Klinger: If you had told me when we started our mission to make sense of the all-time most critically acclaimed albums that we would be discussing Carole King’s Tapestry album within the first 18 months, I would have laughed in your face for so long that you would eventually start to cry. Then I would have felt bad for a minute, but then I would remember what I was laughing about and I’d start laughing again. After all, this is an album that appears to have almost no cultural cachet today. Just about every album we’ve covered so far has been the kind that rock geeks discuss in hushed tones, handed down with the sage advice that “this LP will change your life”. I can’t see where that is the case with Tapestry. Last year marked the 40th anniversary of Tapestry, and we haven’t heard a whole lot from the Rock Industrial Complex, which never misses an opportunity to commemorate just about any milestone that comes their way. (I’m cradling a 33rd Anniversary Legacy edition of Bob Seger’s Stranger in Town even as we speak.)
That said, Carole King seems like a very nice person and I find Tapestry to be a most enjoyable exercise in pop songcraft. But you’re the one with the well-documented soft spot for finely crafted adult contemporary music, Mendelsohn. What’s your take on Tapestry?