The Soundtrack of My Life

Regular readers of this blog -- or at least those with a memory -- may recall that I have loved the Graham Nash album Songs for Beginners since its release in 1971. I mentioned in an earlier post that in September of that year I drove from New York to Virginia, listening to it over and over, numb and tearful as Nash sang "When your love has moved away, you must face yourself and you must say, I remember Better Days."

I still play Songs for Beginners regularly, but there's another album from 1971 that is also special, this time not just to me but to millions of fans. It was a phenomenon, staying on the Billboard charts longer than any album before it, spawning several hit records and countless cover versions. In 1971 and 1972 I don't think I was ever at a party where it wasn't played.

With songs like You've Got a Friend, It's Too Late, Will You Love Me Tomorrow and (You Make Me Feel Like) A Natural Woman, I'm of course talking about Carole King's iconic second album, Tapestry. It was a treasure back then and it still is today.

Legions of new fans are learning of King's way with words via the Broadway show Beautiful, the Carole King Musical. I saw it last night.

I had avoided it at first, partly because of how much I love Tapestry. I thought, "I know that album inside out; I love that album; I don't want to take a chance with a commercial retread." As time passed though I read more and more about the show and its star, Jesse Mueller, and started to think I should go. Then I saw the footage of Carole King finally coming to see the show and I knew I had to go. I bought a ticket and then watched the Tonys; I was thrilled when Mueller won and loved her performance on the show.

And last night did not disappoint. Jesse Mueller is the real deal; she plays the piano beautifully, sings with strength and emotion and practically channels Carole King. Beautiful is far from a one-woman show though; there's lots of talent on stage and there's a compelling story to be told. King's marriage to Gerry Goffin and their friendly competition with songwriters Barry Mann and Cynthia Weil form the show's nexus, while sixties pop/rock provides the sonic accoutrements that make the show cook.

I don't think I've ever seen a new show where I knew every word to every song, but that was my experience last night. Every word. Every song. It truly was the soundtrack of my life.

I decided before the show started that One Fine Day was going to be the test. Remind yourself of what a kick-ass, perfect pop song that is by listening here. If Beautiful could put that song over then they'd have me.

Did they?

Well, yes; well, no. It is a high energy, perfectly acceptable version, well sung by Rashidra Scott -- but it lacks the punch of the Chiffons' version with its unbelievable driving piano -- until, that is, Jesse Mueller picks it up and drives home the truth of the lyrics, straight from her heart. It's a killer Broadway moment.

Another great moment, and a total surprise, was We Gotta Get Out of This Place. I had no idea this Animals rocker was written by Weil and Mann. Other great songs in the show include Up on the Roof, On Broadway, The Locomotion, Take Good Care of My Baby, Pleasant Valley Sunday and You've Lost that Lovin' Feeling. Those songs alone are enough to make you love this show; add to it the Carole King classics from Tapestry (So Far Away, Will You Love Me Tomorrow, It's Too Late, You've Got a Friend, Natural Woman, Beautiful and I Feel the Earth Move) -- and you've got over two hours of rock history energetically presented in this much-more-than-a jukebox musical.

Go!