The Locomotion by Little Eva

August 13, 2014


Eva Narcissus Boyd’s big break came when she was recommended for a job as a babysitter by some background singers. Of course it helped a lot that the baby was Louise Goffin, the daughter of the Rock And Roll Hall Of Fame songwriting team, Carole King and Gerry Goffin.

The future Little Eva (1943-2003) was actuality a singer doubling as a babysitter to earn some extra income. Goffin and King asked her to sing on the demo of a new song they had written, “The Loco-motion.” They chose her mainly because she was available.

They originally offered the song to Dee Dee Sharp, but she turned it down. Sharp’s loss was Little Eva’s gain. Producer Don Kirshner liked Eva’s demonstration performance, plus he had just started a new label, Dimension Records. He chose “The Loco-motion” by Little Eva as the first release for his label and it proved to be a wise decision. It topped the Billboard Pop Singles Chart the week of August 25, 1962 and sold over a million copies. It also reached number one on the magazine’s R&B chart.

It was a cross between gritty soul and smooth pop, which proved just right for AM radio in the pre-Beatles era of the early 1960s.

 There were a couple of oddities associated with the release. First, the singers who recommended her for the babysitting job provided the background vocals on the record. Second, it was a dance record without a dance. Little Eva had to make up a dance to satisfy the high volume of requests from music fans.

Little Eva’s career did not last long as all five of her chart singles came during 1962-63. By 1971 she was back in her native North Carolina working odd jobs until she made a comeback on the oldies circuit during the late-80s.

The song itself had a much more successful career than did Little Eva. Grand Funk Railroad took it to number one during 1974, making it one of very few songs to reach the top of the charts by two different artists. It almost reached number one a third time during 1988, when Kylie Minogue’s version peaked at number three.

Little Eva’s career may have been short, but she has the distinction of having had a number one song. Her “Loco-motion” may have only have spent one week at the top, but for seven days she ruled the American music universe 52 years ago.

One Fine Day 45 by The Chiffons

May 26, 2012

Judy Craig, Barbara Lee Jones, and Patricia Bennett met while in high school and after adding Sylvia Peterson became, during the first half of the 1960s as The Chiffons, one of the more popular girl groups in American music.

During the first half of 1963 they had the biggest hit of their career when “He’s So Fine” not only topped the R&B Charts but spent four weeks on top of the BUILLBOARD MAGAZINE Pop Chart. Now all they needed was a follow-up.

Carole King had written “One Fine Day” and gave it to Little Eva who proceeded to record it. The song came to the attention of The Chiffons producer who proceeded to erase Little Eva’s vocal and insert the Chiffons. Little Eva’s loss was The Chiffons gain as it reached number five.

The song was an ode to romantic fantasy with bright music that just made you smile. One of the great songs of the pre-Beatles era.

City Streets 45 by Carole King

May 24, 2012

“City Streets” is about as hard as Carole King rocks. The single was taken from her 1989 album of the same name and while it did not reach the BILLBOARD MAGAZINE Pop Singles Chart, it did become a top 20 Adult Contemporary hit.

The highlight of the release was the video. While the big hair may be a thing of the past; the guitar play by Eric Clapton is one for the ages. His solo at the end of the video is just about the perfect guitar sound and one of the reasons the “Clapton is God” saying caught on.

Play the video, wait for it, and enjoy.

The Locomotion 45 by Little Eva

March 20, 2012

Eva Narcissus Boyd, 1943-2003, was an American pop and rhythm & blues singer. She also happened to babysit the daughter of Carole King and Gerry Goffin. Talk about good luck. Goffin and King were inducted into The Rock And Roll Hall Of Fame as songwriters and they had a song for Eva or Little Eva as she was professionally known.

“The Locomotion” by Little Eva reched number one on the BILLBOARD MAGAZINE Pop and Rhythm & Blues Charts and became the definitve song of her career.

A good song is always a good song. Kylie Minogue took the song to number three during 1988 and Grand Funk topped the charts with the song during 1974. Carole King recently performed the song with James Taylor during their recent tours together.

Jazzman by Carole King

December 17, 2011

Carole King will always be tied to her album TAPESTRY, which topped the American album charts for 15 weeks and has sold 25 million copies worldwide.

One of the better songs of her career, outside of TAPESTRY, was the single “Jazzman.” Released August 31, 1974, it reached number number two on the BILLBOARD MAGAZINE Pop Singles Chart.

It had a little more bite than her usual laid back material. It remains notable for the lenghty Tom Scott sax solo which provides the foundation for King’s vocal. It remains one of the better performances of her distinguished career.

The Living Room Tour by Carole King

November 9, 2011

Stop in for a cup of coffee and a scone at Starbucks and grab the new Carole King album at the same time. At least that was the scenario back in 2005 when Carole King cut a deal with the coffee giant to sell her newest album in their stores. There must have been a lot of Carole King fans who drank coffee as The Living Room Tour became her most commercially successful album in several decades, reaching number 17 on the Billboard Magazine Pop Album Chart, while selling over 300,000 copies.

In addition to the marketing campaign, the album itself was a good idea. It was a stripped down and intimate live album on which she played the piano, guitar, and sang with only guitarists/bassists Rudy Guess and Gary Burr providing additional instrumental support. Her two daughters, Louise and Sherry, added vocals on two of the songs. It all added up to the focus being squarely on her music, which is as it should be with her work.

She relied heavily on her Tapestry material for the foundation of the album. Plus, King reached back into her vast catalogue of older compositions for more material, and finally included a few surprises to fill out the album, which comprises 21 tracks spread out over two discs.

It is always interesting to hear her interpret her own compositions that had been made famous by other artists. She gets at the essence of such classic songs as “(You Make Me Feel Like) A Natural Woman,” “The Locomotion,” and “Chains.” Her medley of “Take Good Care Of My Baby”/”It Might As Well Rain Until September”/”Go Away Little Girl”/”I’m Into Something Good”/”Hey Girl”/”One Fine Day”/”Will You Love Me Tomorrow” flows from one song to the next as she takes the listener on a simple but modernized ride through some of the better pop music of the 1960s.

Some of her biggest hits and well-known songs, “It’s Too Late,” “I Feel The Earth Move,” “Smackwater Jack,” “Jazzman,” and “You’ve Got A Friend” are brought back to life in an intimate setting. The lyrics are some of the best in American music and her live renditions give the songs different textures and nuances than the studio recordings.

One of the surprises was the inclusion of the old Monkees hit, “Pleasant Valley Sunday,” which she composed with former husband and writing partner Gerry Goffin. It ceased to be a lightweight pop song as she gives the lyrics a new feel. Her inclusion of some of her lesser known material, “Peace In The Valley,” “Being At War With Each Other,” and “Wishful Thinking” demonstrate that even her obscure material can shine when presented with passion and emotion.

The Living Room Tour was a good idea, both artistically and commercially, as it brought many of her songs full circle. It proved that a good song is always a good song when performed by Carole King.

Article first published as Music Review: Carole King – The Living Room Tour on Blogcritics.

Love Makes The World by Carole King

November 6, 2011

It had been eight years since her last studio album when Carole King released Love Makes The World on September 21, 2001. The album was then reissued in 2007 as a Deluxe Edition with bonus tracks and accompanying videos.

King was in fine form for her first album of the 21st century. Her voice sounded better than it had in a number of years plus her phrasing was some of the best of her career.

She used a variety of co-writers with some of the songs being written by up to four people. She only wrote two of the tracks herself, but in spite of that the material fits together well. She seemed more focused here than on many of her post-classic-period releases in songs for the most part dealing with relationships, both good and bad. I would have preferred a little less synthesizer and drum programming but overall it was a very good modern work.

The album features two outstanding tracks surrounded by a number of very good ones. “Monday Without You” was co-written by King but originally recorded in 1997 by Carnie, Wendy, and Brian Wilson for their album, The Wilsons. King makes it into a ringing rock anthem with a building, memorable chorus. The other stellar track is the old Goffin/King tune, “Oh No, Not My Baby,” which was written back in 1964. At first it seemed like an odd choice as it had appeared on her 1980 album, Pearls: Songs of Goffin And King. Using a piano and acoustic bass as its foundation, she modernized the song by changing the tempo and providing a more of a soulful vocal.

A number of other well-crafted tracks also inhabit the album. “The Reason,” originally recorded by Celine Dion for her Let’s Talk About Love album (for which King even provided the background vocals) is rendered here as a slow ballad that builds to a rocking conclusion. Dion returns the favor by providing the background vocals. The title track and “You Can Do Anything” are both upbeat, joyous tunes and “An Uncommon Love,” with help from k.d. lang is also worth a listen.

Love Makes The World is a well-thought-out and produced album, and with its memorable melodies and lyrics it stands as one of King’s better latter-day releases.

Article first published as Music Review: Carole King – Love Makes The World on Blogcritics.

Colour Of Your Dreams by Carole King

November 3, 2011

Carole King released 13 studio albums between 1970 and 1983, but as the ’80s gave way to the ’90s, her time in the recording studio diminished dramatically. 1993’s Colour of Your Dreams marked only her second studio album in a decade.

She had a tough act to follow, though, as her previous album, 1989’s City Streets, was one of the better releases of her career. While Colour of Your Dreams did not match those standards – it lacked some of the excitement of its predecessor, and its songs also didn’t fit together as well – it was nevertheless an impeccably produced, polished, and mature effort. The synthesizers are still present but they no longer dominate the sound. The music has an acoustic nature to it that harkens back to King’s early solo days.

The roster of musicians was shorter than on many of her other releases, which in general is a good sign for a Carole King album. Lead guitarist Slash and drummer Danny Carey provide omnipresent guest-star appearances. Rudy Guess returned once again as co-producer, having done such a credible job on City Streets. King wrote nine of the 11 album’s tracks, with the final two being collaborative efforts with ex-husband and writing partner Gerry Goffin.

King originally wrote “Now and Forever” for the film A League Of Their Own. Adding it to this album proved a wise decision as the song, with its upbeat beauty, is one of the its superior tracks; it went on to earn a Grammy nomination .

As on her previous album, King also added a couple of rockers. “Hold Out For Love” is a nice rocking diversion from her usual style, while “Standing In The Rain” is slower yet it rocks in the same style. Some of the lyrics had more bite than on much of her previous work. “Standing In The Rain,” for instance, is a solemn song of a victim looking at life. The socially conscious “Tears Falling Down On Me” deals with the topics of rape and racism. Another outstanding track, “Friday’s Tie-Dye Night Mare” addresses certain realities of the world. Another nice addition, “Just One Thing” returned King to a confessional, singer/songwriter mode.

Colour of Your Dreams made for a confident and, at times, personal album. It’s also preachy in places. Overall it contains some very good performances and remains a nice, middling effort in her large catalogue.

Article first published as Music Review: Carole King – Colour of Your Dreams on Blogcritics.

City Streets by Carole King

November 1, 2011

City Streets was yet another commercial dud for Carole King at the time of its release in 1989, which was unfortunate, as it was her best studio album of the last 30 years.

King had returned to the recording studio after a six-year absence with the likes of Eric Clapton, Max Weinberg, Michael Brecker, and Branford Marsalis in tow. The ’80s synthesizer sound was under control unlike on her last studio album, Speeding Time. Rudy Guess, who would later support her as a guitarist, co-produced the release along with her. They proved to be a good match as what emerged was an album of modern, melodic, catchy and lyrical music.

The highlight is the title track, a Top 20 hit on the Billboard Adult Contemporary Chart, and a ringing rock song with Eric Clapton providing its guitar solos and Michael Brecker on the saxophone. This may not be Clapton’s best solo but the tone of his guitar playing on the song’s closing solo is perfect. It has to be the way he bends the strings, as the sound he produces just does not get any better. Even the video, which is over 20 years old now, remains enchanting (even with King’s big hair) as Clapton puts on a show at the end.

Eight of the album’s 10 tracks were over four minutes in length with three clocking in at around five minutes. These extended tracks gave King the time to develop her music and tell her stories, which only heightened the listening experience.

“Ain’t That The Way” is a bluesy, slower tune and the second of two tracks on which Clapton provides guitar support. “Midnight Flyer,” written with former husband and writing partner, Gerry Goffin, is an uptempo, hook-laden rocker. “Homeless Heart,” on which she shares the vocals with daughter Sherry Goffin, makes you ache as she adds some sensitive piano work. While ”Down In The Darkness” features King delivering an especially soulful vocal. The combination of ballads and rockers adds to the overall pleasure as they complement each other and never let the album drag.

City Streets remains a positive effort, both musically and lyrically. It also remains Carole King’s best effort of the last three decades, and is well worth tracking down. It holds many pleasant surprises.

Article first published as Music Review: Carole King – City Streets on Blogcritics.

Speeding Time by Carole King

October 31, 2011

Lou Adler had produced six albums for Carole King, 1971’s Tapestry through 1976’s Thoroughbred. After four somewhat lackluster albums saleswise, he hoped to return her to the huge commercial success of her past.

Adler’s vision was to update and modernize her sound. It was the 1980s, and that meant synthesizers. King’s best work always centered on her voice interpreting her lyrics and music, and anything removing the focus from those strengths reduced the effectiveness and enjoyment of listening to her music. The album’s personnel reflected this new direction, as King was listed as a synthesizer player in addition to vocals and her usual piano virtuosity. Robbie Kondor was also listed as a synthesizer musician and Rob Meurer as synthesizer programmer. In the end it didn’t matter commercially as it was her first album not to chart in the United States.

After listening to the album several times during the last couple of days, it is better than I remembered. Maybe time has made it more appealing, but some of the songs are worth revisiting once in a while. It was by no means one of her better efforts, but it was not as bad as its lack of success at the time would indicate.

Side one of the original vinyl release contained three credible performances. Her remake of her 1961 composition (co-written with Howard Greenfield) “Crying In The Rain,” which was a big hit for The Everly Brothers, was a good example of an old hit being updated. The synthesizer shares the stage with Danny Kortchmar’s guitar and Plas Johnson’s sax work. The tempo is different, and it all added up to a nice re-interpretation of an old classic. “Sacred Heart Of Stone” has too many synthesizers, but the vocal and lyrics save the song. The title track has a classic Goffin/King melody and the chorus enhanced the lyrics. The only real downer was the lead track,“Computer Eyes,” where the keyboards go a little overboard, which unfortunately spoiled a fairly good song.
Side two is overall less successful. The best track was the five minute “So Ready For Love,” which found King back at her acoustic piano. The album closer “Alabaster Lady” is another longer track and is also worth a listen.

The album was an experiment that was not appreciated by the music-buying public of the day. There is some good music to be found here, but much of it suffers from 1980s overindulgence. While it’s not essential to the Carol King catalogue, Speeding Time is worth exploring.

Article first published as Music Review: Carole King – Speeding Time on Blogcritics.