.
King begins to close her album by showcasing her thoughtful and plot-filled storytelling abilities, which few artists can master. “Smackwater Jack” and the titular song “Tapestry” are lost to the rest of the album. The two songs lack relation to the overall theme of love and the search for home by focusing on story rather than feeling.
Ending the album, King sings her own rendition of a song written originally for Aretha Franklin, according to American Songwriter. “(You Make Me Feel Like) A Natural Woman” is slowed down compared to Franklin’s version but fits King’s style flawlessly.
My grama introduced me to “Tapestry” after listening to Swift sing her tribute rendition. While she doesn’t listen to the album like she used to, I make sure songs from “Tapestry” play in between her favorites from “folklore” and “evermore.” A fifty-one-year age gap is between us, yet nothing brings us closer than our love for the iconic female musicians of our time.
My grama has Carole King. I have Taylor Swift. And we have each other.
When I go home for breaks, I get to sing along to King with grama while the record player spins a water-damaged “Tapestry.”
“Tapestry” is available to stream on all major platforms.
Featured image courtesy of Ode Records
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